Douglas P. Langworthy
Playwright, Henry VI, Parts 1, 2, 3
Douglas Langworthy is the Literary Director at the Denver Center Theatre...
Douglas Langworthy is the Literary Director at the Denver Center Theatre Company where he has participated in the development of many plays and musicals, including the world premieres of Lauren Gunderson’s The Book of Will, Karen Zacarías’ Just Like Us, Octavio Solis’ Lydia, Michael Mitnick’s Ed, Downloaded, Lloyd Suh’s Great Wall Story and Jeffrey Haddow and Neal Hampton’s Sense and Sensibility: The Musical. Prior to Denver, Douglas served as Dramaturg and Director of Play Development at McCarter Theatre in Princeton, NJ for two years and Director of Literary Development and Dramaturgy at the Oregon Shakespeare Festival (OSF) for seven. While at OSF he developed a new adaptation of Dumas’ The Three Musketeers with Linda Alper and Penny Metropulos and a new translation of Brecht’s The Good Person of Szechuan, both for the 1999 season. In 2007 he again collaborated with Metropulos and Alper to write lyrics and book for the new musical Tracy’s Tiger, based on the novella by William Saroyan, with music by Sterling Tinsley. Douglas has translated over 15 plays from the German, including The Prince of Homburg and Penthesilea by Heinrich von Kleist, Spring Awakening by Frank Wedekind, and Medea by Hanns Henny Jahnn. He received a National Theatre Translation Fund Award for his translation of Amphitryon. He was also the dramaturg for Target Margin Theater in New York, which produced his translation of Goethe’s Faust. With Target Margin he also co-wrote the opera The Sandman, with text adapted from E.T.A. Hoffmann. He is currently adapting D.H. Lawrence’s Women in Love for the stage with Art Manke.
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Mead K. Hunter
Dramaturg, Henry VI, Part 1, 2, 3
Mead K. Hunter launched his theater career as playwright in residence at...
Mead K. Hunter launched his theater career as playwright in residence at Storefront Actors Theatre in Portland, Oregon, and like most theater folk, went on to take a turn at nearly everything job description the field encompasses. He earned an MFA in Dramaturgy and Dramatic Criticism from Yale University and a PhD in Critical Studies from UCLA. He has taught performance history and text analysis at UCLA, UC San Diego, University of Iowa and the California Institute of the Arts. He also guest lectures on contemporary theater at institutions around the United States, and frequently consults for various art service organizations as well as commercial entities.
For 10 years he served as Director of Literary Programs for A.S.K. Theater Projects in Los Angeles where, among other duties, he commissioned many original scripts, including Naomi Iizuka’s 36 Views, Mayhem by Kelly Stuart, Marlane Meyer’s The Mystery of Attraction, and The Lively Lad by Quincy Long. While in L.A., he also curated the popular Common Ground Festival, which introduced numerous companies to the region including RedMoon Theater and Diavolo Dance Company.
From 2002-2009, Mead was Portland Center Stage’s Director Literary & Education Programs. While at PCS, he was the production dramaturg on many world premieres (including Celebrity Row by Itamar Moses, and Glen Berger’s O Lovely Glowworm), in addition to curating the company’s annual festival of new work. Beloved dramaturgical endeavors elsewhere include the world premieres of Sam Hunter’s The Whale at Denver Center, The Huntsmen (by Quincy Long) for Portland Playhouse, The Monster Builder (by Amy Freed) and Ithaka (by Andrea Stolowitz) for Artists Repertory Theatre, Amy Freed’s Shrew! at SCR’s Pacific Playwrights Festival, and of course getting to work with Doug Langworthy on the Henry VIplays for the Play On! project.
Today Mead is a professor in the Performing Arts Department of the University of Portland, where he teaches theater history, dramaturgy and script analysis, and recently directed Naomi Iizuka’s Good Kids. He is also an associate editor for Methuen Ltd., working currently on the forthcoming Methuen Guide to Contemporary Drama. Mead is especially proud to be the former artistic director of The New Harmony Project, a play development organization dedicated to supporting new works for performance that reflect the resilience of the human spirit.
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Martine Kei Green-Rogers
Dramaturg, Comedy of Errors, Coriolanus, Henry VI Pt. 1, Two Noble Kinsmen
MARTINE KEI GREEN-ROGERS is an Assistant...
MARTINE KEI GREEN-ROGERS is an Assistant Professor at SUNY: New Paltz, a freelance dramaturg, and the President of the Literary Managers and Dramaturgs of the Americas.
Her dramaturgical credits include: The Greatest with the Louisville Orchestra, Fences and One Man, Two Guvnors at Pioneer Theatre Company; Clearing Bombs and Nothing Personal at Plan-B Theatre; the Classical Theatre Company’s productions of Uncle Vanya, Antigone, Candida, Ghosts, Tartuffe, and Shylock, The Jew of Venice; Sweat at the Goodman; productions of Radio Golf, Five Guys Named Moe, Blues for An Alabama Sky, Gem of the Ocean, Waiting for Godot, Iphigenia at Aulis, Seven Guitars, The Mountaintop, Home, and Porgy and Bess at the Court Theatre; The Clean House at CATCO; Hairspray, The Book of Will, Shakespeare in Love, UniSon, Hannah and the Dread Gazebo, Comedy of Errors, To Kill A Mockingbird, The African Company Presents Richard III, A Midsummer Night’s Dream; and Fences at the Oregon Shakespeare Festival; 10 Perfect and The Curious Walk of the Salamander as part of the 2006 and 2007 Madison Repertory Theatre’s New Play Festival; and A Thousand Words as part of the 2008 WI Wrights New Play Festival.
She also works with the Great Plains Theatre Conference and is affiliated with NNPN.
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- 7:00pm - Two Gentlemen of Verona
Two Gentlemen of Verona
Translated by Amelia Roper
- 7:00pm - King Henry VI, Part 1
King Henry VI, Part 1
Translation by Douglas P. Langworthy