Dramaturgy

I accompany artistic processes as a critical, sensitive and loving discourse partner, often collaborating on projects focusing specifically on poststructural, postcolonial and queerfeminist perspectives.

Powerful imagery, design and movement are elements that I consider part of the dramaturgical process. This holistic approach is my specialty – all my projects have “something-other-than-text” to dramaturge. I am particularly interested in supporting artists as they explore new concepts, forms and characters that reach beyond text to integrate physical performance, object puppetry, imagery and projection. 

In production

White Muscle Daddy by Raf Antonio (March 2024)

 

Current works in development

 

What is Sleeping

by Robin Luckwaldt, composition by Deanna H. Choi

The Weatherman

by Brynn Cutcliffe

Newfoundlanded

by Santiago Guzmán, Vanessa Cardoso-Whelan, and Nabila Qureshi

is this a play?

by Emerjade Simms

Work I’ve supported

The Clever Prince*

by Amira Abdel-Malek

Gorgó*

by Niah Davis

The Dark Bridge*

by Thembelihle Moyo

*Part of Puente Theatre’s 22/23 new play development programs conVERGE and WORKPLAY, which Keshia facilitated as Resident Dramaturg. This residency was made possible by Canada Council for the Arts’ Professional Development for Artists component of the Explore and Create Program.

Zaddy Issues

by Merlin Simard

DREAMS

by Alex Cameron

Fear of Men

by Merlin Simard

Ish

by Jaimee Hall

 

Dramaturging your project

Not sure what working with a dramaturge could do for you, or how much a dramaturge costs? I use the LMDA 2012 Guidelines*(page 15-19) to guide conversations regarding my role in development and contracting – the job description and definition of services section (page 15) is really helpful in understanding what a dramaturge does and doesn’t do. I may also refer to ADC PACT Agreement Minimum Fees and CTA Director’s Fees to negotiate appropriate compensation.

My dramaturgical rates are sliding scale. I’m committed to supporting and uplifting historically marginalized communities; systems of oppression are considered when determining compensation in all collaborative relationships (and I’ll ask for you to consider them in our relationship too!).

Each project is totally unique and the needs for each playwright and each project can vary dramatically! I’m open to all sorts of dramaturgical relationships, from long-term collaborative development processes, to one-off dramaturgical consultations. My favourite part is figuring out our creative relationship together. If you’re curious, reach out and we can set up a time to chat.

*Please note that the LMDA guide is nearly 10 years old – fees and rates should be scaled for inflation and cost of living.

 

Cover: WHITE MUSCLE DADDY by Raf Antonio, photography by Claren Grosz