Django Asül

His annual year-in-review shows have long since become cult events. Much like his traditional Maibock speeches at the Hofbräuhaus, which are the stuff of legend by now. But when Django Asül builds a new stage programme, it's not about the petty day-to-day of politics and society - it's about the big questions.

Mere topicality isn't enough for him. He looks not only at the here and now, but gladly also at the elsewhere and the not-yet. Staying true to himself while consistently pushing forward - those are the cornerstones of his work. And he owes that not so much to himself as to his audience. The weight of that responsibility has grown considerably over the years.

Anyone who, like Django Asül, holds the Bavarian Order of Merit, the Bavarian Cultural Prize and the Bavarian Cabaret Prize has understood: the rough work is done - now it gets serious. And without any eye on profit. The audience gets to be there live. If that announcement sounds too cryptic, here's the plain version: Django Asül's eighth solo programme can hold its own against any precision instrument made in Germany. Look forward to two hours in which every subordinate clause has the makings of a main one.