And time flies and flies and flies and my half-time at Paines Plough is already over. The last weeks have been so busy that I hardly had time to digest them followed by a massive attack of exhaustion which I had to nurture with a lot of sleep over the weekends when I am not going back to my second job at the market, distributing German delicatessen on Saturdays.

Paines Plough opened recently two shows in London, Love, Love, Love at the Royal Court Theatre and WASTED at the Roundhouse in Camden before its tour continues and finally ends at the TakeOver Festival in York next Saturday. Furthermore we organised a fundraiser night at the Royal Court, as well as opened the full season for 2012 and tickets for the Roundabout run in London at Shoreditch Town Hall have gone on sale. What looks like cakewalk was a lot of hard work for everyone behind the curtain – but the show must go on.

The new bedside reading...

By the way it was literally a cakewalk: I cannot remember one day in the recent weeks when we had no cake, cookies or other treats. The warning of the last intern and the Paines Plough members from my very first day came to its proof. So I am still cycling regardless the weather conditions reckless in London’s traffic and still avoid the rackety lift but climbing all four floors by feet.

Apart from being at theatre for work, which also includes enjoying the shows most of the time, I follow a pilgrimage to London’s theatres seeing as much as I can – which does not help getting enough sleep. I enjoy especially new writing but also saw my first West End production.

A massive hit I was curious to attend was seeing Simon Steven’s Three Kingdoms at the Lyric Hammersmith again. I can remember my last days in Munich being a regular at the Kammerspiele and attending the press night there in autumn. I had a huge discussion with the writer, actors and the director’s assistant about the differences of German/Continental and British theatre and the directors different relationship to writing. I could not only see following twitter how many people loved Sebastian Nübling’s show but to my surprise reading a lot of dismissive critics. I would have guessed, after the show has been an incredible success in Germany (and is now about to tour in a very small scale), both positions, audience and press, would either love or hate it. But the opinions differed immensely. James and George were lucky enough to attend a workshop with Sebastian Nübling about German directing last week and I was happy and still am engaging myself in discussions about theories and theatre practicalities I have learned during my studies which suddenly come to life and being passed on.

My interest in theatre, although it is a tough industry, is exhaustless and I started to read a theoretical book about aesthetics and performance which was living in my bookshelf in Munich covered in dust for years and survived a move across Europe over kilometers – and now I read it with pleasure.

Stephanie Königer