Admission: 7:00 PM

“Zanaida” premiered in 1763 at the King’s Theatre on Haymarket and, together with “Orione,” represents two new works with which Johann Christian Bach successfully continued his previously started operatic endeavors in Italy in London. An avant-gardist of his time, the composer combined elements of Baroque and Classicism, using Pietro Metastasio's first opera libretto “Siface, re di Numidia” as the text source. The Turkish princess Zanaida travels with a delegation to Persia to marry King Tamasse and seal the peace between the two peoples. A new era is to be ushered in. However, Tamasse loves Osira and, with the help of his mother Roselane, intrigues against Zanaida. Her execution is imminent.

The stage work, rediscovered in 2010 in an American private collection, unfolds its narrative along the conflicts of its characters, whose freedom and self-determination are in danger of being crushed amidst personal interests, political power structures, and heroic idealism. Their feelings of love, hatred, and forgiveness are woven by Johann Christian Bach into a delightfully virtuosic and enchanting music.

Musical direction: Johanna Soller
Direction: Rahel Thiel
Stage & costumes: Judith Philipp
Kammerakademie Potsdam

How do we survive in a system that often lets us down? Johannes Pinneberg and his wife Emma, nicknamed Lämmchen, try to build a life together during the time of the Great Depression. After their impulsive marriage – Lämmchen is unexpectedly pregnant – a happy marriage in modest circumstances seems imminent. But then Pinneberg loses his job in a small town because his boss wanted to marry him to his own daughter. Salvation comes from Pinneberg's mother Mia, who lives in Berlin and offers her son a position in a department store. The young couple moves to the big city, initially renting a room from Mia, but later to their own place. Little Murkel is born, and everything seems to be turning for the better. However, after just a year, Pinneberg is let go again because he cannot meet the required sales quota. Thus, the small family is caught in a downward spiral of unemployment, misery, and poverty. Pinneberg threatens to break under the situation, and now it is up to Lämmchen to hold the family together.
The challenging fate of a young couple living in a time of economic uncertainty and social upheaval, as National Socialism gains influence, frighteningly echoes today's times, despite being published in 1932.

Director: Annette Pullen
Stage: Iris Kraft
Costumes: Katharina Weissenborn
Music: Jörg Follert

A musical in ten chapters based on George Orwell

George Orwell's collectivist warning is well known: "All animals are equal, but some animals are more equal than others." After the rebellion against old Farmer Jones, the animal residents of the farm want to manage everything as a community. They declare war on exploitation. But quickly, their dream of a better future turns into a nightmare. George Orwell's analysis of the inevitable dynamics of totalitarian mechanisms, written in the mid-1940s, is frighteningly relevant. His perspective on demagogues, tyrants, and followers, as well as on the handling of true and fake news, the distortion of history, the exclusion of dissenters, and the behavior of those in power, appears extremely contemporary. A piece of timeless world literature and a musical fairy tale full of grim wit.

Wilde & Vogel, Feisel and comrades – this is a team of diverse individuals with various artistic expressions. Together, they developed this production under the direction of Michael Vogel and with a text adaptation by Janne Weirup. The result is a magnificent music theater spectacle featuring nine puppeteers and musicians.

Photo Julia Pogerth

☕ Tanz-Café in Lindenpark – Dance before it's late! 💃🕺
The spiritual successor of the legendary “Tanztee im Haus 2” parties invites you to swing your dancing feet together again – just a bit earlier.

It starts at 8 PM, and we’ll be shaking our hips until 1 AM. If you want, you can move on afterwards or head to bed soon: bus, subway, and tram are just around the corner. 🚍🚋

The Tanz-Café is not an after-work party! It’s for everyone who feels like going out dancing early – whether you’re 20, 40, or 70. Do you want to unwind after a long week, dance it out, and enjoy good music without waiting until midnight (…until the dance floor is finally full)? That’s exactly what the Tanz-Café is for!
Musically, you can expect a time travel through all genres and decades – as long as you can dance to it! From well-known sing-along hits to rarely played album gems and danceable B-sides to sounds that were once big (keyword: Balkan Beats 😉), but rarely play at parties today. Anything goes, nothing is a must – except dancing, of course! 😉

To recharge, there are delicious drinks and a cozy atmosphere. In addition to the dance floor, small seating areas with warm light invite you to take a breather or meet new people.
And at midnight, there’s a little surprise waiting to kick off the last dance hour and the weekend together. ✨#

So: lace up your shoes, pack your friends, and come on by!
The Tanz-Café is the perfect place for anyone who prefers to dance early rather than starting late.

Admission: 8:00 PM

Young dancers from Potsdam, Cottbus, and Stralsund, who regularly dance together with professional accompaniment, present their own pieces. Involved are teenagers between the ages of 15 and 18 from the seminar courses Dance of the New Gymnasium/the New Comprehensive School Potsdam, the TanzWERKSTATT Cottbus, the youth company of Perform[d]ance in Stralsund, as well as the young company tanzparcours and the JugendTanzCompany of the fabrik Potsdam. The young performers bring their own perspectives to the stage: a vibrant mix of bold ideas, fresh energy, and personal forms of expression. Different styles, temperaments, and experiences flow together. This dance celebrates young viewpoints – powerful, sensitive, and surprisingly curious about what connects us.

PROGRAM
School performance, Fri 06 Mar, 10:30 am: JugendTanzCompany / New Gymnasium & New Comprehensive School / tanzparcours
Fri 06 Mar, 7:00 pm: New Gymnasium & New Comprehensive School / Perform[d]ance / tanzparcours
Sat 07 Mar, 7:00 pm: tanzWERKSTATT / JugendTanzCompany

A physical warm-up for all interested parties takes place 45 minutes before the performance [Admission free]. Please register at: mitmachen@fabrikpotsdam.de

You are booking a DAY TICKET for the visit to the permanent exhibition of the museum FLUXUS+. The last admission is at 5:00 PM. For a relaxed visit, please plan at least one hour.

After admission, you will have plenty of time to explore the museum.
Opening hours Wed - Sun 1:00 PM - 6:00 PM

The museum FLUXUS+ in Potsdam showcases modern art with a focus on Fluxus, Wolf Vostell, and four contemporary artists. The collection includes works by Emmett Williams, Ben Patterson, Yoko Ono, Nam June Paik, Mary Bauermeister, and Niki de Saint-Phalle, in addition to Wolf Vostell.

The free exhibitions in the atrium, a museum café with terrace, and the attractive museum shop make the museum FLUXUS+ a popular cultural meeting point by the Havel.

Last admission 4:00 PM

Young dancers from Potsdam, Cottbus, and Stralsund, who regularly dance together with professional guidance, present their own pieces. Participants include teenagers between 15 and 18 years old from the seminar courses Dance of the New Gymnasium/New Comprehensive School Potsdam, the TanzWERKSTATT Cottbus, the youth company of Perform[d]ance in Stralsund, as well as the young company tanzparcours and the JugendTanzCompany of fabrik Potsdam. The young performers bring their own perspectives to the stage: a lively mix of bold ideas, fresh energy, and personal expressions. Different styles, temperaments, and experiences flow into each other. This dance celebrates young perspectives – powerful, sensitive, and surprisingly curious about what connects us.

PROGRAM
School performance, Fri 06 Mar, 10:30 AM: JugendTanzCompany / New Gymnasium & New Comprehensive School / tanzparcours
Fri 06 Mar, 7:00 PM: New Gymnasium & New Comprehensive School / Perform[d]ance / tanzparcours
Sat 07 Mar, 7:00 PM: tanzWERKSTATT / JugendTanzCompany

A physical warm-up for all interested parties takes place 45 minutes before the performance [Entry free]. Registration please at: mitmachen@fabrikpotsdam.de

Possible remaining tickets at the box office. The box office opens 60 minutes before the start.

“Zanaida” premiered in 1763 at the King’s Theatre on Haymarket and, together with “Orione,” represents two new works with which Johann Christian Bach successfully continued his previously started operatic endeavors in Italy in London. An avant-gardist of his time, the composer combined elements of Baroque and Classicism, using Pietro Metastasio's first opera libretto “Siface, re di Numidia” as the text source. The Turkish princess Zanaida travels with a delegation to Persia to marry King Tamasse and seal the peace between the two peoples. A new era is to be ushered in. However, Tamasse loves Osira and, with the help of his mother Roselane, intrigues against Zanaida. Her execution is imminent.

The stage work, rediscovered in 2010 in an American private collection, unfolds its narrative along the conflicts of its characters, whose freedom and self-determination are in danger of being crushed amidst personal interests, political power structures, and heroic idealism. Their feelings of love, hatred, and forgiveness are woven by Johann Christian Bach into a delightfully virtuosic and enchanting music.

Musical direction: Johanna Soller
Direction: Rahel Thiel
Stage & costumes: Judith Philipp
Kammerakademie Potsdam

WENN MUTTI AUS DER KNEIPE KOMMT

A whimsical extra evening for International Women's Day.

Only in Berlin and Meck-Pomm is March 8th a holiday.

No matter, we in Brandenburg will celebrate and entertain all women as it should be.

And that means three times in a row! This is ensured by

BELLA LIERE & ANDREAS ZIEGER

“‘Sardines in or sardines out?’ That is the question here. It’s just before midnight. Tomorrow is supposed to be the premiere, but the actors are still struggling with their fishy props. They are also dealing with nosebleeds, forgotten lines, contact lenses, botched performances, dropped trousers, and loose door handles. But this theater troupe, in the mode of a theatrical survival struggle, sees their failure as an opportunity, and so the play somehow makes it onto the stage. After a few weeks on tour, the battles of the ensemble have shifted mainly to private life: while the audience in front is not supposed to notice anything, true jealousy dramas, relationship farces, and revenge tragedies are unfolding behind the scenes.

With turbulent slapstick, this craziest of all backstage comedies tells the story of lovable-ludicrous acting desperados, who stumble from one stage catastrophe to the next, but keep getting up and defending their art with high-comedic remnants of dignity.

Translated by Ursula Lyn

Director: Bettina Jahnke
Stage: Iris Kraft
Costumes: Tatjana Kautsch

A musical in ten chapters based on George Orwell

George Orwell's collectivist warning is well known: "All animals are equal, but some animals are more equal than others." After the rebellion against old Farmer Jones, the animal residents of the farm want to manage everything as a community. They declare war on exploitation. But quickly, their dream of a better future turns into a nightmare. George Orwell's analysis of the inevitable dynamics of totalitarian mechanisms, written in the mid-1940s, is frighteningly relevant. His perspective on demagogues, tyrants, and followers, as well as on the handling of true and fake news, the distortion of history, the exclusion of dissenters, and the behavior of those in power, appears extremely contemporary. A piece of timeless world literature and a musical fairy tale full of grim wit.

Wilde & Vogel, Feisel and comrades – this is a team of diverse individuals with various artistic expressions. Together, they developed this production under the direction of Michael Vogel and with a text adaptation by Janne Weirup. The result is a magnificent music theater spectacle featuring nine puppeteers and musicians.

Photo Julia Pogerth

Young dancers from Potsdam, Cottbus, and Stralsund, who regularly dance together with professional accompaniment, present their own pieces. Involved are teenagers between the ages of 15 and 18 from the seminar courses Dance of the New Gymnasium/the New Comprehensive School Potsdam, the TanzWERKSTATT Cottbus, the youth company of Perform[d]ance in Stralsund, as well as the young company tanzparcours and the JugendTanzCompany of the fabrik Potsdam. The young performers bring their own perspectives to the stage: a vibrant mix of bold ideas, fresh energy, and personal forms of expression. Different styles, temperaments, and experiences flow together. This dance celebrates young viewpoints – powerful, sensitive, and surprisingly curious about what connects us.

PROGRAM
School performance, Fri 06 Mar, 10:30 am: JugendTanzCompany / New Gymnasium & New Comprehensive School / tanzparcours
Fri 06 Mar, 7:00 pm: New Gymnasium & New Comprehensive School / Perform[d]ance / tanzparcours
Sat 07 Mar, 7:00 pm: tanzWERKSTATT / JugendTanzCompany

A physical warm-up for all interested parties takes place 45 minutes before the performance [Admission free]. Please register at: mitmachen@fabrikpotsdam.de

You are booking a DAY TICKET for the visit to the permanent exhibition of the museum FLUXUS+. The last admission is at 5:00 PM. For a relaxed visit, please plan at least one hour.

After admission, you will have plenty of time to explore the museum.
Opening hours Wed - Sun 1:00 PM - 6:00 PM

The museum FLUXUS+ in Potsdam showcases modern art with a focus on Fluxus, Wolf Vostell, and four contemporary artists. The collection includes works by Emmett Williams, Ben Patterson, Yoko Ono, Nam June Paik, Mary Bauermeister, and Niki de Saint-Phalle, in addition to Wolf Vostell.

The free exhibitions in the atrium, a museum café with terrace, and the attractive museum shop make the museum FLUXUS+ a popular cultural meeting point by the Havel.

Last admission 4:00 PM

„I was clearly just a softie, a sad and insignificant softie who also grew old," is the blunt assessment of Florent, a middle-aged white man in crisis. He is disgusted by his work at the Ministry of Agriculture and the emotionally cold couple relationship with a younger woman. Deeply unhappy, he sees one last way out in staging his own disappearance. He quits his job and apartment to take a winter trip through rural France in his SUV to search for the origins of his failure. The crucial role in this is played by the memory of the love of his life, which he destroyed through a brief sexual adventure. The reunion with an old friend, a farmer whose farm has been ruined by international trade flows, also makes Florent realize: The promises of happiness and freedom of unleashed individualism are nothing but illusions that drive us into loneliness and despair.

Michel Houellebecq, regarded as the most important yet controversial writer in France, narrates provocatively, with revealingly comical self-irony and great sadness about a profound crisis of Western civilization that is rooted in the loss of love.

Directed by Sebastian Hartmann, who has been awarded for his significant and decisive aesthetic approaches, including four invitations to the Berliner Theatertreffen.

Direction & Stage: Sebastian Hartmann
Lighting: Lothar Baumgarte

The event is sold out.

WENN MUTTI AUS DER KNEIPE KOMMT

A whimsical extra evening for International Women's Day.

Only in Berlin and Meck-Pomm is March 8th a holiday.

No matter, we in Brandenburg will celebrate and entertain all women as it should be.

And that means three times in a row! This is ensured by

BELLA LIERE & ANDREAS ZIEGER

In a Vienna homeless shelter, the Jewish bookseller Schlomo Herzl catches an uncouth young man in his arms who has traveled from Braunau am Inn and is named Hitler. Schlomo looks after the newcomer with indulgence and devotion. He lends him his only winter coat, gives him a striking beard cut, and does not hold back on practical life advice. When Hitler is certified hopelessly artistically incapable during his application to the Academy of Fine Arts, he considers a political career. A demagogue matures, who abuses Schlomo's loving care, aligns himself personally with death, and brutally finds his first victim in Schlomo.

George Tabori (1914-2007) connects in his play, premiered in Vienna in 1987, against the backdrop of the Shoah and the centuries-old ongoing anti-Semitic pogroms, in an incomparable, touching way, profound pain with philosophical wisdom and unshakable Jewish humor.

Translated by Ursula
Grützmacher-Tabori

Director: Bettina Jahnke
Stage & Costumes: Dorit Lievenbrück
Music: Achim Gieseler

/ Followed by an encore

30th Anniversary Concert of the International Double Bass Ensemble Bassiona Amorosa

Entrance: 3:00 PM

On March 8, 2026, it's International Women's Day, and we're, of course, part of our concert series FEMALES. MUSIC. ART.! We have a wonderful lineup with musicians from Berlin for you – get ready for German pop, power, and depth from IUMA and borlinghaus! The concert will be comfortably seated, and for the women* of the world, there will also be a free drink (with or without alcohol). Come by and spend a relaxed Sunday evening with us.

If you were to go for a soda with IUMA, she would probably tell you how important sunscreen is and, if you're lucky, how she broke her arm while skating. And maybe you would get into conversation. And a lot of laughter. About failed relationships, the feeling of sometimes just not being able to do it alone and wanting to give up, about vulnerability, therapy, and the realization that we are all somehow at our core uncool victims and that we should all stop feeling the need to be strong. Because showing weakness and seeking help is no shame, but almost a duty to oneself. And that this is slowly sinking in with people. Not least thanks to people like IUMA who raise awareness of these topics. Multidimensional, authentic, honest, current, and relevant! And all of it, funny. And above all, human. IUMA is a representation of reality, musically portrayed in a garment of pop. A true icon of honesty. Cheers to IUMA.

“Better tears than a numb heart,” borlinghaus sings on her current EP – and hits exactly the sore point that defines her music: Giving space to heavy and painful feelings and being grateful to feel them. The fear of becoming empty and cold inside appears greater to the musician than the darkness itself. That’s why she courageously faces this emotional world and thus creates an intimate safe space that is open to everyone. A place where one likes to linger longer: Because besides grief, longing, and melancholy, borlinghaus always manages to create space for lightness and hope. She has been making music since childhood and started writing her own songs at the age of 14. Inspired by the British singer-songwriter Birdy, she discovers her love for profound and sensitive pop, which she hasn't let go of to this day. Later, she experiments with various projects until she finds her voice and tailored sound as borlinghaus: Soft dark pop with German and profound lyrics, combined with warm guitars, distorted drums, and deep basses. With her calm voice, she balances between dreamy melodies and dark sound experiments. Through her personal lines, her music feels very close – and so she doesn't just talk about her emotional world but gently catches you in it.

FEMALES. MUSIC. ART. has the mission to create a local network among women in the music and culture industry. Let yourself be taken on a journey that tells the various paths, feelings, and facets of female musicians and presents their art.

Doors open: 6:00 PM