OH GOTT! - *ausverkauft* Stückeinführung 19:30 Uhr
Ella, a 42-year-old psychologist, receives a mysterious visit. The visitor seems to be a celebrity, a high-ranking official from the secret service, or someone equally significant who wants to maintain their anonymity. But soon it becomes clear that it is none other than God himself. And that's not all: God is in a deep depression and plans to end his life – and thus also his work. Ella has only one hour to overcome her inner conflict with God, change his plans, and thus save the world.
Anat Gov has written a delightful, intelligent, and touching play with OH GOTT. Gov is one of Israel's most significant authors. Her plays have enjoyed great success both nationally and internationally. OH GOTT was chosen by the European Theatre Convention in 2010 as one of the "120 best Contemporary European Plays" and has been translated into many languages. Anat Gov passed away in December 2012 at the age of 58. In 2024, OH GOTT will be premiered in German at the Landestheater Linz.
The cast includes Stefan Herrmann (God) and Jel Woschni (Ella).
Direction: Thomas Bockelmann
Set design: Ursina Zürcher
Image design: Hermann Feuchter
Dramaturgy: Dr. Stefan Tigges
Scene photos: Tobias Kopp
Premiere on November 14, 2025, at 8 PM, introduction at 7:30 PM
Venue: Gewölbe, Bursagasse 16
Duration: 75 min
Tickets are still available for May 30; June 5/6/18/19 & July 5/10/11/12. The play will be performed for the last time on July 12!
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WHAT THE PRESS SAYS
“Director Thomas Bockelmann and his actors choose psycho-humor with depth. The piece truly unfolds best on this basis. […] the text strikes analytical tones about the human-God relationship beneath the surface of the comedy as it progresses. […] Jel Woschni as Ella and Stefan Herrmann as God find the balance between comedy and depth in their therapy pas de deux. On one side, of course, the sassy probing therapist and the over-the-top choleric on the brink of a nervous breakdown. On the other side, they also create calm, reflective moments in which the psycho ping-pong pauses, and both performers bring the intimate connection between human and God to the stage.
The ending certainly provides warmth: God feels seen, and Ella sees the image of her son zoomed in as stage illumination. If God wants, a good omen for the future of the room theater.”
Steffen Becker - nachtkritik
“Sparkling dialogues, wordplay, surprising twists, depth, and relevance. […] The timing is right, the punchlines hit, laughter fills the packed theater cellar. The surreal situation of treating the creator of the world opens up the chance for all kinds of ironic jabs. […] The outer frame contributes to this: The cellar space amplifies the intensity and closure of the therapy situation; the staircase leading down from above is meaningfully used to symbolize the intrusion of the higher power – and God’s intermittent escape plans. […] This 70-minute therapy session passes by in a flash.”
Armin Knauer - Reutlinger General-Anzeiger
“It certainly hasn’t lost its relevance. And the production at the room theater is absolutely worth seeing. […]
However, the play doesn’t ride on the clichés of crude religious criticism nor does it struggle with theodicy issues. Instead, it unfolds a humorous and very clever conversation in the therapy situation. In it, fundamental questions resonate: How would we like our God to be? Strong and mentally fit, or is he closer to us if he’s unstable? And, even if we have a stable God who feels heard, are we protected from a second flood? When we talk about God, we end up again just talking about ourselves. […]
Jel Woschni is a believable therapist, navigating between discomfort and excitement of the challenge. There are many self-ironic moments, especially when dealing with psychologist clichés or when it comes to common images of God, which inevitably, even if our God doesn’t fit, are present in the room. Ella grows fiery, and phases of therapy and reckoning blur: “My God, finally grow up!” she eventually exclaims. Stefan Herrmann plays God as a character that initially oscillates between bundle of nerves and omnipotent being, increasingly becoming vulnerable and insightful, ultimately leaving the practice quite credibly enlightened. The character’s ambivalence, troubled by very human problems yet still being God, is intriguing, as he always has the possibility to snap his fingers. The production has a high pace: The therapy hour actually lasts only a strong hour.”
Moritz Siebert - Schwäbisches Tagblatt
sold out
Hallo, ich bin Maya.
