Dramaturg
Why?
Honestly, just to be useful and help solve tough stuff!
Pre pandemic, David returned to University to study Dramaturgy & Critical Theory. As someone fascinated by the processes involved in making new work, the study of structural, cultural and critical frameworks have become central to David's practice, and offer an insightful way to absorb a range of flexible and revealing tools which offer help, support and analysis to writers or writing teams. Gaining a MA in Dramaturgy from Goldsmiths University, David continues to research the intersection of Dramaturgy and Critical Theory (and the structures of power which are therefore exposed) in the aim of supporting new writing and completing a PhD... one day! The current working title is 'Critical Theory as a tool for comparative dramaturgy.'
But mainly, I like being useful and part of the solution... if there is one.
Projects
Charlie & the Chocolate Factory
Prior to his musical involvement, David was brought on board as the dramaturg to assist in the creation of Leeds Playhouse's new production from the multiple sources available: the original Dahl novel, two films, and two dramatically different musical versions. Through the application of structural, semiotic, Marxist, gendered and post-colonial lenses (among others), David worked with James Brining and the team in developing the new production.
Coraline
David was involved with a team of writers in the development of a new music theatre version of Neil Gaiman's Coraline. At times, David applied structural, genre and narratology, psychological (Lacanian mirror theory, notions of the 'Uncanny'), gendered and Foucauldian lenses to process. Time will tell if this has been useful - potentially not! Some processes need to remain instinctual and direction doesn't always help.
Reader & Development
David is a reader for the National Theatre and has a long history of supporting new work through the many stages of writing, development and workshop to full production.