A nuchtern “everyone” in salzburg

A nuchtern 'everyone' in salzburg

By the evening, the continuous rain had stopped, but by then the decision had already been made. As in the previous year, the premiere of the revival of the salzburg festival’s long-running hit "jedermann" had to be moved from the romantic domplatz to the coarse festspielhaus.

Michael sturminger’s production, which for the first time does without old costumes and other historical elements, had an even more nutty effect than it already did. Nevertheless, the audience celebrated the directing and acting team around tobias moretti in the title role and stefanie reinsperger as the bogeyman with standing ovations.

Sturminger’s interpretation appears to be more stringent and even more radical than last year’s, after some changes. At that time, the austrian director had stepped in at short notice and, to everyone’s surprise, presented the first "jedermann" in the style of modern stage theater. For him, all the set pieces of max reinhardt’s legendary "jedermann" productions from the early days of the festival are just ironic ciphers.

The "everyone" calls and the ringing of the bell that marks the entrance of death into "everyone’s" prass and lottery life are heard by sturminger right at the beginning and not just at the table, as it were as the motto of the piece. And the new dress of the buhlschaft, the beloved "everyman", around which a rough pressetrara is organized every year? It now exists only as a model, with two dressmakers tugging at it. Reinsperger emerges as a normal, modern woman in a rather unflattering red hanger with a black negligee over it.

Tobias moretti once again plays an "everyman" who is marked from the start by the threat of disaster, stammering erratically and often difficult to understand. As he finally lies in a hospital bed, twitching with turquoise ECG curves, taking stock of his thirsty life, one wonders what disease he is suffering from? The voice of god comes only from tape in this aseptic, completely disenchanted luminescent ambience. And hanno koffler’s devil, actually a parade role of the stucco, is also in the second year a disappointment, although he is allowed to prance around in the audience quite fashionably.

With a lot of technology and a somewhat obtrusive, modernistic musical carpet with quotations from church chorales, baroque table music and a bruckner symphony, this "everyman" has actually arrived in today’s world. But the wit of hugo von hofmannsthal’s pseudo-medieval horror story, the anti-capitalist aha-effects of the stucco and the goose-pimple moments have largely been lost in this radical cure, if one disregards the grotesque peter lohmeyer, who gives an ashy androgynous death and is rightly acclaimed.

For the part of faith, played by johannes silberschneider as the cross-denominational crossing of rabbi and monk, and the always somewhat ratselhafte conversion of "everyone" in the face of death, even sturminger can think of nothing to say. One wonders what else could come after this "jedermann. Will it finally be the turn of the hofmannsthalian medieval verses, now already severely shortened, to get the collar?? Will "everyman" become "everywoman" or "every"-gender star existence? The play, which has been performed for almost 100 years, cannot be cancelled; after all, it is notoriously sold out. So far at least.

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