8.3. - 23.3.2002

22.9. - 20.10.2001

A powerful experience of unsurpassed acting [...] very sad for those who in the stream of other premieres happen to miss something unique: An actor who merges completely with his role – which is several roles. Thomas Corneliussen’s phenomenally restrained stage achievement is a mental and physical, articulatory, gestural and at times acrobatic touch of genius which, combined with the stage director and scenographer, make the performance something not to be missed. How about another restaging?

Filth is one of the season’s truly great theatre experiences ... The timing is incredible, the composition – with a marvellous use of physically choreographed acting – so stringently action-packed that one can never settle down in one’s seat in the audience. Here there are no fears of exploiting and playing with all available effects – and the sound design, for example, by Janus Jensen, is given an equal part. Filth is a cohesive, integrated piece of dramatic art, and the surprises, the sudden changes are innumerable. The script whirls according to plan through its foggy, abject existence towards the solution – at the very bottom. For the staging, this movement is so much more constantly at stake. An exciting meeting with a venue one would like to visit more often.

We have been inveigled into laughing. We have been seduced by a quite fantastic theatrical technique, some wild, indescribable stage effects and physical displays. We can’t simply leave ... It is irresistible what Thomas L. Corneliussen can do on stage. A raving monologue, monstrous demands as to facial expressions, gestures and timing. Physical acrobatics that call for considerable strength and turn the laws of gravity upside-down. And a total precision that interacts with an invisible, but highly present and refinedly cheeky theatrical technique.
Nordjyske Stiftstidende

The performance is a stage miracle ... stage director Tue Biering, a contemporary and colleague of Corneliussen, along with the just as young scenographer Nicolai Spangaa, has created a deceptively simple stage setting that Corneliussen makes the most of ... It is a magic circus, loo-realism and a symbolic depiction of humanity in one headlong power play. Side-splittingly, coarsely funny, breath-takingly, incomprehensibly precise, reeled off at a high level of acrobatic and stage technique – and soul-stirring. A veritable breakthrough.

All the roles are played by the young Thomas L. Corneliussen, and it is an impressive achievement. He leaps from role to role in an almost virtuoso stage act that even includes some acrobatics. Added to which, there is a very fine interaction with lighting and in particular sound images as well as a couple of magic furnishings. And Tue Biering’s staging has a touch of the virtuoso about it.
Jyllands Posten

Tall, gauche and with movements that at one moment are stiff and inept like a jumping jack and at others the display of a steeplejack – the man simply crawls up the walls! ... In a visually wildly surprising scenography, he (Thomas Corneliussen) presses his turbocharged foot to the floor ... he has the facial expressions, gestures and body language of a clown in a performance that is totally acrobatic, as ingenious as an animated film and both frightening and fascinating at one and the same time. It’s a terribly and magnificently fine achievement.


Nothing’s so bad
that it can’t get worse ... much worse!

A young black man is found brutally murdered. A corrupt CID man, whose private life is a mess, is unwillingly put on the case, and his investigations slowly uncover a grim story that is linked to a filthy world full of lies, repressions and hate.

Filth is a modern crime story as well as a study of the repulsive and destructive nature of the human mind.
The 30 or so roles in this morbid, thriller-like monologue are played by a single actor – as a visual, physical power play in a mysterious universe of constant transformations.

Filth was written by the writer Irvine Welsh, best known for the crazy comedy Trainspotting.Skuespiller: Thomas Corneliussen

Actor: Thomas Corneliussen

Director: Tue Biering

Setdesigner: Nicolaj Spangaa

Lightdesign: Andreas Buhl

Sounddesign: Janus Jensen

Music: Maja Romm & Mark Solborg
Translation: Simon Boberg
Assistent Director: Julie Ellgaard
Costumes: Sille Sigsgaard
Props: Ellen Høyer
Stagetechnician: Dieter Abrotat
Soundtechnician: Niels Valentin
Technical Assistent: Johnny Jørgensen
Productionmanager: Jan Ørum
PR: Ester Christiansen
Administration: Eva Samuelsen
Administrations ass.: Peer Steen Hansen
Administrations ass.: Jonna Müller
Photographer: Niels Krogh
Theatre Director: Michael Mansdotter
Musicians: Mikkel Brink, Christian Glass, Sara Wallevik, Rafael Altino