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Der Alpenkönig und der Menschenfeind

Tuesday, 11/12/2024 at 7:30 PM

Der Alpenkönig und der Menschenfeind

Tuesday, 11/12/2024
at 7:30 PM

More on 11/12/2024

Theater in der Josefstadt
Josefstädter Straße 26
1080 Wien

More in Wien

The following text was automatically translated.
Show original Show translation

Original music by Wenzel Müller

Oh shame, I am a misanthrope, and I am falling in love, which has no end in sight.

"If Raimund had written three pieces about the value of the Alpine King, his name would never be forgotten in the history of German poetry," wrote Franz Grillparzer about his fellow poet. The original magic play The Alpine King and the Misanthrope clearly shows how much Raimund's pieces were ahead of their time in terms of philosophical and psychological depth. "With the allegory embodied in him in the play, Rappelkopf still belongs to the baroque theater; as a mentally ill person, already entirely to that of the modern era." (Heinz Politzer)

In Raimund's play premiered in 1828, the wealthy landowner Rappelkopf distrusts everyone. Not even his family succeeds in reaching him. Only when the powerful Alpine King Astragalus shows him his own self, is he cured of his misanthropy and gains insight.

Raimund's magic play offers a wealth of magnificent characters - from the contemptuous Rappelkopf to his desperately fighting for marriage wife Sophie and the mysterious Alpine King, to the comedic characters of the play: the servant Habakuk, who constantly claims, "I was in Paris for two years," and the outspoken maid Lischen. The music, including well-known songs like "So leb' denn wohl, du stilles Haus," is by Wenzel Müller. Josef E. Köpplinger, who achieved great success at the Theater in der Josefstadt with The Farmer as a Millionaire, will continue his engagement with Ferdinand Raimund with this production.

Event data provided by: oeticket

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Onkel Wanja

English by Angela Schanelec
After a translation by Arina Nestieva

If one has no real life, then one takes the illusion.

“One must create a work!" Idleness as the root evil – in Onkel Wanja, failed existences come together, capable of self-reflection yet still trapped in their hopelessness: Vanya must realize that he has sacrificed his life to a false ideal. The supposedly brilliant professor, the husband of his deceased sister, whose estate he has been managing with his niece Sonja for years, reveals himself to be a meaningless theorist. Jelena, the young wife of the professor, has long known that her love was not enduring. Sonja suffers from her unrequited feelings for Astrow; he, in turn, is unhappily in love with Jelena. Furthermore, he demands a change in society's thinking while hiding behind his beliefs. Amidst this resigned atmosphere, the professor announces that the estate is to be sold – Vanya reacts with vehemence.

But precisely in this mood of disillusionment and resignation, Chekhov recognizes comedic potential and unfolds wonderful, absurdly ridiculous situations. The master of portraying the human soul shows us characters that conceal the essential behind superficial statements and trivialities. Chekhov's doctor Astrow, who energetically addresses the problem of deforestation, is also one of the first representatives of ecological thought in the history of literature.

Cast

Director
Amélie Niermeyer

Set Design
Christian Schmidt

Costumes
Stefanie Seitz

Musical Direction
Imre Lichtenberger Bozoki

Video
Janosch Abel

dramaturgy
Silke Ofner

Light
Emmerich Steigberger

Serebrjakow, Professor Emeritus
Joseph Lorenz

Jelena, his wife
Alma Hasun

Sonja, his daughter from his first marriage
Johanna Mahaffy

Maria Wojnizkaja, mother of the professor's first wife
Marianne Nentwich

Vanya, her son
Raphael von Bargen

Astrow, doctor
Alexander Absenger

Ilja Iljitsch Telegin
Thomas Frank

Wien

12/5/2024
7:30 PM

Translated from Russian by Ulrike Zemme

Anyone can starve, but spending money with elegance is not something everyone can do. For that, you need a crystal-clear mind. Arkadij

Where do the "real" tears flow? On stage or in real life? The Russian playwright Alexander Ostrowskij contrasts two ragged Russian provincial actors with a wealthy, hedonistic society in his comedy first premiered in 1871. It's not only the boards that mean the world that separate the actors from respectable society, but also diametrical value systems. In his multifaceted characters, Alexander Ostrowskij masterfully unites the spectrum of human traits and idiosyncrasies, making his play a reflection of humanity.

On her sixtieth stage anniversary, Andrea Jonasson, the grande dame of acting, finally returns to the stage of the Theater in der Josefstadt. Alongside her, the two audience favorites Herbert Föttinger and Robert Meyer will be seen as wandering actors. Robert Meyer, a former long-time ensemble member of the Burgtheater and successful director of the Volksoper, will make his Josefstadt debut as the comedian Arkadij.

Wien

12/6/2024
7:30 PM

Leben und Sterben in Wien

Around the corner behind City Hall
The pavement covered in blood.
And within that blood
Lies the rage of the workers.
There behind City Hall rode
The state police.
They rode with weapons
And with lead bullets.
And behind City Hall, the state police
Fired upon the fleeing horde.
We count your murders.

In his commissioned work for the Theater in der Josefstadt, the playwright Thomas Arzt paints a picture of the Austrian interwar period that is equally bloody and poetic.

At the center of the play is Fanni: a young maid whose Catholic-rural life takes a turn through her encounter with the mysterious Sara. Enthralled by Sara's socialist ideas, Fanni ventures to the capital, Red Vienna, experiences the achievements of the labor movement, and witnesses how the Schattendorf judgments herald the end of the First Republic.

In "Life and Death in Vienna," Thomas Arzt compellingly recounts the radicalization of a society, the breakdown of solidarity, and the linguistic breeding ground of totalitarianism. He calls upon over a dozen characters, has them step out of the plot in songs, yet still weaves a finely detailed web around the "completely fictitious" story of a woman emancipating herself from her roots.

We would like to inform you that there are several acoustic effects* during the performance.
(*Our tip: If you see a pistol, cover your ears!)

Wien

12/7/2024
7:30 PM

Biedermann und die Brandstifter

The one who fears transformations more than the disasters, what can he do against the disaster?

Gottlieb Biedermann, the archetype of the well-off and complacent citizen, is disturbed by the arson that the newspapers report. Yet he allows two strangers into his house, even though they make it clear from the beginning that they intend to set it on fire. While Biedermann literally “fawns” over them – entertaining the two, feigning understanding towards them and trying to express solidarity – these two openly bring one gasoline barrel after another up into the attic.

Biedermann und die Brandstifter is one of the most famous plays by the Swiss writer Max Frisch, alongside Andorra. The “lesson play without a lesson,” premiered in 1958 at the Schauspielhaus Zürich, was conceived by Frisch as a keen political parable about bourgeois fears and the doomed strategies of trying to express solidarity with the totalitarian in order to protect one's own existence.

Stephanie Mohr, celebrated for her staging of the bitterly comic play Der Himbeerpflücker, will bring the work of the great Swiss writer, which has not lost any relevance in light of current threats, to the stage of the Theater in der Josefstadt.

Cast

Director
Stephanie Mohr

Set Design
Miriam Busch

Costumes
Nini von Selzam

Musical Direction
Wolfgang Schlögl

Dramaturgy
Barbara Nowotny

Light
Manfred Grohs

Mr. Biedermann
Marcus Bluhm

Babette, his wife
Alexandra Krismer

Anna, a maid
Katharina Klar

Schmitz, a wrestler / Beelzebub
Robert Joseph Bartl

Eisenring, a waiter / A character
Dominic Oley

A Dr. phil. / Barbary macaque
Theresa Hübchen

A police officer
Tobias Reinthaller

Widow Knechtling
Kimberly Rydell

Chorus Leader
Lore Stefanek

The Chorus, consisting of firefighters
Minou M. Baghbani / Katharina Klar
Juliette Larat / Kimberly Rydell / Laetitia Toursarkissian

Wien

12/11/2024
7:30 PM

Der Alpenkönig und der Menschenfeind

Original music by Wenzel Müller

Oh shame, I am a misanthrope, and I am falling in love, which has no end in sight.

"If Raimund had written three pieces about the value of the Alpine King, his name would never be forgotten in the history of German poetry," wrote Franz Grillparzer about his fellow poet. The original magic play The Alpine King and the Misanthrope clearly shows how much Raimund's pieces were ahead of their time in terms of philosophical and psychological depth. "With the allegory embodied in him in the play, Rappelkopf still belongs to the baroque theater; as a mentally ill person, already entirely to that of the modern era." (Heinz Politzer)

In Raimund's play premiered in 1828, the wealthy landowner Rappelkopf distrusts everyone. Not even his family succeeds in reaching him. Only when the powerful Alpine King Astragalus shows him his own self, is he cured of his misanthropy and gains insight.

Raimund's magic play offers a wealth of magnificent characters - from the contemptuous Rappelkopf to his desperately fighting for marriage wife Sophie and the mysterious Alpine King, to the comedic characters of the play: the servant Habakuk, who constantly claims, "I was in Paris for two years," and the outspoken maid Lischen. The music, including well-known songs like "So leb' denn wohl, du stilles Haus," is by Wenzel Müller. Josef E. Köpplinger, who achieved great success at the Theater in der Josefstadt with The Farmer as a Millionaire, will continue his engagement with Ferdinand Raimund with this production.

Wien

12/12/2024
7:30 PM

Trilogie der Sommerfrische

Translated by Rosemarie Still
Edited by Erik Voss

Yes, indeed.
Things happen in the countryside that would not be possible in the city.

Finally summer, finally to the countryside! Giacinta also wants to escape the heat of the city, but before that, she must decide on a suitor: she chooses Leonardo. However, in the countryside, Giacinta quickly finds herself in a conflict between love and loyalty, as Guglielmo, who is engaged to Leonardo's sister Vittoria, has now captured her heart. But: What remains after this confusing summer resort?

Goldoni's ability to bring the characters and language of his plays to life on stage and simultaneously fulfill his personal claim to truth and naturalness makes his comedies still interesting today. With Giacinta, a thoroughly modern, independent woman who takes her life into her own hands, Goldoni has created one of his most fascinating female characters for the stage.

Wien

12/13/2024
7:30 PM

Warten auf Godot

In the translation from French by Elmar Tophoven, 1953 (Revised version by Erika Tophoven, 1993)

ESTRAGON What shall we do now that we are happy? WLADIMIR We are waiting for Godot.
ESTRAGON Oh yes …

Warten auf Godot – written in the shadow of the great war, in times of despair and hopelessness. Past? More than ever, people today are waiting, in this black, troubled time, for salvation, for deliverance from the great fear of wars, plagues, destruction, the ongoing apocalypse. And we? Are we not all like "Wladimir" and "Estragon," sad clowns, waiters, players, on the edge of the highway, stranded in nowhere? Contemporaries and magicians at the same time. The journey is the goal, the imagination shows the way. And love. Then it goes on and on. A carousel, falling, getting up, starting anew –

And "Godot" – is he really the long-awaited savior? Or is it the mysterious "Pozzo," on his way – to where? – with his unfortunate servant, who is also called "Lucky"? Salvation or cruel mockery?
We wait, laugh and cry with them, hoping for our "Godot" – or has he already arrived?

After Bernhard's The German Lunch Table and Ionesco's The King is Dying, Claus Peymann directs for the third time in his new "home," the Theater in der Josefstadt.

Wien

12/14/2024
7:30 PM

Warten auf Godot

In the translation from French by Elmar Tophoven, 1953 (Revised version by Erika Tophoven, 1993)

ESTRAGON What shall we do now that we are happy? WLADIMIR We are waiting for Godot.
ESTRAGON Oh yes …

Warten auf Godot – written in the shadow of the great war, in times of despair and hopelessness. Past? More than ever, people today are waiting, in this black, troubled time, for salvation, for deliverance from the great fear of wars, plagues, destruction, the ongoing apocalypse. And we? Are we not all like "Wladimir" and "Estragon," sad clowns, waiters, players, on the edge of the highway, stranded in nowhere? Contemporaries and magicians at the same time. The journey is the goal, the imagination shows the way. And love. Then it goes on and on. A carousel, falling, getting up, starting anew –

And "Godot" – is he really the long-awaited savior? Or is it the mysterious "Pozzo," on his way – to where? – with his unfortunate servant, who is also called "Lucky"? Salvation or cruel mockery?
We wait, laugh and cry with them, hoping for our "Godot" – or has he already arrived?

After Bernhard's The German Lunch Table and Ionesco's The King is Dying, Claus Peymann directs for the third time in his new "home," the Theater in der Josefstadt.

Wien

12/15/2024
3:00 PM

F. Zawrel - erbbiologisch und sozial minderwertig

Habjan's solo performance deals with the life story of Friedrich Zawrel, who was tortured by the "expert" institution doctor in Nazi Austria, encountered him again officially in the late republic and locked him away again. It is a brilliant puppet play for a story that probably no other genre could handle so cohesively. With sparingly dosed film inserts and linguistically as well as playfully sovereign handling of the angular mouth-clapping characters, it became a grandiose documentation and emotion theater in mutual interweaving, which was awarded the Nestroy Prize. (Nachtkritik.de)

Wien

12/16/2024
7:30 PM

Onkel Wanja

English by Angela Schanelec
After a translation by Arina Nestieva

If one has no real life, then one takes the illusion.

“One must create a work!" Idleness as the root evil – in Onkel Wanja, failed existences come together, capable of self-reflection yet still trapped in their hopelessness: Vanya must realize that he has sacrificed his life to a false ideal. The supposedly brilliant professor, the husband of his deceased sister, whose estate he has been managing with his niece Sonja for years, reveals himself to be a meaningless theorist. Jelena, the young wife of the professor, has long known that her love was not enduring. Sonja suffers from her unrequited feelings for Astrow; he, in turn, is unhappily in love with Jelena. Furthermore, he demands a change in society's thinking while hiding behind his beliefs. Amidst this resigned atmosphere, the professor announces that the estate is to be sold – Vanya reacts with vehemence.

But precisely in this mood of disillusionment and resignation, Chekhov recognizes comedic potential and unfolds wonderful, absurdly ridiculous situations. The master of portraying the human soul shows us characters that conceal the essential behind superficial statements and trivialities. Chekhov's doctor Astrow, who energetically addresses the problem of deforestation, is also one of the first representatives of ecological thought in the history of literature.

Cast

Director
Amélie Niermeyer

Set Design
Christian Schmidt

Costumes
Stefanie Seitz

Musical Direction
Imre Lichtenberger Bozoki

Video
Janosch Abel

dramaturgy
Silke Ofner

Light
Emmerich Steigberger

Serebrjakow, Professor Emeritus
Joseph Lorenz

Jelena, his wife
Alma Hasun

Sonja, his daughter from his first marriage
Johanna Mahaffy

Maria Wojnizkaja, mother of the professor's first wife
Marianne Nentwich

Vanya, her son
Raphael von Bargen

Astrow, doctor
Alexander Absenger

Ilja Iljitsch Telegin
Thomas Frank

Wien

12/17/2024
7:30 PM

The successful duo Willie Clark (Otto Schenk) and Al Lewis (Helmuth Lohner), brought back together by their former manager Ben Silverman (André Pohl) and persuaded to do one last joint television appearance, engage in a love-hate-based back-and-forth for the audience's affection.

But behind the facade of clever wordplay and cynicism, two men emerge whose long shared history, marked by beloved performances, ends in a vigorous rebellion against aging and in the struggle for dignity and recognition.

The plays of Neil Simon, the most successful Broadway author of all time, have been regularly performed at the Theater in der Josefstadt and in the Kammerspiele since the mid-1960s. Simon's comedies are mirrors of the soul landscapes and wish dreams of their main characters, everyday stories of the white, American - mostly Jewish - middle class, whose problems Simon packages ironically and dresses in wonderfully multi-layered wordplay. With Sonny Boys, premiered in 1972 in New York and turned into a classic film comedy with Walter Matthau and George Burns, Neil Simon offers high-level entertainment theater, with sharp punchlines, well-crafted characters, and a light-footed yet profound humor. Using the example of a famous, but now separated for more than a decade and deeply feuding comedic pair, stars of a vanished vaudeville era, it becomes evident what harsh human realities lie behind the seemingly effortless surface of marketed entertainment.

Cast:

Direction
Gernot Friedel

Set Design
Rolf Langenfass

Costumes
Eszter Kovasznay

Lighting
Gerhard Breitengraser

Dramaturgy
Isabella Suppanz

Assistant Director
Matthias Croy

Stage Management
Rolf Langenfass

Sound
Reinhard Köberl

Willie Clark, comedian
Otto Schenk

Al Lewis, his former partner
Helmuth Lohner

Ben Silverman, his nephew and agent
André Pohl

Nurse
Marianne Nentwich / Hertha Schell / Adelheid Picha
Johanna C. Hohloch

Voice of the director
Matthias Croy

Assistant Director
Friedrich Schwardtmann / Erich Altenkopf

Patient
Hans Wolfgang Pemmer / Robert Grass

Wien

12/18/2024
7:30 PM

The successful duo Willie Clark (Otto Schenk) and Al Lewis (Helmuth Lohner), brought back together by their former manager Ben Silverman (André Pohl) and persuaded to do one last joint television appearance, engage in a love-hate-based back-and-forth for the audience's affection.

But behind the facade of clever wordplay and cynicism, two men emerge whose long shared history, marked by beloved performances, ends in a vigorous rebellion against aging and in the struggle for dignity and recognition.

The plays of Neil Simon, the most successful Broadway author of all time, have been regularly performed at the Theater in der Josefstadt and in the Kammerspiele since the mid-1960s. Simon's comedies are mirrors of the soul landscapes and wish dreams of their main characters, everyday stories of the white, American - mostly Jewish - middle class, whose problems Simon packages ironically and dresses in wonderfully multi-layered wordplay. With Sonny Boys, premiered in 1972 in New York and turned into a classic film comedy with Walter Matthau and George Burns, Neil Simon offers high-level entertainment theater, with sharp punchlines, well-crafted characters, and a light-footed yet profound humor. Using the example of a famous, but now separated for more than a decade and deeply feuding comedic pair, stars of a vanished vaudeville era, it becomes evident what harsh human realities lie behind the seemingly effortless surface of marketed entertainment.

Cast:

Direction
Gernot Friedel

Set Design
Rolf Langenfass

Costumes
Eszter Kovasznay

Lighting
Gerhard Breitengraser

Dramaturgy
Isabella Suppanz

Assistant Director
Matthias Croy

Stage Management
Rolf Langenfass

Sound
Reinhard Köberl

Willie Clark, comedian
Otto Schenk

Al Lewis, his former partner
Helmuth Lohner

Ben Silverman, his nephew and agent
André Pohl

Nurse
Marianne Nentwich / Hertha Schell / Adelheid Picha
Johanna C. Hohloch

Voice of the director
Matthias Croy

Assistant Director
Friedrich Schwardtmann / Erich Altenkopf

Patient
Hans Wolfgang Pemmer / Robert Grass

Wien

12/20/2024
7:30 PM

Biedermann und die Brandstifter

The one who fears transformations more than the disasters, what can he do against the disaster?

Gottlieb Biedermann, the archetype of the well-off and complacent citizen, is disturbed by the arson that the newspapers report. Yet he allows two strangers into his house, even though they make it clear from the beginning that they intend to set it on fire. While Biedermann literally “fawns” over them – entertaining the two, feigning understanding towards them and trying to express solidarity – these two openly bring one gasoline barrel after another up into the attic.

Biedermann und die Brandstifter is one of the most famous plays by the Swiss writer Max Frisch, alongside Andorra. The “lesson play without a lesson,” premiered in 1958 at the Schauspielhaus Zürich, was conceived by Frisch as a keen political parable about bourgeois fears and the doomed strategies of trying to express solidarity with the totalitarian in order to protect one's own existence.

Stephanie Mohr, celebrated for her staging of the bitterly comic play Der Himbeerpflücker, will bring the work of the great Swiss writer, which has not lost any relevance in light of current threats, to the stage of the Theater in der Josefstadt.

Cast

Director
Stephanie Mohr

Set Design
Miriam Busch

Costumes
Nini von Selzam

Musical Direction
Wolfgang Schlögl

Dramaturgy
Barbara Nowotny

Light
Manfred Grohs

Mr. Biedermann
Marcus Bluhm

Babette, his wife
Alexandra Krismer

Anna, a maid
Katharina Klar

Schmitz, a wrestler / Beelzebub
Robert Joseph Bartl

Eisenring, a waiter / A character
Dominic Oley

A Dr. phil. / Barbary macaque
Theresa Hübchen

A police officer
Tobias Reinthaller

Widow Knechtling
Kimberly Rydell

Chorus Leader
Lore Stefanek

The Chorus, consisting of firefighters
Minou M. Baghbani / Katharina Klar
Juliette Larat / Kimberly Rydell / Laetitia Toursarkissian

Wien

12/21/2024
7:30 PM

Biedermann und die Brandstifter

The one who fears transformations more than the disasters, what can he do against the disaster?

Gottlieb Biedermann, the archetype of the well-off and complacent citizen, is disturbed by the arson that the newspapers report. Yet he allows two strangers into his house, even though they make it clear from the beginning that they intend to set it on fire. While Biedermann literally “fawns” over them – entertaining the two, feigning understanding towards them and trying to express solidarity – these two openly bring one gasoline barrel after another up into the attic.

Biedermann und die Brandstifter is one of the most famous plays by the Swiss writer Max Frisch, alongside Andorra. The “lesson play without a lesson,” premiered in 1958 at the Schauspielhaus Zürich, was conceived by Frisch as a keen political parable about bourgeois fears and the doomed strategies of trying to express solidarity with the totalitarian in order to protect one's own existence.

Stephanie Mohr, celebrated for her staging of the bitterly comic play Der Himbeerpflücker, will bring the work of the great Swiss writer, which has not lost any relevance in light of current threats, to the stage of the Theater in der Josefstadt.

Cast

Director
Stephanie Mohr

Set Design
Miriam Busch

Costumes
Nini von Selzam

Musical Direction
Wolfgang Schlögl

Dramaturgy
Barbara Nowotny

Light
Manfred Grohs

Mr. Biedermann
Marcus Bluhm

Babette, his wife
Alexandra Krismer

Anna, a maid
Katharina Klar

Schmitz, a wrestler / Beelzebub
Robert Joseph Bartl

Eisenring, a waiter / A character
Dominic Oley

A Dr. phil. / Barbary macaque
Theresa Hübchen

A police officer
Tobias Reinthaller

Widow Knechtling
Kimberly Rydell

Chorus Leader
Lore Stefanek

The Chorus, consisting of firefighters
Minou M. Baghbani / Katharina Klar
Juliette Larat / Kimberly Rydell / Laetitia Toursarkissian

Wien

12/22/2024
3:00 PM

Der Alpenkönig und der Menschenfeind

Original music by Wenzel Müller

Oh shame, I am a misanthrope, and I am falling in love, which has no end in sight.

"If Raimund had written three pieces about the value of the Alpine King, his name would never be forgotten in the history of German poetry," wrote Franz Grillparzer about his fellow poet. The original magic play The Alpine King and the Misanthrope clearly shows how much Raimund's pieces were ahead of their time in terms of philosophical and psychological depth. "With the allegory embodied in him in the play, Rappelkopf still belongs to the baroque theater; as a mentally ill person, already entirely to that of the modern era." (Heinz Politzer)

In Raimund's play premiered in 1828, the wealthy landowner Rappelkopf distrusts everyone. Not even his family succeeds in reaching him. Only when the powerful Alpine King Astragalus shows him his own self, is he cured of his misanthropy and gains insight.

Raimund's magic play offers a wealth of magnificent characters - from the contemptuous Rappelkopf to his desperately fighting for marriage wife Sophie and the mysterious Alpine King, to the comedic characters of the play: the servant Habakuk, who constantly claims, "I was in Paris for two years," and the outspoken maid Lischen. The music, including well-known songs like "So leb' denn wohl, du stilles Haus," is by Wenzel Müller. Josef E. Köpplinger, who achieved great success at the Theater in der Josefstadt with The Farmer as a Millionaire, will continue his engagement with Ferdinand Raimund with this production.

Wien

12/23/2024
6:00 PM

Der Alpenkönig und der Menschenfeind

Original music by Wenzel Müller

Oh shame, I am a misanthrope, and I am falling in love, which has no end in sight.

"If Raimund had written three pieces about the value of the Alpine King, his name would never be forgotten in the history of German poetry," wrote Franz Grillparzer about his fellow poet. The original magic play The Alpine King and the Misanthrope clearly shows how much Raimund's pieces were ahead of their time in terms of philosophical and psychological depth. "With the allegory embodied in him in the play, Rappelkopf still belongs to the baroque theater; as a mentally ill person, already entirely to that of the modern era." (Heinz Politzer)

In Raimund's play premiered in 1828, the wealthy landowner Rappelkopf distrusts everyone. Not even his family succeeds in reaching him. Only when the powerful Alpine King Astragalus shows him his own self, is he cured of his misanthropy and gains insight.

Raimund's magic play offers a wealth of magnificent characters - from the contemptuous Rappelkopf to his desperately fighting for marriage wife Sophie and the mysterious Alpine King, to the comedic characters of the play: the servant Habakuk, who constantly claims, "I was in Paris for two years," and the outspoken maid Lischen. The music, including well-known songs like "So leb' denn wohl, du stilles Haus," is by Wenzel Müller. Josef E. Köpplinger, who achieved great success at the Theater in der Josefstadt with The Farmer as a Millionaire, will continue his engagement with Ferdinand Raimund with this production.

Wien

12/27/2024
7:30 PM

The successful duo Willie Clark (Otto Schenk) and Al Lewis (Helmuth Lohner), brought back together by their former manager Ben Silverman (André Pohl) and persuaded to do one last joint television appearance, engage in a love-hate-based back-and-forth for the audience's affection.

But behind the facade of clever wordplay and cynicism, two men emerge whose long shared history, marked by beloved performances, ends in a vigorous rebellion against aging and in the struggle for dignity and recognition.

The plays of Neil Simon, the most successful Broadway author of all time, have been regularly performed at the Theater in der Josefstadt and in the Kammerspiele since the mid-1960s. Simon's comedies are mirrors of the soul landscapes and wish dreams of their main characters, everyday stories of the white, American - mostly Jewish - middle class, whose problems Simon packages ironically and dresses in wonderfully multi-layered wordplay. With Sonny Boys, premiered in 1972 in New York and turned into a classic film comedy with Walter Matthau and George Burns, Neil Simon offers high-level entertainment theater, with sharp punchlines, well-crafted characters, and a light-footed yet profound humor. Using the example of a famous, but now separated for more than a decade and deeply feuding comedic pair, stars of a vanished vaudeville era, it becomes evident what harsh human realities lie behind the seemingly effortless surface of marketed entertainment.

Cast:

Direction
Gernot Friedel

Set Design
Rolf Langenfass

Costumes
Eszter Kovasznay

Lighting
Gerhard Breitengraser

Dramaturgy
Isabella Suppanz

Assistant Director
Matthias Croy

Stage Management
Rolf Langenfass

Sound
Reinhard Köberl

Willie Clark, comedian
Otto Schenk

Al Lewis, his former partner
Helmuth Lohner

Ben Silverman, his nephew and agent
André Pohl

Nurse
Marianne Nentwich / Hertha Schell / Adelheid Picha
Johanna C. Hohloch

Voice of the director
Matthias Croy

Assistant Director
Friedrich Schwardtmann / Erich Altenkopf

Patient
Hans Wolfgang Pemmer / Robert Grass

Wien

12/28/2024
7:30 PM

The successful duo Willie Clark (Otto Schenk) and Al Lewis (Helmuth Lohner), brought back together by their former manager Ben Silverman (André Pohl) and persuaded to do one last joint television appearance, engage in a love-hate-based back-and-forth for the audience's affection.

But behind the facade of clever wordplay and cynicism, two men emerge whose long shared history, marked by beloved performances, ends in a vigorous rebellion against aging and in the struggle for dignity and recognition.

The plays of Neil Simon, the most successful Broadway author of all time, have been regularly performed at the Theater in der Josefstadt and in the Kammerspiele since the mid-1960s. Simon's comedies are mirrors of the soul landscapes and wish dreams of their main characters, everyday stories of the white, American - mostly Jewish - middle class, whose problems Simon packages ironically and dresses in wonderfully multi-layered wordplay. With Sonny Boys, premiered in 1972 in New York and turned into a classic film comedy with Walter Matthau and George Burns, Neil Simon offers high-level entertainment theater, with sharp punchlines, well-crafted characters, and a light-footed yet profound humor. Using the example of a famous, but now separated for more than a decade and deeply feuding comedic pair, stars of a vanished vaudeville era, it becomes evident what harsh human realities lie behind the seemingly effortless surface of marketed entertainment.

Cast:

Direction
Gernot Friedel

Set Design
Rolf Langenfass

Costumes
Eszter Kovasznay

Lighting
Gerhard Breitengraser

Dramaturgy
Isabella Suppanz

Assistant Director
Matthias Croy

Stage Management
Rolf Langenfass

Sound
Reinhard Köberl

Willie Clark, comedian
Otto Schenk

Al Lewis, his former partner
Helmuth Lohner

Ben Silverman, his nephew and agent
André Pohl

Nurse
Marianne Nentwich / Hertha Schell / Adelheid Picha
Johanna C. Hohloch

Voice of the director
Matthias Croy

Assistant Director
Friedrich Schwardtmann / Erich Altenkopf

Patient
Hans Wolfgang Pemmer / Robert Grass

Wien

12/29/2024
3:00 PM

The successful duo Willie Clark (Otto Schenk) and Al Lewis (Helmuth Lohner), brought back together by their former manager Ben Silverman (André Pohl) and persuaded to do one last joint television appearance, engage in a love-hate-based back-and-forth for the audience's affection.

But behind the facade of clever wordplay and cynicism, two men emerge whose long shared history, marked by beloved performances, ends in a vigorous rebellion against aging and in the struggle for dignity and recognition.

The plays of Neil Simon, the most successful Broadway author of all time, have been regularly performed at the Theater in der Josefstadt and in the Kammerspiele since the mid-1960s. Simon's comedies are mirrors of the soul landscapes and wish dreams of their main characters, everyday stories of the white, American - mostly Jewish - middle class, whose problems Simon packages ironically and dresses in wonderfully multi-layered wordplay. With Sonny Boys, premiered in 1972 in New York and turned into a classic film comedy with Walter Matthau and George Burns, Neil Simon offers high-level entertainment theater, with sharp punchlines, well-crafted characters, and a light-footed yet profound humor. Using the example of a famous, but now separated for more than a decade and deeply feuding comedic pair, stars of a vanished vaudeville era, it becomes evident what harsh human realities lie behind the seemingly effortless surface of marketed entertainment.

Cast:

Direction
Gernot Friedel

Set Design
Rolf Langenfass

Costumes
Eszter Kovasznay

Lighting
Gerhard Breitengraser

Dramaturgy
Isabella Suppanz

Assistant Director
Matthias Croy

Stage Management
Rolf Langenfass

Sound
Reinhard Köberl

Willie Clark, comedian
Otto Schenk

Al Lewis, his former partner
Helmuth Lohner

Ben Silverman, his nephew and agent
André Pohl

Nurse
Marianne Nentwich / Hertha Schell / Adelheid Picha
Johanna C. Hohloch

Voice of the director
Matthias Croy

Assistant Director
Friedrich Schwardtmann / Erich Altenkopf

Patient
Hans Wolfgang Pemmer / Robert Grass

Wien

12/30/2024
7:30 PM

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