Anne Hamilton/Hamilton Dramaturgy


PUMPED – A new musical in NYC

PUMPED will hold two invitation-only readings directed by Evan Pappas this week in New York City. I’ve been working as a dramaturg for the creative team for a couple of months, and have enjoyed every minute of it. Congratulations!

Read about it here on playbill.com:

http://www.playbill.com/news/article/182223-Autumn-Hurlbert-Luba-Mason-AJ-Shively-and-Lenny-Wolpe-Set-for-Reading-of-New-Musical-Pumped

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George Marcy and Carol Lawrence Team Up at Don’t Tell Mama

George Marcy

Congratulations to George Marcy, who will star in his new cabaret I WISH I WERE TWINS at Don’t Tell Mama in NYC on September 23rd and 29th.  Carol Lawrence, his good friend and co-star in Broadway’s original WEST SIDE STORY will direct.

This is the third autobiographical cabaret that I have worked on with George. I gave him some script development advice on the show. It is always a pleasure, and this is a show not to be missed. See you there!

http://www.broadwayworld.com/cabaret/article/Broadways-George-Marcy-and-Carol-Lawrence-Team-Up-for-New-Cabaret-Show-at-Dont-Tell-Mama-923-29-20130916



LIKE POETRY in the NYC Fringe Festival

LIKE POETRY by Kristian O'Hare at the FringeNYC

I would like to invite you to LIKE POETRY, written by a wonderful playwright I discovered at the Great Plains Theatre Conference. It is playing in the NYC Fringe Festival Aug. 10-14 at La MaMa.

LIKE POETRY was written by Kristian O’Hare, who now lives in San Francisco. It was given a staged reading at the GPTC in 2012. I had the privilege of dramaturging the play this summer as Kristian prepared to start rehearsals for the Fringe.

It is a lyrical, many-layered drama which allowed me to simply relax and enjoy the beautiful writing. Kristian is a master of tight construction and meaningful imagery, especially his weaving of insect descriptions, Walt Whitman’s appearances, and Stagger’s story of transformation. I have very high expectations for the success of this play. I hope that you can attend the performance. Kristian’s contact information is: kristianohare@gmail.com

Here is a short description: A new play in three acts, Like Poetry traces the metamorphosis of main character Stagger as he confronts issues of physical and emotional intimacy surrounding his homosexuality. By employing extensive knowledge of entomology, the poetry of Walt Whitman and unique therapies of a non-traditional doctor, Stagger gains the skills needed to confront the past and embrace his future.

Like Poetry
Ivy Theatre Company
Writer: Kristian O’Hare
Director: Audrey Alford
300mg Lavender for exhaustion. 500mg Kava Kava for anxiety. Stagger haphazardly follows Walt Whitman into an uncertain sexual underworld while memories of his best friend, Card, cling to him like a lyme-carrying tick. Pills, bugs, and sexuality collide like poetry.
www.IvyTheatre.com   IvyTheatre
VENUE #12: The Ellen Stewart Theatre – La MaMa      
SAT 10 @ 7:00  SUN 11 @ 1:30  MON 12 @ 4:45  TUE 13 @ 4:45  WED 14 @ 7:00



JULIAN PO Website is Live

The Website is LIVE!  — www.JulianPoTheMusical.com

2013 NYMF  in NYC

JULIAN PO

Julian Po Dates



THE PERILS OF OBEDIENCE

Here’s the newest offering from director Niegel Smith, one of my Talfs (Theatre Artists I Love to Follow). He is teaming up with visual artist Itziar Barrio, who was born in Bilbao, Spain, and works in New York City.

March 29, 30 | 8pm
Tickets $10, available at www.abronsartscenter.org

The Abrons Arts Center is proud to present Casting THE PERILS OF OBEDIENCE: A Performance, the second stage of visual artist Itziar Barrio’s exploration in power dynamics and constructed situations. Using the methods of casting, the performance will unfold the wills and desires of the actors to succeed and be recognized. By placing them within fictional and non-fictional parameters, whether movie scripts or their own lives, Barrio reveals the production of power through seduction.

Following an open call, actors will audition for four full days with theater director Niegel Smith and will undergo a selection process. Open to the public only during the two final days of callbacks the entire process will be recorded and included in a resulting video piece. Exploring simultaneously the limits and in betweens of theater, film and performance art, the live recording emphasizes the experience that is being created by actors and audience.

The four selected actors will eventually be part of the next phase of THE PERILS OF OBEDIENCE, consisting of building a scene in real time. The first stage of the project was carried out in Spain during BAD, Bilbao Theater and Contemporary Dance Festival in 2010.

The fine line between the persona and the character finds its mirror in the audience, who executes its silent power by being present. Their presence implies a voyeuristic disposition and it functions to unveil the group dynamics and the negotiation of social roles and rules.

Pushing the actors to reveal their limits on stage, underlining the narratives present in any situation the performance frames an experience where conventions are decoded, contemporary fears of domination are confronted, and exhibitionism and social acceptability are critically examined.

THE PERILS OF OBEDIENCE is inspired by Stanley Milgram’s psychological experiments which began in 1961, a few months after the trial of the Nazi Adolf Eichmann. Milgram wished to test how much pain a person would inflict on another simply because this was asked of them for the purposes of a scientific experiment. As Hannah Arendt reminds us that “under conditions of tyranny it is far easier to act than to think”. Barrio analyzes how obedience to a higher authority, even in democracy, can lead to extreme consequences and can involve large numbers of the population.

“…Itziar Barrio is interested in realities and in showing their limitations and ambiguities as truth, through analysis of their forms of representation. So, art, film, television, the performing arts and the Internet take the floor as work tools and objects for experimentation and analysis. Her interest not only lies in the story that upholds the realities but in its recreations, its techniques for showing them or fictionalizing them.”
From the text of the Catalogue LOS PELIGROS DE LA OBEDIENCIA (-1) by Maria Mur Dean, Director of the Art Producer Organization Consonni (Bilbao)

Itziar Barrio was born in Bilbao and lives and works in New York City. Her work has been presented, among other venues, at: ENPAP (European Network for Public Art Producers), ARTIUM Museum (Vitoria), Hudson Valley Center for Contemporary Art (New York), New Museum Festival of Ideas for the New City (New York), Havana Biennial (Cuba), White Box (New York), Cervantes Institute (New York), International Festival Postelectronic Art (Italy), Pist Space (Istanbul), Art for Art`s Sake (Bologna), Gdansk Academy of Arts (Poland), Loop (Barcelona), Sala Rekalde (Bilbao) and Thomas Henry Ross Galerie (Montreal). Barrio has been awarded among others with the First Prize Ertibil (Basque Government), and by Brooklyn Art Council, Spanish Ministry of Culture, the New York City Department of Cultural Affairs, and the New York Foundation for the Arts. She has attended a number of residencies including Skowhegan School of Painting and Sculpture and The International Studio and Curatorial Program (ISCP).

Casting THE PERILS OF OBEDIENCE: A Performance is a recipient of NYFA’s Emergency Relief Fund Grant and sponsored by Etxepare Basque Institute.



DEELMAYKER Reading in NYC April 11th

It is my pleasure to invite you to the staged reading of DEELMAYKER by Warren Bodow, which I have dramaturged. Please join us! Reservations required: dramaturgtn@gmail.com.

DEELMAYKER by Warren Bodow

A comedy about 65 year old Bernie Harris, once the go-to guy in the media brokerage business, who struggles to meet the demands of a younger generation—on his own terms.

Presented by The Spiral Theatre Studio/Our Green Rooms Truly Are

Join us for a reading of DEELMAYKER

By Warren Bodow

Directed By Ken Dashow

To be performed at Arts New York,

in the Bruce Mitchell Room, 3rd floor

520 8th Avenue at 7pm on April 11, 2013

RSVP: dramaturgtn@gmail.com

Or call: 212-689-4362

Download our flyer here: DEELMAYKER reading April 11, 2013



Andrew Barrett Still Loves SMASH

Thanks again to Andrew Barrett (my TALF) for weighing in on SMASH. Check out his blog at: http://barrettny.wordpress.com/2013/03/14/five-new-reasons-why-i-love-nbcs-smash/

Five New Reasons Why I Love NBC’s “Smash”

Ratings are up, story lines continue to intrigue and hopes are high.  So without further adieu, five new reasons why I love NBC’s “Smash.”

1.  Art vs. Commerce. Not since David Mamet’s “Speed the Plow” has the debate between the dream of the artist vs. the dream of the producer been so honestly depicted.  Many haters have blogged and posted and tweeted how inauthentic “Smash” is (i.e. Season One featured Ivy running through Times Square in her “Heaven on Earth” costume).  The rules and regulations of costume wearing off-stage are not the thing of great drama.  A serious conflict between art and money is great drama.  Based on my own experiences sitting in more than one producer meeting, I was thrilled by the accuracy of the arguments, tensions, and solutions centered on this dramatic conceit.  And it made for great drama Tuesday night.

2.  Urban Cowboy.  Veanne Cox delivers one of the best inside joke one-liners I have ever heard…ever!  And because it’s Veanne Cox, it’s delivered perfectly.  If you haven’t seen this week’s episode of “Smash,” I won’t spoil it.  But for theater folks in the know, I am 100% sure there was a collective gasp followed by a well-deserved guffaw.

3.  Jerry Rand.  To be honest, I don’t know where this storyline is going.  Case in point, if he is in it to ruin “Bombshell,” he’s doing a terrible job since his fight to make it “commercial” is making at least one of the creators happy.  (And by episodes conclusion it would appear both writers are happy).   Still, Michael Cristofer makes for a potentially great villain.  I’m waiting for the J.R. Ewing or Alexis Carrington or even Angela Channing moment of pure evil, and I hope it is as enjoyable as Hagman, Collins and Wyman made their moments.

Come on “Smash.”  You can do it!  You almost had it when Jerry threatened Karen, but here’s hoping that evil will be unleashed on Eileen instead.  With her, you can be guaranteed a martini in the face!

4.  Baz Luhrmann’s “La Boehme” on Broadway. If you’re gonna go fringe, find symbolism from the guy who was totally fringe but succeeded commercially…Baz Luhrmann.  In a nod to his artistically stunning Broadway version of “La Boehme,” “Hit List” borrowed their basement theater set design (see the back wall) from the noir-romantic design from the 2002 Broadway production.

5.  Saturday nights.  Guess what everyone…the show is starting to improve in the ratings.  It’s true.  Here is a encouraging quote from their press release (Go Bob Greenblatt!): “”Smash” is currently building on this week’s lead-in by 29% or 0.2 of a point.  Note that “Smash” continues to add an exceptional amount of viewership via time-shifting…”  So rather than cancel the show outright, NBC is wisely placing the show on Saturday nights.  This will capitalize on the larger number of time-shift viewing they know they are getting.  This is a very smart move inspired by the commercial realities of TV.

And there ya have it.  My five new reasons for loving “Smash.”  What are your reasons for loving the show?  (Besides the too infrequent cameos of Ann Harada!)