Written by Rainer Werner Fassbinder

Translated by Denis Calandra
Directed by Kay Martinovich

CAST: Beata Pilch, Alan Malone, Eric Johner, Clay Calvin, Fran Martone, Dan Slyman, Mary Anne Bowman, Adam Ludwig, Mark Vanasse, John Gray, Martin Bedoian, Michael Colucci
LIGHTING DESIGN: Richard Norwood
SET DESIGN: Sean Marlow

“Trap Door demonstrates once again its nerve and competence in work few others would dare perform.” 
-Chris Jones, The Chicago Tribune

“Martinovich’s cast, both Trap Door regulars and new faces, is excellent, especially Beata Pilch”
Jack Helbig, The Chicago Reader

Based on a historical event, Fassbinder’s play, Bremen Freedom , pertains to subject matter in the realist tradition: A 19th century woman systematically eliminates the men and women who would keep her in her proper place.

Based on a true story in Bremen, Germany of one of the greatest murders committed by a woman fighting to be free in a man’s world by poisoning all who enter it.

Bremen Freedom– a dysfunctional house blend, combining flavors of repression and abuse, with an aromatic touch of angst, brewed to a perfect cup of murderous rage. Cream or sugar?

Before Thelma and Louise, there was Geesche Gottfried.



Rainer-Werner Fassbinder was best known for his powerful, offbeat, messy films. He made forty films by the time he died of a drug overdose at thirty six. He began his work in the theatre in the late sixties, as a twenty-two year old. He acted, directed, (loosely) adapted classics by Buchner, Goethe, Sophocles, Goldoni and others, wrote several of his own plays, and in a few years emerged as the leader of a group of performers who worked with him until his death in 1982. Fassbinder’s plays, like the films, are about varieties of alienation. The images Fassbinder created for the stage, and in films, linger as grotesque and brutal, possesing a strange, imporobable truth…In a way, Fassbinder made a career out of despair-selling his own and others’ misery in endless variations, operating according to a system he did not create. Other works included in his controversialantitheater plays are: Bremen Freedom, Blood on the Cat’s Neck, Katzelmacher,and The Bitter Tears of Petra von Kant.



Kay Martinovich most recently directed Picasso at the Lapin Agile at Buffalo Theatre Ensemble. Other recent credits include The Devil in Vienna for Apple Tree/ Theater for Young Audiences, Anastasia Krupnik for Lifeline, and Film Flamfor Live Bait Theater. Last year she directed Old Times for Circle Theatre andBremen Freedom at Trap Door Theatre. She directed the critically acclaimed productions of Oleanna for Burnt Orange Productions at Chicago Dramatists’ Workshop, Joined at the Head for Frump Trucker and Cementville for Mary-Archie. She created/ directed Get Your Feet off My Neck! for Zebra Crossing, where it was selected as Critic’s Choice by The Chicago Reader. She frequently works with Chicago Dramatists’ Workshopwith the new play development and works as a script reader for Victory Gardens. Ms. Martinovich holds a BFA in directing from the Catholic University of America in Washington, DC. She is the owner and operator of the Actors’ Center, a proffesional acting studio, where she has been an instructor since 1993.

Opened: December 1997