Innsbruck (OTS) – The new state theater director Irene Girkinger has to deal with hostilities and cross shots. The politicians signaled support. Ultimately, however, the audience decides on Girkinger’s weal and woe.
In his enthusiasm for the Tyrolean state theatre, the provincial governor and hard-working cultural advisor immediately climbed to the top of it. At yesterday’s program presentation, Innsbruck’s mayor was tingly and nervous, just like he was when he was a choirboy with the Wilten Boys’ Choir. In view of such a joyful introduction, nothing should go wrong for Irene Girkinger, who will take over the helm of Tyrol’s largest cultural temple as the new director in autumn.
Political support, soft shoulders and an ambitious, demanding game plan with 30 new productions are all well and good. But when Girkinger starts on the bridge of the culture tanker Landestheater, there is an icy headwind.
Newcomers are usually given advance praise. On the other hand, Girkinger, who is moving from the United Theaters in Bozen to Innsbruck, has been openly hostile for months. Your decision – which is common in the industry – to appoint a new management team also led to the replacement of dance zampano Enrique Gasa Valga. The cult surrounding him culminated in an online protest with thousands of signatures.
Gasa Valga’s fan club is still making waves once morest Girkinger: cancellations of subscriptions are in the air. The new artistic director herself assumes that she will initially not be able to reach the current occupancy rate of the house, which has recently increased significantly with popular hits like “Hamlet”.
Meanwhile, Gasa Valga seeks revenge. He wants to start his own dance company in Innsbruck with swarm funding and also perform publicly with it. Just imagine: Girkinger’s new team invites you to dance in the Landestheater, Gasa Valga and Co. dance across the street in the Congress.
Under the aegis of director Johannes Reitmeier, who was tired following eleven seasons, the Landestheater was a solidly run house with a lot of popularity and considerable success, also commercially.
With Irene Girkinger, a younger guard is now moving into the Rennweg venues. Belatedly, the theater is being led into the future, with the breaking of familiar patterns, a team that is strongly influenced by women, led in a collegial manner, with new approaches to classics and the tackling of burning social issues.
Girkinger needs every support for her task. It too is ultimately measured by whether it can win over the audience. She deserves a chance.
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