Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
By Briana Choynowski
Dramaturg
Table Of Contents
*-denotes removable inserted material
LMDA/ATHE/KCACTF Student Dramaturgy Award
Application Form
Letter of Recommendation: Professor Elizabeth
Staruch
Project Description
The Role of the Dramaturg
Production Staff
Research Process
Dramaturgy Plot
Dramaturgy Board/Role with Auditions
Role in Rehearsal
*Study Guide: The Rocky Horror Show
Character Questionnaire Form
Role of the Music
*International Cast Recording
Image Wall
Study Guide: 1950’s Mentality
*The 1950’s Study Guide
Study Guide: The 1970’s
*The 1970’s
Work with Costumes and Make-up
Work with Properties
Audience Participation
*Rocky Horror Call-Back Script
Note From the Dramaturg
Cast Responses to the Dramaturgy
Works Cited
LMDA/ATHE/KCACTF Student Dramaturgy Award Application Form
The postmark/shipping deadline is December 7, 2009.
Please submit two copies of application and selected supporting materials in a binder to:
Robyn Quick
Associate Professor
Theatre Arts Department
Towson University
8000 York Road
Towson, MD 21252-0001
410-830-2312
E-mail: rquick@towson.edu
1. DRAMATURG/Applicant
Name and Position (undergraduate or graduate student): Briana Choynowski / Dramaturg
Elizabeth Staruch
Assistant Professor of Musical Theatre and Dance
West Chester University
Department of Theatre and Dance
5. THE ROLE OF THE DRAMATURG (No more than five typed double-spaced pages.)
SEE FOLLOWING PAGES
6. LETTER OF NOMINATION
SEE FOLLOWING PAGES
7. SUPPORTING MATERIAL
Include a representative selection of the materials you generated, presented to the production team and/or used in your
role a dramaturg. Feel free to include copies of program essays, study guides or other dramaturgical writing, project
scripts, visual research, journals, communication with the director, actor research packets, and/or photos a lobby display
you created, and/or other materials that demonstrate your work. Also include a complete list of the supporting
materials you are submitting. Please explain how each item is related to your work as a dramaturg on the project. All
of this material should be included in the two identical binders.
_______________________________________________ __________________________
interesting experience, especially running over Halloween weekend. They chose this show because,
Rocky Horror is a show that is really about the community that comes together to watch it, it’s much
more ritualistic then most contemporary theatre. It really is about the event, interacting with the
community who get to be something other than themselves for a few hours. Even if not in costume, the
act of shouting out lines and reacting to new ones you haven't heard yet regardless of whether they
were in good or poor taste was electric. We had an interesting turn of events during the process of this
show, that our original Director Bob Bytnar step down and removed himself from the production as
Director but still stayed involved as a creative consultant to the show, and our assistant Director and
My positions for the production were Dramaturg and Co-Props Master. It was an interesting
challenge to take on both roles for this production. At all times, I made sure to separate the mindset of
performing both jobs. From the beginning, Professor Bytnar and Professor Liz Staruch were very
excited to have me along for the ride. From our initial conversations, they were very receptive to ideas
stemming from my research. They encouraged me to take my time, soak in all the information I could
get my hands on, and see how it could relate to our production.
Overall, from initial discussion it was strongly expressed that they wanted me to give everyone
involved a clear sense of the world of the play, in exploring the sham gothic, and gothic culture that
they wanted to evoke in this production. They also wanted my focused to stay stage production. Other
than what has been mentioned, I wasn’t given any parameters for my job as the dramaturg. I really
wanted to look back at the humble beginnings of The Rocky Horror Show and find out how it evolved
into such a cultural phenomenon. I knew it would be my task to find what excited them about the
subject matter and bring that energy to the cast, crew and my audience.
Our production had very high expectations from the West Chester University community, being
that the show is very iconic. With the reinvention of the proscenium theatre, beautiful lighting,
booming subwoofers, a rocking six person orchestra, and a 22 person scantily clad cast, we believe our
On a personal note, I knew that this was my opportunity to prove to myself that I could do the
type of dramaturgy that I knew I was capable of. I looked forward to putting myself in a place where I
could be an informed vessel of information for everyone involved, including most importantly, our
audience. After a five months and work, I was very content with how it all came together. I hope you
enjoy reading about my journey as a dramaturg for The Rocky Horror Show.
ROLE OF DRAMATURG
When it was announced that for our 2009-2010 season we would be producing Richard
O’Brien’s The Rocky Horror Show, I knew I had to be a part of it. From the moment I was approved to
be the Dramaturg of The Rocky Horror Show, I was so excited to begin the process. I had trained the
season before as an assistant Dramaturg for Assassins, and was ready to be the Dramaturg myself for
the production and be able to Dramaturgy my way. Even when I was still performing a few years ago, I
always performed a lot of research about the shows I worked on and the many issues a play brings with
it. I have always enjoyed finding out what makes a play work, the minds behind it. I find the history
very interesting and I wanted to be able to present that to my cast in hopes that they would share the
The dramaturg is foremost an advocate for the text and everything it stands for. It is my duty to
know the ins and outs of the text, who created it, the reasons for it do be written, etc. All of those
answers will get you to the point where in the rehearsal and design process, you can encourage the
exploration of the text in new ways. This is where your own personal views of the text from your
background and research re applied to the production. This is also where a dramaturg must have
complete understanding of the style of language, slang of the language, and know every reference
contained in it. As the musical has become more integrated, the more people like myself have strove to
show the theatre world that the musical, although very new in the grand scheme of things, is an art
My role as dramaturg for Rocky Horror, as you will find out in the supporting pages, was very
important in helping me gain confidence in the type of work I knew I was capable to do. Rocky Horror
is a show that really is about the community and the experience. Right from the start I really wanted to
dive into the cult phenomena that Rocky Horror has become, and to really try to understand the fan
base. In performing research I found a lot of valuable articles, and fan generated collections of sketches
fan fictions and more that I found really valuable in trying to understand the fan base. I also found that
the music plays a large role in establishing the culture impact of Rocky Horror. This is discussed in
I feel that one of my major goals of this production was helping the cast to understand the world
of gothic, since this production was highly focused in scenic design on sham gothic. Now I personally
was not very familiar with the world of gothic art, architecture or literature before this production, but I
made it my duty to make sure I was informed enough and presented the cast with enough information
so that they could understand the world their characters where living in.
Through cast questionnaire forms I generate and the utilization of image wall it was my goal to
help the actors find their place in the world of the play, especially those that were playing the
Phantoms. Helping them to find out why they exist in this world, why they are there, what their
purpose was I think was my hardest task to achieve, but I believe in the end it all worked out for the
One of the unique challenges I faced during this production was when the role of Director
switched, that ultimately effected the direction and vision of the show as well. I feel that my
dramaturgy was prepared in a way that made it very adaptable and able to work with the changes in
concept and direction of the show. Another speed bump that came up was when the role of Magenta
was re-cast about halfway through process. I found it very helpful having all my information organized
digitally, it allowed me to quickly create a new packet of information for the actress, along with a new
questionnaire form to help her find the character as quickly as possible. I strived to help her to feel the
same confidence in her character as the rest of the cast that had a longer amount of time to create their
characters.
Throughout the production process, I was called upon on many different occasions and in many
different ways as a dramaturg. For example, there were times where a cast member would want to
know more about the mindset of their character. There were designers who would grab me to look at a
book again. In addition to preparing the CD-RWs full of information and having dramaturgy nights, I
would always strive to be a part of the solution to any problem. As much as dramaturg must ask the
questions, it is important to respond with an educated answer. The closer we got to the opening night,
the more I felt that I was the educated advocate of the text that I wanted to be.
In the end, I feel that my work on The Rocky Horror Show has helped set a standard for the type
of work students can do at my university. My hope was that people would see the extent of work that I
did for this production. From that, I hoped to inspire fellow students to maybe try their hand in the
world of dramaturgy, to ask questions, and to work hard. I hope that my role as a dramaturg with the
shows I work on will aid in the success for students coming out of West Chester University.
For The Rocky Horror Show, I held the positions of Dramaturg and Co-Props
Master. The Rocky Horror Show marks one of my first ventures into in-depth
dramaturgy for a musical. In recent years, there seems to be a perception that a
musical is not worthy of full scale dramaturgy. As you will see in this account of
my work, I would have to disagree with that perception!
Research Process
My research process for The Rocky Horror Show began in March 2009 and ended with the
opening of our production on October 23, 2009. The time period when I was specifically performing
research was from March 2009 through September 2009. Most dramaturgs like to prepare packets of
information and maybe pick some selected pictures to give to the cast and production staff. My
background training in dramaturgy taught me a different way to work, which I personally enjoy. I like
to do 95% of my dramaturgy digitally. Basically, as I’m doing my research, I prepare my research in a
series of files that will eventually be organized into study guide for the cast/crew and be presented to
them in CD-RW form. Other than being environmentally responsible by not making a million copies, I
find that my collaborators enjoy having all of this information in one place that they can refer to and
use at their leisure. For this production and the amount of research I wanted to share, it was imperative
that I digitally prepare the work. Here’s an example of how I would digitally prepare a piece of
research:
In the end, I always find the plot to be very useful. It is especially helpful in
production meetings when I have the forum to ask questions and find my answers. The
following is a sample of my plot from the production.
Dramaturgy Board and Role with Auditions:
As the Dramaturg, I felt it was my duty to give potential cast members some information that
would aid them with their auditions, as well as giving them a little taste of what they would be in for. I
prepared a bulletin board in the theatre wing, with these items.
First, I put together a short production history, as well as a timeline of important moments in the
Rocky Horror history (this timeline also became part of the cast study guide).
The Rocky Horror Picture Show is considered a very popular movie musical but most people
aren’t familiar with the show. I was happy to see many of the potential cast members looking at the
materials the week before auditions occurred.
Other than background history, I included a biography of writer Richard O’Brien, I generated a
list of characters and their descriptions (as well as vocal parts) for potential cast members to peruse and
help focus on which characters they would like to auditions for. This would turn out to be very
beneficial for many people who may have not been familiar with the piece.
Recently within our department we have been displaced from our normal building due to
construction. In preparing the dramaturgy wall I really wanted to let the general public know our
presence in the new building and allow them into our world too and to hopefully spark something
intriguing that would make them want to explore our production even more, not just by recognizing the
name from the film.
Since audience and the participation is such was such an important factor to our production I
also included a section of the board dedicated to the audience participation of props and what would be
allowed into our production. Here are the condensed materials that I prepared.
Role in Rehearsal
At the first rehearsal of The Rocky Horror Show
I presented the cast each with their own individual
folders containing, a CD including The Rocky Horror
Show study guide, as well as the International
Recording, I also included in the folders for each named
character and interview with each actor that originated
the role on film.
Something I did with the study guides to make
them easily navigable digitally was making the table of
contents were linked throughout the documents so that
they could find the information they sought at a click.
Also included in the folders was a cast
questionnaire, the questionnaire was prepared by myself
with the consultation of Professor Staruch, the
questionnaire’s purpose was to help the cast create their
characters, and help them dig deep into the mind of the
characters that would help them make strong choices in
their characterization.
The questionnaire was especially important for the phantoms, as mentioned previously I found
the phantoms to be the most challenging characters to tackle during the process, I really wanted to help
them create individuals, but at the same time work together as a community within themselves and to
allow the other phantoms know the direction each cast member was taking. To help them find their
place was a major challenge that I believe the questionnaire began to aid them in this challenge.
-Home/Foreign: what is foreign to your character, and in the same contrast does your character find normal? What
is home, where is home?
-Desire: what does your character find desirable, what does your character desire to be, to become?
Study Guide: 1950’s Mentality
In order to really help the actors playing Brad and Janet establish their characters I thought it
was important for them to understand the mentality of the time period of which they are suppose to
represent. I feel like this information really helped them to find their characters.
Make-up design for this show was an interesting process, a lot of the original
designer choices had to be changed during tech week, due to a few artistic differences,
our assistant designer had to step up and pick
up where the designer had dropped the ball.
Having all my research handy digitally was a
great asset that allowed me to present the new
designer with plenty of visual information on
the glam rock, and drag concepts that were
used for our production. Some other
information I found during my research was
about the importance of the tattoo on Frank-N-
Furter and the symbol of masculinity and
power it brings with it, that I felt was
important to have as a presence in our
production.
Role with Properties
My role with properties was an interesting one, because I was the
Co-Prop’s master for this show, some might say that it’s hard to find the
line where the separation between normal research a props master should
themselves and the role that the dramaturg
played in this. I think the best example I can
find with my role in aiding properties as a
dramaturg would be in the Usherette Tray.
As Co-Props master, my other Co-
master was that of fellow student Matt Frew.
We divided up the props list, and one of the
props that fell on Matt’s responsibility was
that of the Usherette’s Tray.
As soon as we decided that this would
be his prop I presented him with visual and
textual aids that I had come across during my
research. I presented him with an original
sketch of the usherette, and what ended up
being portrayed onstage by Patricia Quinn. I
also gave him research on the history of an
usherette, and the tray and what would be in
the tray.
Audience Participation
Working with props to create the
goody bags: I was asked during the summer
to research the audience participation props,
the ones most people know are the
newspaper for when Janet’s out in the rain,
for the motion picture water pistols were
also used, but they were one of the things
that we would just not be able to allow in
our theatre space. I had the task of going
through all of the props that could be used
for audience interaction and then work with
the Director to figure out which we would
want to use for our production. The task was then turned over to props to generate these bags for each
performance, I prepared the insert that explained to the audience member when to use said prop during
the show.
To get the cast ready to be heckled each night by the call-back lines that would come from the
audience, I found a script online marked up with the call-back lines for the show, which is important
because while they still had many from the movie throughout it there were a lot of call back lines from
the movie that wouldn’t work for the stage production, working with the assistant stage manager, who
were the among those heckling the cast throughout rehearsal, to figure out which would be the most
likely to be shouted, and also what we thought worked the best and we would teach to the plants.
Sample of Audience Participation Script
Notes from the Dramaturg
Richard O’Brien sat down to write a song one night for a Christmas party; it was Science Fiction
Double Feature, Richard's homage to the movies that he loved as a young man. Following the warm
reception of the song, he realized it could be a suitable overture of sorts for a musical, and he composed
his first effort. The working title was They Came From Denton High, however, it became The Rocky
Horror Show. Rocky Horror opened June 1973 in a 63-seat venue in London to critical and commercial
success. Then, production moved to Kings Road in a run-down 270-seat venue scheduled for
demolition, for a 2 month run. It moved again to King's Road Theatre, a 350-seat converted cinema,
where it ran for 2 years. Lou Adler saw the musical, and immediately snagged the rights to make a
movie. The Rocky Horror Picture Show was made on a shoestring budget featuring reprised roles from
the musical productions, and two American newcomers as Brad and Janet, Barry Bostwick and Susan
Sarandon respectively.
"Cult movies" came to achieve this status through repeat late night screenings at independent
cinemas. To place the origin of the cult phenomenon that is Rocky Horror today, we look to Louis
Farese, Jr. sometime in 1976. At a midnight screening, during the rainstorm sequence where Janet
places a newspaper over her head, Farese reportedly shouted back at the screen: “Buy an umbrella, you
cheap bitch.” ...and the rest is history. The theatrical screenings and live performances developed into a
ritual all over the world. Audiences turn up dressed as characters from the show, people dance in the
aisles, and sing along with the songs. The phenomenon is perhaps one of the most unique forms of
interactive theatrical experiences ever to emerge.
So what is it about The Rocky Horror Show that keeps drawing audiences back and back
again?
There's androgyny, cross-dressing, horror movies, space age and, of course, glam rock. Like
glam rock, "Rocky Horror" embraces sexual ambiguity, high camp and tawdry glamour. Rocky Horror
is really about the event, interacting with the community who get to be something other than
themselves for a few hours. You as an audience member are the most important part of our production.
We encourage you to utilize the interactive nature of the show not only with props, but with your
voices as well.
Briana Choynowski
Dramaturg
The response from the audience members I talked to about the note was full of praise.
They enjoyed it and said that it set a wonderful expectation for what the audience would see
that evening. It was also commented on by a couple of the Rocky Horror virgins (the slang
used for someone who has not been a part of a Rocky Horror audience before) that came to
see our production, that the note really helped them to get what was going on when they had
no idea what they were seeing unfold in front of them.
Cast Responses to the Dramaturgy
Danielle Shinder – Columbia:
I thought that the dramaturgical research that was presented to us was very thorough and
comprehensive. From the very beginning of the process we were given information not only about the show
and our characters, but also about the concept and themes we were trying to incorporate. I learned a lot of the
Goth culture that influenced the scenic design. The study guide was extremely helpful. It included a ton of
information that was really beneficial when it came to doing character research. I also really enjoyed the
'character questionnaire'. It allowed the cast, especially the phantoms to think outside of the box and really
create back stories and histories for our characters.
These are some of the works that I consulted throughout the process.
Henkin, Bill. The Rocky Horror picture show book. Dutton Juvenile, 1979. Print.
J. Goldsmith The Natural and Artificial Wonders of the United Kingdom: With Engravings, in three
volumes. Vol. II. England and Wales. London: Printed for G. B. Whittaker, Ave-Maria Lane.
MDCCCXXV [1825], pp. 321-326. Engraving facing page 320.
Michaels, Scott, and David Evans. Rocky horror. Sanctuary Pub Ltd, 2002. Print.
Skal, David. The monster show. Faber & Faber, 2001. Print.
Voller , Jack . "The Literary Gothic." The Literary Gothic. 6 Jul 2009
<http://www.litgothic.com/index_fl.html>.
Weinstock, Jeffrey. The Rocky Horror picture show. Wallflower Pr, 2007. Print.