What is a dramaturg…

The word dramaturg is terribly unclear. It doesn’t give any hint about what the title actually means. Here’s a short list of titles that I’d use in place of dramaturg if it were up to me:

• Hand to The Playwright

• Story Therapist

• New Work Development Doula

• Literary Investigator

• The Playwright’s Friend Who Asks A Lot of Questions

There are multiple definitions and uses for a Dramaturg. Trust me, no two Dramaturgs’ answers are ever the same. Here’s what’s important to know: I am a New Play Dramaturg. My work is a key piece in the collaboration process for developing new plays, musicals, and experimental storytelling experiences. My job is to assist the playwright in developing the work to the best version of itself. What does “best” mean in this context? Well, I’m glad you asked. On the surface level, I assist the playwright in building and specifying plot, themes, and character development. But getting a play to the best version of itself means I dig underneath the words on the page. A satisfying plot is a great accomplishment, but what are we sending the audiences home with? What does this character’s journey communicate about a specific culture or lived experience? My work guides playwrights on a journey to sharpen their intention behind messages, questions, and presentations of thought that will live in the hearts and minds of theatre-goers long after the lights go down.

My approach…

As a Dramaturg, it’s my job to have conversations that guide, challenge, and inspire the writer. I often refer to my job as Friend to The Playwright because the most vital work is developing a relationship with the writer. Conversations about themes and character dynamics turn into favorite childhood TV characters and spiral into subconscious lessons learned in third-grade recess. Pretty soon, I’m able to speak the playwright’s language. Thus, every note, guided question, and investigative conversation is communicated in a way that uniquely resonates with the person holding the pen. I’ve got a foot in both worlds. In many ways, I get to experience the play or musical’s development process as its first audience member. Because I understand the script's inner workings and the playwright’s intentions, I can provide feedback and context that makes a profound impact.

I deeply care about the integrity of my work, the creative teams, and the writers I collaborate with. That’s why it’s important to note that I have a strict policy that the playwright remains in complete ownership of the story. Think of the playwright as a Hero setting off on a new, exciting adventure. I am merely the insightful, talking bird that flies above to get a lay of the land. When needed, I swoop down and land on the Hero’s shoulder to offer words of encouragement, insight, and vague mysticism. In the end, this is not my quest. I don’t have a final say in what happens on the journey. But I will be by the Hero’s side through it all, giving my best advice and judgment.