Anne Hamilton/Hamilton Dramaturgy


THE DRAMATIST Magazine – Quiara Alegria Hudes on Subject

THE DRAMATIST - Quiara Alegria Hudes on Subject

Congratulations to Hamilton Dramaturgy’s TheatreNow!’s Inaugural Podcast guest Quiara Alegria Hudes. She leads off the cover story of this month’s THE DRAMATIST magazine with an article on “Subject”.

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Time to See Donkey Punch

I LOVE Soho Rep!

Works by Women

donkey-punch-960x600

Tonight, Micheline Auger‘s Donkey Punchmakes the rare leap from indie, Off-Off Broadway theater to Off-Broadway theater. Previews begin at Soho Playhouse, the venerable space that launched many playwrights careers (think Albee, Shepard). In this instance, Ivy Theatre, a company dedicated to untold stories and unheard voices, remounts its production of Auger’s audacious, moving play.

Written and directed by women (Auger and director Audrey Alford), Donkey Punch (the piece was formerly known as The Feminism of a Soft Merlot or How the Donkey Got Punched) explores feminism and women’s sexuality with the deftness of French filmmaker Catherine Breillat mixed with a true American sentiment. The play follows two friends at a crossroads in each’s life.

From the press release: In Donkey Punch, uninhibited Kareena delves into monogamy while her uptight best friend, Sam, starts dating a pornographer. In this fast-paced world of sex, shifting relationships…

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HOMEBODIES in Queens, NY April 12th

The New American Voices Festival

@ Queens Theatre

Presents a reading of

Homebodies
Saturday, April 12 – 8pm, in the Studio Theatre
written by Maria Alexandria Beech
Directed by Michelle Bossy

Featuring Olivia Negron*, Claudia Acosta, Cathy Curtain*, Rock Kohli* and Chris Henry Coffee*

A freelance writer and her mother live a quiet and secluded life in New York, except when a frozen chicken and other objects crash on the floor. That’s when a mysterious couple who moved in below knocks on the door. A funny and tender play about life choices and cultural assumptions, with a fascinating group of characters including an ex-lover, an Indian salesman, and a newborn baby.

*member, AEA

To rsvp: http://queenstheatre.org/2013-14-NAV-free-play-reading-series

The Playwright:

Maria Alexandria Beech’s play Infinity Pond, commissioned by Primary Stages and Aspen Theater Masters, was selected for the new Palm Beach Theater Festival. Alex is commissioned to write a play for Teatro Luna in Chicago in 2014, the first play in its Five in Five Series by women playwrights. Her play, Breaking Walls, was produced at The Cherry Lane Theater. Her play, Little Monsters, was produced by Primary Stages and Brandeis Theater Company. Her translation of Eduardo Machado’s The Cook was produced by Stages Theater. Her musical CLASS, with composer Karl Michael Johnson, will be workshopped in Michigan in the summer. Since 2006, Alex has been a member of The Dorothy Strelsin  New American Writers Group at Primary Stages (where she wrote ClassCharity, BondsLittle Monsters, Homebodies, and currently, ISLANDS). She’s also an alum of the Hispanic Playwrights Lab at Intar (Gloria).

Alex earned a BA (cum laude) and Masters in Fine Arts in Playwriting from Columbia University, and a Masters in Fine Arts in Musical Theater Writing from New York University. Her awards include The Aspen Theatre Master’s Visionary Award (2009), and Outstanding New Script Award at the Planet Connections Theater Festivity for What Are You Doing Here(2011). Alex is a member of the Dramatists Guild in New York.

Director:
Michelle Bossy is a New York based director and producer dedicated to bringing new plays to the stage.  She is the Associate Artistic Director of Primary Stages, where she produces new American plays, and where she has also served as Assistant Director, Company Manager, and Artistic Associate. She produced the World Premiere of Dread Awakening and directed and produced the premieres of Un Plugged In (by Brian Pracht); South Beach Rapture (by David Caudle); and Sarajevo’s Child; Cumberland; Low Brow; and Missing Mike Vitelle. Recently, she directed the world premiere of Little Monsters by Maria Alexandria Beech at the Brandeis Theater Company, and High School Confidential for Primary Stages.  She directed developmental readings of Eat Your Heart Out by Courtney Baron (Perry Mansfield New Works Festival), Bicycle Girl by Rogelio Martinez (Repertory Theater of St. Louis), Gloria by Maria Alexandria Beech (EST), Mercy by Adam Szymkowicz, and May Day by Molly Smith Metzler, among many others.  Michelle is the Director of the Dorothy StrelsinNew American Writers Group, where she has worked with over twenty emerging writers. Michelle holds the first undergraduate directing degree from Webster University’s Conservatory of Theatre Arts. She is the Co-Founder and Artistic Director of the Plum Theatre Company. She teaches acting and playwriting for the Einhorn School of Performing Arts (ESPA) and directing for Syracuse University. Member: Lincoln Center Director’s Lab and the League of Professional Theatre Women.

 

 



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)

 



KEEP CALM AND …

KEEP CALM AND HIRE A DRAMATURG



In Memory of Leslie Lee

I lost a great friend when Leslie Lee passed away on Monday. We worked together for many years. I am too sad for words. Blessed be, Leslie.

http://www.necinc.org/

Leslie Lee

http://www.nytimes.com/2014/01/23/theater/leslie-lee-playwright-of-black-life-dies-at-83.html?_r=0



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.”