Marlene Streeruwitz’s oft repeated disavowal of the theatre is under scrutiny here. Theater Heute’s Nachwuchsdramatikerin of 1992, Streeruwitz is nevertheless better known and more highly fêted as a prose writer. Streeruwitz has never completely abandoned the dramatic mode, however, and I examine two of her most recent plays, Die letzten Tage der Zweiten Republik (2017) and Mar-a-Lago. oder. Neuschwanstein. (2018) to revisit the reasons for Streeruwitz’s disaffection for the theatre. What traces are to be found in these new works of Streeruwitz’s 1990s’ Absurdist explorations of the human condition and of modern society and what motivates Streeruwitz’s political explorations of the 2010s?