Today | 19:00
Caroline Creutzburg + René Alejandro Huari Mateus
Die Vielhundertjährigen
November 29 30 | 19.00
Hochzeitssaal | 15/10 €

Back to the future: In Die Vielhundertjährigen, the audience is contacted by the only contemporary witnesses of a long-gone division between the biological and the digital. These people, several hundred years old, are now inhabitants of a post-digital world. Based on fantasies and wishes for the world, the ensemble, ranging in age from 65 to 87, create their own science fiction narrative.

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Tomi Paasonen
Pas de Q
Tomi Paasonen-final-15
December 01 02 03 | 20.00
December 04 | 18.00
Festsaal | 15/10 €

Pas de Q enters the classical ballet world to turn choreographic forms and traditions upside down and reinvent them. A queer ensemble of male and non-binary dancers
pushes movement, dance and queer aesthetics to the extreme. In a utopian science fiction world, the team fuses drag art and pointe dance into a labyrinth of imaginative perversions, beyond morality and shame. 

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Enad Marouf
In My Hand a Word
8U4A4888 landscape
December 09 10 | 20.00
December 10 | 17.00
December 11 | 18.00
Hochzeitssaal | 15/10 €

In the scenic adaptation of his own text, the Syrian-German performance and video artist Enad Marouf deals with loss from a queer perspective: the loss of family, home and relationships, but also that of meaning and language. The audience enters a place where fragments overlap. Two figures move through scenes whose internal coherence continues to unravel through memories, anecdotes, and associative references.

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Jelena Stefanoska & Saša Asentić
Жизела / Giselle
PM_Sasa Asentic_Giselle_Foto_Marija Erdelji_4026
December 17 18 | 18.00
Festsaal | 15/10 €

Жизела / Giselle uses dance and language to explore the similarities and differences between the artist Jelena Stefanoska and the tragic ballet character Giselle. The piece tells of the need to love and be loved – and, above all, of the desire and feeling to live a life with dignity.

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Tanztage Berlin 2023
© Jan Grygoriew

Hey, why do you look so tired? "Urgency culture" expects us to be connected and responsive constantly. There is little to no time left to imagine the world otherwise. Tanztage Berlin – a yearly festival highlighting the work of the city's emerging dance makers – is back to diagnose the present and predict the future. Its 32nd edition investigates our daily overstimulation and chronic fatigue by reflecting on how we move to the rhythm of today's high-speed, social media-driven reality and its challenges.

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Queer Darlings 3 Cherish Menzo/Frascati Producties Jezebel

  • Jezebel(c)Tatchatrin_Choeychom(1)
    Foto: Tatchatrin Choeychom
  • JEZEBEL_(c)_Bas_De_Brouwer_3
    Foto: Bas de Brouwer
  • JEZEBEL_(c)_Bas_De_Brouwer_12
    Foto: Bas de Brouwer
  • JEZEBEL_(c)_Bas_De_Brouwer_22
    Foto: Bas de Brouwer
  • JEZEBEL_(c)_Bas_De_Brouwer_29
    Foto: Bas de Brouwer
  • JEZEBEL_(c)_Annelies_Verhelst_09
    Foto: Annelies Verhelst
2022 March 05 | 20.00
2022 March 06 | 17.00
No language

Video Vixens: The models who appeared in hip-hop video clips of the late 90s and early 2000s, often in hypersexualized images, inspired Cherish Menzo to create the performance JEZEBEL! In the pre-YouTube era – when MTV still meant Music Television – the sensual and scantily clad video vixens played a central role in the clips of the mostly male-dominated rap genre. And, despite the explicit lyrics, significantly influenced the aesthetics of the music videos and thus the popularity of the artists. At the same time, Video Vixens – even though they were considered strong and empowered by their sexuality – were the subject of fierce criticism and were often referred to as the Jezebels of the late 90s.
Today, the label stands for much more than the objectified "ride or die" model in a male-dominated culture. JEZEBEL refuses to be defined by others. She navigates the landscape of hip hop culture, looking for ways to reclaim her own image. Can JEZEBEL deconstruct the controversial stereotype associated with the black hip hop honey?

The piece lasts about 60 minutes. It uses little spoken and written English. The performance includes stroboscope, fog and loud music at times. Hearing protection is provided at the entrance. There are two wheelchair spaces and one beanbag seat that can be reserved by phone or booked via the online ticket shop or at the box office, if available. Admission begins 20-30 minutes prior to show time. We recommend arriving early to select a suitable seat. If you have any questions or need further information, please contact Gina Jeske at or 030 27 89 00 35.

Click HERE to find information about our performance spaces and pathways, accessible restrooms, parking, directions to the theater, a 360° video tour of the building, and more.

Cherish Menzo graduated in 2013 from The Urban Contemporary program (JMD) of the Hogeschool voor de Kunsten in Amsterdam. She danced in productions by choreographers such as Eszter Salamon, Akram Khan, Leo Lerus, Hanzel Nezza, Benjamin Kahn, Olivier Dubois, Ula Sickle, Lisbeth Gruwez, Jan Martens, and Nicole Beutler. Besides performing in other people's productions, she has been creating her own work for about five years. JEZEBEL won an Amsterdam Fringe Award and an International Bursary Award (2019). JEZEBEL was also nominated for the BNG Bank Theaterprijs and the Nederlandse Dansdagenprijs in 2020 and was part of the selection of Het TheaterFestival (in both Belgium - selection NieuwJong - and in The Netherlands). Cherish Menzo is currently in the research phase for a new performance called DARKMATTER (premiere May 2022), a duet together with Camilo Meija Cortes. 


CONCEPT, CHOREOGRAPHY, PERFORMANCE Cherish Menzo LIGHTING DESIGN, TECHNICAL COORDINATION Niels Runderkamp MUSIC Michael Nunes VIDEO Andrea Casetti COSTUMES Daniel Smedeman DRAMATURGY Renée Copraij OUTSIDE EYE Berthe Spoelstra, Christian Yav and Nicole Geertruida VOCAL COACH Shari Kok-Sey-Tjong PRODUCTION MANAGEMENT Bibi Scholten van Aschat DISTRIBUTION AND TOUR MANAGEMENT GRIP, Frascati Producties THANKS TO  Benjamin Kahn and Centre Chorégraphique Le Château

A production of Cherish Menzo/Frascati Producties in collaboration with GRIP. With the support of Amsterdam Fonds voor de Kunst. The guest performance as part of Queer Darlings is supported by the Berlin Senate Department for Culture and Europe. Media partners: Siegessäule, PW-Magazine, taz, die Tageszeitung.