Thomas Köck's commissioned work "Solastalgia" sounds as if the gloomy predictions about nature and human laziness that Jan Bosse's production of "Onkel Wanja" turns to today have become even more acute.

To a world damage report that is artistic musical theatre.

With the middle of the four premieres at the season opener, the Schauspiel Frankfurt has built bridges.

The one from the first premiere in the big house in the Kammerspiele.

Eva Maria Magel

Senior cultural editor of the Rhein-Main-Zeitung.

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The other bridge goes to the independent scene, which has presented well-known groups such as Rimini Protokoll or Forced Entertainment in previous co-productions of the play with the Mousonturm.

With the Frankfurt choreographer Joana Tischkau and her brother Aljoscha, who works as a social worker, a local manuscript can be seen in the Bockenheimer Depot.

With themes that you usually have to look for: siblings, family beyond blood relations, as they are conjured up in American pop, television and subculture.

These in turn as identification models for non-white people in German society.

The recognition reactions of the diverse premiere audience also proved how difficult it is in culture to work with boundaries.

Alf and Michael Jackson perform

Joana Tischkau shows that creating similarities, optically, emotionally and socially, creates a bond.

And also, for a good hour, what a great performer she is.

She is the sleazy show master Werner, she is Michael Jackson and Alf.

Their "family" is next to Aljoscha, Karl-Ishan Barta, Joanna Bauer, Wadim Jurk, Silvie Mutl, Kaya Otto, Raissa Steinke, Christine Weissbrich, Lovester Wilson, who are hard to believe that they are cast amateurs.

With a few television-style announcements, a sovereign textless costume battle and playback show is created.

In "Yo Bro" Tischkau brings identity and interpretation to the stage.

That's a lot, on the one hand, because you hardly see it anywhere else.

On the other hand, beyond the mimetic, there is no further discussion that would carry these images further.

A single uninterrupted "because"

It's different with "Solastalgia".

The equally short work, a Frankfurt co-production with the Kunstfest Weimar, follows on from Köck's "Paradise" trilogy, where there is also a father who sets himself on fire.

Now this story is a long, complex thread, a bitter dirge mixed with a rant of rage, orchestrated by musicians Laja Haro Catalan, Maria Laura Oliveira and Patricia Pinheiro.

The playwright Köck directs himself with a care that brings together the myth of a German forest, turbo capitalism and the literal burnout of a father, seemingly disparate, desolate and conclusive, right down to the stage design made from a mushroom mycelium and the speaking costumes made of plastic waste and neoprene , as a continuous "because".

Catherine Linder,

Mateja Meded and Miriam Schiweck speak in a chorus with grandiose precision, play wonderfully in constant changes of mood from dry wit to the abyss.

The excessive volume can safely be omitted.

You also carry such a powerful reverberation home from the theater.

■ "Yo Bro", Bockenheimer Depot, next performances on September 26, 28, 29, "Solastalgia", Kammerspiele, next performance on October 14th.