The Captain from Köpenick

What do you think? Can you say “whether Eener, who sits int Jefaengnis and does not just do it once but more often, whether that is a juter person or oppa a bad person”?

In order to break the vicious circle of “Keene Arbeit — Keene Uffenthaltsjenehmigung — Keene Wohnung — Keenen Pass — Keene Arbeit...”, Wilhelm Voigt showed in a charming, almost humorous way with his Köpenickiade that senseless obedience is not a good basis for our coexistence. In the play, it is Marie, Wilhelm's sister, who tells the story. She talks about her brother Wilhelm, who is driven out of the house as a teenager and ends up behind bars for the first time because of begging. And about how he strives to become an honest member of society despite all setbacks. At some point, however, Voigt realizes that in some societies you can only become someone if you already are someone. And that's how it happened...

This production is about people who sort out others and about someone who no longer wants to put up with it. And so production cleverly builds bridges to the present day and keeps the strong plea: No person is illegal!

The Köpenickiade became world-famous, but Wilhelm Voigt's career and motivations did not. Director Thomas Sutter changes that and focuses on the person behind the famous anecdote, on his past and his conflicts. In the production, the severity of the themes is cleverly broken up by tipping points in music, stage and costume design. Oriental instruments perforate the sounds of Prussian military music, uniforms become clownesque official robes and the minimalist stage design is constantly transformed, although it represents anything but freedom. An accompanying video installation becomes a silent storyteller in the background.