by Tankred Dorst
This season, the Globe Ensemble Berlin is once again including a play for young audiences in its program. “Ameley, the Beaver, and the King on the Roof” by Tankred Dorst (1925–2017) was written in 1982 and is based on motifs from Clemens Brentano’s “Rheinmärchen” (Rhine Fairy Tales).
Image gallery
Globe Berlin: Ameley
Globe Berlin: Ameley
Globe Berlin (Probenfoto)
Globe Berlin: Ameley
Globe Berlin: Ameley
Globe Berlin: Ameley, der Biber und der König auf dem Dach
Globe Berlin: Ameley
Globe Berlin: Ameley
Globe Berlin: Ameley
Globe Berlin: Ameley, der Biber und der König auf dem Dach
Globe Berlin: Ameley
Globe Berlin: Ameley, der Biber und der König auf dem Dach
Globe Berlin: Ameley, der Biber und der König auf dem Dach
Globe Berlin: Ameley, der Biber und der König auf dem Dach
Ameley takes the audience on an exciting journey into the Forest of Munkelwust, a modern fairy-tale world where fairies, humans, animals, and pears talk to one another and connect as a matter of course—a highly diverse community of the lost and the enchanted who bravely face the great adventure together. And in the process, they also discover who they really are and where they belong.
- For children ages 6 and up
Starring Astrid Köhler, Helena Krey, Saskia von Winterfeld, Peter Beck, Mick Morris Mehnert, Rahul Chakraborty
Director: Mathias Schönsee / Music: Maike Rosa Vogel / Set & Costumes: Katharina Piriwe / Makeup: Emily Beilharz
Additional information
All-Around Fun for Kids
Director Schönsee skillfully uses the surrounding nature—trees, foliage, and singing birds—as welcome co-stars. When the blackbird sings, a bird is actually chirping somewhere in the branches. The six-member ensemble, which plays all the instruments live themselves, appears in the song prologue—like an anarchic troupe of jugglers—in high spirits, serving as both choir and orchestra, and introduces the plot in the finest tradition of epic theater. With a keen sense of comedic exaggeration, the actors slip into their one-dimensional, predefined characters, which—for the sake of clarity—are mostly limited to a single emotional trait: the little dog is fearful, the beaver is brash, and the king is delightfully clueless.
Friedhelm Teicke on tip-berlin.de on June 7, 2022
Being mean is Murx. Kindness and prudence get you further
Patrick Wildermann in Der Tagesspiegel/Ticket on June 2, 2022
Director Schönsee skillfully uses the surrounding nature—trees, foliage, and singing birds—as welcome co-stars. When the blackbird sings, a bird is actually chirping somewhere in the branches. The six-member ensemble, which plays all the instruments live themselves, appears in the song prologue—like an anarchic troupe of jugglers—in high spirits, serving as both choir and orchestra, and introduces the plot in the finest tradition of epic theater. With a keen sense of comedic exaggeration, the actors slip into their one-dimensional, predefined characters, which—for the sake of clarity—are mostly limited to a single emotional trait: the little dog is fearful, the beaver is brash, and the king is delightfully clueless.
Friedhelm Teicke on tip-berlin.de on June 7, 2022
Being mean is Murx. Kindness and prudence get you further
Patrick Wildermann in Der Tagesspiegel/Ticket on June 2, 2022
Dates
August 2026
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