TIMO RADÜNZ
"In a perfect world..."
Timo Radünz’s day would clearly have more than 24 hours. Either way, every available moment is invested effectively and productively in art — or in work, although for Timo, the line between the two is almost invisible. Because Timo lives and breathes art.
Even before completing formal training in singing, dance, and drama at the Stage School Hamburg, Timo made a professional stage debut in 2012 at Theater Heilbronn, playing Mercedes in LA CAGE AUX FOLLES. This was quickly followed by engagements as Dance Captain in CABARET (Dir.: Werner Sobotka) and THE ADDAMS FAMILY (Dir.: Andreas Gergen), as well as swing roles in WAR HORSE (Dir.: Polly Findlay/Mervyn Millar), ROMEO & JULIET (Dir.: Christian von Götz), and SHREK (Dir.: Andreas Gergen). Recently, Timo appeared in 2019 at Landestheater Linz as Tintinabula in A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (Dir.: Matthias Davids).
Soon after, Timo also began making a mark offstage — starting in 2015 with choreography for EATING RAOUL (Dir.: Werner Sobotka, Vienna). This was the beginning of a growing passion for staging and creative direction, visible in projects such as DIE GLORREICHEN (Dir.: Frieder Kranz, Munich), COCO – THE TRANSGENDER MUSICAL (Dir.: Stefan Huber, Bern), THE LAST 5 YEARS, SATURDAY NIGHT FEVER (Dir.: Till Kleine-Möller, Darmstadt), as well as more recent productions like GHOST and FOOTLOOSE (Dir.: Manuel Schmitt). Timo also contributed choreography and movement direction to Flying Fox Theater Berlin (POM POM, GROßVATERS KIRSCHBAUM), and frequently collaborates with the Clingenburg Festival on productions like WEST SIDE STORY, SHAKESPEARE IN LOVE and ROCKY HORROR SHOW.
In recognition of this versatile work in both choreography and performance, Timo was honored in 2016 with the Special Jury Prize from the proskenion Foundation as an exceptional artist.
Beyond the stage, Timo is also passionate about teaching — sharing knowledge and experience at universities (such as the University of Bayreuth and the Theaterakademie August Everding Munich), private schools, and other institutions like the New York City Dance School or, since 2018, with the national team of the German Ballet Competition.
Timo draws creative inspiration from films, series, books, of course theatre — but most of all, from connecting with people. That’s why collaborations with Timo always begin with a strong conceptual framework — but the final work of art only takes shape through interaction in the here and now.
Despite a clear artistic signature and a conscious approach to creative work, every artistic collaboration with Timo — like the performing arts themselves — should be seen as a living, evolving process.
Any remaining, not-yet-processed inspiration often finds its way into drawings, paintings, sewing projects, improvisational dance, and other creative outputs — always with a touch of Timo.
