New Plays and Dramaturgy
“If we approach a play as if it were a new world, we should encounter it
free of assumptions. We cannot expect it to behave the way we are
used to, nor should we dramaturgically ‘terraform’ it.
If we try to make it conform to how we believe a play should ‘work,’
we may lose the possibility of a new creation or
new form evolving out of it.” ~Mark Bly
Carrie strongly believes in dramaturgy as tool for developing new work, and creating worlds on stage. She responds to the desires of the writers by developing work directly with playwrights and involving dramaturgs into the process as needed.
While working as a dramaturg with Mark Bly at Arena Stage she assisted him on a workshop of Moises Kauffman’s new 33 Variations. She participated as a director in a number of festivals and readings of new works, including Signature Theatre, The Kennedy Center’s Page-to-Stage New Play Festival, The Kennedy Center’s American College Theatre Festival (regional and national festivals), Yellow Taxi’s Susan McIntyre New Play Festival, The Baltimore Playwright’s Festival, and various short play and ten-minute play festivals.
Carrie has developed several productions with original composition including an opera Life in Death based on Edgar Allan Poe’s Oval Portrait, the musical The Perfect Game, an operetta The Eden Diaries, and a new ensemble-created piece based on Shakespeare’s Tempest.
Carrie also conceived the award winning Variations Project, for Run of the Mill Theater in 2004, a festival dedicated to encourage playwrights to write plays by being inspired at a social event with other theatre artists. The festival is currently in its fifth year in Baltimore, and recently premiered at The Chance Theatre in Anaheim, California.
Carrie has also been a reader and critic for several organizations dedicated to developing and producing new works including: The Baltimore Playwright’s Festival, The Sundance Institute, and Arena Stage.