Corona occurs only very fleetingly and very playfully. While his best friend, Crown Prince Harry and future King Heinrich V (Martin Schülke), is pursuing erotic pleasure, Falstaff (Bernd Vogel) pulls the girl’s pink panties over his face and looks like we should look when we are go shopping. He mumbles: “I’m as melancholy as a neutered cat”. The feeling describes the current blues of theater makers like Andreas Wiedermann – he knows how to do it, but, at least now, he can’t.
“Lords of War”: Four royal dramas become 80 minutes of theater
Like many colleagues, the productive Lower Bavarian exiled into the Internet. The finale of his Shakespeare cycle “Trilogy of Power”, recorded in the Theater am Hagen in Straubing, can be experienced on You Tube. After the despotic Scotsman Macbeth (2016) and the rival Romans Julius Caesar and Marcus Antonius (2018), his ensemble Plan B flips through the Lancaster tetralogy played among the English: “Richard II.”, Both parts of “Heinrich IV.” and “Heinrich V.” From the four opulent royal dramas he distilled 80 minutes of theater for the net, the title of which probably sounds so similar to a successful video game: “Lords Of War”.
Opera “The Medium”: Fluctuating charlatan
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Kammerspiele: The shadows of the past
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The film retains its intimate play character
Andreas Wiedermann also bravely sees the “bright spot” of having to deal more with the camera. “As an additional program, this medium may acquire additional audiences,” he explained to the Straubinger Tagblatt. With sensitive concessions to the other medium, the staging retains its chamber play character. The dialogues remain close to the romantic translations into German and are played in a concentrated manner. The turmoil of battle, which flares up again and again somewhere between northern England and northern France, is charmingly old-fashioned with a lot of fog on the stage and clattering armor.
The horseless ride through the generations begins in 1397 with the tyrannical final phase of the reign of Richard II and ends in 1422 with the death of Henry V. The focus is on the one hand in the private sphere and the everlasting potential for conflict between fathers and sons. When it comes to princes, the political inevitably imposes itself. In the family power games in the palace, according to Wiedermann’s working thesis, lies a core for the persistence of war and the volatility of peace. The memorable face of the tragedy collage is Christine Matschoss – as Richard II failing hamletesque, as the indomitable rebellious Sir Percy and as the slutty king’s daughter Katharina.
