An interweaving of a fairy tale and historical reality brings to the stage an unsolved mystery, providing an opportunity to reflect on freedom and ability of art and the theatre to surprise and enrapture us.

The story of the tale The Pied Piper of Hamelin by the Brothers Grimm is well known: the piper undertakes to free the city of Hamlin from the rats that have brought the plague there and so, enchanting the rodents with the sound of his pipe, he leads them towards the river Weser, where they  all drown. But, when the piper returns to the burgomaster to collect the money he earned, he is unceremoniously kicked out. So he decides to take his revenge and enchants one hundred and thirty children of the town, vanishing with them into a cave. Legend and reality thus come together in an indissoluble interweaving: the city of Hamlin really exists in northern Germany, where there is a plaque commemorating the mysterious disappearance of one hundred and thirty children and there is still an absolute ban on playing musical instruments, even on festive holidays, along the city’s drum-less street Bungelosenstrasse. What happened to the children of Hamlin?