Harvard grad, Laura Hirschberg, whose play Fish Food is in A LA CARTE, also poured her expertise as a dramaturg and producer into the pot. Let’s find out how that worked out!
Wearing three hats was, unsurprisingly, a balancing act. Each aspect was challenging and rewarding, so when all was said and done, I ended up getting a triple serving of delight seeing the show come together so beautifully. Dramaturging/selecting the plays was a uniquely wonderful experience, as it affirmed for me just how talented the company’s writers are.
We’re quite a varied bunch and we ran with the prompt in just about every direction. Reading through all the pieces with the help of so many of our stellar WorkShop actors was illuminating and impressive (If you think CK Allen does a lot in the finished production, you should have seen him jumping from character to character at those read-throughs.)
Producing has been a beast. It’s definitely one of those things I didn’t think I could do until I was doing it. It’s quite the juggling act, but it’s kept me deeply involved in the process throughout. I feel intensely invested in each play as well as the production as a whole, because I’ve had a hand in making so many of the elements happen.
I felt so proud on opening night (and continue to feel that way), and a lot of that good feeling can be attributed to my producer hat. But of course, there’s nothing like seeing my writing onstage.
The play has evolved significantly with each rewrite (I lost count around version 10) and it’s just so much better than it was. Funnier, darker, stranger. And a lot of the credit for that goes to Thomas Cote, Leslie Burby Rob McIntosh, CK Allen, and Lauren Riddle. We argued, we philosophized, we improvised. And agonized. And I thoroughly enjoyed myself.