Suzanne Trauth

Suzanne Trauth’s plays include iDream, supported by the National Science Foundation’s STEM initiative on science and technology, presented at Premiere Stages; Françoise, which received a staged reading at Luna Stage; and Katrina: the K Word, based on interviews with New Orleans’ survivors of Hurricane Katrina, and produced on university campuses throughout the US.  Ms. Trauth also directed a staged reading of the play at Playwrights Theatre of New Jersey. Her screenplays Solitaire and Boomer Broads have won awards at the Austin Film Festival and the Writer’s Network Competition and, most recently, she wrote and directed the short film Jigsaw. Ms. Trauth has co-authored Sonia Moore and American Acting Training and co-edited Katrina on Stage: Five Plays (Northwestern University Press). For TheatreFest, she directed, served as Associate Producer, and founded the experimental Next Stage. She co-produced and directed productions at the Ensemble Studio Theatre (NYC), the Whole Theatre, and 12 Miles West. Ms. Trauth served as Assistant Artistic Director and faculty member at the Sonia Moore Studio in NYC and performed for the American Stanislavski Theatre. As part of a global initiative, she directed The Crucible for the Theatre-on-Podol in the Ukraine. She is a former member of the theatre faculty at Montclair State University in Montclair, NJ where she coordinated the BFA Acting Program. www.suzannetrauth.com

Publications

Françoise (play)

–staged reading Luna Stage

–staged reading Nora’s Playhouse

–nominated for Kilroy List

–Boomerang First Flight Festival Finalist

Midwives (play)

–staged reading Playwrights Theatre of NJ

–staged reading Jersey City Theater Center

iDream (play – co-author)

–supported by National Science Foundation, STEM initiative

–presented at Premiere Stages

–presented at State Theatre, State College, PA

–upcoming presentation at University of Dayton

Rehearsing Desire (play)

–upcoming reading Nora’s Playhouse

Show Time (novel)

–Kensington Publishing (July 2016)

Time Out (novel)

–Kensington Publishing (April 2017)

Katrina: the K Word (play – co-author)

–staged reading at Playwrights Theatre of NJ

–produced on university campuses in thirteen states across the country

Jigsaw (short film)

–wrote and directed

–nominated for best film in the shorts category at the PF3 Film Festival

–screened at New Filmmakers, NY

Solitaire (screenplay)

–Austin Film Festival Quarter-finalist

–Writer’s Network Competition Semi-finalist

–Winner Screenwriters OnLine Top Five Next Draft/Paramount Competition

–MORE Women in Film Screenplay Contest Quarter-finalist

Boomer Broads (screenplay)

–Winner Screenwriters OnLine Top Five Next Draft Competition

Sonia Moore and American Acting Training (co-author)

–Scarecrow Press, 2005

Katrina on Stage: Five Plays (co-editor)

–Northwestern University Press, 2011

Project Description and Goals

MIDWIVES: In the summer of 1913, at Viareggio, Italy, Eleonora Duse, foremost actress of her day, invited Isadora Duncan, foremost dancer of her time, to recuperate following the deaths of Isadora’s two children. In the days following, these towering artists of the early twentieth century engaged in a passionate contemplation of love, motherhood, and art. It would prove to be a transcendent time for both of them.

Completion of historical research – I have immersed myself in biographies and commentaries on the lives and work of Isadora Duncan and Eleonora Duse; I have also read Duncan’s autobiography and viewed a dvd of Duse’s only recorded performance: a short 1916 film.

Continuing to sketch out possible scenes to create a story structure that encompasses  the relationship between the two women and their art, their parallel love lives, their experiences as mothers.

Finding the voices of the two characters – though the play is in English, they would have been speaking French – a second language for both of them. It is a challenge to keep them “real” and of their time but not too formal; both could be fairly melodramatic so the challenge is determining when to use that to the best advantage.

Keeping the play active with forward momentum in keeping with the truth/events of their actual meeting; but allowing for the potential drama between them. Also the potential conflict.

Right now the play is 3 characters.