Sthey are all self-actors. But where else but in Salzburg? After all, at the festival for 101 years, in addition to sipping culture, society has demanded socializing as a publicly glamorous display. Having just emerged from the – hopefully – post-corona-champagne bubble, high society is particularly greedy for the catwalk that has been missing for so long. Everyman and Everywoman show what they have or are. Very Catholic that.
Everyone and everyone too. The paramour, this year with hardly any paramour breasts and even less hair, is definitely wearing the pants this time in the most expensive amateur play in the world. It was a gradual process that had been going on for years. Long gone were the days of the voluptuous flamboyant Senta Berger as everyone’s beauty.
By the way, the current paramour is for the first time from Salzburg, Verena Altenberger, you know her because she plays in the Munich “Polizeiruf”. The tomboyish lady is also the master of the house, because a greiner wimp from Berlin in golden Schlagerfuzzi bell-bottoms is preparing to join the ancestry of the Moisis, Hörbigers, Jürgens, Schells, Morettis and especially as number twenty.
Lars Eidinger, also in the “Don Giovanni” premiere with Mama and the same pseudo-Chanel jacket in glittering rustic in the audience, is the perfect 24-hour actor – in Salzburg right now the curtain never actually falls for the amateur mime for that superego show. Although in the piece he himself plays the quickly naked wimp, the softie in high heels, the integrated character threatens to disappear behind the allegories that have long been profaned.
But this year, in a gender-equitable way, come along with the majestic, genuinely pathetic one Edith Clever a killress on – with the headdress of Maleficent. Before that, maleficent and very agile, Mavie Hörbiger unfolds as a white-bearded goddess and goblin she-devil. And yet the media has long been calling for an “everyone” to play the title role. We’re speaking Mavie, the last name obliges.
Only, it should be said to everyone: Already now there is only one of the hard-bodied, heavily enmeshed “Sterben des Reichen Manns”, which the author Hugo von Hofmannsthal originally intended for Berlin as an emergency solution, but would have preferred his “Salzburg Great World Theater”. dead staged, zeitgeist taste neutralized pile of ash left over. Compulsory exercise for the despisers, absolutely local folklore component for the fans.
Baby butt smooth like an eve series
The Spielvogt Michael Sturminger, who has been taking care of the beloved absurdity in changing costumes and arrangements for several years (one does not really want to speak of staging), has long since expelled any remnant of subversively conservative pointing fingers from the creaky edification drama.
That rolls, including a box battle with the debtor (the well-built Mirco Kreibich, also bustling Mammon), the gentle Mrs. Mama (Angela Winkler) and everyone, sometimes in a unisex fat suit, sometimes with the paramour veil, as smooth as a baby’s bottom eve series.
Not even when Eidingermann goes to die does he rip it out. He is always the ill-directed passive; only happens to him. Again it is Clever, now in white, who grandiosely drapes him as a Pietà and kisses him to death. But the soul of the actor has long since escaped him. The civil Eidinger wears them prouder in the old town streets to markets.
By the way, the Jederfrau already exists this summer in Salzburg; Admittedly, outside of the festival area, on the Pernerinsel in Hallein, where the usually somewhat more adventurous premieres extra muros have their exile home. That means “Richard the Kid & the King”, which pretty much circles the arc before and after the break, and is largely by William Shakespeare.
Here, where in 1999 Luc Perceval and Tom Lanoye brilliantly portrayed all the royal dramas of the written bard as Butcher have dealt with, everything now focuses on Richard III, the nasty and at the same time particularly fascinating theater villain. Lanoye was messed up again, the rest of the text is priced as a joint dramaturg’s work.
The bogeyman is crying “Mama” on the rocking horse, surrounded by three black-robed Norns – a woman. But actually a clown, a very bad, deadly one. The famous Lina Beckmann plays him as a mixture of killer doll Chucky, make-up smeared Joker and whimpering butcher machine – simply terrific.
The nemesis to the power of three has already built up around him/her in later changing roles: Kate Strong as “Fuck youuu”-ass old woman, Bettina Stucki as the canaille with her maestulous tulle twist coverings holding herself from her trembling body, the maliciously dazzling Kristof Van Boven as a particularly gender fluid, but great to use chameleon. That’s enough for the residual rose wars, there remain a few noble extras.
Everything stands on a sloping black disc of the world, up and down. Swaying spherical lamps as a kind of mini solar system hardly illuminate the darkness. In their mild appearance only disgusting things happen. Richard is of course just the lousy object of a lousy upbringing, as we learn here (with the backstory from “Henry IV”), surrounded by an operatic pop soundtrack that Lina Beckman but also indulges in a great Elvis number.
Since the intestines vibrate
It doesn’t have a lot of concrete fall height, but it’s clever for the moment, even if it’s staged rather narrowly by Karin Henkel as a horror ghost train. It works because this playful cloverleaf chews its actor’s teeth up into the dynastic, widely ramified template with fury and chews them blissfully bloodily.
The intestines vibrate and the artificial blood flows, baby dolls are kicked and secondary characters are shot down by the dozen.
The bloody Jederfrau easily defeats the traditional Jedermann.