The present work analyses the concrete staging of religious differences in selected projects of the Theatre Osnabruck and asks for options concerning interreligious handling of differences. The analyses have shown that the productions deal with cross-religious motifs (myth, utopia, irritation) as well as the fundamental relationship between religions and a secular society. Through this targeted and differentially sensitive discussion, the theatre also addresses expectations of religious communities and, as a secular actor and "third position", plays an important role in exclusive interreligious processes of understanding.