Right away, I didn’t even want to go to an Everyman performance this year. I was two years ago, and before that also several times. The topic is so to speak very familiar to me. And no I do not know the text by heart yet.
Ensemble at the press conference
Then I had the really great opportunity to take part in the Jedermann press conference before the festival started. Almost the entire ensemble was on hand and many of the actors also had their say. The Everyman does not only consist of Everyman and Buhlschaft, even if this may seem to the outside by the numerous press articles in such a way.
Big names on the Everyman stage
Also this year well-known actors and actresses appear on the stage at the cathedral place. Whereby it must be said that except for a single performance so far all others had to be given in the Grobes Festspielhaus. The annoying weather is the reason for it. I have long been a fan of the great Edith Clever, who this year took on the role of Death. Mavie Horbiger is to be seen also again, immediately in two roles, at the beginning as God and later as devil, which has very funny features. Noteworthy once again the footwear of the devil, or rather the she-devil.
Genderfluid as a keyword
Women in male roles are not new to the theater, now in the wake of the gender discussion these performances are getting even more attention. Not only once in connection with this year’s production the term Genderfluid came up in my mind. This is also expressed in the costumes. Honestly, for me the step to the first Everywoman is not far away. Because ultimately, all roles in this play are gender-neutral.
Lars Eidinger and Verena Altenberger, just great
And the real reason, no the reasons, why I really wanted to see the most performed piece of the Salzburg Festival, are Lars Eidinger and Verena Altenberger. I remember both of them in one role each, which will probably remain in my memory forever. Eidinger played in the TV series Babylon Berlin a crazed big industrialist and Altenberger has become a drug-addicted mother in The best of all worlds imprinted.
Festspielhaus instead of Domplatz
I was very lucky to get hold of a ticket at all. In mid-June, there were suddenly still a lot of tickets available because of the repealed Corona regulations, but that had changed abruptly. A good two hours before the performance began, it was still said that the play could be performed at the Domplatz. When I set off shortly before eight o’clock, the rain was already approaching. And so the play took place indoors. Even if a little bit the ambience of an open-air performance is missing and the Jedermann shouters do not stand around on any houses and city mountains, also the large Festspielhaus is an ideal play place.
The annual discussion about the appearance of the bogeyman
For two hours I sat spellbound on my chair and followed the performance in amazement. And I was not disappointed. Eidinger and Altenberger make a real pair of lovers at eye level. Altenberger is not the sexy female with her bosom high in the air. But prances across the stage in a red, off-the-shoulder jumpsuit. At the beginning still with a matching cape. Several times I had to think of the annual discussion about the robe of the Buhlschaft and this year’s uproar about Verena Altenberger’s stubbly bald head. This is very difficult for me to understand, because where is it written that only long-haired women in voluptuous, body-hugging dresses can represent a mistress?
And Eidinger doesn’t portray the suave bourgeois either, but rather the rich heir who can’t get much going himself.
Acrobatics with Mirco Kreibich
I was particularly impressed by Mirco Kreibich, who plays both the Schuldknecht and the Mammon magnificently. And that includes acrobatic interludes.
Despite some cramped breathing through the FFP mask, yes, it’s really cumbersome for me, Everyman 2021 was a fantastic evening.
Here it goes to my completely personal festival guide with much information approximately around the culture festival.