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Andrea Jonbadon personally knew the poet Friedrich Dürrenmatt: "I remember him as a wonderful person," says the German actress, according to the Theater in der Josefstadt's program booklet, about the Swiss who died in 1990. He did not had never talked about his plays, probably because he had said, "I have no play that you can play at your age."
Now this diva has found a dream role in the middle of the eighth, in the biggest hit of Dürrenmatt, the very successful tragic comedy "The Old Lady's Visit" since 1956. Jonbadon plays the same role, the multimillionaire Claire Zachanbadian, born washer, who has already lived Güllen in his hometown, loved by her boyfriend Ill, became pregnant and was betrayed, then proscribed by society. She was only 17 years old. She left the country under duress, her child died, Claire became a prostitute and finally a businesswoman who has been enormously successful through many marriages.
After 45 years, she returns with her husband number seven (Lukas Spisser) for revenge. She asks for the death of her former lover at the church that she wants to celebrate and then cash it. For Güllen should receive "a billion". That's what the lady calls justice.
Revenge comedy tragedy farce
Jonbadon is an ideal cast for this tragic, insidious and insidious comedy poem. She plays her trumps (ruthless presence and modulation that goes from the dangerously ungrateful roucou to the forefront of progress) with as much confidence as Michael König for the progressive development of the perpetrator of the offense to the victim. Ill moved a crime, as he now recognizes it late. He seems to be the only one in the end who repents, is ready for repentance. König plays this ambiguity in more than two hours in filigree – a vain protz becomes a victim.
On the first Thursday, a fantastic pair of opposites was admired. Director Stephan Müller gives him a lot of space and surrounds him with a multitude of Josefstadt characters' heads, which sometimes become a bit too strong for a pure posture. Müller also adds the current world of media to his total nervousness. There is the expression Rationale. The visit of the murderous oligarch, dressed in prosthetics and in elegant black, who bought through the intermediary half of the city to enjoy the revenge of hell, is accompanied by the crazy television company. Today's private broadcasters are caricatures. Martina Stilp and Alexandra Kismer act as journalists in a sense of feeling as flattering as if you knew them while zapping real life into the bad for a long time.
Everyone here can become a murderer
Sophie Lux has created a complex scenography, with elaborate video shadows. As if by magic, camera or whole forest facades are created on a screen filled to the desired size. The furniture, on the other hand, is simple: a long block of wood with cubes as seats, a wooden frame flap for the cellar. On several screens in series, people are revealed hands down handily: the manipulative mayor (Siegfried Walther), the sectarian religious pastor (Johannes Seilern), the pedantic teacher (André Pohl), the doctor to have for every opinion (Alexander Strobele) and the policeman (Oliver Huether) ready for any dubious official act. They are as consumer as servile and have all the makings of executors. The community is low, companies are bankrupt, unemployment is the highest in the country.
Departure with the Concorde and the coffin
He should not even trust his family. He also cooks at his wife (Elfriede Schüsseleder) and the children (Gioia Osthoff, Tobias Reinthaller) are flexible. The adaptation is reflected in the details: almost all wear filthy yellow shoes. No matter who here can become a murderer, is the dominant message of this nihilistic drama about guilt and debt, in which more sophisticated reflections on terms such as justice, atonement or even mercy resonate only weakly. These are the times when the king shines. In the end, during the pursuit, his patient looks tired, if not saved.
This old lady leaves no choice to her opponents. She finally rushes into a supersonic jet (an old Concorde in another gigantic silhouette video) with the coffin, which she took as a precaution for Güllen – including the bruised, who was previously at the head of the Foundation. The doctor declares heart failure. Good luck after the reunion I took away is the official message. Evil you can not bury the truth.
("Die Presse", printed edition, 20.10.2018)
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