Musical collage of love, possession and happiness
With Arnold Schönberg's "Die Glückliche Hand", Claudio Monteverdi's "L'Orfeo" and Steve Reich's "Piano Phase”
Opernhaus Chemnitz, premiere on 24 March 2022

The desire to grasp the happiness of the moment with one's hands runs through both Schöneberg’s and Monteverdi’s operas. Three radically different musical pieces follow one another and show the cycles of human struggle between yearning, conquering, failing and starting anew.

A new mountain was constructed for the show in the middle of Opera Chemnitz foyer. Balancing between a natural and industrial landscape, the set acts as a challenging playing field, which the hero needs to navigate.

Directed by Veit-Jacob Walter
Musical Direction by Anna Scholl
Designed in collaboration with Tina Hübner
Played by Till von Orlowsky and Thomas Kiechle
Chor and musicians of Chemnitz Opera




A new play about collective responsibility for climate change
Stage, costume and video design
Developed together with Theater Chemnitz Studio
Premiere online on 29 May 2021 in 2D and VR streaming 

There's a fat, pink elephant in the middle of the room. You somehow try to ignore it as best you can. Using the metaphor of the “elephant in space”, we approach one of the most pressing issues of our time: climate change. We all know the facts and figures - but what feelings does this future perspective trigger in us? How do we deal with these facts? Why do we tend to procastinate on this subject in particular? And is a pink plastic elephant even allowed on stage – well, evil is often very banal.

Concept and development together with Maja Grahnert, Liza Mattiuzzo, Gabriel Tauber, Tina Hübner, Morris Weckherlin and Lauretta van de Merwe
Designed in collaboration with Tina Hübner
Dramaturgy by Kathrin Brune
With support of the workshops of Chemnitz Theatres




Das Maß der Dinge / The Shape of Things
A play by Neil LaBute, translated by Jakob Kraut
Theater Chemnitz, premiere 02 October 2020

Adam works in a museum. One day, the beautiful art student Evelyn stands behind the barrier to a  statue depicting a male nude. Adam tries to convince Evelyn to step in front of the barrier again. Discussion turns into flirtation, flirtation into a relationship. Adam changes: driven by Evelyn, he suddenly pays attention to diet, clothes, sport and develops into a man that women notice. But Evelyn has her own plans for Adam, and in the end, she leaves not only him speechless.

For this story, which can be viewed as a parable, a correspondingly abstract space forms the set. A podium, consising of ten movable panels, transforms with the story, hinting at various locations of the play rather then depicting them. The various configurations of the stage suggest closed vs open rooms, and together create a rich ,playground’ for the characters.

Director: Ulrike Euen
Dramaturgy: René Rainer Schmidt
Costume Design: Tina Hübner
Photo Credits:, Tina Hübner
Cast: Maja Grahnert, Lisa Mattiuzzo, Gabriel Tauber, Morris Weckherlin
With thanks to Norman Heinrich and Frank Hänig




The story of Macbeth is at the same time a personal tragedy of a man who has lost his way, as it is also a story about a society in which he has socialised and which has later become the victim of his actions. The proposed production packs this story into the space of an institute for preventive medicine. This location allows the action to be viewed in a closed system, reduced to a minimum, which shows the interactions clearly, unexpectedly and in its perversity.

The tragedies in Macbeth are a result of mistakes that occur in an institution. Three medical assistants play with their patient and further develop with Macbeth his sick idea that he is indeed a hero who could become the King of England. Disoriented, he begins to find striking similarities between his home and the characters in his play and decides to fight for power with the management of the institute.

The space of the first act is fragmented. A selection of rooms within the Institute are presented: Macbeth's department with its puppet theatre / a control room / a corridor. This provides an introduction to the play that simultaneously shows Macbeth's character development and his surroundings. A scene change occurs shortly after Duncan's murder. Macbeth's room eats the space around it, growing like a cancer cell, becoming one with the institution it is in.




Cinderella: A Christmas Panto
written by Catherine Morrison
Metro Theatre, Vancouver
December 15 - January 6, 2018

A version of the familiar fairytale is transported into modern day Canada. Taking inspiration from Ken Lum’s Vancouver Especially, the set places the three sisters in a tiny affordable house. Marrying the prince is the only option left to solve their housing problem. The set provides a contemporary backdrop to the story, mixing classical theatre technique like the use of scale models and forced perspective, with modern commentary on social issues, such as characterless and replaceable urban developments.

Director: Mike Mackenzie
Lighting Design: Michael K Hewitt
Costume Design:  Fairlith Harvey