Marius Mocan / Κριτικές

Sabine Mäder 's stage is mostly action-oriented. Only the abode of the four friends in the first picture - not an attic room, but a living container - has its acoustic and scenic pitfalls: the otherwise, in the middle to front stage area, excellent transparency and diction of all singers is in the small cubicle, although mostly wallless rear left, about 4 x 6 m in size, greatly reduced. To compensate for this somewhat remote location, a cameraman ( Oliver Lasch) close-ups of the container residents were made on stage, which are projected onto a surface in the right half of the stage, behind which the "Momus" counter is hidden. Not only is the cameraman's scurrying around annoying, but the transmission is also repeatedly chopped up by dropouts and pixelation. On the part of the leadership, the story is told very clearly and straightforwardly on the action and emotional level, and the latter level is also very carefully designed musically. This is the work of Markus Poschner , who lets the Bruckner Orchestra Linz play music precisely and transparently and of course also has the coordination between the pit and the stage perfectly under control.

Simon Eichenberger ( Director/ Choreographer) used every inch of the Landestheaters huge stage to present the show's real star, the ship itself. Unique set designs ( by Charles Quiggin) combined with all those different stories, from First Class to the Commanders Bridge down to the Third Class, many of them seeking a better world and aiming for their personal American Dream. A heartbreaking moment to witness these passengers boarding the ship, full of hope and joy, already knowing that most of them had to find death instead of the new world. Of course, everybody knows how it has to end, but you are still on the edge of your seat, hoping for a surprising turn-around.