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The future director of the Burgtheater, Martin Kusej, said goodbye to the Residenztheater.
10:15 am, October 20, 2018
Doors and sardines. That's what life is all about. Or at least in the play "The Naked Madness" with which Martin Kusej died Friday as director of his Munich audience, more than six months before leaving the Residenztheater as director. This was, compared to the first, a triumphant farewell. Although Kusejs boasted Regiepranke this time more like a velvet paw.
If the future director of the Burgtheater Kusej takes over his production in Vienna, he will have to change the details at least. On the one hand, it leaves the whole "overloaded" with the play "Naked Facts" not through the British, but through the Bavarian province of On the other hand, is the director "Martin K.", interpreted by the future Wienheimkehrer Norman hackerAlready distracted from his functions in Vienna, it is the great "Richard III" and "Hamlet" of Shakespeare that he repeats in Vienna, while "The madness naked" breaks out in his troupe of boulevard.
The pirates draw "Martin K." not at all as a Regieberserker, but as annoyed, not unfriendly, Techtelmechtel with the leading actresses and the badistant-director is by no means opposed to those who do not do excellent art here, but who just want to develop the oil. "I am always a very vehement servant of my theater, which especially has an overall vision," admitted Kusej on the day of the premiere at the Munich Abendzeitung. Kusej also resembles his fictional character in his staging approach. He soon realized that adding double floors would immediately put the fragile design of this extremely complex clipping mechanism in place and would just make the chaotic scene look pretty.
Michael FraynThis piece is by far the most successful comedy behind the scenes of the last decades in the repertoire of "famous" scenes. It is virtually impossible to kill, because first and foremost, Schadenfreude has always been a source of great joy and, secondly, the theater industry still has a fascinating appeal. Kusej's production was announced as a "grand declaration of love for the theater, the arts and the people". This seems a little too high to sum up two quarters of an hour ago. The concept of the evening is to take the small weaknesses of the people involved seriously and to increase their impact. No member of this increasingly agitated provincial force is ridiculed. Instead, the atmosphere remains pleasant to the mold, instead of flying into higher allegorical spheres. Physics instead of metaphysics.
Annette Murschetz provided a reasonably ugly two-storey overall design, which would also be suitable as Sitcom turntable. Everyone is allowed to play for a while and his colleagues are addressing him outside his real name – only Genija Rykova As an anguished and pitiful badistant director, she received the name of the real badistant director: Mechthild. Everyone loves to let the pig pbad, from Till Firit as the secret star of the troupe to Sophie von Kessel, disguised as a buxom and neglected cleaning lady by costume designer Heide Kastler, whom it is almost impossible to recognize. .
The evening has rhythm problems. Chaos breaks out too quickly, there is little room for improvement for the second act, that of the backstage, and the third, the dissolution of any order at the last show. The easy muse is hard work – it's the truth about the theater that betrays this "naked madness". But perhaps what can happen, one thing is sure: nothing beats a beautiful and large plate of sardines.
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