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The first full-length production of the newly consternated go plastic company is also the artistic conclusion of the “Alice” series, which thematically explored the works of Lewis Carroll.
“That all depends on where you want to go,” replied the cat. “I don’t know about that,” said Alice. “Then it doesn’t matter which way you go,” replied the Cheshire Cat. (Lewis Caroll)

Twelve episodes, twelve musicians, twelve tracks.

Not just a dozen, but twelve signs of the zodiac, twelve-tone music, twelve disciples, twelve brothers. The dancers know what will happen, but not when. The random principle decides on the arrangement of the episodes and thus on the piece.

Lewis Carroll’s Alice stories play an absurd, sometimes satirical game with the logical laws of this world. In the process, a parallel world of quotations, allusions and mathematics emerges that turns things upside down and develops its own laws. The punch line is that this parallel world is closely connected to our own and fulfils one or two facts of reality.

MIT ALICE IN DEN STÄDTEN puts the numerous episodes and sub-stories of the Alice cosmos together in a new context. The absurdity does not necessarily lie in the environment, but much more in the actions and the sequence of events. An aesthetic, dance-like road trip that stops at various places and yet is constantly driven by a search. For what?



World premiere:

LOFFT das Theater, Leipzig – September 2012

Revival / further performances:

Theaterhaus Rudi, Dresden – April 2014


“… Actually, you should see “Mit Alice in den Städten” twelve times. Because presumably each of the city trips with Alice runs differently. The twelve stations are each danced to in a different order. The lottery decides.
Cindy Hammer has staged and choreographed this confusion with the different musical sounds and songs, for which ten names and styles alone stand. Everyday objects, street props, dance and music styles are used to arbitrarily put together a confusion game like a jigsaw puzzle of twelve pieces in 75 minutes and find that it fits instantly, in this time, in this dance-theatre world. Tomorrow it will be different. Obviously not a problem for dancers, not for spectators either: because there are no abrupt or even provocative inconsistencies. You wander through the towns with Alice, arriving here and there by chance, you linger longer or shorter, there is no hurry, no dangers seem to lurk. And therein may lie the problem. This likeable dance trip still lacks moments of existential poignancy, it lacks abysses that the travelling party with Alice just barely scrapes by. The potential is definitely there, in terms of dance, choreography, music and ideas. And because that is the case, one would like to be curious about the further stations of the journey with Alice, alias Cindy Hammer and go plastic, to even crazier, unreal places, as play images of the seemingly so normal reality…”

Boris M. Gruhl, 11.09.2012

Complete review at


Concept / Choreography:

Cindy Hammer

Production Management – Assistance:

Josefine Wosahlo

Dance / scenic performance:

Robin Jung, Sarah E. Lewis, Susan Schubert, Josefine Wosahlo / Cindy Hammer


Various Artists

Set design / equipment:

go plastic / Tobias Müller


Benjamin Henrichs


Constantin von Thun


A production of the go plastic company in co-production with LOFFT – DAS THEATER Leipzig. Sponsored by the City of Leipzig, the City of Dresden – Office for Culture and Monument Protection Dresden and the Cultural Foundation of the Free State of Saxony. With the kind support of TENZA schmiede, TanzNetzDresden, Tanzwoche Dresden.

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