Powerplay

“With POWER, John De Raeve makes his comeback. It’s the actor’s first return to the stage after the unsavoury sexual abuse case that led to his dismissal in 2016 (De Raeve, who was teaching at a drama school at the time, had a relationship with a 17-year-old student). He has not appeared in public since. In POWER, written, directed and played by De Raeve, the actor wants to shed light on his side of the story. He cast Diana Morgenstern as his antagonist.” – ‘Major National Newspaper’

 As the media sharpen their pencils in the run-up to the premiere, John and Diana try to tackle POWER. Diana signed on to the project because she thinks it’s important to address the power balance in the performing arts sector. She is young, brash, and mostly wants to ‘feel’ something, get on stage and go! Her vigour makes John falter. He contemplates, reflects, seizes up, …

The two of them stand on stage. There’s evidently a gaping generational divide between them, a difference in background, education and power. Why do they do what they do? When, and to what extent, have boundaries really been crossed? And what does that mean for them today – and for the theatre? 

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Teacher

“It’s me who’ll be facing the consequences of this. You wouldn’t understand.

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Student

Don’t tell me I don’t understand. I’m crazy about you. Literally crazy.”

John 

Is that what is written?

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Diana 

More or less.

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POWERPLAY is Valentijn Dhaenens’ first venture into directing. He based his text on years of experience in the Flemish performing arts scene, and asked actors Bruno Vanden Broecke and Andie Dushime about their personal experiences. Together they wonder: has the theatre become a mine field under the influence of societal sensitivities, or do they actually allow for more diversity on our stages? And can theatre still exist within these circumstances, or is this evolution in fact essential to guarantee its continued existence?