OH GOTT! - *ausverkauft* Stückeinführung 19:30 Uhr
6/18/2026
at 8:00 PM
/ Tübingen
All performances since the premiere in November sold out. Due to high demand, an additional performance on July 5 at 3 PM!
Ella, a 42-year-old psychologist, receives a mysterious visit. The visitor seems to be a celebrity, a high-ranking official at the intelligence agency, or someone equally important who wants to maintain their anonymity. But soon it turns out that it is none other than God Himself. And that’s not all: God is in a deep depression and plans to end His life – and thus His work. Ella has only one hour to overcome her inner conflict with God, change His plans, and thereby save the world.
Anat Gov has written an entertaining, intelligent, and touching play with OH GOTT. Gov is one of Israel's most significant authors. Her plays have celebrated great success both nationally and internationally. OH GOTT was chosen by the European Theatre Convention in 2010 as one of the "120 best Contemporary European Plays" and has been translated into many languages. Anat Gov passed away in December 2012 at the age of 58. In 2024, OH GOTT will premiere in German at the Landestheater Linz.
Starring Stefan Herrmann (God) and Jel Woschni (Ella).
Direction: Thomas Bockelmann
Set design: Ursina Zürcher
Image design: Hermann Feuchter
Dramaturgy: Dr. Stefan Tigges
Scene photos: Tobias Kopp
Premiere on November 14, 2025, at 8 PM, introduction at 7:30 PM
Venue: Gewölbe, Bursagasse 16
Duration: 75 min
All performances since the premiere in November sold out. Due to high demand, an additional performance on July 5 at 3 PM!
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WHAT THE PRESS SAYS
"Director Thomas Bockelmann and his actors choose psycho-humor with a goal. The play unfolds best on this basis. [...] the text strikes analytical tones regarding the relationship between man and God beneath the surface of comedy as it progresses. [...] Jel Woschni as Ella and Stefan Herrmann as God create a balance between comedy and depth in their therapy pas de deux. On one side, of course, the snappy probing therapist and the hyperactive choleric on the verge of a nervous breakdown. On the other hand, they also create calm, reflective moments, where the psycho ping-pong pauses, and both actors bring the intimate connection between man and God to the stage.
The ending certainly provides warmth: God feels seen, Ella sees the image of her son zoomed in as stage illumination. If God wills, a good omen for the future of the room theater."
Steffen Becker - nachtkritik
"Sparkling dialogues, wordplay, surprising twists, depth and relevance. [...] The timing is right, the punchlines hit, and laughter resonates in the packed theater cellar. The quirky situation of having the creator of the world in treatment opens up the chance for various ironic jabs. [...] The external framework contributes to this: The cellar space reinforces the density and closed nature of the therapy situation; the staircase descending from above is meaningfully used to illustrate the intrusion of the higher power – and God's intermittently emerging escape plans. [...] Thus, this 70-minute therapy session flies by."
Armin Knauer - Reutlinger General-Anzeiger
"It certainly hasn't lost its timeliness. And the production at the room theater is absolutely worth seeing. [...]
However, the play does not dwell on the clichés of crude religious criticism nor does it struggle awkwardly with the problem of theodicy. Instead, a humorous and very clever conversation unfolds in the therapy situation. The fundamental questions also resonate: How would we like our God? Strong and mentally fit, or is he not much closer to us when he is unstable? And even if we have a stable God who feels heard, are we safe from a second flood? In the end, when we talk to God about God, it all comes back to us again. […]
Jel Woschni is a credible therapist, navigating between discomfort and the thrill of the challenge. There are many self-ironic moments, such as when dealing with psychologist clichés or when it comes to common images of God, which inevitably, even if our God does not correspond to them, are present in the room. Ella gets worked up, therapy and settlement blur at times: "My God, grow up already!" she eventually exclaims. Stefan Herrmann plays God as a character who initially oscillates between a bundle of nerves and the Almighty, increasingly becoming vulnerable and insightful, ultimately leaving the practice appearing quite credibly purified. The ambiguity of the character is appealing, grappling with very human problems, but still being God and having the power to snap his fingers at any moment. The production has a high speed: The therapy hour indeed lasts only a little more than an hour."
Moritz Siebert - Schwäbisches Tagblatt
sold out
Hallo, ich bin Maya.
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