Monday, May 10, 2010
Project 6 (I re-did Project 2, Experimental, uncoventional theatre)
Pig Iron Theatre
Isabella (A ‘re-cutting’ of Shakespeare’s Measure for Measure)
08/29/07-09/02/07, 09/06/07-09/09/07, 09/11/07-09/15/07
“A radical re-cutting of Shakespeare’s “problem play” Measure for Measure, set in a modern-day morgue and re-imagined as a startling work of human puppetry.”
View Image Details'" href="http://www.pigiron.org/files/imagecache/18col/files/productions/feature/Isabella2.jpg">View Image Details'" style="VISIBILITY: visible; WIDTH: 192pt; HEIGHT: 126pt; mso-wrap-style: square" alt="Isabella2.jpg" type="#_x0000_t75" o:button="t" href="http://www.pigiron.org/files/imagecache/18col/files/productions/feature/Isabella2.jpg"> http://www.pigiron.org/production/media/187
The first thing I’d say that makes this unconventional is the fact that they did the show naked. Measure for Measure isn’t conventionally done naked, which makes this unconventional by definition. Second, it’s set in a morgue- and not even a Viennese morgue, so I’d say that a change in scenery to that degree qualifies it. And third, apparently the actors (except for the main character) were all supposed to be zombies- the living-dead corpses that reside in the morgue. Done and done, as far as the question of whether this is experimental or not.
The Independent Eye
Dream House
Premiered 11/04/06, and it says there have been 22 performances to date.
Writers: Conrad Bishop and Elizabeth Fuller
Music by: Elizabeth Fuller
Starring: Elizabeth Fuller
“A surreal solo comedy starring…a red-nosed clown with an alter-ego problem. Trying to keep her nose intact, she calls up her six sisters, all named Elizabeth—the Developer, the Plumber,the Dreamer, the Inspector, the Gambler, the Slut—to help build a workable identity out of mirrors,
fantasy, and PVC plumbing.” http://www.independenteye.org/plays/dreamhouse.html
It may be done, but having one actor/actress who plays seven different characters, and is the only person on stage in addition, seems outside of convention to me. Also, I can count the number of plays that involved a clown nose on every character, that I’ve seen, on one hand. One (clown) character who is either seven different people, or seven different versions of herself, isn’t terribly normal as far as theatre goes, and even when I have seen the multiple versions of people it’s never as dark/dingy as this seems to be.
Djalma Butoh Company
Mirrorminded Curioustease
Premiered: 11/05/2008
Writer: an adaptation of Finnegan’s Wake, by James Joyce
Starring: Ephia and Benjamin Kraus
James Joyce, giant of modern literature, continually on the verge of becoming blind, named his only daughter Lucia. She was his mirrorminded, cross-eyed saint of vision. Through his thick “fathom glasses” he watched her dance, setting fires leftand right, fueling the creation of Finnegans Wake, burning her own tethers to reality.
http://www.djalma.com/events.html
The first thing that I feel makes this unconventional is that it’s a dance adaptation of a novel. Also, judging from pictures on the website, it looks pretty insane. Also, there were only three people involved, which makes it unorthodox to me, given that “orthodox” theatre typically (which defines orthodox, technically) has more than one actor and, failing that, more than one technical person. This had two actors and one tech guy, who did the sound (credited, at least).
Elevator Repair Service
Spine Check
Premiered:1992, at the ERS Loft
Directed by John Collins
Lighting by John Collins and Jay Worthington
Sound by Blake Koh
Costumes by Colleen Werthmann
Stage Managed by Nan Strauss
Starring:
Steve Bodow
Bradley Glenn
Rinne Groff
James Hannaham
Susie Sokol
Colleen Werthmann
It’s unconventional because it’s Film Noir on stage. The lighting is full of grays and shadows, and the script itself sounds insane. IN addition, when’s the last time anything referred to as “Dada” (yes, I know it’s an art style, that’s the point) was considered “orthodox” or conventional?
“Appropriation, collage, and a dada slide of radical juxtaposition.”—The Village Voice
http://elevator.org/press/story.php?show=spne&story=voice
Manbites Dog Theater
God's Ear
May 20-June 5, 2010
Director: Jeff Storer Original Music by Bart Matthews
Featuring: Chris Burner, Marcia Edmundson, Katja Hill, Derrick Ivey, Nicole Quenelle, Rajeev Rajendran, Meredith Sause
Mel and her husband Ted must deal with heartbreak -- with a little help from G.I. Joe and The Tooth Fairy, in this magical and musical ode to love, loss, and the absurdities of life.
It’s a play with music featuring G.I. Joe. And magic. I think this probably qualifies a s unconventional. Maybe it’s less absurd than some of the others, but the next time you hear about a play featuring G.I. Joe that’s not experimental, I’d like to hear about it. Ok, maybe I wouldn’t actually like to hear about it, but combining the Tooth Fairy and G.I Joe seems pretty unconventional to me.
Isabella (A ‘re-cutting’ of Shakespeare’s Measure for Measure)
08/29/07-09/02/07, 09/06/07-09/09/07, 09/11/07-09/15/07
“A radical re-cutting of Shakespeare’s “problem play” Measure for Measure, set in a modern-day morgue and re-imagined as a startling work of human puppetry.”
View Image Details'" href="http://www.pigiron.org/files/imagecache/18col/files/productions/feature/Isabella2.jpg">View Image Details'" style="VISIBILITY: visible; WIDTH: 192pt; HEIGHT: 126pt; mso-wrap-style: square" alt="Isabella2.jpg" type="#_x0000_t75" o:button="t" href="http://www.pigiron.org/files/imagecache/18col/files/productions/feature/Isabella2.jpg"> http://www.pigiron.org/production/media/187
The first thing I’d say that makes this unconventional is the fact that they did the show naked. Measure for Measure isn’t conventionally done naked, which makes this unconventional by definition. Second, it’s set in a morgue- and not even a Viennese morgue, so I’d say that a change in scenery to that degree qualifies it. And third, apparently the actors (except for the main character) were all supposed to be zombies- the living-dead corpses that reside in the morgue. Done and done, as far as the question of whether this is experimental or not.
The Independent Eye
Dream House
Premiered 11/04/06, and it says there have been 22 performances to date.
Writers: Conrad Bishop and Elizabeth Fuller
Music by: Elizabeth Fuller
Starring: Elizabeth Fuller
“A surreal solo comedy starring…a red-nosed clown with an alter-ego problem. Trying to keep her nose intact, she calls up her six sisters, all named Elizabeth—the Developer, the Plumber,the Dreamer, the Inspector, the Gambler, the Slut—to help build a workable identity out of mirrors,
fantasy, and PVC plumbing.” http://www.independenteye.org/plays/dreamhouse.html
It may be done, but having one actor/actress who plays seven different characters, and is the only person on stage in addition, seems outside of convention to me. Also, I can count the number of plays that involved a clown nose on every character, that I’ve seen, on one hand. One (clown) character who is either seven different people, or seven different versions of herself, isn’t terribly normal as far as theatre goes, and even when I have seen the multiple versions of people it’s never as dark/dingy as this seems to be.
Djalma Butoh Company
Mirrorminded Curioustease
Premiered: 11/05/2008
Writer: an adaptation of Finnegan’s Wake, by James Joyce
Starring: Ephia and Benjamin Kraus
James Joyce, giant of modern literature, continually on the verge of becoming blind, named his only daughter Lucia. She was his mirrorminded, cross-eyed saint of vision. Through his thick “fathom glasses” he watched her dance, setting fires leftand right, fueling the creation of Finnegans Wake, burning her own tethers to reality.
http://www.djalma.com/events.html
The first thing that I feel makes this unconventional is that it’s a dance adaptation of a novel. Also, judging from pictures on the website, it looks pretty insane. Also, there were only three people involved, which makes it unorthodox to me, given that “orthodox” theatre typically (which defines orthodox, technically) has more than one actor and, failing that, more than one technical person. This had two actors and one tech guy, who did the sound (credited, at least).
Elevator Repair Service
Spine Check
Premiered:1992, at the ERS Loft
Directed by John Collins
Lighting by John Collins and Jay Worthington
Sound by Blake Koh
Costumes by Colleen Werthmann
Stage Managed by Nan Strauss
Starring:
Steve Bodow
Bradley Glenn
Rinne Groff
James Hannaham
Susie Sokol
Colleen Werthmann
It’s unconventional because it’s Film Noir on stage. The lighting is full of grays and shadows, and the script itself sounds insane. IN addition, when’s the last time anything referred to as “Dada” (yes, I know it’s an art style, that’s the point) was considered “orthodox” or conventional?
“Appropriation, collage, and a dada slide of radical juxtaposition.”—The Village Voice
http://elevator.org/press/story.php?show=spne&story=voice
Manbites Dog Theater
God's Ear
May 20-June 5, 2010
Director: Jeff Storer Original Music by Bart Matthews
Featuring: Chris Burner, Marcia Edmundson, Katja Hill, Derrick Ivey, Nicole Quenelle, Rajeev Rajendran, Meredith Sause
Mel and her husband Ted must deal with heartbreak -- with a little help from G.I. Joe and The Tooth Fairy, in this magical and musical ode to love, loss, and the absurdities of life.
It’s a play with music featuring G.I. Joe. And magic. I think this probably qualifies a s unconventional. Maybe it’s less absurd than some of the others, but the next time you hear about a play featuring G.I. Joe that’s not experimental, I’d like to hear about it. Ok, maybe I wouldn’t actually like to hear about it, but combining the Tooth Fairy and G.I Joe seems pretty unconventional to me.
Project 5 (Upside Down, education is first)
Secondary Education:
You must have a bachelor's degree from an accredited college or university.
You must complete teacher training through an approved program.
You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.
Alternative Programs for Educator Preparation
Some institutions of higher education and large school districts have been approved by the State Board for Educator Certification to operate alternative programs of preparation for teachers and administrators. These programs may involve university coursework or other professional development experiences as well as intense mentoring and supervision, during the candidate's first year in the role of educator. In addition, some regional education service centers and private entities offer alternative programs of preparation similar to the university/college based programs.
Community College
Irvine Valley College
SUMMARY OF DUTIES AND RESPONSIBLITIES:
Design and engineer the lighting and sound for assigned theatre productions including the creation of special effects; research event to be produced, attend technical rehearsals and develop lighting and sound cue sheets; record and edit music and sound effects. Provide technical lighting and sound support to Department of Theatre. Plan, prioritize, assign, supervise, and review the work of temporary staff and students involved in sound and lighting production; work with employees and students to correct deficiencies. Participate in and oversee the proper installation, operation, inspection and maintenance of all theatrical lighting and sound equipment including special effects equipment, microphones, amplifiers, and mixers; hand and focus lighting equipment; set up and test sound equipment. Oversee all lighting and sound needs for Theatre events; assist in loading and unloading equipment. Oversee and participate in the disassembly and storage of sound and light equipment when production is complete. Identify and prevent possible safety problems; recommend maintenance needs for the theatre complex. Provide technical staff assistance to the Department of Theatre; perform special projects as assigned. Attend all staff, department, school, and other related meetings and take action if necessary. Instruct students and assistants in constructing and design methods. Inventory and maintain equipment and order supplies and materials. Attend rehearsals and productions to supervise operations of lighting and sound. Participate in general faculty functions related to the educational program and staff development/flex-calendar activities. Perform related duties as required.
Requirements I don’t have:
Master's in drama/theater arts/performance from an accredited college or university
Valid California Community College Instructor credential, appropriate to the subject, per Education Code 87355 (issued prior to July 1, 1990).
EXPERIENCE REQUIRED* Minimum of two (2) years recent and successful full or part-time experience teaching Theatre Arts, including courses in Lighting and Sound Design, Technical Theatre Production, Theatre * Appreciation, Theatre History, and /or Fine Arts Appreciation at the college level.* Previous teaching and/or professional experience in Lighting and Sound Design for full-length theatre production (equivalent experience in film and/or television production will be considered.)
Senior College
East Stroudsburg University
Description:
The Department of Theatre at East Stroudsburg University is establishing a two-year, temporary faculty teaching pool. Applicant must be competent to teach courses in areas of Acting/Directing, or in Design/Technical Theatre. Candidate should demonstrate teaching excellence in areas of competence. Distance learning and/or off-campus teaching opportunities may be possible.
Requirements I won’t have when leaving Sam Houston:
A Masters of Fine Arts degree or Ph.D. in Theatre, or a B.A. with equivalent professional theatre experience is required.
encourages applications from members of historically under-represented groups, including women, veterans, and persons with disabilities
Graduate Programs
Playwriting MFA UCLA
Complete and submit the online UCLA Graduate Division application. Make sure to indicate Theater as your major, and MFA as your degree.
Complete and submit the online Departmental application
Complete and submit the following application materials to: Natasha Levy, UCLA Department of Theater, 103 E. Melnitz, Box 951622, Los Angeles, CA 90095-1622. (Please visit UCLA Graduate Admissions for all forms.)
Two samples of creative writing, at least one of which must be a full-length stage play. An interview may be required.
Two official copies of each college/university transcript.
Supplementary Forms
Statement of Purpose
Three Letters of Recommendation
Cross-Reference Sheet, if applicable
Resume of training and experience in theater or other related work
In addition to the successful completion of 94 units, candidates for the degree must pass annual comprehensive reviews and critical evaluations of writing projects to date. A minimum of 82 units must be at the graduate level, and a maximum of 12 units of 596 courses may be applied toward the degree.
Intriguing Stuff:
faculty includes successful writers whose work has been professionally produced throughout the country
In the first year, playwrights complete two short plays and a full length play
The third year typically includes an internship with a professional theater or film studio, or comparative environment
Typically student written plays are selected for further development through a process that may include one or more of the following: classroom discussion, staged readings, an intensive dramaturgical process, a script development workshop with directors, actors and designers culminating in studio workshop productions, or full production. When scheduled, student plays may be selected for inclusion in the Department's Francis Ford Coppola One Act Marathon or New Play Festival.
MFA in Acting, Nebraska-Lincoln
School RequirementsA Bachelor's Degree or equivalent training is required for admission to the program.To be considered for entrance into the graduate program the applicant must show records of current and past experience at the academic and/or professional level through resume and references. Submission of undergraduate transcripts is also required.
To be admitted into the Professional Actor Training Program, a general knowledge of theatre history and proficiency in acting, vocal, and movement theory and practice is required. These prerequisites are tested in the audition/interview process. In rare instances, students may be admitted with deficiencies in their theatre education background. This program will be admitting its next class in the Fall 2010 with auditions commencing in the Spring 2010. Students are selected for the two MFA programs through a screening audition and interview process through the University/Resident Theatre Auditions and in Lincoln.
No Graduate Record Examination is required.
Applicants for degree programs need to have completed all admission requirements two months before the beginning of the first semester of study. The completed application, application fee and all official transcripts should be sent to the Office of Graduate Studies.
Intriguing Stuff:
classical acting training program rooted in Shakespeare and classical realism
A musical theatre class: A beginning course in audtioning for and singing in Musicals. Opportunities for additional course work and on-going private voice lessons.
A showcase: A piece developed to show off the skills of this class for talent buyers.
Professional forum: agents, casting directors and theatre company managers invited to see performances, give feedback and offer master classes. Planned throughout the senior year of study.
Nebraska Repertory Theatre: Opportunities for performance with Actor's Equity Association actors while earning A.E.A. Membership Candidacy points
MFA in Acting, University of Washington (at Seattle)
Admissions Requirements
Students who hold (or will hold by September) a baccalaureate degree from an accredited institution may apply. Most applicants have undergraduate degrees in theatre, but it is not essential. All must demonstrate outstanding talent to be admitted. The GRE is not required. International applicants must meet the minimum TOEFL and TSE scores and other Graduate School requirements.
Applicants submit hard copies of the following to the School of Drama (mailing address: Graduate Programs, School of Drama, University of Washington, Box 353950, Seattle WA 98195-3950):
The School of Drama PATP application form, with your preferred audition date indicated.
A $60.00 (non-refundable) audition fee (check or money order, made out to the School of Drama). Applications postmarked after the deadline must include a late application fee of $10.00 ($70.00 total). Please note, this is an entirely different fee from the one due to the Office of Graduate Admissions (below) and nonwaivable.
A photograph.
A current résumé of training and experience in your field.
One set of official transcripts.
A statement of purpose including educational and professional goals.
Two letters of recommendation. Each recommendation should state whether the letter is or is not available for review by the applicant and forms for this purpose are available here. Letters may be included in your application or sent directly to the School by your recommender. You may still audition for the program without having both letters of recommendation.
Intriguing Stuff
program seeks naturally talented individuals who possess qualities that include: receptivity, transparency, inventiveness, expansiveness and coordination. We also seek those who have the curiosity, hunger, discipline and courage necessary to become actors who can make significant work. We expect our students to consistently strive to expand their skills and physiological conditioning while developing their own identity as creative individuals. We expect professionalism in our students’ behavior and work ethic.
The program is structured to immerse our students in the traditional vocabulary and practices set down by Konstantin Stanislavski and informed by the individual professional experiences of the faculty.
also strives to inspire life-long exploration and inquiry into the creative spirit that informs the actor's work. We recognize the importance of ensemble work and the necessity of entrepreneurial skills in developing a versatile, evolved actor.
Many of our students find summer acting work and many of our third year actors begin working immediately after graduating. Students receive a great deal of individual mentoring and are evaluated by the entire acting faculty at the end of each quarter.
NON-REQUIRED (NON-UNION) JOBS
Walt Disney World — OPEN Auditions / VocalistsWalt Disney WorldOrlando, FL
Call TypeNon-Required Principal
Date of Audition5/17/2010
LocationDisney's Animal Kingdom Rehearsal Facility3271 Sherberth RoadKissimmee, FL 34747
MapQuest Directions
Time(s)Monday, May 17, 20109AM: Male Vocalists (sign-in: 8:30 AM - 9:30 AM)1PM: Female Vocalists (sign-in: 12:30 PM - 1:30 PM)No appointments necessary. Please arrive early to sign in, late applicants will not be accommodated.> A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelCasting Director: Ray DeChiara & Darla Hayward, Auditions Manager: Kent Murrish
Other DatesCallbacks by appointment to be held in Orlando on May 18, 2010.
ContractDisneyworldMin. $14.94/hr, AEA pension, 401K; Disney health
SeekingOpen call seeking future replacements for all roles and all shows. Applicants must be at least 18 years of age and authorized to work in the United States.
BreakdownThis notice does not have a breakdown.
PreparationPlease provide a current headshot and resume. Prepare 16 bars of a musical selection and provide sheet music, in the correct key, for the accompanist. A cappella auditions are not allowed.
OtherAll shows performed live @ Walt Disney World® Resort near Orlando, FL.
Randy Newman’s HARPS AND ANGELS - EPACenter Theatre GroupLos Angeles, CA
Call TypeNon-Required Principal
Date of Audition5/17/2010
LocationStudios 353353 West 48th StreetNew York, NY 2nd Floor.
Time(s)Monday, May 17, 201010 AM - 6 PM Lunch from 1:30 – 2:30.
> EPA Rules are in effect.> A monitor will be provided.
PersonnelProducer: Michael RitchieAssoc. Producer: Neel KellerScore: Randy NewmanConcept Jack ViertelDir: Jerry ZakMusical Staging: Warren Carlyle
Other Dates1st reh.: 10/5/10 (Los Angeles). 1st understudy reh.: 10/26. Runs 11/10–12/19 at the Mark Taper Forum.
ContractLORT Non-RepCurrently $865/week minimum.
SeekingSinging actors (m/f). See Breakdown for details.
BreakdownA breakdown has been added for this notice. Click here to browse.
PreparationSee Breakdown for preparation instructions.
REQUIRED (UNION) JOBS
ATC Season EPA (Phoenix) Arizona Theatre CompanyTucson AND Phoenix, AZ
Call TypeEquity Principal
Date of Audition5/10/2010
LocationHerberger Theater Center222 East MonroePhoenix, AZ Stage door on Van Buren Street
MapQuest Directions
Time(s)Monday, May 10th 11am-3pm4:30pm-7:30pm
AppointmentsTo schedule:: Phoenix: call Cale Epps at(602) 256-6899 x 6115; Tucson: call Sean Dupont (520) 884-8210 x 8508 -- Monday through Friday 9-4pm. > A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelSamantha K. Wyer, Associate Artistic Director / Staff Director, Arizona Theatre CompanyJennifer bazzell, Literary Manager, Arizona Theatre Company
Other Dates2010 -2011 Season: Backwards in High Heels; Ma Rainey's Black Bottom, Woody Guthrie's American Song ; Ten Chimneys; Lost in Yonkers; The Mystery of Irma Vep. Season Opening Date: September 16, 2010. Closing date of season: May 29, 2011.
ContractLORT Non-Rep$750/wk
SeekingEquity actors for consideration for the 2010 - 2011 season and future shows.
BreakdownA breakdown has been added for this notice. Click here to browse.
Preparation2 contrasting monologues lasting no longer than 4 minutes total. Please also bring 1 set of photo and resume. If you wish to sing a song, a short song may be substituted for a monologue, Please be aware that a piano and CD player will be provided, but no accompanist.
Season 2010-11Seattle Shakespeare CompanySeattle, WA
Call TypeEquity Principal
Date of Audition5/10/2010
LocationSeattle Children's Theatre305 Harrison St. Seattle CenterSeattle, WA 98109East Rehearsal Hall
MapQuest Directions
Time(s)10am-3pm
AppointmentsAmyt@seattleshakespeare.org206-733-8228 x 215> A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelArtistic Director: Stephanie ShineCasting Director: Amy Thone
Other DatesHamlet Oct-Dec 2010Wittenberg by David Davalos Nov-Dec 2010Cymbeline Dec-JanThe ThreePenny Opera Jan-FebThe Merry Wives of Windsor March-April
ContractSPT$445/wk
SeekingActors for the 20th anniversary season. All Roles except Polonius and Player King in Hamlet are open.
BreakdownThis notice does not have a breakdown.
Preparation2 contrasting pieces, one in verse no more than 3 min total
You must have a bachelor's degree from an accredited college or university.
You must complete teacher training through an approved program.
You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.
Alternative Programs for Educator Preparation
Some institutions of higher education and large school districts have been approved by the State Board for Educator Certification to operate alternative programs of preparation for teachers and administrators. These programs may involve university coursework or other professional development experiences as well as intense mentoring and supervision, during the candidate's first year in the role of educator. In addition, some regional education service centers and private entities offer alternative programs of preparation similar to the university/college based programs.
Community College
Irvine Valley College
SUMMARY OF DUTIES AND RESPONSIBLITIES:
Design and engineer the lighting and sound for assigned theatre productions including the creation of special effects; research event to be produced, attend technical rehearsals and develop lighting and sound cue sheets; record and edit music and sound effects. Provide technical lighting and sound support to Department of Theatre. Plan, prioritize, assign, supervise, and review the work of temporary staff and students involved in sound and lighting production; work with employees and students to correct deficiencies. Participate in and oversee the proper installation, operation, inspection and maintenance of all theatrical lighting and sound equipment including special effects equipment, microphones, amplifiers, and mixers; hand and focus lighting equipment; set up and test sound equipment. Oversee all lighting and sound needs for Theatre events; assist in loading and unloading equipment. Oversee and participate in the disassembly and storage of sound and light equipment when production is complete. Identify and prevent possible safety problems; recommend maintenance needs for the theatre complex. Provide technical staff assistance to the Department of Theatre; perform special projects as assigned. Attend all staff, department, school, and other related meetings and take action if necessary. Instruct students and assistants in constructing and design methods. Inventory and maintain equipment and order supplies and materials. Attend rehearsals and productions to supervise operations of lighting and sound. Participate in general faculty functions related to the educational program and staff development/flex-calendar activities. Perform related duties as required.
Requirements I don’t have:
Master's in drama/theater arts/performance from an accredited college or university
Valid California Community College Instructor credential, appropriate to the subject, per Education Code 87355 (issued prior to July 1, 1990).
EXPERIENCE REQUIRED* Minimum of two (2) years recent and successful full or part-time experience teaching Theatre Arts, including courses in Lighting and Sound Design, Technical Theatre Production, Theatre * Appreciation, Theatre History, and /or Fine Arts Appreciation at the college level.* Previous teaching and/or professional experience in Lighting and Sound Design for full-length theatre production (equivalent experience in film and/or television production will be considered.)
Senior College
East Stroudsburg University
Description:
The Department of Theatre at East Stroudsburg University is establishing a two-year, temporary faculty teaching pool. Applicant must be competent to teach courses in areas of Acting/Directing, or in Design/Technical Theatre. Candidate should demonstrate teaching excellence in areas of competence. Distance learning and/or off-campus teaching opportunities may be possible.
Requirements I won’t have when leaving Sam Houston:
A Masters of Fine Arts degree or Ph.D. in Theatre, or a B.A. with equivalent professional theatre experience is required.
encourages applications from members of historically under-represented groups, including women, veterans, and persons with disabilities
Graduate Programs
Playwriting MFA UCLA
Complete and submit the online UCLA Graduate Division application. Make sure to indicate Theater as your major, and MFA as your degree.
Complete and submit the online Departmental application
Complete and submit the following application materials to: Natasha Levy, UCLA Department of Theater, 103 E. Melnitz, Box 951622, Los Angeles, CA 90095-1622. (Please visit UCLA Graduate Admissions for all forms.)
Two samples of creative writing, at least one of which must be a full-length stage play. An interview may be required.
Two official copies of each college/university transcript.
Supplementary Forms
Statement of Purpose
Three Letters of Recommendation
Cross-Reference Sheet, if applicable
Resume of training and experience in theater or other related work
In addition to the successful completion of 94 units, candidates for the degree must pass annual comprehensive reviews and critical evaluations of writing projects to date. A minimum of 82 units must be at the graduate level, and a maximum of 12 units of 596 courses may be applied toward the degree.
Intriguing Stuff:
faculty includes successful writers whose work has been professionally produced throughout the country
In the first year, playwrights complete two short plays and a full length play
The third year typically includes an internship with a professional theater or film studio, or comparative environment
Typically student written plays are selected for further development through a process that may include one or more of the following: classroom discussion, staged readings, an intensive dramaturgical process, a script development workshop with directors, actors and designers culminating in studio workshop productions, or full production. When scheduled, student plays may be selected for inclusion in the Department's Francis Ford Coppola One Act Marathon or New Play Festival.
MFA in Acting, Nebraska-Lincoln
School RequirementsA Bachelor's Degree or equivalent training is required for admission to the program.To be considered for entrance into the graduate program the applicant must show records of current and past experience at the academic and/or professional level through resume and references. Submission of undergraduate transcripts is also required.
To be admitted into the Professional Actor Training Program, a general knowledge of theatre history and proficiency in acting, vocal, and movement theory and practice is required. These prerequisites are tested in the audition/interview process. In rare instances, students may be admitted with deficiencies in their theatre education background. This program will be admitting its next class in the Fall 2010 with auditions commencing in the Spring 2010. Students are selected for the two MFA programs through a screening audition and interview process through the University/Resident Theatre Auditions and in Lincoln.
No Graduate Record Examination is required.
Applicants for degree programs need to have completed all admission requirements two months before the beginning of the first semester of study. The completed application, application fee and all official transcripts should be sent to the Office of Graduate Studies.
Intriguing Stuff:
classical acting training program rooted in Shakespeare and classical realism
A musical theatre class: A beginning course in audtioning for and singing in Musicals. Opportunities for additional course work and on-going private voice lessons.
A showcase: A piece developed to show off the skills of this class for talent buyers.
Professional forum: agents, casting directors and theatre company managers invited to see performances, give feedback and offer master classes. Planned throughout the senior year of study.
Nebraska Repertory Theatre: Opportunities for performance with Actor's Equity Association actors while earning A.E.A. Membership Candidacy points
MFA in Acting, University of Washington (at Seattle)
Admissions Requirements
Students who hold (or will hold by September) a baccalaureate degree from an accredited institution may apply. Most applicants have undergraduate degrees in theatre, but it is not essential. All must demonstrate outstanding talent to be admitted. The GRE is not required. International applicants must meet the minimum TOEFL and TSE scores and other Graduate School requirements.
Applicants submit hard copies of the following to the School of Drama (mailing address: Graduate Programs, School of Drama, University of Washington, Box 353950, Seattle WA 98195-3950):
The School of Drama PATP application form, with your preferred audition date indicated.
A $60.00 (non-refundable) audition fee (check or money order, made out to the School of Drama). Applications postmarked after the deadline must include a late application fee of $10.00 ($70.00 total). Please note, this is an entirely different fee from the one due to the Office of Graduate Admissions (below) and nonwaivable.
A photograph.
A current résumé of training and experience in your field.
One set of official transcripts.
A statement of purpose including educational and professional goals.
Two letters of recommendation. Each recommendation should state whether the letter is or is not available for review by the applicant and forms for this purpose are available here. Letters may be included in your application or sent directly to the School by your recommender. You may still audition for the program without having both letters of recommendation.
Intriguing Stuff
program seeks naturally talented individuals who possess qualities that include: receptivity, transparency, inventiveness, expansiveness and coordination. We also seek those who have the curiosity, hunger, discipline and courage necessary to become actors who can make significant work. We expect our students to consistently strive to expand their skills and physiological conditioning while developing their own identity as creative individuals. We expect professionalism in our students’ behavior and work ethic.
The program is structured to immerse our students in the traditional vocabulary and practices set down by Konstantin Stanislavski and informed by the individual professional experiences of the faculty.
also strives to inspire life-long exploration and inquiry into the creative spirit that informs the actor's work. We recognize the importance of ensemble work and the necessity of entrepreneurial skills in developing a versatile, evolved actor.
Many of our students find summer acting work and many of our third year actors begin working immediately after graduating. Students receive a great deal of individual mentoring and are evaluated by the entire acting faculty at the end of each quarter.
NON-REQUIRED (NON-UNION) JOBS
Walt Disney World — OPEN Auditions / VocalistsWalt Disney WorldOrlando, FL
Call TypeNon-Required Principal
Date of Audition5/17/2010
LocationDisney's Animal Kingdom Rehearsal Facility3271 Sherberth RoadKissimmee, FL 34747
MapQuest Directions
Time(s)Monday, May 17, 20109AM: Male Vocalists (sign-in: 8:30 AM - 9:30 AM)1PM: Female Vocalists (sign-in: 12:30 PM - 1:30 PM)No appointments necessary. Please arrive early to sign in, late applicants will not be accommodated.> A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelCasting Director: Ray DeChiara & Darla Hayward, Auditions Manager: Kent Murrish
Other DatesCallbacks by appointment to be held in Orlando on May 18, 2010.
ContractDisneyworldMin. $14.94/hr, AEA pension, 401K; Disney health
SeekingOpen call seeking future replacements for all roles and all shows. Applicants must be at least 18 years of age and authorized to work in the United States.
BreakdownThis notice does not have a breakdown.
PreparationPlease provide a current headshot and resume. Prepare 16 bars of a musical selection and provide sheet music, in the correct key, for the accompanist. A cappella auditions are not allowed.
OtherAll shows performed live @ Walt Disney World® Resort near Orlando, FL.
Randy Newman’s HARPS AND ANGELS - EPACenter Theatre GroupLos Angeles, CA
Call TypeNon-Required Principal
Date of Audition5/17/2010
LocationStudios 353353 West 48th StreetNew York, NY 2nd Floor.
Time(s)Monday, May 17, 201010 AM - 6 PM Lunch from 1:30 – 2:30.
> EPA Rules are in effect.> A monitor will be provided.
PersonnelProducer: Michael RitchieAssoc. Producer: Neel KellerScore: Randy NewmanConcept Jack ViertelDir: Jerry ZakMusical Staging: Warren Carlyle
Other Dates1st reh.: 10/5/10 (Los Angeles). 1st understudy reh.: 10/26. Runs 11/10–12/19 at the Mark Taper Forum.
ContractLORT Non-RepCurrently $865/week minimum.
SeekingSinging actors (m/f). See Breakdown for details.
BreakdownA breakdown has been added for this notice. Click here to browse.
PreparationSee Breakdown for preparation instructions.
REQUIRED (UNION) JOBS
ATC Season EPA (Phoenix) Arizona Theatre CompanyTucson AND Phoenix, AZ
Call TypeEquity Principal
Date of Audition5/10/2010
LocationHerberger Theater Center222 East MonroePhoenix, AZ Stage door on Van Buren Street
MapQuest Directions
Time(s)Monday, May 10th 11am-3pm4:30pm-7:30pm
AppointmentsTo schedule:: Phoenix: call Cale Epps at(602) 256-6899 x 6115; Tucson: call Sean Dupont (520) 884-8210 x 8508 -- Monday through Friday 9-4pm. > A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelSamantha K. Wyer, Associate Artistic Director / Staff Director, Arizona Theatre CompanyJennifer bazzell, Literary Manager, Arizona Theatre Company
Other Dates2010 -2011 Season: Backwards in High Heels; Ma Rainey's Black Bottom, Woody Guthrie's American Song ; Ten Chimneys; Lost in Yonkers; The Mystery of Irma Vep. Season Opening Date: September 16, 2010. Closing date of season: May 29, 2011.
ContractLORT Non-Rep$750/wk
SeekingEquity actors for consideration for the 2010 - 2011 season and future shows.
BreakdownA breakdown has been added for this notice. Click here to browse.
Preparation2 contrasting monologues lasting no longer than 4 minutes total. Please also bring 1 set of photo and resume. If you wish to sing a song, a short song may be substituted for a monologue, Please be aware that a piano and CD player will be provided, but no accompanist.
Season 2010-11Seattle Shakespeare CompanySeattle, WA
Call TypeEquity Principal
Date of Audition5/10/2010
LocationSeattle Children's Theatre305 Harrison St. Seattle CenterSeattle, WA 98109East Rehearsal Hall
MapQuest Directions
Time(s)10am-3pm
AppointmentsAmyt@seattleshakespeare.org206-733-8228 x 215> A monitor will not be provided. The producer will run all aspects of this audition.
PersonnelArtistic Director: Stephanie ShineCasting Director: Amy Thone
Other DatesHamlet Oct-Dec 2010Wittenberg by David Davalos Nov-Dec 2010Cymbeline Dec-JanThe ThreePenny Opera Jan-FebThe Merry Wives of Windsor March-April
ContractSPT$445/wk
SeekingActors for the 20th anniversary season. All Roles except Polonius and Player King in Hamlet are open.
BreakdownThis notice does not have a breakdown.
Preparation2 contrasting pieces, one in verse no more than 3 min total
Tuesday, March 23, 2010
2. Naked Broadway: "Love! Valour! Compassion!"
opened on Broadway in 1995, Walter Kerr Theatre
“it offers more male nudity than has probably ever been seen in a legitimate Broadway theater,” http://www.nytimes.com/1995/02/15/theater/theater-review-love-valour-compassion-love-hits-broadway-running-like-broadway.html?pagewanted=1
Why: This show was controversial because of the type (and amount) of nudity within it. Male nudity has been, at least in my experience, more controversial than female nudity in pretty much everything. Also, this show apparently has a pretty hefty amount of nudity, which probably didn’t endear it to its critics at all.
3. Gay Broadway: “Angels in America”
Opened May 1993, Walter Kerr Theatre
"A Gay Fantasia on National Themes," http://theater.nytimes.com/mem/theater/treview.html?res=9f0ce2dc1431f936a35756c0a965958260
Why: Having seen Angels in America, I can see why this show might have been a tad controversial in 1993. It’s been seventeen years, and we still have issues with the gay community…so to have that, mixed in with AIDS, which at the time was pretty scary and mysterious, as well as being heavily concentrated in gay communities, was pretty controversial.
4. Racist Broadway: Miss Saigon
Opened on Broadway in April, 1991
“The trouble began when British producer Cameron Mackintosh announced that Jonathan Pryce would reprise his starring role in the Broadway edition of Miss Saigon” http://www.time.com/time/magazine/article/0,9171,970956-1,00.html
Why: I’ve never seen this show, but the big deal seems to have been the idea that a white guy was given an Asian role. He had done the role in London, and they gave it to him to reprise when it moved to Broadway. The controversy stems from our readily seen aversion to having people play cross-racial characters, as well as from the Asian community, who feel they are underrepresented on stage as it is.
5. Busted!: Kill to Eat
Rodrigo Garcia, Busted on March 16, 2007
“Police raid on theatre saves a lobster from certain death,” http://www.guardian.co.uk/world/2007/mar/17/italy.animalwelfare
Why: Because the lobster was going to get cooked on stage. That’s where the controversy was. The irony of this one is that if he had cooked it in his kitchen before the show started, there wouldn’t have been any controversy at all, at least not on any scale to speak of.
6. NEA 4
7. Regional Theatre: The Vagina Monologues
The Atlantic Theatres, February 15, 2007
”What’s in a Name? Controversy,” http://www.nytimes.com/2007/02/12/theater/12mono.html
Why: This one was controversial because of the title. Americans are very sensitive to language, and vagina is a word that makes a lot of people uncomfortable. The funny thing about this one was it was a woman who got mad that her neice saw it. Two women. A woman is upset that another female saw the word vagina. It just seems comical to me.
8. College/University: Hair
George Washington University, December, 2007
“Nude scene causes student theater strife,” http://media.www.gwhatchet.com/media/storage/paper332/news/2007/12/10/News/Nude-Scene.Causes.Student.Theater.Strife-3140828.shtml
Why: Interestingly, this seemed to cause controversy among the students. The organization that put this on apparently forbade the nudity, and the director (and cast) left it in anyway. So the controversy here was cause by nudity, and both a failure to honor the playwright (the organization) and the failure to follow directives by your boss (the Director).
9. High School: Picasso at the Lapin Agile
La Grande High School, February 20, 2009
“Steve Martin Offers to Fund Banned Student Production of His Lapin Agile,” http://www.playbill.com/news/article/127374-Steve-Martin-Offers-to-Fund-Banned-Student-Production-of-His-Lapin-Agile
Why: Apparently this show is considered to adult for high school kids. I read it my freshman year of college, and none of it was anything newm but parents will be overprotective of their children until the Earth is consumed by the sun. There was bad language and treatment of sexuality, and we can’t have that in high schools, now can we?
10. Wild Card: Rent: School Edition
Corona Del Mar High School, Newport Beach, California, Feb 2009
“Tamer ‘Rent’ Is Too Wild for Some Schools,”http://www.nytimes.com/2009/02/20/theater/20rent.html?_r=1&pagewanted=1
Why: I didn’t have anything else I wanted to put here, but apparently they took Rent and modified it so that it could be done by schools. Ironically, even the dumbed down version was too much for this school district, which shut down the proceedings.
opened on Broadway in 1995, Walter Kerr Theatre
“it offers more male nudity than has probably ever been seen in a legitimate Broadway theater,” http://www.nytimes.com/1995/02/15/theater/theater-review-love-valour-compassion-love-hits-broadway-running-like-broadway.html?pagewanted=1
Why: This show was controversial because of the type (and amount) of nudity within it. Male nudity has been, at least in my experience, more controversial than female nudity in pretty much everything. Also, this show apparently has a pretty hefty amount of nudity, which probably didn’t endear it to its critics at all.
3. Gay Broadway: “Angels in America”
Opened May 1993, Walter Kerr Theatre
"A Gay Fantasia on National Themes," http://theater.nytimes.com/mem/theater/treview.html?res=9f0ce2dc1431f936a35756c0a965958260
Why: Having seen Angels in America, I can see why this show might have been a tad controversial in 1993. It’s been seventeen years, and we still have issues with the gay community…so to have that, mixed in with AIDS, which at the time was pretty scary and mysterious, as well as being heavily concentrated in gay communities, was pretty controversial.
4. Racist Broadway: Miss Saigon
Opened on Broadway in April, 1991
“The trouble began when British producer Cameron Mackintosh announced that Jonathan Pryce would reprise his starring role in the Broadway edition of Miss Saigon” http://www.time.com/time/magazine/article/0,9171,970956-1,00.html
Why: I’ve never seen this show, but the big deal seems to have been the idea that a white guy was given an Asian role. He had done the role in London, and they gave it to him to reprise when it moved to Broadway. The controversy stems from our readily seen aversion to having people play cross-racial characters, as well as from the Asian community, who feel they are underrepresented on stage as it is.
5. Busted!: Kill to Eat
Rodrigo Garcia, Busted on March 16, 2007
“Police raid on theatre saves a lobster from certain death,” http://www.guardian.co.uk/world/2007/mar/17/italy.animalwelfare
Why: Because the lobster was going to get cooked on stage. That’s where the controversy was. The irony of this one is that if he had cooked it in his kitchen before the show started, there wouldn’t have been any controversy at all, at least not on any scale to speak of.
6. NEA 4
7. Regional Theatre: The Vagina Monologues
The Atlantic Theatres, February 15, 2007
”What’s in a Name? Controversy,” http://www.nytimes.com/2007/02/12/theater/12mono.html
Why: This one was controversial because of the title. Americans are very sensitive to language, and vagina is a word that makes a lot of people uncomfortable. The funny thing about this one was it was a woman who got mad that her neice saw it. Two women. A woman is upset that another female saw the word vagina. It just seems comical to me.
8. College/University: Hair
George Washington University, December, 2007
“Nude scene causes student theater strife,” http://media.www.gwhatchet.com/media/storage/paper332/news/2007/12/10/News/Nude-Scene.Causes.Student.Theater.Strife-3140828.shtml
Why: Interestingly, this seemed to cause controversy among the students. The organization that put this on apparently forbade the nudity, and the director (and cast) left it in anyway. So the controversy here was cause by nudity, and both a failure to honor the playwright (the organization) and the failure to follow directives by your boss (the Director).
9. High School: Picasso at the Lapin Agile
La Grande High School, February 20, 2009
“Steve Martin Offers to Fund Banned Student Production of His Lapin Agile,” http://www.playbill.com/news/article/127374-Steve-Martin-Offers-to-Fund-Banned-Student-Production-of-His-Lapin-Agile
Why: Apparently this show is considered to adult for high school kids. I read it my freshman year of college, and none of it was anything newm but parents will be overprotective of their children until the Earth is consumed by the sun. There was bad language and treatment of sexuality, and we can’t have that in high schools, now can we?
10. Wild Card: Rent: School Edition
Corona Del Mar High School, Newport Beach, California, Feb 2009
“Tamer ‘Rent’ Is Too Wild for Some Schools,”http://www.nytimes.com/2009/02/20/theater/20rent.html?_r=1&pagewanted=1
Why: I didn’t have anything else I wanted to put here, but apparently they took Rent and modified it so that it could be done by schools. Ironically, even the dumbed down version was too much for this school district, which shut down the proceedings.
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