Dramaturgy
After reading and watching so many new pieces over the past decade, I’ve developed a keen eye for work which is strong and exciting in its idea and execution. I help theatre-makers hone in on what they want from from their work and how to improve it so we can make it even stronger together.
Want to work with me? Drop me an email to tell me more about your project:
callan@callanplays.com
“I’ve worked with Callan in many capacities, receiving the benefit of her keen and generous insight as a dramaturg, her vision and efficiency as an editor, and the illumination of her playwriting. Callan is as amiable as she is gifted.”
In 2025, I’ll be working with Year Three Cohort playwright Hassan Abdulrazzak as the dramaturg for his play American Nightmare, for Lucille Lortel Theatre’s Alcove New Play Development Program.
I’ve worked informally with countless other writers in my role as Commissioning Editor of Plays, particularly when theatre-makers want feedback for transcribing their unique pieces to the page.
“I can’t recommend Callan enough here, such a keen and exciting perspective to have on scripts as they develop. I’ve been expanding my pool of dramaturgs to call on when I’m in need of script advice and Callan ranks among the best of them.”
Play publishing
I was Commissioning Editor of Plays at Methuen Drama (Bloomsbury Publishing) from August 2022 to December 2024, commissioning into the Modern Plays and Plays for Young People series with a particular focus on new writing from early to mid-career theatre-makers.
In that time, I read roughly 400 scripts and connected with hundreds more writers globally. I commissioned 141 plays and worked closely with agents, theatres and independent producers across the UK, Ireland and even the US. I’ve collaborated with folks from small pub theatres or unconventional theatre spaces all the way to London’s National Theatre.
Based in our office in London, I travelled the city and the country to connect with theatre-makers in Leeds, Manchester, Liverpool, Newcastle, Edinburgh and met with even more over video call.
I went to VAULT Festival in London (RIP), Edinburgh Festival Fringe, and attended readings, shows and the occasional prize ceremony to scout new work and build and maintain close relationships with folks across a global network, at different stages of their careers.
Internally, I functioned as a project manager, coordinating work with the Production, Design, Sales, Marketing and wider Editorial teams to make sure the 4-6 week production period went smoothly.
All of this in pursuit of one important goal: to add brilliant new work of varying styles and genres to the published canon from a diverse and exciting pool of theatre-makers.