William Tell - The Musical
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Book by Hans Dieter Schreeb
Song Lyrics by Wolfgang Adenberg
Music by Marc Schubring
Based on Friedrich Schiller’s WILHELM TELL
English Translation by Tim Clarke
With assured craftsmanship and thrilling music, the creators of WILLIAM TELL – THE MUSICAL have transformed a well-known tale from Swiss history into a moving musical theatre event that will touch the heart of everyone who experiences it. Through its exploration of love, hope and resilience, and what faith, belonging, friendship, freedom and family mean, it touches every emotion. WILLIAM TELL – THE MUSICAL is a theatrical experience for all the family.
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Sprache(n) des Stücks
- Deutsch
- Englisch
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Casting Informationen
- WILLIAM TELL, 35
- HEDWIG, 30, Tell’s wife, Furst’s daughter
- WALTER, 10-12, Tell’s son
- FURST, 55, landlord in the village of Altdorf
- WERNER STAUFFACHER, 50, chief magistrate of Schwyz
- ARNOLD VOM MELCHTAL, 20-25, farmer from Unterwalden
- GERTRUDE, 45, wife of Stauffacher
- WERNER FREIHERR VON ATTINGHAUSEN, 70, knight baronet
- KONRAD BAUMGARTEN, 22, farmer from Unterwalden
- HERMANN GESSLER, 35, king’s administrator in Schwyz and Uri
- DUKE JOHANN VON SCHWABEN, 25, the king’s nephew
- BERTA VON BRUNECK, 16, von Brunecks daughter
- ULRICH VON RUDENZ, 18-20, a young nobleman, Attinghausen’s nephew
- FRAU VON BRUNECK, 40-45, Berta’s mother
- THE CAPTAIN, 30-40, one of Gessler’s officers
- CONRAD, 25, a young knight, friend of Johann
- ARMGARD, 20, a farm girl
Ensemble: Ferrymen, Guards, Customs Officers, Traders, Servants, Villagers etc...
Synopsis
The Hapsburgs are taking repressive measures against the people of the settled lands around Lake Lucerne.
Johann, the Duke of Swabia, is roaming the area, ensuring that the local governors are implementing the will of his uncle, King Albrecht. Johann is invited to the castle of the notorious local governor, Gessler. Guests also present are the independently-minded young noblewoman Bertha von Bruneck, and Ulrich von Rudenz, nephew of the ailing local Baron Attinghausen of Uri.
The Baron is worried, because his nephew is in the service of the Hapsburgs. Ulrich is hoping to enhance his reputation and curry favour with Bertha. However, she implores Ulrich to side with the people. The tyranny is becoming increasingly brutal, and the local representatives of the forested lands of Uri, Schwyz and Unterwalden call for an uprising.
They hold a secret meeting with their allies on the historic mountain meadow at Rutli, swear an oath and renew their old alliance (The Rutli Schwör). Tell’s father-in-law, Walther Furst, tries to persuade Tell to join their cause, but Tell fiercely refuses. Although he will be there for them in their time of need, it is himself and his family he puts first. Tell has his own way of showing his courage and independence. Tell refuses to salute a prominently-displayed tricorn hat, symbolically representing the governing authorities, and as punishment, Gessler forces Tell to shoot an apple from his son’s head. Bertha begs for mercy for Tell, and even Ulrich can now see the injustice of Gessler. With a hidden second crossbow bolt, Tell kills Gessler in the holloway (the Hohle Gasse).
His death is the signal for the uprising to begin. Just in time, Ulrich sides with the people and in doing so wins the love of Bertha. Meanwhile, King Albrecht is treacherously murdered by his nephew, Johann. After the crime, Johann, disguised as a monk, seeks mercy from Tell, of all people. Tell scornfully rejects him.
When the people from the surrounding areas come to celebrate Tell as a hero, he will have nothing of it. He becomes a symbol of independence and freedom.
AUTHORS’ NOTE:
The premiere of WILLIAM TELL - THE MUSICAL brought us closer to the Swiss national hero on an emotional and visceral level. The main narrative thread was derived from Schiller’s original version. However, we have enhanced the work with the addition of historically relevant reference points and carefully-constructed musical compositions. The production takes place at that time and does not try to update Tell into the modern era. The specific aspects which make Tell immortal are carefully woven into the fabric of the show – freedom, independence and self-determination are the key characteristics of this emotionally-charged musical.
Presse
Seebühne Walenstadt - Blickpunt Musical, 01.09.2012:
‘WILLIAM TELL – THE MUSICAL’ is well worth seeing, free from any unnecessary kitsch and pathos.’
Seebühne Walenstadt - Wilan 24.CH, 01.08.2012:
"Song titles such as ‘’I Don’t Ask For More’, ‘A Simple Man’ ‘If Not You, Then Who?’ make it clear that the stories surrounding William Tell are more than just the apple, the crossbow and the Rutli-oath. Nevertheless, these key scenes are excellently staged, with stunning music and lighting effects. The audience can easily imagine themselves back in the time of 1291, experiencing at first hand the founding of the Swiss confederation. Tell was not born a hero. He was a simple man and a father. Due to the conditions under which they were living at the time, and his mastery of the situation into which he was thrust by Gressler’s awful punishment, the people made Tell into ‘a reluctant hero.’ Tell did not wish to be a hero. He stood up only for himself, his family and his freedom. Maybe this is precisely what made him such an iconic figure? WILLIAM TELL – THE MUSICAL is a truly theatrical experience, the like of which has never been seen before, with a cast of twenty six and a full orchestra, taking us on a journey through freedom and oppression, hardship and courage, rebellion and hope, justice and love."
Seebühne Walenstadt - Thurgauer Zeitung Online, 23.07.2012:
"This year, the open-air theatre at Wallensee is showing WILLIAM TELL – THE MUSICAL. Based on Friedrich Schiller’s classic play, TELL is characterised by a striking stage set, memorable melodies and convincing performances. This is a fresh approach to the legend of William Tell. The musical depicts the transformation of a tolerant population into one of rebellion and their renewal of allegiance to a union of states. Christoph Weyer’s set design successfully evokes the setting of the action in the Swiss mountains, with farmhouses styled out of rough-hewn timbers and large stone. The huge stage area is book-ended by two large defensive watchtowers."
Seebühne Walenstadt - Tages Anzeiger, Corina Freudiger, 21.07.2012:
"WILLIAM TELL – THE MUSICAL premiered at the Wallensee theatre. In the piece, there is much talk of ‘home’. The song in which Gertrude encourages her husband to stand up to the oppression is beautiful and gave this particular member of the audience, far from home, goosebumps. The set by Christoph Weyers has a plain flooring as the stage, with simple huts either side and mounds of rough timber adjacent as higher ground. This is clever, since the mountains are opened up to the mountain air and the lives of the freedom-loving mountain people, just as the steadfast confederates are open to the idea of revolution and to the lofty idea of independence, the pursuit of which leads them to form a brotherly alliance. However, the musical leaves out the complexity of what was decided on the Rutli, and the more sophisticated ideas that were at at play. Schiller’s drama, on which the musical is based, deals with the responsibility of the individual (Tell) and of society (the Confederates). It is intellectually demanding and linguistically dense, the very opposite of a musical with mass appeal. Thus, for the Wallensee stage, the detail has been somewhat scaled back. Marc Schubring has composed 26 songs, as light and sweet and memorable as a fine cider. In terms of content, some things have been added, some removed. Book-writer Hans Dieter Schreeb contrasts the world of the hard-working mountain folk with the carefree lifestyles of the nobility. So we see the vampire-pale and power-obsessed Gessler, in swirling cape and Napoleon bicorne, proclaim in his castle chamber: ‘All the money, all the gold in the world, that is power!’ He sings it beautifully in a duet with the Duke of Swabia, who has been conspiring from the very beginning and who is a triumph of casting. A good deal shorter than the dark and moody Gessler, and with an eerily high-pitched voice, Patric Stott plays the king’s nephew in such an obsequious and devious way that you only hope Tell has a third crossbow bolt in his quiver ready to put to use"
Seebühne Walenstadt - St. Galler Tagblatt, 20.07.2012:
"The sold-out premiere of WILLIAM TELL – THE MUSICAL at the Wallensee theatre on Wednesday evening was a great success. At the final curtain, the audience gave a standing ovation lasting several minutes. An impressive stage design, convincing performances and some memorable melodies characterise the piece, which is based on the classic drama by Friedrich Schiller.."
Seebühne Walenstadt - Neue Zürcher Zeitung, Adrian Krebs, 20.07.2012:
"WILLIAM TELL, a singer? Can this be good? Yes it can. At the Wallensee a young ensemble presents an entertaining musical version of the biography of the national hero - loosely based on the works of Schiller."
Seebühne Walenstadt - Neue Luzerner Zeitung, Elisabeth Hausmann, 19.07.2012:
"WILLIAM TELL – THE MUSICAL is the latest version of the Tell legend. It presents the aged material in a fresh and vibrant way, and is well worth seeing. The audience was thrilled."
Produktionen
- World Premiere: 18.07.2012, Seebühne Walenstadt, CH
Hörbeispiele
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