My first time ... at the Zollhaus theatre with "anundpfirsich"

Spontaneity is not one of my strengths. While others are happy to hop on the next train to Paris, I get nervous when someone invites me on an unplanned walk. No, thank you. I prefer to be prepared, calculated, tactical - "control compulsion", as my therapist affectionately puts it. I want to get rid of this vice, which is why I'm heading to the Zollhaus theatre for the first time, where the "anundpfirsich" troupe improvises plays in an informal setting.

For almost 20 years, "anundpfirsich" has been putting on funny theatre on stage. in 2021, the group with the really successful name was able to secure a prime location in the Zollhaus. Since then, the 20 to 30-strong ensemble has been performing weekly improv shows in the in-house theatre (although I'm not entirely sure who is on stage and who is in the office. It's possible that this is also improvised). Although I drive past the Zollhaus every day and always enjoy going to the Osso or Gleis, I've never been to an improv show at the Zollhaus.

Corrigendum to the sentence above. Not only have I never been to an improv show at the Zollhaus, I've never been to an improv show at all. No thanks, spontaneity is not one of my strengths and I avoid theatre that celebrates this quality like an unplanned walk. So far, I've only seen improvisation theatre in films and television, where actors with no talent make a fool of themselves on stage. It should be noted that in these performances they were never laughed with, but always at. I can only find out how they laugh at the Zollhaus theatre by planning a visit.

(Planned improvisation: different plays are staged in the theatre every week)

This turned out to be surprisingly difficult, as the performances of "anundpfirsich" are regularly sold out! I actually wanted to attend the supreme discipline "Maestro", but this performance was fully booked to the last seat. Fortunately, the ensemble offers several performances with different focal points. There are improvised plays about science, relationships, game nights, theatre sports and so on. For my visit, I opted for "Totgespielt - der spannende Impro-Krimi".

Between boomers and Gen Z's, there was probably every living age group in the theatre.

When I arrived at the Zollhaus theatre 15 minutes before the show started on Friday evening, the auditorium was already criminally full. The broad mix of the audience was particularly striking. Lots of dates, lots of groups of friends and between boomers and Gen Z's there was probably every living age group in the theatre. Even if the audience members may not have much in common on the outside, everyone in the theatre shared a love of import theatre. What's more, the anticipation of the weekend was palpable in the air and some of the guests will no doubt make a detour to Langstrasse after the theatre.

(In the spotlight: from left to right: Corinne Niklaus, Vlado Salji, Simone Schwegler and Melanie Baumann)

Lights out! The door closes. Me and 200 others are sitting in the dark. Suddenly, a spotlight shines and buzzes through the room. Its cone of light scans the room: For a victim? A robber? A crime? A keyboard with old crime music plays in the background and a voice welcomes the audience: "Ladies and gentlemen, this evening the theatre in the Zollhaus will be the scene of a murderous case. Only one thing is clear from the start: one person is dead - someone else did it". Afterwards, the four actors are introduced in turn. It's a really successful start to the evening and the audience feels like they're already in the middle of the thriller. But even before it begins, a detective has to be chosen to investigate the crime.

The four improvisation talents introduce their characters. For example, a young investigator from St. Gallen who doesn't speak French or a former art student with ghetto slang. Each character is also given all kinds of eccentric characteristics by the audience (a speech impediment, a club foot or similarly colourful traits). A character is empowered to investigate the case by applause. On this evening, a certain Mr Inspector Knöplfi, who swears he can solve any case and stylishly wears a fur coat back to front.

(There are four commissioners to choose from: Mr Knöpfli in his fur coat takes on the case.)

After the commissioner, the crime is decided. The 200 or so visitors decide in favour of a murder case in the indoor swimming pool in Rapperswil Jona. More precisely, in the children's pool and the murder weapon has already been found: an electric toothbrush. Together with the audience, the suspects are quickly identified: The victim's wife and sister and an ambitious drug dealer. They all receive a secret envelope intended for their eyes only. It states whether their characters are guilty or innocent. At the end of the evening, the audience has to choose a murderer.

The boundaries between stage and auditorium seem to blur in "anundpfirsich".

This preparatory round for the crime thriller is fun and lively. It feels like a crazy mix-up where everyone is allowed to shout and there is no right or wrong. The boundaries between the stage and the auditorium seem to blur at "anundpfirsich" and I have to admit that I have yet to sit in a theatre that is more open and accessible. However, I was also somewhat surprised by some of the suggestions from the audience, which were more reminiscent of adolescent slogans from the playground. Anyway, now that the location, murder and characters have been determined, the complicity of the audience stops anyway and the crime thriller finally gets underway.

Or rather, it creeps along, as Inspector Knöpfli repeatedly encounters characters in his investigation who have absolutely nothing to do with the criminal case. He has an appointment with a proctologist, he chats with his secretary, he prepares apple slices for his rebellious daughter and a handful of other scenes that I have already forgotten. The plot doesn't flow, it just dribbles and so, unfortunately, no exciting thriller can develop. In addition, in improv theatre, ongoing scenes are repeatedly interrupted and replaced by new characters or locations. If an actor is kissed by the muse and has a new idea, it can be placed immediately and the current action is stopped. This is probably the particular strength of improvisational theatre, but unfortunately it doesn't create a gripping plot and, as an improv novice, the constant scene changes were also very irritating.