If the widow wishes to be addressed, she places the watering can on the grave with the spout facing forward

In the summer of 1994, four friends - all from immigrant families - dream of a better future in the vineyards of Heidelberg. Fatih, the tinkerer and inventor among the boys, has a groundbreaking idea: "How great would it be if there was a rehearsal room for life?" The so-called "fitting room" for the future still seems like naïve science fiction in the 90s, but a few years later it is already a reality and is in active use across all classes: There is the cleaner who, with a brush made of goat hair in her hand, decides to take her life into her own hands. And the lawyer who is prepared to cheat in order to finally win against his eight-year-old son in Memory. Or the widow Gisel from the eponymous story, who longs for a new acquaintance after years of being alone and therefore places the watering can on the grave with the spout facing forwards. But where is the front - towards the grave or away from it? Saša Stanišić tells of ruptures in the lives of young and old people, of migrant fates, of family fathers and single people who all long to reinvent their lives. Director Jessica Glause lets these characters, who dream and play in different ways, try out their possible futures on the theater stage - the "fitting room" par excellence: The existential and the supposedly trivial, the socio-politically relevant and the private combine to create a reflection of our society today.