Almut Wagner

Stellvertretende Intendantin und Chefdramaturgin

Almut Wagner

Studierte Theater-, Film- und Fernsehwissenschaft, Romanistik und Soziologie an der Universität Köln. Von 1991 bis 2001 arbeitete sie am Schauspiel Bonn, zuletzt als Dramaturgin und Direktorin des Festivals Bonner Biennale – Neue Stücke aus Europa. 2001 bis 2005 war sie Schauspieldramaturgin bei den Wiener Festwochen (Intendanz Luc Bondy, Schauspieldirektion Marie Zimmermann/Stefanie Carp). Von 2005 bis 2008 war sie Geschäftsführende Dramaturgin am Deutschen Schauspielhaus in Hamburg. 2008 bis 2010 war sie Leitende Dramaturgin bei den Wiener Festwochen, 2010 zudem Kuratorin der Programmreihe «forumfestwochen ff» und Lehrbeauftragte an der Universität Wien. 2011/2012 bis 2013/2014 leitete sie gemeinsam mit Stefan Schmidtke die Dramaturgie des Düsseldorfer Schauspielhauses. Von 2013 bis 2015 war sie Lehrbeauftragte im Studiengang Schauspiel/Regie an der Folkwang Universität der Künste Essen/Bochum. Weitere Lehraufträge hatte sie später an der Theaterakademie August Everding und am Mozarteum in Salzburg.

In den Spielzeiten 2015/2016 und 2016/2017 war Almut Wagner Geschäftsführende Dramaturgin der Sparte Schauspiel am Theater Basel. Von 2017/2018 bis 2019/2020 war sie Schauspieldirektorin am selben Haus. Mit Beginn der Spielzeit 2020 ist sie Chefdramaturgin am Residenztheater.

Sie ist Mitglied im Vorstand des Internationalen Theaterinstituts.


Claire Fletcher, the priest of a small town, becomes the witness and victim of an act that defies comprehension. During a rehearsal of the community choir she conducts, a young man kills several choir members. Since this happened, nothing is as it was and a return to normality seems impossible.

In each performance the characters appear on stage with a different choir from the Munich area.


Die Ereignisse (The events)
Marstall, 20.00 o'clock
Mon 12 Jun

Disappearing, fading away, vanishing and escaping – Aristophanes’s comedies deal with everything in the world that is ephemeral: life, happiness, property, knowledge and trust. They tell us about the complicated business of being human, about the problem of the just distribution of wealth, about greed, twisted rhetoric, and the eternal incompatibility between theory and practice.

Die Wolken, die Vögel, der Reichtum (The clouds, the birds, wealth)

One stormy night in 1836, Hans Christian Andersen arrives uninvited at the home of his childhood friend Edvard Collin, who is to marry his fiancée Henriette the next day. Andersen has travelled through the wind and the rain to once again confess his love for Edvard. The family provide a frosty reception and the groom himself is out celebrating his last night as a bachelor. Only Henriette feels attracted to the unconventional charm of their guest, who lives in a fantasy world continually surrounded by characters from his own fairy tales. He magically transforms a sober room into a sparkling underwater landscape and castles of otherworldly beauty. And he starts telling his friend’s fiancée the fairy tale of The Little Mermaid: burning with love for a Prince, she wishes to become human and is willing to sacrifice her voice and her home to do so – risking her life.

Andersens Erzählungen (ANDERSEN’S STORIES)
Sat 18 Nov

For the city of Munich, the 1972 Olympic Games are a giant step towards the future. How the Cold War was reflected in the «cheerful games» of 1972, why violence in the form of international terrorism came to the Olympic village despite all efforts to the contrary, and what consequences this continues to have today are investigated by the directing team of Regine Dura and Hans-Werner Kroesinger using eyewitness accounts, investigation files, newspaper articles and interviews with people who were there and saw what happened.

Die Spiele müssen weitergehen – München 1972 (THE GAMES MUST GO ON – MUNICH 1972)

The Italian writer Davide Enia is invited to a literary festival in Munich by his German colleague Albert Ostermaier – who suggests that he bring with him a text about the situation of the refugees in Southern Italy. For the Sicilian Enia, this is a pretext to travel to the island of Lampedusa, which he knows only as a holidaymaker. By October 2013 at the latest, when a shipwreck nearby caused hundreds of people to lose their lives, the island had become a shocking symbol of the European Union’s inability to prevent refugees dying in the Mediterranean Sea.

Finsternis (THE ABYSS)
Residenztheater, 20.00 o'clock
Thu 29 Jun
for the last time for the time being
Residenztheater, 20.00 o'clock
Mon 03 Jul

On the basis of interviews that the journalist and writer Jürgen Berger conducted with trans* people in Thailand and Germany between 2017 and 2022, the production explores the gap in society which these people inhabit in both countries.

I Don't Care ไม่ว่าอย่างไร

Yasmina Reza, the celebrated author of hit social comedies such as «The God of Carnage» and «Life x 3» and bestselling novels – most recently «Serge» – has written a new play that incisively dramatises the profound problems of understanding that increasingly dominate relations between generations.

James Brown trug Lockenwickler (JAMES BROWN WORE CURLERS)
Residenztheater, 18.30 o'clock
Thu 08 Jun
Residenztheater, 19.30 o'clock
Wed 14 Jun
Residenztheater, 19.30 o'clock
Thu 15 Jun
Residenztheater, 16.00 o'clock
Sun 18 Jun
Residenztheater, 18.30 o'clock
Sun 25 Jun
Residenztheater, 19.30 o'clock
Wed 28 Jun
Residenztheater, 19.30 o'clock
Sat 08 Jul
Residenztheater, 19.00 o'clock
Sat 15 Jul
Residenztheater, 19.30 o'clock
Sun 16 Jul
Residenztheater, 19.30 o'clock
Sat 22 Jul
Residenztheater, 19.30 o'clock
Tue 25 Jul

Tessa Ensler is a tough defence lawyer. In her early thirties she has managed what very few people believed she could: she has made her way from an underprivileged background to an elite university and on to a top legal firm. She specializes in defending cases of sexual assault. Is her rate of acquittals so high because she is a woman, as is rumoured – or is it because she is so good at spotting holes and contradictions in the statements of the female victims?

Prima Facie
Fri 01 Mar

At Whitsun the lion king Nobel invites his subjects to his court for an early summer celebration. The entire animal kingdom gathers – ranging from the crane to the wolf and the bear. Only one animal is missing: the fox called Reineke. As soon as his name his mentioned, the mood of harmony vanishes. One angry accusation follows another and Reinike the fox is charged in his absence with a series of incredible crimes. The cockerel, for example, complains of losing his wife and children – Reineke ate them for supper. When he is eventually put on trial, the accomplished liar – an animal equivalent of Ibsen’s Peer Gynt – manages to pull the wool over everyone’s eyes – man, woman or creature – and slip his neck out of the noose. Eventually he even acquires a whole crowd of followers and is elected Chancellor.


The moral of the story is that not everyone with foxy cunning and a talent for oratory puts those gifts to benevolent use – on the contrary! But how can we tell the difference between truth and lies? How can we avoid being taken in by the peddlers of fake news? How can we remain faithful to our own opinions and values?

Reineke Fuchs
Sun 15 Oct

Auftakt mit Autor*innen und Theatermacher*innen aus Indien, Ruanda und der Ukraine  

In Gesprächen, Lesungen und spielerischen Formaten heißen wir die Autor*innen der Plattform für internationale zeitgenössische Dramatik am Residenztheater willkommen. Lernen Sie die vielseitigen Künstler*innen Odile Gakire Katese aus Ruanda, Oleksandr Seredin aus der Ukraine und Deepika Awind aus Indien persönlich kennen und erhalten Sie Einblicke in ihr künstlerisches Schaffen.

Welcome Welt/Bühne 22/23