You can find the program sorted by date here:

October to December 2020

Touchby Falk Richter & Anouk van Dijk
Text author & director: Falk Richter
Director & Choreography: Anouk van Dijk

by Falk Richter & Anouk van Dijk
Text author and director: Falk Richter
Choreographer: Anouk van Dijk


How do the interruptions in the way we live together, the way we organize ourselves politically, and the way we keep house, touch the biographies and bodies of the performers? Physically touching and proximity transform from being a sign of affection into a potential threat. Falk Richter and the choreographer Anouk van Dijk contemplate, together with their ensemble, a phase of profound upheaval in their very personal creative work in development between dance and theater.

With Erwin Aljukić, Amie N Dey Jammeh, Mirko De Campi, Ulriqa Fernqvist, Joseph Gebrael, Thomas Hauser, Lukas Karvelis, Anna Gesa-Raija Lappe, Christian Löber, Anne Müller, Melissa Ugolini, TingAn Ying

Text author and director: Falk Richter
Choreographer: Anouk van Dijk
Set designer: Katrin Hoffmann
Costume designer: Andy Besuch
Music: Matthias Grübel
Video designer: Chris Kondek
Lightdesign: Charlotte Marr
Dramaturge: Tobias Schuster

Note: Strobe light is used.

Habitat / Munich (pandemic version)A performance by Doris Uhlich with dancers from Munich
Concept and choreography: Doris Uhlich

A performance by Doris Uhlich with dancers from Munich
Concept and choreography: Doris Uhlich

“Habitat Munich” explodes the prevalent concepts of body, dance, and nudity! The choreographer Doris Uhlich continues to develop her fundamental idea of a mutually lived-in, mutually danced-in space, and she will conduct an experiment of distancing with a group of thirty Munich residents. She examines the yearning for impossible contacts and despite all of the resistance unfolds a utopian “habitat,” a divided space of diversity, in which our nude bodies swing to techno beats.

Erwin Aljukić, Toni Brucker, Ute Frederich, Daniela Georgieva, Judith Hummel, Luise Kostopoulos, Christian Franz Klein, Kathrin Knöpfle, Kamel Najma, Anna Siller, Pia Wiesner, Michael Würmer

Concept and choreography: Doris Uhlich
DJ: Boris Kopeinig
Dramaturge: Rania Mleihi

Ich bin’s Frank (“It’s me Frank”)A project by and with Julia Häusermann
Concept and authors: E. Bertschi, A. Fierz, J. Häusermann, N. Jahnke, M. Moradpour, H.-J. C. Mühlethaler, M. Schmitz, S. Winkler

A project by and with Julia Häusermann
Concept and authors: Eliane Bertschi, Anna Fierz, Julia Häusermann, Nele Jahnke, Mehdi Moradpour, Hans-Jakob Christian Mühlethaler, Maxi Schmitz, Sabina Winkler

Concept and authors: Eliane Bertschi, Anna Fierz, Julia Häusermann, Nele Jahnke, Mehdi Moradpour, Hans-Jakob Christian Mühlethaler, Maxi Schmitz, Sabina Winkler

While working Julia Häusermann calls herself “Frank,” after Frank Levinsky from the German television series “Verbotene Liebe” (“Forbidden Love”). But she’s much more than Frank and much more than Julia, the woman with Trisomie 21. She’s a medium, a performer who transforms into ghosts, pop icons, telenovela characters, machines, and entertainers. She moves, grieves, becomes furious, and laughs from the bottom of her heart with all of her senses. She playfully, obliviously, usurpingly, and affirmatively transcribes and transgresses images of self-improvement and norms attributed to womanliness.

With Julia Häusermann

Director: Nele Jahnke
Set and costume designer: Sabina Winkler
Musical director: Hans-Jakob Christian Mühlethaler
Video designer: Eliane Bertschi
Dramaturge: Mehdi Moradpour
Accompaniment and artistic collaboration: Anna Fierz
Photography: Maxi Schmitz
Concept and authors: Eliane Bertschi, Anna Fierz, Julia Häusermann, Nele Jahnke, Mehdi Moradpour, Hans-Jakob Christian Mühlethaler, Maxi Schmitz, Sabina Winkler

A collaboration with Theater HORA-Stiftung Züriwerk

What is the City?A happening on the Odeonsplatz

A happening on the Odeonsplatz

Actually, 150 Munich residents were supposed to present themselves at the opening of the Münchner Kammerspiele in an urban space performance based on a concept by British artist Jeremy Deller and directed by Richard Gregory. The production team interviewed and photographed many great people, but before the event could be realized, the latest developments around the coronavirus put a damper on the performance. So it is more important then ever to occupy the public space with a live action to set an example for the diversity of life in this city. As a unique happening, “What is the City” poses the question of the meaning of a functioning and lively city. The portrait shooting, which began with 60 Munich residents, will be continued live and accessible to everyone, with a band made up of Munich musicians playing. And everyone can make a statement about what Munich means to him or her and what needs to be changed.

Band: Tufan Aydoğan (Keyboard), Mori Dioubaté (Balafon), Simon Popp (Percussion), Manu Rzytki (Synthesizer)
Fotos: Josef Beyer (Konzept), Gina Bolle, Francesco Giordano, Sandra Singh,

Konzept & Produktion: Gina Penzkofer, Verena Regensburger
Dramaturgie: Viola Hasselberg
Bandkonzept & Musikalische Leitung: Sebastian Reier
Künstlerische Produktionsleitung Musik: Daniela Schroll
Technische Produktionsleitung: Richard Illmer

* “What is the city but the people” was first commissioned and produced by the Manchester International Festival in a stage design by Simon Banham

Liebe. Eine argumentative Übung (“Love. An argumentative exercise”)by Sivan Ben Yishai
Director: Heike M. Goetze

by Sivan Ben Yishai

“Love. An argumentative exercise” is a radical self-examination where the most intimate things will be dealt with in public, because social power structures are inscribed in the stories of our bodies. Olive Oyl is the narrator, the girlfriend of that splendid male specimen, the comic hero Popeye. After she’s convinced for the time being she’s on the path of a successful modern life of a woman, she gets into a mythical rage. Sivan Ben Yishai speaks in an unveiling, blatant, comical way about everywoman and everyman, about chauvinistic patterns and blind spots in the manner in which we love.

With Johanna Eiworth

Director, set and costume designer: Heike M. Goetze
Music: Fabian Kalker
Dramaturge: Viola Hasselberg
Translated from English by Maren Kames

The Assembly / Die VersammlungA realistic play by Porte Parole (Alex Ivanovic, Annabel Soutar, Brett Watson) Director: Chris Abraham / Verena Regensburger

A realistic play by Porte Parole (Alex Ivanovic, Annabel Soutar, Brett Watson)
Director: Chris Abraham / Verena Regensburger

Four persons meet for the first time at dinner. They have very different political and cultural backgrounds. They energetically discuss the feeling of belonging, gender equality, discriminating language, and religion. Four actors re-enact these conflict-laden conversations. The Canadian theater company Porte Parole explores via long-term projects polarizing atmospheres and the boundaries of paying attention to what other people are saying in a short-tempered society. The audience will also have something to say here.

With Zeynep Bozbay, Jelena Kuljic, Nancy Mensah-Offei, Annette Paulmann, Wiebke Puls, Edmand Telgenkämper

Director: Chris Abraham
Co-Director: Verena Regensburger
Co-Development: Annette Paulmann, Gina Penzkofer, Wiebke Puls, Verena Regensburger
Stage-Design: Simon Guilbault
Costumes: Leonard Mandl
Videodesign: Amelia Scott
Sounddesign: Antoine Bédard
Lightdesign: Luc Prairie
Dramaturge: Mehdi Moradpour
Production (Porte Parole): Line Noël
Production Management Kunst (Münchner Kammerspiele): Gina Penzkofer

Eine Jugend in Deutschland (“A Youth in Germany”)A work for actors and puppets based on the novel by Ernst Toller
Director: Jan-Christoph Gockel

A work for actors and puppets based on the novel by Ernst Toller
Director: Jan-Christoph Gockel

Ernst Toller and his generation are robbed of their youth by the First World War. Furious and with desperate courage, they try in 1918 and 1919 to give a devastated country a political and human perspective. In Munich in 1919 a soviet republic system of government consisting of workers’ councils is formed. The assembly of 50,000 people secured democratic rights in public, and formulated what had previously never been considered. But the temptations of totalitarianism are too large. What’s new dies. The production inspects the messages in bottles of an outrageous past.

With André Benndorff , Sebastian Brandes, Julia Gräfner, Walter Hess, Gro Swantje Kohlhoff, Bekim Latifi, Michael Pietsch, Leoni Schulz, Martin Weigel

Director: Jan-Christoph Gockel
Set designer: Julia Kurzweg
Costume designer: Amit Epstein
Music: Anton Berman
Lightdesign: Christian Schweig
Puppet constructor: Michael Pietsch
Dramaturge: Viola Hasselberg

9/26 – Das Oktoberfestattentat (“9/26 – The Oktoberfest Attack”)A research project by Christine Umpfenbach

A research project by Christine Umpfenbach
World premiere

It was the most terrible terror attack in the history of the Federal Republic of Germany. And only now, 40 years later, are the stories of those affected by the attack at the center of the focus. In “9/26” the many voices of the victims relate stories of the attack on September 26, 1980. Christine Umpfenbach examines the way we deal with memory and the perception of reality. The project concentrates primarily on the personal consequences that such attacks have – and how we as a society deal with the victims of right-wing violence.

With Edith Saldanha, Stefan Merki, and students of the performing arts academy Otto-Falckenberg-Schule

Director: Christine Umpfenbach
Set designer: Evi Bauer
Costume designer: Pascale Martin
Music: Anton Kaun
Dramaturge: Harald Wolff
In collaboration with the Otto-Falckenberg-Schule

Die Politiker (“The Politicians”) by Wolfram Lotz

by Wolfram Lotz

The visionary Wolfram Lotz interviews a species that doesn’t even exist. Who is this supposed to be, “the” politicians? With Lotz’s cascades of text we immerse in a radicalized, nocturnal stream of thought about what politicians can do, must do, may do, should do, shouldn’t do, may not do, and may not do at all. His latest work is an extremely musical, playful, humorous, bitter meditation that drills into one’s hearing and brain.

With Katharina Bach, Svetlana Belesova, Thomas Schmauser

Director: Felicitas Brucker
Set and costume designer: Viva Schudt
Video designer: Luis Krawen
Dramaturge: Tobias Schuster

Gespenster – Erika, Klaus und der Zauberer (“Ghosts – Erika, Klaus and the magician“) von RAUM+ZEITWorld premiere

World premiere

The collective RAUM+ZEIT creates a scenically deep-bore drilling through different levels of collective and individual suppression. Two texts, “Geschwister” (“Siblings”) by Klaus Mann, which had its world premiere in 1930 at Münchner Kammerspiele, and “Der Tod in Venedig” (“Death in Venice”) by Thomas Mann, which was famously filmed in Venice, will be interconnected in this project and continued on a new level. “Der letzte Sommer” (“The Last Summer”) by Erika Mann. “Der letzte Sommer im Leben Gustav von Aschenbachs” (“The Last Summer in the Life of Gustav von Aschenbach”). The father. The daughter. The brother. The epidemic. A reflection on (gender) identity, the power of a family, and the power of death.

With Svetlana Belesova, Katharina Bach, Jochen Noch, Bernardo Alberto Porras

Director: Bernhard Mikeska
Text development: Lothar Kittstein
Artistic collaboration: Juliane Hendes
Stage: Steffi Wurster
Costume: Almut Eppinger
Sound design und Musik: Knut Jensen
Lighting design: Charlotte Marr
Dramaturge: Mehdi Moradpour

Effingers Based on the novel by Gabriele TergitWorld premiere

Based on the novel by Gabriele Tergit
World premiere

In 1933 the court reporter and author Tergit had to flee Germany. Her epic novel about two Jewish families, told from their living rooms, is a precise observation on the dynamic rise as well as the stealthy decline of a bourgeois world between 1870 and 1939. One experiences the swansong of the empire, the First World War, the Spanish flu, the formation of the republic, the seizure of power by the Nazis, and mercantile families. The collapse into fascism occurs at first unnoticed, completely underestimated, but the destruction is all the more complete.

Director: Jan Bosse
Set designer: Stephan Laimé
Video designer: Ruth Stofer
Costume designer: Kathrin Plath
Music: Arno Kraehahn
Dramaturge: Viola Hasselberg

Jeeps by Nora Abdel-MaksoudWorld premiere

by Nora Abdel-Maksoud
World premiere

Does it help in the decisive situations in life to sit in one’s own SUV and think about the real estate and bank accounts of one’s parents and grandparents? With her new text “Jeeps” the author and director Nora Abdel-Maksoud examines a deep social need for security. She deals with the structural conditions of a society where class differences are simultaneously in effect and negated. With precision and a satirical culmination, Abdel-Maksoud dissects our thoughts and actions on the basis of account balances, readings of the will, and sensed threats.

Text author and director: Nora Abdel-Maksoud
Set and costume designer: Katharina Faltner
Music: Enik
Dramaturge: Olivia Ebert

January to March 2021

“Wir Schwarzen müssen zusammenhalten!” – Eine ErwiderungA Bavarian-Togolese travel project by and with E. Agbédjidji, R. Alfa, P. Assem, J. D. Bessoga, O. Ebert, D. Galiao, J.-C. Gockel, D. Kalanféi, J. Kurzweg, N. Mensah-Offei, M. Pietsch, K. Togbonou, M. Weigel, E. Zuleeg

The then-minister of Bavaria Franz Joseph Strauß, a member of the CSU political party whose party color is black, justified his close friendship with Togo’s former president Gnassingbé Eyadéma with the dictum, “We blacks have to stick together.” This political alliance between men put economic interests before human rights and thus provided for continuity in the (post-)colonial relationship between the two countries, a relationship Germany had just started to come to terms with.
An artistic team with an international history and biographical connections in Togo and Bavaria traces in both places the present-day resonances of the relationship between colonists and those who were colonized.

By and with: Ramsès Alfa, Jeannine Dissirama Bessoga, Danaye Kalanféi, Nancy Mensah-Offei, Michael Pietsch, Komi Togbonou, Martin Weigel

Director: Jan-Christoph Gockel
Text: Elemawusi Agbédjidji und Ensemble
Comic: Adodokpo Kokou Armand, Paulin Assem, Tsidkenu Ezechias Gbadamassi, Tsidkenu Ezechiel Gbadamassi
Scientific consulting: Dr. Kokou Azamede
Stage and costume: Julia Kurzweg
Costume collaboration: Ayanick Nini Nicoué
Lighting: Christian Schweig
Live camera and image design: Eike Zuleeg
Bildmischung und Schnitt: Denize Galiao
Sound film scenes: Caled Boukari
Puppet construction: Danaye Kalanféi, Michael Pietsch
Dramaturge: Olivia Ebert
Translation and surtitles: Charlotte Bomy, Yvonne Griesel
Outside Eye: Kokutekeleza Musebeni
Coordination research trip and live stream Lomé: Goethe Institut Lomé (Edem Attiogbé, Séraphin N’Taré Adjogah)

Flüstern in stehenden Zügen (“Whispering in Stationary Trains”) by Clemens J. SetzWorld premiere

by Clemens J. Setz
World premiere

C is alone. The sole contact with the outside world is the telephone. But whom can you call if you don’t have anyone? What could be more constructive, more invigorating than a telephone call with a customer services hotline? Or to at last turn the tables and buttonhole the dispatchers of all those irritating spam emails! Clemens Setz, a master of the bizarre and mysterious magic realism, will now explore a curious side of globalization. This is the first time the film director Visar Morina has been involved in theater, and he paints an equally deeply sad as well as humorous portrait of a person in isolation.

With Bekim Latifi

Director: Visar Morina
Set and costume designer: Aleksandra Pavlović
Dramaturge: Tobias Schuster

Heldenplatz (“Heroes Square”) Based on the play by Thomas Bernhard

Based on the play by Thomas Bernhard

When has the time come to seek shelter and leave the country? Thomas Bernhard’s last and most scandalous theater work is a raging, desperate text about the undead evil spirit of fascism. A work of haunting virulence in times when in Europe right-wing terrorism, antisemitism, and the ostracism of minorities are once again experiencing a frightening boom. Falk Richter compares his analysis of the present with Bernhard’s modern classic work and enquires about those who today are in danger and about their situation.

Director: Falk Richter
Set designer: Wolfgang Menardi
Costume designer: Amit Epstein
Music: Matthias Grübel
Dramaturge: Tobias Schuster

Der Sprung vom Elfenbeinturm (“The Leap from the Ivory Tower”) Based on texts by Gisela Elsnerin a version by Pınar Karabulut and Mehdi MoradpourWorld premiere

Based on texts by Gisela Elsner
in a version by Pınar Karabulut and Mehdi Moradpour
World premiere

In Gisela Elsner’s works, screws and sex toys play as much a role as grotesque eating rituals, wolves, and children who love bombs. With dissecting insights the satirist examines the shallows of the post-war period, which also mark our present: excessive growth, authoritarian tendencies, the suppression of history, and inequality. The director Pınar Karabulut, who is interested in sensitive, critically innovative theater, brings to the stage texts by an author who committed suicide by leaping to her death in 1992 in Munich after Communism failed.

Director: Pınar Karabulut
Set designer: Bettina Pommer
Costume designer: Aleksandra Pavlović
Music: Daniel Murena
Dramaturge: Mehdi Moradpour

April to June 2021

The Second Woman by Nat Randall and Anna BreckonA 24-hour performance with Wiebke Puls and 100 male performers

by Nat Randall and Anna Breckon
A 24-hour performance with Wiebke Puls and 100 male performers

Virginia, a woman, waits. A door opens. A man, Marty, enters. They talk, they laugh; it’s strange, suspense-packed. They dance, he exits. Then the same scene begins again, inspired by John Cassavete’s film “Opening Night,” and begins again, and begins again, and begins again, one hundred times in 24 hours. None of the 100 men from Munich who are invited to take on Marty’s role will meet Virginia beforehand or rehearse with her; the role of Virginia will be performed in this breathtaking theater marathon by Wiebke Puls. How will they interpret their role in this typical scene of a heterosexual relationship, how will they diversify the role?

With Wiebke Puls and 100 men

Concept, text authors, and directors: Nat Randall and Anna Breckon
Video designers: EO Gill and Anna Breckon
Set design: Future Method Studio
Lighting designers: Amber Silk and Kayla Burrett
Music composition: Nina Buchanan
Research and collaboration: Verena Regensburger

A coproduction with Theater der Welt Düsseldorf 2020

Who Cares? Text and research by Gesine SchmidtWorld premiere

Text and research by Gesine Schmidt
World premiere

For the Münchner Kammerspiele Gesine Schmidt interviewed technology providers, health care scientists, and health care workers in Germany. What do technological visions betray about our idea of humans, what are the dilemmas involved in the so-called shortage of nursing staff? What do we hope for with the promises of salvation regarding robotics? The more solutions are being discussed, the more obvious the social wounds become: The shortage of nursing staff points to our existential human fragility, for which we do not find an answer in the system.

Director: Christoph Frick
Dramaturge: Rania Mlehi

Bayerische Suffragetten (“Bavarian Suffragettes”) A creative work in development on the history of the women’s movement in Munich by Jessica GlauseWorld premiere

A creative work in development on the history of the women’s movement in Munich by Jessica Glause
World premiere

Munich was an absolute stronghold of the women’s movement 120 years ago; many female artists were in the vanguard of the movement, and also one man. A creative work in development with actors and a municipal ensemble bring back to life the forgotten activists, their photography studio “Elvira,” the Verein für Fraueninteressen (“The Association of Progressive Women”), and the first Bavarian Women’s Day in 1899. A narration of the women’s movement in Munich is created as a counter-narration from historic, biographical, and fictionalized material.

Director: Jessica Glause
Set designer: Jil Bertermann
Costume designer: Aleksandra Pavlović
Music composition: Eva Jantschitsch

DRIFTA collage by The Notwist and Jette Steckel
Direction: Jette Steckel

A collage by The Notwist and Jette Steckel
World premiere

The continents are in motion, a land sinks. But where is a society drifting to when its cornerstones start to totter, and how do people react to an awareness of life that is fundamentally changing?
The Notwist recently curated the legendary concert series “Alien Disko” at the Kammerspiele; the director Jette Steckel will develop with the band an evening where text, music, space, and actors relate a collective experience from numerous perspectives.

Director: Jette Steckel
Music: The Notwist
Dramaturge: Harald Wolff

A coproduction with Ruhrfestspiele Recklinghausen

Works in SilenceChoreography by Lucinda Childs
New production with dancers from Dance On Ensemble: Ty Boomershine

Choreography by Lucinda Childs
New production with dancers from Dance On Ensemble: Ty Boomershine

“Works in Silence,” parts of which will be seen for the first time since 50 years, offers insights into the experimental work of one of the most important representatives of postmodern dance. The dance stands for itself, entirely pure, without music, and is based on the permanently varying movement of walking, which is the foundation for all of Child’s dances. In particular through this reduction the pieces reveal a very idiosyncratic view of the dancers’ bodies and their knowledge of their bodies. The Dance On Ensemble dancers in the new production are approximately the same age as the choreographies.

Choreographer: Lucinda Childs
New production by Ty Boomershine
Dancers: Ty Boomershine, Anna Herrmann, Emma Lewis, Gesine Moog, Omagbitse Omagbemi, Lia Witjes-Poole

Both projects are being developed as part of the SCORES OF CHANGE program. A Doppelpass project of Dance On / Diehl+Ritter; the Münchener Kammerspiele; and STUK House for Dance, Image and Sound. Sponsored by the Doppelpass Fund, a program of the German Federal Cultural Foundation.

In planning, co-productions, guest performances, revivals

Productions by

Anne Habermehl
Ingrid Lausund
Mariano Pensotti
Gerhard Polt & the Well Brothers
Co-productions with

Serge Aimé Coulibaly
Anna Konjetzky
Mariano Pensotti / Marea Group
Monster Truck
Marie Schleef

Gisèle Vienne
Julian Warner
Oliver Zahn
Guest performances from

Saša Asentić & Per.Art
KLARA Theater Productions
Yasmeen Godder
Natasha A. Kelly
Ladies and gentlemen
Theater HORA
Teatr 21
Lucy Wilke and Paweł Duduś

from previous seasons are in planning.