mit einer „Anmerkung zu der etwaigen Umsetzung des Skripts auf einer Theaterbühne“
Whispering, filigree, ironic, and at the same time endlessly sad, Wolfram Lotz describes in his radio drama The Ridiculous Darkness our inability to really understand strangers: the horror of a distant war, of another culture, another human being, and finally even of oneself.
THE STAGE (Gate Theatre, London, Feb/März 2019)
"What a stunning, subversive and ultimately hopeful piece of work. More like this, please.(...) Every part of this piece feels deeply thought through – from the foley that initially underscores the piece but eventually rises against it, to the absurdist and modernist sensibility soaking the piece that pokes fun at and harks back to Conrad’s novel."WHATSONSTAGE (Gate Theatre, London, Feb/März 2019)
"An absurd and absorbing show clocking in at 100 minutes straight through, you'd be sorely pressed to find anything more riveting or stupendous. Bravo to the Gate for closing off its latest season in style.(...) A loosely reimagined and wickedly witty take on Heart of Darkness and Apocalypse Now. (...) It's a brilliant, at times elusive production about the marginalisation of voices and of skin colours in colonial stories that makes a mockery of jocular, weapon-clenching masculinity’A YOUNGER THEATRE (Gate Theatre, London, Feb/März 2019)
"One of the most striking and successful sequences take place in a complete and unusually lengthy blackout, making us uneasy and anticipating the ‘horror’ at the heart of the darkness. What is revealed instead is a great amount of black cassette tapes, tangled on the steps and glistening in the purple UV lighting. It’s beautiful and striking."TIMEOUT (Gate Theatre, London, Feb/März 2019)
"It’s almost impossible to know where to begin with Wolfram Lotz’s ’The Ridiculous Darkness’ ( …) Maybe, before I tie myself up into sociological knots, I should point out that it is an absolute bloody hoot."THE GUARDIAN (Gate Theatre, London, Feb/März 2019)
"It is dark, funny and potent stuff. (…) its relevance sounds clearly by the end when actors reflect on narratives beyond Conrad’s, and invite us to think about who tells stories about Africa and who is silenced by them"