Anne Hamilton/Hamilton Dramaturgy


Woolly Mammoth’s Digital Engagment Initiatives

Dramaturgs everywhere, take note of Woolly Mammoth’s worthy efforts in Washington, DC.

Article: Are Woolly Mammoth’s digital engagement efforts a glimpse at the theater of the future?

By Sarah Halzack for The Washington Post

Excerpt: “It’s about 15 minutes until show time at Woolly Mammoth Theatre, but Anna Heller Sebok hasn’t made it to her seat yet.

She’s tinkering with a sleek installation in the lobby of the Penn Quarter playhouse for its production of “Stupid F—ing Bird,” an irreverent, contemporary adaptation of Anton Chekhov’s famed drama “The Seagull.”

The display encourages patrons to remix monologues from the original 19th-century play into 140-character messages for Twitter. Users build their snippet-sized prose by mixing up the words on a large magnetic board, and then they can send out their creations over social media using flat-screen Apple computers in the exhibit or by snapping a photo on their smartphones….”

Read the full article at: http://www.washingtonpost.com/business/capitalbusiness/are-woolly-mammoths-digital-engagement-efforts-a-glimpse-at-the-theater-of-the-future/2013/06/14/034157bc-c954-11e2-9245-773c0123c027_story.html

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Teatro Máscara Mágica Lands La Jolla residency

Excerpt from an article by Randy Gener:

“Congratulations to Dr. Jorge Huerta and William Virchis, founders of Teatro Mascara Magica.

California theatre company, La Jolla Playhouse,  founded by film stars Gregory Peck and Mel Ferrer has made room for a new local company to reside in its plush campus in San Diego and announced that the Latino troupe Teatro Máscara Mágica will be a new resident company during the 2013-2014 season…”

See the entire article here: http://thejournalist.ie/entertainment/theatre-news-teatro-mascara-magica-lands-la-jolla-residency/



Great Plains Theatre Conference 2013

I just returned from ten days in Omaha, Nebraska, where I participated as a workshop leader for a Dramaturgy Intensive at the University of Nebraska-Omaha, and gave dramaturgical feedback to ten playwrights whose works were given readings at the Great Plains Theatre Conference.

Walter Byongsok Chon designed the intensive, which was one offering included in a month-long course offered by Dr. Cindy Phanuef. He gave six lectures, and Heather Helinsky and I led one workshop each.

It was my second year as a dramaturgical respondent at the GPTC, and my first as a workshop leader at UNO. The plays and playwrights were absolutely terrific. I also enjoyed spending time with other Guest Artists such as Constance Congdon, Mac Wellman, Ruth Margraff, Kate Snodgrass, Elena Araoz, Justin Townsend, and Eliza Bent. Many thanks to Artistic Director Kevin Lawler for inviting me to participate again.

Here are the plays I was privileged to work on:

PlayLab Readings

Penny  Gets Bit by Molly Welsh

The  Singularity by Crystal Jackson

Ganglia:  Instructions for the Symbiogenesis by Peter Roth

Daughter by Elana Gartner

Silueta by  Diana Burbano, Christopher Shelton, Tom Shelton

Neverland  Industries by Danny Carroll

Irreversible by Jack Karp

Madame  Ho by Eugenie Chan

MainStage  Readings

William  & Judith by Cody Daigle

Mai  Dang Lao by  David Jacobi

Many congratulations to all of the playwrights, and best wishes for the continued development of their new work.