Niklas Mitteregger

Ulrich Rasche stages «Agamemnon» - the first part of Aeschylus' famous «Oresteia» - as a visually stunning cycle of revenge. With Rasche, language, music and acting become an overall experience, making the power and topicality of the ancient material all the more vivid.

Iranian playwright and director Pooyan Bagherzadeh paints a moving picture of a mother in Iran and her son in Germany. In their daily video calls, he not only tells of an exemplary mother-son relationship, but also of growing up in Iran, historical developments and the adversities of everyday life - and the great concern for each other.

Asiimwe Deborah Kawe's play tells the story of the life's work of an undocumented immigrant. Like so many others, the nurse Achen, the author's main character, contributes with her labour and as a taxpayer to the prosperity of a country that has decided to expel her overnight.

When Goethe set «Götz von Berlichingen» down on paper in 1771 in a true writing frenzy, the 22-year-old writer was still a complete unknown. This came to an abrupt end with the publication of «Götz», as suddenly the young poet was being talked about everywhere. Goethe’s early work is a powerful stage epic with over fifty locations, several plots running in parallel and a huge cast of characters. What is more: Goethe dispensed with all the customary conventions that 18^th century drama had been using up to that point.

A prince of fashion and a fairy-tale king. A bird of paradise and a cult figure. A Munich original and a philanthropist. During the course of his lifetime, Rudolph Moshammer was given countless of these nicknames and soubriquets. Everyone recognized him as an eccentric with his dog Daisy on his arm, a talk show guest and man of society. Like his role model, Bavaria’s fairy-tale king Ludwig II, he loved glamour, opulence, and excess. In his appearances as an actor and in advertisements, as a singer in the preliminary round for the Eurovision Song Contest and with books like «Mama und ich» (Mama and Me), he became a cult figure and his fashion boutique «Carnaval de Venise» in Maximilianstraße became a cult address and place of pilgrimage for Mosi fans.

At Whitsun the lion king Nobel invites his subjects to his court for an early summer celebration. The entire animal kingdom gathers – ranging from the crane to the wolf and the bear. Only one animal is missing: the fox called Reineke. As soon as his name his mentioned, the mood of harmony vanishes. One angry accusation follows another and Reinike the fox is charged in his absence with a series of incredible crimes. The cockerel, for example, complains of losing his wife and children – Reineke ate them for supper. When he is eventually put on trial, the accomplished liar – an animal equivalent of Ibsen’s Peer Gynt – manages to pull the wool over everyone’s eyes – man, woman or creature – and slip his neck out of the noose. Eventually he even acquires a whole crowd of followers and is elected Chancellor.

The moral of the story is that not everyone with foxy cunning and a talent for oratory puts those gifts to benevolent use – on the contrary! But how can we tell the difference between truth and lies? How can we avoid being taken in by the peddlers of fake news? How can we remain faithful to our own opinions and values?

The French frigate «Medusa» is shipwrecked two days' voyage from its destination. For author and director Alexander Eisenach, the events that follow symbolise a society in which the values of communal coexistence have lost their validity.

In Stephan Kimmig's production, the boundaries between Shakespeare's fairy world and the harsh reality of the big city become blurred. Fuelled by Puck's magic, a summer night unfolds in which soon no one knows where love ends and obsession begins.

Austrian playwright Ewald Palmetshofer translates Shakespeare's royal drama «King Henry IV» into the present day of eroding democracies with sophisticated language and defiant humour.