The Thaumaturgy Department

(It's dramaturgy, not thaumaturgy.)

Gavin
CENTERSTAGE
Baltimore
Maryland
USA

thaumaturg
Main Entry: thau·ma·turg
Pronunciation: \ˈthȯ-mə-ˌtərj\
Function: noun
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work

2013-2014 Season:
Animal Crackers
Dance of the Holy Ghosts
A Civil War Christmas
Stones in His Pockets
Twelfth Night
Vanya Sonya Masha and Spike
Wild with Happy
Play Labs

The official blog of the Dramaturgy Department at Baltimore's CENTERSTAGE. For posts related to our current and upcoming shows, click the links to the right. Alternatively, you could begin at the beginning, and explore our posts in chronological order.

-----------------------------------------




Comments (View)

Bookmark and Share
Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?
March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.
Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.

Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?

March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.

Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.



Comments (View)

Bookmark and Share


Comments (View)

Bookmark and Share
humansofnewyork:

“The greatest moment for a playwright is when you’ve written a play, and you’ve gone to see it night after night, then one night the cast takes it to a whole new level, and you say: ‘Did I write that?’”

humansofnewyork:

“The greatest moment for a playwright is when you’ve written a play, and you’ve gone to see it night after night, then one night the cast takes it to a whole new level, and you say: ‘Did I write that?’”

(via halvorsen)



Comments (View)

Bookmark and Share

Baltimore Homecoming

No, not the Pinter variety. Local boy, playwright Gwydion Suilebhan, reflects on his journey backwards and forwards to tonight’s MY AMERICA premiere:

"Making Good in Baltimore" - Gwydion Suilebhan

When I was a boy growing up in Baltimore, my parents would often go out to the theater. They’d get dressed up, eat a nice dinner at a nice restaurant (usually Tio Pepe), and make their way to Centerstage. For what may seem like obvious reasons, those always seemed like magical nights to me: very grown-up, very meaningful, very important. I romanticized the entire experience, enjoying it from afar. I was always very concerned about whether or not they’d had a good time… and they always did.

More than three decades later, I’m now a playwright, and I’ve never been able to shake the feeling that the pinnacle of achievement in my craft would be to have my work appear on stage at the very same theater. And tonight — I honestly still can’t believe I get to say this — it will.

This evening marks Centerstage’s 50th anniversary. To celebrate, the theater created the My America project: fifty playwrights were asked to write two-minute monologues exploring the state of our country. Our monologues were all filmed by director Hal Hartley, and they’re going to be screened all year long in the theater’s lobby. In addition, a small sample of the work created for the project — including my short piece, ANTHEM — will be performed live this evening.

I’m honestly not sure I’ll be able to stand the excitement. I may faint when Kwame Kwei-Armah, the theater’s artistic director, calls me up on stage. Or get cold sweats. Or both. No, really. I actually mean it.

Part of my anxiety, I should note, comes from a few of the other 49 names on the list of 50 playwrights: Anna Deavere Smith, Quiara Alegria Hudes, Neil LaBute, Christopher Durang, Lynn Nottage, Lydia Diamond (my classmate from Northwestern — go NU!), Lee Blessing, Marcus Gardley, Naomi Wallace, Rajiv Joseph, Qui Nguyen, Kia Corthron, Melanie Marnich, Dan Dietz, Willy Holtzman, Sam Hunter, Julie Jensen, Lauren Yee… you get the picture. I’m incredibly, incredibly humbled to be among them.

Still, though… it’s the thought of my young parents, all dressed up in date clothes, sitting in the same space I’m about to be in, the same space in which my adult words are about to be spoken: it just doesn’t get any better than that, let me tell you. Not even a little.
http://www.suilebhan.com/2012/09/28/making-good-in-baltimore/



Comments (View)

Bookmark and Share

Backstage at the Goodman: The Piano Lesson (by turgical)

This 18 minute video-documentary provides a behind the scenes look at Lloyd Richards’ production of August Wilson’s The Piano Lesson at the Goodman Theater, Chicago, in Feb. 1989. Note that Wilson had not yet decided that Berniece would be able to keep the piano at the end of the play because Boy Willie realizes that it helps her to exorcise the ghost of Sutter. This change was then made at the Old Globe in San Diego, prior to the Broadway and the Pulilzer Prize being bestowed on the play.



Comments (View)

Bookmark and Share
Q: What kind of theater excites you?
A: Emotionally truthful, aesthetically rigorous, politically risky, underrepresented voices and viewpoints, ethically engaged in its choices, visually tuned, physically virtuosic.


I Interview Playwrights Part 386: Sylvan Oswald

POSTED BY ADAM AT 10:59 PM (via egoetschius)



Comments (View)

Bookmark and Share


Comments (View)

Bookmark and Share