Next Stages Conference

Next Stages Conference - March 2007 – Dramaturgy & Beyond.
Celebrating 25 years of North West Playwrights.


Jack Bradley:
How many playwrights does it take to change a light bulb?
What do you mean change?

How many dramaturges does it take to change a light bulb?
Does it have to be a light bulb?

Is development enough? Is it a convenient excuse for theatres who don’t want to take risks with new writers? Do most writers now write for development rather than production with the anticipation that the dramaturg will fix it?


Steve Waters:
What is success as a playwright? Is there such thing as a breakthrough? This indicates that the phone never stops ringing, that bills are continually paid that you live off endless commissions, make appearances and keep the press at bay. The reality is perhaps the necessity to keep breaking through in order to make a name for yourself. It’s hard work – stop and no-one would notice, retiring isn’t possible.

What commercial responsibility does the playwright have regarding the success or failure of his/her play in production? The playwright is both maker and commodity when his/her work becomes about audience ratings,

The idea of the playwright’s career suggests a linear progression from ‘lonely genius’ to knighthood. Whereas the reality is fraught with lay-offs, set-backs and gear changes and is perhaps closer to careering about than any predestined progression.


Kara McKenchnie:
Dramaturgy can only exist in a collaborative structure. The dramaturg should be diplomatic but assertive, have the ability to think structurally but flexibly and be aware of conflicting agendas within the collaborative team.


Should a dramaturg be a narrative fundamentalist?

A dramaturg should ask not tell.