Vienna Kammerspiele
Miss Scrooge, nicely gendered
A Christmas tale: Charles Dickens' old usurer Mr. Scrooge makes an entertaining appearance at the Kammerspiele in a new, attractive guise.
Only one question remains unanswered in this otherwise flawlessly endearing and uncomplicated evening: Why? Why is Dickens' immortal usurer Scrooge a woman in the Vienna Kammerspiele? It can't be modern efforts at inclusion: That a woman, instead of acquiring a family, becomes frustrated and mean on the career path is not, after all, the realization of the hour demanded of us.
On the other hand, even the term "burglars" is now being celebrated as an emancipatory breakthrough in the property crime segment. So the answer to the question is simple: why not? Why not skillfully adapt "Christmas Carol" like director Werner Sobotka and his partner Niklas Doddo?
Especially when you have a fabulous title actress like Maria Köstlinger at your disposal. First transported to 1965 and then back to the post-war period, she goes through the required phases of purification in a way that is well worth seeing. An attractive woman for whom a more rewarding life awaits than for the reformed banger of the original: this works very well, especially as André Pohl, Paula Nocker, Susanna Wiegand, Paul Matic, Markus Kofler, Martina Stilp and (really) everyone else form an impeccable ensemble.
What Sobotka and his set design team (Judith Leikauf/Karl Fehringer) conjure up on the tiny stage is also more than successful: The effects and minute changes wrested from the cramped conditions are quite something. Only the use of face microphones seems a little overprotective in view of the dimensions.
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