2 F / 4 M
Sold for production in Norway
Is there really such a thing as privacy anymore? James Graham brings forensic wit and insight to this dramatic investigation of the digital age. Privacy explores how governments and corporations collect and use our personal information, and what that means for our security, our identity and our future. Provoked by the revelations of Edward Snowden, the play draws on interviews with journalists, politicians and analysts, and asks the audience directly: How much do we give away when we share?
– A unique theatrical moment – BBC News
– James Graham’s play tackles a big subject – privacy in the information age – with wit and invention – Financial Times
– Graham handles dramatic and technological exposition with astonishing flair – Variety
– Theatre doesn’t come much more topical than this – Evening Standard
– Playful, informative verbatim drama – The Times
– Privacy is electrifying – The Guardian
’Privacy’, Culture Institute at King’s College, London
ORLANDO (Sarah Ruhl)
Dramatiseret af Sarah Ruhl
2 D / 3 H (alternative cast is possible)
Sold for production in Sweden
A sophisticated and poetic stage adaptation of Virginia Woolf’s ORLANDO about the Elizabethan nobleman, Orlando, his journey through the centuries and his transformation from a man to a woman. Orlando and Sasha must be played by women. The author suggests that a chorus of 3 male actors play the rest of the parts. Apart from Orlando and Sasha the casting is gender-flexible, though.
★★★★★ – The Guardian
★★★★★ – The Telegraph
★★★★★★ – Manchester Evening news
A scene from ’Orlando’, Court Theatre (video produceret af the STAGE channel)
Dramatised by Sigrid Strøm Reibo & Njål Helge Mjøs
3 F / 4 M
Norwedian text, Danish translation
An adventurous, imaginative and musically charged 2017 Hedda Award-winning stage adaptation of Virginia Woolf’s immortal Orlando that breaks the limits of the probable and the classical drama. This stage version sets the story in a new light and calls for large and visual solutions.
Trailer for ’Orlando’, Betty Nansen Teatret (video © Daniel Bødker Sørensen, Hunchback Media)
Roger, 54, thinks the world’s gone mad. He hates his job, his ex-wife torments him and to top it all, his girlfriend just discovered feminism. Roger’s about to give up. Until he discovers Angry Alan: Online activist and “voice of reason”… A darkly comic new play about anger and masculinity in crisis written in the wake of the 2016 US presidential election and the political landscape that followed. A funny and powerful play by one of the UK’s most significant feminist playwrights.
★★★★ The Guardian, Time Out London, London Theatre
German text, Swedish translation coming soon
Sold for production in Sweden
Mrs. Schmitz is a very changeable person: The neutral looking employee can be a man who brutally negotiates a global company’s interests in Pakistan. Everyone is trying to find out who or what she is (even more than herself): Is she a man who was born in the wrong body? Or a woman who acts like a man? Which can be useful in a flexible business structure like the one she works in, is on the other hand the reason for an increased irritation among the people around her. Who is Mrs Schmitz? A farce about gender roles and a harsh business world in a neo-liberal era: About the relentless pursuit of usability and human resources.
“Mit seinem neuen Stück kehrt Lukas Bärfuss zu einer alten Stärke zurück: zu Szenen, die das Wesen der Beteiligten im Kern freilegen, ohne übertrieben geschliffen zu wirken. Die Dialoge schnurren wie von selbst ab. Bärfuss hat sein Typenkabinett scharf beobachtet und eine Eskalationskette im Sinn, deren Logik sich kaum angreifbar macht. Sicher, so einiges ist auf Pointe geschrieben, aber auf treffende Pointe, und das nimmt das Premierenpublikum dankbar zur Kenntnis.” – Basler Zeitung
“Lukas Bärfuss hat mit diesem Stück unser Arbeitsgestrampel, Beziehungsgehampel und Geschlechtsstereotyping bis zur Kenntlichkeit verzerrt und zur Abnormitätenshow gesteigert. Und Regisseurin Frey bugsiert diesen hochgefreakten, hochgetunten Alltag in eine kluge, komödiantisch rhythmisierte Filmpersiflage.” – Tages-Anzeiger
Trailer for “Frau Schmitz” at Schauspielhaus Zürich, © Bert Zander
4 F / 7 M
About a country in the midst of a turbulent time of sex scandals and an academy at its knees, the nation’s understanding of itself as a humanist superpower, the refugee crisis, racism, national conservatism, homosexuality, capitalism … The text was written for the Swedish National Theatre and appears in an open dramaturgy with many scenic possibilities.
Falk Richter about ’Safe’ (video produceret by Dramaten)
3 D / 2 H
Crime-noir comedy about a Sweden on fire. The secret police agent Mo has travelled to the southern part of Sweden and dreams of becoming the first police officer to clear up many of the refugee asylum center fires that ravages the country. But no one has heard or seen anything. The only witness is a dog. At the same time, a male neo-Nazi and a Muslim girl meet at an internet cafe and discover that they form a team in a Counter-Strike game. What to do now? An alcoholic, unemployed woman makes paintings of a fire as part of a therapy treatment, but is one day contacted by a Berlin gallerist, who thinks it’s art. To get deeper into the matter, Mo must use alternative methods. How will the town’s social worker and cognitive therapist, Marit, keep track of it all? A black comedy about taking the law in one’s own hands. The text is based on thorough research in Ljungby in Småland, where the playwright and the director stayed while the play was developed. All scenarios and conflicts are inspired by reality.
Selvtægt video is co-produceret byTeatret st. tv.
5 F/ 5 M
Ronald has everything. At home, his wife Kathleen has wonderful news for him. And professionally, he is to take over the job as the headmaster from Schütz who is retiring. Ronald is the perfect teacher: Respected, admired – truly loved – by his students and colleagues and with a good relationship to the parents. He is charismatic, intelligent and eloquent. But Ronald carries a secret. A disease that has been crucial to his past and now threatens his future. And of course, Ronald also has weaknesses and enemies. An inner earthquake begins and reduces Ronald to nothing. Melle has based the play on his autobiographical novel DIE WELT IM RÜCKEN where he tells about his life as bipolar. The play discusses important issues such as responsibility and involvement, and is also a reflection of the price of trust, success and prestige. How does an overloaded health system react when one of its members turns out to be unhealthy to society? What is reality and what is not? Is it all true, or is everything built on lies? Who is normal? Who are we? And what would we rather be – executioners or victims? Nominated for the 2018 Mülheimer Play Award and invited for the 2018 Heidelberger Stückemarkt.
Knackige, teils gereimte und überwiegend abgehackte Dialoge wechseln mit philosophischen, kontemplativen Monologen über kosmische Daseinszufälle – so wird Sprache gekonnt zum Spiegelbild einer inneren Welt völliger Zerrissenheit der Hauptfigur. – Die deutsche Bühne
Sehr clever lässt Melle in seinem Text offen, was Ursache, was Wirkung ist, die sich anbahnende Tragödie schwingt untergründig von Anfang an mit. Es ist ein extrem genau komponierter Text. – Berliner Morgenpost
Trailer for ’Versetzung’, Theater St. Gallen, (video © Kristian Breitenbach)
ALLES ÜBER LIEBE / ALL ABOUT LOVE
2 D / 1 H
German text, English translation
Anna and Carlos has chosen therapy as a last resort to save their marriage. This becomes the basis of a series of hilarious scenes between a couple on the edge and a therapist with greatest challenge yet of the career. A wonderful comedy where the sparkles fly in all directions.