Jacqueline E. Lawton
  • Home
  • Info
    • Artistic Statement
    • Bio
    • Awards and Fellowships
    • Affiliations
  • Writing
    • Upcoming Events
    • Previous Events
    • Plays
    • Productions
    • Commissions
    • Award Ceremonies
    • Publications
  • Advocacy
    • Appearances
    • Facilitation, Workshops, and Trainings
    • Access, Equity, Diversity, and Inclusion in the American Theatre
    • Gender Equity
    • Theatre and Technology
    • Theatre Action >
      • After Orlando
      • Climate Change
      • Every 28 Hour Plays
    • Testimonials
    • Additional Resources
  • Dramaturgy
    • New Play Development
    • Production Dramaturgy
    • Dramaturgy and Script Consultation
    • Additional Resources
  • Teaching
    • Qualifications
    • Curriculum Development, Theatre Arts Integration and Teaching Artist Training
    • Philosophy
    • Experience
  • Producing
    • ARDEO
    • On Stage with the Migration Series
    • Out of Silence: Abortion Stories from the 1 in 3 Campaign
  • Media
    • Gallery
    • Good Ink
    • Media Coverage
    • Interviews
    • Press Releases
    • Podcast & Video
  • Blog
  • Contact

Introducing the Women Dramaturgs of D.C. Series

4/17/2013

0 Comments

 
Picture
In December of 2004, I was living in Baltimore and had completed a brief stint at CENTERSTAGE. By January of 2005, I was working as a temp at Catholic Relief Services. For three weeks that winter, I walked to and from work; a total of three miles. I worked from 10:00am to 6:00pm. When I got I came home, I cooked dinner and wrote from 8:00pm to 11:00pm. 

I liked my work. I liked being in service to the greater good. I was working there during the Indian Ocean tsunami of 2004. I liked the stability of my schedule and the steady salary. So much so, that I considered shifting my life and career. But theatre had saved my life after a series of traumatic experiences (that I'll write about one day) and I knew I wasn't ready to leave it. And as much as I missed Austin and missed being surrounded by artists of various disciplines eager to work and create with together, I knew that moving back to Texas wasn't an option. Mainly, because I had spent a fortune getting to the East Coast. So, I kept plugging along.

Picture
Towards the end of January, a dear friend sent me the notice for the Literary Internship at Woolly Mammoth Theatre Company. His message read: "Don't think about it, just apply. Don't try to figure it out, just apply. Don't freak out about all the reasons why it'll hard as hell to make work, just apply." So I did and by the grace of divine providence and all that is meant to be, I got the internship. Later, I learned that my boss, Mary Resing, who was then Woolly's Director of New Play Development, had gone to school with the brilliant and amazing Jill Dolan (one of my mentors, references and advocates). Mary figured that anyone who had successfully survived so many classes with Jill had to be smart, hardworking, talented and up for a challenge!

And I was, ready for the challenge and eager to absorb everything! So, I went from a lovely mile and half walk to and from work to an exhaustive hour long train commute each way. I went from having a steady and decent income to making barely enough money to cover transportation and had to take a part-time at the Ford's Theatre box office to make rent each month. But I was happy. During those one hour train ride, I read the most amazing and adventurous plays and I met so many wonderful people while working at the Ford's Theatre. Also, I started writing a play, DEEP BELLY BEAUTIFUL. 

My time at Woolly Mammoth was amazing. The extensive training that I received and the actually professional opportunities given to me went above and beyond my expectations. I learned an approach to dramaturgy that works to serve the playwright's voice and vision. I learned how to ask questions about the playwrights' intention and writing process, which for me, is the first and most important part of the process. I learned how to bring the world of the play to life through research, music, food, photographs, geography, politics, and humor. I learned how to communicate the spirit of the production to the audience. And by working with such extraordinary playwrights as Gina Gionfriddo, Kirsten Greenidge, Sherry Shepard-Massat and Sarah Ruhl, I also learned how to be a better playwright.  

I completed my internship in August of 2005. From there, I went to work at the Folger Shakespeare Library, but I continued to work as a dramaturg. Eventually, I became resident dramaturg at Active Cultures and African Continuum Theater Company. I worked freelance at the Arden Theater (Philadelphia, PA), Discovery Theater, Ford's Theatre, Howard University, the Kennedy Center, Morgan State University, Redshift Productions (New York, NY), Rorschach Theater Company, Round House Theatre, Theater Alliance and Theatre of the First Amendment. My dramaturgy packets have been used at Ensemble Studio Theater (New York, NY), Interact Theatre (Philadelphia, PA), Theater J, Horizon Theatre (Atlanta, GA). It's been an exciting adventure!

In the last two years, my focus has shifted to playwriting, but I truly miss my dramaturgy work. This is why I've been so excited to connect with the Women Dramaturgs of D.C. and present this series. In my next post, I'll introduce you to the women being featured and share their stories with you over the course of the next few days. I hope you'll enjoy learning about their lives and careers as much I as have. 

0 Comments

Your comment will be posted after it is approved.


Leave a Reply.

    My Blog

    Picture
    I'm a playwright, dramaturg, and teaching artist. It is here where you'll find my queries and musings on life, theater and the world. My posts advocate for diversity, inclusion, and equity in the American Theatre and updates on my own work. Please enjoy!
    Tweets by @dulcia25

    Categories

    All
    Advocates For Youth
    ARDEO
    Blackbirds
    Dance Exchange
    Dc Theatre
    Diversity And Inclusion
    Dramatist Guild
    Gender Parity
    Intelligence
    Lions Of Industry
    LoTT
    Love Brothers Serenade
    Mothers Of Invention
    Musings
    Nnpn
    Noms De Guerre
    Nso
    Our Man Beverly Snow
    Plays For Two
    TCG
    Theatre Education
    Theatre For Social Change
    The Hampton Years
    The Inferior Sex
    Triangle Theatre
    Wizard Of Oz
    Women Artistic Directors
    Women Directors
    Women Dramaturgs
    Women Playwrights
    Women Stage Managers
    Women Theatre Critics
    Xx Playlab Festival

    Archives

    June 2020
    April 2020
    December 2019
    September 2019
    May 2019
    March 2019
    February 2019
    January 2019
    December 2018
    November 2018
    September 2018
    April 2018
    March 2018
    February 2018
    June 2017
    April 2017
    March 2017
    February 2017
    August 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    October 2014
    September 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    October 2012
    September 2012
    August 2012
    July 2012
    May 2012

    Reading List
    2am Theatre
    American Theatre Wing

    Americans for the Arts
    The Atlantic
    Black Girl Dangerous
    Colorlines
    Feminist Crunk Collective
    Feminist Spectator

    The Good Men Project
    Guardian: Theatre
    Guernica
    HowlRound
    Media Diversified
    The Nation
    NEA Art Works
    NPR Arts and Life
    NYTimes: Arts

    Opine Season
    The New Yorker
    The Paris Review

    Salon
    Theater Talks
    Think Progress
    WaPo: Theatre
    Works by Women

    Vox

Powered by Create your own unique website with customizable templates.
  • Home
  • Info
    • Artistic Statement
    • Bio
    • Awards and Fellowships
    • Affiliations
  • Writing
    • Upcoming Events
    • Previous Events
    • Plays
    • Productions
    • Commissions
    • Award Ceremonies
    • Publications
  • Advocacy
    • Appearances
    • Facilitation, Workshops, and Trainings
    • Access, Equity, Diversity, and Inclusion in the American Theatre
    • Gender Equity
    • Theatre and Technology
    • Theatre Action >
      • After Orlando
      • Climate Change
      • Every 28 Hour Plays
    • Testimonials
    • Additional Resources
  • Dramaturgy
    • New Play Development
    • Production Dramaturgy
    • Dramaturgy and Script Consultation
    • Additional Resources
  • Teaching
    • Qualifications
    • Curriculum Development, Theatre Arts Integration and Teaching Artist Training
    • Philosophy
    • Experience
  • Producing
    • ARDEO
    • On Stage with the Migration Series
    • Out of Silence: Abortion Stories from the 1 in 3 Campaign
  • Media
    • Gallery
    • Good Ink
    • Media Coverage
    • Interviews
    • Press Releases
    • Podcast & Video
  • Blog
  • Contact