"A latecomer asks if this is Alles – Alles in Wonderland. "No sir, this is not an enchanted rabbit hole, but a half-mirrored fourth wall. Most of the time you will recognize yourself in it, only sometimes when a light comes on the inside you can take a peek. And please watch out for the plane that crashes. And yes, really, one is crashing."
Alles/Everything is a performance about alchemy and the unsolved questions of mankind: How can you turn dirt into gold? How can you bring the dead back to life? How do you build a perpetual motion machine? With magic, dance, ritual acts, incantations and live music, we bring these questions into the haptic presence of the theater. For several years, the production was regarded as our signature piece.

Idea, realisation: Showcase Beat Le Mot /  Music: Albrecht Kunze / Magic: Manuel Muerte / Stage Structures & Machines: Alexej Tchernyi, Atia Trofimoff / Artistic Collaboration: Florian Feigl / Directing Assistant: Melina Gerstemann, Stefan Rüdiger / Production Management: Olaf Nachtwey

Alles/Everything is a production by Showcase Beat Le Mot  with HAU Hebbel am Ufer Berlin, Künstlerhaus Mousonturm Frankfurt, Kampnagel Hamburg and Forum Freies Theater Düsseldorf. Funded by the Senate Department for Culture Berlin, Hauptstadtkulturfond and Freie und Hansestadt Hamburg, Behörde für Kultur, Sport und Medien.

“… The performers of Showcase Beat Le Mot are virtuosos at playing with repetition loops, minimal variations and serial rhythms. Why are we so fascinated by all this? Why do you almost go into a trance from time to time... All these aspects are fully and highly consciously played out by Showcase on this evening: At one point, the program note talks about the "hedonism of combinatorics". And there is no better way to describe the character of this wonderful work.“
(Theater der Zeit Januar 2012 Heft Nr.1, Sebastian Kirsch, Alchemie in Zeiten von Ikea)

“....The devices rotate incessantly, while often nothing happens for minutes on end. For the late finale, Duric elicits a few mewling notes from a trombone. The club tracks purr. It's already midnight. An imposition for a working day in the middle of the week, actually impossible. But why should art want the possible?“
(nachtkritik Berlin, 30. 11. 2011, Christian Rakow, In der Alchemistenstube)