Lebbis: Vuur(2002)

Rundfunk: Wachstumsschmerzen(nl)

An absurdist theatre piece by Dutch comedy duo Rundfunk. A collection of original sketches and songs.

De Alex Klaasen Revue: Showponies 2(nl)

A video-registration of the revue/cabaret show 'Showponies 2' by the Alex Klaasen Revue. In this sequel to the first Showponies-show, Alex Klaassen explores to what extent he cares about what (the still quite heteronormative) society thinks. Klaassen considers coming out for a second time, because he feels like he has ended up in a second closet after his first coming out.

Jochem Myjer: Adem In, Adem Uit(nl)

In the show, Jochem talks about his love for nature. Jochem: 'If you're going to talk about something four hundred times, you have to choose something you really want to talk about. Jokes are fun, but I want to talk about things that interest me. My three big hobbies are fishing, theater, and birds. The book De Gorgels is also about nature. I've already incorporated my passion for biology into it, and now I want to show that on stage as well.

Hans Teeuwen: Met een Breierdeck(nl)

The second show of Dutch comedian Hans Teeuwen: sex, violence and foul language in a string of songs, abrupt transitions and evocative characterizations.

Hans Teeuwen: Trui(nl)

In his third theatre program the Dutch comedian Hans Teeuwen plays with empty wine bottles, little girls and himself. Poetic, absurd, false and genuine.

Najib Amhali: Most Wanted(nl)

Tineke Schouten: 25 Jaar Theater(nl)

Jurk!: Glitterjurk(nl)

Hans Teeuwen: Dat dan weer wel(nl)

Mind you is the fourth theater of the Dutch comedian Hans Teeuwen. He performed the show in 2001. The last show was filmed in 2002 and aired on television, the same year that the show on CD and DVD published. It's Teeuwen's most famous and most frequently quoted show. He takes everything on the heel, including racism, blacks, world religions, AIDS patients, women, Jostiband and the Queen of the Netherlands.

Nigel Williams: Terrorist(nl)

Najib Amhali: Zorg dat je erbij komt(nl)

The tour for "Zorg dat je erbij komt" was completely sold out. For three shows at the Meervaart, more than 150,000 people wanted tickets in just one weekend!

Lebbis: W2P(nl)

Registration of the fourth solo program by the Dutch comedian Hans Sibbel, in which the comedian takes a look at the evolution.

Philippe Geubels: Droog(nl)

The perfect way to get acquainted with Philippe Geubels' infectious humor or to relive a wonderful evening of live stand-up comedy.

Theo Maassen: Ruwe Pit(nl)

Maassen won two of the biggest comedy contests in the Netherlands in 1990, the Groninger Studenten Cabaret Festival(GSCF), and Cameretten. The GSCF jury was not pleased with the quality of the contestants that year, and gave Maassen the first prize, remarking he was the best of the year, but still not very good. In the following years, however, Maassen fame grew steadily, especially amongst students. Maassens style was based on stand-up comedy: Alone on stage, telling jokes and stories to amuse the public, without any musical support (a thing common for most Dutch comedians up to that point).

Fuad Hassen: Remmende Voorsprong(nl)

In his third comedy special the Dutch comedian Fuad Hassen talks about how little things can turn out differently than expected, only to change the whole world.

Mike & Thomas: De Mike & Thomas Kerstrevue(nl)

Silvester: Alone(nl)

Micha Wertheim: Voor Gevorderden(nl)

Stage registration of the second comedy special by the Dutch comedian Micha Wertheim. This performance takes place in a dream, a dream in which Micha Wertheim shares all kinds of confessions, for example about how he manages to cope with the knowledge that he is probably not a real genius.

Everything for a Laugh(nl)

The rise to stardom of former comedian Rob van Liempt, which came to a grinding halt during the '90s.

Micha Wertheim: Somewhere Else(nl)

The bigger the audiences for Dutch comedian Micha Wertheim’s shows became, the less he had to do to make them laugh. In one early show, he suggested that the audience would be better off without him. So in 2016, he acted upon this suggestion with an experiment that made theater history: he wasn't physically present onstage but somewhere else. The audience wasn't aware of this in advance, though they did get a hint in the form of a pre-recorded "live" radio interview from a remote studio. "I see my audience as my children," Wertheim says in this interview. "You have to educate them, and that’s what I’ve been doing for the past 15 years. At first you have to constantly be there watching them, but there comes a time when you have to trust them to get on with it without you." With some help from a robot, a printer, a stereo and a set of headphones, the members of his audience were able to make their own performance.