Nina C. Gabriel not only suffers a cruel fate as Eleonore, Johann’s mother, which she heads toward with her head held high. She also slips into the role of “Austria” and comments on its epicurean experiences in a very amusing way during the meeting, in which the fate of the citizens of Angers is decided. Isabella Wolf appears both as Constanze, the mother of the heir to the throne Arthur, and as an androgynous cardinal. With his ban, he subjugates Philipp and then creates a new English reign. Heartbreaking, she breaks down as a mother when she learns that her son has fallen into the hands of the English and, at the same time, she appears enchanting and enlightening as a follower of Christ who knows how to be seduced by suction and pressure and how to reach his goal.
Julian Waldner embodies a total of six characters. His “citizen representative” mingles with the audience and makes it clear to them that what is being negotiated on stage is no less than the future that we call democracy today. Whether as Chatillon or Pembroke, as unfortunate Arthur, Angouleme or Mönchlein – with him Krassnigg transports the idea that a good actor is capable of numerically enhancing an ensemble through multiple castings. The permanent and often swift change of roles, also from the other multiple castings, only sparkle from the spirit of a lively, bloody theater idea. A conveying idea of large materials, which can be sensually experienced and understood through outstanding actors.
The wish that theater should be able to stimulate reflection, this wish is reflected in this production. Because no matter whether you can follow all the entanglements of the family or not: the game about the intrigues of the powerful, about reason and unreasonableness and ultimately about a citizenship or a people who are more than those who rule leaves strong impressions. That’s a lot when you consider that King Johann died more than 800 years ago and supposedly no longer plays a role in our lives.
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