Theater Bielefeld

The Theater Bielefeld, nestled in the heart of Bielefeld, North Rhine-Westphalia, Germany, is a cultural gem that has been enchanting audiences for over a century. This multi-genre theater, encompassing drama, musical theater, and dance, stands as a testament to the city's vibrant artistic spirit and historical resilience. Together with the Bielefeld Philharmonic Orchestra, it forms the Stages and Orchestra of the City of Bielefeld, offering performances across three venues: the Stadttheater, the Theater am Alten Markt (TAM), and the Rudolf-Oetker-Halle, with a combined seating capacity of nearly 3200. Each year, over 200,000 visitors are treated to around 600 performances, making it a cornerstone of Bielefeld's cultural life.

The Birth of a Cultural Landmark

The story of Theater Bielefeld begins in 1885, when the widow of tobacco manufacturer Crüwell donated 10,000 marks for the construction of a theater and concert hall. This generous donation inspired further contributions, and by the end of the 1880s, the fund had grown to 43,000 marks. At the turn of the century, plans for the Stadttheater began to take shape. In 1900, theater director Oscar Lange struck a deal with the city council, stipulating that a third of the estimated 500,000 marks needed for construction would come from local donations. The community rallied, the funds were secured, and construction commenced based on a design by Berlin architect Bernhard Sehring, who had previously designed the Theater des Westens. The foundation stone was laid in June 1902, and the theater opened its doors on April 3, 1904, with a performance of Carl Maria von Weber's Jubelouvertüre and Schiller's The Maid of Orleans.

War and Resilience

During the First World War, the Stadttheater was mostly closed, save for a few guest performances. Wilhelm Berstl, who had succeeded his father Norbert Berstl as director in 1913, was drafted, and Max Cahnbley took over. In May 1918, the city of Bielefeld acquired the theater, establishing it as a municipally subsidized institution for the first time. This transition allowed for a greater emphasis on artistic quality and the development of a permanent ensemble. The theater reopened with Mozart's The Magic Flute and Goethe's Iphigenia in Tauris. Despite financial difficulties in the early 1920s, Cahnbley's leadership ushered in a fruitful period, with the theater acquiring additional facilities and offering year-round contracts to its staff by the 1925/1926 season.

Theater in Turbulent Times

The rise of the National Socialists in 1933 brought significant changes. Max Cahnbley was dismissed, and Leon Geer, an operatic singer and NSDAP member, took over as director. The theater's repertoire shifted, with classical dramas gradually disappearing from the program. In 1937, the auditorium and stage were renovated, and additional spaces were acquired. The outbreak of the Second World War in 1939 saw the theater officially engaged in the war effort, with performances for the Wehrmacht. In September 1944, all theaters were ordered to close by the Reich Ministry of Public Enlightenment and Propaganda, but by the end of the year, some Bielefeld staff were tasked with entertaining laborers.

Post-War Reconstruction

After the war, the theater faced significant challenges. The building had been damaged, and the city terminated the actors' contracts. The British military government imposed a ban on dramatic performances, allowing only concerts, operas, and ballet. Alfred Kruchen was dismissed, and Hans Hoffmann and Georg Goll temporarily took over. In autumn 1946, theater professionals formed the Emergency Association of Bielefeld Stage Artists to rebuild the Stadttheater. The city provided the orchestra and two buildings, while the artists bore the financial risk. The theater reopened on December 1, 1946, with a performance of Mozart's The Magic Flute.

A New Era

In 1950, the Theater am Alten Markt (TAM) opened as a new venue, housed in the former town hall. This gave the drama department its own stage. Despite financial crises, the theater persevered, thanks in part to the founding of the Society of Theater and Concert Friends in 1951. The Conz Era began in 1952, marked by the expansion of the orchestra and the introduction of modern works. The Stadttheater celebrated its 50th anniversary in 1954 with performances of The Maid of Orleans and The Mastersingers of Nuremberg. The 1960s saw the introduction of musicals, with Kiss Me, Kate premiering in 1959, and the opening of the Studio Theater in the basement of TAM in 1960.

Modern Developments

In the 1970s, the theater underwent significant changes. Hans-Walter Deppisch became the new director in 1970, but a scandal in 1971 led to his departure. General Music Director Bernhard Conz took over temporarily, and the Stadttheater closed for renovations in April. Throughout the decades, Theater Bielefeld has continued to evolve, maintaining its status as a cultural beacon in the city. Today, it stands as a testament to Bielefeld's enduring commitment to the arts, offering a diverse array of performances that captivate and inspire audiences from near and far.