SimonZagermann

Geboren 1981 in München, studierte Simon Zagermann an der Hochschule für Schauspielkunst «Ernst Busch» in Berlin. Er gastierte am Nationaltheater Mannheim, am Maxim Gorki Theater und am Deutschen Theater Berlin, bevor er 2008 Ensemblemitglied am Deutschen Nationaltheater in Weimar wurde. 2011 führte es ihn als regelmäßigen Gast an das Schauspielhaus Graz sowie von 2013 bis 2015 als Ensemblemitglied an das Schauspielhaus Wien. 2015 wurde Simon Zagermann Mitglied im Ensemble am Theater Basel und war dort u. a. in Inszenierungen von Regisseur*innen wie Nora Schlocker, Simon Stone, Thom Luz, Nuran David Calis und Mateja Koležnik.

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

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)

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

Ephraim Cabot has built his farm in New England up out of nothing, through hard work and the sweat of his brow and he keeps his three sons in line with Puritan discipline. However, instead of handing on the fruits of their collective toil to the next generation, he introduces the young Abbie to them as his bride, thereby unleashing a tragedy of ancient dimensions. While the elder brothers entirely abandon any hope of inheriting from their father and follow the call of gold to California, a fateful triangle develops between his youngest son   Eben, his father and his step-mother – and Abbie too raises a claim to the farm that Eben is willing to defend by any means.

Gier unter Ulmen (Desire under the elms)
Residenztheater, 19.30 o'clock
Fri 15 Jul

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)

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)