Don Quixote

Sancho Panza is desperate: his master, Don Quixote, has clearly lost his marbles. He talks nonsense, fights windmills, which he mistakes for giants, and attacks a stagecoach because he believes it is full of barbarians – when in fact it is just a harmless funeral procession that is frightened out of its wits. Is this what Sancho has left home for? Because he thought back then that he could make the world a better place together with Don Quixote? Instead, he is now threatened with an arrest warrant from the king, and on top of that, it is already unbearably hot in Spain in May – even the climate is not right. Torn between doubts, loyalty and total exhaustion, Sancho decides to end the adventures and return home defeated. But then he realises that Don Quixote's madness is methodical and only a façade, hiding a clear political goal.

In his very free adaptation of Cervantes' famous novel, Peter Jordan plays a fast-paced, anarchic game with genres and literary motifs, with ideals, ideologies and identities - plus, with the means of theatre itself. Three people embody the most diverse characters in rapid succession, sometimes as a knight, sometimes as a talking horse, sometimes as a corrupt civil servant, until the confusion is complete, while the sun relentlessly beats down on a waste land.