Slagman Producties is a theatre company with more than 25 years of experience in the field of street theatre, location theatre and indoor theatre.
Slagman's productions follow the personal development of its founder and are therefore all different in form and content.
The performances vary from visual (object theatre) and movement theatre to classical drama. All shows are characterised by their great accessibility to all ages. Slagman uses theatre as "entertainment" in order to address large and small dramas. One of the main objectives in Slagman' work is to use theatre as a medium so that people (spectators) recognise and see themselves and feel confirmed in all their human forms.
For Slagman Producties theatre not only serves as an escape from reality and as entertainment, but also as a base for meeting and celebrating life in all its diversity.
Inspired by well-known stories or even fairy-tales, Slagman becomes a storyteller himself. But do not think of a soft voice and a long beard, you're wrong.
Slagman's stories twist old facts, reinvent the drama, are funny, turbulent, and hit the heart. In The "Rose-Seller", Slagman stumbles unsuspectingly through the sleepy fairy-tale castle, is spurned by the spoilt Sleeping Beauty, eventually stabs himself on the poisonous spindle and wants to be kissed awake by the audience.
In "The Hero", he is overcome by the monster of his own imagination in search of the great adventure and can only be saved by the audience in the end.
In the black-humoured Little Red Riding Hood adaptation "Tales from the Wolf's Stomach", he challenges his audience to reflect on the meaning of life between the oesophagus and the intestinal tract.
Slagman's narrative theatre is more than just entertainment, just as Jaap Slagman himself is more than just an actor. In his stories, he is always on the lookout for the small and big dramas of humanity and so he quickly hits the sensitivities of his audience, confronts them with his and their existence. Nothing human is alien to Jaap, and so he spares nothing in his honesty. He plays with the longings and desires that he carries within himself, just like his audience.
With often only a few words, but with playful ease, he takes us into the world of poetry. With Slagman's sense of the grotesque, however, we end up in a completely different place after the first unpredictable turbulence at the latest, namely in the centre of ourselves. Full of playfulness, Slagman shows us the jokey way of looking at things, especially when he also reveals his and our not-so-chocolatey sides quite incidentally.
Slagman does without the big bang effects, his power lies in the authenticity of the portrayal. He captivates the audience with the light-heartedness of the jester.