RAUSCH (Drunk) at the Metropol Theater: Great stage art on the edge of loss of control


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RAUSCH (Drunk): Between Lust for Life and Loss of Control
Four teachers, a radical self-experiment, and the longing for a life that burns again: With RAUSCH (Drunk), the Metropol Theater Munich brings the stage adaptation of the award-winning film by Thomas Vinterberg and Tobias Lindholm to the stage. The performance on October 16, 2026, combines social satire with melancholic observations of people and leads straight into the narrow zone between euphoria and crash.
An Experiment with Dangerous Pull
At the center are four frustrated and overwhelmed teachers whose everyday lives are marked by routines, professional disillusionment, and private doubts. When they encounter the theory that humans come into the world with half a permille too little alcohol, they begin a collective self-experiment. What initially seems like a liberating breakthrough develops an unstoppable dynamic.
Dramaturgy Between Comedy and Disillusionment
The stage adaptation by Thomas Vinterberg, Tobias Lindholm, and Claus Flygare focuses on the contradictory dynamics of intoxication: Uncertainty gives way to self-confidence, the lessons become more passionate, and encounters become more intense. At the same time, relationships, responsibility, and personal balance begin to waver. The production unfolds a social satire with fine humor, emotional weight, and bitter afterimages.
Precise Direction, Concentrated Acting
Jochen Schölch is responsible for direction and set design. His psychologically precise approach meets an ensemble consisting of Michele Cuciuffo, Hubert Schedlbauer, Jakob Tögel, and Bijan Zamani. Costumes by Sanna Dembowski and lighting by Martin Hermann create a theatrical atmosphere in which the mood visibly changes: from sober school life to feverish border experiences.
A Metropol Theater with Its Own Signature
The Metropol Theater in the Munich district of Freimann works with its own ensemble and is known for reduced, visually strong productions on current social issues. The audience area in the former cinema from the 1950s creates an immediate closeness between stage and audience with its 160 seats. This spatial concentration amplifies the stage experience and makes every audience reaction palpable.
Conclusion: An Evening at the Fine Line
RAUSCH (Drunk) promises an evening full of zest for life, friendship, melancholy, and uncomfortable questions. The production shows how quickly an attempt to escape everyday life can tip into a crisis. Those who want to experience acting with social relevance and an atmospherically concentrated production will find an intense theater evening at the Metropol Theater.
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