ITA presents a new play by Australian director Simon Stone: Flight 49. When writing his new play, Simon Stone drew inspiration from the motives presented in the Dutch theatre classic The good hope/Op hoop van zegen.
Simon Stone writes lines for his plays during rehearsals and created a new and contemporary version of the classic. In the arrival hall of an airport, family members and friends stand by and watch as their relatives' flight disappears from the radar. The play still deals with the central themes from Heijermans' original piece, but Stone's characters and the character developments in the plot are new. Considering this, Internationaal Theater Amsterdam has decided to change the title of the play. Heijermans' title The good hope was derived from the name of the ship that went missing in his play, and similarly, Stone's title is derived from the name of the plane that goes missing in his play: Flight 49.
The good hope (Op hoop van zegen) by Herman Heijermans (1900) is one of the most famous plays in the Netherlands. It is seen primarily by many as an indictment of a society in which the cold profit principle leads to deaths of many people. An early 20th-century fishing village hands over its fathers and sons to the reckless practices of a money-hungry shipowner who is not so keen on boat safety regulations. The play is also a beautiful portrait of a community that has learned to live with the sacrifices and loss of life and conforms to the will of God.
Simon Stone creates a radical adaptation. In the arrival hall of an airport, relatives and friends wait for the return of their loved ones as the plane disappears from the radar. Surrendered to the scraps of information from the authorities and the internet, they await the confirmation of their worst nightmare. Desperation and anger take hold of them.
During the play, the relatives and friends are given contours when their past and their relationship with the victims are sketched in short scenes. A kaleidoscopic journey into the lives of dozens of men and women who end up on each other's path through fate and try to deal with loss and unfulfilled dreams.
The memorial at the end of the performance is theater in its most basic form: vulnerable characters open up to the audience in monologues and try to articulate what binds us: the need for love and a deep sense of life as an exercise in saying goodbye.
Australian writer and director Simon Stone (1984) is a unique voice in international theater. He is best known for his contemporary adaptations of classical texts and he quickly became a welcome guest at festivals in Europe. For ITA he adapted Medea (Euripides) and created Ibsen house, based on various pieces by the Norwegian master. This four-hour family drama was embraced by the press and the public at the Avignon Festival. He also directed ITA's ensemble in Woody Allen's Husbands and wives.
In his adaptations Stone strips the original to its essence and places the moral dilemmas and themes within a contemporary context. His characters are recognizable, doubting, seeking people in extreme circumstances. Simon Stone is praised for his razor-sharp dialogues, his humor, the intensity of acting and his inventive directorial style in which abstraction and hyperrealism go hand in hand in an exciting way.
Stone is now active in the opera circuit as well and has just completed his second feature film. After the well received The Daughter, based on Ibsens The Wild Duck, he now created The Dig, a historical drama starring Carey Mulligan and Ralph Fiennes. The film was produced by Netflix and can be seen in cinemas in the fall of 2020.
Australian director, actor and writer Simon Stone (1984) is one of the most acclaimed theatre-makers in the international circuit.
after Herman Heijermans
text and direction Simon Stone
story Simon Stone, Peter van Kraaij
with Joy Delima, Janni Goslinga, Maarten Heijmans, Hugo Koolschijn, Achraf Koutet, Maria Kraakman, Chris Nietvelt, Ilke Paddenburg, Bart Slegers
dramaturgy Peter van Kraaij
scenography Bob Cousins
light design James Farncombe
costume design An D'Huys
composer Rutger Reinders
assistant director Daniel ’t Hoen, Sally Merres
assistant scenographyRamón Huijbrechts
assistant dramaturgy Goya van den Berg (intern)
assistant costume design Daphne Karstens
co-production deSingel Antwerpen, Les Théâtres de la Ville de Luxembourg
private producer Rob and Mirjam van den Bergh, Hendrik Jan ten Have and Gabriella de Rooij, Willem and Paula van der Schoot-van Voorst
production partner Ammodo
head of technical staff Reyer Meeter
production Michiel van Schijndel, Eva Sol
technical producerJoost Verlinden
technical staff Sebastiaan Kruijs (stage manager), Pepijn van Beek, Bart Coenen, Sander van Elteren, Peter Pieksma, Pieter Roodbeen, Casper Verberg (intern), Jeffrey van Vloten, Jordi Wolswijk, Paul van der Zouwe
implementation decor Levtec, Kloosterboer and Polyvision
camera Boris de Ruijter (film), Dim Balsem (photo)
costumes department Farida Bouhbouh, Wim van Vliet (head)
hair & grime Mirjam Venema
casting adviceHans Kemna
photography Jan Versweyveld
graphical design Serena Kloet, studio ITA
publicityJoris van den Ring-Bax
actors film Omar Ahaddaf, Mouad Ben Chaib, Jip van den Dool, Daniël ’t Hoen, Anna Keuning, Lykele Muus
extra's Andrea van der Mee, Azra Golbach, Babette Englebert, Bo Bruijs, Bram Bots, Caesár van Daal, Chris Boots, Dana Salinas, Dania ten Hoopen, Destyno de Leon Agramonte, Else de Jonge, Emma Bruijs, Emma Ephraim, Erik-Jan Kamerbeek, Esther van Doesburg, Eva Jansen, Fien le Feber, Garmt Koopmans, Gepke Andringa, Gijs de Later, Ginger Meeter, Hannah Bruijs, IJsbrand Meeter, Inge Kouwets, Ingrid Bouwman, Jan van Lijssel, Jeltje Stegenga, Jenny Kramer, Jeroen van der Gugten, Joeke Brouwer, Joselien Berings, Judith Corbey, Julie Schoorl, Juliette Voorhoeve, Kees Oudheusden, Kiki Meijerhoven, Koen van der Molen, Kyra Prins, Lily Kurver, Lola, Lotta Bruijs, Lou Mertens, Lou van Gogh, Manon Vos, Max Terpstra, Meike van Dijk, Merlijn Modderman, Michiel le Feber, Michiel van Schijndel, Mieke Wenekes, Mohanad Abukhadra, Nele Brom, Nickolas Bruinink, Nino Westendorp, Noor le Feber, Pyet van Brink, Renee Roetman, Renzo Schipper, Rijk Landsmeer, Robin van Els, Roeland Endtz, Rogier
Baris, Silke Drieman, Sophie van den Heuvel, Sophie van ’t Hoff, Taeke Sodderland, Tal van den Berg, Thom de Haan, Thomas van der Son, Tijl Hijlkema, Toon van Schijndel, Wieneke ’t Hoen, Wiske Grünwald, Yvette Pietersma, Zara de Booij, Zoë de Ruijter, Zora Modderman, Zsuzsa Kobus
special thanks to Daan Hazendonk and Ben Streek