Five weeks were spent working in Bremen. The result is a play that draws equally on the personality of each participant. A play in which everyone is a leading actor. An ensemble with no division of tasks. Everyone sings, plays and speaks. The fact that one can recognise who is a singer, who is a professional actor and who belongs to the Oblivia collective only reinforces the impression of mutual rapprochement in the common crossing of boundaries. Covid still struck after the dress rehearsal, Timo Fredriksson from Oblivia spends the premiere in quarantine. In a play that draws on the personality of everyone involved, no one is actually replaceable. Alice Flerl, Oblivia’s dramaturge, who in Bremen, unlike in other productions, should not actually be on stage herself, steps in, takes over the actions he has developed. There’s no other way if the premiere is not to fall through. Yiran Zhao accompanied the rehearsals and took up suggestions from instrumental improvisations. The result is music that serves the scene at every moment, sometimes even taking a back seat to the action of the performers, but never abandoning the complexity of contemporary sound language and ultimately cannot do without a conductor. Therefore, the idea of including the instrumentalists in the scene could not be sustained. Only at the end of the piece do they themselves become actors. Those who improvise need something to improvise about. For Oblivia, themes are above all a means to an end. The scenic material, which started out as a collective improvisation about obsessions, does not always reveal its origins later on, and can turn into the abstract, because in the end it is only form and scenic rhythm that count when it is put together. Some of the audience may have had false expectations as a result of the announcement texts. “I liked it, but I didn’t really understand anything,” said one person after the premiere. “Was there anything to understand?” replies his companion. Her gaze, devoted to the image and not looking for a story in the performance, was certainly the more appropriate one. Long applause. Many in the Bremen audience broadened their understanding that evening of how many different paths musical theatre can take today. In October, it will continue in Wuppertal. First, workshops for musicians and singers. The premiere will be at the beginning of December. The large-scale scenic structure found in Bremen will be retained in Wuppertal. Everything else – including the music – will take on a new form with new participants. Opera, drama and dance are under separate artistic direction in Wuppertal. Unlike in Bremen, it seemed impossible at first to work across the disciplines. Thanks to the efforts of the Wuppertal music theatre directors, members of the local theatre and dancers from the Pina Bausch ensemble are now also involved.