Lotte's Gift

A CHRISTINE DUNSTAN PRODUCTION
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Lotte's Gift is a story made powerful because it's so personal... exquisite theatre
Variety

Lotte's Gift is a one-woman play, featuring a unique combination of acting and musical performance, written by David Williamson, and based on the memoirs and recollections of Lieselotte Reinke and the recollections of Isolde and Karin Schaupp and Trudy von Stein. The play is written for and performed by Karin Schaupp.

Described as 'the poet of the guitar' Australian classical guitarist Karin Schaupp is widely considered to be one of the most outstanding young guitarists on the international scene. David Williamson is Australia's foremost playwright whose work is internationally acclaimed. Named as one of Australia's 100 Living National Treasures by the National Trust in 1998, David's plays have been performed by every major theatre company in Australia as well as in London, the Kennedy Centre in Washington, on Broadway, in Berlin and Los Angeles.

Lotte's Gift is a new work by David Williamson written especially for Karin Schaupp. It is the story of three generations of women, Karin, her mother Isolde and, most importantly, her grandmother Lotte. The play takes the audience on a remarkable journey, punctuated with Karin's mood enhancing guitar playing. Lotte is passionate about music. She has to be. Surviving war, an indifferent marriage and a witch of a mother-in-law isn't easy. And seeing dreams slip into a harsh reality takes courage, determination and a joy for living.

Determined that Karin's talent not be thwarted, Lotte gave Karin her first guitar at the age of four and has been a source of warmth, encouragement and inspiration ever since. Lotte's Gift is a story of three remarkable women which comes passionately and movingly to life.

PRESS CONTACT:
CDP
www.cdp.com.au

PERFORMANCE DATES

February 2010

05-Feb Casula Powerhouse, Western Sydney, NSW, Australia

06-Feb Casula Powerhouse, Western Sydney, NSW, Australia

19-Feb Jetty Memorial Theatre, Coffs Harbour, NSW, Australia

20-Feb Jetty Memorial Theatre, Coffs Harbour, NSW, Australia

October 2010

05 to 17-Oct Glen Street Theatre, Belrose, NSW, Australia
Performance Information

November 2010

12-Nov City Recital Hall Angel Place, Sydney, NSW, Australia

15-Nov The Whitehorse Centre, Nunawading, (Melbourne), VIC, Australia
Performance Information

16-Nov The Whitehorse Centre, Nunawading, (Melbourne), VIC, Australia
Performance Information

20-Nov Orange Civic Theatre, Orange, NSW, Australia
Performance Information

LOTTE'S GIFT
a play by David Williamson
written for and performed by Karin Schaupp
...

A CHRISTINE DUNSTAN PRODUCTION

www.cdp.com.au

...
Director AARNE NEEME
Designer GRAHAM MACLEAN
Lighting Designer NICHOLAS HIGGINS
Stylist MATTHEW ABERLINE
...
Production Stage Manager Ryan Colbran
Set Construction Thomas Creative
Production Photographer Nicholas Higgins
Video Editing Big Day Media
...

Karin Schaupp
Actor | Guitarist

David and I had intended for my musical choices to serve to punctuate the script. As the process of choosing music progressed, I realised that my choices had to be strongly dictated by the script, and I chose the shortlist of pieces based largely on intuition of how particular moods could be deepened by particular pieces of music. It turned out, perhaps not surprisingly, that the pieces that suited best have many subtle musical connections to the story.

For example, Lotte's first kiss is held a little longer by a piece called Innocent Soul, written as a declaration of love by a contemporary Argentinean colleague to his new love. Lotte's despair about Heinrich's adultery is marked by the heartbreaking Händel aria O Let Me Weep which is particularly poignant as it is an aria Lotte herself sang in her younger years. Stélé which is heard during the most traumatic wartime memories, is a work by Australian composer Phillip Houghton, describing a monument erected in memory of soldiers who died far away from their homelands. I did not choose the pieces based on these connections, but it is amazing to me that so many connections have appeared as the result of an intuitive process.

The story of this play is obviously a very personal one for me and as I look at the list of music I have chosen, I realise that it gives an overview of my life as a guitarist in some way. Many of these pieces have been very dear to my heart for many years and I have played a number of them in concerts around the world. To be able to place them in this very personal story feels like a natural extension of the role they have played in my life.

Karin Schaupp is dressed by Sasha Drake
www.sashadrake.com.au

Biography

Karin Schaupp is one of the most outstanding young guitarists on the international scene. She performs widely on the international stage as a recitalist, concerto soloist and festival guest, and has given countless recitals in Australia, Europe, Asia, the US, Mexico and Canada. Karin’s playing receives the highest acclaim from critics and audiences alike and she is held in great esteem by her peers worldwide. Her unique stage presence and magical, passionate playing have inspired several composers to write works especially for her.

Karin’s guitar training began at the age of five and she first performed in public the following year. While still in her teens she won prizes at international competitions in Italy and Spain, where she was also awarded the special competition prize for the Best Interpretation of Spanish Music.

Taught almost exclusively by her guitarist mother, Isolde Schaupp, Karin completed her tertiary music studies at The University of Queensland with First Class Honours, a Masters degree and was the recipient of a University Gold Medal. In 2003 she was awarded the Music Council of Australia Freedman Fellowship in recognition of her achievements.

Karin has appeared live on television in many parts of the world; in 1997 she performed live as a Special Guest Artist to twenty million viewers and listeners in China, on the occasion of China Radio International’s 50th Anniversary celebrations. More recently, Karin was invited to join a prestigious line-up of international artists in the opening Gala of the Goodwill Games, which was broadcast live on international television. She has appeared on German, American and Canadian television and some of her Australian television appearances have resulted in an overwhelming response from viewers with record numbers of viewers calling in. Karin also plays regularly on radio, including numerous broadcasts of live recitals, as well as countless interviews and guest appearances.

Karin has released five highly acclaimed solo CDs, all of which have proven to be classical best-sellers. Karin’s collaborations have include the ARIA award-winning Saffire, The Australian Guitar Quartet with Slava Grigoryan, Gareth Koch and Leonard Grigoryan, which has become Australia’s highest selling classical ensemble; the World Guitar Trio, with Carlos Barbosa-Lima and Christopher McGuire; and her duo with recorder virtuoso, Genevieve Lacey.

Performance highlights include a concerto with the London Philharmonic Orchestra (UK) in London’s Royal Festival Hall, and performances at the Aichi World Expo (Japan), Hong Kong Arts Festival, and APEC Summit in Sydney, Australia.

David Williamson - Playwright

Karin came to me after the first Noosa Longweekend in 2002 and told me she had an interest in acting. She had, in fact, been taking acting lessons, and had received very positive feedback from her tutors. Karin said she was interested in acting in a play that combined her musical skills with drama. This was immediately exciting to me. The thought of combining the work of a guitarist of world stature with strong drama would be an evening quite unlike one I'd ever seen in the theatre. I was immediately positive.

But, at first, our problem was that, although we had an enthusiasm for the project we had no idea what the subject matter would be. We swapped emails for a long time, but got no nearer to pinning down the story we wanted to tell, and working out how music would be an integral and necessary part of that story. Finally, we both realised we had to sit down together and try to work out how music and drama were to be combined. The good thing about this was that it focused our minds.

I asked Karin to tell me something of her family background. As soon as she started telling me about her grandmother Lotte's life, I felt that this was the story we had to tell - the story of a woman of huge musical talent, whose career was thwarted; and of the influence and help she gave her granddaughter to ensure that her granddaughter's talent wasn't impeded in the same way. Lotte gave Karin her first guitar when Karin was just three.

Karin was hesitant at first. Exposing her life, and that of her family, in such a public way was initially daunting to her. But, when I explained just why I thought the story would be so emotional and powerful, her reluctance luckily diminished.

Karin took the idea to her family. They were guardedly enthusiastic, and allowed me access to Lotte's written recollection of her life, and to interview Lotte herself and the other members of the family. It was a very special privilege, and when I met Lotte I was sure I'd made the right decision. She is a wonderful, dramatic, optimistic and resilient character, and I felt sure that Karin would be able to bring her character to life on stage.

I had some tense moments as I waited for the family s reaction to my first draft. Thankfully they were very positive and provided invaluable feedback and further material - not the least of which was their wonderful family photo and video records, which form a strong emotional backdrop to the evening.

It's been a great experience for me. My deepest thanks for Karin, Lotte and the family for allowing me into their lives.

Biography

David Williamson is Australia's best known and most widely performed playwright. His first full-length play The Coming of Stark was presented in 1970 and was followed in 1971 by The Removalists and Don's Party. His prodigious output since then includes The Department, The Club, Travelling North, The Perfectionist, Sons of Cain, Emerald City, Top Silk, Money and Friends, Brilliant Lies, Sanctuary, Dead White Males, After the Ball, Corporate Vibes, Face to Face, The Great Man, Up for Grabs, A Conversation, Charitable Intent, Soulmates, Birthrights, Amigos, Flatfoot, Operator, Influence and in 2009 Let The Sunshine.

His plays have been translated into many languates and performed internationally, with major productions across the US and the UK. Dead White Males completed a successful UK production in 1999. Up for Grabs went on to a West End production starring Madonna in the lead role.

As a screenwriter, David Williamson has brought to the screen his own plays including The Removalists, Don's Party, The Club, Travelling North and Emerald City as well as original screenplays for feature films including Libido, Petersen, Gallipoli, Phar Lap, The Year of Living Dangerously and is currently developing Zebras with producer Jim McElroy.

David was the first person outside Britain to receive the George Devine Award (for The Removalists). His many awards include 11 Australian Writers' Guild AWGIE Awards, four Australian Film Institutes' Awards, and, in 1996, the United Nations Association of Australia Media Peace Award. In 2005 he was awarded the Richard Lane Award for services to the Australian Writers' Guild

David has been named one of Australia's Living National Treasures.

Critiques of Lotte's Gift

Completely engrossing... a treat
Fringe Guru (4-and-a-half stars)

Slipping effortlessly between characters, Schaupp is particularly impressive as the resilient Lotte, whose joie de vivre illuminates even the darkest phases of her life. An all-consuming passion for music links grandmother with grand-daughter and Lotte's story is punctuated by exquisite guitar solos... a wonderfully rich portrait of a woman who lived for music.
Fest (4 stars)

Karin Schaupp, the attractive young classical guitarist who performs in this one-woman show, has natural talent to spare. Mix it with the secret ingredient of music, expertly played, and you have a hit on your hands.
Broadway Baby (4 stars)

Incredible musician... revealingly personal... genuine sincerity
All the Festivals.com (4 stars)

a cut, polished and multifaceted entertainment that defies easy pigeonholing. It's not a musical yet it's full of music; it's full of drama, yet it's simple storytelling of the kind that enthralls... such an engaging Australian story
Stage Noise

Earlier this year, guitarist Karin Schaupp began touring a one-woman show called Lotte’s Gift - a play written about herself, her mother, and her grandmother, Lotte Reinke. Lotte was on her way to a successful singing career, when wartime Germany and an unsupportive husband buried her dream. In the role of narrator, actor and guitarist, Karin tells how this dream finally became realised through her own achievements, thanks to Lotte’s warmth and inspiration.

Lotte’s Gift the album features music from the play, selected and performed (mostly solo) by Karin Schaupp. It is a balanced, emotive collection of pieces ranging from the sparse, melancholic Stélé by Phillip Houghton to the humorous and nostalgic Passeio no Rio (Walking in Rio) by Luiz Bonfá. Then there’s the fiery Spanish Asturias (Leyenda) by Isaac Albéniz contrasted with the exuberant Tritsch-Tratsch-Polka by Johann Strauss II, featuring Genevieve Lacey on sopranino recorder.

In the liner notes, Karin states that although she did not inherit her grandmother’s singing voice, it is her hope to make the guitar sing. Mission accomplished, I’d say.

The album opens with Brahm’s Waltz, Op. 39 No.15, originally written for piano, but which translates beautifully to guitar, seeming like the perfect choice to set the scene. Played by Karin with warmth and delicacy, it sounds like a comforting lullaby - preparing the listener for a bedtime story to come.

Further in, Karin proves again that she can sing through her guitar, with her lyrical version of Handel’s Let Me Weep, an aria that was actually sung by Lotte as a young woman. And Verde Alma (Innocent Soul) by Pujol is very sweetly played to depict Lotte’s first kiss.

A highlight of the album is a piece which Karin describes as a humorous arrangement by my husband – a slow revealing Waltzing Matilda. Also a highlight is the much-loved Adagio from Rodrigo’s Concerto de Aranjuez, which is not in the play, but has been added as an extra gift, featuring the Tasmanian Symphony Orchestra and the haunting cors anglais of Dinah Woods.

Overall, this is a lovely selection of pieces played exquisitely, translating the warmth of this family story into music.

Wendy Lang 4MBS Classic FM Radio

Read reviews of Lotte's Gift

a cut, polished and multifaceted entertainment that defies easy pigeonholing. It's not a musical yet it's full of music; it's full of drama, yet it's simple storytelling of the kind that enthralls... such an engaging Australian story
Stage Noise

Images of Lotte's Gift

Lotte's Gift - The Soundtrack
published by ABC Classics




Click to hear a sample from the Soundtrack

PURCHASE THIS CD NOW AT KARINSCHAUPP.COM

Lotte's Gift Soundtrack
TRACK LIST

1.* Waltz, Op. 39 No. 15
(JOHANNES BRAHMS, arr. S.G.Giacomantonio)
2. Vals (Waltz), Op. 8 No. 3
(AGUSTÍN BARRIOS MANGORÈ)
3. Contemplacion
(AGUSTÍN BARRIOS MANGORÈ)
4. Lascia ch'io pianga (Let Me Weep) from Rinaldo
(GEORGE FRIDERIC HANDEL, arr. Jan-Olof Eriksson)
5. Chôros No. 1
(HEITOR VILLA-LOBOS)
6. Stélé First Movement from Stélé
(PHILLIP HOUGHTON)
7. Verde Alma (Innocent Soul)
(MAXIMO DIEGO PUJOL)
8.* Passeio no Rio (Walking in Rio)
(LUIZ BONFÁ, ed. Carlos Barbosa-Lima)
9. Il pleut dans ma chambre (It's raining in my bedroom)
(CHARLES TRENET, arr. Roland Dyens)
10. Ländler No. 3 from Zwölf Ländler samt Coda (Twelve Dances with Coda), Op. 75
(MAURO GIULIANI, arr. Karin Schaupp)
11. Tritsch-Tratsch-Polka
(JOHANN STRAUSS II, arr. Jochen Schubert/Thomas Pinschof)
Genevieve Lacey sopranino recorder
12.* Waltzing Matilda
(MARIE COWAN, arr. S.G. Giacomantonio)
13. Dedicatoria from Cuentos de la Juventud (Songs of Youth), Op. 1
(ENRIQUE GRANADOS, arr. Karin Schaupp)
14. Asturias (Leyenda)
(ISAAC ALBÉNIZ, arr. Karin Schaupp)
15.* Adagio (Second Movement) from Concierto de Aranjuez
(JOAQUÍN RODRIGO)
Dinah Woods cor anglais,
Benjamin Northey conductor
Tasmanian Symphony Orchestra


Total Playing Time 54'57

*Tracks 1, 8, 12, 15 recorded specially for this album.