On February 9, 2015, the Dramatists Guild Utah-Idaho Region and the Rockies Region of LMDA gathered at the University of Utah’s Babcock Theatre to “discuss similar and differing points of view on our shared world of theatre.” On the Dramatists Guild (DG) side, Julie Jensen, helped organize and recruit people from DG to come to the event, on the LMDA side, I helped organize and recruit people to attend.

The event began with a meet-and-greet over food provided by LMDA. Looking back on that event, providing food was one of the best ideas Julie and I had. As we all know, food is a great catalyst for conversation. However, as people settled into the seats that were arranged into a circle, it became very obvious that there was a “playwrights” side of the room and a “dramaturgs” side of the room.

We began with introductions that included our name, institution (or lack thereof), how you identified (playwright or dramaturg) and any other related information you wanted to share. Then, Julie and I drove right into the point of the event. In light of the DG article (published last September) that branded dramaturgs as something to be afraid of, we wanted to know if there was a “mistrust” issue between playwrights and dramaturgs. The answer was interesting. There were playwrights who did not trust dramaturgs, thought they were there to steal their ideas because they secretly want to be playwrights, or had found them (generally) useless at some point because they did not have the training and/or expertise to help them (either as a playwright or a director). But, on the other side of that conversation were playwrights who loved dramaturgs, have had great collaborative experiences with dramaturgs, and thought that they were the best artists in the world. In addition, some playwrights discussed how they were interested in working with a dramaturg but did not know where or how to find one. (Yes, we pointed them to the LMDA website).

Then, the conversation broadened. Some of the dramaturgs in the room wanted to “dramaturg” the concerns the playwrights voiced. Questions were posed such as: “Did you have the opportunity to vet the dramaturg you used”? “What happened during your process with your dramaturg?” “Why should one bad experience with a dramaturg make you swear off all dramaturgs?” We also talked about how dramaturgs are artists and, therefore, we all approach the craft differently. Some of us are better “research” dramaturgs. Some of us are better “production” dramaturgs, etc. Gently driving home the point that not all dramaturgs are the same and that if they had a bad experience with one, maybe they should give another one a try.

As that conversation progressed, I saw playwrights who were staunchly opposed to dramaturgs begin to soften. They saw that there were dramaturgs in the room who were acutely tuned into their thoughts, needs, and desires for their plays while also embracing a similar artistic aesthetic. They also obtained a broader understanding of the types of things dramaturgs could do.

In the aftermath of the conversation, some miraculous things happened. I began to receive reports of dramaturgs and playwrights coming together to work on ideas. One of the most outspoken playwrights against dramaturgs saw me at a production a month later and exclaimed that they “were a convert” after connecting with one of the dramaturgs they met at the event.

I also received thoughts and feedback from the dramaturgs who attended. Julie Rada, for example, stated that “as a relatively inexperienced dramaturg, and new to the area, [the event] gave me the opportunity to see how other dramaturgs addressed the concerns of playwrights and became advocates for the work they do, as well as the opportunity to network with other dramaturgs. The room was a fertile ground for dialogue complete with a high level of honesty.”

Katie Heiner, an undergraduate student in dramaturgy at the University of Utah, stated, “The evening with the Dramatists Guild and the LMDA was incredibly insightful. I loved hearing the discussion between playwrights and dramaturgs, as both found ways to benefit from collaboration. The discussion provided an excellent way for both sides to ask about the process and duties of each role. In creating a dialogue and exploring ways to create trust, both groups can benefit from shared ideas and new perspectives.”

Months later, we are still discussing the successes and failures of the event. Successes include the fact that dramaturgs are being invited to some of the other DG Utah-Idaho events that have occurred since our February gathering. Some of the failures include the fact that some dramaturgs who attended the event were frustrated with having to defend, yet again, the “awesomeness” of dramaturgs. Either way, I believe some great headway has been made in dramaturg/playwright relationships – at least in Utah.
- Martine Kei Green-Rogers