Translation: Maik Hamburger. Director: Maja Delinic. Stage/Costumes: Heike Neugebauer, Rike Schimitschek. Music: Clemens Gutjahr. With: Simon Elias, Michael Meyer, Sofie Miller, Laila Richter, Petra-Janina Schultz, Markus Seuß.

In the idyllic Messina, where Duke Leonato welcomes the two war heroes Claudio and Benedick, a masquerade ball ignites a veritable love chaos, in which no one knows anymore who can trust whom and why one loves whom. The sharp-witted Beatrice and the eloquent Benedick engage in witty verbal battles, while Hero and Claudio are threatened by jealous intrigues. Love always arises in the presence of others and is orchestrated through hearsay and rumors. Can one still find happiness in togetherness nowadays? What role does public opinion and society play in our love relationships?

The themes of love, jealousy, misunderstandings, and the art of deception take center stage, but also the question: Can one still make noise for personal happiness? "Much Ado About Nothing" is a colorful comedy that packs a punch. It hits exactly the sore points between men supposedly from Mars and women supposedly from Venus. Or maybe none of that is true after all?

Translation: Maik Hamburger. Director: Maja Delinic. Stage/Costumes: Heike Neugebauer, Rike Schimitschek. Music: Clemens Gutjahr. With: Simon Elias, Michael Meyer, Sofie Miller, Laila Richter, Petra-Janina Schultz, Markus Seuß.

In the idyllic Messina, where Duke Leonato welcomes the two war heroes Claudio and Benedick, a masquerade ball ignites a veritable love chaos, in which no one knows anymore who can trust whom and why one loves whom. The sharp-witted Beatrice and the eloquent Benedick engage in witty verbal battles, while Hero and Claudio are threatened by jealous intrigues. Love always arises in the presence of others and is orchestrated through hearsay and rumors. Can one still find happiness in togetherness nowadays? What role does public opinion and society play in our love relationships?

The themes of love, jealousy, misunderstandings, and the art of deception take center stage, but also the question: Can one still make noise for personal happiness? "Much Ado About Nothing" is a colorful comedy that packs a punch. It hits exactly the sore points between men supposedly from Mars and women supposedly from Venus. Or maybe none of that is true after all?

Translation: Chris Alexander. Direction: Patricia Benecke. Stage/Costumes: Heike Neugebauer, Rike Schimitschek. Music: Simon Slater. With: Simon Elias, Tim Lee, Petra-Janina Schultz, Markus Seuß.

In Sicily, everything is sunshine: King Leontes, his pregnant wife Hermione, and Polixenes, King of Bohemia, indulge in their mutual love and friendship. But out of the blue, King Leontes accuses his wife Hermione of infidelity with Polixenes. Despite all Hermione's vows of innocence and pleas to return to reason, Leontes has his wife imprisoned. He believes the newborn girl "Perdita" is Polixenes' daughter and has her abandoned at sea. When their mutual son Mamillius suddenly dies as well, Hermione collapses under so much misfortune and is believed to have died. Plagued by bitter regret, Leontes realizes his wrong, but it is too late—in one fell swoop, he has destroyed all his happiness. Twenty years later, Perdita lives as an adopted daughter of simple shepherds in Bohemia. She shares a secret love with the son of King Polixenes. At a lively sheep-shearing festival, their connection is unexpectedly discovered, and the two flee from Polixenes' wrath to Sicily…

Shakespeare's romance "Das Wintermärchen" is a fairytale theater piece that detaches itself from real topographical and historical locations, and whose progression is driven solely by the emotional impulses of its protagonists. It tells of the destructive power of jealousy and tyranny, and the healing effects of love and forgiveness. As tragic and dark as the play begins, it develops joyfully, hopefully, and comedically after the time jump in the second part.

World premiere. By Judith Kuckart and ensemble. Co-production with the Stadttheater Bremerhaven.
Texts: Ensemble, Judith Kuckart, William Shakespeare. Direction: Judith Kuckart. Stage/Costumes: Rike Schimitschek. Dramaturgy: Justine Wiechmann. Video/Sound: Alice Bleistein. Sound-Music collage: Michael Meyer. Assistant Director: Finn Lorenzen / Martina Lübbling

With: Svea Auerbach, Leon Häder, Angelika Hofstetter, Petra-Janina Schultz, Markus Seus, Isabel Zeumer.

As always, from Wednesday to Thursday, moderator Gerlach sits in the studio of Radio Nord Nordwest 2. Even this night, people will tell stories from their lives. Because in storytelling, the worst catastrophes make sense. But tonight, Gerlach has good news: Reading properly saves everything, including oneself, he says right at the beginning into the microphone. Call in and tell us if and how a book, a song, a poem, or even a sonnet by Shakespeare has once saved you. Because in England, for example, depressed patients receive books on prescription. Listen in or simply call 0800 2254 2254 and find comfort...
This night, four people from the NOW will call in, people like you and me. But also a Dark Lady from the beyond will make her presence known.

The ensemble and direction have joined forces with Shakespeare, have plunged into the world between the news, and have written texts that will find their place in this nighttime radio broadcast.

World premiere. By Judith Kuckart and ensemble. Co-production with the Stadttheater Bremerhaven.
Texts: Ensemble, Judith Kuckart, William Shakespeare. Direction: Judith Kuckart. Stage/Costumes: Rike Schimitschek. Dramaturgy: Justine Wiechmann. Video/Sound: Alice Bleistein. Sound-Music collage: Michael Meyer. Assistant Director: Finn Lorenzen / Martina Lübbling

With: Svea Auerbach, Leon Häder, Angelika Hofstetter, Petra-Janina Schultz, Markus Seus, Isabel Zeumer.

As always, from Wednesday to Thursday, moderator Gerlach sits in the studio of Radio Nord Nordwest 2. Even this night, people will tell stories from their lives. Because in storytelling, the worst catastrophes make sense. But tonight, Gerlach has good news: Reading properly saves everything, including oneself, he says right at the beginning into the microphone. Call in and tell us if and how a book, a song, a poem, or even a sonnet by Shakespeare has once saved you. Because in England, for example, depressed patients receive books on prescription. Listen in or simply call 0800 2254 2254 and find comfort...
This night, four people from the NOW will call in, people like you and me. But also a Dark Lady from the beyond will make her presence known.

The ensemble and direction have joined forces with Shakespeare, have plunged into the world between the news, and have written texts that will find their place in this nighttime radio broadcast.

Adaptation/Director: Petra-Janina Schultz. Set/Costume Design: Rike Schimitschek. Choreography: Leila Bakhtali. Director's Assistant: Linus Wirth.
With: Svea Auerbach, Michael Meyer, Ulrike Knospe, Markus Seuß.
Chorus: Michael Csont, Karin Dörpmund, Fabi Heuermann, Anja Hölscher, Larissa Kroll, Sandra Luther, Julia Odermatt, Bettina Renken, Nastja Roeseler, Pia Schreiber, Steph Seumer, Melanie Tröster, Dine Urbons, Doris Wind.

What is the cost of a promise? How much does an oath weigh? How heavy is a word given? The story of Medea and Jason has fascinated over the millennia: a love as great as that of Romeo and Juliet, leading just as much to catastrophe. Woman and man, love and calculation, homeland and being a foreigner, right and wrong, these are the themes of the play, at the beginning of which stands a promise that is broken.
In her homeland of Colchis, Medea helped Jason, protected him, killed for him, and he gave his word to love her and live with her. They flee together to his homeland of Corinth, where they live on the outskirts of society, which does not want to accept Medea, the foreigner, the barbarian, as equal, while they want to welcome Jason, the Greek hero, as one of their own.
Nevertheless, the two of them live there peacefully with their two children for ten years, until Jason marries the daughter of the king without Medea's knowledge in order to ascend socially. This shakes Medea to her core: the man for whom she betrayed and left homeland and family turns so far against her that she is even supposed to be driven out of the land with their children. She publicly negotiates the pain of the broken oath, her disappointment, and her immeasurable rage. She takes the audience with her in her struggle for justice to a point where even her closest confidante can no longer follow her: the murder of her own children to completely destroy Jason.

Euripides seeks to understand his characters, he does not judge, he does not speak guilty, and in this way proves to be impressively current. He passes the question of responsibility on to us and supports it through the presence of a speaking chorus, representing the population of Corinth and thus us, the society. How can we take a stand? How far does the fear of the foreigner drive us, whom do we shut the door on, and whom do we welcome?

THE CHORUS
In the Bremen performances, a chorus of dedicated amateurs is involved. The theater group was formed shortly after the time of Corona and was born out of the idea of overcoming the pandemic-induced distance between theater and audience. The amateur chorus was intended to be open to anyone interested, and the goal from the beginning was to put the chorus on stage in the production of "Medea" in the autumn of 2023 alongside the professionals. Traditionally, in Greek theater, the chorus represents the "Polis," here the society of Corinth.

Idea/Concept/Version: Ensemble. Music: Katharina Hoffmann, Michael Meyer. Stage/Costumes: Melanie Kuhl.
Technology: The Team. Performing: Svea Auerbach, Simon Elias, Katharina Hoffmann, Michael Meyer.

The Emperor lives in luxury and extravagance. More important than his state affairs, however, are the latest and most flamboyant garments: silk, velvet, and powdered wigs instead of audiences, laws, and boring meetings. As is usually said of kings, "His Majesty is in the State Council," here it is said, "the Emperor is in the dressing room."
One day, the Emperor receives an enticing offer from two travelers: they claim to be able to weave the most beautiful fabric one could possibly imagine. Moreover, the fabric has the wonderful property that it remains invisible to those who are unfit for their profession or are unlawfully stupid.
The Emperor is thrilled: "If I had such suits, I could easily find out who in my realm is fit for their office and who is not, and I could then distinguish the foolish from the wise." He has no idea that he has fallen for two swindlers.

The production by the Bremer Shakespeare Company tells the pompous life at the court of a ruler and how vanity and the power of illusion cause people to switch off their reason and succumb to their own foolishness.
The performers playfully and musically involve the children in the unfolding of the story, transforming the theater performance into an active, communal experience.

Duration: approx. 1 hour

Idea/Concept/Version: Ensemble. Music: Katharina Hoffmann, Michael Meyer. Stage/Costumes: Melanie Kuhl.
Technology: The Team. Performing: Svea Auerbach, Simon Elias, Katharina Hoffmann, Michael Meyer.

The Emperor lives in luxury and extravagance. More important than his state affairs, however, are the latest and most flamboyant garments: silk, velvet, and powdered wigs instead of audiences, laws, and boring meetings. As is usually said of kings, "His Majesty is in the State Council," here it is said, "the Emperor is in the dressing room."
One day, the Emperor receives an enticing offer from two travelers: they claim to be able to weave the most beautiful fabric one could possibly imagine. Moreover, the fabric has the wonderful property that it remains invisible to those who are unfit for their profession or are unlawfully stupid.
The Emperor is thrilled: "If I had such suits, I could easily find out who in my realm is fit for their office and who is not, and I could then distinguish the foolish from the wise." He has no idea that he has fallen for two swindlers.

The production by the Bremer Shakespeare Company tells the pompous life at the court of a ruler and how vanity and the power of illusion cause people to switch off their reason and succumb to their own foolishness.
The performers playfully and musically involve the children in the unfolding of the story, transforming the theater performance into an active, communal experience.

Duration: approx. 1 hour

Idea/Concept/Version: Ensemble. Music: Katharina Hoffmann, Michael Meyer. Stage/Costumes: Melanie Kuhl.
Technology: The Team. Performing: Svea Auerbach, Simon Elias, Katharina Hoffmann, Michael Meyer.

The Emperor lives in luxury and extravagance. More important than his state affairs, however, are the latest and most flamboyant garments: silk, velvet, and powdered wigs instead of audiences, laws, and boring meetings. As is usually said of kings, "His Majesty is in the State Council," here it is said, "the Emperor is in the dressing room."
One day, the Emperor receives an enticing offer from two travelers: they claim to be able to weave the most beautiful fabric one could possibly imagine. Moreover, the fabric has the wonderful property that it remains invisible to those who are unfit for their profession or are unlawfully stupid.
The Emperor is thrilled: "If I had such suits, I could easily find out who in my realm is fit for their office and who is not, and I could then distinguish the foolish from the wise." He has no idea that he has fallen for two swindlers.

The production by the Bremer Shakespeare Company tells the pompous life at the court of a ruler and how vanity and the power of illusion cause people to switch off their reason and succumb to their own foolishness.
The performers playfully and musically involve the children in the unfolding of the story, transforming the theater performance into an active, communal experience.

Duration: approx. 1 hour

Text version: Sarah Ruhl. Translation: Evelyn and Rainer Iwersen. Direction: Rodrigo Garcia Alves.
Stage/Costumes: Heike Neugebauer.

With: Simon Elias, Tim Lee, Michael Meyer, Sofie Alice Miller, Erik Roßbander, Kathrin Steinweg.

The Brazilian director and performance artist Rodrigo Alves stages Virginia Woolf's fantastic novel as a journey through time and gender that questions conventions and celebrates the spirit of resistance and resilience. Orlando’s story has planted the seed of playfulness, resistance against conformity, and renewal in the hearts of many generations of readers and theatergoers. The incorporation of dance and performance art expands the boundaries of traditional spoken theater just as the soundtrack presents musical icons and subcultural influences. Orlando is a love letter, but also a testament to how nature shows us that there are no limits to identity, time, and imagination.

Text version: Sarah Ruhl. Translation: Evelyn and Rainer Iwersen. Direction: Rodrigo Garcia Alves.
Stage/Costumes: Heike Neugebauer.

With: Simon Elias, Tim Lee, Michael Meyer, Sofie Alice Miller, Erik Roßbander, Kathrin Steinweg.

The Brazilian director and performance artist Rodrigo Alves stages Virginia Woolf's fantastic novel as a journey through time and gender that questions conventions and celebrates the spirit of resistance and resilience. Orlando’s story has planted the seed of playfulness, resistance against conformity, and renewal in the hearts of many generations of readers and theatergoers. The incorporation of dance and performance art expands the boundaries of traditional spoken theater just as the soundtrack presents musical icons and subcultural influences. Orlando is a love letter, but also a testament to how nature shows us that there are no limits to identity, time, and imagination.

On Wednesday, December 6th, the performance will be accompanied simultaneously by 5 sign language interpreters. For hearing and deaf audience members!

Text and adaptation: Johanna Schall and Grit van Dyk. Direction: Johanna Schall. Stage/Costumes: Heike Neugebauer. Music: Maria Hinze. Assistant Director: Martina Lübbing. Cast: Svea Auerbach, Michael Meyer, Erik Roßbander, Petra-Janina Schultz.

Actually, the rough piece of wood is supposed to become a table leg. But then old Geppetto thinks differently: he carves a puppet from it, which is supposed to love him always and with which he wants to earn a little extra money.
But things go differently than he thought: Pinocchio, the wooden puppet, has a loud voice, quirky ideas, exuberant stubbornness, but also compassion and plenty of curiosity. With naive bravery, he rushes from one adventure to the next. In critical situations, he occasionally lies, and then his nose gets longer. Every time he narrowly escapes a disaster, he thinks to himself: “I want so much to be a good boy, at any cost!” – But how high is the cost?
We get to know the wooden boy from the Italian children's book classic at his "birth," he learns to talk, he learns to walk, he learns to dance, but from the very beginning, everyone tries to drive out his impetuous and selfish traits: he has to swallow the “bitter medicine of education” that adults give their children to make them “suitable” for the world.
Pinocchio meets a whole panopticon of quirky figures, all of whom promise to bring him closer to his longed-for humanity. Their methods are as varied as they are terrible: beatings, emotional coldness, they try to exploit him, to deceive him, to force him into slave labor. Appeals to reason, blackmail, and manipulation are supposed to pull Pinocchio in the supposedly “right” direction to fabricate an obedient, reasonable subject – he is to work, be obedient, and of course earn money.
Thus, the wooden boy Pinocchio runs and stumbles from the blissful state of childlike-naive pleasure into greater and greater doubts about his own impulsive wishes. He makes his own happiness dependent on the luck and well-being of his “father” Geppetto, and his greatest wish is to finally be able to make everything right for him.
What do we wish for and what price are we willing to pay for it? How long are our noses?
 

Translation: Patricia Benecke, Simon Elias. Director: Patricia Benecke. Stage/Costumes: Rike Schimitschek. Composition: Simon Slater. Stage music: Karin Christoph. Tech/Bar: Torsten Ehlen, Kai Henjhzs, Ronja Odebrecht.
With: Simon Elias, Ulrike Knospe, Tim Lee, Sofie Miller, Petra-Janina Schultz.

On the day before the winter solstice, the young, somewhat uptight literary scholar Prudencia Hart travels to the quaint border town of Kelso for a conference on “Romantic Border Ballads.” Her weather app had prepared her for the snowstorm, but she did not expect that on the upcoming winter solstice night - according to an old mythology - “the portal to the other world” would open. Thus, she stumbles in the completely snowed-in Kelso through a “rift in time” into a Bed & Breakfast that is run by the devil himself. In a wild, anarchic ride, fueled by “burning sambucas,” she transforms from the academic observer of the vain and sometimes eccentric conference crowd into the heroine of her own ballad, finding herself in a world that appears entirely different than she thought, yet everything seems possible – even that she herself may not be so uptight after all…
A lyrical, seductive, audacious, philosophical comedy with live music, rooted in the tradition of Scottish pub theatre. The evening at the Theater am Leibnizplatz presents itself as a pub, where the audience sits casually close to the stage, with the action taking place right among them and a bar selling drinks integrated into the audience hall.

»Der seltsame Fall der Prudencia Hart« premiered in 2010, has been frequently performed in the English-speaking world since then, and is experiencing its German premiere at the bremer shakespeare company.

Directed by: Guy Roberts. Set/Costume design: Heike Neugebauer. Music: Patrick Neil Doyle. Director's assistant: Martina Lübbing.
Featuring: Simon Elias, Sabrina Hilde, Tim Lee, Sofie Miller, Erik Roßbander, Kathrin Steinweg.

ENGLISH
HAMLET, by William Shakespeare, is the single play that encompasses the central questions of existence that applies to all humans. The play examines the conflict between private versus public duty and the individual’s obligation to the self and the State. It is rooted in classical principles of examining the essential questions – Who Am I? Why Do I Exist? What Must I Do?
What makes HAMLET unique is that it highlights how in today’s world everyone is Hamlet.

Aside from the universality of human emotion, the story of Hamlet is compelling in itself. Who can resist a play with eight violent deaths, a ghost, adultery, incest, a mad woman and a fight in a grave? Perhaps what keeps Hamlet fresh and exciting is that these questions remain for each audience: why does Hamlet not immediately avenge his father’s murder? What keeps us from acting on our most base and most immediate impulses - is it social convention or personal morality - or simply the fear of punishment? What keeps us alive when all forces point towards giving up and submitting to death? Is Hamlet a hero? Perhaps - but the ambiguity of his heroic nature is what keeps him so fascinating.

HAMLET will go on being made and re-made by every new generation of theatre-makers, and the melancholy Dane will, in all probability, continue to be seen as one of the ultimate acting challenges, while the play continues to delight, frustrate, confuse and amuse.

DEUTSCH
In his drama HAMLET, William Shakespeare focuses on the central questions of human existence. The play examines the conflict between private and public duty and the responsibility of the individual towards themselves and the State. It all stems from classical methods of examining the essential questions "Who am I? Why do I exist? What must I do?"

HAMLET is unique because it illustrates that in today's world, everyone is Hamlet.

Aside from the universality of human emotions, Hamlet's drama is convincing in itself: Who can resist a play with eight violent deaths, a ghost, adultery, incest, a mad woman and a fight in a grave? What keeps Hamlet fresh and exciting is that certain questions apply to every audience: Why doesn't Hamlet immediately avenge his father's murder? Is it the burden of conscience? What stops us from following our basic and immediate impulses - is it social convention or personal moral sense - or simply the fear of punishment? What keeps us alive when all forces urge us to give up and surrender to death? Is Hamlet a hero? Perhaps - it is the ambiguity of his heroic character that makes him so fascinating.

HAMLET will continue to be discovered and rediscovered by every new generation of theater-makers in the future. The melancholy Dane will continue to be seen as one of the ultimate acting challenges, while his drama continues to delight, frustrate, confuse, and amuse.

Directed by: Guy Roberts. Set/Costume design: Heike Neugebauer. Music: Patrick Neil Doyle. Director's assistant: Martina Lübbing.
Featuring: Simon Elias, Sabrina Hilde, Tim Lee, Sofie Miller, Erik Roßbander, Kathrin Steinweg.

ENGLISH
HAMLET, by William Shakespeare, is the single play that encompasses the central questions of existence that applies to all humans. The play examines the conflict between private versus public duty and the individual’s obligation to the self and the State. It is rooted in classical principles of examining the essential questions – Who Am I? Why Do I Exist? What Must I Do?
What makes HAMLET unique is that it highlights how in today’s world everyone is Hamlet.

Aside from the universality of human emotion, the story of Hamlet is compelling in itself. Who can resist a play with eight violent deaths, a ghost, adultery, incest, a mad woman and a fight in a grave? Perhaps what keeps Hamlet fresh and exciting is that these questions remain for each audience: why does Hamlet not immediately avenge his father’s murder? What keeps us from acting on our most base and most immediate impulses - is it social convention or personal morality - or simply the fear of punishment? What keeps us alive when all forces point towards giving up and submitting to death? Is Hamlet a hero? Perhaps - but the ambiguity of his heroic nature is what keeps him so fascinating.

HAMLET will go on being made and re-made by every new generation of theatre-makers, and the melancholy Dane will, in all probability, continue to be seen as one of the ultimate acting challenges, while the play continues to delight, frustrate, confuse and amuse.

DEUTSCH
In his drama HAMLET, William Shakespeare focuses on the central questions of human existence. The play examines the conflict between private and public duty and the responsibility of the individual towards themselves and the State. It all stems from classical methods of examining the essential questions "Who am I? Why do I exist? What must I do?"

HAMLET is unique because it illustrates that in today's world, everyone is Hamlet.

Aside from the universality of human emotions, Hamlet's drama is convincing in itself: Who can resist a play with eight violent deaths, a ghost, adultery, incest, a mad woman and a fight in a grave? What keeps Hamlet fresh and exciting is that certain questions apply to every audience: Why doesn't Hamlet immediately avenge his father's murder? Is it the burden of conscience? What stops us from following our basic and immediate impulses - is it social convention or personal moral sense - or simply the fear of punishment? What keeps us alive when all forces urge us to give up and surrender to death? Is Hamlet a hero? Perhaps - it is the ambiguity of his heroic character that makes him so fascinating.

HAMLET will continue to be discovered and rediscovered by every new generation of theater-makers in the future. The melancholy Dane will continue to be seen as one of the ultimate acting challenges, while his drama continues to delight, frustrate, confuse, and amuse.