The Relationship Between Elisabeth And Der Tod Is Textbook Enemies AND Lovers. They Crave And Hunger

The relationship between Elisabeth and Der Tod is textbook “enemies AND lovers.” They crave and hunger for each other so but they also hurt each other just as much. You want them to end up together because they truly understand each other, Elisabeth even comes to him to celebrate her triumph in Wenn Ich Tanzen Will and he’s happy for her. But you’re also meant to cheer for Elisabeth when she chases Der Tod away because he’s literally her depression personified.

They YEARN for each other but on their own terms. And there’s so much desperation, so much hunger. It’s almost primal and instinctual. They tear away each other’s facades and rip off each other’s defense. Elisabeth is not an elegant and beautiful Empress but an egotistical and selfish (very depressed) woman to him. He’s not an omniscient and detached deity but a jealous and possessive (almost animalistic) man to her. And they both can’t help but be attracted to each other.

Their interactions are rarely tender, they bite, they claw. What do you expect from a love affair with literal DEATH?? It’s a story you can root for because they complement each other’s toxicity but don’t necessarily want it for yourself cuz … depression sucks 🫠

In fact, reducing their relationship to an all-good all-romantic love story in a way, glorifies depression and suicidal tendencies. Because that way, Der Tod is just another suitor, portrayed as far superior to the human Franz-Joseph, of course Elisabeth SHOULD want to be with him, simple as that. The way Maya and Mate play it truly taps into the nuances of Elisabeth and Der Tod’s love affair. It’s cathartic, not happy.

Maya Hakvoort and Máté Kamarás in Elisabeth

I got bored and made these at 1 am cuz they sounded like them

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I headcanon that Historia would tell her daughter a story about a young man who had a good heart, but was forced to turn himself into a devil in order to save his people, the woman he loves, and their unborn child. Years later when she learns about the Rumbling, she realizes that her mother was talking about Eren when she was telling that story and also that Eren was her father. While she can’t bring herself to agree with what her father did, she still loves him and understands why he believed that this was the only option. She even starts to quietly tell herself to keep moving forward and to never stop fighting when things start to look bleak to her.

Uwe Kroger: 🧝🏻‍♂️💅🏻💃🏻👑🦚

Mate Kamaras: 😾🔥💍🌪🎇

Mark Seibert: 🧍🏼‍♂️🧍🏼‍♂️🧍🏼‍♂️

Can you talk a bit about different actors for Der Tod in Elisabeth? Especially your thougts on Uwe Kröger and Mark Seibert and maybe some less known favourites of yours. I always enjoy your takes!

Sure, I can talk about some of them. It’s been a while since I really watched Elisabeth, and I tend to focus on her character more, but here are some memorable actors.

Uwe Kroger - Probably my absolute favorite portrayal, especially in the original Vienna production, which really highlighted how dark and raw the show is at its core. He was icy-cold, androgynous,  aloof, very which how I would envision a personified version of a force of nature that’s existed for millions of years - he’s seen it all, is above it all, and then Elisabeth comes into his life and he shows just the barest bits of emotion (a totally new thing for him too). Pretty much has the best Elisabeth opinions.

Mate Kamaras - Pretty much the exact opposite of Uwe Kroger. Energetic, sexual, emotional, but with a deeply manipulative streak that elevates him from becoming too human of a Death. One of my other favorites, just for how he took an interpretation that should have made me hate his Death (see Mark Seibert’s entry below), and made it so fascinating to watch.

Martin Pasching - There are only audios of his Death, as far as I know, but what audios! I knew his Rudolf, who was nervous to the point of being neurotic, who clung to Death like he was his life-raft, was great, but the way he sang as Death, how he just played with notes - it was lovely to listen to. He made me entranced by songs I normally skipped.

Oliver Arno - Props for elevating staging and interpretations that made me want to kick something (oh Stage Entertainment, I hate your staging so much). Very much that “force of nature” interpretation who’s vaguely puzzled by all these weird feelings he’s having. Looks a bit like a shark in some scenes.

Mark Seibert - I saw this man over the course of three years and with half a dozen different actresses, and he never changed a damn thing. Vanilla as hell, played Death as a mere romantic love interest, albeit with the occasional evil cackling. If Uwe Kroger had the best opinions, he had the worst (Sisi loved Death because he provided a masculine, sexual energy for her? GET OUT). There was nothing terrifying or inhuman about him, save for the fact that he and Stage Entertainment almost singlehandedly made me give up on a show that I adored.

Kim Junsu - I have absolutely no opinion on this man, other than my memories of how every bootleg of him focuses exclusively on his character when he was onstage, even if it was another character doing all the singing and acting. As the sister of a kpop stan, I understand, there are thousands if not millions of videos that will do just that, film solely one member. As a fan of musical theatre who just wants to watch a bootleg, I am ANNOYED.

I love Máté Kamarás’ performance of “Die Schatten werden länger” (the first one). 

He starts gently, leaning forward just enough to hold Elisabeth’s gaze, singing softly and sweetly, reminding her of the dance they shared. He even offers her a smile, one that can almost be mistaken for caring. As he sings, he searches Elisabeth’s eyes and she searches his, tired and desperate for the comfort he offers her. But he makes a mistake. When he says, “Yes, you need me,” his tone shifts. That line is guttural, a growl, and it shatters the illusion. Elisabeth looks away, turns her head so he can’t see into her eyes anymore (and more importantly, so she can’t see into his). He frightens her and the enchantment fades away. 

By the time he gets to the next line and his tone changes back to sweet, gentle, and soft, it’s too late. When Elisabeth stands to face him again, she looks defiant. She’s still miserable and desperate with grief, but Death presents her with a challenge (”Admit you love me more than the man at your side”) and she shows him she isn’t going to take it. Not yet. 

As the song ends, Death knows he’s lost this round, but he also knows Elisabeth hasn’t won it. He isn’t retreating to lick his wounds and brood. It’s a strategic move, one made so he can examine the results of his most recent Elisabeth Experiment™ and come up with a better plan for the next one. He doesn’t give up or give in. He tells her, “The world is dying with you—don’t hold so tightly to it,” which lets her know he’ll be back and things are only going to get worse for her. There’s no escape from the end of her world, only the prolonged torture of waiting for it to implode. 

It’s interesting that she doesn’t break down and cry, covering her face with her hands, until Franz Joseph is there to lead her away. She proves Death right this time, but not in the way he wants. She shows him that she does give more to Franz Joseph. She lets herself be vulnerable with him, at least in that one moment (because she doesn’t later on). All in all, it’s a cool performance of that scene. 

future au✨ can you tell older chat does not like this timeline--

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