Sthey are all self-performers. But where else than in Salzburg? At the festival for 101 years, in addition to sipping culture, society has demanded socializing as a publicly glamorous display. Just now the – hopefully – post-corona champagne bubble has risen, the good company is particularly hungry for the long-missing catwalk. Everyman and Everywoman show what they have or are. Very catholic that.
So everyone and every woman. The lover, this year with hardly any loosing breasts and even less hair, this time in the most expensive amateur play in the world decidedly wore its pants. It was a gradual process that had been going on for years. Long ago, the days of the lusciously flamboyant Senta Berger as everyone’s gorgeous woman.
Incidentally, the current fanatic is for the first time from Salzburg, Verena Altenberger, you know her because she plays in the Munich “police call”. The boyish lady is the master of the house, especially because a grinning sissy from Berlin in golden Schlagerfuzzi flared trousers is preparing to join the ancestral line of Moisis, Hörbigers, Juergens, Schells, Morettis and others as number twenty.
Lars Eidinger, also in the audience in the “Don Giovanni” premiere with mom and the same pseudo-Chanel jacket in glitter rustic, is – in Salzburg the curtain never falls for the mimes of everyone – the perfect 24-hour performer for this superego show. Although he is the almost naked wimp in the play himself, the softie in high heel shoes, who almost threatens to disappear behind the long profaned allegories.
But this year you are gender equitable with the majestic, genuinely pathetic Edith Clever a dead woman – with the headdress by Maleficent. Before that, funny and very agile, Mavie Hörbiger unfolds as a white bearded goddess and goblin devil. And yet there has long been a media call for “every woman” in the title role. We guess Mavie, the surname obligates.
Only, let it be said to everyone: Even now, of the stubborn, heavily wrinkled “dying of the rich man”, which the author Hugo von Hofmannsthal would have preferred to his “Salzburg great world theater” as an emergency solution actually intended for Berlin, only one staged dead , piles of ashes left with neutralized taste. Mandatory exercise for the despisers, absolutely a local folklore component for the fans.
Babypopoglatt like a previous evening series
The governor has Michael Sturmingerwho has looked after the beloved absurdity for a number of years in changing costumes and arrangements (one does not really want to speak of staging), the creaky edifying drama has long since driven out every remnant of subversive conservative index fingers.
It rolls off, including a boxing battle with the debt servant (the well-built Mirco Kreibich, also bustling Mammon), the gentle wife Mama (Angela Winkler) and everyone, sometimes in a unisex fatsuit, sometimes with the lover veil as babypopoglatt like one Eve series.
Not even when the Eidingermann goes to die does he tear it out. He is always the badly guarded passive passive; only happens to him. Again it is clever, now in white, which drapes him grandiose as a Pietà and kisses him to death. But the acting soul has long since escaped him. The civilian Eidinger carries them all the more proudly to market in the old town streets.
The every woman, by the way, already exists this Salzburg summer; admittedly outside the festival markings, on Hallein’s Pernerinsel, where the mostly somewhat more adventurous drama premieres have their home in exile. That is called „Richard The Kid & the King“, which pretty much circles the pre- and post-intermission arc, and is largely by William Shakespeare.
Here, where in 1999 Luc Perceval and Tom Lanoye brilliantly played all of the British bard’s royal dramas “Butcher” have dealt, since everything is now concentrated on Richard III., the particularly nasty and at the same time fascinating theatrical villain. Lanoye was muddled again, the rest of the text is priced out as a joint dramaturge work.
The bogeyman is, “Mama” grinning on the rocking horse, surrounded by three black robe-walled 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 whining butchering machine – simply terrific.
Around him / her the nemesis to the power of three has already built up in later changing roles: Kate Strong as “Fuck youuu” -assy old woman, Bettina Stucki as relatives with her maestous tulle-twist cover, who hold the canal somewhat away from the trembling body, the maliciously shimmering Kristof Van Boven as a particularly gender fluid, but great usable chameleon. That’s enough for the Rose Warfare, there are a few high-class statists.
Everything stands on a slanted black disc of the world, up and down. Waving spherical lamps as a kind of mini solar system hardly illuminate the darkness. In its mild glow, nothing but hideous happens. Richard is of course just the lousy object of a lousy upbringing, we learn that here (with the previous story from “Heinrich IV.”), Surrounded by an operatic pop soundtrack that Lina Beckmann but also treats you to a great Elvis number.
The intestines vibrate there
It doesn’t have much drop in content, but it’s clever for the moment, even if it is rather narrowly staged by Karin Henkel as a horror ghost train. It works because this playful shamrock hits its protagonists’ teeth with a furor on the dynastically ramified model and chews it gorgeously and bloody.
The intestines vibrate and the fake blood flows, baby dolls are kicked and minor characters are gunned down by the dozen.
The bloody every woman easily defeats the tradition-weary everybody.