Hitlers Ziege und die Hämorrhoiden des Königs

Karina and Zarah Chi Chi devote themselves heart and soul to the selling of meat. Full of passion, they lay out the sausages in the display, the hams and the haunches. Unfortunately, they only have one customer, Mrs Müller. But she is a special customer. Her orders are extraordinary and finally culminate in the wish to be made into a huge sausage herself. But of course the two meat saleswomen cannot fulfil this wish. And so - oh dear - fate takes its course. Mrs Müller becomes a vegan and even worse - their enemy.

After Karina and Zarah have unsuspectingly slaughtered another sweet sow, things get really turbulent. After a bank robbery in Switzerland, imprisonment in cold storage and an escape to the South Seas, they end up back in their shop, where they defeat the nasty Frau Müller with their own weapons and can happily pursue their passion in the butcher's shop again, singing and loving each other.

There is constant singing, the most beautiful, weird lyrics, lots of nonsense with little sparks of truth in it. Zwei Fleischfachverkäuferinnen is a musical of pure joie de vivre that fluctuates between trash, kitsch, nonsense and pain.

„Wenn Sie dieses Stück sehen, sollen sie sich gewiss sein, dass es nach dem unnatürlichen Tode des Autors Rosa von Praunheim geschrieben wurde, es ist sozusagen ein Kunstwerk post mortem und es ist nicht das einzige: Nach seiner Beerdigung am 16. Oktober 2023, zu der übrigens niemand erschien, hat Rosa noch bedeutende Filme gedreht, nämlich 30 Jahre an der Peitsche und Die Satanische Sau.

Ursprünglich war Die Insel der Perversen ein Musical über Putin, aber den Dramaturgen des DT war die Bösartigkeit von Putin nicht unterhaltsam genug, weshalb Rosa die Diven des neuen Deutschlands, Sahra und Alice, zu den Protagonistinnen erkoren hat.

Da "Zeitenwende" das Wort des Jahres ist, erinnern wir uns daran, dass die Zeiten des fröhlich liberalen Denkens vorbei sind, Demokratie eine neue Bedeutung bekommt und das freizügige Kulturschaffen in naher Zukunft hart bestraft wird, nämlich mit der Verschleppung auf die Insel der Perversen.
Rosa ist heilfroh, dass er das nicht mehr lebend erleben muss, und dass er von unten draufschauen kann mit absurdem Humor, der die Wirklichkeit der Zuschauer im DT bald ablösen wird.”

(Rosa von Praunheim über sich für das Deutsche Theater Berlin, Dezember 2024)

Rosa von Praunheim stages the world premiere of his own cult film from 1971: Die Bettwurst (The Bed Sausage) in the BAR JEDER VERNUNFT. The renowned director, producer, author and activist of the LGBTQ movement thus also directed a musical for the first time shortly before his 80th birthday.

The love story between Luzi, of Polish descent from Kiel, and Dietmar, from Mannheim, takes a dramatic course after a promising beginning and, after dangerous entanglements, finally ends in a happy ending.
In 1971, Rosa von Praunheim became the first director in Germany to direct the story in the camp style already created in America. The FAZ wrote after the broadcast on television "Independent cinema also has its masters. The greatest in Germany is Rosa von Praunheim."
The unusual duct of the two hero*ines caused a sensation and it earned Rosa von Praunheim - together with the film "Not the homosexual is perverted, but the situation in which he lives," which was released at the same time - the status of a cult and underground star of German cinema, which remains undiminished to this day. (Bar jeder Vernunft)

"Hossa! Hossa! Hossa! Hossa!" Rex Gildo became famous with his "Fiesta Mexicana". As a German pop star, he brought songs about foreign countries and lavish parties to the staid young Federal Republic of Germany, sang about the exuberant life, while he himself was forced to hide his homosexuality in the repressive society of the 1950s and 1960s and perform a never-aging hetero son-in-law dream, even marrying his own cousin. His long-standing relationship with his discoverer and manager Fred Miekley had to remain secret. With the death of his lover, Rex Gildo's life and career slipped away; addicted to pills and alcohol, he now performed in shopping centres and died tragically when he fell from the window of his Munich flat in 1999. In the play based on the film of the same name, Rosa von Praunheim tells a half-fictional, half-documentary story of the tragicomic decline of the pop star. (Theatre Münster)