Florian Felix Weyh

Memmingen, the 20th century: A witch hunt is underway. Called to court as witnesses, five women find themselves amongst the accused. The judge, party member of the CSU, a self-righteous, power-hungry woman, interrogates the five women about their visits to Dr. Thessman. “Do you have an I?” – I stands for indication. The women have had abortions. Like an inquisitor, the judge puts anything she finds relevant under her magnifying glass: their attitude towards the CSU and the church, their origin, their sexual activity. With the arrogance of privilege, she is irritated when, for example, the Turkish woman doesn’t understand her questions.
In the inquiry and in the conversations between the women in the waiting room, something becomes clear: each of the women had a reason to get an abortion – socially, morally or psychologically motivated. None of them found it easy. It was and is just as hard come to terms with as the rest of their lives. But none of the reasons are valid in the eyes of the court. The revealing interrogation escalates yet again when the clerk of the court – a man totally driven by his career – enters the fray. A trial as a means to gain power and political influence – the competition between him and the judge is another burden for the women to bare – until the truth comes to light.
Weyh shows individual cases in order to portray a cross-section of society. In moving dialogues and monologues, the characters are brought close to the audience without Weyh having to make it too distressing. The cynicism of a society full of utterly self-absorbed people is palpable. This play, which also plays with forms, turns into a very angry farce.