Bernd Leopold Moser films “The Talisman” with only a few script alterations, which later succeed. The costumes are wonderfully colorful, the collection is solid.
A man adopts three identities with the aid of three wigs in order to deny his red-haired identity, which is shunned by mainstream society: indeed, it is a miracle that Nestroy’s “talisman” has yet to be discovered as a training ground for cultural appropriation theory. It would give way to it, just as it would give way to elegant satire on contemporary theatrical trends. In his quote, Bernd Leopold Moser put something like this in the mouth of Titus Voirfox – revealing that what he called “life picture” and “domestic and economic poetry” in 1840 are now called “documentary theatre” and “post-dramatic”. “Anger overwhelms her” corrects to “Anger overwhelms her” and allows Frau von Cypressenburg to reply annoyed: “And now he has changed him too”.
Otherwise, Salzburg State Theater’s Liepold-Mosser generally trusts Nestroy’s innovative language game, and that’s a good thing. Anyway, much better than his recent attempt at Wiener TAG to rewrite Nestroy’s “Hell Fear” as a digital imitator, including new Carinthian songs instead of Nestroy clips. Of course, he also replaced it with Salzburg’s “Talisman” with more or less successful folk adaptations. You don’t have to put lines like “the wall of prejudice is collapsing in my mind” on a pot of gold. Better than clumsy improvisation in couple mode. Haven’t we always wanted to see Salome Boucherel as a naughty girl?