BERLIN
Often, instead of uni or partying at Berghain, I’d book a rehearsal space with friends (3€/h back then!) and we'd let our imagination run wild. We'd be rejected from sophisticated places showing sophisticated art, but took our female-led pieces to quirky spaces like Theater Zukunft or industrial techno club Mensch Meier, where rain would drip from the ceiling, or our stage manager would constantly fall asleep after three days of clubbing and tech work.
My first show was about a piglet dreaming of getting as fat as the others to join them at the slaughterhouse — which the pigs believed was the best place to be. (No worries, in the end, a fairy takes the piglet somewhere else…)
People loved it, and we got funding to create more. My time on the Berlin fringe (2014-18) fueled my hunger to take risks, to play, and to push boundaries. I’d never been exposed to theatre or ‘high culture’ growing up, so it was the perfect time to discover what it meant to me — and what it didn’t!
Klartexte
[Time to Come Clear] Theater Verlängertes Wohnzimmer, Berlin (2018). A ‘carousel’ of reimagined classics deconstructing gender politics.
Fall(t)raum [Falling Dreams] Theaterforum Kreuzberg, Berlin (2017). Devised piece investigating the politics of fear, integrating voices from Berlin’s grandmas, refugees and long-term students. Funded by Fonds Soziokultur.
Tristan
Theaterforum Kreuzberg, Berlin (2016). Reimagined medieval tale of Tristan & Isalde investigating violence & sexual trauma.
Sanglastreiben [Sandglass Adrift] Theaterhaus Mitte, Berlin (2016). Devised piece about the critical relationship between capitalism and ‘time’.
S+V Theater Strahl, Berlin (2016). Reimagined version of Austen’s Pride & Prejudice deconstructing class & gender identity integrating verbatim from Berlin’s youth. Funded by Fonds Soziokultur.
Mondschweine [Moonpiglets] Theaterhaus Mitte / Mensch Meier / Theater Zukunft, Berlin (2014). Devised piece about life dreams & animal welfare merging autobiographical & documentary material with the fantastical.
