Interview

Michael Forner, Managing Director at Theater und Komödie am Kurfürstendamm and Komödie Winterhuder Fährhaus

M. Forner: It’s a very intense period. We’ve become quite adept at moving, as we’ve only been able to use temporary venues for our performances. That has taught us to focus on what really matters – on what makes a theatre successful. Personally, I’m less involved in day-to-day artistic work at the moment and more engaged with this exciting and challenging construction project, which offers a completely new perspective.

The Komödie has a history spanning over 100 years. How does this identity influence the planning of the new building?

It was important to us that the new building preserves the atmosphere and closeness to the audience that have always defined the Komödie. So we deliberately focused on the new. One element, however, had to move with us from the old house – the chandelier.

How would you describe your role and that of the Komödie in this process – more as a client, as a creative driving force, or as a mediator between artistic and construction requirements.

I’d say a bit of all three. As tenants, we’re heavily involved, we bring in our requirements, and we make sure the theatre doesn’t just function, but also bears our signature.

It’s quite unusual to be so deeply involved in planning and building your own venue. You’re not just a theatre director but almost a construction manager – how is it to be in the middle of this process?

The theater world is complex, and so is the construction project. I’ve learned to adapt flexibly to new tasks and work with everyone involved to find solutions. It’s a challenge – but also a great opportunity.

How do you experience collaboration in this context – more as a creative partnership or an organizational challenge?

At first, I was surprised by how deep you have to get into technical details. But I’ve learned a lot – and I’m grateful that we’re working very collaboratively with all project partners.

What role do sustainability and accessibility play in the new building?

Sustainability in theatre is challenging – with every new production, you have to part with old things. But the new building gives us the chance to work more resource-efficiently with modern technology, like LED lighting. Accessibility has also been an important consideration from the start.

The theatre-specific fit-out is planned and installed by you as tenants. What technical innovations or design highlights are planned?

Two things are particularly important to me: the entrance staircase, which immediately transports the audience into a different world, and the original chandelier from the old Komödie, which we are restoring and reinstalling. A piece of history in the new building.

What are your personal expectations for the opening of the new theatre, and what do you wish for the future of the Komödie am Kurfürstendamm?

A full house! I’m looking forward to the new surroundings at FÜRST and to finally having a permanent home that we can bring to life.

Are there already plans for the first production in the new venue?

Yes – but that’s still a secret!

One of my managing directors suggested asking: If you were to stage Der Hauptmann von Köpenick, which Berlin actor would you imagine in the lead role?

Katharina Thalbach! She has proven in over 150 performances as Miss Merkel that she can play such roles with wit and depth – it would be an exciting casting choice.

Any final words?

I’m glad the phase is behind us in which no one knew how things would continue. Now, with every construction meeting, you can see more and more how our new home at FÜRST is taking shape