In the Grotto

In the Grotto is a play about the three characters Baobao, Gaga and Isis, who meet at a grotto bar. Their identities are based on mythical and cultural figures and they are only human by a stretch. Gaga runs the bar, while the other two are guests. The three talk, argue and joke about body image, relationship models, sexuality, work, domination - from feminist, queer, humanistic and sensual perspectives. The scene at the bar is set by a narrator and a musician.

Baobao is a regular in the grotto. She shows up there lustfully every now and then in a good mood. Within her is Baubo, who Demeter brought to laughter after the loss of her daughter Persephone by showing her vulva and thus also brought her back to eating and drinking. She is a charlatan who propagates openness in her perception, does what she likes, masturbates, laughs and smacks. She likes to reach into the eighteen layers of her costume and penetrate her with her pink flesh, she plays with her skins, gets lost in her sweeping curves, in her warm, soft, shapely wrapping. Baobao loves to alternate between red, purple, pink and burgundy, rubbing their layers against the surroundings and sinking into their folds.

Gaga runs the bar in the grotto. She revolutionizes nature and advocates a gaga future in which everything is possible, even a life far away from the compulsory heterosexual matrix. Gaga loves her blue latex cover, feels comfortable in hiding her oversized eel scarf, which alternates between plastic blue and sterile silver. She is against norms, for domination, is pragmatic and utopian at the same time, her torso is proud, adorned with expensive stones and diamonds. Her shoulders are strong, reinforced by valiant layers of subtly shimmering green. The latex on Gaga's body gives her her own cheeky, provocative sexuality, which she owes not least to plastic surgery.

Isis is a regular at the bar, sitting at the counter belligerently. Her mythological origins lie in ancient Egypt, where she is the queen of the goddesses, the goddess of the underworld, the goddess of the dead. Her one-dimensional, clear, strong contours help her to feel that she is the bearer of power. She is rational, thinks about the consequences and keeps adjusting her high, angular crown, bursting with power, without taking her heavy and tall scepter out of her hands. Her almost floor-length, silver dress is reminiscent of armor that she never seems to shed. With her dark undergarment and her dark red, almost black skin, Isis is a difference feminist.