Samuel Wootton
Samuel Wootton (1988/DE) ist Jazzpercussionist, klassischer Schlagzeuger & Producer. Als Musiker ist er bedingungslos unbefangen und bewegt sich mühelos zwischen verschiedenen Musikstilen als Solist, Sideman oder Studiomusiker. Er arbeitete in diesem Sinne mit der NDR Bigband, der HR Bigband, dem Münchner Rundfunkorchester, dem Münchner Gärtnerplatztheater und dem Residenztheater sowie Künstlern wie Trilok Gurtu, Tim Hagans, Nicola Conte, Peter Sadlo oder Fünf Sterne Deluxe, um nur einige zu nennen. Samuel Wootton ist in seiner Band TOYTOY einer der vier kreativen Köpfe und Hauptakteure, sowie Percussionist der Band SLATEC, der «Jazzrausch Bigband» und beim Musical «Lion King“. Mit seinem eigenen Projekt «Samuel Wootton’s Allsorts» präsentiert er seine eigene Musik – sie hat Tiefe, Humor und beeindruckende instrumentale Vielfalt. Sie erzählt Geschichten und kreiert einzigartige Stimmungen mit pulsierenden Rhythmen und intimen Melodien.
Konzerttourneen führten ihn in zahlreiche Länder wie Kenia, Nepal, den USA, Serbien, China, Malta, Ägypten und Oman.
Als Komponist und musikalischer Leiter arbeitet er wiederholt am Residenztheater München mit der Regisseurin Elsa Jach.
Samuel Wootton ist Preisträger des «Kulturkreis Gasteig Musikpreis», des «Krach und Getöse Musikpreis» und war langjähriger Stipendiat der «Andechser Orff-Akademie des Münchener Rundfunkorchesters» und der «Oscar und Vera Ritter Stiftung» sowie Stipendiat «Junge Kunst und neue Wege» des Freistaats Bayern.
Stand: Oktober 2024
Productions
Copenhagen’s working-class district of Vesterbro in the 1920s has little room for the talent and dreams of young Tove. She leaves school at the age of fourteen and is sent against her will to work as a maid and later as a clerical worker. However, she refuses to give up, publishes her early poems and stories and continues to seek her freedom as a writer. In the «Copenhagen Trilogy» Tove Ditlevsen uses her own biography to tell of an escape from a complicated everyday reality into storytelling, skilfully interweaving fiction and reality. Her first-person narrator, with whom she shares a name, delivers a humorous and laconic account of a personal life that is nevertheless political.
Die Kopenhagen-Trilogie (The Copenhagen Trilogy)
During the global economic crisis of the 1920s, a young woman tries out self-realization and yet ends up in a restrictive marriage, confronted with misogyny and male bonding as well as the rise of National Socialism. Elsa-Sophie Jach adapts Marieluise Fleisser's only novel for the stage.
Eine Zierde für den Verein (A credit to the club)
After fifteen years in exile, Orestes returns incognito to his home city of Argos – the same city in which his father Agamemnon was murdered by his wife Clytemnestra and her lover Aegisthus on his victorious return from Troy. However, desire for revenge is not the reason for his spontaneous homecoming – it is the rumour of a mysterious plague of flies. When his sister Electra persuades him to stay, it gradually dawns on him that Clytemnestra and Aegisthus are not only cruelly oppressing the people, they have also implicated him in Agamemnon’s murder. Only then does Orestes decide to take action.
Die Fliegen (The Flies)
No other play by Heinrich von Kleist inspires quite so many superlatives as «Käthchen of Heilbronn». It is not only the most successful, but also the most romantic, the most fairy tale-like and at the same time the most mysterious play that he wrote.
Das Käthchen von Heilbronn (Käthchen of Heilbronn)
The director Elsa-Sophie Jach, who recently made her debut at the Residenztheater with her production of Herbert Achternbusch’s «Heart of Glass», brings the outrageous love poetry of «Europe’s first poet» to new life. Known for a directing style characterised by precise language and strong visuals, she hunts down the forgotten remains of Sappho’s poems, condenses them into a chorus and, on a tour through the literary canon together with the Munich techno live band SLATEC, she exposes the systematic erasure of the female voice, its silencing and the need for it to empower itself.
Die Unerhörten (The outrageous ones)