AMONG the vestiges of old East Germany (GDR) that have survived to guard the flame of politically engaged art in Berlin, two theatres stand out: the Maxim Gorki Theatre that was the main conduit of Soviet theatre pre-1989, and Brecht’s doughty campaigner, the Berliner Ensemble.
 
Two current productions demonstrate both the strengths and the difficulties faced by theatre artists with a revolutionary agenda in contemporary Germany.

Futureland in the Gorki studio theatre assembles a cast of real asylum-seekers who may, or may not, qualify for the precious status of “child.” To be recognised as a child is significant because under German law no unaccompanied minor may be deported, and once recognised, that status entitles the family of the child to join them. But can they prove their date of birth without papers? Do they even know how old they are?

The cast of sympathetic and engaging young adults comes from Afghanistan, Syria, Somalia, Guinea and Bangladesh, and although the production presents itself as a semi-fictional sci-fi dystopia and little attempt is made to prove the authenticity of their stories, you accept that these kids are drawing on their own experiences and that Futureland is basically community outreach.