Linzer Kammerspiele: Christine Nöstlinger’s can-do child Konrad as a cheeky theatrical delight

“Hello, dear mother. Here are my papers,” he says and gets out of the can. Konrad, a “technically highly developed finished product” that Berti Bartolotti accidentally ordered. Now there it is, the child conditioned to be well-bred.

With “Konrad or the Child from the Can” in 1975, Christine Nöstlinger wrote a timelessly topical plea against training children. Fanny Brunner, who published the children’s book “Frerk, you dwarf!” in 2018. for the Young Theater in Linz, has adapted the novel for her entertaining 80-minute stage version for everyone aged eight and over – light-footed, cheeky to turbulent, with lovingly exaggerated characters, lots of situational comedy and a clear message.

With musical flair

They find themselves united as a patchwork family: Konrad, a child who exceeds all expectations in his good behavior. Much to the delight of Egon, a dignified pharmacist and more or less friend of Berti Bartolotti. As a shopping-loving, free-spirited artist, the latter quickly discovers maternal feelings within herself – there is one thing in particular she wants to protect her Konrad from: over-conformity and over-goodness. Which soon becomes everyone’s top mission, because the company wants their “mistaken delivery” returned. The only salvation: Konrad has to be re-educated to become a real child. He learns quickly.

Katrin Grumeth is the resolute, free-spirited artist who quickly no longer wants to give up her unexpected happiness as a mother. On the other hand, she would sometimes like to get rid of her ego: Friedrich Eidenberger strains her nerves as a buttoned-up pedant who is all too willing to serve as Konrad’s father, in whom he recognizes himself. “The person who pays alimony is the father.” Parental conflicts about upbringing, worldviews and role models are resolved humorously.

As a canned child, Alexander Köfner strips off his submissive shell and reveals his true core: a happy, exuberant child who sometimes only follows his own wishes. Kitti’s help is essential: Gemma Vannuzzi sweeps across the stage as a bright, non-conformist whirlwind, which the ensemble of the “Young Theater” shares with acting students from the Bruckner University in Linz from the acting studio: Jonatan Fidus Blomeier celebrates every puff of his cigar as the slick factory director. Alexandra Diana Nedel masters her transformation in five roles. Alex Konrad (stage music) has given characters and places a characteristic sound. Ominous rumblings of thunder hover over the school, which becomes a bullying scene. Angelic, heavenly sounds, however, announce Egon’s arrival. The vital re-education is fueled by rocking, rapping rhythms that sometimes even have a musical flair.

Outfitter Daniel Angermayr also underlines the characters: Egon’s earthy, small checked outfit suits Kitti’s bright pink and green hair. “Less Buy” can be found printed on Konrad’s sweatshirt – as a small appeal to the English-speaking adults in the room.

Each home is also a reflection of its residents: a “Van Gogh” adorns Egon’s rustic, dark seating area. Berti Bartolotti’s realm, on the other hand, invites you into the midst of colorful diversity, which the students of the HBLA for artistic design Linz have enriched with textile works of art.

Things get a bit clumsy towards the end when company service employees float from the stage ceiling like blue Martians from outer space. The final message, “The only person who is perfect is the one who is not perfect,” is released into the audience in unrestrained “I don’t want to do everything right” rock, which applauded vigorously and uninhibitedly.

Conclusion: Entertaining, humorous encouragement to healthy anarchy.

Until July 2nd, Kammerspiele Linz, www.landestheater-linz.at