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Chekhov's gun is still hanging there? Vanya pulled the trigger long ago. In "Vanya Verrückt" (Vanya Gone Crazy), an uncompromising monologue, a millennial dissects both himself and Europe in crisis mode: hopeless, fractured, overwhelmed.
Sisters. Brothers. Thick as thieves, light and shadow. You can end most relationships – but not these.
Being against the war – and yet making a living from it. Fearing losses – and planning for them. Bertolt Brecht's Mother Courage acts sensibly. And nonetheless ends up in trouble, for war does not recognise neutrality.
Germany in the 1930s: a woman puts on her deceased husband's trousers – and never takes them off again. She takes over his job and his identity.
38 years after the fall of the Berlin Wall: What does East Berlin mean today?
A street is disappearing, a person is erased – and cracks are forming in reality. "Welt am Draht" (World on a Wire) draws us into a crumbling reality until it all tips over: the world or a simulation, human or data?
He wants to go to Paris. Or somewhere else. Get out of this shitty provincial town either way. Away from poverty and his parents' violence. Because he wants to live a different life to the one expected of him. And he manages to do it.
A deadly mistake, an innocent man, a long-forgotten story of harrowing power: this play reconstructs the murder of Ahmed Bouchikhi, falsely identified as a terrorist, in 1973 in Lillehammer to create a many-layered piece of documentary theatre.