Interview: Diana Miranda on dramaturgy
Tell us a bit about yourself.
Hello! I'm Diana Miranda, a London-based dramaturg and theatre critic. I grew up in Mexico City and miss it every day, but London has really grown on me. I love its multicoloured hoods and moods, as well as its massive theatre scene, which is precisely what keeps me here.
How did you get into dramaturgy?
That's a great question. I first came to London to do an MA in Theatre Criticism and Dramaturgy. I was interested in writing about theatre, so I started writing reviews, features and interviews for fringe theatre outlets. The time to renew my visa came, and I realised that the Arts Council England, which ought to endorse my application, didn't acknowledge theatre criticism as a legitimate role in the theatre spectrum. As a result, my portfolio seemed a bit flimsy without all my theatre writings. To meet the ACE criteria, I reached out to the migrant, early career theatre community I was part of and offered my skills as a dramaturg. What I remember the most from my early days in dramaturgy is the support and empathy I found in such a community; we're all in the same boat, and people understand the challenges of starting in the industry, especially as migrants.
Is the industry different here to the one in Mexico?
Mexico also has a strong theatre industry, but nothing compares to the monstrous infrastructure in London (quirks and shortcomings aside). Perhaps the biggest difference is that Mexico doesn't have a "fringe theatre" industry— a platform for early career theatre makers to find their own voice, hone their skills, and try new work, from traditional to unconventional and experimental work. You never know what you're going to get at a fringe festival, and that's what keeps me on my toes each time.
Tell us about the company you work with.
Junction Theatre is a company dedicated to celebrating migrant artists and narratives. Known for award-nominated "Borders" and the speed networking event "Cards on the Table", the company recently introduced The Second Junction: a new project under which they will present female-focused work. "Second Hand Problems" is Junction Theatre's first full-length play under this new initiative.
How has it been working on this play?
I feel so grateful for it. No spoilers: one of our characters appears in a wedding dress and builder boots, ready for both her wedding in the afternoon and a night shift in the evening. Thinking of it - this whole project feels similar- like finding something old, something new, something borrowed... I've met lovely, fun, hardworking women. I also got to work for the first time with a friend from uni. Putting on a show brings people together like nothing else, old friends or new. I've borrowed their brilliant minds and skills to get the show on track, and this is all done with a builder-boots vibe ahead of the theatre glitterati night.
What is it like to work in an all women production?
It feels very much like a safe space. Our director has done a lot of team-building since the beginning, so it's felt a lot like being part of a community. "Second Hand Problems" tells three stories that bring women from different generations together and explores how sharing these stories creates a transcendental support system. The preparation of the show has felt like that: we all bring different experiences, backgrounds, and personalities, and our work together has created a supportive platform. We all have each other's backs.
How has your perspective on dramaturgy changed since working with this company?
Most of my previous work involved collaborating with playwrights on script development. This time, however, it was director Neta Gracewell who told me about the project and introduced me to playwright Emma Kelly. I've been much more involved in production dramaturgy, which means supporting the staging of the script to ensure the core themes come across effectively on stage. It's felt much more collaborative - bringing together different perspectives to create a cohesive micro-universe.
Are you currently working on your own script?
Short answer: no
Do you have any advice for those looking to get into this industry?
What's been most helpful for me is surrounding myself with like-minded people and creating safe spaces for myself. Don't get me wrong, stepping out of your comfort zone is also incredibly valuable. But when I was starting out and trying to find my place in the industry, it was really helpful to seek out environments where I felt safe to explore my practice. For example, one of the first companies that I connected with was MarianaMalena, a Latin American female-led theatre company, and Untold Collectiv, producers of Latinx Stratch—a new writing event that aimed to increase visibility for Latinx artists in London.
The play Diana has been working on is coming to Camden Fringe on 2-4 August at Theatro Technis. Tickets are available here.
Second Hand Problems is a wacky, honest and moving tragi-comedy about intergenerational sisterhood and the shared griefs and joys of being a woman. Three stories, set between 1985 to 2022, find six women stuck in limbo - and highlight how women can help each other through life's darkest moments.
