Helmut Krausser

There they sit, unable to leave. They wait. They wait for information, for the end of the standstill, for the continuation of life - and they are forced to endure together. For example, a former Prenzlberger, who has moved to Munich for economic reasons, meets his ultimate enemy in the two eco-Philistines he runs into at the airport. Or another example—the deathly ill advertising director has run into the mother of his child and now faces a future that he fears almost more than death. Or there is the author, who despairs of all that is mediocre and thinks he has just arrived in hell. Fifty five people are waiting in the departure hall, getting on each other's nerves, and revealing secrets, wounds, and a particularly banal pettiness. They talk about the meaning of existence, about art and death. Like an active volcano, egoism, resentment, and blind rage threaten to bubble over and destroy the fragile situation. No one knows if it is true that a real volcano has broken out in Iceland and paralyzed European air traffic. (Residenztheater Munich)

Eyjafjallajökull-Tam-Tam was commissioned for the Residenztheater Munich and offered a performance opportunity for all the new ensemble members at the beginning of Martin Kusej's time as artistic director. The text is designed so that passages can be omitted or replaced by film recordings. Not all roles are obligatory, as only some carry the core of the action.