An evening in two parts: 18th and 21st century – Haydn and Boogman – the first concertant and the second full-on musical theater – a traditional, abandoned, grieving Ariadne on Naxos and a courageous, belligerent whistle-blower Ariadne who makes her own plan.

The myth of Ariadne and Theseus has been told in as many ways through the ages as there have been writers. We, too, retell this myth. The Ariadne we present is a modern whistle-blower: a traitor to a good cause. In our version, the Minotaur does not exist: King Minos knows the power of myths and uses the myth of the monster in the labyrinth to keep his people under control. Ariadne wants to bring this truth to light with the help of Theseus, so that she can go to Athens with Theseus and thus escape persecution in her homeland. Eventually she finds out that Theseus too is only busy with his own myth-making. Wanting to return to Athens as a hero, Theseus pretends to have defeated a non-existent monster.

In essence, Een oog in zee is a story about how stories are told. About how myths are used and abused. About how real people become victims of shadowy fabrications. The life of the Cretans is dominated by a myth: the Minotaur. Theseus is afraid not to be seen as a hero, and Ariadne fights valiantly for her truth but is also afraid, afraid to live an exile between her father’s lie and her lover’s lie.

The only character who feels at home with all the entanglements and emotions is Dionysos. But what game is he playing in this?

Creators:
Salomé Roodenburg – Libretto and scenography
Willem Boogman – Composition
Zephyr Brüggen – Direction and lighting
Kenzo Kusuda – Choreography

Performers:
Helena van Heel – Mezzo-soprano – Ariadne
Robbrecht Van Cauwenberghe – Accordion – Dionysos
Fokke van Heel – Hoorn – Theseus
Kenzo Kusuda – Performer