When does the performance start?

The start is on April 23, 2026, at 7:30 PM.

How long does the evening last?

The performance lasts about 1 hour and 20 minutes and has no intermission.

Where does the event take place?

The venue is Theater Duisburg in FOYER III at Opernplatz in Duisburg.

Is the venue wheelchair accessible?

The Theater Duisburg is a historical building with limited accessibility. There is no elevator for FOYER III.

Is there information about tickets and prices?

For this date, no confirmed ticket price could be found. Information about tickets is available at the theater box office.

Is the event indoors?

Yes, the event takes place indoors in FOYER III of Theater Duisburg.

Freddie Mercury experienced anew: Music, myth, and theater magic in Duisburg

Name: Being Freddie Mercury
Start: 2026-04-23T21:30:00+02:00
End: 2026-04-23T22:50:00+02:00
Location: Theater Duisburg – FOYER III

A poetic trip into the myth of Freddie Mercury

In FOYER III of the Theater Duisburg, Being Freddie Mercury unfolds a dense stage experience between biography, music, and memory. Kai Bettermann and Ursula Wawroschek condense the aura of the Queen frontman into a chamber-music theater atmosphere that does not display rock history but allows it to breathe anew.

Between second-hand store and rock icon

The production begins with a miniature of everyday life: a small store, odds and ends, a young woman in search of a gift, a talkative seller. From this inconspicuous starting situation, a space for scenes grows where the myth of Freddie Mercury slowly opens up. The piece works as a collage of songs, texts, and music, leading from the first glimpse of the figure to its fractures and longings.

The focus is not on mere glorification. Instead, the dramatic form unveils layers: origin, stage name, religious influences, rise to world career, near-death experience. The direction by Veronika Maruhn presents these stations in a precise sequence of images and soundscapes, supported by the acting presence of Kai Bettermann.

Queen songs in intimate chamber music

Particularly appealing is the musical reduction. The famous songs of Queen resound in arrangements for piano and cello, new, close, and vulnerable. This creates an unusual tension: the bombast of pop history does not diminish but becomes more human. The acoustics of the foyer enhance this effect and make every detail audible, from the attacking gesture to the soft echo.

Thus, the rock legend is not turned into a monument but a figure of flesh, voice, and contradiction. The production reminds us of how powerful theater can be when it does not reproduce music but translates it.

An evening about brilliance, doubt, and security

Freddie Mercury appears here as someone who was more than the sum of his catchphrases. The evening showcases the seeker, the artist, the performer. This perspective gives depth and emotional resonance to the theater evening. Those who tune into this pre-reporting can expect a focused, intelligent, and sensual evening that impressively connects pop culture and theatrical art.

Conclusion: Being Freddie Mercury promises an intense theater evening full of music, memory, and stage magic in FOYER III. Anyone who wants to not just hear Freddie Mercury but experience him anew should see this performance live.