Anne Hamilton/Hamilton Dramaturgy


HOMEBODIES Tomorrow in NYC

Congratulations to Maria Alexandria Beech, whose new play HOMEBODIES will be read tomorrow in New York City. Alex was a guest on Season Three of TheatreNow! You can read a transcript of the interview at http://hamiltondramaturgystheatrenow.com/season-three/maria-alexandria-beech/

You’re invited to a reading of

HOMEBODIES

By Alex Beech

Directed by Michelle Bossy

The cast includes Socorro Santiago, Florencia Lozano, Cathy Curtin, Omar Koury, and Jorge Cordova

Primary Stages Studio, 307 W 38th St, #1510

Sunday, April 28th, 3pm

It’s a sort of farce. About upstairs/downstairs neighbors in a brownstone.

To rsvp, write readings@primarystages.org

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DANTE’S INFERNO…

Tune in to a new show directed by TheatreNow! guest Murielle Borst Tarrant. Murielle’s episode will be posted soon.

LIVE STREAM PERFORMANCE COMING TO YOU FROM LA MAMA & CULTUREHUB
“Dante’s Inferno, a journey into hell, a life in Indian show business”

Dante's Inferno...

Tune in on Monday April 29th  at 11AM EST

Streaming to you live at www.culturehub.org/live1

Directed by Murielle Borst-Tarrant

Featuring Nicholson Billey, Tanis Parenteau, Josephine Tarrant and Kevin Tarrant

Watch out when Indian show business meets the “Doctrine of Discovery”. A raucous political satire loosely based on Dante’s Inferno. A comedic, hard hitting look at the marginalization of Indigenous Peoples and appropriation of Indigenous cultural property in show business. Watch this 30 minute workshop piece and join us afterward for a panel discussion with the cast on “Self-Determination and the Arts.”

With special guests:

Tonya Gonnella Frichner, ESQ ( Onondaga Nation, Snipe Clan) President and Founder  American Indian Law Alliance

Karmenlara Ely Artistic Director of The Norwegian Theater Academy

And

Muriel Miguel ( Kuna, Rappahannock) Artistic Director of Spiderwoman Theater

 www.murielleborsttarrant.com



MUSE – A New Monologue

On Sunday I was walking on Greene Street in SoHo and I spied some gorgeous paintings in the window of Arcadia Fine Arts. They immediately reminded me of John Singer Sargeant, and I entered the gallery to discover several large, beautiful figurative works by Malcolm T. Liepke, an American painter. I was so enchanted with his work that I called the gallery the next day to learn more about him. Today I was inspired to write this monologue.

MUSE

For Malcolm T. Liepke

By Anne Hamilton

© April 23, 2013

CHARACTER: A PAINTER, in his late fifties.

SETTING: His studio

TIME: Now

A male painter stands center stage at his easel. It is a very large canvas. His model is offstage, or hidden behind a curtain or screen. He is speaking to his model as he paints.

PAINTER

When I was a kid I went to London. My parents took me there on vacation. I saw amazing things. At the National Gallery I saw Turners. Clouds in endless iterations. Grass plains. Sky.

Pre-Raphaelites. Their hair. Blossoming with volume. Copper-rust strands. Silk and lace so real I could feel them against my skin.

And John Singer Sargeant. My first. Carnation Lily Lily Rose.

An explosion of blooms. They grew from the trees, it seemed.  Children holding lamps glowing like fireflies. The flowers, abundant. And hopeful. And lush.

A big canvas. A big, endless world.

A garden of delights.

I stood there staring until my mother threatened to leave me behind.

(To the model) Can you turn your head a little bit to the right? I want to see how the light falls on your cheek.

I saw Madame X in a book. Arresting. That silhouette. The turned head away. Mystery.

I learned from him –- brushstrokes. Composition. Color. Texture. Light falling against bare skin. The paint making something from nothing. A lightweight pile of color meeting a bare white canvas. And magic. Appears. From nowhere. Just desire. The desire makes magic appear. Becomes flesh.

Imagination. Desire. The light of the world. My muse.

(He paints for a while. He stops, stretches. Puts his paint brush down. He walks over to the area where the model is. He pulls back the curtain. There is no model. He goes back to his canvas and looks at it with satisfaction. He picks up a used brush or two and walks off stage.)

THE END



JULIAN PO – An NYMF Opener

Congratulations to Andrew Barrett, my friend and long-time client, whose musical JULIAN PO (co-written with composer Ira Antelis) has been selected as an opener for the 10th annual New York Musical Theatre Festival on July 8th. Congratulations, Andrew and Ira!

JULIAN PO

Five performances only:

1. Monday July 8th at 7pm
2. Wednesday July 10th at 9pm
3 & 4. Saturday July 13th at 5pm and 9pm
5. Sunday July 14th at 5pm

Julian Po
Book and Lyrics by
Andrew Barrett
Music by Ira Antelis
Based on the book “La mort de monsieur Golouja” by Branimir Šćepanović
and the screenplay “Julian Po” by Alan Wade

Julian Po is about a mysterious man who is determined to end his life at the sea, until he finds himself stuck in the smallest, strangest town in middle America. While waiting for a connecting train, he makes friendships that start to sway him from his mission, with repercussions no one anticipated. This darkly humorous modern day myth is set to the quintessentially American sounds of pop, rock and bluegrass.

National Music Theater Network. Now entering its tenth year, The New York Musical Theatre Festival (NYMF) exists to “revitalize musical theatre culture by discovering and promoting new musical theatre artists, producers and projects; nurturing a vibrant and innovative artistic community; and connecting one of America’s greatest art forms with a diverse, contemporary audience.”

For more information, visit NYMF.org.



BCWJ Profile of Maria Alexandria Beech

Profile of Maria Alexandria Beech

By Anne M. Hamilton, MFA

Maria Alexandria Beech is a playwright and librettist living in New York. She has written over fifteen full-length plays, several as a member of the Dorothy Strelsin New American Writers Group at Primary Stages Theatre, which co-produced her play LITTLE MONSTERS at Brandeis Theatre Company. Her full-length musical titled CLASS, with Karl Michael Johnson, was presented in a reading in May, 2012 at NYU.

AH: Alex, I know that you hold an MFA from Columbia University. Now you have a second, this time from NYU.

MB: It’s in musical theatre writing. It is a true honor. One would think that writing a musical and writing a play are similar processes, but in fact they’re not. They each require their own craft and their own knowledge base.

AH: What is CLASS about?

MB:  It’s based on a play that I wrote in the writers group at Primary Stages, about a girl who is struggling with alcoholism and she signs up for a summer school class in New Orleans in 1987.  And so this girl walks into the situation, and the professor has recently learned that she doesn’t have much longer to live.

It was a real challenge to adapt as a musical, in the sense that it is very much a play as it exists. It was an homage not only to a professor that I had, who was dying of cancer and who had to face students who wanted to use her illness against her, but it was an homage to professors and teachers I had had growing up.
AH: Tell us about your reading at NYU.

One of the things that I learned is that musical theatre is still very much about that well-made musical, that traditional structure of the well-made musical, and the opening number and the closing number. One of my goals is to still honor that tradition, but kind of also do other things and explore more. [I’d like to] not look at the book or the dialogue just as a bridge between the songs. I think the songs could be little kind of poems that stand alone.

Anne Hamilton has 22 years of experience in the professional theatre in NYC, across the nation, and internationally. She is available for script consultations and career advising through hamiltonlit@hotmail.com. Season Three of Hamilton Dramaturgy’s TheatreNow! launched with an interview with Kate Valk, a leading actress with The Wooster Group.

Download the article here: BCWJ Profile of Maria Alexandria Beech by Anne Hamilton



3 Reasons a Theater Degree is Important
April 3, 2013, 9:57 pm
Filed under: Dramaturgy, Theatre | Tags: , , ,

Harvey Young, a professor at Northwestern University, makes a cogent argument about the value of a theatre degree in a Backstage.com article. Thank you, Harvey!

http://www.backstage.com/advice-for-actors/backstage-experts/3-reasons-theater-degree-important/

Excerpt:

Every year, a magazine or newspaper identifies what it considers to be the most and least valuable college degrees. The determination of value is typically done by imagining a particular career path for majors and then investigating its expected earning potential. To put it simply, such rankings attempt to tell readers which college degree will lead to the job that will pay the most. According to “Forbes,” bioengineering is the major that is most “worth it.” Child and Family Services, the lowest ranked according to a Payscale.com listing cited by the magazine, apparently isn’t. Neither is theater…



Greenpeace Dramaturgy

I found this great job description for a Senior Energy Campaigner for Greenpeace Poland.  Look at this application of dramaturgical tools and principles.

Here’s how the company describes itself: “Greenpeace uses non-violent, creative confrontation to expose global environmental problems and force solutions that are essential to a green and peaceful future.”

Check it out at http://www.idealist.org/view/job/ J9cSNdZzdNcp/

(Don’t worry. I’m not changing careers.)

Job Description detail – Planning of Campaigns:

  • Doing research to get basics for the development of campaign projects and pushes
  • Define campaign goals, strategy and tactics
  • Monitoring legal and political changes on national and international level and adjusting campaign plans in accordance
  • Define the “dramaturgy” of a campaign together with media, action and network
  • Creating campaign proposals and plans
  • Budget proposals for the campaign