Daniel Meyer-Dinkgräfe

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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.

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....

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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...

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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...

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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...

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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...

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“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...

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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...

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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...

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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...

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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...

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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...

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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...

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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...

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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...

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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...

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“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...

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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...

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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...

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“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...

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Lessing’s “Emilia Galotti” As Directorial Debut In Bremen

Posted by Daniel Meyer-Dinkgräfe | 9th Sep 2025 | Directing, Germany, Review

At German theatres, some assistant directors are employed for the duration of a production, from...

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