Thomas Hauser
Geboren 1992, wurde Thomas im direkten Anschluss an die Ausbildung an der Otto-Falckenberg-Schule 2015 an den Münchner Kammerspielen engagiert. Der in klassischem Gesang ausgebildete Schauspielstudent lernte Dimiter Gotscheff während seines Studiums für eine Arbeit an »Zement« kennen, die zum Berliner Theatertreffen 2014 eingeladen wurde.
An den Münchner Kammerspielen entwickelte er bis 2023 eigene künstlerische Handschriften mit Toshiki Okada, Stefan Pucher, Alexander Giesche, Trajal Harall, Susanne Kennedy, Felix Rothenhäusler, Yana Thönnes und weiteren. In der Titelrolle der Oper ALAN T (UA / Libretto von Frankfurter Buchpreisträger Frank Witzel) von Pierre Jodlowski ist er seit 2015 europaweit unterwegs mit Stationen in Polen, Belgien, Frankreich, Litauen und Lettland.
2019 erhielt er den Förderpreis der Freund*innen der Münchner Kammerspiele. 2026 erhielt er zudem den Förderpreis der Resifreunde*.
Im Sommer 2026 verleiht er als Jury Mitglied des Münchner Filmfests den int. CineRebels Award.
Thomas lebt in München.
Performing in
The legendary musical »Cabaret« entices us into the dazzling world of the Kit Kat Club in the 1930s. Every night the enigmatic Sally Bowles thrills the audience with her famous song »Life is a Cabaret«, a celebration of decadence and diversity. The young American Clifford Bradshaw is caught up in this intensely sensual world. Yet, at the same time, something dark is becoming an ever-stronger presence in the daily lives of these exuberant fun-lovers.
Cabaret
During the global economic crisis of the 1920s, a young woman tries out self-realization and yet ends up in a restrictive marriage, confronted with misogyny and male bonding as well as the rise of National Socialism. Elsa-Sophie Jach adapts Marieluise Fleisser's only novel for the stage.
Eine Zierde für den Verein (A credit to the club)
In her new play the multi-award-winning playwright Caren Jeß presents people who are struggling with their inheritance and weave stories around themselves and others. A play about the tender and empowering but also the intrusive and violent narratives that we invent about ourselves and others – a play about estrangement and empathy.
Meine Königin
Freddie Mercury, front man of the legendary British rock band Queen, spent a lot of time in Munich from 1979 to 1985. He lived in several apartments here, forged close friendships and recorded his first solo album. What drew him to the Isar? Love, the wild nightlife and the many meeting points of the city’s gay community? The Musicland Studios of Giorgio Moroder and their pioneering innovations in electronic music? Or did he simply want to avoid the rigid British tax laws?
Mercury
A UFO in the shape of a weisswurst lands in front of the Bayerische Staatskanzlei: is this a film or reality? The film maker and asphalt cowboy Klaus Lemke embarks together with a group of aliens on a high speed, madcap journey through Munich’s history in search of what the city once was and could perhaps be in future. Albert Ostermaier’s new play is an affectionate homage to the film poet Klaus Lemke, who died in 2022, and both a hymn to and reckoning with his home city of Munich.
Munich Machine
