MEREDITH BARTMON (she/her/hers) is a South Florida based actress and dramaturg who has been working on a professional basis since 2009. She's a proud member of Actors Equity Association, UK Equity, and Literary Managers and Dramaturgs of America. She 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. She believes the most dramaturgically sound TV shows are The Good Place and Fleabag and that David Tennant is the greatest living Shakespearean actor. However, she would prefer not to meet him because you should never meet those you admire. Her favorite place in the world to read plays is the bookstore inside the National Theatre London's lobby - yay Brutalism! She's the proud caretaker of kittens Indigo Riley and Sunny Amber and is very excited about the new bike she just bought.
ACTOR
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MEREDITH has acted with some of the top theatres in Florida including Palm Beach Dramaworks, Gablestage, Mad Cat Theatre, City Theatre, The Wick Theatre, Slow Burn Theatre, and more! She doesn't really have a dream role but would happily play any role in Come From Away forever and ever.
She has been critically praised as an actress and singer. While participating in the American Theatre Wing’s highly selective SpringboardNYC program in Manhattan, David Caparelliotis (Casting Director at Caparelliotis Casting), called her a “true character woman” and her singing voice has been described as “exquisite” by Miami theatre critic, Christine Dolen. She was nominated for a 2017 Carbonell Award for Best Supporting Actress in a Play for The Humans at Gablestage. In December 2016, Meredith was awarded the South Florida Silver Palm Award for Outstanding New Talent. |
DRAMATURGMEREDITH's dramaturgy credits include Urbanite Theatre, Mad Cow Theatre, Palm Beach Dramaworks, FAU Theatre Lab, FIU's The Greenhouse, Perseverance Theatre (Juneau, Alaska), and Florida Stage.
Multiple artists with whom she's collaborated have praised her expertise in translating and communicating broad contextual research into accessible relevance. In her first year and a half as an early career dramaturg, she's cultivated enduring relationships with six theatres, on three coasts. She's specialized in new plays, with sixteen full-length plays, seven short plays, and twenty-one young playwrights having utilized her dramaturgical work. Discovering emotional resonance through intellectual curiosity is her jam. She finds joy in sparking moments of revelatory comprehension within the world of the play. New Play Exchange Page Link: Dramaturg - Meredith Bartmon
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The First Time I Commited an Act of Dramaturgy: Sitting on the cool marley in the semi-dark Studio NB 3 at East 15 Acting School in London, the MA Acting ensemble is listening intently to group contextual presentations on the world of Sam Shepard. As the only American in the room, I’ve chosen to research the theme of apocalypticism in Shepard’s work. I insist to my exhausted classmates that it will be worth the extra two minutes. On fast forward, I contrast the popular definition of apocalypse with the classical definition, illustrate the evolution of Shepard’s Mythical American Hero, and explore the contextual importance of contemporary American cultural bankruptcy. I finish speaking and the room is silent. Then a clap, and another. One clap grows from the next and soon the whole room has erupted into an actual ovation. Amongst the cacophonous applause, my hard-to-impress head-of-course leaps to her feet, stabs the air with her finger, and shouts; “Now, THAT’S how you do actor-centric research!!” I was hooked.
