A dramatic reconstruction of the infamous 2007 HIV case in the Dutch city of Groningen, where drugged guests were injected with HIV-positive blood during sex parties.

　　在一次家庭聚餐中，艾瑞斯从她74 岁的父亲让那里得知，他希望75岁成为最后一个生日。荒谬的消息就像一记重拳，艾瑞斯根本没有看到它的到来。 随着父亲生日的临近，艾瑞斯也快要崩溃了，她决定跳出剧本。 她请了假，不经父亲的允许就搬来和父亲一起住，并试图强迫他回答一个对她很重要的问题：为什么？ 似乎没有令人满意的答案，她决定寻找一种方式来处理她父亲的最后一个心愿。

In this worldwide bestseller, we watch four men over a period of more than thirty years: lawyer Jude, actor Willem, visual artist JB and architect Malcolm. The story is the history of their friendship, as they remain closely connected with each other during the rest of their lives. They develop their careers in the city where ambition and success are the indicators of a successful life: New York.

The main character is the introverted Jude. His past is wrapped in a veil of mystery. Behind the façade of professional success, he lives with unresolved grief as a result of emotional neglect and sexual abuse during his childhood. It has left him with extreme distrust and a feeling of worthlessness. He finds release in compulsive automutilation, causing his body to become more and more exhausted.

How do you live with trauma and pain? Jude has no family, his friends are everything to him. Nevertheless, he finds it impossible to share his past with them. The closer someone gets, the more difficult it is for him to talk about it. For Jude, openness and surrender are equal to abuse. In a constellation like that, intimacy becomes an impossible task. Can friendship provide compensation for the incurred damage? Is it possible to have a romantic relationship without sex? What is love actually able to do?

Jude’s friends are facing a dilemma. How can you help someone who doesn’t want to be helped, while realizing you’re not a real friend if you don’t try to help?

时长约60分钟，改编唐·德里罗 《坠落的人》(2007)
ITA 委约联合出品，朱利安·戈瑟兰2019年新作。
唐·德里尼舞台化系列第二部作品。该系列的第一部《玩家·毛·名字》已在2018年阿维尼翁戏剧节完成首演。
该系列的第三部《锤子和镰刀》也计划在2019年公开。

Everything is seemingly under control in the life of successful businessman Peter Egerman. But during a visit to a brothel, he suddenly snaps: he kills and rapes a prostitute. What caused this outburst?

Ingmar Bergman wrote in an explanation: ‘In fairly short, often interrupted or deliberately torn apart scenes, I attempt (as an outsider) to give a kind of account. I have abandoned every kind of interference. However, none of the occurring characters can make claims to explain or clarify the drama. They are all involved and therefore confounded.’

In short, engaging scenes that take place before the murder, an image of model citizen Peter Egerman is created. He is caught in a web of social expectations, woven by his wife Katarina, his mother, his psychiatrist and his friends. In their testimonies after the murder, Bergman gauges the smallest vibrations hidden deeply within the layers of the human psyche like a seismograph. From the life of the marionettes is more than the investigation into the motives of an opportunity murderer. The play exposes the suffocating patterns in a society where success is too often regarded as a replacement for genuine tenderness and love.

Bergman himself thinks that everyone should draw their own conclusions. People are like marionettes, suspended by strings they don’t control themselves. Beneath the surface of a successful and controlled life, there are passions struggling to get out. Or like Tim puts it: ‘I’m being driven by forces I can’t control. Doctors, lovers, pills, alcohol, work: nothing helps. They are secret forces. Do they have a name? I don’t know.’

With her first stage directing, film director Nanouk Leopold adds a fifth Ingmar Bergman title to our repertoire. Previously, Ivo van Hove directed Scenes from a marriage, Cries and whispers, After the rehearsal and Persona at Toneelgroep Amsterdam.

In her debut novel The Laws, Connie Palmen tells the story of a woman in search of herself. Seven encounters with seven men over seven years. We see how she grows into being a writer and gives meaning to her life thanks to and despite these encounters.
Within the year of publication, this book sold over 400,000 copies. Thirty years later, it has become a modern classic. Eline Arbo makes a contemporary adaptation in which the characters are detached from gender and origin.

For her adaptation of Weg met Eddy Bellegueule (Away with Eddy Bellegueule), Eline Arbo won the Regieprijs 2020 (Directing Award 2020). Last season, she directed the hit performance The Years based on the book by Annie Ernaux, the most recent winner of the Nobel Prize for literature. For ITA, she previously directed The Hours after the novel by Michael Cunningham and Penthesilea by Heinrich von Kleist. Since September 2023, Eline Arbo is Artistic Director at ITA.

Director Eline Arbo adapts James Baldwin's timeless classic for the stage. A music filled performance about love, identity, and the fear of being oneself. Giovanni’s Room explores themes such as sexuality, internalized homophobia, and societal pressure, posing the question: can you ever feel at home if you’re not allowed to be yourself?
A poignant story of passion, loss, and the struggle between deep desire and societal expectations, based on Baldwin’s masterpiece.

In 2008, Ivo van Hove directed a radical production of Angels in America, which Tony Kushner himself hailed as his favorite version. Hans Kesting received the Louis d'Or for his portrayal of Roy Cohn in this production. Now, we are bringing the performance back, featuring several actors from the original cast, complemented by new ensemble members. Presented within a minimalist stage design and accompanied solely by David Bowie’s songs, this adaptation of Angels in America is a tribute to the human ability to adapt, change, and survive. It is a true (re)discovery of a modern classic, but above all, it remains an incredibly relevant story to this day.

America during the Reagan years. The AIDS epidemic is spreading rapidly but is met with silence from the conservative government. Two New Yorkers grapple with the news of their diagnosis in very different ways: ex-drag queen Prior and the arch-conservative lawyer Roy Cohn, who forces those around him to lie about the nature of his illness.

In the first part, Millennium Approaches, all the characters are torn away from their roots and certainties: family, partners, religion, and political ideologies no longer provide solace in the face of pervasive disease and death. In the second part, Perestroika, tentative new friendships and relationships emerge as the characters confront the painful process of change.


In a whirlwind of tragicomic scenes and entanglements, Tony Kushner demonstrates that identity cannot be reduced to religion, race, or sexuality. Instead, it is a continuous process that can only take shape through interactions with others.

Angels in America is a gripping, hilarious, and heartbreaking story about the transformative power of love, the inevitability of change, resilience in times of crisis, and a tribute to imagination—not merely as an escape from an unlivable reality, but also as a source of understanding.