The Shameless is an investigation of who can represent who and how in a play with fiction and reality.

Everything is fiction and we all walk around with fictions about each other and a self-staged version of ourselves. These are self-enactments, mediations and metafictions.

The performance starts as naturalistic theatre, develops into a mediated road trip and ends by inviting reality onto the stage.


Mari Götesdotter

Eric Oleson

Shada Sulhav

Bahareh Razekh

Andre Street

Sanne Petersson

Little Peter

William Hedendahl


Staging and text

Tue Biering


Scenography and costumes:

David Gehrt



Stuart Bailes


Sound design

Daniel Fogh



Anton Elmgren



With a team of three Chinese actors, fix+foxy sets out to uncover the empires of the time and their troops.

The world is built on empires. Empires arise, grow, collapse and are taken over by other empires. The empires are many and their troops are everywhere. But you can’t always see them. They creep in, very close, without you noticing. Maybe they are already here…

In an apartment that is so IKEA that it could just as well be in Stockholm as in Shanghai, three Chinese actors sit and discuss the world situation, sci-fi films and narratives about empires that are in the process of taking over the globe. But who exactly is the invasive species? Are we already ruled by encroaching economic empires that, through burgers, coffee, furniture, or technology, take over our lives and thoughts? Empires that know that it is all about dominating. Because only the strongest survives.

IMPERIAL TROOPERS is inspired by the American sci-fi film Invasion of the Body Snatchers. Originally it was an American propaganda film that, with Hollywood’s popular and effective horror, was supposed to warn against communism’s destruction of Western values.

Trilogy about empires
IMPERIAL TROOPERS is the second part in fix+foxy’s trilogy about empires. The first part, the dramatic western DARK NOON, premiered in 2019. The performance was played by seven South African actors who, from their perspective, told the migration story of the Europeans, where thousands of hungry and poor people fled to America to colonize “The Promised Land”. DARK NOON received a Reumert in 2019, while Johan Johan Kølkjær was nominated for a Reumert for his pioneering scenography. Johan Kølkjær has also made the scenography for IMPERIAL TROOPERS. This time in a sci-fi setting.

IMPERIAL TROOPERS is produced in collaboration with Blaagaard Teater and is supported by Bikubenfonden, the Danish Arts Foundation for Performing Arts, Nordic Culture Fund, S.C. Van Fonden, Wilhelm Hansen Fonden, Knud Højgaards Fond and Beckettfonden.

The show was first performed 1-21 June 2023 at Blaagaard Teater in Copenhagen.

Cast Zenghao Yang, Yik-Sau Chung, Robin Khor Yong Kuan
Director Tue Biering
Set Designer Johan Kølkjær
Sound design Daniel Fogh
Light design Balder Nørskov
Dramaturg Cille Melgaard
Assisting director Katinka Hurvig Møller
Costumes Clara Bisgaard
Props Mille Carla Lorentzen Kristensen
Interns Léa Falconnet, Aurélie Alessandroni
Set designer’s assistant Mai Katsume
Stage manager Svante Huniche Corell
Communications manager Anne Bennike
Consultant Fabrizio Massini
Research  Nannan Chen
Production manager Anne Balsma
Producer Annette Max Hansen
Photo Catrine Zorn and Søren Meisner



Adapted from Shakespeare’s cycle of violence called the Wars of the Roses

For 6 hours, William Shakespeare’s dramas Richard 2, Henrik 4 I-II, Henrik 5, Henrik 6 I-III, Richard 2 are played through.



Anders Gjellerup Koch

Benjamin Kitter

Cecilia Gerberg

Freja Klint Sandberg

Klaus T. Søndergaard

Christopher Helmuth

Louise Davidsen

Malene Melsen

Mikkel Bay Mortensen

Natalí Vallespir Sand

Nicolai Jandorf

Niels Skovgaard Andersen

Githa Lehrmann

Frank Thiel

Staging and text: Tue Biering

Scenography: Nicolaj Spangaa

Costumes: Marie Rosendahl Chemnitz

Dramaturg: Mathias Rosenkrands Bech

Sound design: Daniel Fogh.

Tone master: Kim Malmose.

Lighting design: Simon Holmgren.






World premiere after William Shakespeare by Tue Biering
About the piece

Hamlet is dead. Old Hamlet. Prince Hamlet’s father has the same name as his son. The old king Hamlet’s murderer is his brother Claudius. Claudius married Hamlet’s widow Gertrud and is now on the throne. Prince Hamlet studied in Wittenberg. He is now returning to Denmark. The coronation of the new king
Claudius calls for the prince. He is sick with grief and haunted by the ghost of his father. The ghost wants Hamlet to avenge him. William Shakespeare’s tragedy of 1602 is certainly one of, if not the most famous drama in the history of theatre. It exemplarily shows the complexity of human existence and how difficult it is to differentiate between good and bad. Hamlet fails spectacularly at the latter. Hamlet is perhaps the most famous play in the world. A highlight of European culture. The tragedy of the melancholic prince, who doesn’t know whether he wants to be or not, is for many people the epitome of theater. For Shakespeare his origin lies in Denmark – currently the happiest country on earth. The internationally acclaimed Danish director Tue Biering works – freely based on the original – with a real, Danish Hamlet on the questions of the drama and the question of what it means to play this piece today. What does the drama of a young man refusing to abandon the old order and defending it down to the blood tell us? Is it perhaps true that we would all love to be Hamlet? Eternally misunderstood and brimming with righteous anger. With biting humor and great enthusiasm for playing with layers, “Prince of Denmark” tells the brilliant story of the original on one hand and how it is staged in 2021 on the other. Tue Biering, one of Denmark’s most interesting directors and playwrights, regards Shakespeare’s play with a Danish actor as Hamlet. The question ofidentity and truthfulness, which drives Hamlet insane, is thus shifted to the level of those playing.

WITH:  Katharina Abt, Morten Burian, Henrik Kordes, Thorsten Loeb, Marielle Layher, Max Scherer, Daniel Scholz, Stefan Schuster, Maximilian Siegling, Béla Milan Uhrlau, Mathias Znidarec

Regie & Text
Tue Biering
Setdesign and costume:
Johan Kølkjær
Nanna-Karina Schleimann
Dramaturgie & translation
Maximilian Löwenstein


In a village built on red clay with a saloon, gold mine, railway and church, seven South African actors film a western with cowboys and Indians, golddiggers, missionaries and lots of deadly gunfights.

Together with director Tue Biering and choreographer Nhlanhla Mahlangu the actors dive into a time when 35 million hungry and poor Europeans fled west across the Atlantic to get a second chance, conquer gold and eat of the American dream. It will be a deadly journey. Because in God’s own country, neither black nor white lives matter in the pursuit of happiness.

DARK NOON is abuse, a little house on the prairie, whores, pickpockets and what else the Wild West could offer. It is the wild and lawless story of Western civilization told by a group of South African white facing actors. Here the relationship between the West and Africa is turned inside out and the audience never knows what to expect.

DARK NOON is produced in collaboration with Revolver at Republique and supported by the Danish Arts Foundation, Bikubenfonden and Beckett-Fonden.

The show was first performed 11 May – 1 June 2019 at, Revolver at Republique in Copenhagen.

Previous tours
30 Aug.-3 Sep. 2022, Aarhus Festuge,Aarhus, Denmark
23-30 July 2022, MAPAS FEST, Tenerife/Gran Canaria, Spain
23-25 June 2022, Asphalt Festival, Düsseldorf, Germany
12-20 November 2021, Nanterre-Amandiers, Paris, France
25-27 November 2021, Next Festival, Théâtre du Nord, Lille, France


STILLE SLAG is a newly written choral work for 7 voices by Louise Alenius with text by Tanja Diers, staged by Tue Biering in a visual concept by Ida Grarup. Text and music are created on the basis of interviews with former inmates in Danish prisons.


Morten Grove Frandsen, Katinka Fogh Vindelev, Julie Meera Albertsen, Kirsten Grove, Mathias Monrad Møller, Kristian Bordoy and Gustav Johansson, Tanja Bibi Berthelsen, Jannik Vig, Boris Andersen, Habib Moutran, Lars Vesterlund

Composer Louise Alenius

Text and dramaturgy Tanja Diers

Direction Tue Biering

Scenography and costumes Ida Grarup

Lighting designer Balder Nørskov

Lighting consultant Suni Joensen

Producer Amanda Tilia Hamelle

Creative producer Tanja Diers

Cast Katharina Adrian

Production manager Svend Martin Holst

Performance manager Signe Lausen and Lene Sonne

Stage master Rasmus Rahbek

Sound and video technician Morten Frank Nebelong

Tailoring room manager Christina Seistrup

Chief playwright and curator Rikke Hedeager

Performance photo Søren Meisner

Director’s assistant Theodor Peschardt Sandblad

Scenography assistant Ida Pontoppidan

Assistant stage manager Anders Toft Pedersen

Administrator Scene 42


Thanks to

Café Exit, Prison Choir, Head On, Correctional Service, Vestre Fængsel, Frederik Rolin, Signe Asmussen and Agnete Krabbe

Supported by

The Norwegian Arts Foundation, the Obel Family Foundation, the Wilhelm Hansen Foundation, the Augustinus Foundation and the Louis Hansen Foundation


They live in ghettos. Predominantly spending time with those who already share their cultural values. Their children are enrolled into special schools and they don’t wish to contribute to the greater community.

Fix&Foxy invites the wealthy into our imagination and our conception of what they are like and and how they live their lives. A performance dealing with vulnerability of being extremely rich and isolated from the surrounding society.

Then there is a knock at the door: It’s the under-class.



Participants Homeless, indebted people, the upper class, people on social benefits and those who attend theatre performances to gaze at the others…

Cast Maria Rich

Director Tue Biering

Set and costume designer Karin Gille og Marie Rosendahl Chemnitz

Lightdesigner Karl Sørensen

Sound designer Janus Jensen

Dramaturge Aljoscha Begrich

Consultant Sascha Kempinski

Caster Naomi Aisen Sattrup

Props coordinator Therese A. Jensen

Stage Manager: Signe Lausen, Rose Marie Jul Lerstrup

Production Manager Jesper Sønderstrup

Chief Carpenter Rasmus Rahbek

Head of Costume Christina Seistrup

Producer Karoline Michelsen

International producer Annette Max Hansen

Curator and Artistic Director at Revolver Rikke Hedeager

Photo Søren Meisner

We the one % is a co-production with Revolver.

The production is supported by Danish Arts Foundation, Beckett-Fonden, Knud Højgaards Fond, Østerbro Lokaludvalg, Danish Actors’ Association and Axel Muusfedts Fond. 


What is your deepest and innermost desire?
Do you even know what you desire?

Enter the ZONE – a forbidden, deadly and mysterious place. At its center you will find the ROOM – a place where all your dreams and desires come true. Only those who are lost can enter the ZONE and only STALKER the wanderer can lead you to the ROOM. STALKER is the voice in your ear.

STALKER is a podwalk for two by Fix&Foxy and Third Ear inspired by Tarkovsky’s cult sci-fi. It will take you on a journey into the deepest levels of your consciousness. Find a friend, bring your phone, put on headphones and follow the instructions at Perhaps your greatest desire will be fulfilled.

STALKER is for free and in English. It’s available every night at 21.00 on from June 2nd 2021. But before you make it that far, here are some instructions to follow and understand:

1. STALKER is an experience for two. It’s therefore important you find a friend to join you. You cannot do it alone. But it can only be the two of you.
2. Find a place outside with a lot of space and few people. But make sure that you have internet coverage there, otherwise it won’t work
3. Pack a fully charged smartphone with a good internet connection, and a pair of headphones. Your friend should do the same.
4. Prepare for all kinds of weather.
5. Visit to make sure you are prepared. Remember to share this link with your friend.


Idea Tue Biering og Tim Hinman
Text and directing Tue Biering, Krister Moltzen and Tim Hinman
Sound Design Tim Hinman
The Voice Imre Mark Petkov
Production Manager Frederik Neilbo
Production Coordinator Camilla Gürtler
Producer Karoline Michelsen

Supported by the Danish Arts Foundation for Performing Arts, Bikubenfonden og Københavns Scenekunstudvalg.
STALKER is produced by Fix&Foxy.


You are standing in a market in the suburbs of Johannesburg, fruit shopping. Or maybe you are catching a tuktuk down the busy streets of Mumbai. Or you are cooking in a small village in Moldova.

Then, someone you don’t know speaks to you and for a moment you have no idea where you are. You look down and you discover someone else’s body. You speak but it’s not your voice. You are no longer yourself, you are someone else, in a different life, in a completely different part of the world…

With AVATAR ME you buy a personal 1:1 live performance and for 45 minutes you live someone else’s life. The performance is a “first-person”, live-streamed experience where you for a moment affect another person’s actions elsewhere in the world. You will be placed in unfamiliar surroundings, meet with unknown people – maybe you make new friends and perhaps you experience something you would never have experienced in your own life.

In a time where we spend most of our time in isolation, and where encounters with the rest of the world are limited, AVATAR ME sends you on a very different and personal journey beyond borders. It is an intimate experience with the closeness and presence that you recognise from the theater – and yet something entirely different. The international cast is based in South Africa, Brazil, Moldova, India and Malaysia.

Visit to learn more about how you can experience AVATAR ME.

The show is created by Fix & Foxy in partnership with Wildtopia
Co-producer: Teater Nordkraft

Cast: Marcela Nistor, Robin Khor Yong Kuan, Bertwin Ravi D’souza, Lalisa Costa and Lillian Tshabalala
Director: Tue Biering
Producer: Annette Max Hansen
Dramaturg and co-director: Linn Haldrup Lorenzen
Coordinator and co-director: Camilla Gürtler
Supported by: Danish Arts Foundation, Globus – Nordic Culture Fund



Winner of the Reumert Award 2021: Performance of the Year

Four war veterans are fighting their very own battle trying to find their way back into the world. A battle in which they challenge their PTSD, their shame and their lack of confidence in the most ultimate and exposed way.

With the film classic Deer Hunter as a guide, fix+foxy invites four war veterans, who have served in Iraq, Afghanistan and The Balkans, onto the stage. In an attempt to recreate the life they lived before it all fell apart, the four veterans go back in time and revisit the traumatizing moments, that changed their life forever.

My Deer Hunter is produced in collaboration with Betty Nansen Teaterand was supported by the Danish Arts Foundation for Performing Arts, Augustinus Fonden, Knud Højgaards Fond, Konsul George Jorck og Hustru Emma Jorcks Fond and Aage og Johanne Louis-Hansens Fond and Kirkens Korshær Genbrug & Logistikcenter.

The show was first performed 31 October – 5 December 2020 at Betty Nansen Teatret (Siloen), Copenhagen

Previous tours
8 September – 23 October 2021
Teater V, Valby, Teater Nordkraft, Aalborg, Katapult, Aarhus, Teater Momentum, Odense.

Cast Jonas Hjorth Andersen, Nicolai Stokholm Sondrup-Otsen, Palle Würtz og Sara la Cour
Director and Scriptwriter Tue Biering
Set Designer Ida Grarup
Light and Videodesigner Andreas Buhl
Sound Designer Daniel Fogh 
Music Arranger Louise Alenius
Dramaturge Tanja Diers
Caster and Cast Consultant Sascha Kempinski
Stage Manager, rehearsals Alice Sjurkalina
Stage Manager, performance run Anna-Sophia Noerbel
Props Coordinator Josefine Else Larsen
Costume Designer 
Camilla Lind
Carpenter Rasmus Nordal
 Magnus Poulsen
Press Officer Rosa Dehn Callesen
Poster Photographer Catrine Zorn
Press Photographer and video Søren Meisner
Sound concept Asger Kudahl and Daniel Fogh
Light Technician Malte Hauge
Producer Karoline Holm Michelsen
Communications officer Camilla van Norde
International Producer Annette Max Hansen
Project Officer Christine Walther Sørensen
Director’s Assistant Kasper Bisgaard Laursen
Set Designer’s Assistant Emma Grarup



Silent Zone – Echo Chamber is a hybrid between an opera, interactive 3D technology and installation art. The experience lasts for less than 10 minutes and can only be viewed one person at a time. The work, which revolves around an incestuous family, is an excerpt from the delicate and award-winning chamber opera Silent Zone from 2017. The installation invites the audience inside an abstraction of a home, where the reality of non-disclosure prevails.

The audience is provided with a smartphone and a pair of headphones, after which they enter into the installation – a cube the size of 9 x 5 metres. Here, the opera unfolds as a physical and sculptural soundscape for the audience to walk in to. At the same time, a family of four is observed through the phone in changing situations, and gradually a narrative emerges. You can move around freely, get close to the characters, or observe them at a distance.

Komponist og libretto: Louise Alenius / Instruktør: Tue Biering / Kreativ programmør og teknologisk udvikler: Nikolaj Stausbøl / Lyddesign: Egil Sandfeld og Mikkel Larsen / Scenograf: Marie Rosendahl Chemnitz / Rekvisitter og indretning: Josefine Thornberg-Thorsøe og Therese Annebelle Jensen / Bygger: Anders Kragholm / 3D-scanninger: Rigsters / Teknisk konsulent: Molamil/Manyone / Idéudviling og tech producer: Darshika Karunahara / Initiativtager, kreativ udvikling og producent: Tine Reingaard

Medvirkende: Kenneth Andersson, Molly Grand, Falke Lindegaard Hvidtfeldt, Marianne Søndergaard / Sangere: Morten Grove (kontratenor), Frederik Rolin (bas-bariton) / Musikere: Louise Gorm (violin), Jenny Lüning (bratsch), Lea Emilie Brøndal Pedersen (cello), Andreas Hjorth Jessen (bas), Louise Schrøder (klaver), Ying-Hsueh Chen (percussion)

Special thanks to:  Alfred Kann, Copenhagen Opera Festival, Edition Wilhelm Hansen, Gitta-Maria Sjöberg, Khora, Makropol, Miljø Tæpper Rødovre, Molamil/Manyone, Mona Alenius Kaniewski, Per Achen and Sten Byriel.

Follow the Instagram and Facebook pages of the exhibition.



– 12 portraits of us

The city is a completely impossible fantasy of gathering many, very different people in very little space and making it work.

THE STATE is the image of a complex society in which the right-wing radicals, the left-wing, the rich, the homeless, the vegans, the migrants, the minorities and those who have lost live side by side. We all live in the welfare state, which has the task of ensuring the basic social rights of all citizens. We have all given up some of our freedom to the state in return for receiving the security that the community gives us. But are we safe, and do we really agree on anything anymore? And what is left of the STATE?

With Shakespeare’s HAMLET as a template, the lives of 12 different citizens in the STATE are evoked. We meet someone who has the ability to see ghosts, we also meet the grave digger, one of society’s rich people and someone who has almost nothing, a revolutionary who was radicalized by the state, a patriot, someone who the state called crazy, someone who tries to fit in, someone who creates the story of the STATE, someone who lost his good friend, and someone who has completely opted out of the STATE…

This walk is also a preliminary study for FIX & FOXY’s “THE STATE”, which is a megalomaniacal staging of all of Copenhagen for a whole year in season 22/23.


concept/directing: Tue Biering

Assistents/casting: Katinka Hurvig Møller, Baldrian Sector

Camera / technique / casting: Frederik Nielbo

Produced by Metropolis


Five actors take part in the same performance separately at five different locations in Aarhus. A performance where apartments and the city are the stage.

ALL IS IMPOSSIBLE is a performance, a live film, a home-made music video, a hopeful attempt to stage some dreams and fantasies about all that is impossible. They are lonely, isolated young people who are reaching for someone else to love or a meaning to exist.

Five apartments in Aarhus have been transformed into scenographies. Here, the actors stage themselves and each other. What look like ordinary, recognizable homes transform into fantasies. The normal becomes phenomenal. They are pompous self-staged fantasies about how their lives could be. These are desperado parties. These are embarrassing confessions. It’s sex that was completely wrong perfect. These are disasters and moments when everything is floating. And even though there is a distance between them, they are puzzle pieces to each other’s stories.

Everything can go wrong, and every night becomes like a marathon of many different challenges that the six actors have to complete. It’s basically impossible, and it will definitely go wrong.

The performance was streamed live from 23 to 30 May 2020 on But it was also possible to meet the actors during the performance somewhere in the city.

With ALL IS IMPOSSIBLE, you are invited into a “virtual” theatre, where the rules are different than in the physical theatre. You bring your own popcorn and can crackle loudly with the chocolate paper. You can drink beer in this theatre, and you can also talk loudly with those you are with. However, one rule also applies here: It is not permitted to take pictures, screenshots, video or audio recordings and the like while the performance is playing.

Instruction TUE BIERING






We love the stories where good triumphs over evil. In all good drama, literature, movies, pixie books, good ideals fight against dark forces. We like stories that end well. We know who to cheer for. We like that we at the theater are constructive. That we tell people to behave properly. But the world has become complex. Now we have to see it from several sides, we have to accommodate them all and we have to understand the big contexts.

Three actors throw themselves into the battle between good and evil in a world where heroes fall from the sky. Where Morgan Freeman is no longer “always feel good”. Where we can no longer dance innocently to Michael Jackson, where Ronaldo cheats on taxes and rapes unconscious women and so does Dr Cosby Huxable by the way. A world where the saints are pedophiles, the collectivists have hidden bank accounts and where the liberalists practice humanism to a degree that the avowed humanists will never be able to match.We can no longer work out who is who because reality has run away from the fictions we grew up with – the time when fairy tales clear division of the world between the bad and the good made the language clear and the world a clear and safe place to be.

“I want to go back to the fairy tale. Back when the world was black and white. I want to go back to heroes, villains, good and evil and where everyone plays their roles as they should”


Playwright and director Tue Biering

Set designer Nicolaj Spangaa

Assistant Director Jara El Baz

Lighting design Kasper Daugberg

Sound Design Aske Bergenhammer Hoeg

In addition, Sofie Elisabeth Strunck, Emma Gonzales Busk, Rumle Grunwald Falk, Anders Chræmmer, Dorit Selmer, Bo Windfeldt, Hans Peder Christensen, Benny Wagner, Geden Ludvig Zookeeper Anders Vestergård Jensen also take part

Photo: Lars Horn / Baghuset


A reconstruction of something that may never have happened in reality

THE GIRL WITH THE BOMBS is the neighbor’s daughter.

A girl who sits and plans to bomb her school and a mall. She suddenly comes from a blind spot, no one could foresee it and now everyone is trying to understand it and explain it.

THE GIRL WITH THE BOMBS are fragments of many different stories about a girl. They didn’t happen in reality. And it is not the girl who is the main character either, but all the rest of us who try to understand her. Because what happens to us when we lose our bearings and have to fear what we thought was most safe and harmless?

THE GIRL WITH THE BOMBS is a production by Teatret st tv in collaboration with Mungo Park.

Premiere October 2, 2019.


Betina Grove

Marianne Søndergaard

Nana Morks

Director and playwright

Tue Biering


Simone Bartholin

Caster and coordinator of the girls:

Annika Taylor

Assistant Instructor:

Emilie Hasling Rasmussen

Production manager

Dorthe Schmidt Schou

Sound designer

Janus Jensen


Matilda Schwarz


Oskar Jankovic,

Jacob Rasmussen

Technique and coding

Karl Sorensen


The theater st. television


Mungo Park


On stage are 22 children between 10 – 14 years. They relate to their possible future fate based on statistics. AGAINST ALL ODDS is a story about children’s lives and what they could potentially look like as future adults –  according to figures and forcasts from several research institutes. It is a projection of the statistics, however brutal and uncompromising.

AGAINST ALL ODDS is based on extensive research. The children on stage are cast based on their background, broadly representing the composition of children in Denmnark in relation to social classes and family relations.

Participants: 22 children aged 10-14
Anna Olympia Bøss, Artianne Olivia Søgaard Andersen, Asta Bundgaard Wanscher, Conrad Bengtsson, David Prammann, Emma Skov Dahl Christiansen, Falke Lindegaard Hvidtfeldt, Felix Worsøe Alegre, Frederikke Holm Bergendorff, Ida Møller, Isaac William Bjerregaard, Jaafar Machal, Kajsa Krogh Larsen, Luka Gry Selander, Michael Basse Theobald, Molly Grand, Nikolaj Hansen, Nicholai Kristensen, Ronja Emilie Clemens Tillebeck, Samir Abdi Elni, Thea Hagelskjær Godskesen, Ursula Outzen, Zaraphina Corrie Bendtsen.







AGAINST ALL ODDS is produced in collaboration with Betty Nansen Teatret.

Supported by Danish Art Counsil & Wilhelm Hansen Fonden



A performance installation

CONCEPT: Tue Biering og Marie Rosendahl Chemnitz
PERFORMERS: Julie Andersen, Emilie Hyldborg Berg, Nicklas Bertelsen, Anja Christophersen, Linea Due, Helle Pals Frandsen, Peter Gottlieb, Astrid Haugesen, Grete Jensen, Marie Lisberg Krogsgård Jensen, Dan R. Lund, Krista Marianne Milman, Susanne Nyrop, Janick Pil, Christian Rugaard, Line Villemann, Tekla Walter, Vicki Kjærsgaard, Una Lily Schottländer Paré, Liva Lund Madsen, Olivia Rebolledo Larsen.
NETWARRIORS: Heidi Asbjørn Freke, Thomas Telner, Claus Johanssen, Linda Nielsen, Kim Osbøl
DIRECTOR: Tue Biering
SETDESIGNER: Marie Rosendahl Chemnitz
COMPOSER, LYRICS Kirstine Fogh Vindelev
TEXTS: With few exceptions all text are found on Facebook and other social medias.

SOUND DESIGN: Rune Abel Aagaard
LIGHT DESIGN: Martin Danielsen Barnung

CASTER, RESEARCH NET-WARRIORS: Ingeborg Lohfert Haslund-Vinding

BUILDERS: Hasse Valdemar Nørgaard, Niels Peter Nørgaard, Johan Bruun-Kjeldsmark

CONSULTANT: Sofie Buch Hoyer
GRAPHICS: Marie Rosendahl Chemnitz & Anne Hoff
PRESSPHOTO: Søren Meisner


SET-DESIGN ASSISTENTS: Anne Sofie Vermund, Siri Vilbøl, Rosa Birkedal, Stine Blickmann Faardtoft, Livia Esposito
PRESS: Karina Lykkesborg
ADMINISTRATION: Scene42 v/ Christine Bibud & Erling Larsen

PRODUCER: Annette Max Hansen og Karoline Michelsen

THANKS TO:  Sofie Buch Hoyer, Stouenborg, Christoffer Esfandiari fra Tandprotesehuset Frederiksberg, Per Achen fra Miljø Tæpper & Gulve, Johan Bruun-Kjeldsmark.



Statens Kunstfond, Wilhelm Hansen Fonden og Københavns Scenekunstudvalg.



Stemmen: Nana-Francisca Schottländer

Instruktion: Tue Biering

Scenografi: Nathalie Mellbye

Lyddesign: Ditlev Brinth

Lysdesign: Michael Breiner



A Belgian couple is on their way to Sweden to visit their son and see their newborn grandson for the first time. A Latvian truck driver on his way with goods stops to pee and buy licorice. A Danish lesbian couple is on an educational trip in Europe with their twin girls. An elderly man orders a beer. A businessman on his way to Berlin wants coffee. Suddenly a Syrian woman is standing in the cafeteria, and outside in the parking lot more and more refugees are gathering. The doors to the cafeteria are locked to keep out the flow of refugees, and the cafeteria, which for the guests was only intended as a short and unimportant stop on the road, becomes the arena for an existential drama about where Europe is heading.


Jørgen W. Larsen

Lars Topp Thomsen

Kathrine Høj Andersen

Niels Anders Manley

Jacob Hannibal

Marie Knudsen Fogh

Ena Spottag

direction: Tue Biering

scenographer: Nicolaj Spangaa

playwright Julie Maj Jakobsen


Lighting designer
Mathias Hersland

Sound designer
Christian Berg

Refugee statistics
The participating “refugees” in the performance are all asylum seekers from North Jutland asylum centres


ROCKY! is the story about the triumphant loser tired of being jumped in the queue. Against all odds he rises over his own inferiority and social heritage. We love to hear these stories of the little man who fights his way up, defeating prejudice and an unfair system. But what if all the Rockies rise and turn against us – the left-leaning-well-meaning lot? What if our values and existence are being threatened and defeated? What if millions of Rockies are out there and have had enough of being laughed at and looked down upon, and now they want revenge and get a taste of what it means to be on top? Does the well-meaning lot, empathetic leftists still dream of giving the loser a voice – or is it now that they would rather not give Rocky any more chances?

ROCKY! is a journey into a society and its many different Rockies. Rocky is not just one person, but a multitude of people, a cleaved right-wing that cannot be contained in a simple analysis. At the same time Rocky is a concept personifying the worst fears of the left-wing.

ROCKY! is originally produced by Husets Teater.

The show was first performed 16 September – 14 October 2017 at Husets Teater in Copenhagen.

The Danish showcase #DANISH has been awarded with The Infallibles Award for National Presence at EdFringe 2022.

Double Reumert award winner 2018
Rocky! – Special prize
Tue Biering – Director of the Year
Reumert award nomination 2018 – Morten Burian; Best performance by an Actor in a Leading Role

Winner of Teaterkatten for Rocky in 2017 given by the Association of Danish Theater Journalists.

‘ROCKY! is world-class acting and cutting-edge political theatre. Danish actor Morten Burian pushes his body to its very limits in a highly physical performance that will kick you off your feet. You will be challenged on your political opinions, your personal boundaries in a fiercely entertaining, severely socially critical, and wildly fascinating performance.’
Jury – CPH Stage Festival

Previous tours
9-11 June 2022, CPH Stage, Copenhagen, Denmark
5-20 August 2022, Edinburgh Fringe Festival, Scotland

The Artist Morten Burian
Member of the Danish People’s Party (Dansk Folkeparti) Cheanne Nielsen
Worker on stage Dennis Villads Thomsen
Director & playwright Tue Biering
Set designer Peter Schultz
Sound design Ditlev Brinth
Light designer Mathilde Niemann Hüttel
Dramaturge and translator Pernille Kragh
Photographer Henrik Ohsten
Trailer Søren Meisner


The artist Morten Burian / Joe Young
Politician Cheanne Bo Nielsen
Worker on stage Bradley Pattison / Martin MacLennan
Producer and dramaturge
 Pernille Kragh
Head of tech and tour Henrik Bank
International producer Annette Max Hansen


A hauntingly silent and intimate affair awaits when Silent Zone invites you inside a dysfunctional family. A taboo incident has taken away the daughter’s language in the house, and instead her brother must investigate and confront the past on both of their behalf. Louise Alenius wrote her English libretto after collecting statements from people who have had the abuse close to them – and knows how difficult it is to break a taboo once it has settled in the walls of the home, in the family, in the body.

Venue: The substation and Malmö Operahouse



The mother Gitta-Maria Sjöberg

Father Sten Byriel

The son Morten Grove Frandsen

Daughter Ying-Hsueh Chen



Violin Louise Gorm

Viola Jenny Lüning

Cello Lea Emilie Brøndal Pedersen

Double bass Andreas Hjorth Jessen

Piano Louise Schrøder


Composer and librettist Louise Alenius

Director Tue Biering

Scenography Ida Grarup Nielsen

Creative developer and initiator: Tine Juul Reingaard

Caster and physical dramaturg: Sosha Teperowska

Lighting design: Martin Danielsen

The family in flashbacks: Alfred Kann, Mona Alenius Kaniewski, Jeanette Lindbæk Birk, Kenneth Andersson


Supported by the Danish Composer Association’s Production Pool and KODA’s Cultural Funds.


29.04.2017 – 20.05.2017
The ultimate story of the world’s most important animal species. We try to accommodate refugees fleeing war, hunger and disasters. We try to empathize with the homeless, the sick and the weak. But how can we accommodate the whole world when we can’t even accommodate our own neighbour? Actors Maria Rich, Nana Bang, Nicolai Dahl Hamilton and Peter Flyvholm make the attempt. In director Tue Biering’s and scenographer Marie Rosendahl Chemnitz’s performance WE ARE THE WORLD, they try to find a new community together, while they are constantly disturbed by their own phones, friends’ Facebook updates and incoming text messages. They are locked in a claustrophobic cabinet on stage, like insects in a terrarium, while they try to concentrate on Schopenhauer’s theories about the will that drives life forward, on Buddhism’s pursuit of absolute tranquility, on gruesome tales of rapes and executions from war in the Balkans. But constantly there is something else that annoys.
Will it succeed?WE ARE THE WORLD is not just a performance. It does not premiere, changes constantly and is not the same two days in a row.

Concept, direction and scenography TUE BIERING, MARIE ROSENDAHL CHEMNITZ Cast NICOLAI DAHL HAMILTON, PETER FLYVHOLM, MARIA RICH, NANNA CECILIE BANG Text THE TEAM Lighting design and production ELKE LALEMAN Stage master MIKKEL MUNK IVERSEN Sound design and production DITLEV BRINTH Playwright TANJA DIERS Props and performance manager JOSEFINE ELSE LARSEN Costumes CAMILLA LIND et al Sewing studio SIRI JEPSEN and AMALIE AUNSBJERG Masks ANNA LADAS Director’s assistant CECILIA LAMBERTScenographer’s assistant DITTE MARIE LYNGEPhoto RUMLE SKAFTE trailer SILAS EMMERY trailer sound design DITLEV BRINTH With support from the STATENS KUNSTFOND and Copenhagen Municipality’s Performing Arts Committee


“Should every man not stand by the
responsibility for one’s own actions?”

Lars von Trier’s modern parable about humanity and the lack of it.

One dark and cold evening, the beautiful Grace Mulligan seeks shelter in the old mining town of Dogville. She is on the run from gangsters. The town’s self-appointed moral spokesman, Tom Edison, takes her out of his good heart, and convinces Dogville’s skeptical residents to hide Grace in exchange for her helping the locals in their work.

As the price for the city’s protection becomes ever higher, she learns that mercy comes with a price. But Grace is hiding a dangerous secret, and her visit is going to change Dogville forever.

By Lars von Trier

Processing Tue Biering, Mathias Rosenkrands Bech and the team

Staging Tue Biering

Set design and costumes Nicolaj Spangaa

Lighting design Jens Klastrup

Sound design Ida Jacobsen


Rikke Lylloff Grace, Kurt Dreyer The Great Man, Benjamin Kitter Tom Edison, Mads Nørby Tom Edison sr., Mikkel Bay Mortensen Ben, Githa Lehrmann Mother Ginger, Betty Glosted Olivia, Nana Christine Morks June, Mette Maria Ahrenkiel Mrs Henson, Klaus T. SøndergaardMr. Henson, Magnus Christensen Bill, Lea Baastrup Rønne Liz, Malene Melsen Vera, Lars Simonsen Chuck, Anders Gjellerup Koch McKay, Louise Davidsen Martha and Michael Grønnemose Gangster/Police.



with the ROYAL DANISH BALLET 28 October – 17 November 2016

A ballet of destruction and about letting Sleeping Beauty face reality

If there is one ballet that is as beautiful as a dream and almost unreal graceful and romantic, then it is Sleeping Beauty. It’s a ballet that looks like a dream, a wonderful world you can disappear into with princes, princesses and great love. Sleeping Beauty is the climax of the romantic ballet, where the dancers seem to float. It’s almost as if they also only exist in the imagination.

In Sleeping Beauty must die, Corpus has invited Biering/Chemnitz to the ballet for the first time. They have been tasked to fuck with the dream world. In their ballet of destruction, the sweaty crotch bandages, the injuries and gravity come into view. It shows the dancers’ irritation with the gender roles behind the adorable tutus, their sexuality, injuries and looming age. Sleeping Beauty Must Die challenges everything we think we know about Sleeping Beauty.

Biering/Chemnitz is the director Tue Biering and the scenographer Marie Rosendahl Chemnitz. Tue Biering is one part of Fix&Foxy and has, among other things, staged the blockbuster Pretty Woman with prostitutes, outsourced a performance of Elverhøj to Bangladesh and let 30 teenagers invite the audience into their very intimate lives. Marie Rosendahl Chemnitz has been part of the artist collective Sort Samvittighed and, together with Tue Biering, has created the performances Familieudredning and Staying Alive at the Ministry of Events.

Here they create a ballet together with Corpus and seven dancers from the Royal Ballet by seeing and showing them as real people.

Cast: Susanne Gry Grinder, Benjamin Buza, Alexander Stæger, Sam Rees, Eliabe D’Abadia, Cedric Lambrette, Julien Roman

Concept and director: Tue Biering

Scenography and costumes: Marie Rosendahl Chemnitz

Sound design: Ditlev Brinth Christiansen

Lighting design: Anders Poll

Production assistant: Katinka Hurvig Møller


8 cars, a local population and a cult TV series

2-12. March + 28 July-13 August

Join us on an exclusive car journey through Odsherred’s winter darkness and visit the locals.

“Welcome to Twin Peaks” brings the cult series to life in Odsherred and exclusively with local actors.
In 8 cars, local citizens drive the audience around the area to meet other locals, people they would probably never have met otherwise, to hear their very personal stories. Maybe they will have some prejudices challenged – maybe the world is not what they think it is.
In this radically different theatrical version of David Lynch’s ground-breaking 1990 TV series, there is no crime, but you can get in the back seat of the forensic psychiatrist’s, high school teacher’s or former police detective’s car as they drive to visit the Greek, the Dung Dogs, the Horse Girl , those with the china shop and many more.
All the actors have a special relationship with Twin Peaks and the series’ characters.

Welcome to Twin Peaks is a visual piece of landscape theater, a teeming portrait of a number of citizens of Odsherred. But above all, it is a humorous and human examination of our notions and prejudices about the strangers – the people we do not know.

Actors: Susanne Selle Dennis Nielsen Dorthe Schønning Jensen Helle HøstJane Lykke,Jette Lindquist Jette Sloth Nielsen Lene Buchwald Mogens og Marie Misser Ronny Andersen Allan Køhler-Andersen Rosemary Willows Sebastian Selle Tonny og Lene Larsen Louise Porret, Bjørn Kaldan, Vagn Oulund, Mikkel Olsen Susanne Bennedsen Jane Sørensen Erik Rasmussen Martin Hall Liv Bertelsen

Idea: fix&foxy
koncept and direction: Tue Biering og Jeppe Kristensen
Texts by the team and actors
Co-direction: Mei Oulund, Henrik Ipsen and Marie Rosendahl Chemnitz
Set designer: Marie Rosendahl Chemnitz
Recruitment: Henrik Ipsen
Sound designer: Rasmus Juncker
Director and sound assistant: Rebekka Meyer
Production manager: Dennis Veilgaard
Technician: Morten Birch Nielsen
Scenography assistant: Elke Laleman
Project coordinator: Joan U
Graphic design and photo: Søren Meisner
Theater manager: Simon Vagn Jensen
Administrator: Flemming Hansen
PR and communication: Joan Stræde
Thanks to:
Claus Christensen, CC Autoservice Vig Forsamlinghus Kongsøre Kro Kongsøre Camping Madsens Food House Henning Andersen Signs
The performance is produced by Odsherred Teater


The Royal Theatre, 20 January-4 March 2016

The Red Room invites director Tue Biering to give them a challenge, and he has set the task: live out your dream performances on stage.

It’s an evening where six actors’ dreams of the most amazing, boundary-crossing, touching, society-shattering performance come true for a moment. They get the chance to create that special moment in the theater they have dreamed of, the one that makes the big difference, an ultimate personal achievement or the opportunity to create something artistically perfect, flawless, magical just this once.

Tue Biering has been behind TurboTown at the Royal Theater and most recently in the Ministry of Events created Singin’ in the Rain, Family investigation, This is not the Star Wars trilogy and Staying Alive. As part of the artist duo Fix & Foxy, he created A Doll’s House for the Royal Theater in 2014, which was performed in private homes in Copenhagen and Oslo.

Dream performances will be created in close collaboration with the actors.



Mikkel Arndt

Peter Christoffersen

Marie Dalsgaard

Nicolai Dahl Hamilton

Purple Nobel

Staging: Tue Biering

Scenography and costumes: Jonas Fly

Lighting design: Clement Irbil

The Royal Theatre, Skuespilhuset, The Red Room

Premiere January 7, 2016



Join the Lampedusa Cruises Association on a lovely trip in the waters of Copenhagen with food, music and swimming.

Alhadj Djumaa is a fishingboat from Egypt. It is 11 meters long and 3.80 meters wide. It left Egypt in 2013 heading towards the Italian island Lampedusa. When the boat was stopped by the Italian coastguard, they registered 282 passengers, mainly from Ethiopia and Eritrea.

It is a well functioning little motorboat and a symbol of global diversities. Join us on a sailing trip for all of those who want a little taste of the good life.

The association Lampedusa Cruises is founded by fix+foxy. The show is produced in collaboration with Trampolinhuset and Eventministeriet. The project is supported by The Danish Arts Council.

Lampedusa Cruises was performed 19 August-2 September 2016 at the Harbour promenade at Knippelsbro in Copenhagen.


Concept and idea Teun Castelein, Tue Biering and Jeppe Kristensen
Production Southintonorth
Coordinator Johan Lilholt
Assistant Kristoffer Lundberg
Production assistents Helle Bøgeskov, Franziska Koller
Graphic designer Nicolaj Spangaa
Carpenter Jacob Tomra
Sponsor Mads Nørgaard


When the yearly awardshow Reumert runs for the 17th time on Sunday 21 June 2015, the audience and viewers can look forward to a straightforward, unpretentious and not least unpredictable version of an awards show. The staging is this year in the creative hands of the director duo FIX & FOXY. Together with three hosts, they turn both the stage and the whole concept inside out. The award ceremony will be shown live on DRK.

Hosts: Sigrid Husjord, Kristoffer Fabricius and Troels Thorsen.

Concept and direction: Tue Biering and Jeppe Kristensen

Scenography: Nicolaj Spangaa

Bandmaster: Joakim Pedersen



YOUTH is a performance about the most terrible and amazing time in life. A notion of where the big existential questions kick in, and one’s identity begins to take shape. It’s about love, uncertainty, ambition, anxiety, social relationships and life choices as the audience meets 30 real-life young people.

The theater Republique’s stage space has been converted into a tent camp with sand and a forest lake, and the audience is accommodated each in a tent with a young person. Together, they live through a “theatre day”, where anything can happen, and the youth are put at the forefront.

Production: Republic

Concept & Staging: Tue Biering and Jeppe Kristensen

Instructor assistants: Christine Juhl Sørensen and Kristoffer Lundberg

Scenography: Johan Kölkjær

Lighting design: Michael Breiner

Sound design: Jes Brander Theede

Photo: Per Morten Abrahamsen


Astrid Haugesen, Ava Bratejka Lindberg, Valerian Sector, Celeste Emilie Auken, Christiane Kjærgaard Ibsen, Christina Nielsen, Clara Fasting Prebensen, Ditte Krøll Paavig, Emilie Gjaldbæk-Sverdrup, Emilie Munkholm Hjort, Freja Sofie Jørgensen, Frida Marie Rosendahl, Gabrielle Kicaite, Goktug Kamas, Ida Bjørn Jensen, Jakob Højeng-Swensson, Joanna Kastrup, Jonas Mering Slotorub, Julius Gotthardt Møller, Karla Haugesen, Karla Wald, Katinka Hurvig Møller, Krista Marianne Milman, Line Villemann, Linea Caroline Due, Ludvig Brostrup, Maia Bojsen Thyme, Malik Persson, Marius Henius Dreijer, Max Levin Kugler, Natasha Bach, Nina Terese Rask, Nora Aase Riechert Evald, Regitze Waterstradt, Sebastian Mats, Simone Skronski, Sofie Højsted Sørensen, Sofie Lund, Sofiee Chili Zandra Larsen, Sophie Elina Hahn, Sophie Rosendal Stær, Victoria Magdalena Christensen, Zeynep Salci


A staging of the difference between the haves and the have-nots


Eight cash assistance recipients visiting an elitist French art film. They discover an abundance of food, sex and existentialism. Why do the rich eat so much? What do they want with angora sweaters? And why can’t they figure out how to live?

Fix&Foxy invites a group of cash assistance recipients to test and comment on upper-class life as depicted by the cultural elite themselves.

In Fix&Foxy’s LA GRAND BOUFFE, two social groups collide in the theatre. Our prejudices about each other become a picture of modern life with all its aspirations and meaninglessness.



The Blumenbach Institute is a theater installation by BIERING/CHEMNITZ


Gry Guldager

Gunnvá Zachariason

Margit Szlavik

Ragna Houses

Christian Rossil

Kaj Pedersen

Christopher Krarup

Peter Flyvholm

Selma Wideman Grue

Bjarke Emil Huse

Christina Coltau

Luna Helmet Dannemann Lungren

Well, Cordt Ihlemann

Sarah Kirstein

Instruction & scenography:

Tue Biering & Marie Rosendahl Chemnitz


Søren Normann Hansen

Lighting design:

Raphael Solholm

Sound Design:

Mikkel Gemzøe

Performance manager:

Siri Vilbøl

Assistant Instructors:

Maya Bird

Andreas Ole Nielsen

Scenography assistants:

Livia Esposito

Anne Sophie Vermund


Mads Lund Pedersen

Thomas Bolvig Christensen

Construction assistant:

Ruben Almqvist


Hannah Grue

Therese A. Jensen

Siri Vilbøl

Props assistant:

Anders Brendstrup


Leila Vestgaard


Mary Frank


Stage project w/ Erling Larsen

Thanks to:

Kirkebjerg school, Anker Jon Johansen, Novo Nordisk, Bispebjerg hospital, Steril Centralen, Karina Vestermark Jensen, Speed Boat Race, Mikael Bing, Gazart, Tali Razga, Jonas Thorbjørn Rishøj, Cederroth, PROsupply, Silvan, Engby Barnevogne, Tulip, Radiospejderne Alfa Tango The clan

The Blumenbach Institute is supported by the Statens Kunstfonds Performing Arts Committee, Copenhagen Municipality’s Performing Arts Committee, Danmarks Nationalbank’s Jubilee Fund of 1968, Consul George Jorck and Wife Emma Jorck’s Foundation, Konstnärsnämnden



The three main actors had been looking forward to presenting the ultimate performance: Star Wars.

They had prepared a spectacular stage show with advanced choreography and convincing fights. The set designer had set a whole team of carpenters to build the Death Star. The costumes had been sewn in Eastern Europe. Laser lights and a particularly effective sound system were purchased for staggering sums. But then George Lucas said no.

Despite the extensive and thoroughly professional preparatory work, the Ministry of Events has been banned from doing the Star Wars performance due to rights issues and has had to send all lightsabers back to China and destroy everything that had anything to do with the planned performance.

What remains are the three actors who should have played the main roles in the theatrical scoop of the century. They refuse to leave the stage and insist on telling about the performance they are not allowed to do.

In the performance This is not the Star Wars trilogy, the three perfectly cast actors lead the audience through an absolutely fantastic performance that is not there.

To George Lucas: No direct quotes from Star Wars will be used, nor will any of the effects intended for the original setup be used.

Cast: Thomas Hwan, Troels Thorsen and Sigrid Husjord | Staging and concept: Tue Biering | Costumes: Anne Sofie Bruun | Lighting: Dres Kean Andresen | Performance photo: Natascha Thiara Rydvald | Production assistant: Christine Seierstad | Producer: Rikke Hedeager




Text and performance HASSAN PREISLER



Sound and video design RASMUS KREINER

Light Kim



NORDSKOVEN is an autobiographical performance, based on the life of Mungo Park actor Kasper Leisner.

Jeppe runs. Because if there’s one thing he can do, it’s running. On the sports field, in the military and from the first 13 years of his life. He runs away from his childhood home. From the boy he once was. Jeppe wants to start over and changes his name to Kasper.

A new life begins. Kasper must find his own way. But can you change your future by escaping from your past?

NORDSKOVEN takes us on a journey through a man’s life. A journey where love, failure, desire for freedom and dreams often take quite unexpected directions with major personal consequences. This is the journey from the narrow film idyll of early childhood through the first parties and boyfriends to the theater school, the hippie collective, Mungo Park and the great love.

Despite the many dramatic incidents, the performance raises the question: Is Kasper Leisner’s turbulent life in reality very different from yours and mine?


Casper Leisner

Peter Christoffersen

Concept and Direction:

Tue Biering


Marie Rosendahl Chemnitz


Catherine Bunton

Sound Design:

Rasmus Overgaard Hansen

Lighting design:

Jacob Rasmussen

Assistant Instructors:

Tabitha Friis Kristensen

Ida Marie Bille


Anne Sophie Fogedby



concept and instruction: TUE BIERING
scenography: NICOLAJ SPANGAA
sound designer: RASMUS KREINER
lighting designer: RAPHAEL SOLHOLM




“Art and politics are separate dimensions and what I did was in the world of art”

Leni Riefenstahl

With “Triumph of the Will” we are trying to recreate one of film history’s great but deeply problematic masterpieces: Leni Riefenstahl’s Nazi propaganda film Triumph of the Will. As a gifted, pioneering woman, Riefenstahl came in 1934 to destroy art’s relationship to beauty. With her poetically filmed and eminently edited film Viljens Triumf, she made art’s relationship to optimism and community a rotten banana.

The Triumph of the Will is a masterpiece about freedom, community and optimism.

A work of art which, with its beauty and sublime aesthetics, managed to give its audience the feeling of hope and the will to change the world. The Triumph of the Will, the actors and its audience changed the world with a power and effect that few works of art before or since have had.

Can art be the bearer of political messages and in the name of art disclaim responsibility for its subsequent effect.

Cast: Anders Mossling

Concept and instruction:

Tue Biering and Jeppe Kristensen.


Sille Don’s Heltoft.

Video designer: Jonas Jongejan.

Lighting designer

Kristine Hamann Rasmussen.

Sound designer: Jes Brander Theede

Performance manager:

Pernille Kabell.

Assistant Instructors:

Johan Sarauw, Franziska Koller.

Set Designer: Joy Sun-Ra Pawl Hoyle.

Press and marketing: Janne Schnipper.

Producer and production manager: Søren Normann Hansen.

The performance is supported by: The Arts Council’s Performing Arts Committee

Copenhagen Municipality’s Performing Arts Committee


Thomas Hwan

Idea & instruction:

Tue Biering

Jeppe Kristensen



On stage are seven completely ordinary people. They are not actors. They have become related to each other through their children. They do not know each other’s stories and expose their life stories on stage to find out who they have ended up in the family with.

With this performance, they are all together for the first time. It turns out that they have already crossed each other’s lives over the past 60 years by chance.

On stage, we hear the story of the butcher’s daughter who bathed in sausage roll water and regrets that she never became a gogo dancer, the girl from the Indremission home who didn’t dare to follow her dreams, the man who has read the Encyclopedia twice and can prove his own immortality, the dyslexic boy who ran away from home, got a girl in every port and later suffered memory loss, the man who became 15 cm shorter in one day and learned to fly by the power of thought, the girl who wanted to see the whole world and met Amdi Petersen and the woman who got letter from Mick Jagger and has watched all 5243 episodes of Glamour.
Family investigation, a show about the coincidences of life, about the dreams and expectations of the youth for the future and the absolutely fantastic in the life of every single, completely ordinary person.

Concept, staging, scenography: Tue Biering and Marie Rosendahl Chemnitz.
Dramaturg: Jeppe Kristensen
Performance photos: Natascha Thiara Rydvald

Dance teacher: Hanne Klausen
Singing teacher: Jeanett Albeck

Cast: Biering and Rosendahl Chemnitz’ own parents with new and old partners: Ulla Chemnitz, Jacob Branner, Bente Biering-Sørensen, Gorm Biering-Sørensen, Ninna Stryhn, Stig Rosendahl and Susanne Blom.




Maria Rich

Christine Albeck Børge

Anders Budde Christensen

Nicolai Jandorf

Tue Biering

Therese Wilsted



Three young people are traveling through Europe. They have reached the German metropolis, Dresden, which was bombed over two days in 1945 by the American and British air forces.

In their hotel room they are bored. They don’t understand why Germans are so preoccupied with their past. In their thirst for action, they start playing neo-Nazis – and along the way meet a talking deer and a storyteller who helps them build a Nazi park.

“The Germans are non-Germans. After the war, they discovered that the national is just a shirt you put on. The non-German wakes up every morning in his bed and feels like an effervescent tablet thrown into a glass of water.”

“But what are all those neo-Nazis doing?”

Cast: Ene Øster Bendtsen, Kristoffer Fabricius, Jacob Madsen Kvols Director: Tue Biering. Playwright: Christian Lollike. Set designer: Nicolaj Spangaa



Betty is 75 years old, she loves Frederiksberg where she has lived for the last 24 years. Betty has invited Flying Pigs along for a 20-minute walk. A trip where past and present meet, where 75 years of experiences meet with everyday purchases and thoughts. It will be 20 minutes where we dive into existence, history and everyday life. A story about all the drama that unfolds in 20 minutes in Frederiksberg in Betty’s life.

Flying Pigs have promised to be open to what happens, to allow themselves to be surprised and to let the drama of the trip shape the performance. In return, Betty has promised to come on stage and participate in the performance. The performance is staged in Flyvende Grise’s universe of technique, music and equilibrist physics.


About the silent film, its heroes and a new world of moving images

Nørrebro Theatre, Frederiksberg stage 23 March – 20 April 2013


About a world that was once black and white and where the masters of slapstick were the true heroes of the time.

The performance is a declaration of love to the equilibrists of the silent film who, with the most daring slapstick the world had seen, put their lives on the line for the audience’s laughter.

With B/W, Flyvende Grise uses their visual and technical universe to imitate the masters of the silent film in their dangerous art.

Actor: Thomas Corneliussen Direction: Tue Biering Scenography: Nicolaj Spangaa Script: Thomas Corneliussen and Tue Biering Composers: Mark Solborg and Maja Romm Lighting design: Andreas Buhl Sound design: Janus Jensen Producer: Søren Normann Hansen

The performance is supported by the Danish Arts Council’s Performing Arts Committee and Copenhagen Theatre.



Singin’ in the Rain is the ultimate musical film. In a very short time and with very few funds, three actors, with no experience in tap dancing, try to recreate the film’s most difficult and balancing numbers. It takes an insane amount of talent, precision and not least fitness to get through all the film’s songs, dances and slapstick numbers.

Troels Thorsen, Laus Høybye and Marie Dalsgaard

Concept and instruction:
Tue Biering

Danish translation:
Karen Hoffmann

Anne Sophie Bruun

Performance photo:
Marc Fluri

Producer Assistant:
Nana Lind

Produced by the Ministry of Events in the Skuespilhuset v/Rikke Hedeager Matthiesen



With the SEX AND VIOLENCE freak show, Fix & Foxy takes the entertainment to extremes. Without fine sensibilities and morals, the show presents the sex and violence and real misfortune that is the favorite entertainment of the time. This gives the audience the opportunity to laugh at the ugly, the strange and the unsympathetic – and their poor lives.
The stage is populated with five giant dolls from the dark side of life. They express themselves best through abuse and neglect, so here comes a musical, pornographic and violent show where the dolls make themselves available for basic research into the darkened areas of the human soul.

SEX AND VIOLENCE is the Muppet Show for adults featuring a group of ugly, stupid and uninhibited giant puppets ready to go to any length to entertain their audience. Dolls fall outside the criminal code, so there is nothing they are not allowed to do. And luckily, it’s not real people, getting hurt!

Concept and staging: TUE BIERING and JEPPE KRISTENSEN
Doll universe: REBECCA ARTHY

Lighting design: MADS VEGAS

Sound design: JES THEEDE

The performance is created by the team

The performance is supported by the Arts Council’s Film and Performing Arts Committee and has been created as a co-production with Husets Teater


– your everyday life as you have never seen it before

A high tension drama of love, poetry, dreams, evil, jealousy and revenge

30 April – 5 May 2012

You consider an everyday situation.

In your ear you have the sound from a special radio channel.

It puts a soundtrack under what you’re watching.

It tells the stories of the people you observe.

It gives you the unspoken lines they have.

It gives you insight into their internal dramas.

It gives you a completely new view of your world

You are in the middle of everyday drama.

Experience a completely new original performance every day, in a new place in the city.

Game times:

Mon 30/4 – Thu 3/5: 5.00pm+6.00pm+7.00pm

Friday 4/5: at 20.00+21.00+22.00

Saturday 5/5: at 13.00+14.00


Wednesday 2/5 at 8.00 and Thursday 3/5 at 12.00

The venue will only be given up on the day itself via SMS.

Follow VÄR DAGENS DRAMA on facebook



Darkness is a poetic, visual and physical performance by Flyvende Grise – the ensemble behind the Reumert Prize-winning performance The Story of Everything.

You turn off the light, you close your eyes, and you let the dreams take over you…

We all have an idea of our dream job, dream trip or the perfect dream life. But not all dreams we wish come true.

Darkness sends you on a journey into the darker layers of the alternate realities of fantasy and dreams. Here, nothing is what it first appears to be. And what do you do when you can’t trust what you think you’re experiencing?

Behind this visual and strongly physical performance is the only ensemble in Denmark that – in addition to the almost weightless actor Thomas Corneliussen – also has a habit of having robots in the cast.

Darkness splits the reality you’re watching into multiple layers of animations, live video manipulation and newly composed music. Here, nothing is what it first appears to be.

The press wrote:

“an incredible performance. (…) Scary and funny at the same time. And as theater craft considered absolutely eminent.” Jyllands-Posten

“‘Flying Pigs’ has once again performed one of those performances that storms the barricades in the sand castles of our welfare society at breakneck speed. With Corneliussen as one man on stage, and all the others at pumps, wrenches, sound generators and light and video organs for to create the kind of total theater that has its roots in people like Chaplin and Jacques Tati.”

“The brilliant Thomas Corneliussen is alone on stage in a perfectly orchestrated interplay with a sublimely disturbing soundscape, with the light that comes and goes, with projections, TV screen, refrigerator and the animated monsters, which become a not-so-slightly creepy part of his existence.” Berlingske Tidende

“Thomas Corneliussen is a magical performer. He can stand with his jointed shoulders in a flapping suit and look like any banker in the world. But as soon as he glances at the audience and raises as much as a knee, his radiance turns on as if he had built a lighting system into his body – and then you can’t help but stare at him until his performance is finished .” Information

“Rapid scene changes. Sounds and movements in fast forward or slow motion that poetically and inventively show the increasing insanity (…) brilliantly funny.” the policy

Actor: Thomas Corneliussen Direction: Tue Biering Scenography: Nicolaj Spangaa Script: Thomas Corneliussen and Tue Biering Composers: Mark Solborg and Maja Romm Lighting design: Andreas Buhl
Sound design: Janus Jensen Producer: Søren Normann Hansen

The performance is supported by the Danish Arts Council’s Performing Arts Committee and Copenhagen Theatre.




Komm, komm holder Knabe
Come, come travel with us into the opera called PARSIFAL
Come travel with us into the unknown dangerous foreign
Past the last frontier of your culture
Come join the opera crusade
Don’t be afraid Wagner and good taste is on your side
Knight of Good Taste!

Hereby the last great opus of Richard Wagner, a testament from the golden age of western culture, a desperate denial of cultural decline and a superhero comic book with music performed where the bourgousie, the cultural elite, the avant-garde artists, the people in power and the well-offs never venture: a black hole, a parallel society, a wound in the side of your world.

Performed by:
Daniel Norback
Per Jellum

Carl Christian Rasmussen

Laila Rong Hanna

Joakim Knop


Choir from Brøndby Strand, Sange fra Broens Nørrebrokor, Verdens Sirener, Urbankoret, Verdenskoret i Holbæk, Unoderne, After 7


Flemming Lundsgaard, Nicoline Lundsgaard, Bitten Drews, Hans Jørgen Larsen, Mikala Demant, Said A. Abubakar, Dennis Navera, Lisbeth Eftekhari, Esther Genker

Directed by:
Tue Biering & Jeppe Kristensen

Set design:
Sille Dons Heltoft

Maja Romm

Choir direction:
Rose Munk

Jonas Jørgensen

Malte Haugaard

Camilla Lind

Mai Steenberg


Sara Nissen

Production management:
Anders Sylvest

Stage management:
Pernille Kabell

Johan Brandt Richardt

Assistent to the directors:
Ane Bank Olesen

Anna-Sophia Noerbel

Erling Larsen/

Supported by:

Danish Art Counsil/ Statens Kunstsråds Musikdramatiske Udvalg

Wilhelm Hansen Fonden

Brøndby Kommune Kultur- og Idrætsudvalget

De 9

Dansk Kapelmesterforening

Netværkskontoret Herfra og videre


DSB S-tog

Sange fra Broen

Netværkskontoret Herfra og Videre

Afdelingsbestyrelsen for Tranemosegård afd. 13

Café 13

De 9

Ejendomskontoret i afdeling T13

Teknisk Forvaltning i Brøndby Kommune

Kultur- og Idrætsforvaltningen i Brøndby Kommune

Tranens drenge





You, dear audience, are invited to a tour of the backstage at The Royal Theatre. But not a normal tour. A tour right into the soul of the theatre. So stay close together so that you don’t get separated from the group, because you could easily witness something that you basically can’t deal with at all.

The tour begins on the busy third floor – called the command bridge. The stage manager, dramaturg, costume designer and scenographer work here. And here the actors have their wardrobes, where they read, practice and sleep – and what follows from that. Time has stopped up here. Until in the evening, when the curtain is pulled down on the stages downstairs. When the audience pours into the blood-red seats in the dark. Then the real life begins – with tears and laughter, with life and death. The soul of the theater lives here. Here lives life itself.

But why are large parts of the theater blocked off? And why are there strange dark men walking around the corridors and stealing? Directors and actors are killing each other in the dressing rooms. The young tour guide becomes more and more confused as you open door after door into the inner room of the theater. And suddenly he’s gone. You are really only on a tour, but now you are part of life at the theatre. The carpet will go in a moment. The performance must begin. You can’t let the audience down. They trust you. There is no way out.

Now you are the theater.

Direction and concept: Tue Biering, Mia Lipschitz and Anders Lundorph


Niels Martin Eriksen

Daniel Norback

Preben Kristensen

Mogens Pedersen


Production: Rikke Hedeager Matthiesen

Costume assistant: Anne Sofie Bruun

The Ministry of Events is supported by the Bikubenfonden.



Fifteen actors fight their way forward in an open-hearted attempt to create the world’s best show with everything that such a show must entail. From the world’s best beginning to the world’s most moving end, from birth to death, from extreme banalities to magnificent highlights. The World’s Best Show is an intertwining of tableaus, music, quirky stories and stunts that, in its own awkward and ironic way, becomes a mirror of our lives and our attempts to get it all together, in just the right way, before it’s too late.

Cast: Amalie Kliim-Due, Anna Ersbøll Berg Poulsen, Anna Sophie Lübeck, Berit Aagaard Sørensen, Bo Hårdell, Carole Cuisine, Gertrud Magnusson, Kristine Olsen, Mai Vorreiter Jepsen, Ragna Huse, Rune Von Würden, Sanjin Fischer, Sara Johansen, Siri Friis Vikeså, Troels Holstein Madsen

Instruction: Tue Biering

Scenography, costume and direction: Marie Rosendahl Chemnitz

Dramaturg: Jeppe Kristensen

Sound design: Thomas Matyjasik

Instructor assistant: Trine Lavgesen

Scenography assistant: Franciska Johansen

Producer: Glad Theatre


4 + 11 + 18 + 25 FEBRUARY 2011
NYAVENY, in collaboration with Mammutteatret

All get smacked is a furious satirical marathon, where the texts are produced from Monday morning and throughout the week, parallel to the stories appearing on the newspaper front pages. During the week, actors and guest artists are connected, and on Friday evening at 10 p.m., it’s all shot off in a bang by a weekly political review. This is neither VKO nor SF, it is SM satire – everyone gets slapped!

Up-to-date satire and fixed serials will go hand in hand, we will see crazy monologues and economic tango seasoned with breaking and indispensable news from Frederiksberg and the world around us. Nothing mentioned, nothing forgotten – every Friday at NYAVENY_ will be unique!

Information writes: “Kamikazekomik…It’s a revue without a safety net, which dares to bet in front of its audience. It’s live theatre, fart and ballad with a splash of political criticism…Yes, now Nyaveny has played hot and turned theater into a martial art.” Read the full review


Cast: Tina Gylling Mortensen, Christian Hetland, Nanna Bøttcher, Sigrid Kandal Husjord, Egill Pálsson, Laus Høybye and Rasmus Hammerich with guests
Texts: Claus Flygare, Henrik Prip, Henrik Lykkegaard and Nanna Bøttcher
Director: Tue Biering

Instructor assistant: Ane Bank
Set designer: Trine Haastrup
Production Manager: Mammad Aliabadian
Stage Master: Aston Kay
Costumes: Camilla Lind
Performance manager: Pernille Kabell
Director: Eva Thagaard
PR: Janne Schnipper
Producer: Signe Allerup and Anny Dirchsen



a free adaption of the Charles Chaplin movie

Who where they, these sorry guys wandering around the wastelands of Alaska looking for gold back in those days of the 1920ies? Don’t think to long about the daring, fighting optimist with a dream to warm his heart. The truth is: most of them where just tourist, travelling around Alaska to get a good laugh over those poor bastards actually looking for the gold.

When one of these sad souls had fought his way out into the deepest wilderness looking for the golden dust there were already a couple of tourist waiting there laughing at him.

We want to do that, too! We want to laugh all we can at somebody else’s dream. Is that allowed? And is the joke on you if you dream and it isn’t likely at all that that dream will come true?

GULDFEBER stars a spastic, dyslectic, muslim immigrant in the main character as Chaplins little tramp strolling around in the mountains of Klondyke and against all odds ends up with the girl and the gold.

Amir Becirovic,
Sigrid Kandal Husjord,
Daniel Norback,
Søren Poppel

Directed and written by:
Tue Biering og Jeppe Kristensen

Sigurður Óli Pálmason



A live theatre performance and sit-com recording in front of a live studio audience

For 10 seasons the all time favourite sit com Friends aired all over the world. A show about ordinary people with ordinary problems, trying make it work in New York. Trying to get a job, a place to live, maybe get a girlfriend, or try to get rid of one.

This theatre performance casted some other ordinary people who just wants to make their lives work. A group of asylum seekers living in the asylum camps around Copenhagen starred in the roles as the six friends.

For 13 episodes they where hanging out in Central Perk instead of the camps in a serial performance. It was just like real friends, just like real life. Just a little bit funnier.

FRIENDS – The One With The Asylum Seekers And Some Rejected Ones played at NyAveny_ from May 8th to May 22th 2010.



Host: Egill Palsson

Directing & Concept: Tue Biering, Jeppe Kristensen

Co.-directing: Egill Palsson

Set-design: Siri Vilbøl

Videodesign: Jonas Jongejan

Lightdesign: Antonio Rodrigues Andersen

Sounddesign: Aske Hoeg

Stagemanager: Mette Bisgaard

Productionmanager: Hanna Grue

Assistant: Anders Brendstrup

Posterphoto: Per Morten Abrahamsen

Band: Søren og Anders


Danish Arts Counsil, Bikubenfonden



Somewhere in Europe a wall fell. Somewhere in the world we are raising a new one

A female taxi driver makes her vehicle available for a spin in the carousel of democracy. Invisible asylum seekers, disillusioned politicians and an artist morbidly obsessed with the ordinary take a back seat as the tour goes to the world’s hotspots – now staged as interactive amusement parks for privileged Westerners.

How do you tell the story of the future? And what will be the result when four actors stick the thermometer up in the global arsehole? Man is at the center of a portrait of the sharp contrasts that our society balances on the edge of. The focus is on human rights, inequality, indifference and the ability of Western society to ignore or treat global injustice as a problem we don’t have to deal with. The History of the Future is not a study in political correctness, rather a well-placed roundhouse kick to the face of those who allow themselves to think they know the answer to this world’s problems.



Text: Christian Lollike

Directing: Tue Biering

Set design: Nicolaj Spangaa

Light design: Sune

Sound design: Andreas Carlsen

Graphic design: Jørn Moesgård as


Best director 2010

Produced by Aarhus Theatre





INDEX: A both funny and complex notion of man’s eternal need to put things in larger contexts; told with live technology, video and animations through the past, present and future.

An entertaining and relevant performance about man’s eternal urge to grasp and understand all kinds of phenomena

THE STORY OF EVERYTHING is something as ambitious as a monologue that will tell the story of EVERYTHING. Nothing less! A tribute to those who have helped to gather all the knowledge we had no idea existed, and which we may not even know if we will ever need.

Wanting to know everything naturally contains a built-in impossibility. Understanding and concluding on the world’s infinite information is precisely about “calculating” and “adding up” and thus about throwing information away in favor of a holistic experience. THE STORY OF EVERYTHING is therefore also the story of failing, of not being able to understand and contain the whole world, and of those who can content themselves with embracing it all in a single idea – or in a kiss.

Flying Pigs mixes technique, poetry, animations, video.


Best performance, Årets Reumert 2010 for small big performance.


Best director 2010


Performers: Thomas Corneliussen

Directing: Tue Biering

Text: Tue Biering, Thomas Corneliussen

Set design: Nicolaj Spangaa

Light design: Andreas Buhl

Sound design: Janus Jensen

Music composers: Mark Solborg, Maja Romm

Flash animation: Nicolaj Spangaa

Produced by Flying Pigs, Jomfru Ane Theatre


Danish Arts Council

***** “To hell with space travel!” the policy

***** “Deeply fascinating” Gregers. read more here

***** “A rare solid little gem of a performance” Berl. Time. read more here


“Witful and virtuoso” JP. read more here


“Exudes presence and humor and is certainly one of the finest gems of the theater season” read more here


“Impressive performance! I was entertained from the start, especially by the beautiful and well-thought-out changes with lighting, sound, acting and stunts… The play made me think about which episodes in my life should be included if it passed the revue.. .” read more here



A tragic comedy about walls, supermarkets, hormone-regulated sportsmen and a people longing for a happy ending. A spex, relating the history of DDR to the situation in Denmark and Europe right now.

POSTBOX DDR is a journey behind the wall to a land where everything is up side down as in the fairytales.

POSTBOX DDR is produced 20 years after ‘mauerfal’ in 1989.


Performers: Sarah Boberg, Stefania Ómarsdóttir, Benjamin Bo Rasmussen, Joen Højerslev

Lightdesign: Edward Pierce

Sounddesign: Jes Theede

Text: Jeppe Kristensen, Simon Boberg, Tue Biering

Directing: Tue Biering

Set-design: York Landgraf

Assistant director: Juliana Wrede

Photos: York Landgraf


Danish Arts Council



The old lady has been living in her house for hundreds of years without a drop of coffee. Here she lives with all her yellow birds trying to keep the rooms together all day long. She nits and crochets, she hammers and sews – because someone has been dreaming of the house. The house changes, transforms and is almost disappearing. Far away in the forest there was a small house – never have I seen such a strange little house…

A house between dream and reality

This year’s Sensory exhibition for children Kunsthallen Brandts has created a house of dreams. The artists Marie Rosendahl Chemnitz and Tue Bjering have been inspired by the borderline between dream and reality. They challenge common sense and create new worlds. The setting in this year’s sensory exhibition is an awry strangely house consisting of 14 different rooms. All of the rooms are recognisable but as you enter an adventure starts and you will discover unusual things – has somebody been having a party in the wardrobe?

Koncept: Tue Biering og Marie Rosendahl Chemnitz



Three actresses and a film crew on a mission in the Faroe Islands: in 14 days to transform the Faroe Islands and the lives of 21 Faroese people into a soap opera. They have to create 7 episodes of Dollars – 7 different locations in the country.

Twenty-five years ago, Dollars hit the world’s – and the Faroe Islands’ – television screens. Shoulder pads, crepe irons, pastel colors and blood-red nails became high fashion, catfights and intrigues the highlight of the week.

Although it is a long way from Klaksvig to Colorado, Dollars FO set out to recreate Dollars on the Faroe Islands. It became a hunt for the great passions and dramas in the small island community.

Could we find star quality in even the smallest settlement? Would it be possible to cast, style, film, cut and before the end of the day welcome the premiere of an episode of a soap? Could it possibly go wrong if we all contain a good story?

Dollars FO was a show about drama and passion in everyday life, about feeling like a star and about seeing your life through the vaseline lens of soap.

The seven episodes Dollars (FO) resulted in are the result of a magnificent effort by the Faroese civil society. For a while, all distinctions between religious, political and social groupings were abolished in favor of fictitious battles across … religious, political and social divides!

With Dollars as a humorous and recognizable approach, the Faroese community participated for 14 days in an open-hearted and merciless description of the divisions, repressions, intrigues – and unity of the modern Faroe Islands.

Beinta K. Clothier
Gry Guldager-Jensen
Marita Dalsgaard
21 absolutely fantastic ferries

Instruction and concept
Tue Biering
Jeppe Kristensen

Scenography and costumes
Siri Vilbøl

Dorrit Andersen

Eir í Ólavsstovu
In cooperation with

Dollars (FO) is backed by
Kulturkontakt Nord
Danish-Faroese Cultural Foundation
Tórshavnar Municipality
Nordic House

Thanks to
Drós in Ólavsstovu
Atlantic Airways
Watch band
P/F Wenzel
Føroya Tele
Sune Bjørnvig
Føroya Fish effect
Thomas Dam Ítrott
Hotel Føroyar



Poul Reumert is dead, long live Poul Reumert! Imagine if the very King of the Royal Theater in the 20th century once again had the opportunity to let his ore-filled voice be heard.

In Reumert Remix, Poul Reumert rises from the dead. Actor Thomas Corneliussen puts his mouth to Reumert’s many outpourings and Lip-synchs himself through portraits of great men, lumpy characters, guys in love and grumpy old patriarchs. As if his mouth were a loudspeaker for Reumert’s words. On the other hand, Thomas Corneliussen’s body does not always want the same as his mouth. And that can well cause a bit of dramatic tension.

The Ministry of Events in Skuespilhuset has set itself a formidable task – to give Reumert a magnificent comeback in the 21st century. Over 100 hours of sound recordings with Poul Reumert have been cross-cut and scratched, looped and filtered to create a completely new story about the enigmatic actor. For who was he really inside the Caesar costume and the heavy white make-up?

The name is undoubtedly Reumert, Poul Reumert. The man behind the name is sent for a ride in the boxing ring against himself and barely has time to speak before the gong gong challenges him to play a new role. And it’s honestly a bit confusing for the old man to have to keep up with today’s pace. But suddenly the devil takes over Reumert, and he rattles off roles at a pace as if he were on a diet of mescaline and finely chewed laurel wreaths.

Director Tue Biering has put together the story together with Thomas Corneliussen, Jes Theede is the sound man and Event Master Rikke Hedeager Matthiesen is responsible for the production and the laurel wreaths.


Brad Pitt is coming to Copenhagen to shoot his new climate movie Saving Planet Earth. In the movie Brad Pitt must save the world before the climate catastrophe. The part of Brad Pitt is handed over to ordinary people.

Thus over the next 12 days ordinary people both girls and boys, young people and old people will play the part as Brad Pitt. Every day between December 8 and 18 we will cast new Brad Pitts. Every day a film crew will shoot and produce a movie. And every day on this website it will be possible to watch an episode of the movie – a movie which on the last day will be completed and thus save the world…

So if you want to play the starring role as Brad Pitt in the one and only climate catastrophe movie that can save the world and make people realise the need for a big change, then show up for the casting in the container at Gl. Torv every day between 14-16.

Christian Lollike´s “Cosmic Fear – or the day Brad Pitt got paranoid” takes its starting point in modern man´s cosmic fear and the dream of really being able to do something and create a better world. Today the superstars in Hollywood are standing in line to play that part – on and outside the white screen. And what if you were one of the biggest… what if you were Brad Pitt. Then you could make a movie or a work of art that could make a big difference and finally make humanity come to terms with inscrutable Mother Nature. We follow (our notion/idea of) Brad Pitt through his or her various attempts to make a difference and save the world from total destruction. But it is not quite as simple and even a superhero can be overtaken by cosmic fear.

Main concept: Tue Biering, Christian Lollike and Nicolaj Spangaa

Directors: Tue Biering, Christian Lollike, Nicolaj Spangaa, Peter Flyvholm, Aage Rais

Main Photographer: Talib Rasmussen, Cameraassistents/b-photographers: Linda Laage, Heine Bø, Malene Laurvig, Jacob Sofussen, Editing: Kenneth Olsen, Production Design: Nicolaj Spangaa, Nadia Nabil Nielsen, Assistents: Tanja Diers, Marijana Jankovic, Productionmanager: Mette Bisgaard, Producer: Hanna W. Grue, Production: Alex Häggström, Morten Tejlgaard, Sebastian Ziska, Sound: Aske Hoeg, Jonas Kreiner, Lys: Tobias Juhl, Text: Christian Lollike, Co-writers: Jens Christian Lauenstein Led, Tanja Diers, Titlemusic: Harpcore, Additional music: Harpcore, Kronos Quartet, Le Tone, M83

Brad Pitt is played by: Arthur Valdemar Van Beckerlær, Antoine Faye, Sabrina Schnabel, Nicholas Sherry, Jacob Krefeld, Camilla Rosenkrands, Jonas Persson, Christian Collants, Jan Mortensen, David Rebouh, Jonas Dhyrbye, Marie Højlt, Jørgen Juul, Adam Marques, Tobias Jørgensen, Moses Malone

Participating Actors: Peter Flyvholm, Marie Dalsgaard

Choirleader: Kathrine Brøndsted, Choir: Mikkel Reenberg, Johanne Louise Schmidt, Gry Guldager Jensen, Ida Marie Rasmussen, Patricia Schumann, Jakob Faurby, Pelle Nordhøj Kann, Nanna Bøttcher, Özlem Saglanmak, Malin Brolin-Tani, Nanna Schaumburg Müller, Kendra Lou, Sabrina Ruiz, Carina Britt Schiessl

Thanks to: Aarhus Teater, Scenokrati, Klaus Godskesen, Jonas Vest, Jess Thede, Statens Teaterskole, Husets Teater, Copenhagen Jazzhouse, Jakob Kryger, Teater V, Prøvehallen Valby, Cæcilie Nilsson, Huset i Magstræde, Boomerang Aps, FilmGEAR, Cinecast Rental A/S, EF Rental, Byens Skilte, Huset med det grønne træ, twentyfourseven, Christina Wideman, Café Teatret, Christian Rasmussen, Nadja Kaspersen



A performance that dealt with and made use of the powerfull psycologies of buying an other person/selling your self for money.

The performance was a staging of the Hollywood blockbuster ‘Pretty Woman’ where we bought a prostitute each night to perform the role of Julia Roberts Vivian, and professional performer Anders Mossling performed Richard Geres role Edward, thus recreating the money and powerbased starting point between Vivian and Edward that movie has. It took place in three construction site containers placed on the central prostitution square in Vesterbro.

9 woman from the local drugprostitution scene performed in the play. In the performance they where given stage directions and lines through an in-ear loud-speaker.

The resulting performance was a very fragile and intense being-together between audience, actors and the prostitutes inside the containers. As it happened in the film, you very quickly forgot that Vivian was a prostitute, instead hoping for the romance to happen.

We like to see theatre as a form of friendship. In this case very strange but intense and warm relations was created between actors, audience and prostitutes. Outside the containers the performance raised a great deal of debate on the subject prostitution, inside the containers it gave the audience the possiblity to meet the persons behind the debate without ever letting them speak other lines than the strict dialog of the ‘Pretty Woman’ movie.


Performers: Anders Mossling, Egill Palsson, 9 prostitutes

Directing: Tue Biering, Jeppe Kristensen

Set-design: Christian Friedlænder

Productionmanager: Anders Sylvest

Videodesign: Jonas Jongejan

Lightdesign: Antonio Rodrigues Andersen

Sounddesign: Aske Høeg

Stagemanager/props: Siri Vilbøl

Assistant director: Sanna Albjørk

Production Manager: Anders Sylvest

Posterphoto: Per Morten Abrahamsen


Danish Arts Counsil


Best director 2009



En økokalypse af Christian Lollike

Smoggen hænger tungt over L.A. Bilkøerne er lange, og folk i Tokyo stimler sammen om luftautomaterne. I Kina brænder forbrændingsanlæggene huller i ozonlaget. I Bangladesh er der oversvømmelse, og familier rives fra hinanden. BRAD PITT frygter, at vi snart får himlen i hovedet, og han vil redde Planet Earth …

Brad Pitts paranoia bliver værre og værre. Klima er et hot emne ved kæresten Angelina Jolies garden party. Klima er et umuligt emne at engagere sig i for postmoderne mennesker. Klima er bare old news. Klima er vor tids gud. Klima er skyld i, at afrikanerne invaderer vesten. Klima er grunden til, at miljøaktivister bliver dræbt – det hele bliver mere og mere overvældende og afspejler, hvordan vi privilegerede vesterlændinge håndterer løgn og fakta om emnet.

Hvad er fup, og hvad er fakta i klimadebatten? Hvad sker der med os mennesker, når vi konstant bombarderes med trusler om den nært forestående økokatastrofe? Gennem tre personers leg og vekslen mellem forskellige holdninger til klima stiller forestillingen skarpt på begrebet ’økodepression’, som synes at præge store dele af den vesterlandske verden.


Performers: Marie Dahlsgaard, Andreas Jebro, Peter Flyvholm

Text: Christian Lollike

Directing: Tue Biering

Set-design: Nicolaj Spangaa

Assistant director: Thomas Markman

Produced by Aarhus Teater


Best director 2009




A Danish artist takes on the quest for finding Sune Wagner in the American jungle, called New York.  Wagner has chosen to unite with the unknown and live out the American dream.  Our man has been sent out to retrieve Wagner and bring him back to the Danish civilization, yet again.  The journey through Harlem, Fifth Ave, and China Town is an encounter with the American culture, and a search for answers to how this city captured the Dane by the heart.  At the same time, it is a journey into a European soul that still is very much alive and breathing in NYC, and a reunion with ghosts from the past.  In the quest for Sune Wagner, our man meets other artists. The American on the streets of New York, and the Dane who has settled down in NY.  Through these encounters, the film debates cultural heritage, belongingness, and the myths and pre-assumptions we have about each other.












Enok Holsegård
Tine Louise Hunderup
Julie Thalund
Jonas Bjerre
Mie Olise

Danish Arts Counsil, DIVA-program



Performance installation with artists from Denmark, Sweden, Iceland

The idea for the concept ”Happy New Year – Iceland” came from an urge to do something specific for the community in Iceland. A study made by the worldbank about poverty says that poverty is not a question about money but about feeling poor, without any hope for changing your own situation. That somehow describes the general feeling for a lot of icelandic people. Inspired by that we found the concept of community coaching.

The idea was to create a new years party for icelandic people, where the concept of a new years eve where used to its full, for the purpose of giving the participants an experience of going from the ”old years” state to another new one.

“New Year is the time to say a bye to the past things and look forward into the future with heart full of love and eyes filled with dreams. People have many dreams associated with New Year. Before sunrise on the New Year’s Day, on New Years Eve, many new resolutions give birth to many new hopes for the year that will arrive.“

We wanted to create the atmosphere and the emotions that’s a part of a new years eve and using the tools of coaching, we wanted people as a group and community of Iceland to rebuild the mental image of Iceland into something prosperous.

The project collected and created the different kinds of material for a new years eve. The new years music, new years speeches, our own TV version of the presidential new years speech, a Danish actress learned the Icelandic anthem and we created different kinds of games to create a feeling of being a community, lifting the responsibilities of society together. We also found out questions to ask about peoples wishes for a new year and experiences in the “old” year.

The performance

The plan was to set up a huge tent in downtown Reykjavik on a spot where a lot of people are passing by. We introduced the idea about having a new years party in the middle of June to the icelandic medias and we and the story of the project went immediately in newspaper, web-TV, radio. We also send out mail-flyers and made a webpage for the project.

For this outdoor event we had checked the weather forecast in the days before and it said it was going to be a perfect weather. On the day of the event we found out that it was going to be very close to storm and it would be impossible to put up the huge tent. It was also getting cold, due to the heavy wind, so we couldn’t expect people to stay for a long performance of the 2 hours we had planned. After considering the different kinds of options we decided to stay to the concept, but only using the basic of the tent for new years decoration and instead of one long new years performance, we decided to do a lot of 10 min. new years event.

From 14 o’clock people responding to our invitation in the medias or mailflyer began to show up. People passing by where also invited to this event. They got champagne, got new years hats, we where playing well known new years music and together with the actors they counted down from ten and jumped into the new year. To say the magic words “Happy New Year”, was overwhelming for some and we found out that the ritual has a lot of power and emotions build in. People huged and smiled and became happy about the concept of a new beginning. Because of the fact that we did it in the middle of the summer, people where laughing about the idea and opened up for the discussion about their own experience of the situation in Iceland and the hopes for a new Iceland. There was an open microphone for people to announce a speech or a new year wish. People where spontaneous happy about the event and participated in all the different kinds of new year happenings.

After two hours and approximately 10 pieces of “new years”, the show was over.



Ellen Nyman

Tue Biering

Nicolaj Spangaa

Jón Páll Eyjólfsson

Jón Atli Jónasson


Culture Contact Nord

Challenge 07

an election campaign for community spirit

In 2007, we wanted to make a performance in connection with the general election. As the official election campaign progressed, we became more and more uncomfortable with the way all political parties catered exclusively to majority groups, who were promised better economic conditions and more welfare.
Together with performer and activist Ellen Nyman and TV-GLad, a TV station run by disabled people, we therefore led an election campaign for three disabled employees at TV-Glad – Nikolaj, Vibeke and Amir.
Their campaign was about speaking on behalf of all minorities, who were otherwise overheard in the election campaign of the major parties.
Thanks to a great effort by a group of volunteers, Nikolaj, Vibeke and Amir managed to collect enough signatures to actually appear on the official ballot.

The incident took an unexpected turn when the three candidates were censored from Deadline on DR.

Jeppe Kristensen, Ellen Nymann, Tue Biering, Lars Werner Thomsen, Jesper Michelsen, Mikkel Holmbäck, Henrik Marentius, Amir Becirovic, Nicolai K. Mittet, Vibeke Baden Laursen




Performers: Thomas Corneliussen

Directing: Tue Biering

Text: Tue Biering, Thomas Corneliussen

Set-design: Nicolaj Spangaa

Lightdesign: Andreas Buhl

Sounddesign: Janus Jensen

Music composers: Mark Solborg, Maja Romm

Flash-animation: Nicolaj Spangaa

Produced by Flying Pigs, Jomfru Ane Teatret


Danish Arts Counsil


A performance on globalization with the idea to do exactly as Nike says, just do it!. The result was the performance “Come on Bangladesh, just do it!”
It was performed at The Royal Theatre in Copenhagen. In the performance we took the classic piece of the theatre – “Elf Hill, a 19thcentury romance – and outsourced it to Bangladesh. We went to Bangladesh and hired 5 actors, taught them the necessary danish in 6 weeks, flew them to Denmark where they performed “Elf Hill” at The Royal Theatre.
The performance was part staging of the romance, part documentary about the process of outsourcing the play and part interaction with the audience who in the form of drinks, pizzas branding were given the surplus that came from using very cheap actors.
Rather than doing classical well-performed theatre, the point of this performance was to bring the audience and the workers that produce their consumer goods together in the theatre. The just Do It approach gives us the opportunity to make a political interested performance based on curiosity and human interests rather than political slogans.
Performers: Shamima Shawket Lovely, Shahnazzarin Sattar Reetu, Tomiz Din Mohammed Akbar R, Mohammad Abdul Wadud Shatabdi, Azad Abdul Kalam Pavel, Ellen Nyman, Thomas Corneliussen, Henrik Jandorf
Concept: Jeppe Kristensen, Tue Biering
Directing: Tue Biering
Text: Jeppe Kristensen
Set-design: Nicolaj Spangaa
Directors assistent: Gry Nybo
Lightdesign: Ulrik Gad
Sounddesign: Sebastian Lund
Video: Thomas Carlsen
Stagemanager: Eva Præstiin
Photos: Per Morten Abrahamsen
Produced by The Royal Danish Theatre



Concept: Jesper Elg, Tue Biering

Performers: Benjamin Kitter, Anna Bro, Tue Biering, Maria Boberg

Text: Kasper Hoff

Directing: Tue Biering

Set-design: Christian Friedländer

Lightdesign: Antonio

Sounddesign: Jonas Vest

Produced by The Danish Royal Theatre


AT THE ROYAL DANISH THEATRE, 2004, 2007, 2008, 2009, 2010

Performers and musicians are recreating the old murdermystery radio theatre play “Murder Melody”. Like in the days of live radio they are using all kinds of geräuch, to create the right atmosphere for the scenes. The live performance is interacting with the old recordings of “Murder Melody”.


Idea: Rasmus Botoft, Rikke Hedeager Mathiessen, Tue Biering

Concept: Tue Biering

Performers: Tina Gylling Mortensen, Jens Jacob Tychsen, Lisbeth Wulff and Rasmus Botoft

Musicians: Mikkel Hess and Jens Bjørnkjær

Text: Tavs Niiendam

Directing: Tue Biering

Productionmanager: Rikke Hedeager Mathiessen

Produced by The Royal Danish Theatre


I Mordets melodi stifter vi bekendtskab med den grusomme men også lattervækkende historie om seriemord på lillebyens Sonjaer. Alle mordene er ledsaget af afsyngningen af en henrivende lille fransk vise. Kan det være sanglærken Maria Valdini, der står bag nedslagtningerne? Trop op på molen og hør om det lykkes for de snarrådige politihjerner i evigt selvsving at opklare de lumske melodimord, inden alle byens Sonjaer er døde.

Skuespillerne Tina Gylling Mortensen, Jens Jacob Tychsen, Lisbeth Wulff og Rasmus Botoft lægger krop og sjæl i at betjene vindmaskine, tordenplade, ringeklokker, kaffekopper, telefoner, højhælede sko, piber, spande og glas for at skabe den rette lydflade. Musikerne Mikkel Hess og Jens Bjørnkjær svinger guitar, trommesæt og keyboard, så hele historien emmer af gys, melankoli og musikalitet.



The Children of the Nation is an insane and relentlessly persistent notion of democracy and schooling and … The Children of the Nation is the last convulsion of civilization.

With him on the gymnastics floor, director Tue Biering has his regular partner, stage designer Nicolaj Spangaa, as well as a well-known four-leaf clover of younger forces in the form of actors Thomas Bendixen, Thomas L. Corneliussen, Benjamin Boe Rasmussen and Mads Wille.



‘The Europeans’ was a collage of mayor european classicals concerning war, starting with Aischylos. The collage was set in a garden, translating the classical conflicts to danish everyday life. During the play quotes from modern politics were continously interwowen into the texts, blurring the distance between classical and modern. At that time Denmark was for the first time in a very long time engaged in war.


Performers: Helle Fagralid, Ditte Gråbøl, Lars Mikkelsen, Mads Wille, Kristian Holm Joensen, Morten Eisner

Musicians: Mikkel Hess, Jens Bjørnkjær

Text: Aischylos, Shakespeare, Strindberg etc.

Dramaturgy: Jeppe Kristensen, Benedikte Hammershøj, Tue Biering

Directing: Tue Biering

Set-design: Christian Friedlænder

Music composer: Mikkel Hess

Lightdesign: Antonio Rodrigues Andersen

Sounddesign: Sebastian Lund

Produced by The Royal Danish Theatre



NOMINATION: best play 2004


Performers: Thomas Corneliussen

Directing: Tue Biering

Text: Tue Biering, Thomas Corneliussen

Set-design: Nicolaj Spangaa

Lightdesign: Andreas Buhl

Sounddesign: Janus Jensen

Music composers: Mark Solborg, Maja Romm

Flash-animation: Nicolaj Spangaa

Produced by Flying Pigs, Jomfru Ane Teatret


Danish Arts Counsil


by Schiller

The Royal Danish Theatre, Copenhagen 2006


Performers: Henning Jensen, Mads Wille, Carsten Bjørnlund, Thomas Bendixen, Thomas Corneliussen, Nukaka Coster Waldau

Text: Schiller

Directing: Tue Biering

Set-design: Nicolaj Spangaa

Lightdesign: Ulrik Gad

Sounddesign: Sebastian Lund

Stagemanager: Eva Præstiin

Produced by The Danish Royal Theatre


By David Grieg



Henrik Kofoed, Cecilia Zwick Nash, Tina Gylling, Lisbeth Wulff, Annika Johannesen, Peter Gilsfort

Instruction: Tue Biering

Set designer: Nicolaj Spangaa,

Lighting design: Antonio Rodrigues Andersen


DAS BECKVÄRK, GLADSAXE THEATER 11 January – 15 February 2003.

About the idealistic architect who wants to build a world parliament where all people can have an equal say. Who will build it? The people, of course! Unfortunately they demand money…

Secretly, the Architect gets the necessary money from the Currency Trader, who has just made 70 billion from China’s economic collapse. Construction begins, but the Architect and the Workers do not understand each other. He wants an open house, while the people want a fortress that can keep the strangers out. The vision of world democracy develops into a bloody tragedy. The only one who understands the Architect is the country’s Princess, who has run away after a car accident and dreams of being a human being like everyone else.


Lars Mikkelsen, Mads Wille, Ellen Nyman, Ulver Skuli Ryberg, Claus Beck-Nielsen

Text: Claus Beck-Nielsen

Instruction: Tue Biering

Set designer: Nicolaj Spangaa





Performers: Thomas Corneliussen

Text: Irvine Welsh

Translation: Simon Boberg

Directing: Tue Biering

Set-design: Nicolaj Spangaa


Lightdesign: Andreas Buhl

Sounddesign: Janus Jensen

Composers: Maja Romm & Mark Solborg

Flash-animation: Søren Meisner

Produced by Jomfru Ane Teatret


a consumer comedy Jacob Weble.

It’s never nice to be locked up. Not at all if it’s after closing time in a supermarket.

Not at all if it’s in the toilet. And definitely not if you’re locked in with people you can’t stand. Nevertheless, this is the situation for four people on a Saturday afternoon just before closing time in an unusually large shopping center. In the men’s toilet under the shopping center we meet the young idealistic amateur writer (Jens Gotthelf), the bitchy consumerist woman (Berrit Kvorning), the self-sacrificing cashier (Mette Marckmann) and the buttoned-up businessman (Henrik Køhler) with a mysterious attache folder.

It quickly turns out to be no ordinary supermarket. There are big and small mistakes everywhere.

One of the more serious mistakes – if it is a mistake? – is of course that the place locks its customers after closing time in the unattractive toilet. Here, customers can then wonder

why the hand dryer makes noise like a DC-9 taking off. And why a woman’s voice on the loudspeaker keeps announcing more and more bizarre offers when the place has closed. And about who the strange person is, crawling around the place’s ventilation ducts wearing diving clothes and with price tags on the clothes.

As the weekend progresses, the scenario develops with both claustrophobia, territorial warfare and a

little bizarre toilet romance as a result.

Supermarket is an absurd, terrifying and comic piece about an abnormal consumer company that has set itself on everything and everyone. And perhaps – depending on observance –  a protest against a consumption-fixated and consumer-dominated world.

Instruction: Tue Biering

Scenography: Rasmus Jangaard



The policy:

“…a rare equilibrist number … a small comic masterpiece … Thomas Corneliussen is an effortless talent…”

Berlingske Tidende:

“Actually, “The Game” is a silent monologue, but Thomas Corneliussen must be forgiven, because he has a God-given, completely superb speaking body language.


“…a pantomime piece of absurd theater, where the very young actor Thomas Corneliussen, with the help of the director Tue Biering, demonstrates a comic talent of something close to Tati’s format … It is funny, surprisingly elegant, stylistically very skillful, yes, almost virtuosic – ready to travel out into the big world with… what an accumulation of talent.”

The weekend newspaper:

“…very witty and choreographically virtuoso a clownish comic figure’s helpless attempt to manage his own life and its cursed duties … Inspired by both Marcel Marceau and Samuel Beckett, he simultaneously struggles with and against himself, triumphantly one moment, exhausted the next.”


Performers: Thomas Corneliussen

Directing: Tue Biering

Set design: Nicolaj Spangaa

Light design: Andreas Buhl

Sound design: Janus Jensen

Music composers: Mark Solborg, Maja Romm

Dramaturg: Anne Gerd Sindballe

Produced by: Flying Pigs & Kaleidoscope



Actor: Thomas Corneliussen

Manuscript: Thomas Corneliussen

Processing: Nicolaj Spangaa, Martin Strange Hansen

Director: Tue Biering

Set designer: Nicolaj Spangaa

Lighting design: Andreas Buhl

Sound design: Janus Jensen

Composers: Maja Romm & Mark Solborg

Dramaturg: Anne Gerd Sindballe

Produced with support from Workshopscenen, 1999