Nanouk Leopold Directs THE HOMECOMING at Internationaal Theater Amsterdam
Award-winning film director Nanouk Leopold returns to Internationaal Theater Amsterdam for her second theatre directing with the ensemble. This season, she directs the classic The Homecoming by Harold Pinter, winner of the Nobel prize for literature. The performance- with Gijs Scholten van Aschat, Maria Kraakman, Majd Mardo and others - will premiere Sunday 13 October at Internationaal Theater Amsterdam.
After a long stay in America, Teddy returns to the family home, which is exclusively occupied by men. His father, brothers and uncle have lived there for many years. It's a kingdom of men. To their surprise, he's not alone. He's accompanied by Ruth, to whom he is married. As a result, all of the relationships are on edge.
Nanouk Leopold: "The order within a family is disrupted. Five men and one woman, who's the strongest, each scene is a showdown. The Homecoming makes you think about the different roles that are played within a changing power structure where the position of victim and perpetrator is ambiguous. The power and timelessness of Pinter lies in the abstraction of his stories, the compelling form and the balance they strike between cruelty and humour."
The Homecoming is one of the most frequently performed and most controversial plays by Pinter. After more than fifty years since its first staging, it is still the reference piece for the power game that colours human interaction.
Director Nanouk Leopold is regarded as one of the most important film makers in the Netherlands. Leopold has worked previously with actress Maria Kraakman, who plays Ruth in The Homecoming, including on her debut film, Îles Flottantes (2001). Their second collaboration, Guernsey (2005), led to them winning two Golden Calf awards, for best actress and best director.
With The Homecoming, Leopold is directing her second theatre production. She had previously made her theatre directing debut at ITA, with From the Life of the Marionettes (2017), based on Ingmar Bergman's 1980 film of the same name. In this, Bergman sketches out a fragmented portrait of a seemingly self-controlled man who unexpectedly kills and rapes a sex worker. In The Homecoming, Leopold goes in search of the motives behind people's actions as well. She does this by leaving behind cinematic realism once again and using theatrical abstraction as a study area for her characters.