After previous productions of Animal Farm and Les Misérables, the Prague-based theatre group Drama Queens is returning with their most ambitious project yet: The Trial by Franz Kafka.

The ensemble is known for its visual style, physical performances, and emotionally direct approach. With this latest play, the company steps into Kafka’s world of shifting rules, invisible power, and unresolved guilt — offering a stage version of The Trial that focuses on atmosphere and feeling rather than explanation.

The story follows Josef K., a man arrested without being told what he’s accused of. As he tries to defend himself, he’s drawn deeper into a system he can’t understand, meeting characters who offer no clear answers. Written between 1914 and 1915, Kafka’s novel is often seen as a study of power, fear, and the struggle to stay human in a system that treats people as faceless objects.

In this adaptation by Steven Berkoff, the Drama Queens create a version of “The Trial” that combines Kafka’s text with a physical, image-driven style. The set constantly shifts. Light and sound play central roles. The action unfolds not just through dialogue, but through movement, rhythm, and changes in space.

Director Martin Murin says the goal is not to explain Kafka, but to bring the audience into his world. “This is not a courtroom drama. It’s a dream where you’re being watched, judged, and pulled in directions you don’t understand,” he says.

Asked why he chose to adapt “The Trial”, Murin explains: “With works like The Trial or Animal Farm, there’s one thing they have in common: they don’t become outdated. The questions they raise — about justice, about power — are always present. And in the world we live in now, the confusion Josef K. feels doesn’t seem far away.”

The Drama Queens have been part of Prague’s independent theatre scene for over 15 years. Their work is often shaped by long rehearsal periods, experiments with movement and sound, and a close collaboration between performers. The aim, Murin says, is to create something that feels real on stage — not polished or safe, but raw and open.

“We don’t do minimalism,” he says. “We start with big ideas and see where they take us. Sometimes we fall. Sometimes we jump higher than we expected.”

Tickets here.

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