Dear friends, you know of which we speak and there’s no need to repeat it here. Best to think of it as the interval between the acts. We’ll be back just as soon as our delightful tiny friend gets itself under control.
In the meantime, we are still meeting (virtually) and planning and looking forward to the moment when we can dart out of the starting blocks and make a brand new charge for the stage. We are still (as always!) looking for enthusiastic members to join our team. If you have any theatre or performance-related ideas you would like to realise, drop us a line at info@EnglishTheatreLeipzig.de and we’ll be in touch.
While we wait for our curtains to open again, join our mailing list to be informed of our updates as soon as they come in. You can also follow us on Instagram or Facebook (links at the bottom of the page!).
Be sure to keep yourselves and loved ones safe and dry and warm – we’ll see each other again in real life real soon.
Calling potential theatre directors for ETL’s 2021 Season!
Due to the current circumstances and having no idea how many people will be allowed in our theatre next year, we have decided to embark on a “shoe-string” theatre season.
If we are the thrive next year we need to be prepared and to stay ahead of the game. To this end we are seeking imaginative shows without the usual budget!
• Have you got a royalty-free piece you’ve been itching to produce? (There are
thousands out there!)
• Have you written your own piece and would love to see it staged?
• Have you an idea to create a devised piece?
We truly believe this is an opportunity and not a hindrance. Let’s get creative and do our part in keeping theatre alive in these uncertain times.
Think about minimal sets and simple costumes… Free to perform ( or low-cost royalties) We have access to previous stock sets and wardrobe , so let’s utilise these along with our creativity and prove that we can still make amazing theatre whilst COVID19 looms nearby!
ETL is looking for actors for our next show in September 2020. Are you of any age, any gender, any colour and any height? If so, we want to see what you can do on the stage!
We will be holding auditions at the Neues Schauspiel at Lütznerstraße 29, on Sunday 12 July from 10am to 2pm as well as Tuesday 14 July and Wednesday 15 July from 7pm to 9pm.
If you would like to take part, please drop us a line at firstname.lastname@example.org providing the following information: Full name, age if under 18, English proficiency, previous acting experience if any.
Please prepare to deliver 2 separate monologues, from one modern and one classical text. Due to the current situation we only have limited space available at the venue, so get your applications in early to ensure you get a place!
We, like all other community institutions in Leipzig, have had to react to the current crisis. We are therefore announcing the postponement of the performances of Philoctetes on March 20th and 21st. We hope this is only a delay and not a cancellation. We shall work in collaboration with Neues Schauspiel Leipzig in an attempt to find new performance dates. We will naturally inform you if a solution can be found.
As we finance our productions through box office revenue from our performances as well as donations, we would ask you to consider contributing the cost of your ticket or, perhaps, something more. You can find our donation information here. This will ensure that we can keep doing more shows. We do also contribute a part of our revenue to NSL but that won’t be near sufficient for their needs.
Now, more than ever, we need to do what is right not just for ourselves individually but also for each other. Let’s work together to emerge from this stronger and better than we were before. And, most of all, we wish everyone all the best in dealing with this situation.
Thank you for your pitches! If you have any questions regarding pitches or the new season, please contact us here.
Do you have a script that you’re dying to see performed? Have you always wanted to direct an ETL production? Well, now’s your chance!
ETL is now accepting applications to direct our December and March shows next season. We kindly request that anyone interested in directing a production submit two potential titles. You need to fill out one of our application forms (available for download here) and return it to us along with a digital copy of your scripts. All submissions must be received before Midnight, March 29.
After we have had an opportunity to go through the applications, we will arrange individual interviews where you can pitch your shows personally. Following the pitches and adequate time to deliberate, the committee will notify those selected and then post the titles.
Please send us an e-mail (email@example.com) requesting an application. If you have any additional questions, you can use the same address.
We here at English Theatre Leipzig are currently casting for our December production “30 Neo-Futurist Plays from Too Much Light Makes The Baby Go Blind (30 Plays in 60 Minutes)” by Greg Allen. The director, Emily Wessel, will be holding open auditions from 10am to 3pm on October 5th and 6th. The auditions will take place at the Neues Schauspiel Leipzig, Lützner Str. 29, 04177 Leipzig.
If you would like to participate, please tell us by sending an email to (firstname.lastname@example.org) stating on which day you will attend the audition. Additionally, Emily has requested that you prepare a few things for the audition:
Please come with a 2 to 3-minute true story about something that happened in your life. It can be sad, it can be happy, it can be funny, it can be ridiculous, it can be mundane. We are looking at your ability to tell a story, not your ability to memorize a monologue.
Along with your prepared story, come with two topics that you want to talk about. These can be topics that are important to you, topics you find interesting, funny, scary, compelling, poignant or annoying. Topics you relate to.
Also, make sure you wear clothes and shoes you can easily move in.
The English Theatre Leipzig turns to Greek mythology in its newest production and presents Sarah Ruhl’s Eurydice from the year 2003, a retelling of the myth of Orpheus in the underworld.
A little bit about the story: Eurydice and Orpheus celebrate their wedding, when Eurydice dies and finds herself in the underwold. Because she was dipped into the river of forgetfulness, Lethe, she has lost all her memories. She meets her father – a character newly created by Sarah Ruhl – who managed to save his memory and now wants to refresh hers. Three stones – the classic chorus – want to prevent this.
As you will see, water plays a significant role in the play. As we travel along with Eurydice, we hear the water acting as the rhythmic background for the song of Orpheus. It rains and flows, nurturing the memory of what is now a part of the past. It is a tale of love, and loss, with tears as souvenirs of those remembrances.
In order to bring you into this mystical underworld of Eurydice, our stage designer and constructor Peter Klippell has devised, among other things, a well that will serve as a representation of the river of forgetfulness.
But since this is a more extravagant and elaborate undertaking, we are now coming to you, to ask for your help! As a Thank You for your contributions, we again have a number of selected gifts, ranging from postcards or posters to free tickets to a full night of pampering. So please, check out our crowdfunding campaign here, every cent and every share counts!
Harold Pinter’s play The Birthday Party had its London premiere – on this day in 1958 – at the Lyric Theatre in Hammersmith. The critics didn’t take to it and shot it down in flames – it was taken off after not even a week’s run. What made the play so controversial, and why is it still met with a mixed bag of emotions today? You’re about to find out.
Written during a prolific phase in 1957 that also saw two of his other plays set in claustrophobic rooms come to life – The Room and The Dumb Waiter – all of these rooms experience an invasion by unwanted intruders. This is about as much of a theme as we get; any approach to interpreting the play is an attempt as volatile as trying to penetrate a sealed and impervious surface with a toothpick. Pinter himself never gave any explanation either, thereby evoking James Joyce’s concept of the artist “like the God of the creation, [who] remains […] above his handiwork […] paring his fingernails.”
British society at the time experienced massive changes. The NHS came to live, social-housing schemes introduced and a solid education available to everyone in British society. Plays that merely depicted the lives of middle-class people ceased in popularity, seeing a new wave of plays such as Osborne’s Look Back in Anger and Beckett’s Waiting for Godot sweep the stages of the country. Against this backdrop of changes in politics, society and education, the theatre of the absurd became a loose movement where events and actions remain unexplained and illogical, not pursuing any kind of particular theme.
What was new and to a certain degree outrageous about The Birthday Party was what fellow playwright David Campton described as the ‘Comedy of Menace’. With Pinter, elements of intertextuality and an interplay of meta-stories, myths, archetypes and what’s today called lampshading proved too much for his contemporaries to stomach. Audiences were left bewildered by a play that was told in a very conventional way, but then let the action drift off and play with the audience’s perception of how a play was supposed to evolve. This posed too big a challenge to the audience and critics in the late 1950s, a circumstance that wasn’t helped by the use of language that was markedly poetic and laced with metaphors. To sum it up, an appreciation of the absurd had not yet found its way into people’s minds and is exactly what makes The Birthday Party so mysteriously nubile today.
I like the play as it keeps you in suspense throughout, conveying a world without any outside authority or governing moral values. The protagonists are the ‘bad guys’ who define arbitrary values. However, the absurd element of the play prevents the plot from following up on deeds in a way logical to human conduct in a way you’d expect it from conventional storytelling. There are stark allusions to death and violent revenge that, albeit never come to fruition, keep lingering on like a subtle charm of malediction. The two intruders are the harbingers of spiritual and psychological destruction, and none of the other characters have the guts to confront or even question them. And yes, some of the dialogue – especially the scenes involving Goldberg – is razor-sharp and witty in a way only Pinter could write it.
Thespians assemble! We’re casting for our new show Eurydice by Sarah Ruhl!
The famous myth of Orpheus reimagined – this play follows his lover Eurydice’s journey to the underworld. After Eurydice dies on the two lovers’ wedding night, Orpheus, consumed with grief, tries to reach her in the land of the dead. While he tries to find a way into the underworld, Eurydice meets her dead father, but all her memories of him and her love have been washed away by the river of forgetfulness. Suspended between life and death, Eurydice tackles themes of love, loss, and connection.
We welcome people of all ages and backgrounds to our auditions. Come join the fun on the 4th of May!
As a non-profit organization, English Theatre Leipzig is only focused on creating a product that our audiences can enjoy seeing, and that we can enjoy making. For the members of ETL and everyone that assists in the productions it truly is a labor of love. The company has no salaried employees. However, that does not mean there are no expenses in putting on our shows. Material costs for sets and costumes, printing costs for programs and promotional materials are just a few of the things that ETL must pay for.
Up to now, ETL has always sought, with success, to cover its operating costs through membership dues and the ticket sales from our productions. A number of issues are working against our continued financial stability, but two stick out above the rest. First, as we become more ambitious in the shows that we are putting on, the associated production costs also rise. Bigger set, more technical equipment, larger cast, etc. mean more costs. And second, practically all of the production costs are paid out before one single member of the public can buy a ticket and sit before the stage to see our work. Naturally we plow any profits from one production into the next one (with the possible exception of a small ETL contribution to the members’ parties, which are legendary). But we are always trying to catch up with expenses after the fact.
Therefore, in an attempt to address this problem, we have created a crowdfunding call that is destined to cover the costs of the props and scenery for Proof. To go along with the incredibly good feeling you get from contributing to our production, we have kicked in a few selected gifts based on your level of generosity. So, please go check it out at:
We are using cookies to give you the best experience on our website.
You can find out more about which cookies we are using or switch them off in settings.
You can adjust all of your cookie settings by navigating the tabs on the left hand side.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.