Claudia Irro
Claudia Irro, in München geboren, studierte Kostümbild (M.A.) an der HAW Hamburg bei Prof. Reinhard von der Thannen. Ab 2009 arbeitete sie als Kostümassistentin u. a. am Theater Basel und der Münchener Biennale für Neues Musiktheater. Eigene Arbeiten als Kostümbildnerin entstehen seit 2010 in kontinuierlicher Zusammenarbeit mit Regisseur:innen wie u.a. Pınar Karabulut, Alexander Eisenach und Marie Bues. Im Musiktheater arbeitet sie mit Axel Ranisch, David Herman, Georges Delnon sowie dem Kollektiv AGORA zusammen. Ihre Arbeit führte sie an die Bayerische Staatsoper, Deutsche Theater Berlin, Münchner Kammerspiele, Bayerisches Staatsschauspiel, Oper Stuttgart, Schauspiel Köln, Berliner Ensemble, Theater Basel, Neumarkt Theater Zürich oder Biwako Hall in Japan.
Neben der Arbeit an Theater- und Opernhäusern ist sie an frei geförderten Projekten, Kunstfilmen und digitalen Formaten als Kostümbildnerin beteiligt. Für das Kostümbild zu «Richard Drei» in der Regie von Pınar Karabulut, entstanden 2022 am Schauspiel Köln, wird sie in der Kritiker:innenumfrage von Theater Heute als beste Kostümbildnerin genannt.
«Mosi - The Bavarian Dream» ist nach «Götz von Berlichingen» (2023) und «Der Schiffbruch der Fregatte Medusa» (2022) ihre dritte Arbeit als Kostümbildnerin in Zusammenarbeit mit Hausregisseur Alexander Eisenach am Residenztheater.
Foto: Nina Gschlößl
Stand: April 2024
Productions
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.
Der Schiffbruch der Fregatte Medusa (The shipwreck of the frigate Medusa)
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 18th century drama had been using up to that point.
Götz von Berlichingen
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.
MOSI - The Bavarian Dream