DRAMATURGY!

Discovering dramaturgy made me fall in love with theatre again. Realizing that I could combine my passions for research, playwriting, criticism, and analysis into a career made me appreciate theatre with a new perspective.

  • A dramaturg’s role to a production is integral- acting as an external viewer to the process who can inform key collaborators as to how an audience might react to the production.

  • For me, everything boils down to humanizing the characters in a play- breathing life into them through research and accuracy. I spend too much time watching vlogs, reading blog posts, and attacking research in unconventional ways to assist the creative process as much as I can.

LITTLE SHOP OF HORRORS

Presented at Connecticut Repertory Theatre, directed by Vince Tycer, the production’s goal was to create a kaleidoscope of aesthetics from the 60s to modern day while staying true to the core of the story. This is a story about class struggle, and the desperation the poverty creates. Bringing that perspective to light was very important to me as someone who grew up poor. I’m very grateful Vince took that perspective seriously.

Supporting materials are available below!

Actors’ Packet!

Playbill Note

Lobby Display Materials

This plant display was designed and set up in collaboration with UConn’s Horticulture Club, specifically Renee Dackow and Isabelle Hudson.

FOLLY ADIEU

Written by Alyson Doyle & directed by Anthony Sellitto, Folly Adieu’s world premiere was part of UConn Dramatic Art’s D-Series. A brand new production, my work focused on working with the playwright to clarify intentions, ask a lot of questions, and act as emotional support when the weight of this incredibly personal piece became a lot for everyone involved.

This production was unique in that I was both the dramaturg and the stage manager, so by the end I was incredibly familiar with its ins and outs. Not a day goes by where I don’t miss working with this cast and crew!

LAST FIRST DAY

Written and directed by Paul Keegan (pictured to the left), this exciting workshop was the first time we got to hear the words aloud after almost five years of Paul working on the script.

The script is theatre for young audiences, aimed at being licensed towards high schools- this was a large departure from my normal work. While my work is messy and experimental, Last First Day reminded me of what the joy of polished theatre for a broad audience is.

The workshop was produced by Marquee Theatre Co. in a venue that typically hosts childrens’ birthday parties in the local community, giving us the opportunity to be resourceful with staging while allowing us to support our community.

WORK WITHOUT PICTURES :(

  • Chamber follows the daily dramas of a high school choir class while their teacher is on leave, placing them all right in the center of a school shooting the day before he’s set to return.

    While the script was presented as part of a workshop series at the National Theatre Institute, my work with Holly focused on script development- interrogating what it meant for these students of different privileges, backgrounds, and temperaments to be face to face with death. Holly is a longtime collaborator of mine, giving us a comfortable relationship to work through tough topics like these. Eventually, a link to Holly’s website will go here so you can read Chamber yourself!

  • Utilizing a SHARE Grant at the University of Connecticut, Dr. Lindsay Cummings and I dove head first into the beginnings of a new devised project. Serving as the primary researcher on the project, I now know far too much about the history of garbage in Connecticut, how much garbage there is in Connecticut, and the unfortunate fate of the once beloved Trash Dinosaur (the Trash-O-Saurus).

    This was my first brush with devised theatre, and the first time I was fortunate enough to be asked to work on a new piece from the beginning. As the project progressed, myself and Dr. Cummings held workshops where ourselves and trusted collaborators began exploring feelings associated with garbage and the concept of waste.

  • An exploration of the climate crisis’ intersection with Eugene O’Neil, Estuary takes place in southern CT as the oceans rise and people are being forced to leave their homes. The show investigates the way class functions in a man-made apocalypse, combining puppetry and human actors to tell this magical story.

    That’s a lot! My job as a dramaturg focused on helping Fisher balance all of these larger than life concepts and ideas. The script is still a work in progress and our work is ongoing :)