Status: 30.10.2023, 12:00 p.m.
By: Klaus Kuhn
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Strong ensemble: Josef Stangl, Katharina Weber, Helene Dietl, Martina Brandl, Adolf Geier, Josef Poldinger and Bianca Angermeier (from left) bring great theatre to the stage in the Berglerner Sportheim. © klaus Kuhn
The Kult Verein Berglern brings the play "Allein unter Kühen" to the stage in the clubhouse in the restaurant "La Vita è Bella". The audience likes it, all other performances are already sold out.
Berglern – Great theatre in Berglern: The Kult Verein is currently presenting the play "Allein unter Kühen" by Cornelia Willinger on stage in the restaurant "La Vita è Bella". The three-act play was first broadcast on television in 2013. He vents on the well-known theme: A woman has to go to the farm, no matter how, and the Lord son just doesn't like it.
In this way, the Berglerner show the same problem situation as the Wartenberg theatres from the folk costume association a week earlier. The difference: The playwright in Berglern manages to maintain the suspense of how it will end until the end, while Toni Lauerer's play somehow predictably ends according to the old motto "Every potty gets a lid."
What the pieces have in common is that the parents of the buck-legged son – wonderfully embodied in Berglern by Josef Poldinger – fail spectacularly in their attempts to interfere with the most private affairs of the offspring. What both pieces also have in common is that it somehow works out in the end, but in a completely different way than the parents initially thought.
Martina Brandl and Adolf Geier play the parents in Berglern, who fantastically simulate two nursing cases, letting their son take care of them so that he recognizes the need for additional, preferably female, staff. Of course, the hoax has to be exposed, again and again the audience breaks out into roaring laughter. Here, however, the only weakness of the play appears: the son, who lovingly cares for his supposedly frail parents – "Mama! Today is bathing day!" – reacts to the realisation that his parents have mercilessly mocked him, almost unnaturally calm.
At the same time, the cattle dealer (Katharina Weber) tries on behalf of her mother to import women from the Far East – for a mid-four-figure sum. The lady is from Bali. This is where Bianca Angermeier shines, who also has to embody Far Eastern culture. She does this so convincingly that several guests in the audience at the premiere were sure: She has shown the greatest acting performance! However, the son's love letters forged by his mother to this lady hit another person like a bombshell: Maria Assinger, played by the debutante in the team Helene Dietl, had previously left her son. Why she never received such proofs of love, the question remains open for her. She bursts into tears. Towards the end, things come as they must: The situation gets completely out of control when Maria's brother (Josef Stangl) also falls in love with the Asian woman and wonderfully embodies the hopelessly crush on the young man. A Buddha in the corner of the house, merciless criticism of religion by the Asian newcomer such as "the poor man, you nailed him to the cross, that's not good energy" further spice up the piece, for which all other performances are sold out.
Behind the scenes
are also active: in stage construction: Uwe Lerch, Josef Stampfl; Painters: Thomas Appelmann, Helmut Reichert; Hairstyles: Sina Steck, Marianne Lerch; Make-up: Hildegard Schmidt; Soufleuse: Katharina Faltermaier; Marketing/Sales: Nadine Bauer, Susi Scherer and Marita Anzinger