Dramaturgy

Dramaturgs Amanda Boyle and Alyson Germinder share their experience with hosting the Dramaturgy Open Office Hour Project in Kansas City, MO.

In this installment, Michael Lueger interviews Dramaturg Ken Cerniglia about his journey and work with Disney Theatrical Group. 

Martha Steketee talks with Associate Artistic Director Estelle Parsons about a public series on social justice that has been created out of Actors Studio session work.

Did 2014 reflect a kind of final critical understanding of Eno’s subject matter? Are we all finally ready to experience with him, according to his rhythms and speech patterns, the gentle devastation of small town family life? Perhaps yes to all of the above.

Director Christine Young advocates for casting more women in university theatre productions, ranging from the classics to contemporary work.

Using the production of Ken Urban’s play A Sense of an Ending to launch the conversation, theatre  artists Adrienne Campbell-Holt, Gregg Mozgala, A. Rey Pamatmat,  Mfoniso Udofia, and Ken Urban talk about representation on stage. 

Agnes Borinsky considers a framework for thinking about playwriting from the sentence up, rather than from the idea down, which offers an alternative to the infiltration of playwriting with market-based thinking.

Martha Steketee explores the lens and artistry of Jody Christopherson in “Necessary Exposure The Female Playwright Project: Portraits of Playwrights Who Identify as Female” in New York City.

In the second installment of his media design series, Daniel Fine discusses the important connection between media design and dramaturgy in effective storytelling onstage.

Martha Steketee on Daniel Talbott’s ghost story of a sand-bound ship of fools and the exquisite possibility of forgiveness. 

Dramaturg Emily White looks at the amount of LGBTQ characters in theatre, film, and television, and wonders why so few of them are bisexual. 

Louisiana State University undergrad Alexander Adams writes about discovering dramaturgy at a school without a concentration in the field. 

Early Career Dramaturg Amanda Boyle reflects on the lessons she learned at the 2015 Literary Managers and Dramaturgs of the Americas (LMDA) conference in New York City.

Waylon Lenk considers how the University of Oregon and Southern Oregon University are doing Native theatre and compares their models to his approach to organizing a reading series by Native authors at Oregon State University.

Martha Steketee on solo performance and Dael Orlandersmith’s one-woman show, Forever.

Dramaturg Philippa Kelly considers new interpretations of Ophelia.

The author ruminates on two plays that recently concluded Off Broadway runs and their early development at the O’Neill Playwrights Conference. 

Commons producer Jonathan Norton chats with Anne Bothwell about Stagger Lee: Making a Musical, a digital storytelling project tracking the development of Will Power’s new musical.

Lia Romeo explains the advantages of being a playwright working in literary management, and how her job has improved her writing and other important skills.

Martha Steketee explores the development and evolution of I'm Gonna Pray for You So Hard with playwright Halley Feiffer. The play spans five years and two opening nights, features substance abuse, plenty of familial debate, and one attempt at reconciliation.

Martha Steketee looks at The Players, an 125-year-old club for actors and those that love them, and spends some time with all its history and archives.

3Christs is an adaptation of a study about therapeutic experiments with three men who believed they were Jesus Christ at Ypsilanti State Hospital in the 1960s. Performed in Judson Memorial Church, 3Christs exemplifies the essence of Peculiar Works Project.