Theatre History at NYU, where she studied with both McNulty and Chaudhuri. After leaving Yale, she dramaturged for several Washington, D.C. theatres before returning to New York in 2004 as the Director of Musical Theater, Associate Literary Manager, and Dramaturg at Playwrights Horizons. Though their careers are disparate, all three alums share a passionate belief in the relevance of theatre to society, and, in turn, of dramaturgs and dramaturgical thought to the theatre. McNulty feels dramaturgs play a particularly important role in our current culture: “At a time uncannily similar to the blindly consumerist ’80s,” he says, “to be a dramaturg is to engage in an act of cultural resistance and dissent that should be roundly applauded. This epoch of ours is in dire need of critical sensibilities… Dramaturgs, of course, are nothing if not critical—lovingly so, for the most part.” Cadden finds his work with undergraduates equally vital: “This semester, I’ve had Janice Paran ’80—until recently the dramaturg at the McCarter—teaching a course [on dramaturgy]. The students have found it lifechanging, in part because it lets them see how people with their particular passions might fit into a wider theatrical landscape.” According to Evangelisto, dramaturgs and literary managers remain the theatre’s conscience by virtue of their connections with new work: “I hope that dramaturgs, via our intimate, essential relationships with new plays and playwrights, can remind people of the value of good writing and keep those writers writing plays … Bold, forward-thinking season planning, commissioning, and the recommending of writers for festivals or awards are the dramaturg’s weapons against bad theatre.” This investment in their works’ purpose also helps these alums love their daily grind. “My job is divine,” says Evangelisto, “and I go to work every day realizing how fortunate I am. I get to instigate and contribute to the development of new plays and musicals from tiny amoebic ideas to big, beautiful full productions. That is eminently satisfying.” Of her plans for the future, she says, “[I hope] to keep producing important theatrical work either as a producer or artistic director and per-
haps to make an occasional foray into the sunny world of LA-based film and TV.” With regard to his current post, McNulty says, “There’s nothing that gives me more satisfaction than writing. I can’t think of a better stage for a critic than the arts pages of the Los Angeles Times…[the dialogue] I’m having with one of the great urban readerships is something I treasure.” Cadden finds it difficult to say which is more stimulating, his work—he’s currently preparing courses on Samuel Beckett, Tony Kushner, and Paula Vogel, and a production season featuring Shakespeare, Aleksandr Pushkin, and Wendy Wasserstein ’76—or his community of students and colleagues. He especially lauds YSD alums Bob Sandberg ’77, Darryl Waskow ’86, and
“
Being a dramaturg means always being met with blank stares whenever you try to answer the question ‘What do you do?’
”
Catherine Sheehy
Tim Vasen ’93. “I love the company I keep,” he asserts, “I’m in this for the long haul.” As for the students who will some day join their professional ranks, the alums offer matching advice. “Read, read, read,” says Cadden, “Reading allows the past to break the stranglehold that the present invariably has on our sense of the possible.” Evangelisto echoes him, suggesting young dramaturgs should “read everything you get your hands on.” Charles McNulty simply states, “Read and think and argue and care.” Y
YSD 2006
23