Lea Ruckpaul
Lea Ruckpaul absolvierte ihr Schauspielstudium an der Hochschule für Musik und Theater Felix Mendelssohn Bartholdy in Leipzig. Sie gehörte zum Schauspielstudio des Staatsschauspiels Dresden, bevor sie mit Beginn der Spielzeit 2013/2014 ins dortige Ensemble wechselte. Hier arbeitete sie mit Regisseuren wie Tilmann Köhler, Jan Gehler, Simon Solberg und Sebastian Baumgarten zusammen. Weitere Engagements führten sie ans Schauspiel Stuttgart, wo Ruckpaul in Inszenierungen von Armin Petras und Jan Bosse spielte. Sie wechselte an das Düsseldorfer Schauspielhaus, dessen Ensemble sie von 2018 bis 2022 angehörte. In Düsseldorf spielte sie u. a. unter der Regie von Stephan Kimmig, Simon Solberg, Tilman Köhlers und Andreas Kriegenburg. Des Weiteren ist Ruckpaul als Autorin tätig: Neben einem Nachspiel zu «Die Nibelungen, Kriemhilds Rache» (Regie: Stephan Kimmig) hatte ihr Stück «My private Jesus» in der Regie von Bernadette Sonnenbichler Premiere am Düsseldorfer Schauspielhaus.
Ab der Spielzeit 2023/2024 ist sie festes Ensemblemitglied am Residenztheater.
Performing in
After Orestes’s bloody revenge on his mother Clytemnestra for her murder of his father Agamemnon, he flees from the angry goddesses of vengeance. He seeks sanctuary in the temple of Apollo and appeals to the god for protection from the furies – but even Apollo is powerless against them, so Athena must decide Orestes’s fate. However, the goddess will not do so alone: a court of mortals who have sworn an oath to her will ultimately judge which murder weighs heavier: that of one’s mother or one’s husband.
Athena
Imagine that you haven’t been born yet. And imagine too that your whole life so far is unimportant. Just like all the opportunities you might have missed or bad decisions you might have made. Leave it all behind you. In «Now or Never» we are going to make a completely fresh start!
Jetzt oder nie (NOW OR NEVER)
«Peer, you’re lying!»: Henrik Ibsen immediately highlights the key theme of his dramatic poem in its opening line – the blurred boundary between illusion and reality. Because Peer, whose youth is shaped by the poverty of his farming background, continually reinvents himself with the aid of stories, lies and the arts of fabulation – as a cosmopolitan, a colonial master and even an Emperor.
Peer Gynt
Tessa Ensler is a tough defence lawyer. In her early thirties she has managed what very few people believed she could: she has made her way from an underprivileged background to an elite university and on to a top legal firm. She specializes in defending cases of sexual assault. Is her rate of acquittals so high because she is a woman, as is rumoured – or is it because she is so good at spotting holes and contradictions in the statements of the female victims?
Prima Facie
