Drunk Enough to Say I Love You? is a one act play in which Guy, a man, falls in love with Sam, a country. Written by the legendary Caryl Churchill, dubbed “the greatest living English playwright” by Tony Kushner, this taut, elliptical, and unforgettable short play was presented as part of the Drama League’s 2019 DirectorFest. Laura served as the production’s dramaturg, in collaboration with director and Drama League Fellow Tara Elliott.
Laura dramaturged and associate directed a production of Alice Birch’s Revolt. She Said. Revolt Again. at Second Thought Theatre in Dallas, Texas. Christie Vela directed as well as performed in the form-bending, rule-breaking, patriarchy-destroying production, along with co-stars Lydia Mackay, Jenny Ledel, Tia Laulusa, and Max Hartman.
Laura was selected as one of eleven resident directors to participate in the Drama League's inaugural Art+Party series. On the fourth Friday of March 2018, Laura worked with a team of actors, as well as with visual artist Jack Ball and director and musician Whitney White, to devise a piece that would spark a conversation across mediums. The resulting work, Hatori's Nighttime Movers, was an original, interactive exploration of the power we have to construct, deconstruct, and reimagine our identities.
Set in a universe slightly different from our own, in the far-away land of New Hampshire in the long-ago time of January 2008, a woman named Hillary is running to become President of the United States. But between falling poll numbers, a superstar primary opponent, and a husband who could be her greatest ally or her greatest liability, Hillary must confront the possibility that she will not win - at least, not in this universe. Listed by D Magazine as one of the "Five Plays Not to Miss This Year," Laura's production of Hillary and Clinton took an uncompromising look at political titans and the fates even they cannot control.
Laura served as the Company Manager/Talent Manager for The Drama League's 2016 Benefit Gala Honoring David Hyde Pierce and 2017 Gala honoring Steve Martin. Laura managed all paperwork and communication with performers, coordinated travel and space, stage managed rehearsals, and provided day-of onsite assistance. She also got to meet Kermit the Frog, and can now die happy.
Dubbed the "millennial musical," A Self-Help Guide to Killing Your Boss is a satirical dark comedy musical about the Hollywood self-help industry and the whoo whoo's who run it. After its successful first workshop in Los Angeles in 2016, a fully staged reading played to a sold-out crowd at Alchemical Studios in Manhattan in 2017. Laura served as the stage manager for both productions and is planning to continue with the show as it moves toward a full production. More information coming soon!
Babel is a documentary theater piece about guns in the United States, created by Mara Richards and the teens of Cry Havoc Theater Company. In 2018, Laura built and maintained a digital dramaturgy site associated with the show and updated it throughout the year as the company traveled the country to figure out why when it comes to guns, everyone seems to be speaking a different language.
In 1922, the Gruber family was found brutally murdered in their home, a small German farmstead miles from the nearest town. Their killer, who remains unknown, continued to live in the house, feed the animals, cook in the kitchen, and tend the fireplace for days after the slaughter. These continued signs of life in a home where everyone has died inspired Hinterkaifeck, a surreal, elegiac meditation on depression, trauma, and loneliness written by Dante Flores. This haunting new play takes an unexpectedly poetic look at one of the most gruesome and bizarre unsolved mysteries of the twentieth century. A portion of this script, directed & designed by Laura and performed by Liz Ramos, was presented at the Art is Cool Salon in the fall of 2017.
In the late fall of 2017, Laura worked as an administrator/assistant teacher with The Drama League's inaugural Summer Professional Theatre Intensive. The students worked in New York City and in the mountains of Hawley, Massachusetts to deepen their understanding of Shakespeare as young actors and directors. Laura facilitated much of their programming and travel, and was also able to direct a piece of their final Macbeth presentation under the tutelage of Shakespeare and Company's Founding Artistic Director Tina Packer. Selections from Laura's direction of Macbeth pictured above.
In the summer of 2017, Laura escaped New York City for a few months to teach theater at Nantucket’s Dreamland Cultural Center. Over the course of five weeks, Laura directed five youth performances with students aged 9-12.
In early 2017, Dallas’s Second Thought Theatre produced Grounded, a one-woman show about a fighter pilot who, upon returning from her maternity leave, is redirected to the “chair force” - she becomes a drone pilot. The play, written by George Brant, deals with the psychological consequences of international warfare as a 9-to-5 job. This production was directed by Alex Organ and starred Jenny Ledel. Laura served as the dramaturg and assistant director.
In late 2016, Laura worked with Romanian theatre artists Catinca Draganescu and Valentina Zaharia to workshop their play Raw Vegan for an American audience. Using music and poetry, Raw Vegan is a powerful feminist allegory disguised a children’s story about a family of goats who migrate to Italy. This workshop was produced by the Drama League through their partnership with the Bucharest International Theatre Platform.
Laura assisted director Christie Vela on a production of Marsha Norman's Pulitzer Prize-winning 'night, Mother. The show was produced by Echo Theatre in Dallas, Texas.
While working as the Education Fellow at Dallas Theater Center, Laura managed the theater’s SummerStage youth program and directed one of the summer’s youth shows. Laura was bored by the majority of scripts written for young actors, and had the inkling the young actors might be, too. So she created an adaptation of Pyramus & Thisbe - as it was performed, of course, by the Rude Mechanicals in A Midsummer Night’s Dream.
Produced by Second Thought Theatre in 2016, A Kid Like Jake is the story of two parents trying to decide what is best for their four-year-old son, and facing impossible choices that may alter the course of his entire life. Laura stage managed as well as assistant directed this production helmed by Matthew Gray.
Deferred Action, a world premiere play about immigration, DACA, and what it is to be a Dreamer, opened at the Tony Award-winning Dallas Theater Center in 2016. Laura served as the assistant director to David Lozano.
As the Education Fellow at Dallas Theater Center, Laura managed the theater’s Spring Break program for middle schoolers. The week-long camp culminated in a performance, which Laura co-directed with Leah Harris. Laura adapted the script from the book The Kid Who Ran for President, a children’s book by Dan Gutman.
For two years, Laura worked at the Tony Award-winning Dallas Theater Center as a fellow in the Education & Community Engagement Department. During that time, Laura managed a wide variety of programming, including children’s summer camps, acting classes for teens and adults, and Project Discovery, an initiative which engages thousands of high schoolers from all across North Texas, and which received the 2013 National Arts and Humanities Youth Program Award. She also worked as a teaching artist for many of the above listed programs, and also co-moderated DTC’s book club, which was featured in American Theatre Magazine.
For her capstone project in college, Laura directed a full production of Red by John Logan. Along with friends and collaborators Sam Neagley and Dalton Maltz, Laura was able to close this chapter of her academic career with a profound meditation on what it means to be an artist.
In the summer of 2013, Laura interned with the Tony Award-winning Lookingglas Theatre Company in Chicago. She collaborated with teaching artists to lead classes, games, and exercises, and to create and execute final performances.
While studying in Bologna, Italy, Laura interned with Elena Galeotti of Compagnia Teatrale Cantharide. She helped to coordinate special performances for national holidays and visiting artists, and assisted in the devising of new play about fear with middle schoolers at Zola Predosa’s Francesco Francia school. She completed the internship entirely in Italian.