7. What is a Dramaturg?

What is a Dramaturg?

When people talk about dramaturgy, I think it’s fair to say that a pretty common response is still: “What’s that?” And it is fair – the role of a dramaturg is one of those elusive, multifaceted jobs that can be tricky to pin down – and perhaps that’s part of the joy of it.

At its heart, dramaturgy is about storytelling and structure, and when working on a piece of new writing, it’s my job to help the playwright bring their vision to life.

As a freelancer in the UK theatre scene, dramaturgy is a substantial – and really enjoyable – part of what I do. But it’s also not a role that’s widely understood or even consistently applied.  Most recently, I’ve been working with the team of Nottingham Playhouse’s Christmas Studio show, The Ugly Duckling, so I thought I’d talk a little bit about what the process is when you’re dramaturg on a new piece of writing.

What Does a Dramaturg Do?

The easiest way to describe a dramaturg’s role in new writing is that you’re there to support the writer and the play. My job is to ask the right questions, hold space for the story to evolve, and ensure the world of the play makes sense – both internally and in relation to the wider context. As a dramaturg, you might be a sounding board, an editor, a researcher, an observer, a point of contact between the wider team, or sometimes just a friendly face.

Every dramaturgical relationship is different because every writer and every play is different. Some writers will have a fully-formed first draft, looking for detailed feedback. Others have a rough idea – “I think it might be about this…” – and they need help shaping their thoughts into something tangible. There’s no one-size-fits-all approach, and that’s part of what makes the work so exciting.

Meeting the Writer

The first step in any dramaturgical process is getting to know the writer. This might happen over zoom, in a café, or during a production meeting (and is usually fuelled by copious amounts of tea). I want to understand not just what the play is about, but what they think it’s about. What are they trying to say? What excites them about the story? What do they want the audience experience to be like?

Trust and mutual respect is absolutely the most important element of this relationship and process. As a dramaturg, a playwright is trusting you with their baby – a vulnerable, still-growing creation – and it’s my job to honour that trust, and I do so by serving the play and the story at all times.

Diving Into the Text

Once I’ve got a draft to work with, I’ll read the script several times, each time focusing on something different. First, I’ll just absorb it as a reader and prospective audience member: What’s my immediate reaction? What sticks with me? What confuses me? Then, I’ll start pulling it apart: How does the structure work? Are the characters consistent? Is there a clear progression of ideas, emotions, stakes?

I always prefer asking questions instead of making statements when I’m giving feedback – something that comes directly from my own experiences as a writer, and the types of feedback I’ve found the most useful. I might ask, “What do you want this scene to achieve?” or “Why does this character make this choice here?” The aim is to help the writer think more deeply about their work and encourage them to solve the problems themselves.

Sometimes, dramaturgy also involves research. If a play is set in a specific historical period or deals with niche subject matter, I might read up on the area, so I can engage fully in conversations with the writer, who will have a huge depth of knowledge about the world they’re creating.

As The Play Comes To Life

Sometimes, your job as a dramaturg is done in the development phase of a project. This was largely the case working on Ugly Duckling. With a really strong concept from writer Isabella Waldron, it was a lot of fun reading the first and subsequent drafts, asking questions and seeing the work that would happen between drafts. Once the play was in the really strong place it was by rehearsal draft, director Laura Ryder and the actors were off and away with a solid text.
For other plays, you might be more involved in the rehearsal room as a dramaturg. The place where words on a page meet the messy, unpredictable energy of actors, directors, and props. During a workshop or rehearsal, my job is to watch and listen. Does the dialogue sound natural when spoken out loud? Are the stakes clear? Does the pacing drag in places? I’ll usually make notes to share with the writer later; it’s a fine balance between giving useful feedback and not overwhelming the writer.
One of my favourite parts of workshop dramaturgy is witnessing breakthrough moments – like when the writer suddenly realises what needs to change about a moment they might have been puzzling over for weeks while the script was just words on a page.

The Re-Re-Re-Drafting Process

The process of rewriting a play can be long and iterative. As a dramaturg, I might work on several drafts of the same play, providing feedback each time, and reading when it’s good to push an element, and when to give ideas some space.
It’s also important to remember that no play is ever truly finished. Even after the first production, a script might evolve based on how audiences respond. As a dramaturg, it’s lovely when you get the opportunity to review the work after a production with the writer, and maybe continue working together. This might not be the case for a lot of dramaturgical jobs, but when you get the chance, it’s a great opportunity to strive for more clarity and impact in the work.

Dramaturgy as Advocacy

Beyond the nitty-gritty of text analysis, being a dramaturg often involves thinking about the bigger picture. Who is this play for? How does it sit within the current cultural moment? What conversations is it engaging with, and what do we want audiences to take away?
In many ways, a dramaturg is also an advocate – for the play, the writer, and for the values the story represents. This can be especially important for new writing that challenges dominant narratives or represents marginalised voices. Sometimes, this advocacy extends to practical support, like helping a writer navigate funding applications or connecting them with potential collaborators.

Being a Freelance Dramaturg

Working as a freelance dramaturg – like any other freelance creative role – comes with its own unique set of challenges. Theatre budgets are often tight, and dramaturgy isn’t always seen as an essential expense. It can be tricky to find regular work, so requires a lot of resilience, and I think it’s fair to say, it’s often part of a freelancer’s career portfolio of roles. But it’s such a privilege to be part of a writer’s creative journey and to witness a story take shape, and allows you to enjoy watching this process happen from the inside. It’s about collaboration, curiosity, and a deep love of stories. At its best, dramaturgy is a partnership built on trust and shared vision that allows a play to become its fullest self.