@dramatistsguild​ @ArwenMitchell

Just as doctors are warned to “first, do no harm,” so, too, are dramaturgs entrusted with the care and handling of playwrights. But how do they do us good?

Playwright/dramaturg Arwen Mitchell, our regional DG Young Ambassador, led a two-part workshop in April to show—not tell—the many ways that dramaturgs can make our art and lives easier. These involve more questions than answers, allowing us to develop our scripts without changing them beyond recognition. In a short time, she had a group of writers, actors, directors and producers rethinking what we knew about notes.

Think in terms of questions, she said. Where does the writer think the play is, in what stage of development? What does the writer need, based on goals for the piece? What are the needs at this moment? Has the writer considered audience, the questions they will have?

And on craft: How well is the story being told? Does the play violate any significant principles of plot, character or language? Does the structure succeed in keeping people guessing?

Does the conflict come near the beginning of the play? Do we see that the needs of the protagonist are at once emotional and physical, inward and outward, flawed and profoundly human? Do the stakes keep escalating? Do we feel the moment of crisis, the “everything sucks” moment? And in the end, do we sense how players have changed, how the world has shifted?

Still more questions: Do the setting and stage directions move you, bore you or take you out of the play? Are all the beats, including scene and act breaks, organic? Are any of them redundant? Is the exposition/context organic? Is it ever too on the nose, or cliché? Is there enough subtext to let the audience fill in some blanks?

Mitchell offered useful insights on writing characters. Many of us want them to be likable, she said, “But don’t write characters you want for friends.” And don’t judge the goodness or badness of the protagonist, the character we’re supposed to be tracking, the one with the massive want or need. Do weave in the wants and needs of all characters, she added.

The group deconstructed a ten-minute play that passed Mitchell’s check-list, with flying colors. Consensus was we all wished we had authored it.

Mitchell then teamed with Cleveland Play House Artistic Associate Rachel Lerner-Ley for a synopsis clinic.

Among the points to cover: What is the story and why is this play of particular interest now? What is the setting, time, place? Who are the main characters? Does the tone of the synopsis reflect the tone of the play? What’s the central question the play is asking? Does this introduction leave the reader wanting more?

Your synopsis should suggest intriguing characters, including the most important one. Use strong, interesting action verbs, strong nouns, words and phrases that make an emotional connection. Avoid the vague: “This is a play about love [money, class].” Mention key moments and suggest that there are secrets yet to be revealed. Writers can do this in 250-300 words, she said.

When sending samples, choose pages that show active drama, that reveal conflict, structure and even artistic requirements. Often the first ten pages of a script don’t meet these criteria. “Go back to what you want to achieve with the play,” Lerner-Ley said. “It should match up with your synopsis.”

Participants wrote synopses of three different plays and shared them, with some trepidation. We need not have worried. Discussion was invariably helpful, highlighting the positive—and asking more questions. By now, we were all dramaturgs.

Please indulge this quick note, to say what a privilege it’s been to serve as regional rep these past (almost) seven years. Not only did it give me a front row seat at the best show in New York (the one that goes on, daily, at 1501 Broadway, Suite 701); it also allowed me to share stories, dreams and drinks with the amazing and talented folks whose bylines appear in this section of The Dramatist.

Along the way, DG Ohio has experienced a growth spurt – with two regions that serve increasingly more members. Our programs have helped us become better writers, advocates, leaders and teachers. Our work is finding its way onto more regional, national and international stages. And we’re choosing to stay here to write it.  

Lastly, let us welcome David Todd to this grand assignment and be assured he will serve with great energy and enthusiasm. When he invites you to share your ideas and participate in Guild activities, say yes. We’ll all be stronger for it.

Signing off, with gratitude…
fsholiton@dramatistsguild.com