I WANNA CONTACT THE LIVING: Ghostly Theater at Munich Volkstheater
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When the Ghost Despairs of the Present
In the Munich Volkstheater, a haunting castle opens on November 10, 2026: I WANNA CONTACT THE LIVING – The Ghostly from Canterville transforms Oscar Wilde's famous ghost story into a contemporary stage journey between horror, comedy, and societal diagnosis. Katharina Grosch develops a production as author and director about the need for contact – and about a present that often responds to the greatest hauntings with only a weary glance.
A Ghost Seeks Connection
An ancient curse, a lost soul, and a castle full of shadows form the starting point. The ghost of Canterville wants to drive innocent residents insane. However, the new family remains completely unfazed. Chains rattling, apparitions, and the familiar tools of the horror genre fail to make an impact. The once sovereign haunting becomes a desperate attempt to finally be acknowledged.
The dramaturgy shifts the perspective: the focus is not only on whether people can still be frightened. The production also questions why anxiety disorders and panic attacks are ubiquitous despite an apparently enlightened society. Amidst a flood of news, horror film experiences, and psychological self-optimization, a grotesque intermediary space emerges, in which the uncanny suddenly appears as a social force again.
Absurd, Comical, and Undercut with Subtle Melancholy
Grosch combines the classic source material with a quirky, absurd-trashy stage aesthetic. Small moments of fright meet offbeat trains of thought, comedic timing meets a melancholic underpinning. The direction does not allow the ghosts to appear as overpowering monsters but as figures that become almost human in their daily failures.
The set design and costumes by Hanna Rode shape the theatrical atmosphere with grotesque images: rosy-cheeked cardboard faces, widely opened eyes, crumpled sheet dresses, and eccentric hairstyles give the apparitions the charm of particularly beloved cloth dolls. Music by Cico Beck and lighting by Balthasar Lukas Pank open spaces between haunting, dream, and garish present.
Oscar Wilde as a Springboard into the Present
The free adaptation does not use Oscar Wilde's narrative as a museum piece but as a resonance space. The ghostly becomes a touchstone for empathy: those who are scared draw closer together. Especially in a time of real horror scenarios, the production examines whether the shared experience of fear can still create community.
The acting talent of Maximiliane Haß, Liv Stapelfeldt, and Marlene Markt as ghosts meets Ruth Bohsung as Ms. Umney and Noé Stehlin as Virginia Ninsch. In the precise combination of body comedy, horror motifs, and philosophical questioning unfolds a stage experience that swings between laughter and unease.
Press Comments on the Production
The Abendzeitung describes the evening as an absurd-trashy setting that surprises with small moments of fright and unusual thoughts. Nachtkritik particularly highlights Hanna Rode's costume and mask creations. The Süddeutsche Zeitung sees in the funny, cheerful, and soon desperate ghosts figures whose failure evokes a strange intimacy.
A Concentrated Theater Evening
The performance lasts 1 hour and 50 minutes without an intermission. It is staged on Stage 2 of the Munich Volkstheater. The venue is accessible for individuals with disabilities; access is provided via an elevator, and Stage 2 is located on the ground floor. A paid underground garage is available; arriving via public transport is recommended. As a note: Cigarettes and herbal cigarettes are used in the production.
Conclusion: Fear as an Invitation to Closeness
I WANNA CONTACT THE LIVING – The Ghostly from Canterville promises a multifaceted stage experience: a comical ghost story, a clever contemporary diagnosis, and a visually striking production about fear, apathy, and the desire for connection. Those wanting to experience theater that balances between fright, acting artistry, and social reflection will find an evening with a distinct rhythm and lasting resonance here.
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