Daniel Meyer-Dinkgräfe

subscriber

d.meyer-dinkgrafe@thetheatretimes.com

Daniel Meyer-Dinkgräfe was Lecturer and Senior Lecturer in Drama (University of Wales Aberystwyth, 1994-2007) and Professor of Drama at the University of Lincoln (2007-2017). He expanded his creative profile with a novel (2017), and as an audio book narrator (2018). Since August 2019 he has served as artistic director of piccolo teatro Haventheater in Bremerhaven, Germany and has been writing opera reviews for "Seen and Heard International" since early 2024. He is the author of Daniel Meyer-Dinkgräfe, "Boulevard Comedy Theatre in Germany," Newcastle: Cambridge Scholars Press, 2005.

At The Düsseldorfer Schauspielhaus, “Gott ‘By Ferdinand Von Schirach Presents Its Tough Ethical Dilemma For The Audience To Vote On

Posted by Daniel Meyer-Dinkgräfe | 5th May 2026 | Directing, Germany, Review

Ferdinand von Schirach was born in 1964, studied law and became a noted criminal defense lawyer....

Read More

A Successfully Funny Perspective On Life Aspirations In State Theatre Oldenburg’s Production Of “Bondy Beach”

Posted by Daniel Meyer-Dinkgräfe | 15th Apr 2026 | Directing, Germany, Review

Bondi Beach was premiered on the 7th of October 2023 at the municipal theatre in Ingolstadt....

Read More

Adaptations On The German Stage (3): Theater Bremen Is Keen On The Long Haul

Posted by Daniel Meyer-Dinkgräfe | 10th Apr 2026 | Adaptation, Germany, Review

David Safier was born in Bremen in 1966. He trained as a journalist, worked as radio and TV...

Read More

Memories Of And Acting In Old Age Are Central To “Ein Deutsches Leben”

Posted by Daniel Meyer-Dinkgräfe | 8th Apr 2026 | Acting, Germany, Review, Theatre and Politics

In 2016, Austrian director Christian Krönes and colleagues launched their two-hour documentary...

Read More

The Auto-fictional Mode As A Variation Of Biographical Material In The Theatre

Posted by Daniel Meyer-Dinkgräfe | 1st Apr 2026 | Directing, Germany, Review

Falk Richter was born in 1969. He studied linguistics, philosophy and theatre directing at the...

Read More

Moving Emphasis On Tolerance And Courage In “Nasser # 7 Leben” At The Schnürschuh Theater Bremen

Posted by Daniel Meyer-Dinkgräfe | 26th Mar 2026 | Directing, Germany, Review, Theatre for Young Audiences

The Schnürschuh-Theater in Bremen was founded in 1976 and has been at its current location since...

Read More

“Last Call” Brings Us Closer To Bernstein And Von Karajan

Posted by Daniel Meyer-Dinkgräfe | 13th Mar 2026 | Directing, Germany, Playwriting, Review

Plays about famous people have always held special attraction to dramatists, theatres and...

Read More

Dea Loher’s New Play “Frau Yamamoto Ist Noch Da” In Bremen And Osnabrück

Posted by Daniel Meyer-Dinkgräfe | 5th Mar 2026 | Directing, Germany, Review

Dea Loher (b. 1964), has been a prominent German dramatist since the world premiere of her first...

Read More

In Oldenburg’s “The Tempest,” Trusting The Text Pays Off

Posted by Daniel Meyer-Dinkgräfe | 6th Feb 2026 | Directing, Germany, Review

For this production of Shakespeare’s play, Oldenburgisches Staatstheateer used the 2007...

Read More

Martin Crimp’s Version Of “The Seagull” Makes It To The German Stage

Posted by Daniel Meyer-Dinkgräfe | 26th Jan 2026 | Directing, Germany, Review

Many, especially prestigious, new productions of Chekhov’s The Seagull in the UK and USA...

Read More

For Bremen’s Re-Launched Packhaustheater, The Emphasis Shifts From Local Topics To Local Acting Celebrities

Posted by Daniel Meyer-Dinkgräfe | 8th Jan 2026 | Directing, Germany, Review

Bremen’s Packhaustheater set its agenda with a focus on the local, so as not to compete with the...

Read More

Thought-Provoking Crime Drama And Star Vehicle: “Nebenan” At The Renaissance Theater, Berlin

Posted by Daniel Meyer-Dinkgräfe | 2nd Jan 2026 | Directing, Germany, Review

The play Nebenan was premiered at Burgtheater Wien in 2022, based on the film of the same title...

Read More

Gender Allows A Different Perspective On Ibsen’s “Der Volksfeind” (“An Enemy Of The People”) In Bremerhaven

Posted by Daniel Meyer-Dinkgräfe | 1st Jan 2026 | Directing, Germany, Review

In 2019, Landestheater Salzburg used a new translation of Ibsen’s An Enemy of the People as the...

Read More

Witty Revival Of 2022 Pollesch “Liebe, Einfach Außerirdisch” In Berlin

Posted by Daniel Meyer-Dinkgräfe | 12th Dec 2025 | Directing, Germany, Review

When the production first opened in 2022, critics commented on the fact that the play was being...

Read More

Biography And Politics: “Der Zauberer Von Öz – Eine Fußballtragödie“ In Bremen

Posted by Daniel Meyer-Dinkgräfe | 4th Dec 2025 | Directing, Germany, Review, Theatre and Politics

Theater Bremen is currently showing the world premiere production of Der Zauberer von Öz – Eine...

Read More

Adaptations On The German Stage (2): “Der Schimmelreiter” In Oldenburg

Posted by Daniel Meyer-Dinkgräfe | 28th Nov 2025 | Adaptation, Directing, Germany, Review

Der Schimmelreiter (The Rider on the White Horse) is a novella by German writer Theodor Storm...

Read More

“Liebe Mit Taktgefühl” By Barbara Raue-Flajs, At Piccolo Teatro Haventheater, Bremerhaven: Directorial Reflections

Posted by Daniel Meyer-Dinkgräfe | 20th Nov 2025 | Directing, Essay, Germany

Since August 2019, I have owned and run the chamber theatre, piccolo teatro Haventheater, in...

Read More

Adaptations On The German Stage (1): “Sein Oder Nicht Sein” In Bremerhaven

Posted by Daniel Meyer-Dinkgräfe | 29th Oct 2025 | Directing, Germany, Review

Sein oder nicht sein is a play by Nick Whitby (b.1963), premiered on Broadway in 2008, and first...

Read More

Six-Hour Tour De Force “Hamlet” In Hamburg, Directed, With Many Ironic Self-References, By Veteran Legendary Frank Castorf

Posted by Daniel Meyer-Dinkgräfe | 27th Oct 2025 | Directing, Germany, Review

This six-hour production of Hamlet took Shakespeare’s play as the starting and end point, in...

Read More

“Lale Lili Marleen:” The Promising Relaunch Of A Quaint Chamber Theatre In The Oldest District Of Bremen

Posted by Daniel Meyer-Dinkgräfe | 10th Oct 2025 | Directing, Germany, Review

The small district of Schnoor in the northern German city of Bremen, consisting of some 100...

Read More

1
2

Like Us On Facebook

Facebook Pagelike Widget

Awards

Most Popular Posts

David Yazbek: The Master of Adapting Films into… by Lisa Monde 2nd April 2026
Maxim Sukhanov – About The “Brew”… by Sergey Elkin 1st May 2026
Waking Up in the Spotlight with “The Unusual… by Alexander Fatouros 24th March 2026
Romeo Castellucci “Believing In Masks” At Milan’s… by Margaret Rose 13th March 2026
Michael Frayn’s “Copenhagen” at the Hampstead… by Aleks Sierz 14th April 2026
“Broken Melody” at MITEM: A Music That Finds Its Way Home by Emiliia Dementsova 13th May 2026
Pinocchio. What Is a Person? at MITEM: Who Gets to… by Emiliia Dementsova 8th May 2026
“The Devil Wears Prada” and Other… by Lisa Monde 8th February 2026
GPS M S Biomechanics System Vs. Narcissism:… by Ivanka Apostolova Baskar 8th April 2026
Guilt And Resilience, And “The Fear Of 13” by Teodora Medeleanu 3rd May 2026

Recent Posts

Theatre – Creating Conditions For What Has Been Silenced To Emerge 16th May 2026
“The Copenhagen Trilogy” by Tove Ditlevsen, adapted by Tom Silkeberg, directed by Anja Suša at Malmö City Theatre 16th May 2026
“The Cherry Orchard”: The Comedy Of Ruins 15th May 2026
“Broken Melody” at MITEM: A Music That Finds Its Way Home 13th May 2026
“Mothers: A Song for Wartime” by Marta Górnicka at Gothenburg City Theatre 13th May 2026
In “The Aquarium” Nina Plavanjac Turns Family Memory Into a Transparent Cage 12th May 2026
Pinocchio. What Is a Person? at MITEM: Who Gets to Be Seen as Fully Human? 8th May 2026
At The Düsseldorfer Schauspielhaus, “Gott ‘By Ferdinand Von Schirach Presents Its Tough Ethical Dilemma For The Audience To Vote On 5th May 2026
Guilt And Resilience, And “The Fear Of 13” 3rd May 2026
Birmingham Royal Ballet’s “Don Quixote” Slowly Finds Its Sunshine 2nd May 2026

SEARCH OUR ARCHIVES

Pin It on Pinterest