To the wedding bed? To war!
September 15, 2024. The “Lieto fine”, the double wedding, as Shakespeare envisaged it in “Much Ado About Nothing” in keeping with the comedy custom of the time: David Bösch was already suspicious of this when he staged the play at the Thalia Theater in 2006. Even now, when he takes over as director of drama in Linz, there is no cheering, hustle and bustle or cheerfulness at the end. But there was still celebration.
By Reinhard Kriechbaum
“Much Ado About Nothing” at the Landestheater Linz © Herwig Prammer
September 15, 2024. Patrick Bannwart was already the set designer back then. He had created the appropriate circus ring ambience for this circus tent production on the banks of the Elbe, a rotating round platform under garlands of light bulbs. A love carousel that in reality does not promote love any further. This now works wonderfully in the stage situation of the Linz Schauspielhaus. The production is of course not a remake of the Hamburg performance, which was also invited to the Salzburg Festival at the time and for which David Bösch, then in his late twenties, was awarded the Young Director’s Award. Bösch, much more hot-headed, let the comedy tip over into a bloodbath that would have been worthy of a Shakespearean royal drama.
Lovers shaped by war
But let’s start from the beginning: First, a clown comes on stage and ponders the nature of war. It has become really close to us in the meantime. This pensive poet-clown – he has the features of the poet – will speak again and again, often with Shakespeare quotes from other works. He will also know how to comment on the bad ending in a relevant way: “And the end is… exactly!”
These are war veterans who either fall in love (Claudio for Hero) or categorically deny it (Benedikt and Beatrice). They actually come straight from the field, in uniform, on motorbikes. Toxic, brutalized masculinity? Bösch doesn’t create clichéd characters, but he does make it clear that the war has shaped these men. The trick: This is shown more subliminally, the tone remains relaxed, the comedy lighthearted and unrestrained. Everyone wants to love but can’t. Or not very well. Each in his own way. Claudio (Benedikt Steiner) exaggerates the romance with the same vehemence as Benedikt (Daniel Klausner) rejects love. Don Pedro (Helmut Häusler) has been given a Hitler hairstyle, tries to sound jovial, but is the least capable of love in the group of men. His half-brother Don Juan (Julian Sigl) was transported in a coffin, but emerged alive. In any case, he is also someone whose character was significantly damaged in the war.
Crucially damaged: Christian Higer, Benedikt Steiner, Vivian Micksch © Herwig Prammer
But all of these characters have charm too, and their intrigues are bursting with comedy. On the women’s side, Beatrice holds all the trump cards, of course. “Miss bitchy, arrogant” is what Benedikt calls her at the beginning. Theresa Palfi lives up to that 150 percent. David Bösch has done something quite unusual: as the new acting director, he has taken over the entire Linz ensemble and has not hired anyone new. So he is working with the resources he has. But he has given the types and characters a fresh assessment. How the ensemble is rewarding him for this! In this performance, you get the feeling that everyone wants to prove to the new boss that it is good and right to keep them on.
Outstanding ensemble
You can hardly get enough of the lovely ideas, and not a minute goes by without someone doing something endearingly unexpected. The two live musicians are also hilarious: the pianist and accordion player Joachim Werner with his clown nose and mohawk, and the double bassist Georg-Maria Fichtenbauer, whose steel helmet seems to be attached to his head. The music (Karsten Riedel) is very important, and almost everyone sings at some point, and it ranges from schmaltzy songs to heavy metal. All of these musical interludes suddenly stop, give way to the fast-paced action, and seem as spontaneous and casual as the countless gags.
Traumatization beneath the surface: Ensemble © Herwig Prammer
And yet: the actual impossibility of “normal” relationships, the lasting irritations behind the trauma of war, constantly shine through. That there will never be a double wedding that solves everything and liberates everything is a foregone conclusion from the start. The tipping point is reached when Claudio becomes aware of Hero’s (Vivian Miksch, an acting student at the Bruckner Conservatory in Linz) apparent infidelity. The men suddenly become violent warriors who are to be feared.
Back into battle by motorcycle
It is as if small but powerful psychological levers are being pulled. The three-tiered giant wedding cake, which is now occupying the middle of the stage, will soon fall over and take the “Just married” ribbon with it. Suddenly a harsh sound. Benedikt, Claudio and Don Pedro will immediately leave the sword skirmishes on their motorbikes and head off to war. That is where they belong, not in the wedding chamber.
The farewell scene between Benedikt and Beatrice is oppressive. Benedikt has sustained a slight sword injury. He tries to cover the red mark with a jacket. Enough for Beatrice, who probably realizes that this and the other guys will invest their heart and soul somewhere other than in women. Hero, Beatrice and the chambermaid Margarethe (Katharina Hofmann also provided some lovely apercussions for the comedy) now sit there speechless and alone until the Shakespeare clown begins the epilogue (with a lot of Hamlet) and gives the signal to turn the lights out. The audience at the premiere in Linz gave free rein to their sympathy for the new head of drama, but above all to their enthusiasm for the ensemble, which goes about its work so brilliantly and with precise timing.
Much ado about nothing
by William Shakespeare, German by Frank Günther
Director: David Bösch, Stage: Patrick Bannwart, Costumes: Moana Stemberger, Music: Karsten Riedel, Dramaturgy: Martin Mader.
With: Helmuth Häusler, Daniel Klausner, Benedikt Steiner, Julian Sigl, Horst Heiss, Lutz Zeidler, Nataya Sam, Vivian Micksch, Katharina Hofmann, Theresa Palfi, Christian Higer.
Premiere: September 14, 2024
Duration: 2 hours 40 minutes, one break
Glad you read this text
Table of Contents
- 1 Glad you read this text
- 2 – How does David Bösch’s production of “Much Ado About Nothing” at the Landestheater Linz reinterpret the themes of love and war?
- 3 Mutually exclusive themes. How does David Bösch’s adaptation of “Much Ado About Nothing” challenge traditional interpretations of love and conflict?
Table of Contents
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– How does David Bösch’s production of “Much Ado About Nothing” at the Landestheater Linz reinterpret the themes of love and war?
To the Wedding Bed? To War!
A Fresh Take on Shakespeare’s “Much Ado About Nothing” at the Landestheater Linz
In the world of Shakespearean comedy, the phrase “to the wedding bed” typically signifies joy, love, and celebration. However, in David Bösch’s latest production of “Much Ado About Nothing” at the Landestheater Linz, the concept takes on a darker, more sinister tone. The play, which premiered on September 15, 2024, is a gripping exploration of love, war, and toxic masculinity.
A Masterclass in Set Design
Patrick Bannwart, who designed the set for Bösch’s 2006 production of the play at the Thalia Theater, has outdone himself with the current production. The stage is transformed into a circular platform, adorned with garlands of light bulbs, evoking the atmosphere of a circus tent. This unique setting, which was previously seen in Hamburg and at the Salzburg Festival, sets the tone for a thrilling and thought-provoking performance.
War Veterans in Love
The play opens with a clown, who ponders the nature of war and its impact on humanity. This poignant opening scene sets the stage for the rest of the performance, which explores the effects of war on the human psyche. The characters, all war veterans, are struggling to come to terms with their past and find love in a world torn apart by conflict.
Toxic Masculinity and the Struggle for Love
Bösch’s production shines a light on the toxic masculinity that pervades the characters’ behavior. Claudio, Benedikt, and Don Pedro are all struggling to express their emotions, having been brutalized by their experiences in war. Their interactions are often tense and hilarious, as they stumble through their attempts to woo the women in their lives.
The women, on the other hand, are depicted as strong, independent, and wise. Beatrice, in particular, is a standout character, played with wit and charm by Vivian Micksch. Her sharp tongue and quick wit are the perfect antidote to the men’s bluster and bravado.
A Bloodless Battle of Wits
Throughout the play, Bösch expertly weaves together themes of love, war, and identity. The characters’ intrigues are bursting with comedy, as they navigate the complex web of relationships and misunderstandings. The play’s climax, which often features a messy and violent confrontation, is instead a clever and poignant commentary on the futility of war and the power of love.
A Triumphant Production
David Bösch’s ”Much Ado About Nothing” at the Landestheater Linz is a triumph. With its innovative set design, nuanced character portrayals, and clever direction, this production is a must-see for fans of Shakespeare and comedy alike. So, to the wedding bed? To war? Perhaps, but in this production, it’s the messy, imperfect journey that makes it all worthwhile.
Images:
“Much Ado About Nothing” at the Landestheater Linz © Herwig Prammer
Crucially damaged: Christian Higer, Benedikt Steiner, Vivian Micksch © Herwig Prammer
* Viel Lärm um nichts at the Landestheater Linz © Herwig Prammer
Keywords: Shakespeare, Much Ado About Nothing, David Bösch, Landestheater Linz, Patrick Bannwart, Set Design, War, Toxic Masculinity, Love, Comedy, Theatre Review.
Mutually exclusive themes. How does David Bösch’s adaptation of “Much Ado About Nothing” challenge traditional interpretations of love and conflict?
“To the Wedding Bed? To War!” – A Gripping Production of “Much Ado About Nothing”
In a thought-provoking adaptation of William Shakespeare’s comedy “Much Ado About Nothing,” director David Bösch brings a fresh perspective to the classic play at the Landestheater Linz. The production, which premiered on September 15, 2024, is a far cry from the traditional romantic comedies we’ve grown accustomed to. Bösch’s vision is a stark reminder that love and war are not
