Overview
- Lars Eidinger returns to Thomas Ostermeier’s stage in a new production of Molière’s The Miser that opened in early April after their first collaboration in about a decade.
- The show unfolds in a car dealership, trading baroque phrasing for present‑day slang and mixing slapstick with pointed nods to politics and dating advice culture.
- All April and May performances sold out before opening, and people waited outside on premiere night hoping for last‑minute tickets.
- Early reviews hail Eidinger’s sharp, often comic Harpagon while noting the production drifts in its second half.
- The staging digs into masculinity, money and generational rifts, and high demand means many will likely have to wait for next season as Eidinger prepares for his Hollywood role.