Situated between Ingmar Bergman's existential drama DAS SIEBENTE SIEGEL and Woody Allen's farce DEATH KNOCKS, Matthieu Delaporte's latest play draws an original and witty speculation on the immediate period before the end.
Young at heart, lovable, but not satisfied in all aspects of a fulfilled life, Bernhard considers suicide as a clean exit from his existence. The insurances and other life-relevant contracts can be cancelled online, no one will be greatly surprised by the extinction of a single, small existence. But at the last second Bernhard renounces the leap into the unknown. He stays. A temporary happy ending.
But when the doorbell rings unexpectedly and an unknown man urges him with all his might to carry out the deed, it becomes clear that Bernhard's decision has apparently already mobilized the supernatural authority for handling the end of life, death itself.
Confronted with the spontaneous immediate end of his existence, Bernhard does not see at all that he follows the order of his uninvited visitor without resistance. For not only is this "last guest" most unwelcome, his conspicuous behavior suggests that something is fundamentally wrong here.
A contest to the death, in the truest sense of the word, is inevitable, a confrontation that even Bernhard's quietly adored neighbor will not leave out.
EINSZWEIUNDZWANZIG VOR DEM ENDE is characterized by a situational comedy and a linguistic wit that already echoed in the successful play DER VORNAME, which Matthieu Delaporte wrote together with Alexandre de la Patellière and which was performed with great success at the Renaissance Theater in 2013.