(Michael Billington’s article appeared in the Guardian, 3/13.)
I came to Berlin eager to learn about the current issues. What impact is the national obsession with immigration having on theatre? How is drama surviving in the current economic climate? And to what extent is theatre still director-dominated? But within minutes of arrival, I discovered that a new production of Der Blaue Engel was on at the Theater am Kurfürstendamm, just across from my hotel. So, yielding to the pleasure principle, I put the big issues on hold and sped to the premiere.