In Elementarteilchen, Johan Simons’ adaptation of the novel of the same title by Michel Houellebecq, the five actors mostly stand on a corrugated floor on an otherwise empty stage. The piece consists of little more than this, but this “little more” touches precisely the right tone.

I had some reservations about the first installment of Guy Cassiers' adaptation of "A la recherche du temps perdu", but the third and now the fourth part stole my heart.

"Der Meister und Margarita" is typical Frank Castorf. You either love it or you wonder what on earth it's all about. I loved it.

"By Gorki" by Alvis Hermanis is fascinating theatre. It is at once moving, funny and relevant. I was captivated from beginning to end.

Somehow everything fits together in "Endstation Amerika" by Frank Castorf. Stage design, text, music, acting. This is why I go to the theatre.

It doesn't happen often that I go and see the same play twice. In Frank Castorf's stage productions there is usually so much going on that going to see it twice is almost required to take it all in.

It is funny. Very funny. Very very funny. But after a while it gets boring. Very boring. But then it gets funny again. Very funny. So funny that you have to laugh. This is what you do when things are funny, especially when they are very funny, not to mention when they are very very funny.

Watching Frank Castorf's adaptation of Dostoyevsky's "Erniedrigte und Beleidigte" feels like being invited to a family party where everybody knows each other, but nobody knows you.

How should I integrate this into my sexuality? If you want to fuck globalisation, technology and the neo-liberal rhetoric of the new left, you have to deconstruct the whole notion of sexuality.

When Dutch theatre critics wrote of Guy Cassiers' adaptation of Marcel Proust's "A la recherche du temps perdu", that it was a masterpiece and that he was approaching perfection, I was at once curious and skeptical.