Claudia Nolan works alongside Kate Royal as Mammoth’s dramaturg (pronounced, according to Nolan, as dram – uh – terg). According to Nolan, a dramaturg’s responsibility involves three parts. First, research for productions, especially historical productions, and proofing to make sure everything makes sense. Second, a new play dramaturgy must work with the playwright as early as possible on things like character development. Third, a dramaturg works on audience engagement, discussions, lobby space, and program content. She says it’s “about asking questions, doing research, and being a resource for people.” We sat down with Nolan to talk about dramaturgy and its flexible responsibilities.
What is your history with dramaturgy?
I didn’t know anything about dramaturgy in college, but my theatre advisor recommended I work with her on a performance art piece. She was aware that I liked doing research and asking questions… that’s how I was exposed to it.
And how did you meet Royal?
I saw [The Nameless Days of Gumdrop Smith] at the Fringe Festival and was so moved. I told [Royal] I happened to be in the area and applying to graduate schools, and we went from there.
What sort of research did you do for Mammoth?
Kate did a ton of work before I started working with her. I put together an actor packet to include references in the play and I helped Kate think through the development of the play. She had a pretty solid first draft and I had questions about the characters… I had her explain the parents’ relationship to the kids. I also spent one evening just reading bizarre science articles about mammoths. It depends on what comes on a daily basis and I keep a running list on notes on lines changes I’d like to hear and other things.
What do you like about plays, and the theatre?
I’ve been involved with theatre since elementary school. I think it’s something about being a study of humanity in people and trying to find things that are universal about our experiences.
What are some of your favorite plays or playwrights?
I tend to be attracted to stuff that has a little bit of whimsy to it. I like Mary Zimmerman … or Noah Haidle is a playwright who brings something a little bit off, or a little magical to it. Gumpdrop fell into that same category. Reading Mammoth I knew that this was going to be more of a kitchen sink family drama, and those are impactful in a different way. I think there’s something to be said for something really raw and amazing.
What do you look for in your first reading of a play?
It’s really about the big picture, about understanding the arc of the play … as I look my way through, I particularly want to look at character complexity and continuity and tracking and making sure that an audience member’s questions would be answered.
Do you have advice for those interested in pursuing alternative theatre jobs?
There are just a lot of ways to get involved. I fell into dramaturgy and had done so many other things already … for example people who do producing work have to be good at finances and coordinating. There are just a lot of different aspects to being in a theatre … this has sort of been an obvious way to apply my skills and interests.
What is your history with dramaturgy?
I didn’t know anything about dramaturgy in college, but my theatre advisor recommended I work with her on a performance art piece. She was aware that I liked doing research and asking questions… that’s how I was exposed to it.
And how did you meet Royal?
I saw [The Nameless Days of Gumdrop Smith] at the Fringe Festival and was so moved. I told [Royal] I happened to be in the area and applying to graduate schools, and we went from there.
What sort of research did you do for Mammoth?
Kate did a ton of work before I started working with her. I put together an actor packet to include references in the play and I helped Kate think through the development of the play. She had a pretty solid first draft and I had questions about the characters… I had her explain the parents’ relationship to the kids. I also spent one evening just reading bizarre science articles about mammoths. It depends on what comes on a daily basis and I keep a running list on notes on lines changes I’d like to hear and other things.
What do you like about plays, and the theatre?
I’ve been involved with theatre since elementary school. I think it’s something about being a study of humanity in people and trying to find things that are universal about our experiences.
What are some of your favorite plays or playwrights?
I tend to be attracted to stuff that has a little bit of whimsy to it. I like Mary Zimmerman … or Noah Haidle is a playwright who brings something a little bit off, or a little magical to it. Gumpdrop fell into that same category. Reading Mammoth I knew that this was going to be more of a kitchen sink family drama, and those are impactful in a different way. I think there’s something to be said for something really raw and amazing.
What do you look for in your first reading of a play?
It’s really about the big picture, about understanding the arc of the play … as I look my way through, I particularly want to look at character complexity and continuity and tracking and making sure that an audience member’s questions would be answered.
Do you have advice for those interested in pursuing alternative theatre jobs?
There are just a lot of ways to get involved. I fell into dramaturgy and had done so many other things already … for example people who do producing work have to be good at finances and coordinating. There are just a lot of different aspects to being in a theatre … this has sort of been an obvious way to apply my skills and interests.