Lukas Rüppel

Geboren 1985, absolvierte Lukas Rüppel sein Schauspielstudium an der Hochschule für Schauspielkunst «Ernst Busch» Berlin. Bereits währenddessen war er in der Regie von Claus Peymann am Berliner Ensemble auf der Bühne zu erleben. Sein erstes Engagement führte ihn 2010 an das Schauspiel Stuttgart, wo er u. a. mit Regisseur*innen wie Claudia Bauer, Jan Neumann, Peter Kastenmüller, Johanna Wehner und Christian Weise zusammenarbeitete. Von 2013 bis 2017 war er Ensemblemitglied am Schauspiel Frankfurt und in Inszenierungen u. a. von René Pollesch, Stephan Kimmig, Bastian Kraft, Alexander Eisenach und Christopher Rüping zu sehen, bevor er an das Staatsschauspiel Dresden wechselte und dort u. a. mit Sebastian Baumgarten, Jan-Christoph Gockel und Sebastian Hartmann arbeitete. Seit der Spielzeit 2019/2020 ist er festes Ensemblemitglied am Residenztheater. 

Performing in

The cycle of revenge and retribution is endless. Every drop of blood spilt has to be atoned for with more. Everyone thinks they have the law and the will of the gods on their side and this conviction drives them on to commit new injustices. This is the spiral of violence that grips the ruling house of the Atrides in Aeschylus’s «Agamemnon», the first part of his trilogy «The Oresteia».

Agamemnon
Residenztheater, 19.30 o'clock
Wed 02 Oct
Residenztheater, 19.30 o'clock
Wed 09 Oct

In June 1816 the «Medusa», the fastest frigate of its time, sets to sea. Its destination is Saint-Louis in Senegal. There are two hundred and forty people on board – besides the sailors, most of them are soldiers, but they also include the colony’s Governor and his family together with priests, teachers, doctors and engineers. Two days’ journey from their destination the ship runs aground on a sandbank and splits. As there is not enough room for everyone in the lifeboats, a raft is cobbled together for the lifeboats to tow on shore. But as soon as they set off, the rudderless and heavily overloaded raft is left behind by the boats on which the dignitaries are rescuing themselves. Of one hundred and seventeen men only fifteen will survive. Many of them will fall victim to their own comrades because the few goods they were able to save – barrels of wine, sodden biscuits, a few weapons and valuables – are as heavily fought over as the power the make decisions about possible rescue measures.

Der Schiffbruch der Fregatte Medusa (The shipwreck of the frigate Medusa)

Hamsun’s trilogy tells the story of a man who feels he has been overlooked by the elites that set the tone and cheated of social recognition. The philosopher Ivar Kareno evolves from a 30-year-old radical and anti-liberal writer on the fringes of poverty into a 40-year-old private tutor to the two sons of a businessman in a distant coastal region. Here Kareno sits brooding in his writing tower, while an infectious fever descends on people, arriving from the North, the businessman Otermann is driven mad by his wealth and a strange man wanders between the houses, rumoured to be justice. Ten years later, the 50-year-old Kareno is still hoping for a major turning point in his life. And he will indeed reach a milestone where he must decide whether he will remain true to the radical ideas of his youth or to pursue a career that is more measured politically.   

Spiel des Lebens (The game of life)
Residenztheater, 19.30 o'clock
Thu 18 Jul
For the last time
Residenztheater, 19.30 o'clock
Wed 24 Jul

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 18th century drama had been using up to that point.

Götz von Berlichingen

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)
Residenztheater, 19.30 o'clock
Fri 11 Oct
Residenztheater, 19.30 o'clock
Tue 22 Oct

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.

MOSI - The Bavarian Dream
Marstall, 20.00 o'clock
Sat 05 Oct
Marstall, 19.00 o'clock
Sun 27 Oct

«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

The wedding of Theseus and Hippolyta is just around the corner. But first Theseus has to help his friend Egeus. His daughter Hermia has fallen in love with the wrong man, Lysander. In order to change Hermia's mind, an effective threat is set up. The lovers have only one choice: to flee into the darkness of a dreamy June night. And here, in the pale glow of the wild setting, reality and reason are transformed into sexual desire and animal lust. «A Midsummer Night's Dream» is not only William Shakespeare's best-known comedy, but also perhaps his most abysmal. Stephan Kimmig stages the creatures from Shakespeare's famous fairy world as real-life eccentrics. Weird, unconventional and dazzling, they radically question what is considered normal.

Ein Sommernachtstraum (A Midsummer Night's Dream)
Premiere
Residenztheater
Fri 27 Sep
Residenztheater, 19.00 o'clock
Sat 28 Sep
Residenztheater, 18.00 o'clock
Sun 06 Oct
Residenztheater, 19.00 o'clock
Thu 10 Oct
Residenztheater, 19.00 o'clock
Fri 18 Oct
Residenztheater, 19.00 o'clock
Thu 31 Oct

In her new work, the director Claudia Bauer, who has been invited to the Berlin Theatertreffen four times and is renowned for her work with fast and furious acting ensembles, now tackles someone who typifies Munich, the brilliant comedian Karl Valentin. In her usual, opulent stage language she will devise a homage to the Bavarian whose anarchic approach to language led the critic Alfred Kerr to invent the term «Wortzerklauberer», someone who steals words and tears them to pieces.

Valentiniade. Sportliches Singspiel mit allen Mitteln (Valentiniade. Sporting Singspiel with no Holds barred)
Residenztheater, 19.30 o'clock
Tue 08 Oct
Residenztheater, 16.00 o'clock
Sun 13 Oct
Residenztheater, 19.30 o'clock
Mon 28 Oct

Ensemble