Mabuse, an impresario by trade, visionary, con artist and cunning businessman, has seen better times. Formerly his travelling circus was a talent pool for the really great artists, revolutionaries and rebels. But the stage that was once the world has become rotten. All the glamour is gone, the market is saturated, and in any case no one believes in the big revolution anymore. Mabuse has long given up waiting for influential Maecenas, art collectors and gallery owners; instead, he is expecting his outraged creditors, owners of the Kings Mob Gin Destillery. A sensation is what he needs.

As the last up-and-coming talent of the marvel show, only long-term intern Pino is still eagerly awaiting her breakthrough. When Mabuse affirms her tremendous talent she clings to his every word, doggedly practices for her big debut and dreams, always ailing, of becoming an icon despite having had a happy childhood.

When suddenly a hero drops from the sky after all. An anarchic art rebel. Unfortunately he lands on his head.

In 2012 Nora Abdel-Maksoud presented her debut production within the programme Scheppernde Antworten auf dröhnende Fragen at Ballhaus: an exciting road movie in search of new heroines beyond outdated stereotypes. In her second work she once again deals with one of the discomfortingly unanswered questions of our time: So, which way is it to the revolution, please? Have we missed the turn-off to learn how to fly, somewhere between precise self-fulfilment, stress-induced pectoral anxiety and royal privilege? A play about us, the satiated, the privileged, wearers of grinding teeth guards. A play against cynicism, a play for the wide-eyed view of a baby and for capitulation. And only for lunatics.