Daniel Wollenzin

When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18^th century drama had been using up to that point.

A prince of fashion and a fairy-tale king. A bird of paradise and a cult figure. A Munich original and a philanthropist. During the course of his lifetime, Rudolph Moshammer was given countless of these nicknames and soubriquets. Everyone recognized him as an eccentric with his dog Daisy on his arm, a talk show guest and man of society. Like his role model, Bavaria’s fairy-tale king Ludwig II, he loved glamour, opulence, and excess. In his appearances as an actor and in advertisements, as a singer in the preliminary round for the Eurovision Song Contest and with books like «Mama und ich» (Mama and Me), he became a cult figure and his fashion boutique «Carnaval de Venise» in Maximilianstraße became a cult address and place of pilgrimage for Mosi fans.

In June 1816 the «Medusa», the fastest frigate of its time, sets to sea. Its destination is Saint-Louis in Senegal. There are two hundred and forty people on board – besides the sailors, most of them are soldiers, but they also include the colony’s Governor and his family together with priests, teachers, doctors and engineers. Two days’ journey from their destination the ship runs aground on a sandbank and splits. As there is not enough room for everyone in the lifeboats, a raft is cobbled together for the lifeboats to tow on shore. But as soon as they set off, the rudderless and heavily overloaded raft is left behind by the boats on which the dignitaries are rescuing themselves. Of one hundred and seventeen men only fifteen will survive. Many of them will fall victim to their own comrades because the few goods they were able to save – barrels of wine, sodden biscuits, a few weapons and valuables – are as heavily fought over as the power the make decisions about possible rescue measures.

The coup d'état has succeeded, the old government has been swept away. Henry and his followers rule the country like a king. But the king is old and ill and there is no suitable successor in sight. In Mrs. Flott's pub, however, business is going extremely well. John Falstaff spends his nights there with his intimate friend Harri - a mismatched pair, united by their shared desire for sharp-tongued speech and plenty of beer. However, when Harri receives an immoral offer from the center of power, it sheds new light not only on the future of the state, but also on John's friendship with Harri. Austrian playwright Ewald Palmetshofer's new adaptation of Shakespeare's history play, in which royal drama and comedy join hands, is both linguistically polished and crudely comic.