2008 - Clemente Soto Velez | New York City

2009 - La MaMa, E.T.C. | New York City

2011 - LES Festival,  Theatre for the New City | New York City

CREATED AND DIRECTED BYIldiko Nemeth
WRITTEN BYMark Altman & Ildiko Nemeth
CHOREOGRAPHY BYJulie Atlas Muz & Peter B. Schmitz
LIGHTING BYFederico Restrepo
COSTUME DESIGN BYJavier Bone Carbone
SET DESIGN BYJason Strum & Ildiko Nemeth
SET CONSTRUCTION BYKetrek Construction Corp.
SOUND ENGINEERING BYPaul Radelat
ORIGINAL MUSIC BYJon Gilbert Leavitt
MUSIC SELECTION BYIldiko Nemeth
CAST

Dana Boll
Javier Bone Carbone
Kaylin Lee Clinton
Catherine Correa
Gary Hernandez
Markus Hirnigel
Lisa Kathryn Hokans
Madeleine James
Denice Kondik
Sarah Lemp
Florencia Minniti
Fabiyan Pemble-Belkin
Christine Ann Ryndan
Kat Ross
John Rosania
Jade Rothman
Peter B. Schmitz
Jeanne Lauren Smith
Andrea Strauss
Chris Tanner

PHOTOS BYLee Wexler, Images for Innovation, Johnathan Slaff, Ves Pitts, Jeff Hermanski
PRINCIPAL ADMINISTRATORFabiyan Pemble-Belkin
Oh, Those Beautiful Weimar Girls!



Oh, Those Beautiful Weimar Girls! was inspired by "The Seven Addictions and Five Professions of Anita Berber" by Berber's principal biographer, Mel Gordon, which dubs her "Weimar Berlin's Priestess of Depravity."

Berber represented an artistic generation that defied any and all restraints. The wild hedonism and frenetic theatrics of her early post-World War I years seemed to parallel Germany’s descent into communal madness. Depicted in provocative photographs, paintings and drawings, she exuded the sensual complexities of modern female desire. More than 80 years later, these images remain edgy, even startling.

In many ways, Weimar was like a demented party mounted before a death sentence. With the devastation of the Great War fresh in their minds and the specter of worse catastrophes looming over their future, Weimaraners were desperate to escape the realities of their time. They pursued glamour compulsively, as though excess might grant liberation. Jerry Stahl put it this way: “Even as Death, smiling like a sadistic Domina, lowers her high-heeled boot on your face, you can smile, and grind, and know that, for one tragic and ecstatic moment, release is yours. And you can forget about the obliteration to come … The Girls of Weimar Berlin could make anybody forget.”  In a chaotic world where human life had no value, this release represented both protest and surrender.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

This program was made possible, in part, by funds from The Edith Meiser Foundation. 

Production design support provided by The Edith Lutyens and Norman Bel Geddes Foundation.

 

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