Hamburg Thalia Theater “Hansel & Gretel” as a clumsy disgusting pervert As of 07:05 | Reading time: 2 minutes M Artistically recorded on the video screen of Rammstein singer Till Lindemann in the role of a “phantom”, even original bad poems can not breathe life into the “Hänsel & Gretel” evening at the Thalia Theater. The “phantom” has no function in the story. Regie duo Ene-Liis Semper and Tiit Ojasoo recount the grimm fairy tale. Now it goes like this: Father (Tim Porath) and mother (Gabriela Maria Schmeide) put their children out in the woods because mother does not want to give up the second car. The whole family has been provided with ugly bulging-sore faces by the mask (by far the best performance: Julia Wilms), the children Gretel (Marie Jung) and Hänsel (Kristof Van Boven) just stare stupidly. So you do not feel as well when dad puts her out in the woods. This works great here, because Hänsel sets on the first attempt on bread crumbs. In the forest, the children are advised by a perverted, devoured, and obese drag queen (Björn Meyer, photo, M.), who is constantly eating Big Macs, and pie Coke shoveling in with both hands. Lindemann does it with spaghetti and milk and then vomits a lot again. The viewer can see that in close-up, because the stage is on the top screen, the bottom is played live and filmed. Because a fairy tale would be too short, even the “From the mouse, birdie and the sausage” is told. After the break, the drag queen tries to push Hänsel into the oven as a casserole, but is burned by Gretel. Now Gretel (new!) Is transformed into a stone, the Hänsel dragging agonizingly over the stage. Then she gets up, both return home and continue to eat there. This kind of multimedia performance project as clumsy consumer criticism was announced at the end of the eighties on Kampnagel. In the Thalia Theater she has now degenerated to even clumsier Bildergeflacker.
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