William Shakespeare

Romeo and Juliet

Tragedy in five acts
Text version: Thomas Reichert
First performance: ca. 1597, London
In German with explanations in English
For young people and adults
Duration: 1 hour 30 minutes
Cast
Production: Thomas Reichert
Costumes: Edouard Funck
Set design: Thomas Reichert, Günther Schöllbauer
Scene painting: Emanuel Paulus
Light: Thomas Reichert, Alexander Proschek
Puppet's heads: Leonhard Winkler
Puppet painter: Marion Mayer
Assistant director: Philipp Schmidt
Production manager: Philippe Brunner

Puppet making: Vladimir Fediakov, Leonhard Winkler, Emanuel Paulus, Maximilian Kiener-Laubenbacher
Costume workshop: Edouard Funck, Marion Mayer
Prop making: Eva Wiener, Ursula Winzer, Anne-Lise Droin
Carpenter's workshop, metalworking: Vladimir Fediakov, Leonhard Winkler, Emanuel Paulus, Maximilian Kiener-Laubenbacher
Technician, sound: Alexander Proschek

With music by: Bach/Kurtág, Ligeti, Mendelssohn Bartholdy, Messiaen, Ockeghem, Penderecki, Rota
Many thanks to the Salzburg Festival for the textile partnership and to Thoma Holz for the donation of wood..
Role
Voice
Puppeteer
Capulet
Stefan Merki
Vladimir Fediakov
Lady Capulet
Sibylle Canonica
Ursula Winzer
Juliet
Juliane Köhler
Edouard Funck
Tybalt
Simon Zagermann
Emanuel Paulus
Montague
André Jung
Anne-Lise Droin
Lady Montague
Sibylle Canonica
Marion Mayer
Romeo
André Jung
Eva Wiener
Benvolio
Johannes Meister
Ursula Winzer
Mercutio
Thomas Limpinsel
Philippe Brunner
Paris
Stefan Wilkening
Philipp Schmidt
Friar Laurence
Sylvana Krappatsch
Maximilian Kiener-Laubenbacher
An apothecary
Philippe Brunner
A servant
Johannes Meister
Emanuel Paulus

Premiere: 24.10.2024

The production is supported by ŠKODA (patronage for Juliet) and PALFINGER (patronage for Romeo).

Ensemble
Susanne Tiefenbacher
Managing director
  • Born in Zell am See
  • Business training; studied communication science
  • Postings abroad in Peking, Hong Kong, Cyprus and Portugal
  • Freelance entrepreneur in event marketing and cultural management, production management for festivals
  • Managing director of Winterfest Salzburg (festival for contemporary circus art)
  • Since 2020 at the Salzburg Marionette Theatre
Philippe Brunner
Artistic director, puppeteer
  • Born in Berlin
  • Studied musicology and English literature
  • Founded and directed the Junge Marionettenoper Berlin
  • Organisation for the Lucerne International Music Festival and the Berlin Festival
  • Production manager at ECM Records, Munich
  • Since 2003 at the Salzburg Marionette Theatre
Anne-Lise Droin
Puppeteer, costume-maker
  • Born in Geneva
  • Trained as a kindergarten teacher
  • Puppeteer, puppet workshop at the Geneva Marionette Theatre
  • Since 2010 at the Salzburg Marionette Theatre
Pierre Droin
Puppeteer
  • Born in Geneva
  • Studied art history
  • Puppeteer, puppet-maker and stage director at the Geneva Marionette Theatre
  • Since 1990 at the Salzburg Marionette Theatre
Vladimir Fediakov
Puppeteer, sculptor, woodcarver, puppet-maker
  • Born in Moscow
  • Trained as a car mechanic
  • HGV-driver, freelance taxi-driver
  • Furniture restorer
  • Since 2000 at the Salzburg Marionette Theatre
Edouard Funck
Puppeteer, costume-maker
  • Born in Paris
  • Master tailor; studied at the École Paul Poiret (Paris)
  • Costume supervisor for Stage Entertainment, Cirque du Soleil, Oper Leipzig.
  • Freelance costume designer
  • 2011 - 2017 and since 2019 at the Salzburg Marionette Theatre
Heide Hölzl
Puppeteer
  • Born in Salzburg
  • Trained as a dressmaker at the Salzburg vocational school
  • Theatre dressmaker
  • Since 1960 at the Salzburg Marionette Theatre (actually retired, but still active)
Maximilian Kiener-Laubenbacher
Puppeteer, workshop
  • Born in Regensburg
  • Studied voice at the Mozarteum University
  • Freelance singer and voice teacher
  • Since 2019 at the Salzburg Marionette Theatre
Marion Mayer
Puppeteer, costume-maker
  • Born in Salzburg
  • Universities of Applied Sciences for fashion and clothing technology, and ceramics and kiln construction
  • Master dressmaker, qualified potter
  • Retail experience
  • Since 2015 at the Salzburg Marionette Theatre
Emanuel Paulus
Puppeteer, scene painting, workshop
  • Born in Schwarzach
  • Painter and decorator
  • Since 2007 at the Salzburg Marionette Theatre
Philipp Schmidt
Puppeteer, assistant to the artistic director
  • Born in Göttingen
  • Studied Music Theory, Musicology and Linguistics
  • Lecturer of Music Theory at the University of Music Weimar
  • Editor and music engraver for various music publishers
  • Since 2022 at the Salzburg Marionette Theatre
Eva Wiener
Puppeteer, properties
  • Born in Klagenfurt
  • Trained in textiles at technical college
  • Since 1990 at the Salzburg Marionette Theatre
Ursula Winzer
Puppeteer, properties
  • Born in Hallein
  • Trained in textiles
  • Sales and consulting in the Heimatwerk
  • Diploma in feng-shui
  • Since 1986 at the Salzburg Marionette Theatre
Günther Schöllbauer
Technical manager, stage manager
  • Born in Salzburg
  • Training as electrical engineer
  • Technical director in the Kleines Theatre (Salzburg) and Metropolis
  • Head lighting technician in the Salzburger Landestheatre
  • Since 2019 at the Salzburg Marionette Theatre
Alexander Proschek
Technician
  • Born in Wiener Neustadt
  • Diploma in digital media technologies
  • Freelance sound and lighting technician
  • Keen musician
  • Since 2016 at the Salzburg Marionette Theatre
Barbara Ortner
Director's assistant, office manager
  • Born in Salzburg
  • Trained in travel and tourism management
  • Reception and event organisation in various hotels
  • Since 1999 at the Salzburg Marionette Theatre
Christine Gropper
Finances, funding, strategic marketing, sustainability manager
  • Born in Munich
  • Studied cultural geography and landscape, regional and urban management in Erlangen, Salzburg and Buenos Aires
  • Post-graduate studies in cultural management
  • Ticketing management, film culture centre Das Kino, Salzburg
  • Production management, Winterfest (festival for contemporary circus art), Salzburg
  • Since 2021 at the Salzburg Marionette Theatre
Silvia Greisberger
Cash desk
  • Born in Salzburg
  • Studied languages
  • Reception and hotel reservations
  • Ticket sales for a concert agency
  • Since 2021 at the Salzburg Marionette Theatre
Andrea Schmirl
Cash desk
  • Born in Innsbruck
  • Studied languages
  • Town guide in Innsbruck
  • Sales in travel agency
  • Since 2005 at the Salzburg Marionette Theatre

Committee of the Board

  • Claus Spruzina
  • Suzanne Harf
  • Hannes Eichmann
  • Kurt Lassacher
  • Brigitte Lindner
  • Anton Santner
  • Birgit Limmert
Abstract

Act I

In Verona, two powerful families have been feuding for generations: the Capulets and the Montagues. Once again, a violent brawl breaks out in the streets, eventually involving even the heads of the families. It is only a decree from the Prince that interrupts the unrest: whoever is caught fighting in the future will be punished with death.

Romeo Montague was not involved in the brawl; he is consumed by unrequited love for his beloved Rosaline and cannot be cheered up, even by his best friend Benvolio.

Meanwhile, preparations for a grand ball are underway at the Capulet house. The young Count Paris has asked Capulet for his daughter Juliet's hand in marriage and is invited to the ball. Lady Capulet tries to persuade her daughter to consider marrying Paris.

Romeo and his friends Benvolio and Mercutio manage to sneak into the Capulets' ball in disguise. When Tybalt, Capulet's nephew, recognizes Romeo and tries to throw him out, Capulet restrains him. Finally, Romeo and Juliet see each other for the first time and instantly fall in love – only to then reveal their family names to each other in shock.

Act II

Romeo manages to slip away from his friends after the ball and sneaks back into the empty ballroom of the Capulets. There, he encounters Juliet, who is overwhelmed by her feelings, and reassures her of his sincere intentions: both confess their love for each other and promise to marry in secret the next day.

Romeo asks his confidant Friar Laurence to marry him to Juliet. The friar reminds Romeo of Rosaline and accuses him of being fickle. However, in the hope of a possible reconciliation between the two families, Lawrence eventually agrees and marries Romeo and Juliet.

Act III

On the streets of Verona, Tybalt insults Romeo and his friends. Romeo tries to settle the dispute. Mercutio, unaware of Romeo’s marriage to Juliet, becomes enraged and draws his sword against Tybalt. In the ensuing duel, Mercutio is fatally stabbed by Tybalt and, dying, curses both families. Romeo then kills Tybalt.

As Juliet waits for Romeo's visit that night, her mother tells her about Romeo's murder of Tybalt and his banishment from Verona. Juliet's initial anger towards Romeo eventually turns to compassion.

At Friar Laurence's, Romeo learns of his banishment and is devastated at the thought of leaving Juliet. Lawrence advises him to visit her secretly that night and to flee to Mantua the next morning; he himself plans to announce the marriage publicly when the time is right.

Meanwhile, Paris asks Capulet whether Juliet has accepted his proposal – Capulet sets the wedding date for three days later without Juliet’s consent.

At dawn, Romeo and Juliet bid each other farewell without being sure that they will meet again. Sinking into despair, Juliet is confronted by her parents with the news of her impending marriage to Paris. When she refuses, Capulet flies into a rage and threatens to disown her.

Act IV

Paris tells Friar Laurence about his wedding plans when Juliet arrives. Laurence sends Paris away under the pretence of hearing Julia's confession. In the seemingly hopeless situation, Laurence and Juliet devise a plan: he gives her a potion that will put her into a death-like sleep for a day. Romeo is to be informed by letter so that he can rescue her from the Capulet family crypt.

Meanwhile, wedding preparations are in full swing at the Capulet house. To avoid raising suspicion, Juliet asks her father for forgiveness. In his euphoria, Capulet postpones the wedding to a day earlier.

On the wedding day, Juliet is found in her bed, seemingly dead. The general shock is interrupted by Friar Laurence, who insists on bringing Juliet to the family crypt.

Act V

Instead of receiving Friar Laurence's letter, Romeo hears of Juliet’s death. Desperate, he buys poison from an apothecary, intending to kill himself beside Juliet.

In the crypt, Paris is guarding Juliet’s grave. When Romeo forces his way in, a duel ensues, and Paris falls. After taking one last look at Juliet, Romeo drinks the poison and dies.

Friar Laurence arrives at the tomb and is horrified to find Romeo dead. When Juliet awakens and sees Romeo, Lawrence is unable to persuade her to flee with him. Left alone, Juliet kills herself with a dagger.

It is only when the remaining family members discover the dead in the crypt that they realise the devastating consequences of their long-standing feud.

About the play

Statement of the director Thomas Reichert

Romeo and Juliet – the greatest love story of all time, full of poetry and yet without false sentimentality, already told by Shakespeare with blatant directness – has six people dead at the end. The question arises: How can it be that a story from the day before yesterday is still so relevant today? What bitter testimony does this fact bear to our reality? We are probably not in a position to create an environment in which our children grow up to be peaceful adults, and so conflicts are passed on from generation to generation.

There are Romeo and Juliet, who can only save their love by committing suicide. They simply do not get a chance to grow up peacefully. Four other deaths are victims of this incompatibility of love and social constraints.

Marionettes can tell this story of hate, envy, jealousy and the greatest love in a particularly powerful way, as they – made only of wood and seemingly lifeless – can be the unrestricted canvas for projecting the feelings and thoughts of each individual spectator.

History

In 1913 the sculptor Anton Aicher founded the Salzburg Marionette Theatre, opening with a performance of Mozart's Bastien und Bastienne. His performances were such a success that in the autumn of that very first year he went on tour. The repertoire was expanded to include children's fairy-tales, with the "Kasperl" (perhaps equivalent to Mr. Punch) as the main figure.

Anton Aicher

In 1926, Hermann Aicher received the Marionette Theatre from his father Anton as a wedding present, and used his technical knowledge to create a real miniature stage. In collaboration with the Mozarteum Academy, he rehearsed increasingly ambitious operas, and soon the repertoire included Mozart's smaller operas, such as Apollo et Hyacinthus or Der Schauspieldirektor [The Impresario].

During the period 1927–34, the theatre gave guest performances in Hamburg, Vienna and Holland, and visited Istanbul, Sofia and Athens. Moscow and Leningrad followed in 1936, in venues seating 2,500 – which necessitated new, larger marionettes. The special attraction was the marionette of the legendary ballerina Anna Pavlova, dancing the "dying swan".

The puppet of Anna Pavlova at a guest performance in Moscow/Leningrad 1936

From 1940-44 the Salzburg marionettes were sent to the front. Hermann Aicher was summoned to military service in 1944, and the Theatre was closed. After the end of the war, the marionettes immediately resumed their activities, first of all for the occupying troops. In 1947, they gave the first post-war German-language guest performance in the famous Paris Théâtre des Champs-Elysées. There followed a busy period with tours, guest performances, and new productions including Mozart's five major operas.

Scene from "The Magic Flute"

In 1971 the present theatre, adapted specifically to the requirements of the marionettes, was opened with Rossini's Barber of Seville.

Hermann Aicher died shortly after his 75th birthday, and his daughter Gretl took over the theatre. The marionettes toured Europe, America and Asia, in New York, Paris, Italy, Switzerland, Hong Kong and Japan.

In 1991, to mark the 200th anniversary of Mozart's death, Götz Friedrich staged Mozart's Così fan tutte.

1994/95 brought TV and video recordings of all five major Mozart operas, with Sir Peter Ustinov as narrator, and from 1992–97 several productions were staged in co-operation with the Salzburg Landestheater. In 1996, the Salzburg marionettes collaborated with the Salzburg Festival in Carl Maria von Weber's opera Oberon, in the Small Festival Hall.

Puppets for C. M. v. Webers "Oberon" at the Salzburg Festival 1996

1998 saw the first collaboration with the Salzburg Easter Festival, in Sergey Prokofiev's Peter and the Wolf. To mark the 85th anniversary of the Marionette Theatre, the "World of Marionettes" museum was opened in Hohensalzburg Fortress.

In 2001, the theatre premièred the first spoken play for many years, with Shakespeare's A Midsummer Night's Dream. This was followed in December 2003 by the première of Humperdinck's opera Hansel and Gretel.

The 2006 Salzburg Festival marked the 250th anniversary of Mozart's birth with performances of  all 22 operas; Bastien und Bastienne and Der Schauspieldirektor were staged in collaboration with the Marionette Theatre – a collaboration continued in 2007.

The world-famous Broadway musical The Sound of Music was premiered on November 2, 2007 in Dallas, Texas.

Puppets from "The Sound of Music"

In 2010 the Salzburg Marionette Theatre staged Claude Debussy's puppet ballet La boîte à joujoux (The Toy Box). The world-famous pianist Andràs Schiff initiated the project which was premiered at the Ittinger Pfingsttage (Switzerland). 2011 and 2012 The Little Prince and a short version of The Ring of the Nibelung in cooperation with Salzburg State Theatre were brought on stage.

The death of Gretl Aicher in 2012 marks the end of the Aicher family's ownership after three generations.

2013 the Salzburg Marionette Theatre celebrates its 100th anniversary with the production Snow White and the Seven Dwarfs and Alice in Wonderland.

In 2016, the Austrian UNESCO commission designated the operating technique developed by the Salzburg Marionette Theatre a "most highly developed form of puppet and figure theatre" and declared this sophisticated, fine-tuned method Intangible UNESCO Cultural Heritage (Austrian List). With new productions such as Fidelio by Ludwig van Beethoven, new scenic approaches are taken and the technique of puppetry is refined.

Scene from "Fidelio"

Since 1913 the Salzburg Marionette Theatre made 270 tours throughout the world.

THE HISTORY OF THE BUILDING AND THE THEATRE

Since 1971, the Salzburg Marionette Theatre has been housed the historic building at Schwarzstrasse 24 – on the right side of Salzburg's Old Town, between the Landestheater and the International Mozarteum Foundation, and between the River Salzach on the one side and the Mirabell Palace with its world-famous garden on the other.

After it was founded in a studio in the Künstlerhaus in 1913, then moved to the gymnasium of the old Borromäum, and spent ten years in the temporary premises of the Kapitelsaal, the Marionette Theatre settled in Schwarzstrasse 24. This building has its own chequered history: between the Villa Lasser (now the Mozarteum Foundation) and the municipal theatre, Count Arco-Zinneberg's Kaltenhausen brewery had a restaurant and function-rooms built in 1893. The architect was Carl Demel, the master builder Valentin Ceconi. In 1897, the function-rooms were converted into the Hotel Mirabell.

Until 1968, the Mirabell Casino was part of the hotel. In 1970 reconstruction work was begun, in order to give the Marionette Theatre a new home. The former dining-room of the hotel was converted into the auditorium with the stage. It is still impressive, with its elaborate stucco-work and opulent painting. In the course of repairs to the foyer in 2000, the original stucco-work was discovered, and since 2003 the foyer ceiling can be admired in its former splendour.

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      Committee: Harald Labbow, Julia Heuberger-Denkstein, Barbara Ortner, Nina Eisenberger, Julia Skadarasy, Katharina Schneider, Eva Rutmann

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