Anne Hamilton/Hamilton Dramaturgy


To everyone in Los Angeles – One of my Theatre Artists I Love to Follow (TALFs) will have a play produced at Zombie Joe’s Theatre Group on Saturdays at 8:30 p.m. from June 8 through July 6! It’s Joe Musso’s REPULIC COUNTY. The show’s postcard is attached.

Joe Musso's ZOMBIE JOE'S

HowlRound Post – Peña and Pamatmat

My Parents Were Tiger People: christopher oscar peña chats about writing race with A. Rey Pamatmat


A. Rey Pamatmat: In the lobby for a production of my play Edith Can Shoot Things and Hit Them I overheard a woman say, “This play would get done everywhere if the main characters weren’t Asian.” Discussing the same play, a young future theater professional asked, “Why are Kenny and Edith Filipino?” To which I replied, “Why are you white?” And in the year following my apparent need to justify putting Asian-American characters on stage, others did their best to keep Asian actors off stage by casting white actors in yellow-/brownface (The Nightingale, The Orphan of Zhao, and Pippin: A Bollywood Spectacular come to mind).

Imagine my surprise when—upon The Flea’s announcement of my friend christopher oscar peña’s gorgeous play a cautionary tail—I felt compelled to ask why his main characters are Chinese-American. chris is Latino, and his plays feature characters of his own ethnicity in Icarus Burns or of other Latino descent in TINY PEOPLE. All three plays deal with bicultural identity, but in a world that doesn’t seem to want Asians onstage, why would a Latino playwright compose a play with two Chinese-American leads?

christopher oscar peña: Like you, my initial response is: why not? This is America right?


Here is my latest Page & Stage column from the Bucks County Women’s Journal (June/July).

On Her Shoulders in New York City

By Anne M. Hamilton, MFA

My respected colleague Susan Jonas, the founder/ director of The Legacy Projects, is also a co-founder of 50/50 in 2020. In recent years she has made pursuing gender parity in theatre her life’s work, and her success continues to grow.

Her newest endeavor is On Her Shoulders, a series of staged readings of plays by women which will occur in Manhattan monthly through December, 2013. It’s a terrific new program which seeks to educate theatre professionals and the public about women’s plays which have been written over the course of ten centuries. The historical scope of the material, as well as the involvement of leading theatre specialists, is unprecedented.

On Monday, May 20th, the project will present Rachel Crothers’ controversial 1909 play, A MAN’S WORLD, directed by Melissa Crespo, and introduced by Jane Ann Crum. Other plays in the season include: Anna Cora Mowatt’s FASHION, Cicely Hamilton’s DIANA OF DOBSON’S, Shelagh Delaney’s A TASTE OF HONEY, Lorraine Hansberry’s LES BLANCS, Daphne Du Maurier’s THE YEARS BETWEEN, and Susanna Centlivre’s A BOLD STROKE FOR A WIFE.

Founded in 2012 by Andrea Lepcio (Playwright), Lillian Rodriguez (Performer), and Susan Jonas (Dramaturg/Scholar), the reading series is dedicated to, “‘re-loading the canon’ by familiarizing potential producers and audiences with a neglected legacy of plays– not by women playwrights– but by great playwrights.”

On Her Shoulders intends to restore their contribution to theatre history, the canon and the living repertory,” the founders assert on their website, which includes a curated list of significant plays by women.

The initiative encourages teachers to include plays by women on their syllabi, introduces students to monologues and scenes for acting and directing exercises, and invites literary managers and artistic directors to produce these plays on their stages. Its practical, multifaceted approach is unique because it provides the incentive to look at the plays as living works of art rather than just relegating them to history books.

The series will culminate in the publication of an anthology of the scripts staged for production with introductions by major scholars and theatre artists.

Admission is free, and seating is first come, first served, with RSVPs required. More information is available at

Anne Hamilton has 22 years of experience as an dramaturg. She is available for script consultations and career advising through Season Three of Hamilton Dramaturgy’s TheatreNow! launched with an interview with Kate Valk, a leading actress with The Wooster Group.

You may download the article here: BCWJ Article on ON HER SHOULDERS by Anne Hamilton



OWNED in NYC Tonight

Congratulations to Drama Desk Nominee Julian Sheppard, whose commissioned new play is being produced by Knife Edge Productions, with Sam Helfrich directing. Julian and his colleagues were featured in a podcast The Hayes Advantage, where they discussed the collaboration process and funding the play through indiegogo. You may download the podcast here: Tickets for the two remaining shows are available through


Knife Edge Productions Presents


Friday, April 26, 2013 through Saturday, May 11, 2013

A new play by Drama Desk Nominee Julian Sheppard

Life After Closing

Length: 1 hr 30 mins
Intermission: None
Seating: General Admission
You choose your seats when you get to the theater.

 Ray and Ed are bartenders who know what they want. Morgan is a rich girl who wants everything. When Ray and Ed get a last shot at fulfilling their dreams, what could possibly go wrong?

Directed by: Sam Helfrich

Featuring: Don DiPaolo, Susannah Hoffman* and Neil Holland*.

Production Stage Manager: Chelsea Parrish*
Production Manager: Joshua Kohler
Set Design: Blanca Añón
Lighting Design: Eric Southern
Costume Design: Nancy Leary
Sound Design: Daniel Spitaliere
Assistant Stage Manager/Props Manager: Stephanie Armitage
Publicity: Ron Lasko/Spin Cycle

*These Actors and Stage Manager appear courtesy of Actors’ Equity Association. This is an Equity Approved Showcase

Blogger Posts on Playwrighting Success Stories

Playwright and  Journalist Donna Hoke is offering a terrific series featuring interviews with literary managers from all over the country. She calls it the Real Inspiration for Playwrights Project (RIPP).  Brava, Donna!

You can find it at:

Excerpt: “Playwrights talk a lot about how to get plays in the hands of those who will read them, and lamenting the seeming impossibility of this task. And yet… if it were truly impossible, would we keep writing? Would we keep submitting day in and day out? We must believe that even if the odds are slim, there are indeed odds. Odds that are not insurmountable. Odds that lead to success stories.  So I went looking for them. More than that, I found them…”

New App Helps Actors Learn Lines

Here’s what’s new on the digital scene, straight from

Samuel French has teamed up with, the developer of Scene Partner, an award-winning App that helps actors learn their lines using their own scripts or by choosing from a growing collection of Publisher e-Scripts—the authorized Acting Editions designed specifically for use with Scene Partner. The first wave of select Samuel French titles are available in the Scene Partner webstore for iOS devices (iPhone, iPad, and iPod Touch). Apps for other Smartphones and Android devices coming soon. For more information, click HERE.

What is Scene Partner?:

Scene Partner is an app for Apple devices that allows actors to listen to their lines, their cues, or a whole scene to help them learn their lines faster. Actors can listen to a variety of prerecorded voices – available in different dialects as well – or they can record themselves and their cast mates! Each role can be isolated, so every actor can follow their track through the show or they can customize their track by making their own French Scene Breakdown. Everyone stays on the same page, with real time syncing of any cuts or edits to the script!

JULIAN PO Website is Live

The Website is LIVE!  —

2013 NYMF  in NYC


Julian Po Dates

Beth Blickers on When to Approach an Agent

Beth gave some great advice on the LMDA listserv today and I just had to repost it. Thank you so much, Beth!

“If you’ve only written one play and it hasn’t been produced then it is decidedly too soon to look for an agent. And bear in mind that once an agent passes on repping you, you go into their database of people to whom they have said no. And I know for a fact that at some agencies that database is shared within the department. Meaning if you get told no by one agent and approach a different agent two years later, they look you up and you can wind up getting passed on again without being read afresh.

The strongest moment to reach out to agents is when something nationally recognized is happening in your career, when you’ve built of fan base of people who know agents and can speak highly of you and when you are starting to bring in some income so they aren’t working entirely for free. At this point you’ll probably have met some agents in passing at theaters and panels, you’ll probably have worked with some directors who have agents (and are easy ways to get introductions), you’ll have artistic directors and literary managers who will make introductions on your behalf. And I hope you will have talked to represented artists about who they are with, who they know, who they like and why they like them, what agents are actually able to do for them, how they work well together (or don’t), so that you can thoughtfully talk with some agents and make a choice and work together happily for many decades to come.

Don’t (and I’m sure every literary manager will second this list) send us a play you have never heard out loud, even if it’s just in your living room. Don’t tell me about the 22 full length plays, 78 one acts and 592 sonnets you’ve written. Don’t list all of the famous people you know if they’ve never done a thing to further your career. Don’t tell me you’ve been produced by a theater when it was a one night event. Be honest and straightforward. I’d rather a fairly empty resume with a genius cover note then a dazzling array of information that when I start to pick at it, falls apart like dust. And trust me, we check. If you tell me a theater is strongly considering your play I WILL ask that theater about it. And 99 times out of 100 the “strong consideration” means the writer sent them the play that week. Makes the writer look bad to me and the theater.

Do network like mad, go to new play festivals, offer people a mid afternoon iced latte in exchange for an informational meeting, Google theaters, have a website, befriend writers and directors, invest energies in things other than theater, be interested in the world around you and be an interesting person yourself. Know what makes you unique and what you have to offer to the world of theater. The other day I chastised theaters who respond to queries about what they are looking for in a play with “good writing.” I’d say the same to any artist. If I ask you want you want to do in the theater please don’t tell me “write good plays and work with good people.” It tells me nothing about what makes YOU special. And if you don’t know what makes you special why do I care? To quote the great Liz Engleman “why this play, now.” I’d expand that and say agents are asking daily “why this writer, now.” The best writers have an answer. And my goodness they are a delight to represent.”

Beth Blickers is currently an agent at Abrams Artists Agency, where she represents such writers, composers, directors and choreographers for theatre, television and film. Before joining Abrams, she was an agent at Helen Merrill Ltd. and the William Morris Agency, where she began work after graduating from New York University.