- German vocal inflections without German accents
- A text filled with overly-compounded English words
- A nightclub for children, run by children, fighting over who gets to be MC
- Oversized and distressed formal wear
- Muddy faces
- Adult performers playing children playing adults (and children), "age" drag
- Child soldiers fighting in World War I, child prostitutes in Weimar brothels
- How children would perform soldiers, profiteers, prostitutes, cocaine addicts etc
- Childhood obsessive and worshipful crushes on older children/adults of same-gender
- Playing house before "house" was 1950s American suburbia
- A game of "doktor" which is played as naughtily as young children actually play it
- Schedules, Emily's story of the kid would attempt, in vain, to make appointments to play with an overscheduled imaginary friend
New questions that have come up:
- How much do we want to draw from the sociohistorical context of Weimar, and how much do we solely want to borrow from its performance styles as a lens to view another sociohistorical context?
- And what, precisely, are the Weimar performance styles? The "vice" of the aesthetic seems natural to grasp, but where are the techniques for us to emulate? Do we go to Reinhardt? To Piscator? To Brecht? To Marlene Dietrich and Conrad Veidt?
- Where do we find our text style? Do we look to the playwrights of the day, impose another period's playwrights voice on that context, or look beyond theatrical writing?
- If we want to use grotesque, how can we move past the whores of Les Mis to find our own grotesque as specific as George Grosz's? How can the grotesque be used as a visual indictment of how adults process young children?
Okay. To bed. Chairs, comment away!