Fewer scenes, more classical theater craftsmanship – and a conscious break with expectations: the new “Everyman”, directed by Hoffmann’s lover Robert Carson, brings the Salzburg Cathedral play back to the stage in the square.

Philip Hochmeier was praised as Everyman at yesterday’s premiere. There were no storms of excitement this time around, like when he stepped in for the ailing Tobias Moretti in 2018, which was partly due to the way Carson liked his Everyman: careful and not quick, at least not as Everyman is directed. Electric Hand of God, the band with whom Hochmeir has been ‘reloading’ his own “Everyman” for years.

Women as Pacemakers in Text

In this production as well, Hochmeir struggles through the party and courtship scenes and sometimes through Hofmannsthal’s sly diction. The women in the piece looked more confident. Dörte Lyssewski, initially in the role of the poor neighbor, quickly makes it clear as an ex-lover how what works in the text should work on stage. And Delilah Piasco, in her performance as the love interest, seems to wear the text and character much more lightly than she does her adorable love interest.

Hochmeir goes as the party progresses and, in the second episode, captures the character Carson wants from Everyman. Each of these men did not die alone, but in exchange for the choir. And everyone here swaps the party shirt for a penance shirt. The voice of the works from the darkness, again Liszewski, calls to go to the grave together.

Davor’s company has long become the chorus of ancient theatrical tradition, and in death, he wears the robes of an altar boy. The piece ends with dozens of white penitents lying on the ground in the final image of Maurizio Catellan’s tradition. And in a certain way, this “everyman” ends up in the spirit of the creators Hofmannsthal and Max Reinhardt – a more detailed discussion is available at topos.ORF.at.