The View From Slack
by Dan Smith
2024 Conference Conversations
Every Conference, Dan Smith is known for his live-tweeting for conference highlights. For the last few LMDA conferences, he has “live-slacked” on Slack, LMDA’s membership networking platform.
Here is just an excerpt of a few of the wonderful conversations Dan has tirelessly uplifted and documented in a digital space. Members can access these comments on the Slack channel “Conference Conversations.” The following are his short form, in-the-moment comments and reactions on some of the main conference panels, The Black Directors Panel, Felicia Londré interview, and Dramaturgy Debut Panel, edited for length and clarity.
Excerpts from The Black Directors Panel on June 28, 2024
Melonnie Walker starts off the Black Directors Panel, introducing some of her favorite people and KC Melting Pot Theatre
Walker asks panelists to describe experiences working with dramaturgs. Lynn Williams describes the importance of history: the 1960s are not necessarily accessible for young actors. Ile Haggins adds specificity for recent production: not just the 1960s, but the experience of Black professionals in that period.
Harvey Williams googled the definition of Dramaturgy and found "some German guy," but has a much more accessible understanding through "what Mel does."
Nicole Hodges Persley mentions Jane Barnette and Felicia Londré as advocating for Dramaturgy in local universities. They had some initial experiences with dramaturgs wanting to shape the production (in the style of the TV series Smash), but have had a much more "dialectical" experience with Melonnie Walker.
Lewis Morrow also describes the expectation of dramaturg as a historical consultant but finds his experience with Walker informative and transformative as an actor (in King Hedley II). Walker calls Morrow a "dramaturg's dream actor" because of his willingness to have these conversations.
Walker discusses metaphors for the dramaturg's role. Her favorite is "archeologist of story." Quotes Harvey Williams saying, "Everyone has a story."
Walker shifts the conversation to new play development.
Morrow (director of new play development for KC Melting Pot) responds: As a playwright, everybody thinks they know more about your play than you do. It's possible for a dramaturg to feel like another cook in the kitchen, but that's possible for anyone who responds to the play.
Morrow: “you have to love the play if you have any chance of adding to it.”
Scott Horstein asks how the connection to dramaturgy happened in this company. Melonnie Walker notes that she approached the company to work as a dramaturg on Radio Golf. Harvey Williams says, "She barged in!"
From the Felicia Hardison Londré Interview on June 29, 2024
Melonnie Walker introduces Felicia Hardison Londré as the mentor who helped her discover dramaturgy, specifically mentioning August Wilson's Seven Guitars. Jane Barnette will moderate the session.
Barnette asks, "How did you learn about dramaturgy as a profession?" Answer: "When I applied for a job" that included the word in the ad. Then, she learned by doing.
Fall 1978, Yale Theater special issue on dramaturgy was a helpful resource for Londré.
We took ten years, or maybe more, to answer the question "What is a dramaturg?"
Barnette asks about how Londré introduced students to dramaturgy at UMKC. Londré taught seminars on Dramaturgy as an overload, just as her work as a dramaturg for Missouri Repertory Theatre was extracurricular.
Assigned students to do things she hadn't done and got involved in choosing seasons and writing program notes. She says, I never made presentations at rehearsals, but I did have students do that. This allowed students to get professional credits.
Applause for Londré's 18 books, as Barnette asks about contemporary dramaturgy. "You're looking at a historical artifact," quips Londré. Dramaturgs need to be involved from the beginning.
Discussion of evaluating unsolicited scripts and opportunities for students to work with Unicorn Theatre in Kansas City.
Q: Something that was not part of dramaturgy and has now become part of the field?
A: Dramaturgs have earned their place as professional artists in their own right. When Londré was starting out, directors and playwrights were wary of working with dramaturgs.
Londré shares her experience of winning the "Classics in Context" competition program at Actors Theatre of Louisville, which proved to be controversial because entrants provided research and expertise for free.
Question about Northwest Missouri area history and the possibility of staging plays based on historical events?
A: "Of course, you know the answer is Jesse James." There is a rich history in Kansas City/St. Joseph area.
Question about adaptations of classical plays.
A: it's about respecting the original artistic intent and communicating what can be received now. But, respect for original artists can't come across without knowledge of what audiences will appreciate now.
Q: How does the work of dramaturgs reflect changes in the practice of theatre history?
A: Audiences love historical context. Timelines are great for study guides.
Theatre historians are writing for other theatre historians. Dramaturgs write for a wider audience.
Question about framing dramaturgs as more "objective" than theatre historians. What are the limits and potential of objectivity? (Also important to acknowledge subjectivity and positionality.)
Answer: Case-by-case basis. Dramaturgs do have to be diplomats. Half of a costume designer's job is making actors feel good about what they are going to wear. Evaluate what will be effective in varying social interactions.
Barnette reflects on dramaturgy and pedagogy. How do you teach a generation of students who are not your own generation? Understand not just what they are saying but how they are feeling?
There was a standing ovation for the session. Londré quips, "I have a long history of answering questions that were not asked."
From Dramaturgy Debut Panel on June 29, 2024
Juliet Cha discussing Asian Dramaturgs Network and Centre 42 Singaporean theatre resource archive.
Aislin Dyer on dramaturging a high school production of The Importance of Being Earnest as "drama mama," incorporating cosplay and immersive improv.
Dyer and students used Gen Z vocabulary of "vibes" and "lore" to develop an understanding of the world of the play.
Liz Bazzoli discussing their experience in the DePaul University Dramaturgy program. She was specifically interested in theatre criticism: editing student publication, The Grappler.
Bazzoli expresses gratitude to mentors Rachel Shteir, Yasmin Zacaria Mikhaiel, and Martine Green-Rogers. The Grappler is a magazine for student criticism.
Belle Frahm is thinking about how to immerse stakeholders in the world of the play. Site-specific actor workshops, a short documentary, and activities in the lobby. Realization about connecting new play dramaturg and production dramaturg roles.
Frahm found work with playwrights to be the most transformative experience.
Emma Rollins is thinking about what it means to "be a professional." Feeling some tension around working professionally vs. pursuing graduate education. Reminders to show up and to put your name on everything you create.
Shelley Graham notes key themes: presence and being present, creating and benefiting from an archive, building connections among groups, and institution-audience connections.
Martine Green-Rogers framing The Grappler as an equity issue: important for Theatre Studies students to have the opportunity to practice their craft at a level of visibility commensurate with actors, designers, and stage managers.
Jane Barnette asks about the power of space, changing space for certain activities.
Martine asks why dramaturgs question our own status as professionals when other artists don't seem to do this.
Juliet Cha notes that many dramaturgs come to this from experience in other disciplines, wearing multiple hats. Dramaturg and director, dramaturg and lighting designer.
Lezlie Cross is picking up this theme. We are multi-hyphenate, contributing in various ways.
Jane Barnette wondering how to connect dramaturgy with the ways designers are trained. Juliet Cha responding by discussing the combination of practical and theoretical.
Shelley Graham wraps up by saying, "We're dramaturgs because we are."
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Dan Smith, a dramaturg and translator, is Associate Professor of Theatre Studies at Michigan State University. He is one of the incoming VPs of University Relations.