Anne Hamilton/Hamilton Dramaturgy


BCWJ Profile of Genne Murphy

Here is my latest Bucks County Womens Journal article. Download it Anne Hamilton’s BCWJ Profile of Genne Murphy.

Profile of Genne Murphy

By Anne M. Hamilton, MFA

Genne Murphy is a rising star in the theatre world. Her plays have been developed or produced in Nebraska, Colorado, New York and Connecticut as well as locally. The Azuka Theatre produced HOPE STREET AND OTHER LONELY PLACES.

Recently, she was honored with the Leah Ryan Fund for Emerging Women Writer’s Award for her play GIANTESS at the Lilly Awards, hosted at the Signature Theater in New York City. The Lilly Awards celebrate significant contributions by women to the American theatre, including 2016 honorees Danai Gurira, Jesse Mueller and Martha Plimpton.

Born and raised in Philadelphia, Murphy has been deeply involved as a writer and arts educator since graduating from Central High. Her many local awards and affiliations include the Philadelphia Young Playwrights, PlayPenn, and the Leeway Foundation Transformation Award/Art and Change Grant.

Originally, she says, the idea for GIANTESS came in a dream: “I was trying to pour water into a tiny glass and it was really annoying. Then all of a sudden I realized, ‘OMG I’m a giant!’ I panicked, woke up. [The dream] really stuck with me–that idea of being so discombobulated and feeling extremely uncomfortable in your body. I thought there were a lot of interesting metaphors to explore.”

Described by the Leah Ryan FEWW program as having, “truly singular and theatrical voice,” Murphy will workshop her play with a few closed-door readings at Primary Stages in New York City and New York Stage and Film before the Fund presents a full public reading in the fall.

“GIANTESS starts with a young woman who is taking care of her ailing, disabled grandmother,” says Murphy. “Early on in the play she discovers a girl her own age in the abandoned factory behind her grandmother’s house – a 30-foot tall giantess. They develop a deepening connection to one another in this very fraught and heightened situation.”

Reflecting on her time with Philadelphia Young Playwrights, she states, “My experience, [as] a student, educator, and staff member enabled the idea of revision – the actual work of revision – to be a less scary prospect.”

She holds a bachelor’s degree from NYU’s Tisch School of the Arts and is currently an M.F.A. candidate in playwriting at the Yale School of Drama.

Anne Hamilton has 25 years of experience as a dramaturg. She is available for script consultations and career advising through hamiltonlit@hotmail.com.

 



Great Review of THE ROUTLEDGE COMPANION TO DRAMATURGY

American Theater magazine has given a terrific review to THE ROUTLEDGE COMPANION TO DRAMATURGY, edited by Magda Romanska.

My article, “Freelance Dramaturgs in the Twenty-First Century – Journalists, Advocates, and Curators” garnered praise from the reviewer Philippa Kelly: “One of the book’s highlights is Anne Hamilton’s essay on who dramaturgs are and what they do: cross boundaries, multitask, act as officers of public liaison and conduits for outreach…Hamilton aims to inspire dramaturgs to build confidence in their own creative contributions, and to reach deeper, to act more broadly and boldly.”

I am sending many thanks to Magda for including my chapter in this volume. It has sold out in hardcover, and is now available in paperback for $39.99. (ISBN-13: 978-0415658492, ISBN-10: 0415658497)

http://www.americantheatre.org/2015/07/07/dramaturgs-of-the-world-unite-and-parse-this-text/



BCWJ Article on Little Black Dress INK

Outside the Lines_UNBOUND posterLittle Black Dress INK

By Anne M. Hamilton, MFA

For the past year I have had the pleasure of being involved in Little Black Dress INK’s Female Playwrights Onstage Project.

Now in its fourth year, the competition is the brainchild of Playwright and Educator Tiffany Antone, who currently resides in Texas. This national festival of new work has a different theme each year and utilizes a peer review process to identify semi-finalists, whose short plays or monologues are then read in different cities across the country. Finalists are chosen from those events. They enjoyed a staged reading at the Los Angeles Theatre Center last year, followed by a production in Arizona in January.

In 2014, the theme was Planting the Seed, and my play OFEM, inspired by my experience as a CSA member at Blooming Glen Farm, was a finalist. It was read in Ithaca, NY, and Los Angeles before being given its premiere in Arizona. Indie Theatre Now will publish OFEM and all the finalists in an online volume of 11 plays.

This year’s theme is Outside the Lines, and my two character drama THE SHOEBOX is a semifinalist. This short play reunites two high school classmates to reminisce in a late night phone call after their homeroom teacher, a nun, has passed away. Theater Unbound in Minneapolis gave it a staged reading along with five other pieces in March. The festival is still unfolding in events across the country.

Tiffany summarizes her goals on her website: “Little Black Dress INK is an experiment in support, inspired by recent revelations in numbers on the subject of just how few female playwrights actually get produced. Through outreach, education, and producing opportunities, Little Black Dress INK strives to create more production opportunities for female playwrights while also strengthening the female playwright network.”

I have found this competition to be a highly effective and rewarding way of reaching those goals. It grows every year, and currently involves 35 new plays and over 60 artists in eight cities. 2016 submission guidelines will be posted on www.littleblackdressink.org on October 1, 2015.

Anne Hamilton has 24 years of experience as a dramaturg. She is available for script consultations and career advising through hamiltonlit@hotmail.com. Her play WHO’S ANDY WARHOL? was performed at The Lost Theatre in London in October, 2014. She will teach a playwriting workshop at the Philadelphia Writers Conference in June 12-14, 2015.

To be published in Anne’s Page & Stage column in the Bucks County Women’s Journal (April/May 2015 issue). www.buckscountywomensjournal.com



Guest Tweeting for @LMDAmericas This Week

http://www.lmda.org/blog/194

Follow the session at @LMDAmericas!   #genderparity

Anne HamiltonAnne Hamilton is a NYC-based freelance dramaturg and the Founder of Hamilton Dramaturgy, an international consultancy. She holds an MFA from Columbia University School of the Arts, and has worked with Andrei Serban, Michael Mayer, Lynn Nottage, NYMF, Niegel Smith, and Classic Stage Company. She created Hamilton Dramaturgy’s TheatreNow!, and her specialties include new play development, production dramaturgy, new musicals, career advising, advocacy, and oral histories. She was a Bogliasco Foundation Fellow. www.hamiltonlit.com

Questions from LMDA

What is your “focus” for the week?

During the week of March 2-8, 2015, I will tweet about several of the projects I am currently working on, as well as the recent triumphs of the playwrights for whom I have dramaturged. I think it is important to communicate the range of projects and locations that my freelance dramaturg’s practice involves. My projects as a dramaturg this week will include: Volunteering for the musical THE CALICO BUFFALO by EJ Stapleton, Peter Stopschinski in the New York Musical Theatre Festivals Next Link Project (to be produced in NYC in July); Giving feedback to Anita Gonzalez and Richard Allen on their new musical LIVERPOOL TRADING, and leading a Question and Answer session for their reading in the 6th Potpourri World Women Works Series (March 8, 3pm, NYC); and consulting with a first-time screenwriter. I will also list several of the accomplishments and upcoming shows of my dramaturgy clients including: the upcoming NYC production of Jack Karp’s IRREVERSIBLE and Crystal Jackson’s SYNCHRONICITY; and the recent reading of Tom Cavanaugh’s ADAM & YOSHI (directed by Stebos) for Artistic Director Jim Simpson at the Flea Theatre in NYC. Also, for my own development as an emerging playwright, I will be completing tasks for my drama THE SHOEBOX, which is a semi-finalist in Little Black Dress INK’s ONSTAGE PROJECT; and preparing a script for publication in England. Finally, I am waiting to hear some news this week on a couple of matters, so I’m hoping there will be some surprise announcements.

What is your definition of dramaturgy?

I describe myself as a literary and historical advisor to playwrights, directors, producers, and theatre companies.
What is your favorite or dream project?

My favorite project is the one I am working on in the moment. I enjoy a range of activities, from script development, to production dramaturgy, to developing new musicals, to research, to hosting TheatreNow!, to advising young artists on developing their careers. I enjoy learning and taking advantage of new technologies to help broaden the definition and practice of the profession.



BCWJ Article – Writing in the Winter

Here is the link to my latest Bucks County Women’s Journal Article.

http://bit.ly/StageFebMar15  

Writing in the Winter

By Anne M. Hamilton, MFA

I find it very easy to be creative when it’s very cold or very hot outside. I consider myself lucky to live in a four season climate, where I can experience the changing temperatures as well as the differences in light, which stimulate my senses.

This winter, my muse has been working overtime and I’ve completed a new full-length play as well as a 10-minute play and some poetry.

Something about extreme weather inspires me to delve deeply into my imagination and my emotions, and pull out whatever has gotten stuck there, or happens to be emerging into consciousness. I try to go with the flow, and harness my body’s natural rhythms, rather than fighting them by struggling to write, for instance, a comedy or a drama.

As a practice, I stop what I’m doing and sit down to write whenever I am struck by the muse, which I experience as a phrase, or a scene in my head that I can simply write down. For me, it is like going into a meditative state and transcribing the scene that is occurring to me.

For those who are new to playwriting, or are fine-tuning their writing process, it is possible to gradually train the mind to reveal its stories. This can be done by sitting silently for as little as fifteen minutes at a time, and writing down what appears in the mind’s eye. Then the time can be lengthened. It is useful to look over the writing on a regular basis and try to find a pattern that can be made into a monologue or a short play.

I think that it is very important for a playwright to give herself time to go into “the deep mind” as I call it – a meditative form of reflection which allows hidden gems to emerge.

By nurturing my creative spirit and enabling my imagination to leap in its own direction, I am building a pathway for fluent expression.

(c) 2015

Anne Hamilton has 24 years of experience as a dramaturg. She is available for script consultations and career advising through hamiltonlit@hotmail.com. Her play WHO’S ANDY WARHOL? was performed at The Lost Theatre in London in October, 2014. She will teach a playwriting workshop at the Philadelphia Writers Conference in June 12-14, 2015.



WHO’S ANDY WARHOL? on youtube

WATCH HERE – https://www.youtube.com/watch?v=qVUzz0EJq5E

It’s up!  A video of the production of my short play WHO’S ANDY WARHOL?, which was performed at the Lost Theatre in Wandsworth, London on October 24th. This is one of the 10 winning plays from the British Theatre Challenge. the International New Writing Competition by the Sky Blue Theatre Company of Cambridge, England.

WHO’S ANDY WARHOL? portrays a medical crisis which redefines the relationship between two lovers when one contracts transient global amnesia.

I am very happy with the production, especially the actors Chris Towner-Jones as Matt, and Lizzie Stanton as Sarah. What a joy it is to watch my words come to life! I hope that you enjoy this piece produced by Mini Mammoth Films. This is the first of the winning plays to be posted on youtube.

Special thanks to Anne Bartram of Sky Blue, and Rah Petherbridge, the UK-based photographer who took these wonderful stills below.

If you would like to read the play, please contact me at hamiltonlit@hotmail.com. Thank you for watching!

 

©Rah Petherbridge -  Who's Andy Warhol--3

©Rah Petherbridge -  Who's Andy Warhol--6

©Rah Petherbridge -  Who's Andy Warhol--13

©Rah Petherbridge -  Who's Andy Warhol--28



Today at 1pm – DON’T FEED THE INDIANS by Murielle Borst Tarrant

La MaMa Presents Urban Indigenous Arts & Culture Symposium

“Don’t Feed the Indians” –

A Divine Comedy Pageant

Friday November 14, 2014 at 1:00 PM

To see this performance Live on your computer

CLICK HERE: www.culturehub.org/live

Please stay tuned afterward with a discussion with the cast

Watch out when Indian show business meets the Doctrine of Discovery. A raucous play and political satire loosely based on Dante’s Inferno. A comedic look at the negative marginalization of Indigenous Peoples and the appropriation of Indigenous cultural and intellectual property. See what happens when the Indians push back.

Directed and written by:

Murielle Borst-Tarrant (Kuna/Rappahannock), Director “Safe Harbors”

Indigenous Arts/Theater Collective at La MaMa Theatre.

Cast:

Danielle Soames
(Mohawk Kahnawake)

Nic Billey
(Choctaw, Creek, Delaware)

Elizabeth Rolston
(Cherokee, Chippewa)

Murielle Borst-Tarrant
(Kuna Rappahanock)

Henu Josephine Tarrant
(Kuna, Rappahanock, Hopi, Hochunk)

Kevin Tarrant
(Hopi, Hochunk)

Crew:

Choreographer – Nic Billey

Musical Design- Branden Tubby (Choctaw )

Scribe and Production Consultant- Timothy Dorsey

Musical Director- Kevin Tarrant

Costume/set design- Maggie Rice (Pawnee)

Piano and Historical Musical Design- Elizabeth Thunder Bird Haile (Shinnecock) and The Shinnecock Nation Cultural Center and Museum

Production Apprentice- Kimberly Terrance (Mohawk Akwesasne)

Additional Writings:

Danielle Soames

Nic Billey

Henu Josephine Tarrant

Elizabeth Rolston

Tonya Gonnella Frichner based on her preliminary report on the Doctrine of Discovery

La MaMa Theatre in collaboration with the Weesageechak Begins to Dance Festival, Native Earth Performing Arts and First Peoples Fund and the Ford Foundation through a grant from the FPF Our Nations Spaces Program.