Anne Hamilton/Hamilton Dramaturgy



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.

Anne Hamilton Interviewed in Cultural Weekly

There’s a great article on my thoughts on dramaturgy posted on Cultural Weekly’s website. Jaz Dorsey interviewed me. Read on at


I describe myself as a literary and historical advisor to the playwright, director, or theatre company I am working with.

Just like an actor or an artist, I believe that the dramaturg’s position in the field derives from her output.

Dramaturgy is a practical profession. We give advice and support to help the playwright advance her play to its next level. We provide and share research in pre-production, and write program notes. We translate and adapt.

Almost everyone in the theatre profession performs dramaturgical duties…

New Play Development in Italy

Margaret Rose was kind enough to serve as a guest columnist in the latest issue of ScriptForward!, where gives us insight into new play development in Italy.

Margaret is a Scottish national who works as a professor in Milan, and actively pursues her career as a playwright in the UK and on the continent.

You can download the article here: Margaret Rose’s Article on New Play Development in Italy – SF! #26


When Anne Hamilton wrote to me, asking for a short piece dealing with “the new play development process in Italy”, I immediately translated the word ‘process’ into a very definite plural. While Italy this year is celebrating 150 years as a single nation state, in many fields any sense of unity is still tenuous. Theatre and contemporary playwriting are no exceptions to this rule.

Associations for the support and development of playwriting are fairly recent and and thin on the ground. Teatro delle Donne. Centro Nazionale di Drammaturgia (Women’s Theatre. National Centre of Playwriting), founded in Florence in 1991, includes an archive for plays written by women (today numbering nearly 1,000). It also runs a cutting- edge theatre season at the Teatro Comunale Manzoni in Calenzano and in 2004 writer Dacia Maraini set up a National School of Playwriting at the theatre…

ScriptForward! #26


Welcome to the May issue of ScriptForward!, a specialty E-newsletter prepared for professional and aspiring scriptwriters by Hamilton Dramaturgy. With over twenty years of experience in New York, across the nation, and internationally, I offer this newsletter as a means of support and information to the worldwide scriptwriting community.

This month’s guest columnist is Margaret Rose, who shares her experience regarding new play development in Italy.

We also introduce you to 17%, a new organization formed to support and promote female playwrights in the UK.

Please look over the “Recent Successes” section to see all the exciting events which are taking place, especially my direction of a reading of THE STACY PLAY in New York City’s Central Park this month. We also have a great quote of the month from Jennifer Tipton.

And the Burning [An]swer section features advice on how to decide between a stage play and a screenplay when writing about a celebrity.

I hope that this issue of ScriptForward! will be useful to you and I welcome your feedback.

-Anne Hamilton

Read the issue here: Hamilton Dramaturgy’s ScriptForward! #26



A Contemporary Korean Play Meets A New York Audience

 By Walter Byongsok Chon

In October 2010, Columbia University saw the staging of WALKABOUT YEOLHA, an adaptation of a Korean play by Sam-Shik Pai.  This production, an M.F.A. thesis project for Korean director Kon Yi (‘11), marked an encounter that, in my opinion, has yet to become more frequent: an exposure to contemporary Korean playwriting for a New York audience.  It was with great pleasure and prestige that I became part of this project as translator of the original play by Pai.

It was in the summer of 2010 that the director Yi contacted me about this play, which, in Korea, premiered at Towol Theater in Seoul Arts Center, directed by Jin-Taek Sohn, in March 2007.  A literal translation of the original title would be INCHING TOWARDS YEOLHA, Yeolha being the destination of Jiwon Park (a.k.a. Yeon-Ahm), an 18th-century Korean philosopher who traveled to China in pursuit of practical ideas to modernize Korean society.  Based on Yeon-Ahm’s travelogue, The Jehol Diary, Pai created an allegorical satire, exploring the questions of tradition and innovation.  Pai introduces us to a nearly-fossilized, fictive village in a desert, and guides us through the turbulence the village undergoes at its first encounter with what the villagers call the “exotic.”  Yeon-Ahm, the narrator of the play, is a “four-legged beast” and, as she tells the villagers of the world outside the village, provides the initial conflict of the play.  Her talking eventually makes her the scapegoat to save the village from being “erased.”

In the American theatre scene, contemporary Korean playwrights are only to be found by avid researchers aiming to find them. Part of the reason is that Korea’s theatre development suffered a disconnect in the early twentieth century while it was under the dominance of Japan.  Only after 1950 could Korean theatre emerge again.  In the director’s note, Yi mentions he found only three Korean playwrights whose works had been translated into English – Taesuk Oh, Yun-taek Lee and Kang-baek Lee – which gave him a strong incentive to bring YEOLHA to life in New York.  Though the three aforementioned playwrights are some of the most recognized playwrights in Korea, hardly any of their work has received a professional production in America.  In theatre history education, the significance of Korean theatre is mostly allotted to the ritual tradition of Kut and mask dance called Talchum.  However, these modern and contemporary playwrights are hardly covered compared to well-recognized Asian playwrights such as Gao Xingjian (China, THE BUS STOP, THE OTHER SHORE) or Yukio Mishima (Japan, THE LADY AOI).  While Korean-related themes are depicted by playwrights such as Young-Jean Lee (SONGS OF THE DRAGONS FLYING TO HEAVEN) and Lloyd Suh (AMERICAN HWANGAP), it is reasonable to say that these two authors write from a distinctive Korean-American perspective.

The American audience was first exposed to a Korean theatre production with the LaMaMa production of PRINCE HAMYUL, an adaptation of HAMLET, directed by Minsoo Ahn, in 1977.  A revival of this piece called HAMYUL/HAMLET played LaMaMa in July 2011, directed by Byungkoo Ahn, the son of Minsoo Ahn.  Recently, more Korean troupes have been bringing their acclaimed productions to America. In 2009, Sadari Movement Laboratory performed their adaptation of Georg Büchner’s WOYZCEK, directed by Do-Wan Lim, at the Public Theater as part of the Under the Radar Festival.  Seoul Factory for the Performing Arts (SFPA) put on their adaptation of Euripides’ MEDEA, called MEDEA AND ITS DOUBLE, at LaMaMa in January 2010.   These companies imaginatively fused western classics with traditional Korean performance elements and created original works crossing over both cultural traditions.

For our WALKABOUT production, the guarantee of performance, combined with the significance of representing a new Korean play to the New York audience, was certainly a big advantage as I entered into the translation.  Picturing the performance venue, I imagined how the words of Pai could be delivered to the audience.  My primary objective was to enable fluent communication between the two cultures: making what is Korean in Pai’s text present and relevant for the American audience.  As is frequently touched upon, translation entails “cultural interpretation” and, therefore, requires not only proficiency in both languages but also a complete embracing of both cultures.

In YEOLHA, my first challenge was to make explicit and active what is innately Korean.  The village in the play takes after a traditional Korean village that operates on a hierarchy based on patriarchy and gerontocracy.  What is unique in terms of language among people who have become so familiar with each other is that they often use insinuating and provocative remarks in place of straightforward statements.  For example, to a prodigal son who returned home after a long absence, a Korean mother would reservedly say, “You’re back already? Are you sure you had enough fun out there?” instead of bursting into tears and showing her joy at the reunion.  In the play, the villagers by now have absorbed this kind of language pattern, which reflects the intimacy among them.  The language among the villagers also reflects the hierarchy.  For example, a village senior could throw a denigrating comment to a village woman or boy without being considered the least bit insulting.  Showing respect for elders is, after all, deep in the Korean cultural genes, and elders, if not receiving the proper respect, actively demand it.  While the play clearly provides the appropriate context for the tone of each word, it was my venture, when it came to the underlying Korean sentiments, to find the right expressions to convey the subtle nuance.

More broadly, delivering the right tone was of utmost importance for the allegory and satire in this play.  The idea which prevails in the story – tradition being threatened by innovation – establishes this play as an allegory about the danger of complacency, while the chaos the villagers go through in the struggle brings out comic and satiric elements.  Conflict occurs more often between groups or between individual and group than between individuals, so each character needed not only to breathe as an individual, but also to be characterized as a type, that is, as a member of a certain group.  For example, the men, in general, give straightforward addresses, while the women speak more in a scrupulous manner. The seniors, to show their authority, use formal and commanding vocabulary, while the boys talk in fragments and colloquial idioms.  The main characters are given their own particular ways of speaking: Yeon-Ahm, the narrator, speaks articulately and objectively, just like the Stage Manager in OUR TOWN; and the Inspector, to emphasize that he belongs to a completely different world, uses bombastic phrases and terms.

After completing the premiere of the adaptation of INCHING TOWARDS YEOLHA, I am still seeking to make the original translation more compact and active for the stage.  It is my hope for contemporary Korean plays to be introduced.

WALTER BYONGSOK CHON recently received his MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama and is continuing his study at YSD as a DFA candidate in residence, teaching theatre history. He may be reached at

This article was published in Hamilton Dramaturgy’s ScriptForward! #25 (September, 2011, Vol. 6, No. 25). You may request a subscription by writing to

Download the article here: Translating INCHING TOWARDS YEOLHA by Walter Byongsok Chon

ScriptForward! #25 – A Specialty E-newsletter


Welcome to the September issue of ScriptForward!, a specialty E-newsletter prepared for professional and aspiring scriptwriters by Hamilton Dramaturgy. With twenty years of experience in New York, across the nation, and internationally, I offer this newsletter as a means of support and information to the worldwide scriptwriting community.

My lead articles celebrate the lessons I’ve learned in my twenty years as a dramaturg. And the guest feature by Walter Byongsok Chon reveals his process in translating a contemporary Korean play into English for a recent New York City production.

Please look over the Recent Successes section to see all the exciting events which are taking place, especially the launch of Hamilton Dramaturgy Press, which publishes plays, poetry and children’s literature.

Finally, the Burning [An]swer section features information on how an MFA candidate can prepare for a
successful career as a dramaturg.

I hope that this issue of ScriptForward! will be useful to you and I welcome your feedback.

-Anne Hamilton

Hamilton Dramaturgy’s ScriptForward! #25

Hamilton Dramaturgy’s ScriptForward! #24

ANNOUNCING the publication of two new anthologies of my plays and poetry —

ANOTHER WHITE SHIRT And Other Plays and Poetry
THE STACY PLAY – A LOVE SONG – VOLUME I And Other Plays and Poetry

Available now at

Nineteen plays (full-length, short plays, and monologues) feature women in the leading roles.

We hope you enjoy this issue of Hamilton Dramaturgy’s ScriptForward! #24

The lead article is a tribute to one of my mentors, the playwright and novelist Romulus Linney.

Also, be sure to check out the Burning [An]swer section, which features information on the process of self-publishing.

HamiltonLit A Fire in 2010

New! Playwrighting Awards, Guest Appearances, and TheatreNow!

Click Anne Hamilton’s 2010 Accomplishments for a list of successes.

Anne M. Hamilton,  Hamilton Dramaturgy

Established in 1991


Anne HamiltonLit Another Fire in 2010

New! Playwrighting Successes, Guest Appearances, and TheatreNow!


I visited London in January on a League of Professional Theatre Women trip, meeting with UK theatre practitioners and seeing shows. I also spent two days in Oxford, visiting St. Catherine’s College where I studied the philosophy of aesthetics as an undergraduate. I was honored to meet with Roger Ainsworth, Master of St. Catherine’s, as well as some faculty members at New College.

I served as the Co-Secretary of the League of Professional Theatre Women until June, when I resigned to devote more time to TheatreNow! and my own writing. I continued to serve on the Mentoring Committee.

NO PASSPORT accepted me as a member. I read my new short plays MARIA, THE DAY AFTER and THE LAST STONE – OR, THE ADULTERESS SPEAKS FOR HERSELF and the poem, “Haiti Calling” at the Hibernating Rattlesnakes event at the Nuyorican Poets Café  in New York City.

Hamilton Dramaturgy’sTheatreNow! Podcast Series – Season One continued. Interviews included: Quiara Alegria Hudes (Inaugural Podcast), Claire Lautier, Ruth Margraff, Kristin Marting, Valentina Fratti, Catherine Filloux, Yvette Heyliger and Yvonne Farrow.

My profile of Susan Atkinson and the Bristol Riverside Theatre was published in the “Page & Stage” column I co-author in the Bucks County Women’s Journal


I dramaturged a marvelously imaginative hybrid visual theatre piece. The author is a visual artist and I enjoyed helping her to develop her storyline further, scene by scene, and storyboard by storyboard. The playwright’s name is being kept confidential by request.

On March 15th, I read from my full-length work THE STACY PLAY – A LOVE POEM at the Hibernating Rattlesnakes event at the Nuyorican.


“Playwrighting – A Life-Changing Journey” was published in my Page & Stage column. I revealed the process of developing my play AND THEN I WENT INSIDE with Kathleen Chalfant in the starring role.

I visited Gettysburg College to watch THE WINTER’S TALE and write a review of the production’s direction for the Provost’s Office.

I provided an bibliographical spreadsheet of dramaturgy books to a former professor.

I attended a Columbia University Career Development Office event at Low Library as an alumna representing the arts and media sector, and offered guidance to Columbia students.

I portrayed Stacy Lee Madison in AND THEN I WENT INSIDE on March 26th, 27th and 28th at the Green Light Arts debut event at the Shubin Theatre in Philadelphia.

I dramaturged a horror/comedy called ZOMBIE BUNNIES by Alexander Speer.


I had the privilege of sending a stunning new play to all my contacts across the country and abroad. THE TRAGEDY OF MACBETH – PART TWO, THE SEED OF BANQUO is a new blank verse drama by Noah Lukeman. It is bloody, fierce, and engaging. He directed a staged reading of the piece on April 22nd at the Cherry Lane Theatre in NYC.
On April 25th I read a monologue from ANOTHER WHITE SHIRT, my Chamber Play with Dance, Video, Puppets and Original Music, at the Hibernating Rattlesnakes event at the Nuyorican.
My profile of Quiara Alegría Hudes, the Pulitzer Prize-nominated playwright, and bookwriter for IN THE HEIGHTS appeared in three parts between April and September.

I dramaturged a trilogy on spiritual and cultural themes which has been performed in several countries. The playwright’s name is being kept confidential by request.


I dramaturged a new script named CHARLOTTE SOPHIA by Tina Andrews, NAACP Image award for the CBS miniseries “Sally Hemings, An American Scandal”.

I provided dramaturgical and literary management advice to Carolyn Balducci (librettist) and Mira Spektor (composer) for their new chamber opera GIOVANNI THE FEARLESS.

My article, “Maintaining Emotional Fluency through Artistic Expression” appeared on the Open to Hope Foundation’s website on May 29th. It includes an excerpt from AND THEN I WENT INSIDE.

I served as literary manager for BEHOLD by Tom Cavanaugh. It was requested and read by several prominent theatres nationwide.


My plays ANOTHER WHITE SHIRT and THE STACY PLAY – A LOVE SONG – VOLUME I and poem “Gondolier” won places in TRANSITIONS, an international, juried exhibit at Pen and Brush, one of the oldest and most prestigious women’s arts collectives in the US. The exhibit appeared online from June 3rd through September 3rd. I read RED RIBBON TIE, a monologue from ANOTHER WHITE SHIRT, and a monologue from PART III – CODE OF LIFE from THE STACY PLAY at the exhibit’s opening on June 3rd.


Tom Cavanaugh, a long-time client, was given a staged reading of his play BEHOLD at the Utah Shakespearean Festival this summer. The drama, about a family’s disintegration after its son/brother was killed in a Columbine-type school shooting. Its plot hinges upon the very topical subject of peer bullying and violence.

Season One of TheatreNow! completed with a profile of collaborators Yvette Heyliger and Yvonne Farrow, who are also twins.

The Open to Hope Foundation published four of my articles on Healing Through the Arts on its website The series revealed my healing journeys as a writer. “Writing Poetry Helps Thirty Years After Friend’s Death”, published on July 24th, reveals how I discovered my internal soul-shift while writing the poem “Summer Storm”. “Script-writing Helps Her Understand Meaning of Loss”, published on July 28th, includes an excerpt from PART VIII – AND HERE WE ARE from THE STACY PLAY. Finally, “Revisiting Loss 30 Years Later ‘Refreshing,” published on July 30th, includes the new poem, “Room.”

L.A. Theatre Works rebroadcast GOING TO ST. IVES in its Radio Theatre Series on July 24th. I was featured in a web bonus segment speaking about the topic of Mothers and Sons in ST. IVES, OEDIPUS REX, THE GLASS MENAGERIE, and ALL MY SONS. The segment appeared online in July and August.


I was invited to conduct a workshop on playwrighting and screenwriting at the Philadelphia Writers Conference from June 3-5, 2011.

I enjoyed working as a copywriter for the Found Animals website. I reviewed several areas of the site and wrote basic informational copy for this animal welfare organization.

THE STACY PLAY – A LOVE POEM – VOLUME I   placed in the top 100 entries in the Stage Play category of the 79th Annual Writer’s Digest Writing Competition. The play was listed in the December issue of the magazine.

Carrie Robbins’ THE DEATH & LIFE OF DR. CUTTER, which I dramaturged through several incarnations, was read at the Abingdon Theatre.


Broadway legend George Marcy performed his musical play THE BALLAD OF GEORGIE PORGIE (co-written with Bob Goldstone, who also serves as Musical Director) on September 12th at Don’t Tell Mama in NYC. Here are his comments: “Anne Hamilton, with her insight, creativity and knowledge, is responsible for guiding THE BALLAD OF GEORGIE PORGIE to where it is today.” Bravo, George!

Warren Bodow presented a very well-received staged reading at the Abingdon Theatre on September 29th. I served as dramaturg during the development of the play, and then as its literary management representative. Several prominent theatres nationwide requested and read the five-character drama. In April, 2011 enjoyed a full production at the Beowulf Alley Theatre in Tucson, Arizona. Tagline: Do you have to lie to make an honest buck?

Cheryl L. Davis’ SWIMMING UPTOWN, which I dramaturged during development, was also presented in the Abingdon Theatre’s 2010-2011 Staged Reading Series.

I read and evaluated three scripts for Native Voices at the Autry, a play development and production organization in Los Angeles.

I dramaturged a family history by Bob Fumo. I designed and published it for Bob through as THE FUMO/SUOZZO ANCESTRY BOOK.


My play THE DELIVERY appeared in the 2010 Emerging Female Voices Festival on October. This festival featured 21 original works and was produced by the Manhattan Shakespeare Project. My short comedy features a subway car, a maternity ward, and one determined little girl.

On October 19th, NO PASSPORT Theatre Alliance & Press and INTAR presented HIBERNATING RATTLESNAKES: DEMONIOS – An Evening of Demons, Chupacabras . . . and things that go HISS in the night. I read my play THE BREAD OF FORGETFULNESS. Description: A bakery, a Memory Haunting and a writer’s imagination collide over a Pan De Muerto on the Day of the Dead.

The Bucks County Women’s Journal published my article, “Advocacy for Women Playwrights” in my Page & Stage column.


I traveled to the Boston Conservatory of Music to attend a staged reading of the new musical FROM TIME TO TIMBUKTU, with libretto and lyrics by my long-time client Andrew Barrett, and music by Ira Antelis. I provided dramaturgical feedback on this marvelous new musical.

I advised an internationally-known playwright on her application to a leading residency program in Europe this winter. Although she did not receive the fellowship, together we created materials which she will be able to use to apply for other residencies and grants while trying to get support for a new epic play she is writing.

 I dramaturged the musical A SOLDIER’S SONG by James and Joanne Cohen.

 I visited Gettysburg College to watch MY FAIR LADY and write a review of the production’s direction for the Provost’s Office.


Season Two of Hamilton Dramaturgy’s TheatreNow! launched with an interview with Kamilah Forbes, the Artistic Director of the Hip Hop Theatre Festival. Kamilah speaks about her early artistic influences, her professional training, and her process curating the festival.

In preparation for publication, I edited a set of plays by Yvette Heyliger. Her drama WWJD? had a sold-out run at the Billie Holliday Theatre in Brooklyn in December.

Tom Cavanaugh’s DUNG BEETLE is about an agoraphobic scientist.  I dramaturged this play as well as some others by this prolific playwright and screenwriter.

I had the privilege of appearing as a theatrical expert in association with another L.A. Theatre Works NPR broadcast. I spoke on the topic of “Dueling Families” in a web bonus segment which appeared online in December and January. It was in connection with the broadcast of THE LION IN WINTER, starring Kathleen Chalfant and Alfred Molina. I commented on family conflicts in HENRY IV – Parts I and II, MAJOR BARBARA, and CRIMES OF THE HEART.

FROM POINT A TO POINT B was read by Ephraim Lopez at the NO PASSPORT/Hibernating Rattle-snakes/INTAR event in NYC on December 13th.

THE STACY PLAY was developed at Julia’s Reading Room at the home of Julia Miles on December 14th. I directed the reading and read the role of Stacy. Christopher Gliege read the role of Jonathan and Haley Ward read the stage directions. The event was sponsored by the League of Professional Theatre Women.

Selected Dramaturgy client list: Lynn Nottage (Playwright), Michael Mayer (Director), Andrei Serban (Director), Judd Ne’eman (Screenwriter/Filmmaker), Deborah Gregory (Author), Niegel Smith (Director), Noah Lukeman (Author), Classic Stage Company, The Directors Company/The Harold Prince Musical Theatre Institute, The Joseph Papp Public Theater.

Knowing Romulus Linney – An Education in Itself
January 18, 2011, 11:58 pm
Filed under: ScriptForward! Enewsletter | Tags: , , ,

Last February, this article appeared in Hamilton Dramaturgy’s ScriptForward! #20 Special Issue my e-newsletter for professional scriptwriters. It includes what I call an “Ode to Rom”, who taught me everything I know about being a dramaturg. Given our loss of this great man on January 15th, I thought it was appropriate to reprint the article here.

Knowing Romulus Linney – An Education in Itself

There are two types of theatre practitioners in this country.

Those who have been trained by (or worked with) Romulus Linney, and those who haven’t.

I am lucky enough to belong to the former category. He taught me everything I know about being a dramaturg, which, summed up in three words, is this: Respect the playwright.

With Rom, what you saw was what you got. What he saw from within his own eye, mind and heart, was what he said with his mouth when he communicated with you.

He brooked no dissembling, no power plays and no foolishness. Reason ruled.

He was rabidly protective of the playwright. I learned this in our first administrative meeting when I signed on to be a dramaturgy MFA student at Columbia, where he was head of the playwrighting program. He made the dramaturgs in training see immediately and continually that if we were to work with playwrights, we were to place them at the center of the process.

No one was to change a word in production when the playwright was still alive and  in the rehearsal room. He didn’t ever have to reprimand me because I learned my lesson at that first meeting, and I have practiced this principle to the present day. It has served me well all these years.

Now this not a memorial. Romulus isn’t dead.  He’s just as vital now as he was then – prolific and  well-honored.

To all the others who haven’t had the pleasure of being taught by him, I say – I’m sorry. You’ve missed something terrific. And to all who have a chance to meet him, or work with him in the future —  run, don’t walk, to that occasion.

Thank you, Rom. All these years later, your words still ring true.

ScriptForward! #23 – A Specialty E-newsletter for Scriptwriters

This issue features a guest column by Paula Cizmar about SEVEN, a documentary play that honors courageous women activists from seven countries. She discusses the collaboration between seven female playwrights, and the continuing life of the play as it travels across the world

And please look over the “Recent Successes” section to see all the exciting events which are taking place.

Hamilton Dramaturgy’s ScriptForward! #23