Anne Hamilton/Hamilton Dramaturgy

O’Neill Conference Submission Process Open
September 29, 2012, 12:01 am
Filed under: Dramaturgy, Theatre | Tags: , , ,

The Eugene O’Neill Theater Center is now accepting scripts for development during the 2013 National Playwrights Conference.  Submissions will be Accepted until 11:59 PM PST, Friday, October 26, 2012. Authors of selected works will be awarded a month-long residency with stipend, housing, meals, and transportation, in support of a week of intensive script development and two public readings.

More information is available at:

Literary Manager Anne Morgan will taking questions about the conference and application process on the O’Neill’s Facebook page at at the following times:

Thursday, October 11th from 6 – 7pm EST

Sunday, October 22nd from 3 – 4pm EST

LPTW’s TheatreNow! Webpage

Many thanks to the League of Professional Theatre Women, which has given TheatreNow! its own webpage at Read how my membership in the League influenced my creation of the podcast series. The League is the nation’s premiere professional organization for women working in all aspects of the theatre.

LPTW and TheatreNow!

I conceived of TheatreNow! in 2009 while serving as the Co-Secretary of the League of Professional Theatre Women. I was so excited to attend meetings and converse with terrific theatre artists and learn about their experience and new projects. I started to think about how wonderful it would be to record these conversations and share them with the public in order to preserve important events in contemporary American theatre history.

So I decided to download some free recording software and use available resources on the internet to record some interviews. I happened to meet Quiara Alegría Hudes’ mother, and asked for her daughter’s contact information. Quiara was happy to give me an interview, and so, TheatreNow! was launched. I followed the inaugural podcast with interviews with women whose careers I felt were interesting and important.

I made sure to include women from many different disciplines, and even now I actively seek out women of different races, nationalities and professions in order to give a balanced and inclusive sampling of contemporary theatre practice.

And so, TheatreNow! grew from one half-hour recording to a series with a new website at, an Archivist – the marvelous Helaine, a staff of Program Assistants, and a theme composed by my Co-Secretary Nancy Ford. The series is posted on, and is very easy to download and share.

In Season Two I began to post transcripts of the interviews for the public’s convenience. AMERICAN THEATRE published a two-page article on the series in its October 2012 issue.

I am now planning my fourth season, and rest assured, it will continue to feature League members, and women whom the League has honored with prizes for their contribution to American theatre.

Anne Hamilton, Producer and Host
Hamilton Dramaturgy’s TheatreNow!

TheatreNow! Podcasts With League Members:
Kristin Marting
Valentina Fratti
Yvette Heyliger

Please download the article here: LPTW and TheatreNow! by Anne Hamilton

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

The Puzzle Master
September 24, 2012, 1:47 pm
Filed under: Dramaturgy, HD Clients | Tags: , , ,

Congratulations to a client and friend from the U.K. Stephen Boyle, who has e-published his first novel. It is a political thriller.

The Puzzle Master and is available on Amazon Kindle and via Smashwords, which distributes it to other ebook platforms like B&N’s Nook and Apple, as well as providing it in PDF and other such formats for downloading to a PC or Mac.

TheatreNow! Interview with Rae Smith

Hamilton Dramaturgy’s TheatreNow! Is a podcast series featuring some of the most exciting women artists working in the theatre today.  Anne Hamilton is the producer and host.  You may listen to the podcasts and read the transcripts at

Rae Smith, Set and Costume Designer

(Season 3, Episode 2, Recorded January 13, 2012)

Hamilton Dramaturgy’s TheatreNow! Interview with Rae Smith

Rae Smith is an Olivier and OBIE award-winning British designer who works regularly in a wide variety of styles and genres. This diversity has taken her from Slovenia to Broadway. Her theatre designs are frequently seen in Britain in the West End, at the National Theatre, the Royal Court, the Lyric Hammersmith, the Royal Shakespeare Company, Theatre de Complicité and in a variety of experimental theatre companies. She also works regularly in some of the world’s great opera houses. She won the 2012 Tony ® Award for Best Scenic Design of a play for WAR HORSE.

This episode is dedicated to Tyler Fereira.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

About Anne

Anne Hamilton has over twenty years of experience in New York City, across the nation, and internationally. The Founder of Hamilton Dramaturgy, she has consulted with Lynn Nottage, Andrei Serban, the Joseph Papp Public Theater, the Harold Prince Musical Theatre Institute, Michael Mayer, Classic Stage Company, Jean Cocteau Repertory Theater, Leslie Lee, Deborah Gregory, Andrew Barrett, the New York City Public Library’s Schomberg Center for Research in Black Culture, the University of Iowa Playwrights’ Workshop, and Warren Bodow.

Her clients have gone on to win the Pulitzer Prize, the MacArthur “Genius” Award, the Tony Award, a Royal Court International Residency, and several national playwrighting awards.

She worked for James Lipton (host and producer, INSIDE THE ACTORS STUDIO) for three years as the academic advisor to the graduate students and faculty at The Actors Studio Drama School in NYC. The Bogliasco Foundation of New York City and Bogliasco, Italy awarded her a fellowship in recognition of her personal contribution to the American theatre. She studied the philosophy of aesthetics at St. Catherine’s College, Oxford University and was a NYSCA auditor.

Hamilton is a graduate of Columbia University School of the Arts and holds dual citizenship in the United States and Italy. She is available for consultations in script development, production dramaturgy, and career development, through her website at Anne is a member of The Dramatists Guild of America, Inc.(DGA,, Literary Managers and Dramaturgs of the Americas (LMDA, and is the Co-Secretary of the League of Professional Theatre Women (LPTW,

You may contact Anne at or at Hamilton Dramaturgy, 215-536-1074.

Anne Hamilton, Dramturg and Playwright

TheatreNow! Article in AMERICAN THEATRE magazine

Many thanks to  AMERICAN THEATRE magazine (October 2012 – Theatre Communications Group) for publishing a 2-page article on TheatreNow! Margot Melcon wrote an informative and thorough piece on TheatreNow!’s origins, and place in the contemporary gender parity movement.

Download the article here: AMERICAN THEATRE article on TheatreNow! by Margot Melcon (October 2012)

“There’s been a lot of discussion over the past few years about women’s voices being underrepresented in the theatre—there aren’t enough female playwrights being produced, not enough women in executive positions in regional theatres, not enough female directors or roles for female actors. And not enough women speak out as informed, educated, experienced and qualified representatives in the field. Though there has been a flood of discussion about gender disparity, talking doesn’t always lead to action.

But Anne Hamilton isn’t just talking. In response to the acknowledged under-representation that leads to so much frustration, the New York City–based freelance dramaturg, script consultant and playwright has offered up a solution…”


Now Playing – Podcast with Kate Valk

Hamilton Dramaturgy’s TheatreNow! is a podcast series featuring some of the most exciting women artists working in the theatre today.  Anne Hamilton is the producer and host.  You may listen to the podcasts and read the transcripts at

 Kate Valk in HOUSE/LIGHTS, Photo by Paula Court

Kate Valk in The Wooster Group’s HOUSE/LIGHTS

Photo by Paula Court

Hamilton Dramaturgy’s TheatreNow!

Interview with Kate Valk, Actress

(Season 3, Episode 1, Recorded February 18, 2012)

Hamilton Dramaturgy’s TheatreNow! Podcast with Kate Valk

Ms. Valk has been a driving force in The Wooster Group since 1979, appearing in all of its productions, including ROUTE 1 & 9, LSD […JUST THE HIGH POINTS…], THE TEMPTATION OF ST. ANTHONY, THE EMPEROR JONES, BRACE UP!, THE HAIRY APE, and HOUSE/LIGHTS. EARLY PLAYS,  opened in February at St. Ann’s Warehouse. I had the opportunity to interview her there just before a performance.

You may read the interview here: HamiltonDramaturgy’s TheatreNow! Interview with Kate Valk

This episode is dedicated to Nicholas F. Matterese, AIA.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

And please read the AMERICAN THEATRE magazine article on TheatreNow! here: AMERICAN THEATRE article on TheatreNow! by Margot Melcon (October 2012)

BCWJ Profile of Catherine Rush

Please enjoy my latest Page & Stage column article for the BUCKS COUNTY WOMEN’S JOURNAL. It is  a profile of Philadelphia-based playwright Catherine Rush.

Profile of Catherine Rush

By Anne Hamilton, M.F.A.

In the nine years since moving to Philadelphia from Connecticut, Catherine Rush has built deep connections to the city’s vibrant theatrical scene.

Productions started with BACKYARD CONSPIRACY, a ten-minute play for Luna Theatre Company in the SPARK Festival. And BCKSEET Productions commissioned LOSING THE SHORE, a work of historical fiction set in 1953 featuring five characters travelling on a ship. “The play is about a time of transition in America,” she says. “What was happening then still rings true today. I was struck by the truth of the adage, ‘The more things change, the more they stay the same.’” BCKSEET produced the play in March/April of last year.

Rush, and her husband Adrian Blue, co-wrote THIS ISLAND ALONE a play set  in Chilmark on Martha’s Vineyard in Massachusetts. Historically, the town was home to a large deaf population. The residents routinely spoke and used sign language because one out of every four people was deaf. THE LOUDEST MAN ON EARTH, which was commissioned by Philadelphia Theatre Workshop, is about the relationship between a deaf man and a hearing woman.

“The play is indicative of the things that deaf and hearing couples have to deal with over and over,” Rush explains. The play was read at the New York Theatre Workshop, which then workshopped it at Dartmouth College. “It includes several different modes of communication – English, Sign Language, gesture, and Visual Vernacular, which is a style of theatrical communication that uses Sign Language, mime and cinematic techniques.”

Blue was an actor with the National Theatre for the Deaf for many years, and will perform one of the leading roles in a west coast production slated for the 2013/2014 season.

Catherine is finishing her M.F.A. in Creative Writing (Playwriting) from Spalding University, a low-residency program in Louisville, KY. She may be reached through

Anne Hamilton has more than twenty years of experience in the professional theatre in NYC, across the nation, and internationally. She is available for script consultations and career advising through Season Three of Hamilton Dramaturgy’s TheatreNow! has launched with an interview with Kate Valk, a leading actress with The Wooster Group. On May 19th, Anne directed a walking tour version of THE STACY PLAY – A LOVE SONG – VOLUME I, featuring members of The Living Theatre’s acting company, for sold out audiences in Central Park in New York City.

Download the article here: BCWJ Profile of Catherine Rush by Anne Hamilton

A Forever Decision

For the past few years, I have been writing articles for Open to Hope, a website which helps people to find hope after the loss of a loved one. Please visit the website and refer your friends, because it is a very helpful resource.

Here is my latest article.  Read my others on the Open to Hope website

A Forever Decision

By Anne Hamilton

I’m starting to realize that she is not coming back.

Five days ago, I put my beloved dog Camilla to sleep. She had a tumor on her pituitary gland and she was experiencing debilitating symptoms. It was best to end her suffering. It was a forever decision.

The first day I felt relieved. I had been nursing her for a year and a half. I never knew when she would have another seizure. I had to guide her to and from the backyard by clapping so she could follow the sound – she had gone blind.

I have another dog and together, we cuddled and went for walks and bonded again.

The second day I still felt like I was on alert. I didn’t want to talk to anyone. I think it’s much better for me to reorient myself without the burden of interacting with people.

The third day was September 11th, a day where I traditionally stay home and remain quiet, out of respect for the American tragedy which I experienced as a resident of New York City eleven  years ago.

The fourth day, I felt like I had to get out of the house. I wrote thank you cards to my parents and family members who supported me while I was making the decision to let Cami leave our close-knit family peacefully. And I felt a fear of the vet’s office where we all went together to say goodbye to her, knowing that we would leave with a hole in our hearts and our lives.

I decided to be brave, so that I wouldn’t be afraid of that place which was a necessary part of our lives. I cleaned out the dog’s medicine cabinet and took Cami’s unused medicines back to the vet’s office. I took my other dog, Isabella, with me, because I wanted her to feel comfortable going to the vet when she needed care.

I walked in and immediately saw the room where we lovingly surrounded Cami and held her as the doctor administered the medicine to put her to sleep. The door was open. I looked at the floor and pictured her there, that last time, and also the time before, when I visited her during her last hospital stay and she fell asleep as I petted her dear face.

I didn’t cry. I told the vet’s assistant that I came because I didn’t want to be afraid of the vet’s office. I gave the medicine back and walked the grounds with Isabella, exploring the field with the dog agility equipment.

I decided then that it was time for Izzy to have some canine company and determined to bring her back the next day to play in the fields with her friends.

Today when I awoke, I felt the dread of dropping her off, and I also felt the absence of Camilla. It’s easy for the first few days after a death to think that the loved one is just away for a few days, but as the adrenaline wears off, we are left with stone cold logic. She will not return and I have to live with it.

At the same time, my boyfriend boarded a plane to speak at a conference in the Midwest, placing him farther from my reach.

I battled my fear and put the dog in the car and drove her back to the kennel. She happily went with the doggie day care worker. I left quickly.

It’s important for me to keep up my relationship with the kennel to get the needed care for my remaining dog. It’s important for me to find a way to process my own feelings, and to care for Isabella’s socialization and exercise needs while we are adjusting.

I need to adjust to the loss of a pet whose presence made my life easier during difficult times. It’s important for me to continue to get the necessary medical care for the surviving pet companion.

I feel like I’m walking through a dark cave. I’m trying to find the right thing to do. I’m praying and crying when I need to. I’m writing to help process my emotions. I’m showering my surviving pet with affection.

I’m balancing needs. My own, first of all, because I’m a caregiver for Isabella and responsible for running the household. When one member of the family dies, life must go on.

I think that proceeding slowly and steadily is the answer. It’s the method which works for me.

In five more days I’ll open my office again. And begin to speak with my clients again. And go back to work. I have a lot of tasks to complete.

But for now, this week, I’ll slow down and breathe. And remember the perfect pet who gave me so much love for ten long years.

And thank my lucky stars for letting me know such a beautiful soul for so long.

You may download a copy of the article here: A Forever Decision by Anne Hamilton.

Warren Bodow Featured on

Congratulations to my long-time client Warren Bodow, who is featured in this week’s Cultural Weekly online magazine. carries a fascinating piece about Warren, a Theatre Artist I Love to Follow (TALF), who specializes in turning out plays dealing with older adults.  The reality of our theater today is that people over 55 make up the core audience for non-musical plays, so here is a story about an older adult New-York-based playwright, who was already accomplished in the field of broadcasting, and who turned to playwriting as a second career with this core audience in mind. The direct link is:

Enjoy! You may reach him directly at or through

Published September 6, 2012

Theatre Profile

Warren Bodow’s Second Act

by Jaz Dorsey

“At 73,” says playwright Warren Bodow, “I am what I am, so I have determined to write plays about older people who face issues, problems and conflicts that are largely the result of living beyond the traditional retirement age of 65.”

With these words, Bodow, it seems, speaks not only for himself but also for an entire generation of amazing American theatre artists who are more likely to be found in the director’s chair than the rocking chair.

Born in 1939 in Syracuse, New York, Bodow’s initiation into drama and music began when he was seven with a Stromberg Carlson AM-FM short-wave radio and record changer console which was the heart of family time, enjoying shows such as Jack Benny and Burns & Allen. On his own, Bodow tuned in to Superman and other youth-oriented adventures or eavesdropped on his mother’s radio soaps and recalls the profound effect that radio had on the imagination of his generation. The record changer was kept busy with the family’s classical and semi-classical collection.

These cultural elements no doubt laid the ground work for his future career in broadcasting.

Bodow was also a film fanatic who remembers to this day in which theatre he saw which film and who, for the past six years, has led seminars on classic movies for adult ed groups.

After graduating from Syracuse University in 1960, Bodow embarked on a career in broadcasting. His path took him on an adventure that included two years (1965-67) at WKNR in Detroit, which he remembers as “a great place to be at that time since the Motown sound was at its height,” and eventually landed him the rather amazing title of President and General Manager of the New York Times radio stations WQXR FM/AM, a position which he held from 1983 to 1998. Like any true New Yorker, he reveled in the NYC theatre scene, where he met and dealt with people such as Gerald Schoenfeld of the Shubert Organization.

In 1998, Bodow says he retired from broadcasting, but talking to him it sounds more like he just switched careers. Over the past 14 years, he has penned four plays, three of which have received productions in NYC and beyond.

Working with acclaimed dramaturg Anne Hamilton of Hamilton Dramaturgy, Bodow wrote Fronting the Order, which looks at a group of four encyclopedia salesmen on the road in 1959. Fronting has had a production in Tucson, AZ. Race Music is about a young African-American man who wants to become a classical DJ. Race Music was seen at the Samuel Beckett on Theatre Row in 2009.

“Harry the Hunk Is On His Way Out,” says Bodow, “deals with my observation that those of us born in or around 1940 may be the luckiest people in America because we came of age at the height of America’s dominance, which provided great opportunity for those with the guts and drive to grab the golden ring.” Harry had its premiere at The Cherry Lane Studio in 2007. Yet to be produced (for any of you up and coming producers looking for a hot new property) is Deelmaker (that’s the main character’s dot-com), about a 65-year-old media broker who wants to keep doing what he’s been doing but is faced with a client base that is shrinking and a world that is telling him he’s on his way out.

Of his “second act,” Bodow quotes a good friend who said recently “Life is wanting. You stop wanting, you stop living.’” “Even at this age,” says Bodow, “with a full and fortunate life behind me, I want more. Writing a hit Broadway play wouldn’t hurt. Once, just once, it would be fun to be a principal at a Broadway opening night party.”

To which I can only say, “Amen to that, Mr. Bodow!”

Jaz Dorsey is the founder of AAPEX (The African American Playwrights Exchange) and F.L.A.G.(The Foreign Language Acting Group) and currently resides in Nashville, Tennessee.

Warren Bodow can be reached at or through

Download a copy of the article Cultural Weekly article WARREN BODOWs SECOND ACT.