The Algorithm and the Art of Theater: A Conversation with a Leading Dramaturg

What happens when a theatre professional’s online habits collide with the demands of their craft? For one busy dramaturg, the answer involves detailed conversations about Shakespeare’s anatomy, a surprising number of prosthetic feet, and a quest to redefine the future of American theatre. We sat down to discuss the intersection of art, life, and the ever-watchful eye of the internet algorithm.

Beyond the Script: A Dramaturg’s Life

Dramaturgs are the unsung heroes of the theatre world.Frequently enough working behind the scenes, they are the research powerhouses, the historical context providers, and the new play champions. They collaborate with playwrights, directors, and designers to ensure a production is not only artistically compelling but also intellectually rigorous. But what fuels them when they’re not immersed in scripts and research?

“Lots of reading, watching TV shows created by playwright friends – go Molly Smith Metzler, Marco Ramirez, Bekah Brunstetter, and Paul Grellong! – listening to an absurd amount of new music (how else will I continue my streak of 30 straight years of making a best of list that started with 12 songs and now is up to usually 150?), and trying to convince my 2-year-old daughter Ruby that I’m funny (she’s too smart for that),” they shared with a laugh.

It’s a life that balances deep intellectual engagement with the joys (and challenges) of parenthood, and a clear passion for supporting fellow artists. But even that passion can led to unexpected digital detours. “We had lots of, um, detailed conversations about William Shakespeare’s anatomy during last season’s Jane Anger. That, coupled with the feet I was buying for Misery – really messed up my algorithm.For the better?”

The Future of Theatre: A Bold Vision

This seemingly humorous anecdote hints at a larger point: the need for theatres to be more than just echo chambers of commercial success. The conversation quickly turned to the future of the American theatre landscape, and a clear vision emerged – one that prioritizes originality, local talent, and a constantly evolving canon.”More theatres that don’t just mimic the commercial aspects of our industry,” they asserted. “More productions from regional theatres creating original work that then moves to New York, not just theatres regurgitating what was triumphant from previous NYC seasons. More theatres that invest in local artists so the local artists stay in town to have great lives where they can have a career and have an artistic outlet (and maybe even one and the same?). More theatres that are committed to a brand new canon that continues to be rewritten year in year out.”

This isn’t simply a call for more new plays; it’s a plea for a fundamental shift in how theatre operates. It’s about fostering ecosystems where artists can thrive, and where innovation is rewarded, not just replicated. The emphasis on regional theatres as incubators for new work is particularly crucial,challenging the conventional top-down model of the industry.

and there’s one key role they believe is consistently undervalued: the dramaturg. “also more theatres run by dramaturgs (with no ‘e’ at the end).” This isn’t about ego; it’s about recognizing the unique skillset dramaturgs bring to the table – a blend of scholarly rigor, artistic sensitivity, and a commitment to fostering meaningful dialog. A dramaturg-led theatre, they suggest, would be one that prioritizes intellectual curiosity, artistic exploration, and a deep engagement with the world around us.

[Image of The cast of “Appropriate” at the warehouse Theatre. (Photo by Wallace Krebs)]
The cast of “Appropriate” at the Warehouse Theatre. (Photo by Wallace Krebs)

Ultimately, the vision is one of a more vibrant, diverse, and intellectually stimulating theatre landscape – a landscape where the algorithm takes a backseat to artistry, and where the future of theatre is shaped by those who are truly passionate about its potential.