In ENDGAME, machina eX stands on the battlefield of digital civil war. The focus is on a trendy start-up, which has set its goal on nothing less than the defense of democracy.
The company – a hard-hitting mix of NGO, private detective agency and hackers’ collective – is joining the fight against a new-right movement which is acting increasingly confident with topical marketing strategies and a growing number of followers.

actively involved in the net-based resistance against the right for very diverse motives.
At a time when the anonymity of social networks feeds a new unlimited brazenness, the play illuminates the dark battle zones of the internet where the fight for the power of interpretation, loudness and effective means is taking place.

The 30 players are commissioned to research background information on potential members. Depending on the quality of the information acquired, not only can individual people be identified, but the whole movement can be weakened. The actors are supported by charismatic team leaders who are


Konzept machina eX , Martin Ganteföhr Text Martin Ganteföhr
Künstlerische Leitung, Regie, Bühne Anna Fries Interaction Design, Programmierung  Philip Steimel, Lasse Marburg, Benedikt Kaffai Sounddesign Mathias Prinz Dramaturgie Clara Ehrenwerth Lichtdesign und Mitarbeit Bühne Eva G. Alonso Mitarbeit Technik Robin Hädicke Kostüm Harm CoordesPerformance Rahel Jankowski/ Lena Eikenbusch, Christiani Wetter, Yves Regenass, Martin Schnippa; Performance Stimme: Robert Speidel
Technische Produktionsleitung Philip Steimel Produktionsleitung Sina Kießling

Produktion: machina eX. Koproduktion: HAU Hebbel am Ufer, Schauspielhaus Bochum, Münchner Kammerspiele, FFT Düsseldorf, Gessnerallee Zürich, Staatstheater Darmstadt. Gefördert durch: Senatsverwaltung für Kultur und Europa und Hauptstadtkulturfonds.

Bastion 2492

This is the last human bastion.

 This is the last history of the world.

or the world is on fire. And nothing can quench it anymore.

(c) Margaux Kolly

(c) Margaux Kolly

Bastion 2492 (2017)

Everything outside is alien and hostile. Only the bastion offers safety. The community withdrew over 400 years ago to turn its back on the terror of the world.

(c) Margaux Kolly

Inside the fortress the audience meets the guardian. In complete seclusion, she executes numerous protocols in order to maintain a complex defense system: she monitors the protective Styrn, vaulting like a dome over the fortress to keep any adversity away from the community. But one day the guardian discovers something which raises her doubts about the age-old tradition.


In a group of 12, the audience plays through a dark scenario of the future, solves puzzles together and investigates the question of who is being protected in the fortress – and from what? An immersive experience between audio drama, interactive installation and performance.

Conzept machina eX,  Artistic Direction Clara Ehrenwerth , Text Victor Kümel,  Head of Production and Technical Direction, Programming Philip Steimel, Performance Joséphine de Weck , Performance (Voice Message) Nicolas Mueller, Set Design För Künkel, Tech, Programming Lasse Marburg, Sounddesign Malu Peeters, Productions Assistent Aude Bourrier, Set design Assistent Mirjam Hildbrand, Translation into French Raphaëlle Lacord, Production Belluard Festival
with help of Kulturförderbeitrags des Kanton Freiburg and the Werkbeiträge von Pro Helvetia and Migros Kulturprozent

Thanks to Veronique Bourrier, Catherine Huber, Henrike Iglesias, Eddy Kunz, Annick und Vincent Perrenoud , Manuel Quartier, Yves Regenass, Sacha Ruffieux, Familie Schnell, Fabienne Vuarnoz, Antoinette und Bruno de Weck und die weltweite Open-Source-Community

software & hardware we use made by awesome people on ze internetz:  adafruit.com/ arduino.cc/ python.org/ debian.org/ openwrt.org/ wemos.cc/  pjrc.com/teensy/ 

Lessons of Leaking

Germany, 2021. After countless crises since 2010, the vision of a united Europe has finally given way to a reality of an encompassing security apparatus. Society is divided: EU critics from all political camps demand Germany’s exit, whereas EU advocates want to hold on to the old ideal of a supportive society.
(c) Karol Jarek 

(c) Karol Jarek 

Lessons of Leaking (2016)

To calm the incensed atmosphere in the country, the German government holds a unique referendum on whether the Federal Republic should leave the union of states. A few days before the vote, a young PR officer gets hold of highly secret documents under mysterious circumstances. Their publication would have shocking consequences for all of Europe.

(c) Karol Jarek

(c) Karol Jarek

In Lessons of Leaking, machina eX addresses moral conflicts between the poles of democracy, transparency, manipulation and freedom of expression. In collaboration with the playwright Dmitrij Gawrisch, a theatrical game emerges in which political ideals and personal interests are juxtaposed incompatibly. In a group of 12, the audience plays through the political thriller and decides at the end on the course of the story: To leak or not to leak?

(ccnc) Mathias Prinz

(ccnc) Mathias Prinz


Das neue Game von machina eX „Lessons of Leaking“ fand im Rahmen von Europoly, an den Münchner Kammerspielen vom 17. – 23.02.2016 als Voraufführung statt. 

Die Premiere in Berlin fand am 18.03.2016 am HAU Hebbel am Ufer, HAU 3 statt.

Text: Dmitrij Gawrisch Performance: Nora Decker, Ayana Goldstein, Roland Bonjour, Performance (Video): Benita Sarah Bailey, Cora Frost, Walter Hess, Maria José Morales Folgueras, Conzept: machina eX, Clara Ehrenwerth, Director: Anna Fries, Stage Design: Anna Fries, Franziska Riedmiller, Tech, Programming and Interaction Design: Lasse Marburg, Jan Philip Steimel, Videoanimation: Konrad Jünger, Kamera: Paula Reissig, Sounddesign: Mathias Prinz, Dramaturgy: Clara Ehrenwerth, Costumes: Daniela Bayer, Assistant Stage Design: Winnie Christiansen, Mitarbeit Interaction Design und Programming: Benedikt Kaffai, Übersetzung: Lucy Renner Jones, Technical Direction: Philip Steimel, Head of Production: Sina Kießling, 
Dank an: Anton Rose, Juliane Hahn

software we use made by awesome people on ze internetz: processing.org/ arduino.cc/ freetelepromptersoftware.com/ python.org/ debian.org/ raspbian.org/

Tracing Tales

We don’t need to have any illusions anymore: thoughts are free



In order to optimize health, productivity, and choice of partners, many of us willingly entrust ourselves to the algorithms – self-confidence or gut feeling is replaced by data collection and analysis. But what happens if we outsource control over body and mind to a seemingly neutral entity in order to become a better person? What if one site commands all personal information – as before only God and his equivalent in literature did - the omniscient narrator who lets everyone dance, fight and suffer at his pleasure?

Tracing Tales (2015) (2017)

– everything else is surveilled, stored, evaluated. Everybody – from digital natives to net sceptics – is affected, everybody is aware. We assign more and more responsibility to algorithms which are enthroned behind everything, as unassailable and overpowering structures take discrete decisions by themselves.

machina eX Performance Franziska Benz, Text Clara Ehrenwerth,  Inszenierung und Ausstattung Anna Fries, Sounddesign Mathias Prinz, Technische Leitung und Interaction Design Robin Krause, Programmierung und Technik Sebastian Arnd Performance Düsseldorf Katharina Bill, Ausstattung Düsseldorf Moïra Gilliéron und Anahí Pérez Regie Wiederaufnahme Anton Krause, Produktionsleitung Düsseldorf Sina Kießling

Tracing Tales ist in Kooperation mit dem Nationaltheater Mannheim und mit freundlicher Unterstützung der GBG Mannheimer Wohnungsbaugesellschaft entstanden. Es wurde mit 2017 reinszeniert am FFT Düsseldorf als ein Projekt im Rahmen des Bündnisses internationaler Produktionshäuser, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien. 


Everything is what it seems:
somebody from the outside is dead and another one of them has killed him
(c) Paula Reissig

(c) Paula Reissig

The theatrical game TOXIK renders a nightmarish playable world in which the truths are convenient and the findings compelling, as long as nobody can prove otherwise


– even a superficial glance at the evidence is enough to come to this clear result. Parallels to other crimes are merely accidental. The republic is not even slightly shocked, and the investigator is sick and should hold back with her rather hysterical speculations in her critical state anyway.


Text Martin Ganteföhr, Conzept machina eX, Martin Ganteföhr, Clara Ehrenwerth, Artistic Direction and Stage Design Anna Fries, Performance Jan Jaroszek, Katharina Schenk, David Simon, Lea Willkowsky, Technical Direction and Interaction Design Robin Krause, Interaction Design Lasse Marburg, Sounddesign: Mathias Prinz, Dramaturgy Clara Ehrenwerth, Costumes: Daniela Bayer, Assistant Stage Design Barbara Lenartz, Mitarbeit Interaction Design Benedikt Kaffai,  Video Jan Philip Steimel Head of Production Sina Kießling, Production: machina eX, Coproduktion HAU Hebbel am Ufer

Gefördert durch:  die Mittel des Hauptstadtkulturfonds und Kulturverwaltung des Berliner Senats 

length: 80 min

Happy Hour

A Remote Video Real Life Game
(ccnc) Nele Lenz / machina eX

(ccnc) Nele Lenz / machina eX

To accomplish this, doors have to be opened, bridges built, obstacles overcome and hidden devices found. Fascino is known to push his luck, he is entertained by nothing more than an authentic spectacle. He keeps an eye on the game and you as well. How far will you go?

Inspired by room-escape-games, machina eX developed a remote-controlled performance game with live video.

Happy Hour in Stall 6. Four times a night, barista Fascino, the most dubious staff member working at Gessnerallee, offers twelve selected guests the opportunity to experience his newest attraction: in the attic of the former mews he has constructed a macabre playing field where he holds two people prisoner. Remote-controlled by the guests, they have to escape the game. »Escape the room!« – Preferably alive, preferably fast.


Conzept machina eX
By Laura Alisa Schäffer, Jan Philip Steimel, Laura Naumann, Anna Fries, Robin Krause, Nele Katharina Lenz, Lasse Marburg, Mathias Prinz, Yves Regenass Stage Design Sabina Winkler, Assistents Lily-Pauline Koper, Mortimer Chen, Eine Koproduktion von machina eX und Gessnerallee Zürich, Gefördert von Stadt Zürich Kultur 
Uraufgeführt am 21. September 2012 in der Gessneralle Zürich.
Eine Koproduktion mit Gessnerallee Zürich, gefördert von der Stadt Zürich.

machina eXkursion


A site-specific mobile-phone mystery game
KINGDOM is played as a small group via sms and calls from and to your personal cellphone. no apps. just plain sms and calls. deal with it! <3

KINGDOM is played as a small group via sms and calls from and to your personal cellphone. no apps. just plain sms and calls. deal with it! <3


It is a dubious dimension hiding behind the settings of normality and holding many a mystery to be solved.

In this game, machina eX combines mobile communications with audio play, text message with text adventure, guiding the players through four different places which have to be burglarized for mysteries to be solved and clues to be found.


machina eXkursion: KINGDOM

The freshly painted, colourful facades of the small market town Wildon cannot hide the fact: it is crumbling all over, degradation unfurls behind the walls and in the dusty interiors. A second Wildon exists, fallen out of space and time. Many inhabitants have endured, but now the first of them is disappearing. Silence is spreading like an ulcer. Life slowly vanishes through the small gaps in the tissue of time, only the echoes of the lost can be heard.


Conzept machina eX, Jan Philip Steimel, Yves Regenass, Lead Gamedesign: Jan Philip Steimel Programming and Electronics Lasse Marburg, Jan Philip Steimel Dramaturgy Yves Regenass Sounddesign Malu Peeters Szenography Franziska Riedmiller Szenographyassistent Elsa Chinese, Production Jan Philip Steimel, Text Olivia Wenzel, helping hand Eike

Voice Action: Juliette Eröd, Yves Regenass, Lorenz Kabas, Paul Panzenböck, Christoph Rothenbuchner, Stefan Suske, Jan Philip Steimel, Olivia Wenzel, Endmusic Remix of "Don't call us, we'll call you." by Tin Men and the Telephone, 

Special Thanks John Wasser from the Arduino Forum  

Right of Passage

In Right of Passage, machina eX explores the state of being stuck, powerlessness in the face of bureaucratic arbitrariness and the abstruse idea of closed borders.


When the political situation in the region destabilizes, the survival of the camp is increasingly at stake. Pressure on the inhabitants escalates as more and more people stream into the camp.

The Lorian Republic has its own agenda, the border becomes more and more impermeable and the camp is in danger of being closed down. Those who don’t make it to the other side soon are in danger of getting deported.


Right Of Passage (2015)

The camp at the Lorian border doesn’t stop growing. Migrants arrive from all over the region to find a better and safer life – but only a few of them fulfill the increasingly strict entry requirements.

The camp grows into an autonomous sociotope whose inhabitants are united in their fight for documents and a dignified life in the no-man’s land in-between states. Collaborations evolve, mutual help and trade develop, but so does an imbalance in power and exploitation. The more autonomous and large the community becomes, the more critically it is viewed by the surrounding political players.

conzept machina eX
script und performance anna fries und laura naumann, production & artistic direction laura schäffer, technical directon, elektronics and game design jan philip steimel, interaction design robin krause, lasse marburg sounddesign mathias prinz, performance florian stamm, antonia tittel und jan jaroszek, stage design franziska riedmiller und för künkel, costumes
RIGHT OF PASSAGE ist ein Indoor-Open-World-Performance-Game.
Die Gesamtdauer des Games beträgt 3 Stunden.
Production: machina eX und FFT Düsseldorf.
Coprodution: Roxy Birsfelden, Theaterhaus Gessnerallee, studiobühneköln und Theater im Pumpenhaus Münster.„Game ON Stage“ gefördert im Fonds Doppelpass der Kulturstiftung des Bundes.
und in der Schweiz vom Kulturausschuss Kanton Basel-Landschaft

Hedge Knights

Too Big To Fail
(c) Paula Reissig

(c) Paula Reissig

Hedge Knights (2013)

August Mohr has made it: on the 47th floor of the biggest bank in the world he starts his hedge fund and hunts for the really big money. While August’s wife Clara is trying to save her pharmaceutical company, the young investment banker Denise already smells danger. When all three gamble away their securities in the vortex of risk and gain, the financial regulators are suddenly at the door and the world economy is racing towards the big crisis. The question is: who is making the profit? And at what price?

Hedge Knights portrays the capital market system and the pursuit of profit over a period of ten years. Deals are concluded, investment strategies probed and clients are cheated. Gambles on the stock exchange produce illusory money values. The management hierarchies of the multinationals earn their pensions like in a computer game. But what looks like the harmless shifting of data on screens can have catastrophic effects on the other side of the globe – or two streets down.

length ca. 80 Minutes.

Skript und Performance: Anna Fries, Laura Naumann, Yves Regenass, Künstlerische Leitung und Produktionsleitung: Laura Schäffer, Technische Leitung & Lead Gamedesign: Jan Philip Steimel, Interaction Design: Robin Krause, Lasse Marburg, Video und Produktion: Nele Lenz, Sounddesign: Matthias Prinz, Bühnenbild: Franziska Riedmiller und För Künkel, Kostüme: Elisa Pelkmann

Produktion: machina eX. Koproduktion: HAU Hebbel am Ufer.
Gefördert aus Mitteln des Hauptstadtkulturfonds.

15 000 Gray

(ccnc) by Robin Junicke

(ccnc) by Robin Junicke

Winner of the  Juryprice of the 100° Festival Berlin. Invited to Festival Impulse, Best OFF Festival of Stiftung Niedersachsens and to Körber-Studio für Junge Regie.

Financed via Crowdfunding-Plattform startnext.de, and machina eX

15 000 Gray (2011 - now)

This time the game is set in a laboratory: Professor Hövel makes a groundbreaking discovery. But the knowledge is in danger of falling into the wrong hands. What will you do? Play for the space, solve the mysteries, experience the story, save the world (or something)!

A mobile theatrical Game for 12 Players – length ca. 45 Minutes

Idee, Konzept und Durchführung:  
Laura Alisa Schäffer, Jan Philip Steimel Performance und Dramaturgie: 
Anna Sina Fries, Laura Naumann, Yves Regenass Sprecher: Lasse Marburg, Jan Philip Steimel Produktionsleitung: Nele Katharina Lenz Ausstattung: Anna Sina Fries Soundtrack & Sounddesign: Mathias Prinz Programmierung, Technisches Rätseldesign, Hacking & Elektrotechnik: Lasse Marburg, Robin Krause, Jan Philip Steimel

Testing: Marielle Schavan, Thomas Stöckl, Karl Flenders, Thomas Mielmann, Johanna Stapelfeld, Lucas Humann, Gianna Pargätzi, Henning Schlüter, Jakob, Lukas Rik, u.v.m. Gesponsert von: EventSupportfph logistics  Gefördert via startnext.de: 
Manuel Mai, Denis Bartelt, rena, richtgut, rumpler, sally, karinnaumann, Mathias Mertens, fraujule, Gero Fallisch, Sven Golob, Tom Felbeck, carolingerlach, emmi59, Andreas , Koch, Matthias Kröner, maiket, Sebastian Standke, projektariel, Martin Ganteföhr, Bogus F. Trumper, Michael Kranixfeld, Tino Kreßner, vielen vielen Dank!

Blind Variation #3

Freigegeben zur redaktionellen Nutzung unter Angabe des copyright: Christian Kleiner

Freigegeben zur redaktionellen Nutzung unter Angabe des copyright: Christian Kleiner

For: »It is only one for all but each sees it differently. For it to stay one, the differences have to be true.«

In small groups, the audience plays their way through the evening and the story by solving mysteries. Three life plans become three sides of a coin, three searchers for truth grab the audience by three hands. Three spaces coalesce, three utopias collide and a veil remains a veil.

A theatrical Game for 12 Players – length ca. 50 Minutes.


Blind Variation #3

Do you sometimes feel as if there is a veil between you and your surroundings? A veil you would like to lift? Do you often feel observed? Are you ticklish? Have you been asking yourself for some time what light feed is about? Do you sometimes, out of the blue, miss your parents? Do you love photos more than anything? Do you have a laugh that is not at all contagious?

In Blind Variation #3 we embark on a search for the truth. The starting point is the ballad Das verschleierte Bild zu Sais by Friedrich Schiller, which combines the ancient topos of the veiled truth with the search of a young man hungry for knowledge.



Von:  Anna Fries, Yves Regenass, Laura Schäffer, Philip Steimel (machina eX) Text: Olivia Wenzel Sound: Malu Peeters Bühne & Kostüm Anna Sina Fries, Marie Luise Schlegelmilch Produktion: Laura Schäffer Technische Leitung: Philip Steimel Schauspielleitung: Anna Sina Fries, Yves Regenass Schauspiel: Janina Schröder; Florian Stamm, Dominik Weber
Eine Auftragsproduktion des Nationaltheater Mannheim für die 17. Internationalen Schillertage in Koproduktion mit machina eX und zeitraumexit e.V..

SAP Walldorf - X Firmen


Ein Mini-Remote-Escape-The-Room-Game for 8 Players

S3AP beta is an assistance program, a protocol druid designed specifically to help a confused developer organize his daily life which has been summarily shifted into the office. But when the security guard comes closer, everything threatens to leak out and S3AP has to prove that it can also work off its protocols in beta version as error-free as possible.

von und mit:
 Yves Regenass, Jan Philip Steimel, Ausstattung und Assistenz: Lea Aigner, Testing: Silke zum Eschenhof, Lisa von der Liste, Pascal Hanisch, Anna Mülter, 5 von der Liste

 The Workshop of Metatron

The Bible is lying. God threw in the towel a long time ago.
(c) Philip Steimel / machina eX

(c) Philip Steimel / machina eX

We discover a dark chamber and iron cage bars, we hear loud hubbub, it smells of resin and brimstone. Here Metatron detains system errors and conspirationists, infidels and all those teases which might threaten the sound user surface.

On the borderline of kitsch and decay, machina eX stages a spurious universe which is meant to remain covered but keeps revealing itself. We break in and slide down into an adventure oscillating between a fantasy about the end of the world, a journey of discovery and an amusement park.

But mankind doesn’t know that. With their bicycles and summer hats, the people overslept doomsday. And all for the better, at least Metatron thinks so. He, the voice of God, abjures the Lord his rightful services and refuses to herald the final message. Men are sheep and he is now their shepherd. Their knowledge of the world and what really keeps it together would only mean their disintegration. Virtual reality, the mythical illusion, is its only hope.

Concealed behind the checked curtains of Metatron’s workshop, in the headquarters of the matrix, the world appears the way it really is.

Premiered 1st Juni 2012 im Rahmen der Grossen Weltausstellung 2012 – THE WORLD IS NOT FAIR. Eine Veranstaltung von HAU Hebbel am Ufer und raumlaborberlin.

Anna Fries, Robin Krause, Laura Schäffer and Philip Steimel
Sounddesign: Malu Peeters
Voice Acting: Christian Eckert, Nigel Dunkley

Gefördert durch HAU Hebbel am Ufer


Mannheim '75


In the basement party room of his house, he forges plans for the biggest act of eco-terrorism Mannheim has ever seen. But he has been sussed out; the young police woman Erika tries to investigate undercover and save the flower terrorist from a violent storming. In between LSD trips, German Schlager, herbal Schnaps and flower fertilizer, the players decide which side they are on and how the story ends.

Mannheim, 1975: Shortly before the State Horticultural Show. Exotic plants are being carted to Mannheim from around the globe, a suspension railroad is constructed exclusively for the event and the whole city is getting lost in green exoticism. The whole city? No, because one lonely idealist is fighting against the insanity of the capitalization of the environment, against exoticism in the greenhouse and for the ignored indigenous greenery.

Concept / Execution / Set Design: 
Anna Fries, Yves Regenass and Laura Alisa Schäffer Performance: Anna Fries, Kim Kannler, Yves Regenass and Laura Alisa Schäffer helpJan Philip Steimel Producer: Laura Alisa Schäffer Testing: Anne Schulz, Anja Lindner and Nike Wilhelms

Life of N

(c) Mathias Prinz

(c) Mathias Prinz

IEach moment in which the players take a decision the archive is changing before their eyes. The way in which N’s past is being archived massively influences the future, which is also concealed in the archive and can be discovered by the players. Can they repair the damage they brought about? In a deliberate confusion of realities, machina eX asks questions about the power of memory and the value of oblivion.

Life of N abducts the players into a mysterious archive outside space and time. There they meet an eccentric registrar who is meticulously collecting and sorting various artifacts and documents from the life of N. The players are invited to explore this cabinet of wonders and find out more about this person N and his life with each discovery. But through their interventions the archive is coming apart.

fotos by Mathias Prinz und Rolf Arnold

 Bernd-Michael Baier Regie: Anton Krause Bühne und Ausstattung: För Künkel Kostüm: Agathe MacQueen Script und Sounddesign: Mathias Prinz Technische Leitung und Produktionsleitung: Robin Krause Interaction Design und Programmierung: Lasse Marburg und Robin Krause Produktion: Max Grafe und Antje Woldt Dramaturgie: Ambrus Ivanyos Eine Kooperation mit dem Schauspiel Leipzig


(ccnc) Philip Steimel

(ccnc) Philip Steimel

Imagine an installation in space of which you will have to become an active part in order to access it; which tells a story that connects with your perceptions and your actions. Here you can touch, try and change everything.
machina eX constructs interactive situations in uncanny, dystopian underground vaults.

Konzept und Durchführung: robin krause laura alisa schäffer mathias prinz lasse marburg julia hundt Ausstattung: julia hundt Technologie & Programmierung: lasse marburg robin krause Texte: laura alisa schäffer robin krause mathias prinz Sounddesign & Musik: mathias prinz Produktionsleitung: laura alisa schäffer Animationen: jan philip steimel Produktion: hub:kunst.diskurs e.V. thomas kaestle
Gefördert von: Niedersächsisches Ministerium für Wissenschaft und Kultur hub:kunst.diskurs e.V.







length ca. 85 Minuten.

Maurice (2010)

A house full of memories. A confused young lady is admitted to a hospital. A children’s home which used to be a barracks, with tanks, field howitzers, anti-aircraft guns, a scattered caretaker and a sick girl who likes to play war. Sirens and a heap of unsorted memories. We immerse ourselves into the bygone adventures of Anika, her stuffed bunny Maurice and the caretaker who wants to be a hero and commits a big mistake. Can the players reconstruct what has happened?

Fotos © by Nicolas Rösener und Florian Baumgarten

Idee, Konzept und Durchführung
Jan Philip Steimel, Laura Alisa Schäffer  Performance und Dramaturgie Anna Sina Fries, Laura Naumann, Yves Regenass Produktionsleitung und Dokumentation Nele Katharina Lenz Technische Leitung Robin Krause Technisches Rätseldesign, Hacking & Elektrotechnik Lasse Marburg Soundtrack & Sounddesign Mathias Prinz Ausstatter Lucas Humann Sprecher_innen Norman Grotegut, Antonia Tittel produktionsbaby Giacumina Oelhafen

Kaja Jakstat, Sami Bill, Anton Krause, Mathias Mertens, Tom Felbeck, Thomas Stöckl, Rik Oppermann, Florian Baumgarten, Sara Dusanic, Luka Raulf, Gwen van der Linde, Katharina Eckholdt, Juliane Hahn, Sarah Brüning, Niklas Mihr, Julian Brink, Carolin Gerlach, Martin Pleiß, Martin Schnippa, Maike Tödter, Martin Zepter

Gefördert & gesponsort von
StuPa Hildesheim
Studentenwerk Braunschweig
MLP Oliver Heilemann
St. Bernward Krankenhaus Hildesheim insbes. Frau Müller & Herr Aselmeier & die Radiologie