The Gradient


Author: Steph Del Rosso
Director: Micah Westera

March 8 & 9, 2024
Starts at 20.30
De Kunsthut, The Hague.

March 15 & 16, 2024
Starts at 20.30
De Kunsthut, The Hague.

March 10, 2024
Starts at 14.30
De Kunsthut, The Hague.

March 17, 2024
Starts at 14.30
De Kunsthut, The Hague.

In this satire set in the not-so-distant future, a new facility has developed a groundbreaking algorithm that promises to take men accused of sexual misconduct and rehabilitate them into responsible citizens.

Eager to do her part in The Gradient’s mission, new employee Tess can’t wait to get started on her dream job, navigating friendships with her new colleagues and working with a wide variety of clients. But as time goes on, she finds herself locked in a subtle psychological battle with her latest client – one who has the perfect answer to her every question. Tess begins to question the process. And, perhaps more importantly, its results…


Soraya Novella as Tess
Thomas van Eijl as Jackson
Lara Stanisic as Natalia
Rob Grant as Louis
Herman Duchenne as Clients 1 – 8

Micah Westera Design


Call for auditions

For our upcoming production of The Gradient by Steph Del Rosso we are still looking to fill the role of Jackson! The confirmed performances will take place on March 8, 9, 10, 15, 16, and 17 in 2024, with rehearsals on Tuesday evenings in The Hague. If you are available and interested in being a part of this production, then please read on!

In a not-so-distant future, men accused of sexual misconduct are sent to The Gradient to reckon with their mistakes and get rehabilitated. New employee Tess is eager to hold these men accountable and enact change – but it might not be as simple as it seems.

Steph Del Rosso’s The Gradient is a timely and provocative work that addresses the pressing and problematic issue of sexual misconduct and asks us the question: Can we mass produce forgiveness?

Jackson: A client at The Gradient. Jackson is a tech entrepreneur used to being in charge. Jackson can be suave, charming, and manipulative. He does not just respond to questions, he initiates conversation in an effort to have a more personal connection with Tess. Keeping him on the prescribed path may prove difficult.

Rehearsals will take place on Tuesday evenings. A full schedule with holidays will be provided. The dress rehearsal will be on Thursday the 7th of March in 2024, followed by two weekends of performances at Theater de Kunsthut.

We are also looking into working with schools in combination with workshops on the subject. As this is still in the early stages of development, all plans pertaining to this will be discussed and agreed upon with the cast and crew.

We do request a participation fee of €100 per person to help cover production costs such as licence fees, rehearsal space, etc. However, we aim to pay our actors for the school performances.

Send us an email at info [at] if you’re interested!

Breathing Corpses


Author: Laura Wade
Director: Arne Sybren Postma

Show Dates:

March 18 & 19, 2022
Starts at 20.30
De Kunsthut, The Hague.

March 20, 2022
Starts at 14.30
De Kunsthut, The Hague.

March 25, 2022
Starts at 20.30
Polanentheater, Amsterdam.

April 2, 2022
Starts at 20.30
Theater Imperium, Leiden.

Laura Wade’s Breathing Corpses is a darkly funny drama about the loss and pursuit of happiness.

Amy’s found another body in her short career as a cleaner for a local hotel, only this time she proceeds to have a heart-to-heart with the dear departed old chap.

Jim, proprietor of the Green Door Self-Storage Company, notices a funny smell coming from one of their storage units, but can he be bothered to investigate?

And Kate’s losing it after spending an entire day with the police. She’s got a business to run and it’s much too hot and her boyfriend’s bloody dog just won’t…shut…up!

Weaving through three separate plot lines, twisting and turning itself in unexpected directions, the play invites the audience to make their own connections between the scenes. But one thing is very clear: Once you’ve lifted the lid and looked inside the box, what you’ve seen stays with you. You can’t unsee what you have witnessed…


Soraya Novella as Amy
Herman Duchenne as Jim
Lara Stanisic as Elaine
Marcus Karlsson as Ray
Sandy Topzand as Kate
Micah Westera as Ben
Justin Estacio as Charlie

Ben Stolk Set Design
Arne Sybren Postma Director
Thomas Verburg Assistant Director

The State of Mary


Author: Friedrich Schiller
Director: Arne Sybren Postma

The State of Mary, based largely on Friedrich Schiller’s Maria Stuart, was adapted and developed by Herman Duchenne.

“What did you think, the first time you saw me? Did you spy the devil’s daughter they’d warned you about?”

Two iconic queens in a bloody power struggle have to deal with their faiths, the interests of their people, and of the men that surround them… Mary’s asylum puts Elizabeth in a state of defence. Family loyalty and duty to the kingdom, fear of death and child envy define the outcome of this intimate confrontation.Who has the power and who runs the State?

“I traded kingly tyranny for a vision of Justice. And what a fleeting, useless vision it had proved! Has Justice won me my people’s love and loyalty? Has Justice silenced their whisperings of my bastardy?”

Come and see top-notch actresses Lara Stanisic and Sandy Topzand perform in this state-of-the-art production by Het Homerostheater, the prominent multilingual theatre company from The Hague.


Sandy Topzand as Elizabeth, Maid
Lara Stanisic as Mary, Nanny

Micah Westera Set Design
Greet van Buytene, and Joke van de Graaf Costume Design

Hinterlands – Heart of Lightness


Author: Ko van den Bosch
Director: Arne Sybren Postma

The Hague’s Het Homerostheater has for the first time translated a modern Dutch play in English, presenting ‘Hinterlands – Heart of Lightness.’

Directed by Arne Sybren Postma, Ko van den Bosch’s ‘Hinterlands – Heart of Lightness’ is about an expat couple in Africa. While he leaves every day for work in his Enhanced Safety Mercedes-Benz, his wife stays in the air-conditioned villa as a victim to absolute boredom, afraid of the jungle and the savages. They kill time drinking, debating the situation in Africa, and the question whether to help the wounded native on the driveway, or to run over him. Then, she decides to invite the man in… 

Ko van den Bosch, Dutch playwright, actor and director, is well known in the Netherlands for the vibrant performances of Alex d’Electrique. It has been called the rawest Dutch theatre company, making anti-theatre with an iron logic, set in absurd multiverses.


Herman Duchenne as The Man
Lara Stanisic as The Woman
Micah Westera as The Native

Ben Stolk Set Design

The Importance of Being Earnest

2011 – 2012

Author: Oscar Wilde
Director: Arne Sybren Postma

Our controversial production was one of the most talked about shows at the Festival of European Anglophone Theatrical Societies 2011 in Geneva, and was awarded with a prize for best set design (Ben Stolk).

Jack and Algernon, two young pillars of society, are both avoiding the duties and responsibilities of Victorian social life. By inventing friends and brothers they try to escape from boredom and tedious obligations. Will they succeed in their pursuit of love and freedom? Or will they find defeat in marriage and respectability?

The play mocks Victorian society, but does not attack it. To Wilde social conventions were a farce, but a necessary farce: too important to be taken seriously.

Oscar Wilde was a wild dandy at the height of his success in 1895’s London when The Importance of Being Earnest premiered. His unmatched sharp wit, eloquent writing, and his talent for satire, all culminating in this masterpiece.
But the importance of Earnest was in itself also a paradox: the subtitle of the play isn’t A Trivial Comedy for Serious People by accident. Wilde neglected to take his public opponent, the Marquis of Queensberry, serious enough and sued him for slander in a trial that would later horribly backfire. Fifteen weeks later he was put in jail. It was the end of his career.

If there is anything Wilde seems to want to say with this play then it is that the social conventions of the Victorian era were meeting their end. He poked effortlessly through the hypocrisy of the upper class. Marriage had become a business arrangement in which status, heritage, property (and for the ladies: purity), were more important than love. His two lead characters, Jack and Algernon, well educated revelers, would like to get married. However they are trapped in a necessity to portray themselves as different from the people they actually are so they may obtain the marriage with the woman they each desire: Earnest in town, Jack in the country. The ladies, for their part, have formed their world view primarily from dime novels, and arrange marriages in their imaginations, sealed in diaries and poetry books. At the same time Lady Bracknell is mostly interested in heritage and the size of the dowry and inheritance, taking up position as a bulldozer matchmaker. Making sure that no one marries beneath their station.


Herman Duchenne as Algernon Moncrieff
Peter Hubbard as Jack Worthing
Johannes Micah Westera as Rev. Chasuble
Joan Prince as Lady Bracknell
Lara Stanisic as Miss Prism
Catherine van Zeeland as Cecily Cardew
Julia Lintelo as Gwendolyn Fairfax
Sandy Topzand as Gwendolyn Fairfax

Ben Stolk Set Design
Fenneke Brookhuis Costume Design

The Pillowman

2009 – 2010

Author: Martin McDonagh
Director: Arne Sybren Postma

The Pillowman starts with an interrogation in a totalitarian regime. The talented, yet unpublished, writer Katurian is grilled on his rather morbid stories by the traditional good cop / bad cop routine. A number of his stories are suspiciously like some gruesome child murders that took place. What follows is a game of cat and mouse in which the fragility of life and the eternity of the writer are played out against each other. The art of telling stories becomes the lifeblood of the drama.

“Are you trying to say I shouldn’t write stories with child-killings in them because in the real world there are child-killings?”

Kafka meets Tarantino in this viciously funny, yet unsettling story about stories themselves.

The Pillowman participated with great success at the Festival of European Anglophone Theatrical Societies (FEATS) in 2009 in Brussels. Our performance won the 3rd place in the overall category of Best Production, and actor Wander Bruijel won the Blackie Award for Best Actor for his role of Katurian.

De Gewaande Krygsman, of Nieuwmodesche Minnaar

2007 – 2008

Author: Jan van Hoven
Director: Arne Sybren Postma

The 18th century masquerade that homerostheater made in 2007 – 2008 was an unadulterated farce from 1715 by the unknown author Jan van Hoven from the Hague.

This very special 18th century masquerade was made in close collaboration with the Werkgroep 18e Eeuw. This group acts as a hatch for information and knowledge from the eighteenth century history and as a meeting place for members and interested people. The Werkgroep celebrated its 40th anniversary in 2008 and to celebrate this momentous occasion they organised a congress in Utrcht on the 25th and 26th of January 2008 with the theme: “Masquerade and Unmasking.” The show premiered at the congress and was later also performed in the Rijksmuseum Twenthe in Enschede, multiple times in The Hague and Leiden, and twice in the Dominicuscollege in Nijmegen. The puppetshow-like production was famed for its physical expression and fat humor.

De Gewaande Krygsman is, as any good farce should be, a fairly flat story: Govert, the father of Dilliaane, is desperate to wed her to the nobleman Groothart, a pompous ass who can go on and on about his many heroic acts and has a curious preference for LARGE women. The lovable squire Eelhart is secretly very much in love with Dilliaane, but stands no chance to turn Govert’s mind without the help of his servant Krispyn, who disguises himself as a woman to seduce Groothart and stave off the wedding. He’s assisted by Jasje (the clownesque servant of Groothart), Bernardus (Govert’s nephew), and Katryn (Govert’s maid). Eventually the story culminates in a long scene in which Krispyn, in a very inventive disguise, succeeds in seducing Groothart and thus convincing Govert that he is unfit to be his daughters lover. Eelhart gets Dilliaane: all is well that ends well.


Jan Kees in ‘t Veld as Lord Govert
Corné Versteegh as Barnardus
Marlies Wisse as Dilliaane and Jasje
Anke Teunis as Katryn
Ed Balsters as Lord Groothart
Bernard Oosterbaan as Squire Eelhart
Thomas Gerkrath as Krispyn
Coca Román van Dongen as Anna and Harpist

One for the Road

2006 – 2007

Author: Harold Pinter
Director: Arne Sybren Postma

One for the Road (1984) by Harold Pinter is one of his more famous short plays. Nicolas has invited a complete family – father, mother and eight-year-old son – into his sinister state institution for a good questioning:

What about you? Do you love death? Not necessarily your own. Others’. The death of others. Do you love the death of others, or at any rate, do you love the death of others as much as I do?

One for the Road played at the International FEATS 2007 (Festival of European Anglophone Theatrical Societies) at the Koninklijke Schouwburg in The Hague

The adjudicator wrote:
An invisibly linked row of white tables and two office chairs gave a deceptively conference room appearance to what was to become the scene of a chilling interrogation in Harold Pinter’s One For The Road presented by Het Homerostheater of The Hague. Dramatic electronic music helped to keep the tension as Nicolas, the interrogator, played out his games of psychological intimidation. His smooth, quiet delivery belied his sinister, sadistic nature. The four characters all gave strong performances in this riveting production.

We played at the CULTURALIS Theater festival, at The American School of The Hague in Wassenaar and at het Kennemer Lyceum in Overveen.


Herman Duchenne as Nicolas
Ed Balsters as Victor
Joel Balsters as Nicky
Simone Bergmann as Gila

Waiting for Godot


Author: Samuel Beckett
Director: Arne Sybren Postma

Vladimir and Estragon are waiting. And they are good at it.
They’re virtually the ultimate timekillers.
Waiting can be such an exciting game!
Things can happen.
Feet can stop aching.
Night can fall.
And you can abuse or be abused.

Lets hope Godot will never show up!

Suppose we repented.
Repented what?
Oh… We wouldn’t have to go into the details.
Our being born?

In Waiting for Godot the fundamental absurdity of the human existence is described in a poignant and painful way. The two main characters, kind of vagrants, are trapped in a circle of ever returning trivialities. The waiting for Godot – academics can’t seem to agree if he symbolizes God or not – forms the most important activity in the play. Waiting but not being able to go anywhere, to want something but being perpetually stuck, anguish and a continued focus on strengthening the feeling of fear and emptiness. Their pasts are an unclear mess of what is real and what is fantasy (and one of the duo has a chronic memory problem) and they are not in any state to imagine a representation of the future.

Beckett was the first to bring that feeling of permanent fear and loss of ideals of the post-war human to the stage so poignantly without losing his (sometimes pitch-black) sense of humor in the process. This humor manifests itself in the, sometimes vaudeville-esque, passages; in sharp text and the contrasts between the characters of Vladimir and Estragon (who sometimes remind us of a sort of Laurel and Hardy).


Herman Duchenne as Vladimir
Ivo Richaers as Estragon
Ed Balsters as Pozzo
Ruud van der Zalm as Lucky
Julia Lintelo as Miss Boy
Jan Kees in ‘t Veld as

The audiovisual installation was made by Jules Stoop