Meredith Bartmon

Meredith Bartmon

Meredith Bartmon is a South Florida based actress and dramaturg.

My dramaturgy has been utilized most recently by Mad Cow Theatre's Women's Voices Festival based in Orlando.* Previous dramaturgy credits include the FIU's The Greenhouse, FAU Theatre Lab New Works Festival in Boca Raton, the Modern Works Festival at Urbanite Theatre (Sarasota), a world premiere production at...
Meredith Bartmon is a South Florida based actress and dramaturg.

My dramaturgy has been utilized most recently by Mad Cow Theatre's Women's Voices Festival based in Orlando.* Previous dramaturgy credits include the FIU's The Greenhouse, FAU Theatre Lab New Works Festival in Boca Raton, the Modern Works Festival at Urbanite Theatre (Sarasota), a world premiere production at Perseverance Theatre in Alaska, the New Year/New Play Festival and Young Playwrights Festival at Palm Beach Dramaworks (West Palm Beach), Young Playwrights Festival at Florida Stage (Manalapan), and various freelance clients.

*Due to Covid-19, more recent productions for which I provided, or was about to provide, dramaturgy have been postponed. Since the shutdown, I've provided freelance dramaturgical feedback for a few scripts in development, as well as volunteered as a writer, dramaturg, and actor for the Online Original Monologue Festival through FAU Theatre Lab.

I'm a member of Literary Managers and Dramaturgs of America, Actors Equity Association, and UK Equity. I obtained an MA in Acting from East 15 Acting School in London and a BFA in Music Theatre from New World School of the Arts in Miami. I participated in the American Theatre Wing’s college-to-career intensive, SpringboardNYC, in Manhattan in the summer of 2008.

All recommendations on this page are plays for which I have provided dramaturgy. I hope you will better understand my voice and aesthetic as a dramaturg while reading these recs (and while you're there I hope you will also read those plays.) I went into the pandemic with a goal to make space for under-heard voices and gain agency over the kind of stories I wanted to tell. As the quarantine stretches on, my goal is taking on new shapes that look something like; challenging the boundaries of 'the rules' of new theatre making, telling stories of our time both for the sake of our own journeys and for our influence on the world to come, coming back to understanding the ways in which stories are valuable, and calling in gatekeepers to lay down their gates.

Recommended by Meredith Bartmon

  • Two Minutes After Dawn
    14 Oct. 2020
    Every time I interact with this exquisitely crafted play, I find something more deeply resonant. Coleman explores family and memory, big dreams and small rooms, exhaustion and ambition, and digs into fear and love in a way that will meet any audience where they’re at. The characters and relationships; whether it’s the rituals of a mother and daughter as child becomes parent, the uncanny instinct siblings have to press buttons, or the slow and toxic divergence of husband and wife; are infinitely recognizable. Otherworldly and grounded, timeless and timely, haunting and enlightening - I highly recommend this play.
  • ADRIFT
    28 Aug. 2020
    Adrift has a wonderful pair of relatable characters in a hilariously extreme situation. I'm totally rooting for the two misfits throughout. The dialogue is well paced, the high stakes world around them is crystal clear, and Donna has a lot of fun upending gender stereotypes as well. This piece has so much opportunity for physical comedy gold as well as really poignant human interaction. I would highly recommend it for any short play program.
  • Vegan-tarian
    28 Aug. 2020
    The only thing more fun than watching this play is watching it a second time. The final reveal made my jaw drop in delighted horror on first viewing while the second time revealed all the wonderful bread crumbs that Brian uses to set up the world of the play. I'm really drawn to the absurd world he has imagined. The dialogue (and stage directions) are so juicy for the actors to sink their teeth into and will be such a great ride for the audience. I would recommend this to any short play program.
  • ONE STONE
    21 Aug. 2020
    An intricately woven theatrical exploration of time and the woman who helped define it. When you look back at history, cause and effect seem obvious - Mileva's contribution was lost before it even began. But when you are stuck in the present, on the linear plane of human existence - time moving stubbornly forward - choices are more complicated, more human. By weaving Mileva's knowing narration with her linear timeline, Cahill has explored the science (and tragic love story) of Mileva Maric and Albert Einstein through brilliantly layered dramatic form. I can't wait to see this fully staged.
  • As I Was, Not As I Am
    20 Aug. 2020
    It’s remarkable how developed Alice’s playwright voice is in relation to her journey. This mature instinct for how to tell her stories mixed with youthful ‘fuck-it’ energy is exciting. The characters are relatable, especially the ‘antagonist’ - which feels honest. The play confronts how healthy young people deal with sickness and frailty when hit head-on by the reality of death. The final scenes of the play are so beautiful in their precision of character – Zarya flees, Melissa attacks, and steady Jeanine tries to hold on. While you’re here, I also highly recommend you read Acute Exposure.