ONE-ON-ONE WITH A DRAMATURG

Personalized matching with an experienced dramaturg to help you revise and strengthen your script.

A DRAMATURGY SERVICE FOR PLAYWRIGHT MEMBERS

This dramaturgy program provides playwright members an opportunity to get a response to and constructive feedback on a draft of their play as they prepare to move into a revision, with the goal of getting their play ready to submit to future opportunities. The sessions have differing degrees of engagement with the member playwright, but each one entails a reading of their play and a response with either written or verbal feedback (and sometimes both). 

ROLE OF THE DRAMATURG

The dramaturg is the first audience member of the play. Their role is to respond authentically, share what they see and hear, be curious, and ask questions. They are the artist who notices if what the playwright is trying to accomplish in their play is translating to the page. The dramaturg brings their own expertise and experiences to the session. The dramaturg can make recommendations, share resources, and advice to the playwright as they continue to develop their craft.

NOT THE ROLE OF THE DRAMATURG

It is NOT the role or responsibility of the dramaturg to:

  1. Tell a playwright whether or not they should continue working on this play or if the play is “good”

  2. Offer line or grammatical edits

  3. Teach a playwright how to format a play or offer any other “playwriting 101” lessons

  4. Tell a playwright how to “fix” something that isn’t working or tell a playwright how they might write a scene “better”

  5. Provide prescriptive feedback

  6. Suggest where playwrights should submit/send their plays for production

  7. Speak for or represent a specific cultural, ethnic, racial, religious, sexual, gender, ability, age, or income identity location

GOALS FOR THE PROGRAM

  • Provide meaningful analysis, inquiry, and feedback on each play to help playwright members dig deeper into their own work and ultimately find a way forward from these questions and feedback to write the plays they want to/mean to write

  • Identify harm when it shows up in plays so that we help to reduce harm in the theater field

  • Provide work and a responsible wage to freelance dramaturgs for their expertise and services 

  • Grow the cohort of dramaturgs that are working with Playwrights’ Center in support of our members, to better reflect the identity locations of the writers we are serving and the world we live in

How it works:

FULL-LENGTH PLAY

Option 1 - $250:

  • A playwright dramaturg reads your play and schedules an hour-long phone or zoom meeting to talk about the play with you and give you verbal feedback. (No written notes are included)

Option 2 - $320:

  • A dramaturg reads your play, writes up a constructive feedback and comments and sends them to you via email. 

Option 3 - $380:

  • A dramaturg reads your play, writes up constructive feedback and comments and sends them to you via email. Later, the dramaturg meets with you over the phone or via zoom to discuss the written comments and answer your questions.

10-MINUTE OR ONE-ACT PLAY

Option 1 - $200:

  • A playwright dramaturg reads your play and schedules an hour-long phone or zoom meeting to talk about the play with you and give you verbal feedback. (No written notes are included)

Option 2 - $250:

  • A dramaturg reads your play, writes up constructive feedback and comments and sends them to you via email. 

Option 3 - $300:

  • A dramaturg reads your play, writes up constructive feedback and comments and sends them to you via email. Later, the dramaturg meets with you over the phone or via zoom to discuss the written comments and answer your questions.

To sign up

Click the sign-up button, choose two dramaturgs from the list, and we will connect you with the one who has the earliest availability. You can read more about each dramaturg by clicking their name at the top of their bio.

Sign up now Back to script feedback

he/him
Types of Plays:
Seriocomedies, lyrical dramas, and farces about: intercultural clashes and connections, the political in the personal, spirituality, sexuality, families, and plays inspired by historical events. As an American who grew up in South Asia, I love to work on plays that involve the intersection of different cultures and/or involve non-Western forms of storytelling. I can work on plays that range from naturalistic to non-narrative experimental work. I have a special affinity for comedy and poetic theater.
he/him
Types of Plays:
Realistic, historic, and theatrical. His own work tends to be grounded in drama with dark comedic elements and fall within the realm of tragedy.
she/her
Types of Plays:
I like working with writers who are interested in asking questions, pushing boundaries and expectations, working theatrically, and writing toward their fears.
she/they
Types of Plays:
I'm interested in stories that play with form, structure, and character. Interests of mine include queer and feminist narratives, horror, fairy tale, reality-adjacent worlds, and social justice.
She/her/hers
Types of Plays:
I've worked on major musicals, to TYA shows, to intimate two-handers, to Shakespeare. Drawn to projects with complex and interesting female-identifying protagonists, especially young women who are reckoning with their place and power in the world. Give me more feral girl stories! I work on adaptations or historical stories told through a contemporary lens. Excited about eco-theater and the intersection of theater/science/technology/nature, etc. I want to work on more "genre" theater (horror, sci-fi, fantasy).
she/her
Types of Plays:
Deborah likes to work on intimate plays, dramas, dramas with humor, and plays with darker edges. She is happy to work on any type of play.
They/them
Types of Plays:
I love plays that range from wildly experimental to traditional family dramas. I have a special fondness for plays that revolve around questions of queerness and gender, as well as plays that dramatize physical events (such as sports).
he/him
Types of Plays:
Typically writes plays steeped in realism but reads and sees plays of all kinds and can work on plays of any genre.
he/him
Types of Plays:
He writes about love, baseball, home, and his travels. He enjoys plays with humor, heart, and something new.
she/her
Types of Plays:
My work experience has led me to all genres of theatre, but I have the most experience with classical dramas, such as the work of August Wilson. I am also committed to amplifying the voices of emerging Black playwrights.
she/her
Types of Plays:
I like to work on projects that are trying to say something about the current moment we are in. Why this play now? is an essential question to me.
he/him
Types of Plays:
I write a lot of plays around the LGBTQIA+ experience, lots of romance/romantic comedy, historical dramas, and plays for young audiences and families. My plays also tend to include a fair amount of intergenerationality.
he/him
Types of Plays:
Musicals (primarily book), adaptations, short plays, comedy, drama, historical plays, theater for young audiences. I lean more toward work that's language-oriented; I also have an affinity for historically-based plays, as well as an interest in musical book/libretto (not so much lyrics or music).
she/her
Types of Plays:
I love theatrical, ambitious plays that can feel a little messy. I love love stories, stories about families, and parenting. I like plays that have a sense of hope and curiosity to them. I enjoy plays that are engaging with older plays/classics and exploring those ideas in a new and person way.
he/him
Types of Plays:
Straight plays, non-musicals, drama+comedy, docudrama, historical drama, investigative playwriting, etc.
she/her
Types of Plays:
Writes comedy and drama - often research-based or based on historical/real events. Very good with structure and linear narrative. Especially drawn to topical plays or plays based in historical events.
she/her
Types of Plays:
She has experience collaborating on a broad range of styles and genres—from experimental forms to music theater, from dance theater to historical dramas.