Elegant drug dealer
Fairycoin (UA)
Ismene
Sister of... (monologue)
"Lorenz captivates with her resonant timbre. She lives this Ismene completely. The distance to the audience is also broken down. You are so gripped by the inconsolable fate that in the end you almost want to jump up from your chair to save this intellectually noble loser."
"Sabine Lorenz plays this minor character, who is known – if at all – only as the "daughter of" or "sister of", with concentration and brilliance. The audience hung on Sabine Lorenz's every word. They then applauded this theatrical event with corresponding enthusiasm.
Photo: @Mandy Hanke
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Martha
Who's Afraid of Virginia Woolf
"Sabine Lorenz and Ralf Lichtenberg play this couple in a compelling way, juggling truth and fiction, acting virtuosically in the various stages of destruction. There are breathtakingly abrupt changes between intimacy and distance, brutality and tenderness. Because play and battle are interwoven here in a fascinating way, it takes a great deal of energy, concentration and precision to play out all the nuances. But Lorenz and Lichtenberg succeed in doing this brilliantly."
"This evening of theatre is admirably intense!"
Photo: ©Ludwig Olah
doctor
Isn't this my life
Martha
Who's Afraid of Virginia Woolf
"The divine Lawrence !
Outstanding performances characterize the Albee classic "Who's Afraid of Virginia Woolf" ... that is first and foremost due to Sabine Lorenz, who doesn't play Martha, but rather, like Taylor, is Martha. Great. Sensual, vulgar, vulgar, but also - and that is what makes it so good - occasionally insecure, childish or rational: Lorenz has the whole spectrum and you would have sat there spellbound even if she were the only one acting."
Photo: ©Sarah Mistura
Bernard Alba
Bernarda Alba's House
"Lorenz manages to portray Bernarda's ruthlessness to the point of horror. Only tiny moments give us an idea that this mistress once had feelings... The end of the play unleashes itself like a thunderstorm."
" Bernarda, intensely and penetratingly portrayed by Sabine Lorenz. With the joint production by Brosch and Lorenz, the Weilheim Festival has succeeded in creating an oppressively realistic moral portrait, haunting and touching."
Photo: ©Wolf Förster
WOMAN
WHERE ARE YOU
Dulcinea of Toboso
Don Quixote (UA)
"The result is one of the most profound, emotionally touching and, in terms of philosophical content, intelligent evenings of theatre in a long time. It is rare to experience so much authenticity. Philip Jenkins knows how to coax a complex and furiously cheeky play about truth and pretense from Sabine Lorenz and Hubert Dragaschnig."
Photos: ©Sarah Mistura
Popova
The bear
"The challenge of portraying extreme emotional fluctuations within a very short space of time in such a way that they do not seem like forced slapstick, but rather touch the audience, was successfully met by both the director and the actors."
Photo: @Wolf-Dieter Förster
actress
1.5 meter hug - Tango theater
Natalia
the marriage proposal
"Sabine Lorenz shines perfectly as the grown-up farmer's daughter"
"Teatro Coronato" shows Chekhov's one-act play with a brilliant cast"
Photo: @Wolf-Dieter Förster
Big city love
Musical revue
"The revue "Großstadtliebe" enchanted the visitors on the open-air stage (...) for which "Bravo" was shouted several times."
Photo: @Wolf-Dieter Förster
Corinna
Infanticide, femicide, suicide
“High pulse rate, dense, fast, the roles optimized, very vividly worked out and profiled, linguistically clear, excellently acted, the piece: first league Theater Kosmos.”
Photo: @Caro Stark
Penelope
Odyssey - A play about home (UA)
"In an extremely precise stage presence, acting coherent, you sit on the front edge of the theater seat and feel more and more drawn into this piece with each sequence."
Photo: ©Harald Gmeiner
doctor
Night without stars (ÖEA)
"The Lindau actress Sabine Lorenz was also outstanding, conjuring up a rollercoaster of emotions on stage with just a few sentences. The hope that Sabine Lorenz embodies so openly and mercilessly makes the audience shudder. Because they know that it will burst."
"The doctor's loss of control as she longs for a hug gets under your skin. It's impressive how Sabine Lorenz lets the doctor's mask fall for a brief moment."
Photo: ©Gerhard Kresser
Natalie
Venice in the snow
"It must be because of the snow in Venice that one can enjoy the performance, which is in the best sense of the word, untroubled and carefree, right up to the end."
Photo: ©Severin Nowacki
Ismene
Sister of... (monologue)
"Lorenz captivates with her resonant timbre. She lives this Ismene completely. The distance to the audience is also broken down. You are so gripped by the inconsolable fate that in the end you almost want to jump up from your chair to save this intellectually noble loser."
"Sabine Lorenz plays this minor character, who is known – if at all – only as the "daughter of" or "sister of", with concentration and brilliance. The audience hung on Sabine Lorenz's every word. They then applauded this theatrical event with corresponding enthusiasm.
Photo: @Christian Flemming
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Andromache
The Women of Troy - The Fall
"The ancient tragedy about the fall of Troy and the victims of the war captivated the audience. The production shines with very good performances from the actors and depth of content."
Mary Stuart
Maria Stuarda
"The duo Elke Hartmann and Sabine Lorenz carry the performance with breathtaking presence and allow the audience an intellectual debate that awakens understanding and insight into the moods and distress of the two female personalities. With a fully available wealth of gestures, movements, voice and expressive colors, the two women create an evening of theater whose concentration and conciseness also gives the quieter emotions the space and breathing room they deserve."
Photo: ©Severin Nowacki
Woman
Poison
"The two protagonists portray this dialogue with virtuosity and variety. Caution, anger, restrained affection, painful jealousy - the instrument played by Sabine Lorenz and Gilles Tschudi lacks no chords, no nuances, no dampers and no fanfares... Markus Keller gives the two chamber play soloists time for body language and facial expressions. This has a soothing and intense effect in this otherwise oppressive experience of conflict and the unspoken between man and woman, mother and father, who have lost their child."
Photo: ©Severin Nowacki
Countess Almaviva
The greatest day
"Sabine Lorenz plays the Countess as a soul shattered by her own dreams. In the background you can hear "Creep" by Radiohead in the version by Scala and the Kolacny Brothers. You could cry - not because of the rain, but because of the hardness of the human heart."
Joan
The Year of Magical Thinking (Monologue)
"Sabine Lorenz succeeds in taking people into the world of pain. Her warm voice, her maturity, which is an essential part of her beauty in this role, her eyes, which sometimes look demandingly into the rows and sometimes lose themselves in the distance, give the sentences a shocking authenticity."
Emma
Good against north wind
"Sabine Lorenz is delightfully versatile as Emmi. She is both an intellectual egghead and a vamp or frustrated lover. It is also quite pleasing that she sometimes takes off some of her clothes. The piece is an erotic piece - if you assume that this takes place not only between the legs, but also in the head."
Photo: ©Severin Nowacki
Alcmene
Amphitryon
"What the premiere audience saw was the highest form of theatre art: Heinrich von Kleist's comedy Amphitryon as a lively, subtle comedy, implemented with many intelligent ideas and played with infectious passion. The guests were doubled over with laughter more than once during the performance; they reinforced their long final applause with shouts of bravo and stamping feet."
Mirandolina
Mirandolina
"All the characters are finely crafted by director Yvonne Brosch and perfectly cast, so that apart from the title character there are almost only leading roles. Italian temperament runs like a thread through the performance. ... The long, thunderous applause at the end was well deserved for the cast, who acted with great joy."
Sheila
Hair
Kriemhild
the Nibelungen
"Lorenzo splits up Kriemhild's developmental stages from young woman to haggard, vengeful widow with cool skill (...) Don't be afraid of two and a half hours without a break. You can sit through it easily, more upright than leaning back."
"Sabine Lorenz is not only an attractive and desirable Kriemhild. She also knows how to make the change in this woman's feelings transparent"
Marthe Schwerdtlein
Urfaust
"Great theatre is being played here, although the house is unfortunately not sold out on Friday, and impressive effects are achieved with few resources. (...) The cheeky Marthe (wonderful: Sabine Lorenz) is a strong contrast and courageous supporter of the chaste Grete."
Medea
Medea
"She can convey emotions out of nowhere"
"Sabine Lorenz takes this hellish journey as Medea. She does it with a great sense for dramatic escalations, sometimes a loving mother, sometimes an avenger"
"A beautiful, feminine presence, she combines sensuality with energy, sadness with defiance, refinement with calculation and, thanks to her impressive acting skills, is able to convey the interplay between passionate hatred, pity for the children and feigned willingness to compromise in a highly credible way."
Nelly / Juliane
Nelly is not Nelly (UA)
"Sabine Lorenz is Juliane and Nelly in the theater. Such a double role tempts you to step on the gas and, for example, to contrast a housewife with a stage vamp. Lorenz does not do this. Her job becomes more demanding. She masters it convincingly with a clever mixture of sensitivity and stubbornness."
Sister Kläri
The Suspicion (UA)
Nora
Nora
Catherine
The proof
"Sabine Lorenz plays this daughter, and she succeeds in making the sensitivities of this young woman, who cannot escape the symbiosis with her father, tangible in a very quiet, subtle way..."
Joanne
Forget
Electra
Electra
Elizabeth
Mary Stuart
Spirit of the past
the Christmas story
Constantia
The Talisman
Blanche
The houses of Mr Sartorius