Moritz Treuenfels

One last day in Paris, the final hours of a great love affair and the certainty that nothing will ever be the same again. In »Abschied (Parting)«, Sebastian Haffner recounts his last encounter with his beloved Teddy. Between cafés, museum visits, fleeting encounters and intense conversations, the carefree attitude to life of the early 1930s becomes increasingly apparent. The novel accompanies the two through hours of closeness, doubt and hope until the moment on the platform that irrevocably separates them. Poetic, atmospherically dense and very personal, Sebastian Haffner describes not only the end of a great love, but also the farewell to his own youth and an era shortly before its demise. Haffner needed only a few weeks in 1932 to write this novel, which until recently had remained unpublished. Director Matthias Rippert is now bringing the material to the stage for the first time, continuing his work at the Residenztheater after the success of »Blind«.

Judge Adam has a serious problem: not only does he have to cope with the severe effects of his nightly alcohol consumption, but also the sudden appearance of his superior Walter, who intends to take a close look at the administration of law in the provinces. Adam is forced to try a case publicly in court where he is obliged to investigate himself, which uses all the means at his disposal to conceal. Kleist’s disturbing comedy turns into an investigative drama about a veritable legal scandal.

In poetic images and with moving music, the ensemble of actors, dancers and singers tell a drama about the unfulfilled love of Hans Christian Andersen's unfulfilled love and how the famous fairy tale writer fairy tale poet merges with one of his most famous characters, the the little mermaid. Andersen's escape from reality becomes a touching, visually stunning theatre event.

Robert Icke has congenially translated Arthur Schnitzler's play »Professor Bernhardi« into the present day. The doctor Ruth Wolff not only comes into conflict with her colleagues and the maxims of the Catholic Church, but also into a media shitstorm. The »Times« of London celebrated »The Doctor« as an »open-heart operation on our present day, which gets more complicated the deeper you cut«.

Hollywood, glamour, seduction: Mara becomes a star in the game »Daddy«. But the deeper she immerses herself in the dazzling dream world, the more the boundaries between reality and fiction become blurred. Marion Siéfert and Matthieu Bareyre transform the stage into a virtual playing field and expose the promises and abysses of the digital world.

Under the indifferent moon of Soho, London’s underworld attempts to arrest Mack the Knife with songs and words that are polished as sharp as his own blade. With »The Threepenny Opera« (world premiere 1928), Brecht, Hauptmann and Weill created an entirely new form of music theatre. A play about a society in which everything is reduced to its monetary value and criminals are citizens – and vice versa.  

With »Success«, we journey into the inner workings of a society in which everything is measured in terms of personal career advantage, the demands of embittered contemporaries, hatred of one’s neighbours, anger at those with a different political opinion and one’s own lack of any sense of direction.

»The Oppermanns« was the first German novel to present an almost photographically accurate description of the radical changes in everyday life in Germany between November 1932 and the summer of 1933: based on newspaper and eyewitness accounts, Lion Feuchtwanger uses an analytical eye and literary skills to relate how the Nazi regime goes about systematically reorganising society and step by step undermines everything that one dynasty of an assimilated Jewish family have built their lives on.

Intrigues, conspiracies, political intrigues - Schiller's tragedy depicts the power struggle between the English Queen Elizabeth I and the Scottish Queen Mary Stuart. But what if only chance decides between power and powerlessness? Then the roles could also be »swapped«. For each performance, a draw is held to decide which of the two actresses will play the victor or the vanquished.