zitty, Tobias Schwartz, 28.1.2010
Die Zeit, Ijoma Mangold, 21.1.2010
Dea Loher is more a dramatist of merciless seriousness than an acrobat. But her new play Diebe (Thieves), which just had its world premiere at the Deutsches Theater in a production by Andreas Kriegenburg, is a little showpiece in the genre of elegantly witty popular theatre. There are contemporary scenes, recognizable faces and mixed feelings. ‘They speak of missed opportunities, self-deception, the difficulty of finding the right partner and the fleeting nature of all relationships. And they tell of the gentle repression of capitalism and the sudden resurgence of repressed sexual drives. It’s what you’ve always thought about your own era, showcased in charming and stunningly trenchant scenes.
Frankfurter Allgemeine Zeitung, Irene Bazinger, 18.1.2010
Every child knows that the world turns, and that people still manage not to fall off. But can we really always be so sure that this is the case everywhere? Dea Loher has always had a weakness for setting up experiments of this sort. She very skilfully demonstrates what can happen when the law of gravity and other certainties become invalid for a time – at least, in literary terms -- in her new play Diebe (Thieves). In it, there are 12 people who seem to have their feet planted firmly on the ground, while simultaneously appearing to hover about it. They have troubles with their shoes, yet their heads are in the clouds; stretched to the limit, this uncomfortable existence strains their hearts, causing much pain and suffering. Such a constellation could have resulted in dramatic lows, full of maudlin and overdone calamities – as has often been the case with this writer. But with the world premiere at the Deutsches Theater Berlin, who specially commissioned Thieves, Loher specialist Andreas Kriegenburg has created a truly captivating surprise. He’s able to blow away all of the folklore of misery from these fragments of failed lives and use his empathetic intelligence to reveal the wonderfully awful folly underneath. Disaster turns out to be farce, misfortune becomes black humour. And – whether she likes it or not – Dea Loher, the writer of tragedies, turns into a mistress of comedy.
Neues Deutschland, Christoph Funke, 18.1.2010
Dea Loher presents many possibilities; her characters are like game pieces which move according to unknown rules and the spectators are challenged to discover these rules and accept them. What’s remarkable is the dichotomy between the power of the prose, the authenticity of every single event, and the approximation, the fogginess of the interactions, their beginnings and endings. The playwright uses language that really draws from reality yet, at the same time, leaves this reality up in the air -- as an idea, offering up possibilities for meaning and transformation. Much is conveyed about attempts to find happiness, about rebellion and failure, but always too little to be able to draw any valid conclusions. For Dea Loher, this is what it’s all about. She doesn’t offer any solutions; the spectator remains sovereign and the master of the game. He has the choice to approach the adventures of everyday people from different socio-economic backgrounds with humour or to mourn the futility of so many completely different attempts to find some kind of a meaningful existence.
Gießener Allgemeine Zeitung, Elke Vogel, 18.1.2010