I found a review in German. Here is Googles bad translation of the review.
The best Parodien is not the malicious, the best is the affectionate. "Pinkelstadt - the musical" is so an affectionate Parodie. The Show of Marks of Hollmann takes so quite everything hopps, which the musical friends dear and expensive is. And it at the same time is a so well made musical that watching makes simply fun - susceptibility for diagonally-black humor presupposed. (text: rj) it gives plentifully. In a city to the future duerre, water prevails is rationed, private toilets forbidden. The public Klos belongs to a company. Its boss become-becoming more of increase in value talks about investments into alternative techniques, invests however only into bribes. Who goes without cash payment behind the shrubs, one deportiert. Toilet custodian Jonny strong leads the people into the revolution. Naturally not, without with increase in value daughter Freya to have fallen in love before. Quickly tells (direction: Andreas Gergen), wonderfully biting texts (German: Ruth Deny, Wolfgang Adenberg) - the basic structure alone would be already a pfiffige parabola. It refers their special attraction from the fact that it does not go out in such a way, as it expects the society-critically correct spectator. But Mark of Hollmann continues still another step: Wachtmeister Kloppstock to understand (unfortunately often badly: Thorsten Tinney) gives the storyteller and commentates the formal structure of the Show with side blows on the typical musical design ("no, small Erna, this is not a merry musical"). Comes out a artful overturned piece of theatres, which untrained spectators perhaps a little makes excessive demands of. A musical for humans, who like Terry Prachett novels. Occasionally crudely, always black, sometimes talk nonsense, but nevertheless stimmig and intelligently. Who defines "dance of the Vampire" as its humor upper limit, that is here wrong. The music, which breaks just like the Choreographie (Melissa King) to a waghalsigen ride by 30 years musical open and takes up in its arrangements so quite everything of Sister act to Les Miz and from Chicago to king of the lions, leaves strong impression however independently and in usual remains. CD must ago! The Cast has its acid test probably still before itself. Desire-fully, with nearly already wild play mood the small ensemble takes up the grateful piece. If he still succeeds in now holding this energy over a longer play time then it is really first-class. Ilja judge gives the increase in value wonderful in love. Aris Sas (Jonny) acknowledges be correct-strongly for large tasks of musical. May shine through at the beginning of still the being astonished TdV Alfred in the marvelously kitischigen Liebesduett (his Freya drives on mobile stairs behind it ago), it tilts the figure slowly over the charismatischen people hero up to the Schnoesel taken off, which hinbrabbelt only revolutionary messages before itself. Sara Fonseca (Freya of increase in value) remains still pale in the first act and has problems to arrive gesanglich against Aris Sas. In the second half also it convinces? wonderful, as it gives at the end a kind to bekiffte Evita. Also otherwise there are in the ensemble no losses, particularly on itself makes the Gabriele attentive rams (as increase in value ex-loved), Katharine Mehrling (as rotzige small Erna) as well as Eric Minsk and Danny Costello in various ensemble roles. "Ick gloobe nich that many people in soo a Mjusical says gehn", to small Erna in the conclusion scene. May be. To produce but a so diagonal Show with a so diagonal title in a so diagonal production - but getting thing respect earned itself artistically in recent time much the criticized steam turbine and gas turbine systems. And perhaps actually succeeds itself it, in Berlin with productions such as Blue one Group and Pinkelstadt a completely own clientele
Article in German
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