NicolaMastroberardino

Geboren 1978 in Zürich, absolvierte Nicola Mastroberardino sein Schauspielstudium an der Hochschule für Musik und Theater Zürich. Seine Engagements führten ihn von 2005 bis 2010 an das Schauspiel Essen, von 2010 bis 2015 an das Schauspielhaus Bochum und von 2015 bis 2019 an das Theater Basel. 2008 erhielt er den Aalto Bühnenpreis für junge Künstler, 2009 den Förderpreis der Akademie der Künste in der Sektion Darstellende Kunst sowie 2013 den Bochumer Theaterpreis in der Sparte «Arrivierter Künstler». Zuletzt wurde die Schweizer TV-Serie «Seitentriebe» mit ihm in der Hauptrolle mit dem European Script Award 2018 ausgezeichnet. Er arbeitete unter anderem mit den Regisseur*innen David Bösch, Anselm Weber, Sebastian Nübling, Lisa Nielebock, Hermann Schmidt-Rahmer, Julia Hölscher und Thorleifur Örn Arnarsson. Mit den Inszenierungen von Simon Stone, Ulrich Rasche und Claudia Bauer wurde er 2017, 2018 und 2019 zum Berliner Theatertreffen eingeladen.

Performing in

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s. 

Das Vermächtnis (The Inheritance) – Part 1
Part 1 (Part 2: 10.7.)
Residenztheater, 19.30 o'clock
Sat 09 Jul

New York City in the final months of the Obama Presidency. While the writer Toby Darling feverishly awaits the premiere of his play, his partner Eric Glass spends time with his acquaintance Walter. His conversations with the 55-year-old take Eric back to a past which as a gay man in his early thirties he only knows from hearsay: the devastating AIDS epidemic that rocked the LGBTQ community at the beginning of the 1980s.

Das Vermächtnis (The Inheritance) – Part 2
Part 2 (Part 1: 9.7.)
Residenztheater, 19.30 o'clock
Sun 10 Jul

PART I: MILLENNIUM APPROACHES

PART II: PERESTROIKA

The mid-1980s: the outbreak of the disease AIDS alarms New York. Louis, son of a wealthy Jewish family, abandons his sick boyfriend Prior and starts a relationship with conservative Mormon lawyer Joe. When Joe’s drug-dependent wife Harper retreats into dreams of everlasting ice, his strictly religious mother flies in outraged from Salt Lake City. The Republican Roy Cohn, a cynical and power-obsessed lawyer, insists until his last breath that he is not gay and does not have AIDS. Even on his deathbed, he refuses to stop arguing about this with his black nurse Belize. And then an angel breaks through Prior’s bedroom ceiling.

Engel in Amerika (Angels in America)
Premiere
Residenztheater, 17.00 o'clock
Fri 23 Sep

A caretaker is murdered with no reason or motive. Alienated from himself and life in general by a working day that is always the same, a bank clerk seizes an axe and commits murder. This action lacking any obvious cause shocks state prosecutor Martin, who is in charge of the case. In the murder and his crime he can see a reflection of his own imprisonment in a bourgeois existence dominated by duty, law and order. The prosecutor is immediately struck by an existential fear that drives him to escape into the fairy tale world of a mysterious alter ego: the world of Count Öderland.

Graf Öderland (Count Öderland)

Lola Montez was one of the most dazzling female figures in the history of Bavaria and the city of Munich. When Lola – who was actually born Elizabeth Rosanna Gilbert – arrived in Munich in 1846, the immigration police recorded her as: «artist, dancer from Sevilla, Spain, 24 years old, Catholic, no passport.» A short time later she had become the lover of the Bavarian King Ludwig I. However, it would be too simple to reduce this fascinating woman to the scandals that were often no more than allegations against her: because in both her thinking and her actions she was centuries ahead of her time.

 

Lola M.
Cuvilliéstheater, 20.00 o'clock
Mon 11 Jul

The author and musician PeterLicht frees this moral portrait that we now find barely legible from the socio-political reality of French absolutism and sets his sights on the present in his new version «Tartuffe or the Philosopher’s Swine». Here he employs the same characters as the original, whose literary descendants are nevertheless given considerable licence: in secular times one abhors a vacuum and so the «socially interconnected sculpture» hopes for and fears the appearance of Tartuffe, who serves to supply their wishes and as a surface onto which they may project themselves.

Tartuffe oder Das Schwein der Weisen (Tartuffe or the philosopher's swine)

The Australian playwright and director Simon Stone whose attention-grabbing contemporary interpretations of classic dramas have caused an international sensation, takes characters, narrative threads and motifs from Horváth’s works, catapults them into the present day and weaves them together into a touching, post-heroic panorama of human effort in times of crisis.

Unsere Zeit (Our Time)

Chekhov’s texts, first and foremost his youthful fragment «Platonov», form the starting point for a new evening of musical theatre by resident director Thom Luz. He has borrowed the title from a Russian film version of «Platonov» from 1977 and assembles a society that attempts to discern the melody of the joys and horrors of the future from the songs of a long-forgotten time.

Unvollständige Partitur für ein mechanisches Klavier (AN INCOMPLETE SCORE FOR MECHANICAL PIANO)