Academy Theater

Flying through time with seven Orlandos

"Orlando" times 7 in the renovated Akademietheater

(Bild: Burgtheater/Lalo Jodlbauer)

Next Burg premiere: the renovated Akademietheater opens happily under the direction of the new Burgtheater director Stefan Bachman with "Orlando" - based on the novel by Virginia Woolf in a version by Tom Silkeberg.

Depending on how successful it is, psychedelic, diversity-political theater can be interesting, but it can also be difficult. Fortunately, the dramatization of Virginia Woolf's groundbreaking novel "Orlando" (1928) clearly falls into category one. Olga Neuwirth's opera, for example, has shown how captivatingly the story of the Elizabethan aristocrat can be told by a fascinating female protagonist. First transforming from man to woman and then carrying the changing role model over the centuries in a state of immortality: that is a task that one is reluctant to share. Especially not by seven, as in the production by Therese Willstedt from Sweden.

But on the other hand, what could be better for a theater than an ensemble made up of nothing but protagonists? They are all convincing on an empty stage, with all their dedication, seriousness and skill, but without facial microphones and without German lecturing with raised eyebrows. Initially almost anonymized by their masks and costumes, they change gender and identity effortlessly and impress with their technical speaking skills.

Bravo salvos for the Orlandos Stefanie Dvorak, Martin Schwab, Elisabeth Augustin, Markus Meyer, Itay Tiran, Seán McDonagh and Nina Siewert, auratic in their final monologue. With discipline and courage, she just managed to get through the premiere before being replaced by Andrea Wenzl. Why? Because there are more important things to come in November: in the form of the first child.