The play addresses (post-)colonial structures, racism, the energy crisis, precarious financial situations, border policies and abuse of power by the authorities.

The information on accessibility is still in progress and will be updated as soon as possible. If any questions remain unanswered until then, please feel free to contact the communication department at barrierefreiheit@sophiensaele.com or 030 27 89 00 35. Please note that details may change by the day of the event. Therefore, if you find out after you have purchased your ticket that the performance is no longer accessible to you, you can contact us for a ticket return at ticketing@sophiensaele.com or 030 27 89 00 45 until 5 business days after the event (Monday through Friday between 10am and 6pm).

If you have any questions from the following information, please contact Stefanie Hauser at barrierefreiheit@sophiensaele.com or 030 27 89 00 35.

Duration

• 60 minutes or 90 minutes without a break

Language

• English spoken language with short sections of English written language
• The play is very text-heavy.

Light

• The lighting mood is rather dark. At the end of the play, oil lamps are used for lighting.
• There is an unannounced moment of complete darkness.

Sound

• There is little sound.
• At one point, a sound enters unexpectedly.

Other effects

• Actions on stage are filmed and broadcast live on screen.
• At one point in the piece, the temperature drops.

Interaction

• The audience is addressed directly at several points in the play. Sometimes the address is directed at the entire audience, sometimes at individuals.
• The interactions include requests to position themselves, to answer or to behave in order to be addressed. At one point in the play, money is collected on a voluntary basis.
• All interactions are on a voluntary basis. No one is invited on stage.

Audience

• There is a horseshoe-shaped grandstand with seating.
• 2 beanbag seats bookable subject to availability
• 2 wheelchair spaces bookable subject to availability

Early boarding

There is the option of early boarding.

Tickets

• Reservations can be made via the ticket telephone at 030 283 52 66, Monday to Friday from 4pm-6pm
• Via the online ticket shop
• At the box office

You can also find more information about accessibility at the house here.

Concept, performance: Aderemi Adegbite, Anuja Ghosalkar, Konradin Kunze, Ada Mukhina, Sophia Stepf, Abhishek Thapar
Technical direction Berlin: Susana Alonso
Technician Netherlands: Ester Bernart
Production management Berlin: Marit Buchmeier, Lisanne Grotz / xplus3 Produktionsbüro
Energy policy consultant: Mathias Drücker
PR Netherlands: Mara Noto
Creative producer Netherlands: Job Rietvelt
Intern: Shreyan Saraswat
Production management Netherlands: Jueliette Talakua
Artistic collaboration Berlin: Maja Zagórska

Funded by Berlin Senate Department for Culture and Social Cohesion, Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR. Supported by the Performing Arts Fund NL. With kind support of the Kingdom of the Netherlands. Co-production partners: Sophiensæle, Grand Theatre Groningen, Nirdigantha, Oerol Festival, City Residency Arnhem. Media partners: Missy Magazine, Siegessäule, taz.

Abhishek Thapar (Moga / Amsterdam) is a theater maker, performer and artist based in Amsterdam. For many years he has been building an artistic research and practice in post-colonial epistemologies, historiographic metafiction and storytelling. His selected works are: My home at the Intersection (2017), Surpassing the Beeline (2018), Cow is a Cow is a Cow (2021), How to end your wealth (2021), Lacuna Kitchen (2023). He holds a post-graduate diploma in Physical Theatre from London International School for Performing Arts and a Master in Theatre degree from DAS Theatre, Amsterdam. In 2023, he set up “Afra Tafri Creations” in Amsterdam together with creative producer Job Rietvelt which will produce and present artistic projects and co-creations starting with Lacuna Kitchen Netherlands Chapter in 2025.

Ada Mukhína (born in St. Petersburg / based in Berlin) is a nomadic theater director, author and performer. After completing her law degree, she earned her MA in Advanced Theatre Practice at the Royal Central School of Speech and Drama in London with the support of the Chevening Scholarship. Her recent works Risk Lab, How to Sell Yourself To the West, and Exile Promenade have been presented at the Berliner Festspiele, the Deutsches Theater Berlin, the Akademie der Künste (Academy of Arts) in Berlin, Staatstheater Mainz, at the Camden People’s Theatre in London, and in the Laboratory for Global Performance and Politics in Washington, DC.

Aderemi Adegbite (Lagos) is an artist-curator and multidisciplinary artist. He is the founder and artistic director of the Vernacular Art-space Laboratory, an artist initiative for artist-run projects. Recently, he created the Tutùọlá Institute, conceptualized as an alternative artistic and cultural platform for critical reflection and practices in our postcolonial world. Aderemi served as the curatorial assistant to Prof. Awam Amkpa for the traveling exhibition Africa: See You, See Me from 2011–2013. He served as the Artistic Director of Communal Re-Imagination, an alternative community art school project from 2018–2022, and was a Subject Curator at the John Randle Centre for Yoruba Culture and History in Lagos.

Anuja Ghosalkar (Bangalore) is the founder of Drama Queen, a Documentary Theatre company, in India since 2015. Her multi-disciplinary practice focuses on little histories, archival lapses, narratives on gender and intimacy, iterations around form and process, media, sites, technologies and blurring the hierarchies between audience and performer. Her performances, workshops have been programmed by metalab at Harvard, Ullens Centre for Contemporary Art, University of Oxford, Hong Kong University, University of Cambridge, Jawaharlal Nehru University, HAU Berlin, Museum of Art and Photography, among others. She has written extensively on performance for Routeldege, Narr, Bloomsbury publications.

Konradin Kunze (Berlin) is a theater maker, performer, curator and researcher based in Berlin, Germany. He studied acting at the Hanover University of Music, Drama and Media. For several years he acted, directed and wrote plays, mainly for young audiences, at various theaters in Germany. He has been working with Flinn Works since 2011. He also designs and curates exhibitions on post-colonial memory and works towards the repatriation of ancestral remains and the restitution of ancestral belongings abducted during the German colonial period.

Sophia Stepf (Berlin) is a theater maker, dramaturg, curator and teacher. She is the artistic director of the company Flinn Works (Berlin). Since 2010 she has been producing and directing transnational theatre performances with a focus on feminist and postcolonial topics. With Flinn Works, she has been awarded META awards in Delhi, the ZKB patronage prize at Zürcher Theater Spektakel, the George Tabori award (2021) and the prize of the International Theatre Institute Germany (2023). Since 2003 Sophia has been developing & curating theatre projects and training programs for the Goethe-Institut India, international theatre festivals (Linz 2009, Vienna Festwochen, Theater der Welt 2005 & Theaterfestival Schwindelfrei 2014-2018). She lives with her family in Berlin.