Andrej Woron and his Teatr Kreatur

Behind these successes was a lot of hard work. In the last stages of production Andrej Woron’s working day could last up to 16 hours. Nor did he spare his actors. They must have really believed in him, for at the start they could scarcely live off their earnings from fringe productions. But success proved Woron right and intensified his activities. The following shows were created under his direction in the tinyl theatre with an audience capacity of only 99 (before reconstruction):

1990 “Die Zimtläden” (The Cinnamon Shops), based on Bruno Schulz

1991 “Das Ende des Armenhauses” (The End of the Alms House), based on Isaak Babel

1993 “Ein Stück vom Paradies” (“A Piece of Paradise”), based on Itzik Manger (The Book of Paradise)

1993 “K”, based on Franz Kafka

1994 “Zug des Lazarus”

1995 “Der Prophet Ilja” by Tadeusz Słobodzianek

(Break for renovations)

1997 “Merlin”, based on Tadeusz Słobodzianek

1998 “Menschen Löwen Adler & Rebhühner” by Wieniamin Smiechow, freely adapted from Anton Chekhov’s “The Seagull”

1999 “Frankenstein - Genus Avium”, based on Wolfgang Deichsel

2000 “Wir gehen”, based on Jerzy Andrzejewski (The Gates of Paradise)

2001 “Hahnenkämme”, based on Christoph Klimke

2003 “Sanatorium zur Todesanzeiger” (“Sanatorium under the Sign of the Hour Glass”), based on Bruno Schulz

In the final scene of the play “Sanatorium under the Sign of the Hour Glass” the actors climbed onto the top of an aeroplane and took off. At the time Andrej Woron must have guessed that the plane would never land. “Sanatorium under the Sign of the Hour Glass” was to prove his last production with Teatr Kreatur. After Allard Stupperich’s inheritance was exhausted and the Berlin Senate refused to continue financing the company, Teatr Kreatur was forced to close.