Dirty hands (Die schmutzigen Hände)

by Jean-Paul Sartre
Director Jette Steckel
Video Ayca Nina Zuch
Dramaturgy Anika Steinhoff
Premiere January 20, 2012
Ulrich MatthesHoederer
Ole LagerpuschHugo
Katharina Marie SchubertJessica
Maren EggertOlga
Bernd MossGeorges / The Prince / Louis
Moritz GroveSlick / Karsky
Hoederer
Georges / The Prince / Louis
Slick / Karsky
Frankfurter Allgemeine Sonntagszeitung
Leander Steinkopf, 22.01.2012
When viewing this new production of Sartre’s sixty-year-old play, you don’t feel the velvet-upholstered seat or hear your neighbour breathing. Nothing jars you out of this experience – not even when the actors first evoke strong emotions only to stifle them with irony. The set is Hugo’s inner self turned inside out. Walls that appear to be made of cement swivel and move around, forming new walls and openings. Sometimes the on-stage action gets into Hugo’s head, into his dreamworld or his inebriated state. […] Even if the heroes are dead and compromise triumphs in the end, this production is life, pure and simple – without compromise. Theatregoers have every reason to go home happy. When viewing this new production of Sartre’s sixty-year-old play, you don’t feel the velvet-upholstered seat or hear your neighbour breathing. Nothing jars you out of this experience – not even when the actors first evoke strong emotions only to stifle them with irony. The set is Hugo’s inner self turned inside out. Walls that appear to be made of cement swivel and move around, forming new walls and openings. Sometimes the on-stage action gets into Hugo’s head, into his dreamworld or his inebriated state. […] Even if the heroes are dead and compromise triumphs in the end, this production is life, pure and simple – without compromise. Theatregoers have every reason to go home happy.
Berliner Morgenpost
Georg Kasch, 22.01.2012
Few actors ooze loneliness as coolly as Ulrich Matthes, who here is even more virile, brooding and, at the same time, more belligerent than usual. His Hoederer is a lone wolf who hides his longing behind a mask of chummy nonchalance – whether he’s dressed in sweatpants or in an elegant suit. But his eyes track the life of the young with barely suppressed greed, as if to soak it up. Few actors ooze loneliness as coolly as Ulrich Matthes, who here is even more virile, brooding and, at the same time, more belligerent than usual. His Hoederer is a lone wolf who hides his longing behind a mask of chummy nonchalance – whether he’s dressed in sweatpants or in an elegant suit. But his eyes track the life of the young with barely suppressed greed, as if to soak it up.
neues deutschland
Hans-Dieter Schütt, 22.01.2012
In their central debate, [Ulrich] Matthes and [Ole] Lagerpusch are brilliant, fiery and ecstatic. Then the director sits in quietly in the corner and just listens, knowing that it’s better not to interrupt – and to let the play get on with the main part of its work. It still has the power to frighten. In their central debate, [Ulrich] Matthes and [Ole] Lagerpusch are brilliant, fiery and ecstatic. Then the director sits in quietly in the corner and just listens, knowing that it’s better not to interrupt – and to let the play get on with the main part of its work. It still has the power to frighten.
SWR2
Ina Beyer, 21.01.2012
Jette Steckel’s great strength lies in presenting characters who can speak about themselves in a believable way. Placing them in a neutrally modern set, in casual everyday clothes, accompanied by classy music, she lets them become timeless. The director’s clear insight into the material and the subtle way in which she addresses us through the characters makes this production topical and highly political.  Jette Steckel’s great strength lies in presenting characters who can speak about themselves in a believable way. Placing them in a neutrally modern set, in casual everyday clothes, accompanied by classy music, she lets them become timeless. The director’s clear insight into the material and the subtle way in which she addresses us through the characters makes this production topical and highly political. 
Die Welt
Matthias Heine, 25.01.2012
At the end they’re all dead – with or without a burial. But Jean-Paul Sartre is more alive than ever – at least as a playwright. […] After this production Dirty Hands should, once again, be extolled as the best political play of the 20th century. At the end they’re all dead – with or without a burial. But Jean-Paul Sartre is more alive than ever – at least as a playwright. […] After this production Dirty Hands should, once again, be extolled as the best political play of the 20th century.
Der Tagesspiegel
Christine Wahl, 22.01.2012
While Hugo, who’s emotionally and intellectually captivated by Hoederer, keeps putting off his ‘assignment’ and is eventually suspected of being a traitor, Katharina Marie Schubert as Jessica grins and sticks Hugo’s gun into her fancy camisole. Then she crawls around under Hoederer’s desk wearing XXL gloves and breaking into fits of hysterical laughter. Only one thing matters to this girly girl: that something happens, no matter what. […] In Ulrich Matthes director Jette Steckel has a Hoederer who subtly masters this constant switching between tragedy, irony and deeper meaning, and sovereignly rises to the challenge of appearing timeless. While Hugo, who’s emotionally and intellectually captivated by Hoederer, keeps putting off his ‘assignment’ and is eventually suspected of being a traitor, Katharina Marie Schubert as Jessica grins and sticks Hugo’s gun into her fancy camisole. Then she crawls around under Hoederer’s desk wearing XXL gloves and breaking into fits of hysterical laughter. Only one thing matters to this girly girl: that something happens, no matter what. […] In Ulrich Matthes director Jette Steckel has a Hoederer who subtly masters this constant switching between tragedy, irony and deeper meaning, and sovereignly rises to the challenge of appearing timeless.

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Performance has been cancelled
by Lew N Tolstoy
in an adaptation by Armin Petras
Director: Armin Petras
Due to a case of illness we are sorry to cancel today’s performance of Resurrection (Auferstehung) by Lew N Tolstoy. Tickets already bought are taken back at the box office within two weeks. Please either contact us by email at service@deutschestheater.de, stating your IBAN, or call the box office at +49 30 28441-225.
Deutsches Theater
19.00 - 22.10
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sold out
perh. remaining tickets at evening box office