In April 1936, a group of English schoolboys set out for a hike in the Black Forest, led by a charismatic teacher who “ignored numerous warnings and made a series of fatal decisions.” Their story has become a well-researched history, a graphic novel, and now a stage play.  (The Guardian, 9/10/21)

Camp Siegfried is a boy-meets-girl-meets-fascist-indoctrination two-hander,” set at a summer camp for German-American youth on 1930s Long Island.  (The Guardian, 9/7/21; Variety, 9/17/21)

A fresh take on the Dreigroschenoper at the Berliner Ensemble? Yes, please! Director Barrie Kosky “adds and subtracts, breathing new life into a work that desperately needed it.”  (The New York Times, 8/5/21; The New York Times,  8/15/21)

The 2021 Brecht Festival in Augsburg was designed as a digital-only event: “Nothing here is slapdash or slipshod . . . As far as online theater festivals go, this one is practically binge-worthy.”  (The New York Times, 3/4/21)

In memoriam: Eric Bentley (1916–2020). Among a long lifetime of achievements, he helped bring Brecht to English-speaking audiences.  (The New York Times, 8/5/20)

“German theaters have the artistic drive as well as the means, thanks to generous government subsidies, to insist that the show go on.”  (The New York Times, 5/19/20; The Guardian, 5/29/20; The New York Times, 7/2/20)

In memoriam: Rolf Hochhuth (1931-2020): playwright and Querdenker; his first and best-known work, Der Stellvertreter, criticized the inaction of Pope Pius XII in World War II.  (Deutsche Welle, 5/14/20; The Telegraph, 5/18/20)

Since the 17th century, the people of Oberammergau have kept their promise to perform the Passion Play almost every tenth year, “celebrating their salvation from one pandemic—until another pandemic forced them to break it.” The play is now postponed until 2022.  (The New York Times, 4/5/2020)

The cultural venues may be closed, but Covid-19 has opened up their performances to wider (online) audiences than ever before.  (The Guardian, 3/16/20)

Onstage in February 2020: René Pollesch renews the world at the Friedrichstadt-Palast, while King Lear’s daughters Regan and Goneril dismantle patriarchy at the Münchner Kammerspiele.  (The New York Times, 2/13/20)

Jaromir Weinberger’s Frühlingsstürme, “the last operetta of the Weimar Republic,” is back on stage at the Komische Oper.  (The New York Times, 1/26/20)

The music from Bartok’s opera Bluebeard’s Castle is entering the public domain—and so Tanztheater Wuppertal is reviving Pina Bausch’s “Bluebeard” for the first time since 1994.  (The New York Times,  1/15/20)

In memoriam: Harry Kupfer (1935–2019), “a towering figure in opera production with a career spanning 60 years.” (The New York Times, 1/3/20; The Guardian, 1/9/20)