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RAT Playwriting Opportunities & Dramaturgs
RE: reading fees
When I worked at the Alliance Theatre in Atlanta way back in the dark
ages, they paid script readers. Something like $2 or $3 a script.
Not bad for 1991. They didn't charge script reading fees, but then
again they are a mighty big theatre. I do know that if we charged
reading fees here at my mighty little theatre right now, we'd get a
lot more scripts read and we might even be able to afford to send the
scripts back if we weren't interested. But we're so understaffed,
scripts just pile up and we never find the time to read them, as much
as we want to. If I had even $2 to give to readers in our company,
they'd get read. But I always cringe when I see reading fees -- seems
like a crime to make a playwright pay to have their script read when
most are just struggling to make a living. So, we don't charge them
and probably never will.
RE: dramaturgs
At Rude Mechs, we've almost always had a dramaturg on new plays. And
without exception, those dramaturgs have been playwrights too. David
Bucci dramaturged Kirk Lynn's play CRUCKS. Kirk Lynn dramaturged
Terry Galloway's play IN THE HOUSE OF THE MOLES. Steve Moore
dramaturged Kirk's play WAR, etc. The experience each time was
extremely positive. I think the playwrights really valued having
another eye on the development of the script and the relationship
between the two was very pure and very private. From what I can
tell, the ideas generated by the dramaturg were mostly about
structure, not content. Content seems like the playright's business.
We don't have the luxury of workshopping scripts for a long period of
time. so having another person there to help craft the shape of the
play and point the playwright in new directions when we're under the
gun to finish a script has been really valuable. It's worked so well
for us, I'm kind of puzzled by some of the hostility towards
dramaturgs that has been on this list. BTW, we always pay the
dramaturg and the playwright. Of course, what we can pay anybody is
really just glorified beer money, but it's a recognition of some sort.
And hey, just wanted to let ya'll know that our big hit LIPSTICK
TRACES is going to NYC. The Foundry Theatre has optioned the play
for a NY production at The Ohio Theatre May 16 - June 24, 2001.
We'll be recasting a few roles in NY and sprucing the design, but
other than that it will be the same show that rocked the house in
Austin. I'll give you a heads up again when we get closer to the
time -- would be great to have a lot of RATS in the house.
Sarah
***********************************************************
Sarah Richardson
Co-Producing Artistic Director
RUDE MECHANICALS: a theatre collective
@ The Off Center
2211-A Hidalgo
Austin, TX 78702
512/476-RUDE office and box office
512/477-3157 fax
sarah@rudemechs.com
***********************************************************
COMING SOON!
Requiem for Tesla
a sci-fi bio-play on the life of Nikola Tesla
Feb 15 - Mar 10, 2001
OFFCENTER:ONSCREEN
a new film and video series
co-presented by Rude Mechs and Cinemaker Coop
Jan. 8/March 5/May 18 2001
You can read more about RM events
or make your reservations online at http://www.rudemechs.com.