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By Joachim Leitner
Salzburg – That this devil (Hanno Koffler) wears Prada remains questionable. The tail shines for him. And his chest part sparkles. Death (Peter Lohmeyer), meanwhile, is sure to stumble on the floor in an elegant fantasy. He makes himself impressive, a good figure when it breaks down. And how are things going downhill? In a key scene of his "Everyman" – death is the main character (Tobias Moretti) after – leaves director Michael Sturminger, the scene is simply tilted. The last of the table society is eliminated: glbad and porcelain disbademble, chairs tumble. And those who defy gravity, Peter Lohmeyer works around the projectile. At the premiere on Sunday night, we even landed in the audience. One thing is clear: this moribund sponsor is not a joke. And he does not allow himself to negotiate. Certainly not with everyone. Although it – a juggler of words across and through – understands just how much nobody is negotiating. Even before his first death, he begged a pleading petitioner. But now he has finished his Latin and the end itself is near: she is dead, whatever happens. Until now, so well known.
On Sunday, the Salzburg "Jedermann" entered its next season. In last year's production of Sturminger, which was designed in a very short time and therefore somewhat carved, something was fine-tuned for this year's revival. Some things have been streamlined, others after, others have been formulated. This is rather well done for the richly traditional dying game of the rich man. Just like the new scenic music of Wolfgang Mitterer, implemented in a user-friendly way by the experienced ensemble "Jedermann" 013, accentuates the inner drama of the evergreen. Even so, this new "Jedermann" has become a little more dense. Now he is working properly. Even if – as for the first – the real attraction, the square of Salzburg Cathedral with bells resounds, falls into the water. Time forced Tobias Moretti to his second premiere as Everyman at the Festspielhaus. There, of course, the weaknesses become more visible: the light intended for expression, for example (Devil: red, Mammon: yellow, etc.) highlights what the accent does not need . In the square that can provide atmosphere, in the house would have been enough.
Storminger's access to the material that Hugon von Hoffmannsthal designed around 1911 after the medieval mystery, remains relatively abstract: He drives the play, though neither death nor the devil, but he is in an unspecified but definitely recognizable today. Its production is entirely adapted to Moretti – and it corresponds to a custom suit. His Everyman is less alive than the rationally tempted business man. Even in the things of love, he seeks the distance. This approach is sometimes to the detriment of crackling: its relationship with the Feeling (Stefanie Reinsperger), for example, more reminiscent of an arrangement, an agreement, an agreement; those to his mother (sublime: Edith Clever), on the other hand, remain a useless evil. You can not choose kinship. This makes the moments all the more effective as the world, if clocked, shudders when the incalculable, the inevitable, the supernatural and the underground break their course. When, for example, death sucks the Jedermann, when he deceives his good works (Mavie Hörbiger) – or becomes the playground of the Mammon by the owner, this "Everyman" becomes a study of intense and terrifying physical control loss. Ovations rewarded.
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