Molly Marinik (co-founder)
Molly Marinik is a dramaturg specializing in new play and musical development. She has developed new work at Atlantic Theater Company, The Flea (Resident Director 2013-15), New Light, Libra Theater, 59E59, Barefoot Theater Company, NYMF, and Musical Theater Factory, among others. She has read scripts and consulted for Alchemation/Kevin McCollum, the Philip Seymour Hoffman Relentless Award (subcommittee member since 2015), Page 73, Barrington Stage, Village Theatre, Rising Circle, Jewish Plays Project, and others. As resident dramaturg with Beehive at Musical Theater Factory, Molly co-moderates the Women/Trans Roundtable and writers groups. She also facilitates PlayGym at Luna Stage. And she can often be found at Atlantic Theater Company where she writes grants among many other things. Molly holds an MA in Theater History and Criticism from Brooklyn College.
SPECIALTIES: New plays, new musicals, movement-driven work, early drafts, historical research, script reading, scouting.
"Molly Marinik is a very special dramaturg. Her unique background in movement and directing allow her to dramaturg from both a visual and a textual perspective. I worked with her on a play by a first-time playwright, and she pushed him through 14 different drafts of his script. And he had a smile on his face the entire time."
—Benjamin Kamine, director
"Molly has been an incredible partner in the writing process, and our work has led to an evolution of the piece, which I could never have achieved alone. She understands dramaturgy from both the technical practice as well as the psychological relationship that is required to create emotional safety for art to be challenged and grow. She understands the writer’s intent with a masterful intuition and asks piercing questions without forcing solutions. She is incredibly organized in her schedule and measured with her questions, allowing the work to maintain momentum and the team to stay on track. Molly also understands that great art colors outside the lines but acknowledges that those lines exist and uses them to track discussions. She has helped me achieve a new level of artistic maturity, and the work has gained polish without loosing character or grit. I never thought about working with a dramaturg prior, and now I can’t imagine working without one."
—Dmitry Koltunov, composer and book writer/lyricist
"I've worked with Molly on a number of different projects, and her contribution as a dramaturg is consistently invaluable. She is able to focus on the subtle details of moment and character, while never losing sight of the big picture and overall arc of a play. Her collaborative approach keeps the often challenging process productive, fun, and inspiring."
—Scott Katzman, playwright
"Molly helped me find and shape my play, but she exceeded my expectations of a dramaturg by bringing her considerable intuition and emotional intelligence to the project. She was able to read the room and the abilities and needs of the actors, help me to dig deeper into my characters, and was comfortable relating her own personal experiences on the subject matter; all of which helped to move the play to a more fully realized place on the page and in performance."
—Heidi Armbruster, playwright and actress
How I explain dramaturgy to my extended family/high school friends/civilians:
Dramaturgy is essentially the deconstruction of a play to better understand it. And it’s practiced by all theater artists to some degree. As the designated dramaturg in the room, it is my job to make sure that everyone involved in the production is on the same page telling the same story, to stand in as an audience member hearing the story for the first time, to ask tough questions that enhance the storytelling, and to advocate for the playwright or theater artists at the core of the project.
Most interesting non-theater job I've done:
My parents owned an independent record store when I was growing up, and I started working behind the counter officially when I was 14. I had no idea how cool it was until I was much older.
A great book I read recently:
"Bad Feminism" by Roxane Gay
Three recent theater shows that I loved (but wasn’t involved in):
Yerma, The House That Will Not Stand, Songs for a New World
A nostalgic theater experience from childhood/adolescence:
My high school had this super fun annual tradition where a group of seniors would create a full-length original musical (with borrowed music). The school would give the production full resources and a regular run, and students from all grade levels were involved both onstage and off. I performed all four years, but I choreographed and was on writing staff my senior year. Although it was one of the goofiest things I've ever been a part of, it was also one of the most rewarding.
Favorite script-reading/artist meeting spot:
On a warm day: outside in the sun. Any day: at a bar with a good drink and a well-behaved, bustling crowd around me.