Discover Season 2024/25

Welcome to the 48th season at the English Theatre of Hamburg! This year, we are thrilled to present an amazing array of performances that span across a variety of genres, ensuring an unforgettable theatrical experience for all. From gripping dramas and sharp-witted thrillers to uproarious comedies and contemporary masterpieces, our carefully curated lineup promises an unforgettable season.

Tickets and subscriptions are available starting 1 August!

Murder by Misadventure

by Edward Taylor

directed by Clifford Dean

12 September – 9 November 2024

Two crime writers get entangled in their own web and (accidentally) commit murder

What happens when an illustrious and celebrated duo of crime writers start to hate each other? Harold and Paul worked together for years. Paul, the idea-giver of the two, has a major alcohol problem, while Harold puts the ideas into books and markets them. When their shared path threatens to end, jealousy and tension rise and bring up the question:

Why not put the fictional murder blueprints to good use and end each other?

A witty thriller, set against the backdrop of Harold’s luxurious villa on the Southern coast of England. It would be a shame to miss this web of deceit and suspicion when fictive plans turn into cold-blooded reality.

In 1992, MURDER BY MISADVENTURE premiered at the Vaudeville Theatre in London’s West End and was greatly celebrated by critics and guests alike.


Wow, what a whodunit!
– Broadway World

Jeeves & wooster in “perfect nonsense”

adapted by The Goodale Brothers

directed by Paul Glaser

28 November 2024 – 25 Januar 2025

A proper dose of British humour combined with lightning-fast quick changes won’t leave any eye dry

Based on the global phenomenon that was Jeeves and Wooster, this 2013 adaption by The Goodale Brothers celebrates the hilariously comical pair in their truest form.

Set in 1920s England, a whirlwind of eccentric characters and absurd situations leads Jeeves and Wooster through their wild adventures.

When haphazard Bertie Wooster wants to put up a play about the events at Totleigh Towers, he runs into a major issue; he only has two actors at his disposal. So, to tell a complex story, he and his intelligent valet Jeeves have to become incredibly creative! Together they navigate various predicaments, including mistaken identities, romantic entanglements, and familial obligations.

Since its premiere, JEEVES & WOOSTER IN “PERFECT NONSENSE” has delighted audiences all over the world.

Based on the novel THE CODE OF THE WOOSTERS by P. G. Wodehouse, the play stays true to the original tone of the base material and catapults it–at the same time–onto the stages of today. A happening that should not be missed!

This clever PG Wodehouse tribute reproduces the manners of the Edwardian English upper classes, while cunningly sending them up

– The Guardian

Doubt: a parable

by John Patrick Shanley

directed by Clifford Dean

13 February – 12 April 2025

The ground-breaking Pulitzer prize-winning play about faith, and what it means to follow what you feel is right even when there’s no evidence

Set in a Catholic school in the vibrant streets of the Bronx in 1964, an unsettling atmosphere drenches the corridors. Sister Aloysius, the strict principal, is more feared than admired by her students. Her polar opposite seems to be the charismatic school’s priest Father Flynn, who has a natural connection to the pupils.

Yet, beneath the surface of this seemingly harmonious environment, whispers of discontent and suspicion begin to emerge. When Sister Aloysius becomes suspicious of Father Flynn, a battle of wills ensues and doubts grow about his innocence or guilt.

DOUBT is a multi-layered play that explores themes of faith, morality, and the complexity of truth, leaving the audience to ponder the nature of certainty and doubt.


(Contains: sexual abuse)

ideally worded, ingeniously structured, sinewy and swift
–  The New York Time


by Lauren Gunderson

directed by Paul Glaser

5 May – 5 July 2025

A deeply human AI thriller about grief, connection and the perceived control over the technology we create.

In the wake of tragedy, Merril finds herself grappling with the devastating loss of her sister, Angie, who disappeared a year ago. To deal with her grief, the software engineer Merril creates a digital replica of her sister by feeding her online footprint into a chatbot. This virtual Angie becomes a lifeline for Merril, a source of comfort and companionship in the face of overwhelming grief. But her unconventional coping mechanism is met with resistance from those closest to her, who struggle to understand and question how healthy the relationship with a glorified chatbot can be. But when digital Angie implies she might be able to solve her own missing persons case, everything changes.

With each new piece of information, the lines between reality and simulation blur, raising profound questions about the nature of identity, memory, and the human condition.

anthology, this sharp play about the rewards and risk of science also has a satisfying suspense element 
–  The Guardian

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