The Money is on the Windowsill, Marie – Cabaret with Music, Precision, and Wonderful Comedic Failure

A duo that creates a unique art form from wordplay, songs, and stage chemistry

The Money is on the Windowsill, Marie is a cabaret duo from Hanover, featuring Wiebke Eymess and Friedolin Müller. Since 2008, the two have performed together on German-speaking stages, blending cabaret, comedy, music, and improvisation into a distinctive mixture of variety that goes well beyond the usual sketch format. The name alludes to a saying and carries the subtle double meaning in its title that continues to define the duo today. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

Biography: Two Hanoverians, One Shared Tone

Wiebke Eymess and Friedolin Müller were both born in Hanover and studied cultural sciences and aesthetic practice at the University of Hildesheim. Eymess also brings her training as a certified foreign language correspondent, her work as a short story author, and her experience as a singer in the swing formation Pinkspots. The personal and artistic closeness of the duo forms a central driving force in their stage work: They have reportedly performed as a couple for years and have two children together. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

This biographical constellation makes the duo particularly interesting. The real-fictional couple creates a cabaret tension where everyday observations, role models, relationship comedy, and social critique intertwine. The result is not merely relationship cabaret but a carefully composed form of contemporary observation that transforms personal friction into publicly accessible art. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

The Artistic Breakthrough: Word Duel, Music, and a Distinctive Stage Style

The actual breakthrough did not come through a single hit format but rather through a consistent refinement of their own stage model. The duo has established itself as a prominent figure in German-language cabaret, known for exchanges, linguistic acrobatics, musical miniatures, and improvisation. Their material thrives on precise timing, sharp observation, and an art of seemingly spontaneous dialogue that is, in reality, highly concentrated. ([aufderfensterbank.de](https://www.aufderfensterbank.de/sample-page/programme-2/))

The official program description on their website particularly highlights this signature style: Songs, poems, silly as well as socially critical punchlines, self-composed songs, and recurring figures of a "real-fictional" couple form the foundation. The press also emphasizes their ability to bring together humor, musicality, and depth without falling into the familiar pitfalls of comedy or pure song evenings. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

Programs and Current Work: From Midnight Spaghetti to Gloriously Seven

Among the defining programs of the duo are Midnight Spaghetti, Paradise Side, It’s About to Blow, Number Shifting, Favorite Pieces, and the newer Gloriously Seven. Their official website lists Gloriously Seven as the current program, set to premiere in the fall of 2024; it sets the tone with even sharper dialogues, societal observations, and the pointed idea of "glorious failure." This keeps the duo close to the present while being true to their core: the finely balanced play between absurdity and everyday life. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

They will also be appearing live in 2025 and 2026. The events page on the official website lists performances in various cities, and external event and ticket websites include the program Gloriously Seven through later dates. This emphasizes that the duo not only maintains a nostalgic catalog but actively produces new stage moments and tours with fresh material. ([aufderfensterbank.de](https://www.aufderfensterbank.de/termine/?utm_source=openai))

Discography: Two CDs as a Sounding Condensation of Stage Art

The duo's discography is deliberately slim but thematically significant. According to Wikipedia, the CD Midnight Spaghetti was released in 2012 and Paradise Side in 2017. These releases are to be understood less as traditional pop or chanson albums and more as records that document the duo's stage principles: linguistic precision, musical miniatures, performative dramaturgy, and the constant shift between comedy and reflection. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

This distinguishes The Money is on the Windowsill, Marie from many formations that merely seek to preserve their stage energy. Here, the pieces are instead readable as part of a cabaret dramaturgy that is based on live experience, responsiveness, and shared presence. Therefore, the CDs do not merely mark releases but also milestones in an artistic development where music is never just accompaniment but a dramaturgical tool. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

Style: Cabaret, Chanson, Improvisation, and Musical Finery

The duo's style is characterized by cabaret exchanges, wit, linguistic acrobatics, improvisation, and music. Official texts describe them as a "total small art work," and therein lies their uniqueness: The two sing, argue, parody, and tell stories in a form that appears both relaxed and precise. Their stage means are also consciously versatile, ranging from guitar and ukulele to minimal accompaniment and whimsical ideas such as light organ or smartphony. ([aufderfensterbank.de](https://www.aufderfensterbank.de/sample-page/programme-2/))

Critics particularly highlight the quality of the texts. In press reviews, they refer to subtle wordplay, brilliant arguments, philosophical lightness, and high musicality. They are repeatedly described as a couple that transcends classic relationship comedy and instead develops a clever parody of academic contemporary rituals, private self-staging, and societal role models. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

Critical Reception, Awards, and Cultural Significance

The awards also indicate the standing the duo holds in German small arts. Wikipedia lists the Comedy Prize of the Löwenbastion Hannover, the Cabaret Cactus, the St. Ingbert Pan, the Stuttgart Broom, the Executioner’s Axe, the Mindener Stichling, the Thuringian Small Arts Prize, and the Zeck Cabaret Prize, among others. This sequence of prizes is more than a list: it documents how consistently the duo has been recognized as an independent voice by different juries. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

The press expresses this with remarkable consensus. Highlights include the special handling of dialogue, musicality, precise timing, and the ability to elevate casual conversation to an art form. The duo thus stands in a tradition of German cabaret that relies on linguistic precision, intellectual humor, and social observation, while also modernizing this tradition with a contemporary, pop-oriented, and literary approach. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

Media Presence and Reach Beyond the Stage

The Money is on the Windowsill, Marie has appeared multiple times on television and radio, including formats like Die Anstalt, Nightwash, NDR Talkshow, Pufpaffs Happy Hour, Ladies Night, and other cabaret shows. The official website and Wikipedia biography also refer to the resonance of their Corona weblog, from which SWR3 developed the comedy series Days in Corona. This shows how strongly the duo functions in media formats that require closeness, relevance, and pace. ([de.wikipedia.org](https://de.wikipedia.org/wiki/Das_Geld_liegt_auf_der_Fensterbank%2C_Marie))

This broad impact can be explained by their stage identity. They are not merely musicians, not just comedians, and not solely cabaret artists but a hybrid formation that condenses language, rhythm, character comedy, and societal friction into a compact, recognizable signature. Precisely for that reason, their music career in a broader sense is always a career of stage presence and fine formulation. ([aufderfensterbank.de](https://www.aufderfensterbank.de/sample-page/programme-2/))

Conclusion: Why The Money is on the Windowsill, Marie Remains So Exciting

The Money is on the Windowsill, Marie combines intelligent comedy with musical elegance, literary language, and a keen sense for the present. The duo has established a distinctive position in German-language cabaret over the years and demonstrates with Gloriously Seven that their perspective on failure, everyday life, and relationships has lost none of its freshness. Anyone who appreciates precise punchlines, clever songs, and real stage chemistry will experience high-level small art here. ([aufderfensterbank.de](https://www.aufderfensterbank.de/sample-page/programme-2/))

The best way to understand this duo remains the live evening. There, timing, wit, musicality, and improvisation unfold with full effect, and it is precisely there that it becomes evident why the audience has been rightly celebrating them for years. An evening with The Money is on the Windowsill, Marie is not just a performance – it is a very vibrant piece of German cabaret culture. ([aufderfensterbank.de](https://www.aufderfensterbank.de/presse/?utm_source=openai))

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Das Geld liegt auf der Fensterbank, Marie