The premiere of Albert Ostermaier's 'Munich Machine' at the Residenztheater in Munich, directed by Ersan Mondtag, is designed to be a grotesque revue that aims to make the city danceable again. The play, subtitled 'A Utopia in Memoriam Klaus Lemke', stretches the final minute of the life of the anarchic filmmaker Klaus Lemke, who passed away in 2025, into a dramatic, over three-hour montage that mixes theatrical presentation with film. Throughout this extended window, Ostermaier integrates numerous significant yet macabre events from Munich's 20th-century history, telling a story that examines the city's troubled past while intertwining it with the themes of loss and remembrance.

The narrative delves into a variety of historical references that shaped Munich's identity, including the Räterepublik, National Socialism, and influential personalities and events like Lenin, Hitler, and the dark shadows of the 1972 Olympic Games. By weaving together these events, Ostermaier not only critiques the historical ethos of the city but also challenges the audience to reckon with the legacy of its past while contemplating its future. The juxtaposition of beauty and horror reflects a deeper philosophical musing on Munich, encouraging a dialogue about the city's resilience amid its chaotic history.

This artistic endeavor encourages viewers to reflect on what it means for a city to be not only a physical space but also a repository for collective memory, questioning how beauty coexists with tragedy in the urban narrative. As 'Munich Machine' unfolds, it serves both as a tribute to Lemke and a crucial commentary on the enduring impact of historical trauma on the present-day fabric of Munich, invoking a necessary examination of the past to foster a more hopeful future.