Najib Amhali: Most Wanted

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). Since 2000, Maassens shows are shown on Dutch national television, making him more and more a household name.

Ronald is further in life, but does that mean he has become more mature? Not quite. Ronald explores his lack of self-control in his own unique way: with an unprecedented amount of (verbal) energy and funny anecdotes.

The Dutch cabaret artists Harrie Jekkers and Jeroen van Merwijk have performed solo for years. The two old friends have made a program together and perform with songs, stories and dialogues.

Television registration of the third program by the Dutch comedian Marc-Marie Huijbregts. Marc-Marie Huijbregts sketches a very intimate self-portrait based on personal anecdotes and reflections.

Registration of the sixt theatre program by the Dutch comedian Theo Maassen.

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

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.

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.