Written by Bryan Colley and Tara Varney
In 1941, German soldiers in occupied territories are contracting syphilis from prostitutes in astounding numbers. The disease threatens the stability of the Third Reich. To solve the problem, Adolf Hitler orders the creation of inflatable pleasure dolls that the soldiers can carry in their packs to satisfy their urges. Yes, this is a true story.
As detailed in the book Mussolini's Barber by Graeme Donald, The Borghild Project was overseen by Heinrich Himmler, head of the Gestapo and the elite S.S. army. He led a team of scientists in the development of plastic dolls called gynoids. This involved considerable research into suitable materials and construction, as well as much debate about the physical appearance of the doll. Prototypes were even tested with soldiers in the field on the Channel Islands. The details of this top secret project were only recently revealed by the last surviving member of the team, Arthur Rink.
Although the primary purpose of the doll was to prevent venereal disease, Himmler also saw it as a way to instill the Aryan dream in German soldiers. Utilizing music, dance, and poetry to tell story of the Borghild Project, Sexing Hitler examines the power of fantasies to liberate and enslave.
Production Info
Premiere performance July 20-28, 2012 at the Kansas City Fringe Festival. Starring Andy Garrison, Parry Luellen, Amy Hurrelbrink, Marcie Ramirez, and Eric Tedder. Directed by Tara Varney. Stage Managed by Ryan Puffer. Choreography by Amy Hurrelbrink. Music by Christian Hankel, Kyle Dahlquist, Richard Walker, and Sergio Moreno.
Staged reading of the full-length version 2016 at the Unicorn Theatre. Starring Brian Paulette, Amy Attaway, Logan Black, Laura Jacobs, and Andy Perkins. Directed by Ian R. Crawford.
Hexing Hitler and Sexing Hitler are two thematically-related one-act plays. They may be performed individually or together utilizing the same cast. Both plays are based on true stories.
Cast Requirements
Male, 40s-50s
Male, 30s-50s
Male, 20s, dancer
Female, 30s-50s
Female, 20s, dancer
The running time is approximately 60 minutes for Hexing Hitler, and 50 minutes for Sexing Hitler. There is also a full-length version of Sexing Hitler that runs about 80 minutes, and the full-length Hexing Hitler is 90 minutes. Both plays contain mild language and sexual situations suitable forĀ  adults. Performance royalties are negotiable and dependent on the size of the performance venue and ticket prices.
Download Hexing Hitler - Sexing Hitler (one act versions)
Download Sexing Hitler (full length version)
Tara Varney 2012 interview in The Pitch.
"This peek into a weird corner of Nazi history ... managed the neat trick of being raucously amusing, touching and ultimately haunting all in one package." - Robert Trussell, KC Star
"Wonderful in every respect. It is hard for me to single out specifics because I liked every moment so much. The entire show is well-conceived and ably executed, and that is an understatement. Writers/directors Bryan Colley and Tara Varney crafted a splendid script, and nurtured actors and designers to bring it to life with perfection. Kudos to everyone involved with this outstanding production." - Detailer, KC Stage
"Sexing Hitler is definitely a must-see for its combination of ridiculous hilarity and truly fascinating historical material." - Karen Hauge, KC Metropolis (chosen as one of the top ten plays of the year)
"It takes a certain nerve to pull off something like this, not to mention a not inconsiderable amount of skill. Fortunately, the story is in excellent hands. Definitely a highlight of this year's Fringe, Sexing Hitler is not to be missed." - kellyluck, KC Stage
"Sexing Hitler is a clean, direct, and highly entertaining play." - soundtheater, KC Stage
"This is the tightest script out of this collaboration to date and the performance style was interesting and funny." - timelovestheatre, KC Stage
"Colley and Varney can be counted on to produce something original, outlandish and unpredictable at the Fringe, and this show certainly seems to fit the pattern." - Robert Trussell, KC Star
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