Time is a strange thing

In 2018, the artist collective Nico and the Navigators celebrates its 20th anniversary. That's a proud anniversary for a free group that has to get by without regular handsome subsidies. The fact that it doesn't let this get it down is largely thanks to the willpower of the founding couple Nicola Hümpel and Oliver Proske, who created the oddly named formation in Dessau in 1998: Nico stands for Nicola, and the Navigators are the crew with which they sail through their theatrical landscape. In the same year they settled in Berlin, more precisely in the Sophiensälen, where they developed their first pieces as artists in residence - at a time of awakening associated with such creative minds as Amelie Deuflhart, Jochen Sandig and Sasha Waltz. Further stations were the Radialsystem, the German and the Stuttgart Opera and many venues across Europe. For their birthday, they have returned to their origins in the Sophiensäle, where there will be a big celebration: with the brand-new piece Die Zukunft von gestern, including an exhibition and a lavish supporting program. In The Future of Yesterday, the Navigators look back at the group's beginnings from today's perspective. Oliver Proske's simple but effective set consists of a walk-through structure and, in front of it, four sliding walls onto which videos are projected, according to the mood of the moment. Reminiscences of earlier plays are incorporated: frequently used props such as tables and suitcases, even the mouth guard from Cain, if & but. The piece is above all a story of the performers. Together with some of the first performers, Nicola Hümpel has developed a scenic kaleidoscope in her own characteristic style of improvisation, eloquent body language, strong images and references to everyday absurdities, in which they themselves take center stage. In small solos and duos their individuality behind the profession becomes visible: Ted Schmitz talks about his roots, Annedore Kleist, Anna-Luise Recke and Michael Shapira reveal very personal things. Yui Kawaguchi talks about her classical ballet training in Japan and her way to Berlin, where she developed into a strong expressive dancer. Like Anna-Luise Recke, she contributes her expressive dance skills. In between, Martin Clausen is the emcee. He recalls the process of creating earlier pieces and the search for the right expression. This is very funny, as is Patric Schott's addition: Until now, he was only allowed to say eight complete sentences with the Navigators, otherwise he had to be mute or shout. In The Future of Yesterday he proves that he can speak wonderfully, just like everyone else. And even Philipp Kullen, drummer of the four-piece band, has his say, because the music, this time a mix of classical, jazz, pop and electronic, is an indispensable component in the overall work of the Navigators. Yesterday's Future is a multifaceted, also self-deprecating examination of their own artistic history and at the same time one about time. Similar to what Cindy Lauper sings about in her hit Time after time, which the entire ensemble intones in the finale. The long-lasting applause is interspersed with many bravos. The entry into at least the next 20 years cannot be more successful.

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