In a German musical landscape that (too) often loses itself in family-friendly cuteness and lacks the courage to strike out in truly unconventional new directions—as commercial Broadway does as a matter of course—Rosa von Praunheim’s first musical feels like a revelation: it is so over-the-top, so unapologetically gay, so wildly cheeky, so charming, and so good that it leaves you utterly amazed. This is especially true thanks to the two stars, Anna Mateur (as Luzi) and Heiner Bomhard (as Dietmar)—joined by four supporting actors sporting massive erections in their tight cycling shorts—who are so hilariously funny that you want to see this production (directed by Rosa himself before his death) again and again. Based on the 1971 cult film, the musical manages to break free from the source material enough to offer a truly unique and fresh experience. Bomhard composed the effective score, which consists of musical interludes rather than typical, bloated musical numbers. Premiered in 2022 during the pandemic and revived several times since, the production is now returning for an extended run. Speaking from the depths of a queer musical soul, one can only say: Hallelujah!