Jeremy Stoller (co-founder)
Jeremy has served as dramaturg on the world premieres of Ken Urban's A Guide for the Homesick (Huntington Theatre) and Nibbler (The Amoralists @ Rattlestick Playwrights Theater); L M Feldman's A People (Orbiter 3); Paper Canoe's Light at Triskelion Arts; as well as Thomas Choinacky and John Jarboe's Beaut and R. Eric Thomas's Will You Accept This Friend Request?, both at First Person Arts Festival; and on the US premiere of Ken Urban's Sense of an Ending at 59E59 Theaters. Additional dramaturgy/literary work with Crashbox, Disney Theatrical, The Flea, George Street Playhouse, Luna Stage, Musical Theatre Factory, PlayPenn, Jewish Plays Project, and terraNOVA Collective.
Jeremy is the Director of New Work for Keen Company. From 2010 to 2013 he served as the literary manager at Two River Theater. He founded The Dramaturgy Open Office Hour Project, which has been sharing resources with artists in cities around North America since 2014 and was profiled in American Theatre magazine. He holds a BA from Drew University.
"Jeremy has a terrific eye for singling out exciting new writers and plays. He has taken the time to get to know our aesthetic well so he can tailor his recommendations to work that is fitting for our theater. We have gone on to develop and produce work that Jeremy has brought to our attention. He is also a smart dramaturg and his comments on early drafts of our world premieres have proved to be invaluable."
—Cheryl Katz, Artistic Director, Luna Stage
"Officially, Jeremy served as the dramaturg on the New York production of Sense of an Ending, where he was a helpful sounding board as I made final revisions following the play’s London run. He also organized wonderful panels during the production featuring stellar guests. But outside any official position, Jeremy is always my go-to dramaturg. Whether he is helping me formulate material for an artist statement or giving feedback on an early draft of a new play, Jeremy is always insightful, asking the questions that bring me closer to the best articulation of a thought or idea."
—Ken Urban, playwright
"Working with Jeremy Stoller, his objective was clear—to help me write my best play possible. Not what he thought my play should be. Or what the majority of an audience might think my play should be. He strove to bring out what was lying within the existing pages. I knew my story—but I was having trouble with objectivity. And this is where Jeremy went to work—culling from my mass of pages - what I was looking for in my play. Jeremy was very detailed in his feedback, which I really appreciated - and without a hint of personal agenda. You must be open to criticism, yes, if you’re to work with a dramaturg (or in any collaborative environment, truthfully). And if you find the right person, as I had, the experience is very rewarding for the play and one’s growth as a writer."
—Michele Aldin Kushner, playwright
"Jeremy Stoller was a tremendous asset during the workshop production of The Sasquatch Project. He diligently read our drafts and new pages and gave us guiding notes that were never prescriptive and always helpful in diagnosing the root of the problems in the show. He cheered us on when progress was made and nursed our wounds during challenges in the process."
—Scotty Arnold, musical theater writer
"Jeremy was an integral collaborator to my project Beaut (First Person Arts Festival 2011) and has already been a fundamental researcher for my current project of Brecht's Baal. As dramaturg for Beaut he provided insights into queerness and autobiography that were transformational to the arc of the performance, and served as a mediator among the director, myself, and the other performers. His methods deeply investigate the work and push my own thinking into the most complex layers of provocation and understanding."
—Thomas Choinacky, performance artist
How I explain dramaturgy to my extended family/high school friends/civilians:
It's evolving. I sometimes use a variation of the navigation analogy that's on another page of this website. Sometimes I compare the dramaturg to a personal trainer for a play—the person who's there to help an artist get their project into the shape the artist wants it. It's helpful when someone I've worked with is nearby and can talk about how we've collaborated.
Most interesting non-theater job I've done:
In between semesters during college, and for a few months after graduation, I worked in a small gift shop in a strip mall in Albany, where I grew up. I wasn't a particularly effective salesperson, except when it came to chocolate. I was really good behind the candy counter. And not just at eating samples. That I did mostly in the supply room.
A great book I read recently:
"Tuesday Nights in 1980" by Molly Prentiss
Three recent theater shows that I loved (but wasn’t involved in):
Jesus Hopped the 'A' Train @ Signature; Syncing Ink @ The Flea; Aloha, Aloha or When I Was Queen @ Abrons
A nostalgic theater experience from childhood/adolescence:
I was in a production of Romeo and Juliet in middle school that was the first time I remember being aware of the joy to be found in making theater collaboratively, rather than simply getting attention from an audience.
Favorite script-reading/artist meeting spot:
I enjoy being nomadic, so there are a few spots across the city: Amy's Bread, Cafe Reggio, City Bakery. Pastries + wifi + bathrooms + electrical outlets + charm, not necessarily in that order, are all important.