Niklas Mitteregger

Geboren 1991 in Graz, absolvierte Niklas Mitteregger sein Schauspielstudium am Mozarteum Salzburg. Bereits währenddessen arbeitete er mit Matthias Hartmann, Volker Lösch und Anita Vulesica zusammen und war in der Spielzeit 2018/2019 am Düsseldorfer Schauspielhaus in der Regie von Robert Lehniger und David Schnaegelberger auf der Bühne zu erleben. Beim Bundeswettbewerb deutschsprachiger Schauspielstudierender wurde er mit dem Ensemble-Preis sowie dem Preis der Studierenden ausgezeichnet. Niklas Mitteregger trat mit der Spielzeit 2019/2020 sein Erstengagement an und ist seither Ensemblemitglied am Residenztheater.

Performing in

The cycle of revenge and retribution is endless. Every drop of blood spilt has to be atoned for with more. Everyone thinks they have the law and the will of the gods on their side and this conviction drives them on to commit new injustices. This is the spiral of violence that grips the ruling house of the Atrides in Aeschylus’s «Agamemnon», the first part of his trilogy «The Oresteia».

Agamemnon
Residenztheater, 18.30 o'clock
Mon 20 May

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)
Marstall, 20.00 o'clock
Sat 11 May
Marstall, 20.00 o'clock
Fri 17 May

Hamsun’s trilogy tells the story of a man who feels he has been overlooked by the elites that set the tone and cheated of social recognition. The philosopher Ivar Kareno evolves from a 30-year-old radical and anti-liberal writer on the fringes of poverty into a 40-year-old private tutor to the two sons of a businessman in a distant coastal region. Here Kareno sits brooding in his writing tower, while an infectious fever descends on people, arriving from the North, the businessman Otermann is driven mad by his wealth and a strange man wanders between the houses, rumoured to be justice. Ten years later, the 50-year-old Kareno is still hoping for a major turning point in his life. And he will indeed reach a milestone where he must decide whether he will remain true to the radical ideas of his youth or to pursue a career that is more measured politically.   

Spiel des Lebens (The game of life)

Georg Büchner’s fragile fragment, one of the most important dramas in German literature, is based on the case of the soldier Woyzeck, who murdered his lover and was sentenced to death in 1824. Büchner was familiar with the facts of this historic criminal case which were detailed in legal, medical and psychological reports. He shows a murder of jealousy and the events that lead up to it: Woyzeck, «a good chap and a poor devil», forced onto the lowest level of society financially, humiliated by his superiors, experimented upon by science, is exposed to a radical lack of empathy from the world around him. As a result, he becomes guilty, once his fears, instincts and desires break out obscenely from inside him.

Woyzeck
Residenztheater, 18.30 o'clock
Sun 05 May

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
Cuvilliéstheater, 19.30 o'clock
Wed 15 May
Cuvilliéstheater, 19.30 o'clock
Thu 16 May

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
Premiere
Marstall
Sat 27 Apr
If applicable, remaining tickets
Save date
Marstall, 20.00 o'clock
Mon 29 Apr
If applicable, remaining tickets
Save date
Marstall, 19.00 o'clock
Thu 09 May
7.30 pm Introduction
Marstall, 20.00 o'clock
Tue 14 May
7.30 pm Introduction
Marstall, 20.00 o'clock
Wed 22 May

At Whitsun the lion king Nobel invites his subjects to his court for an early summer celebration. The entire animal kingdom gathers – ranging from the crane to the wolf and the bear. Only one animal is missing: the fox called Reineke. As soon as his name his mentioned, the mood of harmony vanishes. One angry accusation follows another and Reinike the fox is charged in his absence with a series of incredible crimes. The cockerel, for example, complains of losing his wife and children – Reineke ate them for supper. When he is eventually put on trial, the accomplished liar – an animal equivalent of Ibsen’s Peer Gynt – manages to pull the wool over everyone’s eyes – man, woman or creature – and slip his neck out of the noose. Eventually he even acquires a whole crowd of followers and is elected Chancellor.

 

The moral of the story is that not everyone with foxy cunning and a talent for oratory puts those gifts to benevolent use – on the contrary! But how can we tell the difference between truth and lies? How can we avoid being taken in by the peddlers of fake news? How can we remain faithful to our own opinions and values?

Reineke Fuchs
Marstall, 11.00 o'clock
Fri 03 May

Ensemble