Robert Dorsay

A 19th-century London cabaret singer is deported to prison in Australia. Her crime? Taking the blame when her lover bounces checks.

Henriette Lange lives only for the theater in Berlin around 1900. Her grandfather, however, has no understanding for this. He is a prompter and knows all about the hustle and bustle of the theater. Her friend, the chorus girl Liesbeth, is heartbroken because the revue star Vera Schreyvogel has his eye on her boyfriend Hans Reuter. But Liesbeth soon consoles herself with someone else, and Mrs. Schreyvogel is quickly forgotten. For Hans Reuter too, because he now loves Henriette. Liesbeth is dismissed without notice because she has fallen out with Mrs. Schreyvogel, and Henriette now has to sing her part. Her dream finally comes true. As she sings blissfully, she sees the Schreyvogel hugging her Hans in the background. She gets stuck in the middle of the song - her career is over! But not with love: she has conquered her Hans forever.

The lawyer, Dr. Werkmann, is seeking a legal separation for Mr. Bernhof, who claims his wife is an incorrigible gambler. In reality, it is he who is the weakling; and while he dearly loves his wife, he's going through her fortune like there's no tomorrow. His wife, however, loves him dearly, too, in spite of his faults and doesn't want the marriage to end. Dr. Werkmann proposes something at a family meeting, which just might save the marriage after all.

1900: Much to the chagrin of Baron Uhlendorff in Schoneberg, the city of Berlin is expanding. But what is much worse is that his son George is in love with Traute, the daughter of the master carpenter Schradecke. So the son must leave for South America as a diplomat and Father Schradecke has to intercept his letters to his daughter. Traute is inconsolable; 1913: The early days of the small artisans have now given way to them becoming big businessmen. Traute continues to wait for George in spite of the stubborn proposing by the carpenter Paul Buttner.

About how the British broke the Brazilian monopoly on natural rubber. The storyline suggests a complex relation between adventure, military conquest and imperialism.

The delightful Johann Strauss comic opera Die Fledermaus was mercilessly lampooned in this truly bizarre production. For starters, a framing device has been added: After appearing in 300 consecutive appearances of Fledermaus (which translates as The Bat) the lead tenor (Georg Alexander) imagines that he's seeing bats everywhere. Driven a bit over the edge by all this, he falls asleep and has a nightmare about the opera, with a group of non-singers cast in the leading roles. The original libretto about romantic assignations, political imprisonments and mistaken identity is burlesqued to the hilt: at one point, the hero finds out that his prison cell is surrounded by rubber tubes!

A lawyer is abandoned by his wife. To save face, he introduces his friend to a client as his wife. But she has just been divorced and was supposed to be set up with this friend by an aunt. Numerous misunderstandings arise until in the end everyone breaks up reconciled.

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Erika, a dancer without a gig, helps out at her brother's gas station. She's immediately courted by several men. Her favorite is the nephew of a quirky, old antique dealer. But the dealer refuses to give his nephew his permission to marry him. So Erika turns the tables and charms her uncle until he finally understands that his nephew is in love with her.

A woman discovers after she has just married him, that her husband is abusive, and she tries to get away.

A travelling cinema arrives in a small, Italian town. The only place suitable for the screenings is the inn run by Mirandolina, a woman with an impeccable reputation. Tino, who works for the cinema, becomes enamoured of Mirandolina but finds his advances to her hindered by her upright reputation and the rivalry of local figures.