DESIGNER shows you a few of my scenographic designs, costume renderings, production photos, a statement of my design philosophy, and my resumé.
EDUCATOR opens to a narrative about my career, and you’ll find my curriculum vita as well as a short statement about my approach to teaching.
DRAMATURG tells you the theatres and the nearly 70 plays for which I’ve been dramaturg.
CONTACT will help you locate me — and I hope you will.
I have served as dramaturg for sixty-three productions for Pioneer Theatre Company, Salt Lake City’s LORT “B” theatre, in addition to being dramaturg for productions at Merrimack Repertory Theatre in Massachusetts, New Stage Theatre in Mississippi, Indiana's New Harmony Theatre, and the Falaki Theatre in Cairo, Egypt.
Dramaturgy is a logical outgrowth of the research I have always done for my costume and scenographic designs, and I have enjoyed expanding my areas of research to contribute to my fellow artists’ work as directors, actors, and designers.
I have been dramaturg for classics, standards, musicals, and first productions of new plays. For each production, I have prepared a protocol, a packet of printed materials that includes research on variable topics: the playwright’s biography, themes, and subjects, script analysis, alternative translations and adaptations, production history, sheet music of obscure and archaic songs, critical reception, historical periods (including iconography) -- whatever was asked for or seemed appropriate to a particular project. My research has led me to study the conflict between the 13th century Italian factions of Guelphs and Ghibillenes for Romeo and Juliet, the aesthetics of landscape architect Capability Brown for Arcadia, Celtic rites for Dancing at Lughnasa, the Holocaust for The Diary of Anne Frank, life in medieval Paris for the premiere of a dramatization of The Hunchback of Notre Dame, and the biographies of August Wilson and Noël Coward for Fences and Hayfever.
I have written program copy, press releases, and study guides for students; played music CDs at design conferences; conferred with directors over Italian dinners; and created displays in rehearsal rooms of maps, time-lines, architectural styles, and images of historical personages. During the rehearsal process, I have responded to a wide variety of requests from actors and directors: what’s the etymology of this word? what historical event does this speech refer to? how do scholars interpret this famous scene? what key did Gertrude Lawrence sing in? what kind of underwear did men wear in medieval France? It’s amazing what we need to know when we create theatre, and as a dramaturg, it’s my job and my pleasure to find answers.
Dramaturgy is wonderfully rewarding work. It uses my research skills, it challenges my analytic skills, it polishes my diplomatic skills, and it permits me to contribute to the success of theatre.
As a reward, I learn. Dramaturgy might be described as “learning that’s applied towards the creation of excellence in theatre”.
Here are the productions I have served as dramaturg, listed in alphabetical order: