Anne Hamilton/Hamilton Dramaturgy


Demystifying Dramaturgy on Kanjy

http://blog.kanjy.co/editorial/anne-hamilton/

I am pleased to be working with Kanjy, a new global community for scriptwriters. Through Kanjy, writers connect with colleagues, find opportunities and share their work through secure, digital portfolios.

I will be sharing Kanjy news here on my blog, as well as on my twitter account @AnneHamiltonlit.

Demystifying Dramaturgy

I am often asked, “What is a dramaturg?” My answer is that I am a literary and historical advisor.

However, there are many functions and specialties within the field, and each dramaturg is an artist with unique training and experience, and a unique process. The beauty of working in this field is that I can create a collaborative relationship on every new project, based on the needs of the playwright, director, or production. New York City is my artistic home.

I love working on new projects. As a freelance dramaturg, they include new play development, historical research, and new musical development. I often try to help the playwright find development and production opportunities when the play is finished. Once playwrights are on my radar, I try to be very helpful and push their careers forward.

The essence of my practice is listening carefully to what playwrights need – sometimes they are aware of an area they want help with, and other times they just want a second set of eyes to review what’s on the page, and then a discussion on how to strengthen their vision.

I am currently working on several new plays and musicals, both privately and for organizations. Tom Cavanaugh, a long-time collaborator, has a reading of BEHOLD at the Blank Theatre in Los Angeles this month, and Warren Bodow, a second-act playwright residing in New York City and Tucson, Arizona, has just finished a new comedy called THE GUY ON FIRST BASE.

In my first year as a dramaturg for the New York Musical Theatre Festival, I am advising Alexis Fishman on developing DER GELBE STERN, which had a successful run in Australia recently and is part of NYMF’s Next Link Series, headed for a production in NY in July. Also, I’ve advised the development of PUMPED, with libretto by Marla Woodhill, JD Jacobsen and Nicole Jacobsen, and music and lyrics by the terrific new team of Kyle Ewalt and Michael Ian Walker. I’ve also helped Chicago-based singer and writer Jillann Gabrielle with her one woman show HEDDA, on the gossip columnist Hedda Hopper.

In addition, I evaluate scripts, new play competitions, teach workshops, and serve as Guest Artist at the Great Plains Theatre Conference in Omaha, Nebraska.

I work with artists across the country and across the world, from beginners to veterans. And I get a thrill out of engaging in the process which allows great theatre to happen.

Anne Hamilton

Anne Hamilton is the Founder of Hamilton Dramaturgy, an international consultancy based in New York City’s professional scene, and located in Bucks County, PA. She has over twenty years of experience across the country and internationally. The majority of her clients are located in N.Y. and L.A. Her clients have gone on to win the Pulitzer Prize, the MacArthur “Genius” Award, the Tony ® Award, and a Royal Court International Residency. In 2009, STAGE DIRECTIONS magazine named her a “trailblazer” in American dramaturgy.

Hamilton has consulted with Andrei Serban, the Joseph Papp Public Theater, the Harold Prince Musical Theatre Institute, Michael Mayer, Lynn Nottage, Yehuda Ne’eman, Classic Stage Company, B.T. McNicholl, Tina Andrews, NYSCA, Jean Cocteau Repertory Theater, Leslie Lee, Andrew Barrett, The New York City Public Library’s Schomberg Center for Research in Black Culture, the University of Iowa Playwrights Workshop, and the Great Plains Theatre Festival.

She produces and hosts Hamilton Dramaturgy’s TheatreNow!, a podcast series featuring some of the most important contemporary female theatre artists working in America. Podcasts can be downloaded at http://www.hamiltondramaturgystheatrenow.com.

Hamilton may be reached at (tel) 215-536-1074 EST, or  hamiltonlit@hotmail.com.  (www.hamiltonlit.com, https://hamiltondramaturgy.wordpress.com)

 

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Magda Romanska on Dramaturgy

Here is a terrific new article published on the Boston Lyric Opera’s blog IN THE WINGS.

http://bostonlyricopera.blogspot.com/2014/01/meet-dramaturg.html

In a recent Boston Globe article, Boston Lyric Opera’s Dramaturg, Dr. Magda Romanska, was quoted saying that “the rigid division of roles (director/dramaturg/playwright)” or in the case of an opera, the stage director, dramaturg, and librettist “becomes more and more blurred as people move across boundaries” and begin to work together. When we posted the article on the BLO Facebook page, a longtime fan of the company asked, “Can someone please give me a definition of a dramaturg and what he/she does?” We thought this was a fine opportunity to formally introduce you to Magda and explain what it is exactly that she does.

Excerpt: “In our global, mediated context of multi-national group collaborations that unbend traditional divisions of roles as well as previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: inter-cultural mediator, information and research manager, media content analyst, inter-disciplinary negotiator, and social media strategist.”



Anne Hamilton to Dramaturg at NYMF in 2014

The New York Musical Theatre Festival has accepted me as a staff dramaturg for 2014. I am terrifically excited and thankful for this opportunity. My special thanks go to Director of Programming Mary Kate Burke.

I was referred by my long-time client Andrew Barrett, whose musical JULIAN PO was presented in 2013.  It was given a full production, and won the NYMF awards for  Best Music (Ira Antelis) and Best Actress award (Luba Mason) .  Andrew’s lyrics won an Honorable Mention. I have just finished dramaturging a rewrite of the musical.

I am so impressed with how interconnected the musical theatre world is. This fall I have been dramaturging a terrific new musical called PUMPED, which presented a staged reading in NYC. Luba Mason appeared in PUMPED in the iconic  role of Margaux Bottier. PUMPED features the hot new composer/lyricist team of Kyle Ewalt and Michael Ian Walker, as well as librettists Marla Woodhill, J.D. Jacobson and Nicole Jacobson.

I love dramaturging musicals, and have worked on many of them over the years with Andrew Barrett, B.T. McNicholl,  The Harold Prince Musical Theatre Institute/The Directors Company, George Marcy, Bob Goldstein, Pat Holley and I.B. Daniels, and Louis Steven Santora (Creator of GUILIN).

Not many people know this, but I primarily identified myself as a singer and a writer before turning to dramaturgy. I spent twenty years as a singer on major stages in New York City, performing classical music, show tunes, and some opera.

For my MFA thesis at Columbia School of the Arts, I served as Production Dramaturg at Classic Stage Company under director Michael Mayer on Marivaux’s THE TRIUMPH OF LOVE. It was the New York City premiere of James Magruder’s adaptation of the comedy. Later, Michael and James adapted the play into a musical and took it to Broadway, starring Betty Buckley, F. Murray Abraham and Susan Egan.

I am really looking forward to my work with NYMF.



EUROPA, OUR FIRST MIGRANT

EUROPA, OUR FIRST MIGRANT

Margaret Rose, an English playwright working in Italy, has been a guest columnist for ScriptForward!, sharing her expertise on the subject of international translation and collaboration. One of her new translations from Italian to English will premiere at the Edinburgh Fringe Festival this month.

An Italian-Scottish collaboration, Europa, Our First Migrant is a brand new play, drawing on the Greek myth, ‘The Rape of Europa”.  Europa, daughter of the King of Phoenicia, is abducted by the god Zeus, disguised as a bull. Having settled on Crete, this young woman gives birth to three children, including the Minotaur, so engendering the first Europeans. Her brother Cadmus sets off to find her and circulates the alphabet in the new Continent.

The play rewrites the myth, exploring what it means to be European today in a continent which is fast changing. In an often surprising game between past and present, a modern-day Europa and Zeus undertake the journey of the mythical figures from Phoenicia (modern-day Lebanon) to Crete, ending up in Scotland. Here Europa discovers that her new country is very different from the Fantarcadia she had been dreaming of.

Europa our First Migrant (English adaptation by Maggie Rose) is based on an Italian play, Europa Migrante (by Salvatore Cabras). Directed by Joe Gallagher and produced by Glasgow’s Replico Company, the play will be performed at the Italian Cultural Institute, 82 Nicolson Street in Edinburgh on the 23rd and 24th of August at 5pm. It will then embark on a two week island and Highlands tour. The production is funded by Creative Scotland, with the support of the Italian Institute of Culture.



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