Fairy tale opera in three acts
Libretto: Adelheid Wette
Duration: 130 min. including an intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bernhard Leismüller
Direction, dramaturgy: Bernhard Leismüller & Ralf Hechelmann

STAGING
Creating a fairytale world that captivates both children and adults alike was the declared goal from the beginning. The success of this endeavor was evident by the reactions of our visitors. Adult spectators were just as enchanted by the magical enchanted forest and its mythical creatures as the younger audience members. The most beautiful compliment came from a 10-year-old girl who persuaded her grandmother to give her the recording. The fact that even children's ears were enchanted by the sophisticated music, often reminiscent of Wagner in its orchestration, is a wonderful confirmation of this production.

STAGE HISTORY
The world premiere was a great success on December 23, 1893, in Weimar under the direction of Richard Strauss. After performances in Karlsruhe and Munich, other German stages quickly followed, such as Berlin's Lindenoper in 1894, which reached an impressive 425 performances by 1964. Translated into 17 foreign languages, "Hänsel und Gretel" quickly spread abroad - to Africa, North and South America, Australia, and even the Far East (1961 in Tokyo). Boys' choirs such as the Vienna Boys' Choir and Regensburger Domspatzen incorporated the work into their repertoire.

THE WORLD PREMIERE! Die Schlümpfe – Das Musical

Finally, the time has come: The Smurfs are conquering the musical stage. Everyone knows them, the cheerful blue beings created in Belgium in 1958 who took the world by storm.
The brand new musical "Die Schlümpfe" will be live on large and small stages starting in spring 2025.

And exclusively from Whynot Events!

Look forward to an exciting adventure with Papa Smurf, Smurfette, and the little blue friends with their lovable quirks and abilities – and of course their adversary Gargamel, whose only goal is to destroy the cheerful Smurfs along with their village Smurf Village.
Brand new songs and an original stage show will capture the hearts of musical fans, evoke beautiful childhood memories across generations, and enchant young and old alike.

Look forward to the smurfiest family musical of all time!
The world premiere LIVE on a grand tour.

Doors open: 15:30

Unfortunately, the event has been canceled.

Piotr Iljitsch Tschaikovsky

Ballet
Duration: 130 minutes including an intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller / Bernhard Morgenstern
Puppet heads: Sebastian Demmel
Costume design: Bernhard Leismüller / Amand Pérez
Set design: Bettina Hummitzsch
Choreography & Rehearsal: Jutta Mähr

CHOREOGRAPHY
Continuing on from Petipa's choreography, the ensemble of the Marionettenoper under the direction of Munich choreographer Jutta Mähr developed their own interpretation of the ballet classic. Even though a marionette may seem effortlessly able to master any physical challenge, the efforts had to be made visible. The illusion that the muscles tense up to the extreme pain threshold, that the dancers truly sweat, that they constantly have to fight for their balance was the main objective of this production.

STAGE HISTORY
"Swan Lake" is perhaps the most famous ballet of all time - all classical companies have it in their repertoire. Piotr Iljitsch Tschaikovsky took half a year (August 1875 to April 1876) to complete his first ballet, which premiered on February 20, 1877 at the Moscow Bolshoi Theatre. The first Russian guest performance in the West took place in 1969 by the Kirov Ballet. Among the newer interpretations, in addition to the choreography of principal dancer Rudolf Nureyev, those of George Balanchine (New York 1951), Vladimir Bourmeister (Moscow 1956), John Cranko (Stuttgart 1963), John Neumeier (Hamburg 2002), and the all-male reinterpretation "Matthew Bourne's Swan Lake" (London 1995) have become popular.

Admission: 18:30

Admission: 19:00

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Playing time: 140 min. including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Set design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously eludes the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindau Magic Flute takes place in a fairy-tale land. And this is not only because the fairy-tale genre deliberately employs logical breaks and paradoxes to enchant in the truest sense. Every viewer is allowed and encouraged to find and create their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban stage. As early as October 1791, the Magic Flute reached nearly twenty performances, and in the ensuing months, the Magic Flute continued to be successfully featured in the program of the Viennese stage. A year later, on October 25, 1792, it was performed with great success in Prague, followed by performances in Munich, in 1793 in Frankfurt a. M., and finally in Berlin and Weimar in 1794.

Sold out – Possibly remaining seats at the box office / Wheelchair seats please order by phone: +49 (0)83829113915

"‘The young singer succeeded in making time come to a standstill with her songs.’
Martina Hohlbein, Badische Neuste Nachrichten

Rarely has the claim of the 'secret tip' been used more aptly than for the singer-songwriter Laura Braun, and for good reason: Even before her first studio album is released, she has already been awarded numerous prizes, including the Kleinkunstförderpreis of Baden-Württemberg and most recently the red fist of the legendary Vienna Protest Song Contest.

Laura Braun’s finely crafted compositions are marked by autobiographical lyrics and social criticism that hurts. The eloquent Freiburg native ventures, with her unmistakable voice and pointed piano playing, into the darkest moments of her own life story and doesn’t shy away from uncomfortable topics like poverty or depression. Despite the emotionally deep lyrics, the studied musicologist manages to embody the spirit of modern times by singing about a path that creates courage and hope, where one is also allowed to laugh out loud. This combination of melancholy and wit, criticism and resistance, along with constant self-reflection in the face of an overwhelming world, strikes the rapidly growing audience of the emerging artist right in the heart.

An evening concert by Laura Braun is an emotional rollercoaster that stirs, reconciles, and resonates for many days afterward – a stirring event, at the end of which one leaves with the beautiful feeling of having rewarded oneself.

‘An evening full of truthfulness, intimacy, and poetry. Without a mask, fine, inspiring, and profoundly moving.’ Tina Häussermann

Doors open at 19:15"

Current, sensual theater, also for a young audience.

The physicist Möbius has fled to a mental institution to keep his dangerous discoveries secret from the world. But he is not the only one whose madness has a method. Two of his fellow inmates turn out to be secret agents of opposing powers, and the head of the institution is the only truly insane one, who strives for world domination. Dürrenmatt's flamboyant crime-comedy describes a world where everyone believes they can manipulate and control each other, a world of surveillance and deception.

This production takes many liberties, creating an exciting and entertaining evening of theater from this seemingly outdated material.

"These physicists are incredibly convincing." Ruhr Nachrichten

Production: Theater an der Ruhr
In cooperation with FFT Düsseldorf
Director & Stage Design: Jo Fabian
Costumes: Katharina Lautsch

Featuring: Gabriella Weber, Axel Strothmann, Matthias Horn, Helge Salnikau, Bekim Aliji
Wolf Gerlach

Running time: 1 hour, 45 minutes (No intermission)

Ring D – Classics & Modern
Available in the outdoor subscription

Dirty & Divine Tour 2025 Part II

Doors: 7 PM

Wolfgang Amadeus Mozart

Opera in two acts | KV 620
Libretto: Emanuel Schikaneder
Playing time: 140 min. including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Set design: Bettina Hummitzsch
Direction, Dramaturgy: Ralf Hechelmann

STAGING
The production consciously eludes the countless interpretations that the work has undergone in its over two-hundred-year history. The Lindau Magic Flute takes place in a fairy-tale land. And this is not only because the fairy-tale genre deliberately employs logical breaks and paradoxes to enchant in the truest sense. Every viewer is allowed and encouraged to find and create their own story in the Magic Flute.

STAGE HISTORY
The premiere took place on September 30, 1791, at the Freihaus-Theater auf der Wieden - a Viennese suburban stage. As early as October 1791, the Magic Flute reached nearly twenty performances, and in the ensuing months, the Magic Flute continued to be successfully featured in the program of the Viennese stage. A year later, on October 25, 1792, it was performed with great success in Prague, followed by performances in Munich, in 1793 in Frankfurt a. M., and finally in Berlin and Weimar in 1794.

Sold out – Possibly remaining seats at the box office / Wheelchair seats please order by phone: +49 (0)83829113915

Entry: 1 hour before the game starts

For viewers aged 15 and up

Not just since the great success of the Netflix series Wednesday have the horror stories of Edgar Allan Poe become a hit with a large fanbase. Poe leads horror to where the greatest monsters lurk: in human thought and emotional life.

“The Black Cat”
Originally an animal lover, the narrator succumbs to alcoholism and violence and begins to mistreat his wife and his black cat Pluto. When Pluto defends himself, the man angrily grabs the cat, gouges out one of its eyes, and hangs it. That same night, a fire destroys his house, leaving him in poverty.
Later, he adopts a one-eyed black cat, but after nearly stumbling over it, he also wants to kill this one. When his wife intervenes, he instead kills her and hides the body in a wall. In the end, the black cat reveals the narrator's crime to the police.

“The Tell-Tale Heart”
… is narrated by a madman who decides to kill the old man he lives with because he cannot bear the old man’s weird, staring eye. After the crime, however, the murderer is convinced that he can hear the old man's heart beating and thus the place where the body lies can be found.

“The Pit and the Pendulum”
… tells the story of a man who has been sentenced to death by the Spanish Inquisition. He lies on his back, bound in a pit, with a large pendulum above him, swinging back and forth with a sharp blade that slowly moves closer. When it reaches him, it will cut into his flesh. In the days that the pendulum slowly descends, the man suffers great mental anguish, but just before the blade reaches him, he is freed from his torture.

Production: American Drama Group Europe
Direction & Stage Adaptation: Leopold Benedict
Stage: Philippe & Antoine Currey

With: Ensemble of the ADGE

Duration: 90 minutes (no intermission)

For viewers aged 15 and up

Event only bookable at the theater box office

For viewers aged 15 and up

Not just since the great success of the Netflix series Wednesday have the horror stories of Edgar Allan Poe become a hit with a large fanbase. Poe leads horror to where the greatest monsters lurk: in human thought and emotional life.

“The Black Cat”
Originally an animal lover, the narrator succumbs to alcoholism and violence and begins to mistreat his wife and his black cat Pluto. When Pluto defends himself, the man angrily grabs the cat, gouges out one of its eyes, and hangs it. That same night, a fire destroys his house, leaving him in poverty.
Later, he adopts a one-eyed black cat, but after nearly stumbling over it, he also wants to kill this one. When his wife intervenes, he instead kills her and hides the body in a wall. In the end, the black cat reveals the narrator's crime to the police.

“The Tell-Tale Heart”
… is narrated by a madman who decides to kill the old man he lives with because he cannot bear the old man’s weird, staring eye. After the crime, however, the murderer is convinced that he can hear the old man's heart beating and thus the place where the body lies can be found.

“The Pit and the Pendulum”
… tells the story of a man who has been sentenced to death by the Spanish Inquisition. He lies on his back, bound in a pit, with a large pendulum above him, swinging back and forth with a sharp blade that slowly moves closer. When it reaches him, it will cut into his flesh. In the days that the pendulum slowly descends, the man suffers great mental anguish, but just before the blade reaches him, he is freed from his torture.

Production: American Drama Group Europe
Direction & Stage Adaptation: Leopold Benedict
Stage: Philippe & Antoine Currey

With: Ensemble of the ADGE

Duration: 90 minutes (no intermission)

For viewers aged 15 and up

Event only bookable at the theater box office

Good mood and Christmas spirit guaranteed.

The four women on fiddle, flutes, accordion, bodhrán, and harp, along with their guitar-playing "rooster in the henhouse," promise musical delight from the very first note. The quintet weaves together Celtic music from Ireland, Scotland, and Canada with elements from world music, captivating the audience. Sometimes delicate, then again spirited and exuberant. Complemented by the wonderful, slightly jazz-influenced voice of Teresa Horgan, who is also a virtuosic flutist.

Moreover, the band not only amazes with unusual Christmas customs but also provides their historical background.

This mix has made the band a fixture in the international folk scene on both sides of the Atlantic. Their latest album received the German Record Critics' Award.

"Among the top groups in the world. Traditional, creative, and brilliant." Irish broadcaster Live

With:
Mairi Rankin (violin, vocals, step dancing)
Teresa Horgan (vocals, flute)
Ailie Robertson (harp)
Fiona Black (accordion)
Sean Gray (guitar)

Outside subscription
Available for outdoor subscription

Fairy tale opera in three acts
Libretto: Adelheid Wette
Duration: 130 min. including an intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bernhard Leismüller
Direction, dramaturgy: Bernhard Leismüller & Ralf Hechelmann

STAGING
Creating a fairytale world that captivates both children and adults alike was the declared goal from the beginning. The success of this endeavor was evident by the reactions of our visitors. Adult spectators were just as enchanted by the magical enchanted forest and its mythical creatures as the younger audience members. The most beautiful compliment came from a 10-year-old girl who persuaded her grandmother to give her the recording. The fact that even children's ears were enchanted by the sophisticated music, often reminiscent of Wagner in its orchestration, is a wonderful confirmation of this production.

STAGE HISTORY
The world premiere was a great success on December 23, 1893, in Weimar under the direction of Richard Strauss. After performances in Karlsruhe and Munich, other German stages quickly followed, such as Berlin's Lindenoper in 1894, which reached an impressive 425 performances by 1964. Translated into 17 foreign languages, "Hänsel und Gretel" quickly spread abroad - to Africa, North and South America, Australia, and even the Far East (1961 in Tokyo). Boys' choirs such as the Vienna Boys' Choir and Regensburger Domspatzen incorporated the work into their repertoire.

Entry: 1 hour before the game starts

For audiences aged 6 and up

Fast-paced action, quirky characters with lots of wit and magic – a theatrical experience for the whole family.

On a turbulent New Year's Eve, the cunning wizard Beelzebub Irrwitzer and his equally treacherous Aunt Tyrannja Vamperl plot a diabolical plan: with a magical wish punch, they want to quickly commit enough evil deeds in the last hours of the year to settle their debts with the dark forces.

But two unexpected heroes – the skeptical cat Maurizio di Mauro and the anxious raven Jakob Krakel – do everything they can to prevent the disaster. In the process, Maurizio and Jakob find themselves deeper and deeper in the dangerous web of the evil wizards and must learn to pull together and jump over their own shadows.

An exhilarating play about responsibility and courage with an important message: it is not always the strongest who save the world, but those who have the courage to do what is right.

Production: Vorarlberger Landestheater
Direction: Agnes Kitzler
Set design: Marina Deronja

With: Ensemble Vorarlberger Landestheater

Duration: approx. 60 minutes (no intermission)

For audiences aged 6 and up

COLOUR HAZE from Munich have been THE INSTITUTION of the German psychedelic & heavy rock scene for many years. The band masterfully creates images with their music and establishes soundscapes. And just like in nature, there is a constant ebb and flow in their sound world. Gentle, quiet melodies float through the air, becoming more intense. Relaxed yet determined rhythms set in, creating a captivating groove that immediately hypnotizes the listener. The guitar, once dreamy and tender, becomes angrier, louder, more intense. The pieces unleash their "electrohashing" tension in bubbling, hefty hard rock eruptions, only to collapse back into themselves again.

The band is celebrating its 30th anniversary this year, so one should look forward to the upcoming shows of this unique band. A must-see!

Doors: 19:00

Fairy tale opera in three acts
Libretto: Adelheid Wette
Duration: 130 min. including an intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Sebastian Demmel
Costume tailoring: Bernhard Leismüller
Stage design: Bernhard Leismüller
Direction, dramaturgy: Bernhard Leismüller & Ralf Hechelmann

STAGING
Creating a fairytale world that captivates both children and adults alike was the declared goal from the beginning. The success of this endeavor was evident by the reactions of our visitors. Adult spectators were just as enchanted by the magical enchanted forest and its mythical creatures as the younger audience members. The most beautiful compliment came from a 10-year-old girl who persuaded her grandmother to give her the recording. The fact that even children's ears were enchanted by the sophisticated music, often reminiscent of Wagner in its orchestration, is a wonderful confirmation of this production.

STAGE HISTORY
The world premiere was a great success on December 23, 1893, in Weimar under the direction of Richard Strauss. After performances in Karlsruhe and Munich, other German stages quickly followed, such as Berlin's Lindenoper in 1894, which reached an impressive 425 performances by 1964. Translated into 17 foreign languages, "Hänsel und Gretel" quickly spread abroad - to Africa, North and South America, Australia, and even the Far East (1961 in Tokyo). Boys' choirs such as the Vienna Boys' Choir and Regensburger Domspatzen incorporated the work into their repertoire.

Opera in three acts
Antonín Dvorák
Duration: 130 mins including intermission

PRODUCTION TEAM
Puppet construction: Bernhard Leismüller
Puppet heads: Martin Gobsch
Costume tailoring: Bernhard Leismüller
Stage design: Bernhard Leismüller
Direction, dramaturgy: Bernhard Leismüller

Sold out - Possibly remaining seats at the box office / Wheelchair spaces please order by phone: +49 (0)83829113915.