In the end, the abrupt regime change in #Mainz led to a scenario where the new administration was enthusiastic about—but financially, ideologically, and logistically ill-equipped to support—the #theatre that had flourished under the former electoral government and ultimately led to its collapse. 7/7

In mid-1793, troops from Brandenburg-Prussia retook the city. The bombardment destroyed the theatre, its sets, and wardrobe. The court eventually returned, but not the renowned Nationaltheater that performed before international audiences at imperial coronations in 1790 and 1792. 6/7

When elections were held in February 1793, only c400 showed up to vote after days of threats and coercion (Mainz’s total population was c30,000). Some elected in surrounding areas refused to serve. It seems as though they knew the Mainzer Republik’s days were numbered. And they were right. 5/7

Mainz’s c500 Jacobins listed in the Red Book tried organising their own political theatre in its place, but the few musicians and actors who remained refused to perform or lend costumes, sets, etc. Records, testimonies, and letters reveal most Mainzers refused to support the French. 4/7

The French and their supporters did at least try to raise money for the theatre through dances, as depicted below. Yet it was clear to Nationaltheater personnel by November that they had no future in Mainz: most fled to areas untouched by the war like Hamburg and Berlin. 3/7

Performances continued at first. But the theatre struggled without the ticket sales generated by Mainz’s electoral court and citizens. According to local actor Joseph Anton Christ, very few French military theatregoers paid: their belief in freedom and equality meant ‘everything must be free’. 2/7

I was really just lucky when I was there: right time and place to get to operate the thunder machine. Still, sounds like we had a similar experience in Gotha!

The town is absolutely lovely. I was very lucky to have visited it not that long ago (as well as @fbgotha.bsky.social and the theatre itself). Stefan Dittmayer was kind enough to give me a theatre tour and even let me operate some of the stage machinery—I was truly lucky. Can’t wait to visit again.

Like all existing early modern mechanical theatres, it is worth seeing in action. Here’s the link to a full production of Giovanni Alberto Ristori’s coronation #opera ‘Le Fate’ (Dresden, 1736) performed during the Ekhof-Festival 2014. 3/3 youtu.be/ayYxgr-184I

The theatre also claims to be ‘the oldest baroque theatre in the world whose stage machinery still survives and works to this day’. This video by ‘Das ist Thüringen’ shows the #theatre and its ‘baroque special effects’ backstage. 2/3 youtu.be/hba8yJ1lrQs