Who are the greatest robbers – wearers of suits or those dressed in street garb? No, not a commentary on the relative harm to society done by bankers as opposed to muggers, but the result of a rivalry between two brothers, Frank and Karl.
Representing the suits is Franz, the son who has stayed at home but been overlooked. A cunning manipulator, he hopes to inherit the wealth of his father, Count Maximilian von Moor, and marry his cousin Amalia. Karl, meanwhile, has been living the life of a wastrel, but intends to return home to seek pardon from his ageing parent. He loves Amalia, who in turn loves him. Devious Franz convinces his brother that no hope of forgiveness is possible – something which drives Karl to become leader of a band of murderous outlaws. Simultaneously, Maximilian and Amelia are persuaded that Karl is dead.
Thus The Robbers, Friedrich Schiller’s first play, is a multi-themed melodrama. Does evil spring from nature or nurture? Are lives largely determined by personal action or is everything in the control of fate? Can there be liberty without the suffering of others? Is violence ever justified and, if so, does it necessarily corrupt the perpetuators? And is religion a force for good or a mere pillar of the powers-that-be?
No doubt, these were hot topics when The Robbers was first performed in the late 19th century. Yet there is a possible overload of ideas for a modern audience. The Faction Theatre Company intends to perform all of Schiller’s works, which is a commendable aim. However, in doing so, there is the obvious danger that some of his works lose some of their relevance or that his lesser-known plays are lesser known for the reason that they are not quite as good.
I have seen two Faction Theatre productions before and they attempt a unique style. The set is largely dark and the meagre lighting adds menace, as well as complementing the thoughts and moods of the characters. The minimal use of props allows extra space for the actors to remain on stage even when they are not involved in a particular scene. The Robbers has the walls and floor covered in slate, thus creating an omnipresent blackboard. In a play where the characters often communicate by letter, having the actors write the words for the audience to see is an inclusive way of revealing information.
The Faction Theatre Company has produced a number of Shakespeare’s works and I assume Schiller was an admirer of the immortal bard. Not only is there an obvious connection between Franz and Richard III, there is much of Hamlet in Karl, King Lear in Count Maximilian and Juliet in Amelia.
In a cast of 13, the acting is competent throughout. The best role is usually that of the villain – nonetheless, Richard Delaney excels as the duplicitous Karl. I also liked the banter of Graham Bowe as a garrulous servant.
Competent is the word I would use to describe the evening. I’m not sure, though, if that is enough. Too often, there was long exposition and a lack of surprise. The characters came on stage and you could easily guess what was about to happen. The ending also was far too long – reflecting the need to tie together the many strands. The Robbers was Schiller’s first work and it shows. This is definitely for fans of theatre history and the German playwright. Others may be slightly disappointed.
