CABARET - Das Musical
Kufstein
Der Tod und das Mädchen
A woman and her husband live in a cottage in the countryside and together they try to leave their country's sad past behind them. They survived the dictatorship, had to endure a lot and now hope for a new beginning in the still young democracy. But then the car has a flat tire. The man stands alone on a country road, hoping that someone will pick him up and take him home. Finally a car stops. The driver is very friendly, a doctor by profession. They understand each other immediately. But when the woman hears his voice - the voice of the kind doctor who is taking her husband home - dark memories come flooding back. Although she was tightly blindfolded at the time, she believes she recognizes in him her former tormentor, who did terrible things to her fifteen years ago in the prisons of the dictatorship. But is it really him? The woman seems certain. Her husband doubts it. Before the doctor even knows what is happening to him, he finds himself bound and gagged in the power of a woman who accuses him of being a monster. She wants him to confess. But what if he has nothing to confess?
A gripping thriller takes its course. In the tension between revenge and vigilante justice, between law and justice, between guilt and forgiveness, dark abysses open up. With its surprising twists and turns and its psychological depth, this play by Chilean author Ariel Dorfman is certainly not for the faint of heart.
Maria Elisabeth Reitberger faces her greatest challenge yet as an actress in the female lead role of this play. With her performances in "Der Krah," "Rettungsboot an Unbekannt," or as the devil in "Jedermann," as well as her directing work in "Kosmetik des Bösen," she has already gained plenty of experience with abysmal stage action.
Klaus Schneider plays the friendly doctor whose smile may conceal a monster. He has already demonstrated his talent for nuances and his wealth of facets in many fundamentally different roles. In plays such as "Cabaret," "Richard III," "A Midsummer Night's Dream," "La Cage aux Folles" or "Munde," he has already proven himself as a Nazi, a naive prince, a boastful craftsman, an affected but(t)ler or a Muslim guest worker - it could hardly be more colorful. But his performance as "King Oedipus" at the new fortress courtyard is also unforgettable.
Klaus Reitberger is back on stage in a leading role for the first time since "Cosmetics of Evil" and is also directing a full-length play for the 20th time. "Death and the Girl" has the potential to be his most intense and darkest production to date - even more abysmal than "The Female Devil" and "The Thurnbacherin".
A gripping thriller takes its course. In the tension between revenge and vigilante justice, between law and justice, between guilt and forgiveness, dark abysses open up. With its surprising twists and turns and its psychological depth, this play by Chilean author Ariel Dorfman is certainly not for the faint of heart.
Maria Elisabeth Reitberger faces her greatest challenge yet as an actress in the female lead role of this play. With her performances in "Der Krah," "Rettungsboot an Unbekannt," or as the devil in "Jedermann," as well as her directing work in "Kosmetik des Bösen," she has already gained plenty of experience with abysmal stage action.
Klaus Schneider plays the friendly doctor whose smile may conceal a monster. He has already demonstrated his talent for nuances and his wealth of facets in many fundamentally different roles. In plays such as "Cabaret," "Richard III," "A Midsummer Night's Dream," "La Cage aux Folles" or "Munde," he has already proven himself as a Nazi, a naive prince, a boastful craftsman, an affected but(t)ler or a Muslim guest worker - it could hardly be more colorful. But his performance as "King Oedipus" at the new fortress courtyard is also unforgettable.
Klaus Reitberger is back on stage in a leading role for the first time since "Cosmetics of Evil" and is also directing a full-length play for the 20th time. "Death and the Girl" has the potential to be his most intense and darkest production to date - even more abysmal than "The Female Devil" and "The Thurnbacherin".
