Anne Hamilton/Hamilton Dramaturgy

Chon and Cammarata Join Hamilton Dramaturgy Staff

Hamilton Dramaturgy has expanded its staff by appointing Walter Byongsok Chon as Associate Dramaturg, and Cate Cammarata as Assistant Dramaturg. Both artists have made significant contributions to the company and its projects, performances and programming for the last two years, leading to their official appointment. Their contract is non-exclusive, and the dramaturgs will continue to develop their careers fully with many other organizations and artists. Hamilton Dramaturgy wiill be able to offer more expertise to serve all the needs of its growing client list. Welcome, Walter and Cate!


Walter Byongsok Chon is a doctor of fine arts candidate at the Yale School of Drama, where he is writing his dissertation, “Behind Romantic Irony: How 18th-Century English Self-Reflective Satire Anticipated a New German Drama.” He received his MFA in Dramaturgy and Dramatic Criticism from Yale School of Drama, where he was production dramaturg on Yale Rep’s Rough Crossing and Eclipsed and several YSD and Yale Cabaret productions. His other accomplishments include new play development (Eugene O’Neill Theatre Center, The Great Plains Theater Conference), translation (Serpent At My Thigh, Inching Towards Yeolha, from Korean into English; Charles Mee’s True Love from English to Korean), conference presentation (ATHE, PTRS), and publication of his articles in Praxis, Theater, The Korean National Theatre Magazine, and The Korean Theatre Review, among others. Walter holds a BA in English from Sungkyunkwan University, and an MA in theatre studies from Washington University in St. Louis. He recently served as Artistic Coordinator at the Yale Repertory Theatre.

Cate Cammarata is a Producer, Director and Dramaturg, and is also an Adjunct Professor at SUNY Stony Brook.  She is the Literary Manager for Theater Resources Unlimited (TRU) and Jana Robbins Productions, and is in development with MY LIFE IS A MUSICAL as an Associate Producer.  Cate has previously worked with the HERE Arts Center, The Active Theater, Hamilton Dramaturgy, Hamilton Dramaturgy’s TheatreNow!, Hughes/Moss Casting, Syracuse Stage, the Emelin Theater, and the John W. Engeman Theater in Northport, Long Island.  She holds a MFA in Dramaturgy from SUNY Stony Brook and a BFA in Acting/Directing from Syracuse University, and is a graduate of the Commercial Theater Institute.

Hamilton Dramaturgy is an international consultancy based in New York City. It was founded in 1991 by Anne Hamilton, who holds an MFA from Columbia University of the Arts. The company’s clients have gone on to win the Pulitzer Prize, the MacArthur “Genius” Award, the Tony ® Award, and a Royal Court International Residency. Selected client list: Andrei Serban, the Joseph Papp Public Theater, the Harold Prince Musical Theatre Institute, Michael Mayer, Lynn Nottage, and Classic Stage Company. Hamilton produces and hosts Hamilton Dramaturgy’s TheatreNow!, a podcast series featuring some of the most important contemporary female theatre artists working in America.,, hamiltonlit@

Choosing to Say Goodbye

From time to time I write an article for Open to Hope, an organization which helps people to find hope after the loss of a loved one. This week, I wrote, “Choosing to Say Goodbye” about the loss of my friend Curtis. I modeled the character Jonathan in THE STACY PLAY – A LOVE SONG – VOLUME I after him. Last month’s staged reading allowed me to hear the play in its entirety, and helped my healing process along as well. As my play continues to live and my heart continues to heal through writing and directing, I can only hope that I will continue to expand and express my own journey.

You may download the article here:  Anne Hamilton Choosing to Say Goodbye Article for Open to Hope

Choosing to Say Goodbye

by Anne Hamilton (c) June 24, 2012

There’s a time when you have to say goodbye, and a time when you choose to say goodbye.

For the first time, I chose to say goodbye to my friend Curtis today.

I had to say goodbye when he was ripped away from me in a car accident thirty years ago. And all this time I’ve been resenting that accident.

But recently the song, “Freebird”* by Lynryd Skynyrd has kept echoing in my head. If I heard it on the radio, I would listen for its entirety. I would pull off the road to listen to it. I couldn’t get that song out of my mind.

I had heard it at so many high school dances in the 70’s. It was a classic.

Today I wanted to hear that song. I listened to it over and over on YouTube. I let the song sink in and I cried for a long time. And my heart changed. I needed to hear the words and more important, I needed to feel them.

“If I leave here tomorrow
Would you still remember me?
For I must be traveling on, now,
‘Cause there’s too many places I’ve got to see.
But, if I stayed here with you, girl,
Things just couldn’t be the same.

‘Cause I’m as free as a bird now,
And this bird you cannot change.
Oh… oh… oh… oh…
And the bird you cannot change.
And this bird you cannot change.
Lord knows I can’t change.

Bye, bye, baby it’s been a sweet love,
Though this feeling I can’t change.
But please don’t take it so badly,
‘Cause Lord knows I’m to blame.
But if I stayed here with you girl,
Things just couldn’t be the same.

‘Cause I’m as free as a bird now,
And this bird you cannot change.
Oh… oh… oh… oh…
And the bird you cannot change.
And this bird you cannot change.
Lord knows, I can’t change.
Lord help me, I can’t change.

Lord I can’t change,
Won’t you fly high, free bird, yeah.

I always thought I was the free bird because I’m the fiercely independent one. But today I realized that Curtis was the free bird, and that’s why I love this song so much. It’s imprinted on my mind, like the news of his death and my turmoil after his loss.

And what if he said to me, “If I leave here tomorrow, would you still remember me? For I must be traveling on, now, cause there’s too many places I’ve got to see”?

And what if he‘s saying in that song, “Bye, bye, baby it’s been a sweet love…though this feeling I can’t change. ‘Cause I’m as free as a bird now, and this bird you cannot change.”

I can respect that. I can love him for that. I can thank him for that.

And now I can let him go. On to his travels, and his places to see.

‘Cause I’m as free as a bird now. And this bird you cannot change.

We were together for a little while and forever.

I can be a free bird.

*Song by Ronald W. Van Zant and Allen Collins

THE STACY PLAY on May 19th

THE STACY PLAY was given its first public staged reading on Saturday during a spectacular spring day in Central Park. Eleven audience members for each show followed Stacy to three locations as she shared her challenges, triumphs and hopes. It was an AEA-approved showcase with a limited audience in order to provide an intimate viewing experience.

The audience started at 67th Street and Fifth Avenue, continued up through The Mall, whose American elm trees provide a cathedral-like canopy, and ended up near the Bethesda Fountains where sounds of the splashing water mixed with that of violins played by park musicians.

Act One was staged on a rock promontory overlooking the fountain. The audience then moved into place  on a grassy plain overlooking the Lake filled with boaters for Act Two. Act Three was played in the safe haven of a grove of trees filled with sounds of birds and children playing, overlooking both the Fountain and the Lake. Dramaturg Walter Byongsok Chon led an audience talkback after the 2pm show.

Soraya Broukhim* starred as Stacy Lee Madison and Brent Wellington Barker III portrayed Jonathan, her dead love interest, in a story which brought the audience to such diverse locations as Paradise, the Upper West Side, Limbo, the Italian Riviera, Limbo, and the Womb. The actors gave passion and commitment to their roles, evidencing an onstage familiarity with one another which was developed as company members of The Living Theatre.

My Director’s Notes in the program detailed the origin of the piece, since starting out on a “deliberate journey of healing” three years ago, and Walter Byongsok Chon’s dramaturgical notes explain the form and content of the medieval pageant play and how it relates to THE STACY PLAY.

In response to the experience, New York playwright Robin Rice Lichtig comments, “When Stacy describes all the men she encountered in life, had experience with, then left behind… that works well with the audience actually physically moving along with her. It’s a sort of search, this journey — a search for the one true love she yearns to recapture. It’s interesting that she had that love early on in her life, yet she has to travel far to find it again in a different place…Birth and death are so close — both coming from and going to an unknown place which may be called “heaven.”

Many thanks to all to attended the staged readings. The 2pm performance was an official event of the League of Professional Theatre Women’s 30th Anniversary – “30 Plays in 30 Years”.

You may download the program here: THE STACY PLAY by Anne Hamilton Program May 19, 2012

*This Actor is appearing courtesy of Actors’ Equity Association.

The audience prepares to enter Central Park

Khenpo Tenzin Dargye, Anne Hamilton (Director and Playwright) and Maya Cantu

An official event of "30 Plays in 30 Years"

Deborah Savadge and friends with the LPTW Banner


Stephanie Wessels watches Soraya Broukhim as Stacy Lee Madison in Act One


Soraya Broukhim as Stacy, Brent Wellington Barker III as Jonathan, and Walter Byongsok Chon reading stage directions


Soraya Broukhim in Act One, Part II – AND THEN I WENT INSIDE

For more information about THE STACY PLAY, please email me at


I’m very excited about directing a staged reading of THE STACY PLAY – A LOVE SONG – VOLUME I for two performances in Central Park this Saturday. The cast consists of Soraya Broukhim* as Stacy and Brent Wellington Barker III as Jonathan. They are both members of The Living Theatre’s acting company, where I recently saw them perform in Judith Malina’s HISTORY OF THE WORLD.

Our rehearsal last Saturday was full of challenges. I had to rework the route for the walking tour because of loud music coming from events based near the sites I had chosen. I moved the action to three spots surrounding Bethesda Fountain: an outcropping of that great, bold gray rock for Act One, a site overlooking the Lake for Act Two, and a grove of trees overlooking both for Act Three. I  hope that the audience will feel a connection with nature and a large sense of space while listening to the story of a woman’s spectacular life which spans over a century.

Stay tuned next week for news of the reading, and some audience responses.

*This actor appears courtesy of Actors’ Equity Association.

Soraya Broukhim and Brent Wellington Barker III

Stage Manager Ben Rodman, Playwright/Director Anne Hamilton, Soraya Broukhim and Brent Wellington Barker III

Soraya Broukhim and Brent Wellington Barker III rehearse as Jonathan and Stacy

Soraya Broukhim, Brent Wellington Barker II, and Dramaturg Walter Byongsok Chon

Anne to Direct THE STACY PLAY in Central Park

The League of Professional Theatre Women, an international organization based in New York City, is celebrating its 30th Anniversary in 2012 with a variety of programs and events.

Under the leadership of Co-Presidents Kristin Marting and Lorca Peress, the League has launched 30 PLAYS CELEBRATE 30 YEARS”, which features 30 brand new plays, musicals and theatre events curated by League members. The events will take place in Manhattan, Brooklyn, Queens, and beyond; from site-specific theatre on the prairie in central Canada; to the unveiling of a new play in London; to Memphis, Tennessee; to downtown performances at the New York Theatre Workshop, the Cherry Lane and HERE.

I am curating and directing a walking tour staged reading on May 19th on Literary Walk in Central Park in New York City, ending at the Bethesda Fountain.

I created an updated model of a medieval pageant play in the middle of New York’s most famous park. Stacy, the main character in my full-length play, THE STACY PLAY – A LOVE SONG – VOLUME I, goes through a modern journey of the soul, wheeling her pageant cart between eight locations, ending at the fountain.

The audience will follow Stacy as she travels through such “locations” as Paradise, Limbo and The Womb, as well as her Manhattan apartment, sometimes with Jonathan, her love interest who happens to be dead.

Because THE STACY PLAY is episodic in nature, I thought it would be fascinating to literally journey through her story. Originally, I intended for the walking tour to be done in Nervi, on the Italian Riviera, where I enjoyed a fellowship and residency from the Bogliasco Foundation several years ago. But my ultimate desire was to present it in a New York City park, and the League presented me with an opportunity to direct my play in my dream location.  This is just one example of how unique staging can partner with women artists’ advocacy efforts to produce a groundbreaking event.

Please join me at this 2pm event on May 19th.  RSVP to I’ll see you on the Mall!

Anne Hamilton has more than twenty 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@ Season Two of Hamilton Dramaturgy’s TheatreNow! concluded with an interview with Jennifer Tipton, the award-winning lighting designer.

Please download this article here: BCWJ article – Anne Hamilton to Direct THE STACY PLAY in Central Park

THE STACY PLAY on May 19th

Save the date!

I will curate and direct a staged reading of THE STACY PLAY – A LOVE SONG – VOLUME I on May 19th in New York City. This is an official event of the League of Professional Theatre Women’s 30 Plays in 30 Years celebration. You can learn more about the other events at:

*Saturday, May 19
2:00pm Central Park, New York, NY
Curated by Anne Hamilton
The Stacy Play − A Love Song-Volume I. Hamilton directs a staged reading walking tour of her modern pageant play. Audience meets at the NW corner of 67th St. and 5th Ave to be led to The Mall. We follow Stacy and Jonathan, her dead teenage friend, to eight stations along Literary Walk, ending at Bethesda Fountain. Bring something to sit on; the audience will walk between locations.

Anne Taught Screenwriting/Playwriting Workshop at Philadelphia Writer’s Conference

I had the pleasure of teaching a scriptwriting workshop at the Philadelphia Writer’s Conference from June 3rd through 5th.  One of the nation’s oldest writing conferences, past instructors have included the great novelist Pearl S. Buck. Close to 200 participants attended. I taught three one-hour sessions to about 25 class members on topics including: dramatic elements, the dramatic form, developing character and storyline, differences in formatting between screenplays and stage plays, the writer’s life, cultivating self-expression, and myths and truths about professional writers. I gave the students several writing exercises in free form expression and writing taglines. I discussed the opening from the screenplay WINTER’S BONE to demonstrate characterization, diction, and tone. Class members read roles in a scene from a terrific comedy written by another participant, and I taught them how to give feedback in an appropriate and constructive manner.  Finally, I read two excerpts from my own work to illustrate the use of imagery and high dramatic stakes – the opening of AND THEN I WENT INSIDE, Part II of  THE STACY PLAY – A LOVE SONG – VOLUME I, and the monologue RED RIBBON TIE, which is part of ANOTHER WHITE SHIRT.

I will be looking for other opportunities to serve as a conference workshop leader. Thank you, PWC.

Here are testimonials from four of my students:

“I had the privilege of attending one of Anne Hamilton’s playwriting workshops at the 2011 Philadelphia Writer’s Conference. As an emerging playwright I found her workshop to be superbly instructive; submission formats and targets for submitting plays were particularly helpful. Her in-class writing exercises and prompts were excellent workshop fuel and her reading from her own piece about the 9/11 attacks was galvanizing. It’s good to know there is a resource like her out there as my portfolio of plays continues to evolve.”

-Lisa S. Lutwyche has a BFA in painting, a BA in Art History, and spent 28 years in corporate and residential architecture and design, teaching creative writing at a community arts center since 1992.  After attending AROHO (A Room of Her Own, a selective, bi-annual women’s writing retreat in New Mexico) in 2009, and a workshop there with playwright Ellen McLaughlin, Lisa started writing plays.  She had her first one-act play, THE FALL, produced in the 2010 Philadelphia Fringe Festival.  A poet, novelist, essayist and playwright, she is currently working on her MFA in Creative Writing through a low residency program at Goddard College in Vermont.

“Anne Hamilton provides an outstanding workshop for aspiring playwrights and screenwriters.  She speaks from a wealth of experience as a playwright and dramaturg and is able to impart her knowledge clearly and in a manner that is helpful to those on every level of proficiency.  Her handouts, which cover key elements of dramatic writing as well as formatting, are useful, plus she excels at establishing a warm, encouraging presence that infuses the insightful critiques of work submitted by members of the workshop.  I strongly recommend her.”

Diana Pazicky, Assistant Professor of English, Temple University

“Anne Hamilton’s recent Playwriting/Screenwriting Workshop at the 2011 Philadelphia Writer’s Conference was intriguing and informative. Her experience as a Dramaturge was put to good use in passing-on solid, technical information on Playwriting, together with “tricks-of-the trade” and some of her own powerful, inspirational writing.”

Nick Lutwyche has nearly 50 years of experience in military aviation engineering and operations,with 25 of those years in Royal Navy aviation including active service. He has had long time involvement in Community Theatre in the UK and the USA, which has helped preserve his sanity. His roles in many venues include  Actor/Back Stage/Front-of-House/Scenery/Construction/Trash-hauling/Lighting. One day he will write that play…

“I had the pleasure of taking Anne Hamilton’s screenwriting workshop at the Philadelphia Writers Conference. Ms. Hamilton offered a wonderful overview of techniques, examples of works and priceless information for breaking into the business. To be honest, I was on the fence as to whether or not I wanted to pursue screenwriting. However, Ms. Hamilton was so encouraging and inspiring that I applied to MFA programs that same day! Her workshop was truly an invaluable experience and easily my favorite of the three day conference.”

Porsha Addison, Aspiring Screenwriter/MFA Student

Anne’s ROYAL/EGG a Finalist in Red Bull Theater Competition

My ten-minute play ROYAL/EGG was a finalist in Red Bull Theater’s New Short Play Competition. Red Bull Theater is a New York-based theater company specializing in plays of heightened language, with a unique focus on the Jacobean plays of Shakespeare and his contemporaries. I am very honored to have advanced to the finals. My play features five princesses including Elizabeth I and Marie Antoinette and explodes the myth of a “happily ever after” life when a princess comes of age. It’s a great vehicle for two actresses.

ROYAL/EGG is published by Hamilton Dramaturgy Press in THE STACY PLAY – A LOVE SONG – VOLUME I And Other Plays and Poetry, available in paperback and ebook through

Hamilton Dramaturgy Press Releases Two New Titles

Hamilton Dramaturgy Press has published two anthologies of plays and poetry. ANOTHER WHITE SHIRT And Other Plays and Poetry is a collection written in 2009. THE STACY PLAY – A LOVE SONG – VOLUME I was written in 2010. I had written such a large number of plays, short plays, monologues, clown plays and poetry, that I decided to publish it as a celebration of my twentieth year working as a dramaturg. The anthologies are available through as paperbacks and Ebooks. I plan to publish one volume of my writing each year as a record of my literary muse.

The great American actress Kathleen Chalfant starred as my character Stacy Lee Madison in a production of AND THEN I WENT INSIDE in 2009. She encouraged me to expand the play, and so I turned it into the full-length THE STACY PLAY – A LOVE SONG – VOLUME I. It has been read and developed in many venues in New York City and Philadelphia.

In addition, I wrote almost twenty short plays and monologues in the last half of 2010, featuring such characters as a 9-point buck  (HEARTSHOT), an aid worker in Darfur (THE ONE), an animal shelter worker with a very long last name (THE HYPHENATA), and a transgendering youth who insists on creating his own identity (PRONOUNS). I also wrote five plays for clowns, four of them starring females.

I hope that you’ll enjoy these editions. Happy reading!

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.