Angel de Vil

A name that reaches the listings before it reaches print

The documentary record on Angel De Vil is thin and entirely practical. There is an Instagram account, @_angel_de_vil_, which describes a Berlin-based practice covering drag performance, costume design, make-up and hosting, and carries a plain GMX address as the booking contact. There is no agency page, no management listing, no press pack and no encyclopaedia entry. What exists instead is a trail through Berlin event databases: a club bill here, a ticketed show there.

The four roles in that profile — performer, costume maker, make-up artist, compere — matter more than they would for most acts, because they describe who builds the show as well as who fronts it. A booking contact that is a free webmail address rather than an agent also places De Vil firmly at the self-managed end of the city's scene, where the production company and the person in the wig are the same.

Searches for the name are muddied by other performers using close variants of it in other countries, and by an unrelated screen-credit entry under the same spelling. None of that connects to the Berlin artist, and nothing in the open record ties De Vil to a television franchise, a label or a touring producer.

The open-stage route

The first firm fixture on the record is the Drag Open Stage Finale at SchwuZ, the queer club in Berlin, on 8 November 2024. The finale started at 19:00, admission was free, and it gathered more than thirty performers drawn from that year's open stages, with three main prizes awarded on the night. De Vil was among the performers.

That format is the standard proving ground in the city: a regular free slot where anyone can take five minutes in front of a club crowd, and a year-end gathering that pulls the strongest of them back onto one bill. It is unpaid or near-unpaid work, judged in a room where the audience has not bought a ticket for any particular act, and it tends to sort performers quickly on whether a number reads from the back of the floor.

Nothing on the public record establishes what De Vil placed in that finale, or how long the open-stage run before it lasted. What the appearance does establish is a starting point and a date, and the distance travelled from it.

The Freak Show, and the room it has taken

Angel De Vil's Freak Show is scheduled at Heimathafen Neukölln on Saturday 10 October 2026. The venue listing shows two sittings on the night, at 17:45 and 20:00, carrying separate ticket allocations: roughly €35.00 to €100.00 for the earlier performance and €37.75 to €100.75 for the later one. A Berlin day-listings site gives the earlier start as 17:30 and tickets from €35; the few minutes of difference between the two sources is the kind of thing that resolves at the point of sale.

Heimathafen Neukölln is a historic ballroom at Karl-Marx-Straße 141, a short walk from the Karl-Marx-Straße U-Bahn, and has operated as a people's theatre since 2009. It is a seated house rather than a club floor, and the shape of the pricing says the same thing: a ladder running from a mid-thirties entry price to a top tier above €100 is a tiered, table-and-balcony structure, not a flat door charge. Two sittings on a single Saturday rather than one long evening is a cabaret and varieté convention, and it implies a show built to a fixed running time with a turnaround between houses.

No running time, no support act and no cast list beyond the headline name have been published for either sitting. The title is the main signal of content: a freak show promises a carnival-sideshow framing, which in drag usually means character turns strung on a barker's narrative rather than a straight succession of lip-syncs.

The strand of Berlin drag it belongs to

The horror-adjacent end of Berlin drag is busy enough to have its own recurring titles. FREAX, billed as a drag horror show and made by the Berlin performers Raven Van Krueger, Harpy Fatale, Toylette Paypr and Bella Troia, played in the city on 28 May 2026 and is described by its own listing as mixing underground club drag with avant-garde staging, built around a premise of fears and anxieties made flesh. It is a separate production with no announced connection to De Vil.

The relevant point is the appetite rather than the overlap. Berlin audiences are currently paying for drag that is theatrical, grotesque and narrative-led, staged in rooms with lighting rigs and seat numbers, and promoters are programming it into ballrooms and theatres rather than leaving it on club floors. A freak show at Heimathafen Neukölln sits squarely in that movement.

Standing as of October 2026

One date is on sale and nothing else is advertised: no tour, no second city, no residency. There is no discography, no filmed special, no published season of shows and no award on the record. For a profile of a conventional touring act those absences would be gaps; here they are the actual position of an artist roughly two years out of the open-stage circuit who has jumped straight to a ticketed ballroom bill at mainstream prices.

Nor is there yet any press verdict. The Freak Show has not played, so no review exists, and the Drag Open Stage Finale of November 2024 was not covered critically. Anything written about the quality of the work at this point would be invention.

The useful thing to watch is what happens around 10 October 2026. If the two sittings clear and a second date appears in the Heimathafen calendar, or the show turns up in another German city, that is the first evidence that the step up holds. If the booking stays a one-off, it reads as an ambitious self-produced night rather than the start of a run.