The society is divided, the döner costs €8, and nasty new mosquitoes are now biting even more annoyingly. The world is sinking into chaos, and even organizing queen Marie Kondo is no longer tidying up. The only thing that can save us now is a large tub of ice cream and a romantic fireplace DVD. Lara Ermer isn't making herself too comfortable and is settling scores – possibly with herself. Armed with a good dose of charm, she addresses the important questions of life without burning her fingers on them.

Why the hell do we become so quickly offensive in social discussions? If I’m definitely right – what do you have? And who sweats more at the summer picnic: me or the cheese? Behind the program are waterproof research, the depths of the internet, and a completed degree in psychology. Comedy doesn’t get more serious than this. In Leicht entflammbar, the comedienne enjoys playing with fire: sometimes she delivers entertaining chaos, sometimes a fine crackle that the audience can warm themselves by. So get the marshmallows ready, there’s room for everyone at Lara Ermer's campfire – but woe to anyone who pulls out a guitar and starts singing Wonderwall!

The author, moderator, and comedienne Lara Ermer has been writing since she could think. Even as a teenager, she ventured out of her quiet corner with her flower-patterned notebook and claimed her spot on stage. Over time, humor became more and more central in her performances. She is now presenting her second full-length solo program, Leicht entflammbar. Ermer manages to humorously address supposed taboos and also make complex topics pointedly accessible. She always supports social references in her art with her insatiable curiosity and solid facts. For inspiration, she often reads piles of studies – and then she creates entertainment from it, so her audience doesn’t have to fight their way through the dry deserts of science. From this, a consistently alert, relevant, and pointed perspective sharpens in her books and on stage.

Doors open: 7:00 PM

Andreas Neumann presents his Heinz Erhardt evening

In a uniquely successful way, the parodist Andreas Neumann brings the popular comedians, humorists, and film stars of the economic miracle years back to life, and he does it so skillfully that Heinz Erhardt's daughter, Grit Berthold, approvingly noted, "When I heard Andreas Neumann, I thought my father was alive again." One truly believes in an incarnation of the economic miracle comedian who passed away in 1979! The press writes, "The best Heinz Erhardt since Heinz Erhardt."
Andreas Neumann will also present other prominent guests on stage because as a professional parodist, one should have more than one voice available. For the parodist, particularly fruitful personalities such as Heinz Rühmann, Hans Moser, Theo Lingen, and Jürgen von Mangers Tegtmeier, Neumann lends his versatile voice, as well as Marcel Reich-Ranicki, Inge Meysel, Ekel Alfred, and others have their say, often at a speed that makes one think there are several people on stage. One for ALL - all at once, the motto of the parodist.

Particularly noteworthy is that Neumann has written new texts for his program, so the audience always experiences something new with old acquaintances!

In addition, our gastronomy partners will serve you select regional delicacies - an impressive journey through time that you will not soon forget!
Included in the ticket price:
- Seat reservation
- Aperitif
- 3-course menu
- Uniquely entertaining entertainment

No admission before 6:00 p.m. / Start at 6:30 p.m.

Farce in three acts

Based on Wilhelm Jacoby and Carl Laufs I Adaptation: Hugo Wiener

Philipp Lenzmeyer, a wealthy man, has inherited a country villa that he wishes to expand into a nerve sanatorium for the benefit of humanity. For his business model, he seeks inspiration – ideally by encountering a group of crazies in the big city. Nephew Alfred helps and brings his uncle to the notorious "Pension Schöller," known for its eccentricity. Lenzmeyer, who truly believes the guests are mad, is immensely entertained. However, when Lenzmeyer carelessly invites the pension guests to his own house and they cause an unprecedented escalation, his initial enthusiasm wanes.

No other German boulevard comedy has remained as fresh for so long as the 1890 classic, often filmed and performed countless times, "Pension Schöller." The central question of what is considered crazy and what is considered normal is explored impressively with rapid play and quirky characters. Directed by Lissi Tüg-Hatz.

Original rights holder: Thomas Sessler Verlag, Vienna
Amateur rights: Deutscher Theaterverlag GmbH, Weinheim

Doors open at 7:00 PM

No tickets available here

The surges of his midlife crisis have subsided – the husband has set up a workshop. The children are talking about moving out, and the wild parties in the friend circle have shrunk to cozy coffee gatherings. So, is her life slowly entering the final stretch, where the remaining program will consist of crocheting bibs for the grandchildren? Not if Maria Vollmer has anything to say about it! She still wants to help save the planet and, on the side, ensure that husband Rainer doesn’t mutilate himself as a DIY enthusiast. And – what’s even more important: Celebrating that life continues to be colorful, cheerful, and lively despite all the crises! She knows that to have a little fun, a woman really doesn’t need to book a dildo party with a stripper. On the other hand: Why not?
Full-blooded comedienne Maria Vollmer has learned the craft of performance in the fields of dance and musical, and she tells hilariously, touchingly, and passionately about life from a female perspective. She masters the stand-up comedy performance as confidently as the big pop ballad and knows how to take her audience on a journey with a hefty dose of playfulness and zest for life.

Foyer and bar open from 6:00 PM. Entrance to the hall from 6:30 PM.

This HAUI is more than a hit – for everyone who loves Schlager and doesn't take humor too seriously! With wit, groove, and plenty of catchy tunes guaranteed!

Music Comedy

HP Lengkeit is HAUI – Peter Engelhardt accompanies

Haui is a musician, singer, and composer.
But there is more to Haui than his musical yearning.
This evening shows the Haui behind the Howie.
An evening from a life we think we know.
An evening with many stories. Some are even true.
An evening with many songs that we all know but don't want to like.
At night, when everything sleeps
Your traces in the sand
Hello Again
And an evening with a fantastic hairstyle.
No matter if you are a fan or not: Haui captivates.

The most important thing about this evening, of course, are the songs by Howard Carpendale, with which Heinz Peter Lengkeit – the most wonderful Haui one can imagine – along with Peter Engelhardt on guitar – tells the story of a life. Most of this story is true. And even when many people in the audience think they are not Carpendale fans, they can still sing along to every song. To their own astonishment.

HP Lengkeit is comedic, sometimes silly, and very personal. Is this a tribute to Carpendale? Yes, definitely. A look back at all the years in which German pop music has changed again and again? That too. What remains is the yearning crystallized in music!

Director: Gerburg Jahnke
Book: Heinz-Peter Lengkeit/Gerburg Jahnke
Music Arrangements: Peter Engelhardt

Entry: 18:30

The journey into Nuremberg's wild 1920s - The Cabinet of Dr. Schmidt

The departure into modernity or rather the persistence in rigid tradition? Different worlds collide closely, manifesting in buildings and in the arts. Medieval romanticism and Dürer versus nude dances and flat-roofed buildings. An exciting and groundbreaking era, the era of the Weimar Republic, not only at the Bauhaus - also in Nuremberg.
In this fascinating and at the same time entertaining and informative stage event, the theater "rote Bühne" in cooperation with the historian Dr. Alexander Schmidt looks through the keyholes of significant Nuremberg buildings using scenes, projections, dance, and music. We experience rapid tap dancing at the Apollo Theater, secret conversations with Karl Bröger at the Fränkische Tagespost, and wild flapper girls at the Bäckerhof. Over our heads, a consequential crisis meeting takes place in the office of the Bing Tin Toy Factory's general director, precisely in this building where today the theater "rote Bühne" is located. In the opera house, classical ballet is danced en pointe, while in the Wintergarten Varieté, a burlesque diva elegantly sheds her layers. Nuremberg's first flat-roofed building, the "Schocken", is mocked and ridiculed, while at Messthaler's Intimate Theater, despite protests by the National Socialists, "The Threepenny Opera" is celebrated.

Concept, scenes, choreography: Julia Kempken
Texts and projections: Dr. Alexander Schmidt
Scenic direction: Maria Kempken
Assistant director: Michael Liebig
Performers: Franziska Baumann, Julia Kempken, Stefan Rieger
Dancers and supporting actors:
Buzz and Ellora Braun (tap dance), Julia Babari + tba (ballet), "Sweet Chili" (burlesque), Gabriela Rufino + Gottfried Roth + Judith Ampofo + Sarah Weber + Kira-Marie Bieger + Jackie Conforti (Charleston)

Doors open at 6:00 pm

The gynecologist Beate wants to retire and is therefore looking for a successor for her practice in a small provincial town. A difficult undertaking, as the interest in a labor-intensive medical job in the countryside is low. But then the young doctor Hanna gets in touch. At first glance, Hanna seems to be exactly what Beate is looking for: a committed, self-confident, and self-determined woman - friendly, open, and full of idealism. However, when Hanna intervenes unsolicited during her internship in a counseling session about an abortion and reveals that she is vehemently against abortion, a rift occurs: Hanna's perception of the gynecologist profession is apparently completely opposed to Beate's - her value system is profoundly reactionary and incompatible with Beate's attitude shaped by the ideals of the 68ers. While Beate wants to let the incident sink in for a while, Hanna, with the help of right-wing life protection initiatives, launches a hate and smear campaign against Beate and her practice the next day, which soon plays out in public and shakes the entire community life...

In his solo show "Lieber taub als gar kein Vogel," the expectations are turned upside down: An interpreter, who is paid per laugh rather than per hour, translates the gestures for the audience. And Okan only pays for laughs that he can hear. You ask yourself, can deaf people do anything with music? How do they hear their alarms? Or are they even allowed to drive? How do deaf people make phone calls?! Can they call emergency services? And does moaning during sex turn them on? With great self-irony and from — for the hearing — an unusual perspective, Okan speaks… excuse me: tells about his everyday life. He skillfully plays with stereotypes, only to break them in the next moment. His humor is surprising and honest, and his facial expressions are endearing. Okan takes us into a fascinating world with a strong community, a rich culture, and its own expressive language.

Doors open and catering starts at 7 PM.

Tina Teubner, "the most exciting, sustainable, and entertaining woman in the German cabaret scene," knows: Facing facts has never harmed anyone. At most, it has harmed the facts.

The world is upside down – we stand helplessly and collect loyalty points. Instead of spurring life on, we nitpick at our loved ones, whip the children through gymnasium fantasy suffocation institutions (if necessary online), submit to the leisure stress dictatorship, and seriously believe we could scare impermanence with Botox. Tina Teubner strikes back: How about living a life that deserves the title of life, she asks – supported by her pianist Ben Süverkrüp, the man before whom pianos tremble.

World theater for everyone! The crazier and more absurd the world becomes, the deeper, truer, and more entertaining Tina and Ben will be. It would be pathetic if the only legacy of the Corona times was a mountain of debt and the realization: It's bad to be alone – even worse when you're not.

Doors open: 7 PM

»I don't want to wait any longer. I'm sorry if the men out there no longer understand their world, but it could also be because they are finally learning that the world does not belong to them alone.«

Clytemnestra, Queen of Mycenae, has to watch as her husband Agamemnon sacrifices their daughter Iphigenia. Through her life, favorable winds are to be granted to the Greeks in order to restore the honor of Agamemnon's brother Menelaus in Troy. Clytemnestra returns home and plots revenge. By her side is the courtesan Phryne, a woman whom Agamemnon had "captured" during a previous campaign. Both are united by an unwavering drive to live life on their own terms, never again to be victims. And when Agamemnon returns from the war, it becomes clear that no man must disturb this new order.

Tine Rahel Völcker tells in her ancient adaptation the scope and the frightening diversity of perpetually reproduced mechanisms of violence. With precise humor, male dominion is brought to an end, and a utopian glimpse into a different way of thinking and acting is dared.

The JTF Forchheim welcomes the award-winning piano cabaret artist Anne Folger on Friday, February 6th at 8 PM with her current program “Spielversprechend”.

Songs at the piano, stories, music, no tap dance. Anne Folger creates piano cabaret with a clear stage, profound, articulate humor, and great, deep music. Her motto: No matter where life takes place, it wants to be performed. Her joy for life starts where bad moods feel most at home, and she consistently separates herself from them. Whether it's a foolishness test, frustration with dating apps, or hotel room fiascos: there’s always a punchline hiding somewhere, and she always rescues it! Even from people for whom hemorrhoid cream is just the right facial cream.

Anyone who has experienced the award-winning entertainer with her fine powers of observation live on stage knows that her evenings are always a varied mix of cabaret, stories, her own songs, stand-up, and magnificent compositions. Brilliantly clever, charming, cheeky, and subtle. With art in her heart, music in her belly, mischief on her shoulder, and a sharp tongue, this evening is above all one thing: Spielversprechend!

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At the event, film and sound recordings as well as photos will be taken, to which you consent by attending the event.

Doors open: 7 PM

On the KNOLLABRACHER estate live George the father, Anna the mother, Pierre the son, Solange the maid, and Aimé the farmhand. The second farmhand Xavier has unfortunately passed away, so he must be replaced. However, with the labor shortage, it is very difficult to find a new employee, so the family turns to the agricultural school.
In the adjoining yard lives the EBERLE family, father and daughter Paulette. EBERLE has long been speculating about a property that George is unwilling to relinquish.
Will the two come to an agreement, and will the KNOLLABRACHER family find a new employee to replace Xavier?
PLAYED IN ALSATIAN DIALECT
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Bar opening and box office 1 hour before the performance starts

There are people who are just too nice for this world. Jens Heinrich Claassen is one of them. He constantly thanks others, apologizes when he has said too many apologies, and carries the burden of wealth with a smile. Yes, you read that right: Claassen is rich – and really rich. But wealth alone, as is well known, does not bring happiness, at least not when viewed through the lens of dry self-irony and a preference for honest, small moments of life like Jens Heinrich does.

In “Keine Ursache,” Jens Heinrich Claassen talks about the truly important things: surviving in a society where politeness seems to be a relic of the past. And of course, about life as a single person. Here it gets personal: Jens Heinrich would rather find his dream woman today than tomorrow, but the path to that is fraught with difficulties. Tinder swipes, charmingly uncharming first dates, and the occasional melancholic piano melody accompany him along the way.

Between his stories, he sits down at the piano, as if it were the most natural thing in the world to spontaneously conjure a song from the absurd everyday situations. It is this mix of lightness and profound humor that makes “Keine Ursache” an evening where one laughs heartily while also wondering why one hasn’t laughed about these topics long before. Anyone wanting an evening full of unexpected punchlines, catchy melodies, and a likable comedian at his best should not miss this show. “Keine Ursache” – life could be so simple.

So: no problem - but a clear recommendation!

Jens Heinrich Claassen has been traveling as a comedian since 2004. He is a favorite with audiences on the AIDA cruise ships, a welcome guest at the Quatsch Comedy Club, and a sought-after host. Besides TV appearances, he has also won some insignificant cabaret prizes. In 2025, Claassen will be awarded with the Hannover specialist.

Highlights of his career so far include performances at the Berliner Wühlmäusen, the Hamburger Schmidt Theater, and the Düsseldorfer Kom(m)ödchen.

Doors open: 7:30 PM

Doors open at 7 pm

Must it be that they now also ...? Yes, it must! Alice Köfer, the woman of the boy band "Vocal Recall," is embarking on solo paths for the first time. She herself doesn't yet know how the evening will end, but one thing is certain: charmingly Berliner, she will chat sensationally and exuberantly, risking her neck. Sometimes accidentally philosophical, sometimes amusingly vacuous, Alice will tackle the really important questions of life: Why are there five burger restaurants on my street? When is fallen fruit considered dead? Is it still worth having a nice signature today? And why do I only remember the wrong things? Of course, a multitude of songs will resonate in a wild mix of destructive love lyrics and stadium pop in garage format. Singing along is explicitly encouraged!

Hall opening & catering from 6:00 p.m.

I AM LIKE YOU, I LOVE APPLES by Theresia Walser
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Three women in a heap. Three women in a heap in the light of the public eye. Three women in a heap in the light of the public eye who are also the widows (or almost-widows) of dictators. The title of Theresia Walser's play "I am just like you, I love apples" fits like a glove. Who wouldn't be able to casually chat about a drinking bout with Stalin or Mao's suggestive advances. And in between, a simultaneous interpreter, who is neither to be envied nor underestimated ...
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Theresia Walser has written a monstrously funny comedy, which, while not documentary, suggests connections to characters from contemporary history not entirely by chance.
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Director: Annett Segerer
Cast: Susan Hecker, Amelie Heiler, Rosalie Schlagheck, Thorsten Krohn