The management style of the director of the Gorki Theater, Shermin Langhoff, has long been criticized. Now the senator for culture Joe Chialo has announced a realignment of the House. Not everything seems entirely at the level of political-cultural discourse.
The rumors were confirmed late Thursday afternoon. According to Joe Chialo’s wish, Çağla Ilk will take over the management of the Maxim Gorki Theater, as the Berlin senator for culture announced at a press conference. Written confirmation from the Senate administration arrived shortly thereafter. If the Senate agrees, Ilk will succeed in the summer of 2026 to replace Shermin Langhoff, who has held office for 13 years and is considered a defining figure of “post-migrant theater.”
Chialo, who previously spoke at the theater’s staff meeting and was greeted with applause, gave full praise to Langhoff’s “great work.” “Gorki was and is a special stage,” said the senator for culture, who spoke of a “model for the diversification of theatre”. With the new direction it wants to combine continuity of content and new impulses. “We look forward to a new era.” Great words. It’s just that people usually only talk about an era in retrospect. When Langhoff started, it was a bet on the future – and riskier than with Ilk, which seems more like an easily transportable mix of the tried and new.
Chialo and Ilk presented themselves to journalists in the capital in fashionable black, with Ilk loosening it up with a colorful scarf. Now the senator has praised his candidate. Ilk is a “first-class curator and playwright, with an international network”. He also brings experience with the house. Before moving on to direct the Kunsthalle Baden-Baden and curate the German pavilion at the Venice Biennale, Ilk worked as a playwright at the Gorki Theater and before that at the Ballhaus Naunynstrasse.
In addition to the publicly expressed criticism of Langhoff’s management style, signs of artistic fatigue have also been noticeable for years at home. Post-migrant theater itself has become historic, and also in other places, such as in the Essen theater, further development is taking place. How great the desire for change was was also demonstrated by the theater show “Stage Insultation” by Sivan Ben Yishai, premiered at Gorki, which also criticized Langhoff as director of the theater.
No search committee
A house remodel is an understandable decision, despite good occupancy. However, the way this decision was made – whether with a search committee and with employee participation, as the stage association and union recommend – led to questions of the senator, who initially referred evasively to the “excellence” of his decision. Only after the third question did he give a clear answer: “There was no search commission, that was the senator’s decision.”
The senator is right, as Chialo underlined, but he still doesn’t seem entirely up to par with the political-cultural discourse. The press conference had a special touch also because in the background the “Berlin is culture” posters were hung as a sign of protest against the austerity plans. The day before, a protest took place in front of the Brandenburg Gate, during which Chialo tried to calm the waves of Berlin’s turbulent cultural scene. Whether it will be successful remains to be seen.
“We have to fight to the last cent, I am aware of that,” Ilk said confidently. And he roughly outlined the challenges he sees theater in general facing: “We live in apocalyptic times,” he added. He also became a little more specific: he did not want to continue post-migrant theatre, but rather – with his experience in contemporary art – promote an approach that transcends artistic disciplines. As a trained architect, he sees the “city as a stage”.
Ilk will now develop a detailed artistic program and present it at the next opportunity. He doesn’t have much time, and in 2027 the 200th anniversary of the theater is approaching, which must be celebrated properly. Until then it will be clear whether Ilk’s curatorial approach fits the house. You only need to remember Chris Dercon to know that Berlin’s theaters can represent a tough challenge for successful artists. Ilk, however, has the advantage of already knowing Berlin and Gorki from personal experience.
How might the absence of a search committee for Ilk’s appointment impact the future of Berlin’s cultural institutions?
Interview between Time.News Editor and Cultural Expert
Time.News Editor (TNE): Welcome to our special segment where we dive into the latest developments in Berlin’s theater scene. Today, we have the pleasure of speaking with cultural expert Dr. Eva Müller, who will help us unpack the recent changes at the Gorki Theater. Dr. Müller, thank you for joining us.
Dr. Eva Müller (DEM): Thank you for having me! It’s a pleasure to discuss such an important topic.
TNE: Let’s get right into it. The Berlin senator for culture, Joe Chialo, recently announced that Çağla Ilk will take over the management of the Gorki Theater from Shermin Langhoff in summer 2026. Langhoff has been a transformative figure over her 13 years at the helm. What’s your take on this transition?
DEM: This is indeed a significant shift. Shermin Langhoff has been a pioneering leader, especially with her focus on post-migrant theater, which has reshaped the landscape of German performing arts. Çağla Ilk stepping in introduces fresh dynamics, particularly with her experience inside and outside of Gorki.
TNE: Chialo commended Langhoff’s contributions but also hinted at a desire for new impulses. What does this phrase—”continuity of content and new impulses”—suggest about Ilk’s upcoming tenure?
DEM: It suggests a balancing act between honoring the established identity of Gorki under Langhoff while rejuvenating its artistic direction. Ilk’s background and international connections could pave the way for innovative programming that resonates with diverse audiences. However, it also raises questions about how risks might be mitigated in favor of a more commercial approach, which could be seen as less adventurous.
TNE: You mentioned that post-migrant theater may be seen as historic at this point. How crucial is it for Ilk to move beyond the established frameworks while bringing in her own vision?
DEM: It’s crucial. While the post-migrant perspective has been foundational, the evolution of societal narratives means that theater must adapt. Audiences are hungry for new stories and interpretations. Ilk’s challenge will be to stay relevant and push the boundaries while respecting the pioneering work done by Langhoff.
TNE: There was some controversy around the decision-making process regarding Ilk’s appointment, particularly the absence of a search committee. What implications does this have for the theater community?
DEM: Lack of a search committee raises concerns about democratic practices in cultural institutions. Engaging employees in such decisions can foster a sense of ownership and inclusivity. Chialo’s explanation and emphasis on “excellence” instead of collaborative decision-making seems dismissive of the workforce’s input. This could lead to dissatisfaction among staff and questions about transparency moving forward.
TNE: Langhoff’s style faced criticism, with some signs of artistic fatigue noted even in successful programming. Do you think Ilk’s appointment is a precursor to a broader cultural shift in Berlin’s theater landscape?
DEM: It may well be! The broader landscape is evolving, as demonstrated by works like Sivan Ben Yishai’s “Stage Insultation,” which reflect contemporary tensions in cultural representation. Ilk’s appointment can act as a catalyst for discussions about new narratives and methodologies within the arts, propelling the theater scene toward innovation.
TNE: what would you say is the main thing to watch as Ilk prepares to take the helm at Gorki Theater?
DEM: I would focus on the kind of programming Ilk initiates and how it engages with both the established audience and new ones. The response from the theater community and the public will be insightful. It will be interesting to see if Ilk can foster an environment that balances respect for tradition with a bold exploration of the future.
TNE: Thank you, Dr. Müller, for your insights. This transition certainly sets the stage for a pivotal moment in Berlin’s theater scene. We look forward to seeing how these changes unfold!
DEM: Thank you! I’m looking forward to it as well. Let’s keep the conversation going.