This Elisabeth is actually a predecessor of Erin Brockovich: a young woman who's rooted and unwavering in her grasp of independence and who's trying to find a job by all means necessary. That's why she's standing in front of the Anatomical Institute to sell the rights to her organs – while she's still alive – so she can pay for her business license to sell undergarments. But her social circumstances lace her up more tightly than any corset would: resentment and a society in a merciless struggle for existence weave the increasingly desperate Elisabeth into a precarious web of white lies and hypocrisy.
It'll be a parade in the rain / Where the saw cuts through the dead / The world is a clueless refrain / Everyone is shaped by need and dread, sings renowned post-Klezmer punk musician Daniel Kahn in a song he wrote for Hakan Savaş Mican's production. After Kleiner Mann, was nun? (Little Man – What Now?), Mican has taken on a social drama again, which outlines the downward social mobility of normal employees at the beginning of the thirties with clairvoyant urgency. Brave and desperate, they struggle for a decent life and some love, even as the place of their dreams moves ever further away: In the Mountains of Tibet / How much prettier could it get / Where no skeleton's cut up at the end / And there's no corsets to vend / In the Mountains of Tibet.
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Photo: Esra Rotthoff
Stage Photos: Ute Langkafel