“As a dramaturg I ask questions, discuss moments, and pinpoint confusions that lead the playwright to clarity, complexity, and insight for the audience’s enlightenment and entertainment. My goal always is to aid the playwright in fulfilling their vision of their work.”
Peters served as a dramaturg to Ruby Shang on both “Tales of Exile,” performed at Lincoln Center in New York, and “Invisible Languages featuring Bill T. Jones, Moro, Tom Cayler and Clarice Marshall, which played at St. Mark’s-in-the-Bowery, in Tokyo, and London.
Peters worked as Dramaturg on “Neutral Countries”by Barbara Field at the Playwright’s Center in Minneapolis. Subsequently it played the Humana Festival at The Actor’s Theatre of Louisville where it won the award for Best New Play.
He served as Dramaturg and Director for Penny Arcade on her one-woman show “Invisible in the Street” which played both La Mama, etc and the Village Gate.
Peters has worked as a dramaturg with playwrights, A.R. Gurney, Jr., Milan Stitt, Alice Childress, Beddow Hatch, Ron Whyte, Barbara Field, Mayo Simon, and Susan Dworkin helping them to fulfill their vision of their plays.
Leonard offers a variety of Dramaturgical Services for playwrights, screenwriters, fiction and non-fiction writers. For more information contact him at [email protected]
Leonard is a great dramaturg/director for a writer developing a script. He treats every rewrite with respect, he has an extraordinary sense of structure, he never lets you lose sight of what each character wants, and he knows every good actor in town.
Susan Dworkin, Playwright & Writer
Leonard Peters has served me as a director and a dramaturg on a number of projects. He has always had a strong sense of structure and of character, helping me clarify my stories and the people who inhabit them. He succeeds by asking me questions: things I assumed were clear become better defined as these questions get answered. He assumes the role of “the audience”, pointing out what is, on the one hand, too obvious, and unclear, on the other.
Barbara Field, Playwright
I don’t show my work around. I never had a friend or a mentor whose taste and judgment I trusted. Like most playwrights, when it comes to constructing a play I listen to my own inner voices. But sometimes, when things are not working right, I have felt the absence of a perceptive person who could help me think through a problem.
A couple of years ago I found that person in Leonard Peters. We met almost by accident. He came to see a play of mine that featured one of his acting students and asked to meet me. We talked about the play and I saw how quickly he caught what I was trying to achieve. I showed him another play which he read and then made a startling suggestion for revision. I decided to give it try. The resulting draft gave the play a fresh new look.
Leonard regularly reads my work now. He understands what I’m doing and sees very quickly what’s lacking and what’s gone wrong. He makes a suggestion in a few words that gets me to look at the work in a new light and starts me writing again. He’s one of the few people that I can honestly say have helped make my plays better.
Mayo Simon, Playwright
- Tales of Exile (1989)
- Choreography by Ruby Shang
- Lincoln Center, New York, NY
- Invisible Languages (1988)
- Ruby Shang and Company, Dancers
- Bill T. Jones, Moro, Tom Cayler, Clarice Marshall
- St. Mark’s-in-the-Bowery, New York, Tokyo & London
- Invisible in the Streets (1988)
- Penny Arcade
- La Mama etc., New York, NY
- Stem of a Briar by Beddow Hatch (1984)
- Palace Theater, Stamford, CT
- Pre-Broadway Tryout
- Back in the Race by Milan Stitt – Premiere (1980)
- Boar’s Head Theatre, Lansing, MI
- Circle Repertory Company, New York, NY
- Funeral March for a One-Man Band (1978)
- Book by Ron Whyte/Music by Mel Marvin/Lyrics by Robert Satuloff
- Westbeth Theatre Center, New York, NY
- The Ghost Convention by Susan Dworkin – Premiere (1975)
- WPA Theatre, New York, NY