Robin Mayer: The production of Mr. Biedermann and the Arsonists does not take sides
Screenwriter Robin Mayer is collaborating with HaDivadlo for the first time. He brings his distinctive style and perspective to the upcoming production of Mr. Biedermann and the Arsonists—from a “cool” chorus inspired by rap to reflections on today’s complacent passivity. How does one adapt a classic for a contemporary audience, why is it sometimes necessary not to fear conflict, and where does playfulness meet bitterness in his work? Tereza Turzíková asked.
Tereza Turzíková: Robin, you’re currently working on your first project with HaDivadlo. What’s your connection to this theater, and why did the opportunity to collaborate appeal to you?
Robin Mayer: It’s always a pleasure to work with a breath of fresh air that clears away the stuffiness in the souls of the Czechs. Compared to other media, there’s generally a much freer creative atmosphere in the theater. This likely stems from the collective leadership, which takes away the fear of opening up, allowing one to delve into far more substantial matters. I also see a major advantage in the fact that theater audiences are accustomed to being more receptive to many things and can tolerate a more unconventional approach that wouldn’t fly elsewhere.
You rewrote the chorus for the production of Mr. Biedermann and the Arsonists by the Swiss playwright Max Frisch. What motivated this change, and how did you go about it?
My colleagues and I agreed that the choir’s lyrics should have a swaggering vibe. So I listened to tons of Czech rap to soak up the swag of a true braggart.
Mr. Biedermann and the Arsonists, production poster
HaDivadlo Archive
To what extent has Max Frisch’s style from the 1950s influenced your version of the chorus, and how is the final text shaped by a contemporary perspective?
I left Max Frisch’s words in Switzerland and adapted the concept of the Choir Leader—and, by extension, the Choir itself—to make it more accessible to today’s audience in terms of language. It was important not to lose the original idea and, ideally, to expand upon it with new contexts; however, this was not difficult, since the original text, despite its archaic language, is truly timeless and universal.
Among other things, Mr. Biedermann explores the topic of violence and situations in which the pursuit of nonviolence turns into resignation and passivity. What is your relationship to these topics, and what do you find provocative about them?
It annoyed me that sometimes I’m just like Mr. Biedermann, pretending that everything is fine and not wanting to cause any unnecessary trouble. But when it comes to things that really matter, you shouldn’t be afraid to argue—even with your own grandmother. And it’s good to remind yourself of that every now and then.
You studied at the Theater Faculty of JAMU (RTDS) and collaborate with theaters, but you also write your own screenplays and short stories and make short films. Which of these forms has been the most fulfilling for you lately, and why?
Lately, what fulfills me most is writing lyrics for Dollar Prync and Ewa Farna. It’s a nice change not to have to bare my soul in front of the public and just have some fun every now and then.
We can already say that your collaboration with HaDivadlo doesn’t end with Mr. Biedermann and the Arsonist. What can we look forward to in June?
Robin Mayer: In June, our team and Hans Helmanz are planning a staged reading of a play that’s been sitting on his shelf for quite some time.
Hans Helmanz: And its relevance—when it comes to topics like TV license fees, cowardice, rudeness, and the revival of the fallen-pants humor—is becoming increasingly urgent!
Why should audiences go see Mr. Biedermann?
Anyone who doesn’t come is a loser. Mr. Biedermann and the Arsonists is a fair play that doesn’t take sides. On the contrary, it strikes a chord within each individual and creates space for mutual understanding—which doesn’t happen in the play, but could happen in real life.
Robin Mayer
Photo: Robin Mayer's archive
Robin Mayer was born in the Znojmo region. He has an evil twin, Hans Helmanz, who recently returned from a long stay in France and traded Robin’s crystal Prix Bohemia Radio statuette for a digital camera at a pawn shop. Together, they shoot short films and write scripts. Their work combines the playfulness of a rocking horse with Gothic chivalry. The bitterness of life is bearable only thanks to comedy—and it is precisely in this “nonsense” that they often reveal the truth. Perhaps that is why Robin lies so much.
The premiere of Mr. Biedermann and the Arsonists will take place at HaDivadlo on May 22, 2026, at 7:30 p.m. Next performances are scheduled for May 24 and 25, 2026.