TABLE OF CONTENTS I. THEATRE AT DAVIDSON
A. Davidson College Statement of Purpose
B. Department Mission Statement
C.Department Values
D. Faculty and Staff
II. THE THEATRE MAJOR
A. Major, Minor, and Honors Requirements
B. Course Offerings
C. Non-Credit Training
III. PRODUCTIONS
A. Season
B. Auditions and Policies
IV. OPPORTUNITIES AT DAVIDSON
A. Student Awards
B. Employment
V. FACILITIES AND RESOURCES
A. Cunningham Fine Arts Building
B. Knobloch Campus Center
VI. LIFE OUTSIDE OF DAVIDSON
A. Summer Internships/Apprenticeships/Fellowships
B. Full Time Internships/Apprenticeships/Fellowships
C. Graduate and Professional Auditions
D. Regional Theatre Opportunities
E. Music and Theatre Fellow
VII. APPENDICES
A. Appendix I: Additional Resources
B. Appendix II: Helpful Definitions
C. Appendix III: Resume Tips
D. Appendix IV: Audition Tips DAVIDSON COLLEGE STATEMENT OF PURPOSE Davidson College is an institution of higher learning established in 1837 by Presbyterians of North Carolina. Since its founding, the ties that bind the college to its Presbyterian heritage, including the historic understanding of Christian faith called The Reformed Tradition, have remained close and strong. The college is committed to continuing this vital relationship. The primary purpose of Davidson College is to assist students in developing humane instincts and disciplined and creative minds for lives of leadership and service. In fulfilling its purpose, Davidson has chosen to be a liberal arts college, to maintain itself as a residential community of scholars, to emphasize the teaching responsibility of all professors, and to ensure the opportunity for personal relationships between students and teachers. Further, Davidson believes it is vital that all students in every class know and study under mature and scholarly teachers who are able and eager to provide for each of them stimulation, instruction, and guidance. The Christian tradition to which Davidson remains committed recognizes God as the source of all truth, and believes that Jesus Christ is the revelation of that God, a God bound by no church or creed. The loyalty of the college thus extends beyond the Christian community to the whole of humanity and necessarily includes openness to and respect for the world’s various religious traditions. Davidson dedicates itself to the quest for truth and encourages teachers and students to explore the whole of reality, whether physical or spiritual, with unlimited employment of their intellectual powers. At Davidson, faith and reason work together in mutual respect and benefit toward growth in learning, understanding, and wisdom. As a college that welcomes students, faculty, and staff from a variety of nationalities, ethnic groups, and traditions, Davidson values diversity, recognizing the dignity and worth of every person. Therefore, Davidson provides a range of opportunities for worship, civil debate, and teaching that enrich mind and spirit. Further, Davidson challenges students to engage in service to prepare themselves for lives of growth and giving. Davidson seeks students of good character and high academic ability, irrespective of economic circumstances, who share its values and show promise for usefulness to society. In the selection of faculty, the college seeks men and women who respect the purpose of the college, who are outstanding intellectually, who have the best training available in their fields of study, and whose interest in students and teaching is unfeigned and profound. The Trustees commit to being faithful stewards of the traditions of the college. They are charged with governing under the Constitution and By-laws and with providing the financial resources necessary for adequate student aid and appropriate facilities and programs, including furnishing the faculty with the time and opportunity for creative scholarship fundamental to the best teaching. As a liberal arts college, Davidson emphasizes those studies, disciplines, and activities that are mentally, spiritually, and physically liberating. Thus, the college concentrates upon the study of history, literature and languages, philosophy and religion, music, drama and the visual arts, the natural and social sciences, and mathematics. The college encourages student engagement with other cultures through domestic and international studies. The college also requires physical education, provides for competitive athletics, and encourages a variety of social, cultural, and service activities. While Davidson prepares many of its students for graduate and professional study, it intends to teach all students to think clearly, to make relevant and valid judgments, to discriminate among values, and to communicate freely with others in the realm of ideas. Davidson holds a priceless heritage bequeathed by those who have dedicated their lives and their possessions for its welfare. To it much has been entrusted, and of it much is required.
DEPARTMENT OF THEATRE MISSION STATEMENT
The Department of Theatre serves the students by teaching and creating theatre as a discipline in the context of a traditional liberal arts institution. This means that students learn how to think critically and creatively about an important body of material and how to give those thoughts scholarly and artistic expression. Instruction in theatre is both theoretical and practical; it combines knowledge and skill. Students are required to test theory in creative practice and to become proficient in devising solutions to complex problems. The department is therefore committed to providing curricular and co-curricular programs of the highest quality which develop in students those abilities requisite to theatrical performance. In addition, students learn to effectively manage relationships within the collaborative process. Thus, they are prepared for a wide variety of careers in organizations and enterprises that value leadership and service. Finally, the department seeks to nurture and develop audience sensibilities and critical skills within the campus community and to bring distinction to the College through the quality of its public programs. CORE PROCESSES: - Curriculum design and teaching of theatre courses sufficient for the needs of both beginning and advanced students
- Production of dramatic works providing open student involvement, collaboration between students and faculty, and exposure of an eclectic range of offerings to both student and community audiences
- Maintenance of performance facilities, resources, and technical support as resources for staff and students DEPARTMENT OF THEATRE VALUES HOW OUR VALUES SERVE DAVIDSON COLLEGE AND THE LARGER COMMUNITY:
• We value diverse production seasons that both challenge and entertain.
• We value fostering advocacy for the arts.
• We value establishing and fostering relationships with alumni. HOW OUR VALUES SERVE THE DAVIDSON COLLEGE STUDENT:
• We value assisting each student in developing confidence, discipline, self-awareness, and creativity in preparation for lives of leadership and service.
• We value encouraging our students to experiment, to take risks, and to make bold choices, both in the classroom and in the production process.
• We value cultivating thoughtful, critical, and appreciative audiences.
• We value and welcome participation in the Department of Theatre by all students, regardless of year of study or major.
• We value collaboration between students and faculty. HOW OUR VALUES SERVE THE THEATRE MAJOR:
• We value a departmental commitment to nurturing and assessing the individual student’s artistic and intellectual growth.
• We value a balance between theory and practice.
• We value cultivating leadership within the context of a collaborative process.
• We value providing majors with a solid foundation in theatre studies within a liberal arts education, one which adequately prepares them for professional training, graduate school, or careers in a variety of disciplines. WHAT WE VALUE IN OUR FACULTY AND STAFF:
• We value excellence in teaching, advising, mentoring, and supervision of practical work at all levels.
• We value a diverse faculty and staff who have a variety of artistic and intellectual philosophies, methods, and experiences.
• We value a faculty and staff who are committed to collaboration as the foundation of production.
• We value a faculty and staff who remain artistically and intellectually active in appropriate professional arenas. WHAT WE VALUE IN OUR PRODUCTION PHILOSOPHY:
• We value artistic excellence.
• We value a production season that reflects diversity in genre and aesthetic style.
• We value providing performance and backstage opportunities to all students regardless of race, ethnicity, national origin, physical ability, and/or sexual orientation.
• We value making efficient and effective use of all available resources, including facilities, faculty, staff, and the student body.
DEPARTMENT OF THEATRE FACULTY AND STAFF
Dr. Joseph T. Gardner, Professor x2360
B.A., Davidson, 1969
M.A., Florida State University, 1974
Ph.D., Florida State University, 1978
Dr. Gardner has taught at Davidson since 1974, serving as department chair from 1990 until 2003. His courses include general theatre studies, design, playwriting and studio production. His professional activity is extensive; he has designed stage sets for various professional theatres in the region and is currently a resident designer for Charlotte Rep. He designs and directs regularly for the Davidson theatre program. Professor Gardner teaches Scene Design, Playcrafting and Performance, and Studio Theatre Ann Marie Costa, Professor and Chair x2578
B.F.A., Boston Conservatory of Music
M.F.A., Directing, University of Pittsburgh
Ann Marie Costa is the chair of the Theatre Department at Davidson College. Prior to arriving in Davidson in 1994, she was head of the Acting-Directing Program in the Performing Arts center in Washington University. She has directed professionally at The Charlotte Repertory Theatre, Mill Mountain Theatre (Roanoke), Victory Gardens (Chicago), Theatre Project (St. Louis) and The Berkshire Theatre Festival. Ms. Costa is an active member of the Association for Theatre in Higher Education (ATHE). Professor Costa teaches Acting and Directing Dr. Sharon Green, Assistant Professor x2527
M.A., University of Toronto, 1993
Ph.D., CUNY, 1999 Sharon Green is an Assistant Professor whose teaching interests include: theatre history, acting, community-based theatre for social change, contemporary performance theory and practice, feminism and performance, 20th century political theatre, and Augusto Boal’s Theatre of the Oppressed techniques. Her research interests include: community-based theatre; contemporary activist theatre; feminism and performance; cultural and performance theory; grassroots popular theatre worldwide; intersections of theatre, activism and pedagogy; performance as cultural and political resistance. Her work has been published in Theatre, Theatre Topics and Theatre Journal. She has participated, as an actor, director and facilitator, in numerous community-based and forum theatre performances. She was also a founding member of the feminist theatre collective, Something Permanent, which produced original works performed in Toronto, London and Edinburgh. She was the Conference Planner for the Theatre and Social Change focus group within the Association for Theatre in Higher Education (ATHE) from 2000-2003, and continues to be an active member of that group. Professor Green teaches Introduction to Theatre Arts, Theatre History, and Community-Based Theatre. Jack Beasley, Visiting Associate Professor x2728
B.A., Vanderbilt University, 1963
M.F.A., University of Georgia, 1965 Mr. Beasley has over thirty-five years of teaching experience, including two decades at the University of North Carolina at Charlotte where he was Chair of the Department of Dance and Theatre. He formally retired from UNCC in 1992 and spent eight years as a free-lance director, actor, and newspaper columnist before coming to Davidson College in 2000. Mr. Beasley has acted in and directed a wide variety of professional productions. Professor Beasley teaches Acting, Directing, and Voice/Movement. Dr. Ann Fox, Associate Professor of English x2012 Scott Ripley, Visiting Assistant Professor Tom Gabbard, Visiting Professor Professor Gabbard teaches Administration of the Not-for-Profit Arts J. Ronnie Higdon, Technical Director and Lighting Designer x2334
B.A., SUNY Geneseo, 1983
M.F.A., University of South Carolina, 1988
Ronnie came to Davidson College in 1991 from the Washington, DC area and currently serves the department as Lighting Designer/Scenographer. Credits include: The Arena Stage, The Round House Theatre, The Shakespeare Theatre and George Mason University's Theatre of The First Amendment. He also was on staff at the Smithsonian's A/V department. Ronnie is one of a handful of designers with strong background in outdoor theatre with over 21 years of production experience with Stephen Foster Productions. . Local Credits: Ovens Auditorium, Theatre Charlotte, and the Blumenthal PAC's Booth Theatre. He is also a board member and is the coordinator for Colleges and University with the Metrolina Theatre Association. Additional credits: The University of Virginia's Heritage Rep, University of South Carolina Summer Rep, The Center Dance Company Claudia Shinn, Administrative Assistant x2361 Mrs. Shinn has served the department for many years as administrative assistant. Her duties include managing the box office, department budget, main office, Theatre 101 students, and the production archives. Fellow x2930 The Theatre and Music Fellow is a recent Davidson graduate who serves as the Production and Promotions Assistant. The fellow’s duties include assisting with construction, lighting and sound for departmental productions and managing all publicity for the department. The fellow serves as the liaison to both Admissions and College Communications, and works under the supervision of the Department Chair and Production Coordinator. Dr. Rupert T. Barber, Jr., Professor Emeritus
B.S., Louisiana State University
M.A., Columbia University
Ph.D., Louisiana State University Bonnie McAlister, Professor Emeritus
B.S., Northwestern University, 1961
M.A., University of North Carolina at Greensboro, 1981 COURSE REQUIREMENTS Major Requirements Ten courses as follows:
• THE 121 or 201 or 221
• THE 245, 335, 355, 371
• THE (Eng) 261
• One of the following: THE 345, 362, 435, 436, or 455
• Any two additional Theatre courses at the 300 level or above. These two courses may NOT include independent studies, THE 401 (Theatre Practicum), or THE 499 (Honors Thesis)
• One additional course in dramatic literature approved by the department chair. Approved courses outside the department (other than THE/ENG 261) will meet this requirement.
Production Requirements for Majors:
- Theatre Majors are required to work on three department productions for a minimum of twenty (20) hours per show in a capacity other than actor or director. One assignment must be in stage management. One assignment must be completed by the end of the junior year. A student who completes more than fifty (50) hours of work on any one production fulfills two of the three production requirements. Minor Requirements Six courses, three of which must be taken at Davidson College, consisting of: Theatre
371; two courses from Theatre 201, 221, 245, 261 (English 261), 335, 355; three courses at the 300 level or above. Courses taken pass/fail may not be counted toward the minor.
Production Requirements for Minors:
- Theatre Minors are required to work on one department production in a capacity other than actor or director for a minimum of thirty (30) hours.
HONORS REQUIREMENTS
A major desiring to become a candidate for honors in theatre must apply in writing to the department at the beginning of the fall semester of the senior year. Applicants must have an overall GP of 3.2 and a GPA of 3.5 in all course work taken in the major. To receive honors, a student must, in addition to maintaining this level of performance, receive a grade of at least A- on the honors thesis (499), and approval from the thesis committee. The honors program is comprised of eleven courses: Theatre 499 in addition to the ten major courses required of all majors. Theatre 499 requires the writing/production and defense of a thesis before an appointed committee.
TRANSFER COURSES The Theatre Department accepts up to five courses from other colleges and universities as credit toward the major. In no case will the department pre-approve transfer credit. To be granted transfer credits to be applied to the major, students must demonstrate to the department that courses taken elsewhere are comparable to specific Davidson courses in content, contact hours, and rigor. At the conclusion of study abroad or study at another accredited US institution, students should make their requests for transfer credit toward the major to the Theatre Department chair and submit for evaluation all relevant course materials.
COURSE OFFERINGS
11 (non-credit) Applied Theatre; First-year students only. (Fall)
12 (non-credit) Applied Theatre; First-year students only. (Spring)
21 (non-credit) Applied Theatre; Second-year students only. (Fall)
22 (non-credit) Applied Theatre; Second-year students only. (Spring)
31 (non-credit) Applied Theatre; Third-year students only. (Fall)
32 (non-credit) Applied Theatre; Third-year students only. (Spring)
41 (non-credit) Applied Theatre; Fourth-year students only. (Fall)
42 (non-credit) Applied Theatre; Fourth-year students only. (Spring)
45 (non-credit) Applied Theatre; Topics in Arts Management; Fourth-year students only. (Fall)
46 (non-credit) Applied Theatre; Topics in Arts Management; Fourth-year students only (Spring)
101 INTRODUCTION TO THEATRE ARTS
Ms. Green, Mr. Ripley
Study of materials of creative expression in theatre. Lectures, readings, discussions, videos, field trips, critical writing and laboratory work build understanding of the theatrical event and the fundamental components of stage production. (Fall, Spring)
121 STUDIO THEATRE I
Mr. Gardner
Group study of theatre practices intended to expand the student's knowledge of presentational modes. Ensemble exercises and improvisational work contribute to the development of a performance piece which is included in the studio theatre series. (Spring) 201 EXERCISES IN PLAYCRAFTING AND PERFORMANCE
Mr. Gardner
Examination and utilization of the creative elements of theatre stressing theory, script development, problem-solving and critical analysis. Intended for the student with previous training or experience in theatre. (Fall) 221 STUDIO THEATRE II
Mr. Gardner
Continuation of group study and exercises from THE 121. Students in Theatre 221 have additional responsibilities in ensemble leadership, script development, and production supervision. Open to Theatre majors and students who have completed Theatre 201, 121, or 245. (Spring) 245 ACTING I
Mr. Beasley, Ms. Costa, Ms. Green, Mr. Ripley
Study and application of the psycho-physical and emotional bases of performance. Emphasis on relaxation of the actor's body, ensemble improvisation, freeing the natural voice, acting on impulse. The training will culminate in realistic scene work. (Fall, Spring) ENG 261 MODERN DRAMA
Ms. Fox
European, American, and British drama from Ibsen to Pinter with emphasis on the major movements within Western theatre: Realism, naturalism, expressionism, Epic Theatre, and Theatre of the Absurd. (Fall) 295 INDEPENDENT STUDY
Staff
For the beginning or intermediate student with a special topic to be pursued under the direct supervision of a faculty member. The topic of study must be reviewed and approved by the faculty member before permission is granted for enrollment. Normally assigned work and criteria for evaluation will be clearly established by the instructor before the beginning of the semester and in all cases no later than the end of the drop/add period. Prerequisite: Permission of the Instructor. 335 FUNDAMENTALS OF STAGE DESIGN
Mr. Gardner
Introduction, through exercises and projects, to the principles of designing scenery, costumes, lighting, sound, and properties for the theatre. (Fall) 345 ACTING II
Mr. Beasley, Ms. Costa, Mr. Ripley
Study and application of the Stanislavsky acting process. Group and individual exercises designed to promote personalization and emotional fullness in characterization. Advanced techniques for scene and character analysis. Performance of scenes from classical realism, acting for the camera scenes, and Anton Checkov’s plays. Not open to first-year students. Prerequisite: THE 245. (Fall) 355 DIRECTING I
Mr. Beasley, Ms. Costa
Fundamentals of directing for the stage, focusing on text analysis, blocking principles, the director-actor relationship, the director-designer conceptual process, and scene work. Prerequisite: Theatre 245. Fall) 362 COMMUNITY-BASED THEATRE FOR SOCIAL CHANGE
Ms. Green
Course investigates the potential for theatre and performance to be catalysts for social change. Focusing on Community-Based Theatre, the course explores ways in which performance has participated in struggles against oppression and has been integral to community-building. Course combines case studies from various historical and geographical contexts with practical activities used by Community-Based Theatre practitioners. (Fall) 371 WORLD THEATRE HISTORY
Mr. Gardner, Ms. Green
Study of theory and practice of stage performance throughout the world from ancient Greece to the present. Lectures, readings, and discussions, with emphasis on the Western tradition. (Fall) 375 AMERICAN THEATRE STUDIES
Ms. Green
Selected topics in American theatre practice, including a historical overview and topical study of current regional activity. The course will include a group trip during spring break to a city regarded as an important site of contemporary theatre. Depending on programming and scheduling opportunities, Atlanta, Washington, Chicago, and New York will be considered as possible destinations. (Spring) 380-385 SPECIAL TOPICS IN THEATRE
Staff
Group study of selected theatre topics. Prerequisite: Consent of the instructor. 381 ADVANCED ACTING SEMINAR
Staff
Prerequisite: Theatre 245 386 VOICE AND MOVEMENT FOR ACTORS
Mr. Beasley, Mr. Ripley
Foundations of vocal technique and movement analysis for the actor. Provides a working knowledge of anatomical and kinesiological principles pertinent to voice/speech production. Prerequisite: Theatre 245 (Spring) 390-398 INDEPENDENT STUDY
Staff
For advanced students with a special topic to be pursued under the direction and supervision of a faculty member. The topic of study must be reviewed and approved by the faculty member before permission is granted for enrollment. Normally, assigned work and criteria for evaluation will be clearly established by the instructor before the beginning of the semester; in all cases this will occur before the end of the Drop/Add period. Prerequisite: Permission of instructor. 390 INDEPENDENT STUDY-- HISTORY AND CRITISM
Ms Green
Topics normally involve reading assignments, research projects and papers. Prerequisite: Permission of instructor. 391 INDEPENDENT STUDY-- ADVANCED ACTING
Staff
Topics normally involve role research, preparation, and/or performance. Prerequisite: Permission of instructor. 392 INDEPENDENT STUDY-- ADVANCED DIRECTING
Ms. Costa
Topics normally involve background research, script analysis, promptbook preparation, scene and/or play direction. Prerequisite: Permission of instructor. 393 INDEPENDENT STUDY-- ADVANCED DESIGN
Mr. Gardner
Topics may concentrate on any area of theatre design, including lighting, scenery, costumes, make-up, properties or sound, and normally involve design exercises and projects. Prerequisite: Permission of instructor. 394 INDEPENDENT STUDY-- DRAMATURGY
Staff
Play analysis and interpretation in a performance-related context. Topics normally involve research in analytical methodologies as well as participation in production as an assistant to a faculty or guest director. Prerequisite: Permission of instructor. 395 INDEPENDENT STUDY-- STAGE MANAGEMENT
Staff
Practicum in play preparation and oversight responsibility for mainstage or studio production, including rehearsal assistance, promptbook preparation, backstage communications and performance management. Prerequisite: Permission of instructor. 396 INDEPENDENT STUDY-- PLAYWRITING
Staff
Topics normally involve writing exercises and a fully-developed original playscript. Prerequisite: Permission of instructor. 397 INDEPENDENT STUDY—PRODUCTION MANAGEMENT AND ADVANCED DESIGN
Staff 399 ADMINISTRATION OF THE NOT-FOR-PROFIT ARTS ORGANIZATION
Gabbard
Issues of administration, operation, evaluation, education, public cultural policies and funding as they relate to the visual and performing arts. Readings, papers, and discussions, including regular sessions with executive directors of Charlotte-Mecklenburg arts organizations. Recommended for juniors and seniors with interest in the arts, contemporary American culture, public policy, and/or relevant economic issues
Prerequisite: Permission of instructor. (Fall of odd-numbered years)
401 THEATRE PRACTICUM
Staff
Field work and study in production, administration or dramaturgy in an off-campus program approved by the department and supervised by a department faculty member. Preparatory readings, research, and written work relevant to the area of study are required. Grading for the course is Pass/Fail. Prerequisite: Permission of instructor. 435 SCENE DESIGN AND TECHNOLOGY
Mr. Gardner
Advanced study, through exercises and projects, of the materials, principles and techniques of designing scenery for the theatre, with parallel study of related technical areas. Prerequisite: Theatre 231. (Spring) 436 LIGHTING DESIGN AND TECHNICAL PRODUCTION
Mr. Gardner, Mr. Higdon
Advanced study, through exercises and projects, of the tools, principles and techniques of designing and executing stage lighting, with parallel study of related technical areas. Prerequisite: Theatre 231. (Not offered 2005-2006) 445 ACTING III
Mr. Beasley, Ms. Costa
Advanced study of one or more production styles involving in-depth research and resulting in class performance. An effort will be made to tailor course content to promote the individual actor's development. Prerequisite: Theatre 245, 345 and permission of the instructor. (Spring of even-numbered years) 455 DIRECTING II
Mr. Beasley, Ms. Costa
Study and employment of directing principles, culminating in presentation. Each student will direct a one-act play for the Studio Theatre Series. Prerequisite: Theatre 355 and permission of the instructor. Limited to juniors and seniors only. (Spring) 499 HONORS TUTORIAL AND THESIS
Staff
Required for graduation with honors in Theatre. For Theatre majors with a GPA of 3.5 in the theatre major and an overall GPA of 3.2 only. Prerequisite: Approval of topic by October 15 of the senior year by the thesis committee. (Spring)
NON-CREDIT TRAINING OPPORTUNITIES
Voice Lessons
Students can, for a fee, take private voice lessons through the Music Department voice instructors: Jacque Culpepper, soprano; Serena Hill, soprano; and Diane Thornton, contra-alto. Dance
The Davidson Dance Ensemble is a non-academic, student-led organization that provides performance opportunities twice a year and various classes once a week. DDE currently offers Intermediate Ballet and Advanced Ballet, Beginner Tap, Jazz, Ballroom Dancing, and Modern. Each class has a minor fee. For more information, contact DDE advisor Jan Blodgett. Dance Davidson is a local ballet school that offers excellent training in ballet, tap, jazz, and modern dance. For more information and class times, visit www.dancedavidson.edu
PRODUCTION SEASON:
The production season consists of two mainstage productions and two second stage productions, a children’s show, and a student-directed studio series. Open auditions for the mainstage and second stage series are held simultaneously at the beginning of each semester. Auditions for the children’s show and the studio series are held in the fall and spring, respectively, at the directors’ discretions. All auditions are open to all Davidson students, regardless of year or major.
PLAY SELECTION PROCESS:
Play Selection Procedures I. Play Selection Committee (PSC)
a. Participants
i. Theatre faculty, with exception of Speech faculty
ii. Tech Director
iii. Davidson Fellow
iv. Representative from each class
v. Dr. Ann Fox from the English Department
b. Deadlines
i. Mid-January: Directors submit their play options and
copyright rights are investigated
ii. Mid-February: 2.5 hour meeting, each director takes turn defending her selected plays
iii. Mid-March: Plays decided upon and season brochure design process is begun
iv. May 1st: Season brochure is produced and distributed
c. Process for Determining the Season
i. The PSC looks for plays that will balance out the season
ii. Theatre department play category rotation list
iii. Guest director and student always get the first choice that was voted on by the PSC
iv. Faculty director can decide between the two top choices
II. Student Director Process of Securing a Directing Slot
a. Requirements: must have taken Fundamental of Directing & Directing II
b. Must notify the theatre faculty and tech staff that they would like to direct next year through a written proposal
c. The Theatre department discusses the student director(s) proposal and subsequently votes upon whether or not the student should be allowed a directing slot.
d. The student is notified of the department’s decision through the chair of the Production advisor.
III. For additional information see the Production Guidelines Handbooks:
a. Actor’s Handbook
b. Director’s Handbook
c. Designer’s Handbook
d. Stage Manager’s Handbook
THEATRE MAJOR AUDITION POLICY:
Should a theatre major choose to audition within a given semester, s/he must audition for BOTH shows (mainstage and second stage) when applicable. CASTING POLICY:
It is the Department of Theatre’s intention to create performance opportunities for all students basing casting decisions, whenever possible, on the student’s audition and not on the basis of race, ethnicity, national origin, physical ability, and/or sexual orientation. OPPORTUNITIES AT DAVIDSON Student Awards The Davidson Theatre Award honors a graduating senior who has made consistent and exceptional contributions to Davidson’s Theatre program over his/her four years at Davidson. The Rawley P. Turner Drama Award recognizes a student who has given an outstanding performance in the Theatre Department’s productions during the academic year. Employment Opportunities Work Study
The Department regularly employs 5-7 students through work study. Student employees assist with construction, lighting, and sound for all productions and work in the scene shop between the hours of 1-5 pm. One work study position is available in the administrative office. For more information of work study opportunities, see Ron Higdon. Paid non-work study Positions
Paid positions are available through tech services and in the costume shop. Trained employees can work as techies for events in the Duke Family Performance Hall, C. Shaw Smith 900 room, and Tyler-Tallman Music Hall. For more information, contact Jim Nash, x2146. One position is available in the costume shop. For more information, contact Ron Higdon. FACILITIES AND RESOURCES Cunningham Fine Arts Building Script Library
The Script Library is open Monday through Friday from 10 am until 2 pm. It houses scripts, scores, acting resources, and information on graduate schools, professional theatres, and other opportunities. All materials must be checked out through the script library notebook. Performance Laboratory (Room 145)
The site of most of the department’s acting and directing courses, the performance laboratory may be reserved for independent rehearsals and class assignments using the bulletin board outside of the room. PLEASE NOTE THE REGULATIONS as they apply to reserving the room and to the use of storage and equipment inside the properties closet. Rooms can only be reserved in pencil. Mainstage rehearsals take priority over class rehearsals. Room 110
The alternative acting and directing classroom, Room 110 can also be reserved for use outside of class by signing up for time slots on the bulletin board outside of Room 145. The Black Box
The Black Box Theatre is used for the department’s second stage series, as well as for the children’s show, the student-directed one acts, and the Studio Theatre shows. The Black Box can also be used for class-related activities based on its availability. Sign up for time slots outside of Room 145. Operation of sound and lighting equipment in the Black Box is restricted to trained individuals. Lillian Brown Hodson Hall
Though generally unused for performance, Hodson Hall, Cunningham’s proscenium theatre, is available for lectures, rehearsals, and, during production, scene shop assembly. The Scene Shop
The scene shop is managed by the Technical Director and the Fellow. It is home to all of the department’s construction equipment, tools, and materials. Only trained individuals are allowed to work in the scene shop. Majors and minors wanting experience in the scene shop should contact Ron Higdon. Design Studio
The design studio is home to all scene and lighting design courses. Materials and equipment in the design studio are reserved for enrolled student use only.
Properties Storage
Small props are stored in Room 106, and larger props in Room 109. Make-up, wigs, and fragile items can be found in the dressing room area backstage of Hodson Hall. Props are available for productions and classroom assignments. To access the props storage areas, contact the Fellow or the Technical Director.
Costume Shop
The costume shop is located above the dressing rooms. All costume use must be documented and approved by the student costume assistant. Administrative Office
The main office is headquarters for ticket needs, reimbursement, or general information. Knobloch Campus Center Duke Family Performance Hall (DFPH)
One of the premier performance spaces in the southeast, the DFPH is our 600-seat venue for the mainstage series. Technical specifications include 80’ of fly space, a 40’ – 60’ adjustable proscenium opening, 48-line fly system, and convertible orchestra pit. Career Services
Located on the fourth floor of the Knobloch Campus Center, Career Services is a useful resource for information on graduate schools and professional steps in theatre or education. For more information, visit www.davidson.edu/careers. SUMMER INTERNSHIPS, APPRENTICESHIPS, AND FELLOWSHIPS Berkshire Theatre Festival
Each season the Berkshire Theatre Festival offers between 20-25 internships. Length of internship varies from 3-4 months, depending on the position and intern's availability. However, generally from mid-May to Labor Day, interns will work on four Main Stage Equity productions and four productions on the Larry Vaber Stage in the Unicorn Theatre. Apprenticeships may also be available. For details, please visit: http://www.berkshiretheatre.org/educationtraining/internships.php
Contact: Kate Maguire, Executive Director
*Davidson Contact: Ann Marie Costa Blowing Rock Stage Company
The Blowing Rock Stage Company Internship Program is a ten week working/training program during the summer season in Blowing Rock, North Carolina. Interns work in all facets of technical production of the four mainstage productions. Interns may also perform run crew duties on shows. Interns also used for special events and other BRSC functions. Some EMC credit available. Housing NOT Provided. Theatre Background preferred. Limited acting opportunities may be available. For more information, visit www.blowingrockstage.com To apply, send Resume, Cover Letter, & References to:
Kenneth Kay
Producing Artistic Director
Blowing Rock Stage Company
P.O. Box 2170
Blowing Rock, NC 28605
or email to ken@blowingrockstage.com *Davidson contact: Ann Marie Costa Goodman Theatre
The Goodman Theatre Internship Program offers a rich and challenging experience for qualified college students and recent college graduates who are preparing for careers in professional theatre. Goodman interns have the opportunity to refine their practical and critical thinking skills through close interaction with Goodman staff and artists, and through independent exploration of Chicago's legendarily large and diverse theatre community. A wide range of full time positions are available in the fall in spring. For more information, go to http://www.goodman-theatre.org/intern.asp
*Davidson Contact: Ann Marie Costa La Jolla Playhouse
This California theatre offers limited summer internships in public relations, graphic design, general management, company management, costumes, fundraising and special events, artistic design, dramaturgy, education and outreach programs, props, and more. Interns are given priority if employment should become available at the Playhouse. For more information, visit www.lajollaplayhouse.com Lookingglass Theatre
Lookingglass offers a number of internships year-round. Internships are available in Artistic Administration, Development, Education & Community Programs, Historical Archives, Marketing & Audience, Production/Technical, Special Events, Stage Management, and Theatre Administration.
For more information: http://www.lookingglasstheatre.org/involved/internships.html
Manhattan Theatre Club
This New York non-profit theatre club offers a wide range of intensive summer internships. For more information, see pg. 22.
Mill Mountain Theatre
Internships in production and administration are developed based on the individual's interest and the needs of the Theatre. Summer internships in administration, stage management or production may be available. For more information and an application, please visit www.millmountain.org
*Davidson contact: Ann Marie Costa Shakespeare & Company
Shakespeare & Company offers classes and training in Shakespeare. Modeled after the internationally acclaimed Month long Intensive, the Summer Training Institute provides young actors the opportunity to immerse themselves in Shakespeare six days a week for five weeks during the height of our Summer Performance Season. For more information: www.shakespeare.org Southeastern Theatre Conference (SETC)
Students can audition for summer work through SETC. Please see “Professional Auditions” for more information. Stephen Foster Productions
A summer season in Bardstown, Kentucky that produces Stephen Foster: The Musical as well as an additional musical. Positions are available for actors and technical operators; the intern program can be applied for college credit. For more information of this summer opportunity, see Ron Higdon.
Steppenwolf Theatre Company
- The Internship Program is ideal for students looking for an introduction to professional theater administration and production. These students receive credit from their learning institutions while gaining hands–on experience with some of the top professionals in American Theatre. The summer internship last for three months. For more information on the internship program, visit www.steppenwolf.org. Williamstown Theatre Festival
This summer-long theatre festival offers internships and apprenticeships for actors, directors, technicians, playwrights, and administrators. College credits can be arranged. For more details, visit http://www.wtfestival.org/training/technicians.html FULL-TIME INTERNSHIPS American Conservatory Theatre
A.C.T.'s internship program provides advanced training in both theater production and administration. The program offers students, graduates and other interested persons the opportunity to work closely with top professionals in each field. A.C.T. internships are springboards to a professional life in the theater. A.C.T.'s interns have gone on to work in major regional theaters, attend renowned graduate programs, and establish careers as directors and designers.
Look here for details: http://act-sf.org/index.cfm?s_id=&pid=abt_int Arena Stage Theatre
For more information: http://www.arenastage.org/ American Theatre Wing
Based in NYC, the American Theatre Wing website has a list of current internships available in the city. They also host the Theatre Intern Group, a series of lectures and meetings just for NYC-based interns. Look here for details: http://www.theatreinterngroup.org/index_files/Page378.htm Cornerstone Theatre
Cornerstone's Altvater Fellowship Program provides educational and professional development to individuals interested in theater and community. Altvater Fellows will explore a wide range of experiences in the planning and creation of a Cornerstone production. Over an eight-week residency, Fellows work full-time with Cornerstone's Ensemble and Staff on aspects of design, directing, theater management, education, marketing, and production for current community collaborations. Visit www.cornerstonetheatre.org for more information.
Davidson Contact: Sharon Green
Florida Studio Theatre
This is theatre is currently offering professional theatre internships. A professional, Equity regional Theatre in Sarasota, Florida Studio Theatre is now accepting applications for internships for the 2005-2006 Winter Season in the following areas: Marketing (assist with writing press releases, design of marketing materials, direct mail campaigns and other support), Development (research grants and grant prospects, assist with special events, small gift campaigns, direct mail campaigns, and other support), Technical Theatre (work directly with the TD and designers in building scenery, loading and rotating shows, props, scenic painting, sound, electrics and show running), Costumes (running wardrobe, costume construction and some maintenance),
Literary Management (script solicitation, New Play Development, the Readers' Circle, and research/writing opportunities), Production Asst./Company Management (work with production manager and company manager on scheduling, budgeting, calendaring, guest pick-up, housing prep and production support as necessary), Tour Company Manager/Asst. to the Assoc. Director (manage the Write A Play tour and serve and provide administrative support to the Associate Director), and Stage Management (serve as ASM in one of FST's three performance spaces). Learn by working hands on with Theatre Professional in your field. Stipend of $75 per week and free furnished housing provided. The internship runs early September, 2005 through early June, 2006. For more information, log onto our website at www.fst2000.org. Email cover letter and resume with references or letters of recommendation to: James Ashford, Casting and Literary Coordinator, Florida Studio Theatre. E-mail: james@fst2000.org. *Davidson Contact: Ann Marie Costa La Jolla Playhouse
This California theatre offers both full and part time internships in public relations, graphic design, general management, company management, costumes, fundraising and special events, artistic design, dramaturgy, education and outreach programs, props, and more. Interns are given priority if employment should become available at the Playhouse. For more information, visit www.lajollaplayhouse.com The Kennedy Center
The Kennedy Center internship program offers meaningful, on-the-job experience for college juniors, seniors, graduate students, and recent graduates who are interested in beginning careers in arts management or arts education. This semester-long, full-time internship offers a wide range of performing arts events and programs that provide a setting for endless career development opportunities. During the internship, participants maintain a working portfolio and attend performances, workshops, and classes presented by the Center. Whether the internship is in press, advertising, education, development, or one of the many other areas offered, the experience sets the tone for a future career in arts management. For more information, visit www.kennedy-center.org Goodman Theatre
The Goodman Theatre Internship Program offers a rich and challenging experience for qualified college students and recent college graduates who are preparing for careers in professional theatre. Goodman interns have the opportunity to refine their practical and critical thinking skills through close interaction with Goodman staff and artists, and through independent exploration of Chicago's legendarily large and diverse theatre community. The Theatre offers summer as well as full-time engagements. For more information, go to http://www.goodman-theatre.org/intern.asp
*Davidson Contact: Ann Marie Costa Lookingglass Theatre
Lookingglass offers a number of internships year-round. Internships are available in Artistic Administration, Development, Education & Community Programs, Historical Archives, Marketing & Audience, Production/Technical, Special Events, Stage Management, and Theatre Administration.
For more information: http://www.lookingglasstheatre.org/involved/internships.html
Manhattan Theatre Club
This New York organization is a non-profit theatre club which produces Broadway and Off-Broadway musicals. It offers a wide range of internship opportunities in the fall, spring, and summer. These positions are full time and come with a weekly stipend. Interns are given intensive training as well as specific duties and projects in one department under the guidance of experienced supervisors.
For more information, go to http://www.mtc-nyc.org/education/internships.htm
Contact: Amy Harris, Coordinator, Paul A. Kaplan Theatre Management Program
For more information, contact Ann Marie Costa. Mill Mountain Theatre
Internships in production and administration are developed based on the individual's interest and the needs of the Theatre. Full-time, semester-long internships are available in the Costume/Scene Shops. Shorter internships in administration, stage management or production may be available. For more information and an application, please visit www.millmountain.org *Davidson contact: Ann Marie Costa Milwaukee Repertory Theatre
The Milwaukee Repertory Theater has offered a highly respected internship program for over 30 years. For a full season, interns become a part of the Rep company. Interns in the Artistic Department do not perform administrative or technical duties so that they may devote their time entirely to acting, directing, or dramaturgy. For more information and an application, please visit www.milwaukeerep.com *Davidson contact: Carrie Van Deest Round House Theatre
Round House Theatre has a special emphasis on providing educational theatre experiences for students in the region. The theatre has a year long apprenticeship program. Opportunities are available in arts management, literary/production management, production/technical, stage management, acting/teaching artists, education and outreach, and education marketing. For more information, visit http://www.round-house.org/apprenticeships.htm The Shakespeare Theatre
The Shakespeare Theatre has forged an ongoing commitment to education, audience development and professional training for theatre artists. An internship at The Shakespeare Theatre bridges the gap between academic theatre experience and a career in the professional theatre, providing opportunities in all aspects of theatre production and administration. The Shakespeare Theatre offers a variety of internships for undergraduates, graduate students and young professionals with an interest in professional theatre. Interns are encouraged to complete an entire season's residency with the Theatre, which operates year-round (July - June). Schedules are rigorous; production interns work 40-60 hours per week, administration interns work 40 hours plus special events as needed. Part-time and for-credit internships are available
Look here for details: http://www.shakespearedc.org/intern.html#gen The Sojourn Theatre
Sojourn Theatre is an award-winning, multi-ethnic ensemble-based company in Portland, Oregon making new work and bold adaptations of existing scripts and stories. The company's aesthetic is community-engaged, history conscious, and strikingly physical. Sojourn Theatre offers year-long apprenticeship programs. You will begin the year by working with artistic director Michael Rohd to create a new version of the company's acclaimed touring show "Look Away", which you will tour to Middle and High Schools throughout the year (you will be paid to tour). You will also participate in the complete development and production process of Campaign, Sojourn's next major work (its timeline parallels that of the program). In addition, you will attend monthly weekend workshops, and one on one mentorship sessions with artistic director Rohd and other company members. Responsibilities will include performing, production and administration assistance, crew, working with youth, and community engagement & partnering responsibilities. Visit www.sojourntheatre.org for more information. Davidson Contact: Sharon Green Steppenwolf Theatre Company
- The Apprenticeship program is geared towards young professionals who are looking to bridge the gap between their education and the professional world. They will work closely with our staff to learn about the workings of their department and throughout their time here they will gain necessary skills and understanding to be the best candidates being introduced in the field. The apprenticeship program last for nine months.
For more information on the apprenticeship program, visit www.steppenwolf.org Triad Stage Theatre
Based in Greensboro, this theatre may offer internship opportunities. Visit www.triadstage.org. for more information. GRADUATE AND PROFESSIONAL AUDITIONS SETC/NCTC SETC (Southeastern Theatre Conference) is a way to audition for summer and year-round theatre companies in acting/singing/dancing, at the same time. SETC requires that all pre-professional actors be screened on the state level (North Carolina Theatre Conference) before being accepted to the SETC Spring Auditions in March. Each state holds preliminary auditions in the fall in order to send the most qualified actors on to the regional auditions, where they will audition for over 100 professional companies for summer or year-round employment. Actors currently enrolled in school, whether or not they have earned a salary acting, must attend the preliminary state auditions. Auditionees will be accepted by application only. All participants must be current members of SETC and must also be registered for the yearly convention. For more information on NCTC, visit www.nctc.org. For more information on SETC, visit www.setc.org URTA (University/Resident Theatre Association) The University/Resident Theatre Association is the country's oldest and largest consortium of professional theatre training graduate programs and associated professional theatre companies. Founded in 1969, U/RTA provides a variety of service, management and informational programs to its members, and to non-member students, theatre professionals and producing companies, while serving as the primary liaison between the professional and educational theatres. U/RTA encourages the professional training of artists, and of future teachers in the performing arts for all levels of education. The NUA/Is (National Unified Auditions and Interviews) are U/RTA’s auditions, and are held in various cities in January and February. Many graduate schools audition applicants through the NUA/Is. For more information on U/RTA and NUA/I, please visit www.urta.com UPTA (Unified Professional Theatre Association)
Held each year in Memphis, Tennessee, UPTA auditions nearly 1000 actors and professional personnel for year-round work in 88 different companies. Pre-professional auditions are held for graduating seniors who are available for year-round work post-graduation. For more information on UPTA, visit www.upta.org Society of Stage Directors and Choreographers (SSDC)
Visit www.ssdc.org for information about the Stage Directors and Choreographers Union. This is a good resource for finding internships in arts management and development. Also, it lists some good employment opportunities for directors or choreographers.
Contact James Graves, National Theatre Contact Administrator: JBGraves@ssdc.org
For more information, contact Ann Marie Costa.
REGIONAL THEATRE OPPORTUNITIES Many of the following places may have employment opportunities. For local professional audition opportunities, you can visit their websites or check out www.actorsgrapevine.com, a listing of all upcoming Charlotte-area auditions. Tom Hollis of CPCC also sends regular emails about opportunities. To get on his email list, contact Ann Marie Costa. Children’s Theatre of Charlotte
There are several different performance opportunities with Children’s Theatre of Charlotte (CTC). The company produces several mainstage productions each year, all of which have adult roles. Check www.ctcharlotte.org for current opportunities. The Tarradiddle Players are the resident touring company of CTC. Several Davidson graduates have performed as Tarradiddle Players, touring North Carolina elementary schools full-time. Tarraddidlers audition in the spring. There are also Heart-to-Heart workshops with high school students that require professional actors.
CTC is also a good place to look for experience in theatre education and outreach. Summer employment opportunities with CTC’s theatre camps may be available. Davidson Community Players
Though not a professional company, DCP’s summer season makes for fun and valuable performance experience. There is also an internship opportunity in the production office under DCP executive director Cindy Rice. For more information, visit www.davidsoncommunityplayers.org Actor’s Theatre of Charlotte, Theatre Charlotte, BareBones, Actor’s Gym, Off-Tryon Theatre Company, etc.
All of these local theatre companies are growing quickly in the absence of a regional professional LORT equity theatre. Check their websites, or actorsgrapevine.com, for audition opportunities. Many have summer productions or are involved in the City Stage Festival downtown. Anne Lambert
A Davidson grad, Anne has been active in the local theatre scene for some time. She is an excellent contact for Charlotte-area theatre. See Ann Marie Costa for her contact information.
CHECK THE BULLETIN BOARDS IN CUNNINGHAM
For postings on graduate schools, audition opportunities, internships, fellowships,
and all kinds of other information!
THE FELLOWS POSITION The Davidson College Music and Theatre Fellowship is an excellent stepping stone for graduating seniors who want to work in professional theatre or arts administration. The fellow gains valuable experience in production and publicity/promotions, while maintaining connection with Davidson’s students, faculty, and staff. Fellows can take one class per semester to continue training.
Basic Function
To provide technical, marketing and promotional assistance for the music and theatre departments.
Essential Functions
Work under the supervision of the Theatre Department chair.
Work with the Theatre Technical Director in construction, lighting and sound needs for theatre productions.
Assist in the management of ticket sales and box office for productions.
Serve as liaison between the departments and the office of College Communications in coordinating publicity, marketing and promotion for Music Department (with Dept. Assistant) and Theatre Department (with Production Coordinator).
Assist members of the departments in publicizing their professional activities, including generation of and the distribution of posters on campus and within the community, and assistance with press releases.
Set and run lights for concerts and recitals in Tyler-Tallman Hall, record recitals, and assist in stage preparations for each event.
Working Conditions
Cunningham Fine Arts Building, primarily Hodson Hall and the Black Box Theatre. The Knobloch Campus Center, primarily The Duke Family Performance Hall. Sloane Music Center, primarily Tyler-Tallman Hall. A minimum of six major Theatre events annually, including two in The Duke Family Performance Hall. Additionally as many as 6 music sound recordings may be required outside of the building as decided upon by the Music Department. The position will require some evening work.
Many additional Fellows positions are available to graduating seniors. Check http://www2.davidson.edu/administration/hr/hr_empopportun.asp for Davidson employment opportunities. APPENDIX I: ADDITIONAL RESOURCES More web resources to investigate: www.artslynx.org/theatre/acting.htm
www.artslynx.org/theatre/theatres.htm
www.artslynx.org/theatre/design.htm
www.playbill.com
www.backstagecasting.com
www.theatrejobs.com
www.summertheater.com/directory.html
www.geocities.com/Broadway/Stage/1810/
www.stetson.edu/~csata/thr_guid.html
www.daviestrek.com/pct/pctspt.htm
www.strawhat-auditions.com/ Other hard-copy resources: Backstage Handbook for Performing Artists, Sherry Eaker
Career Opportunities in Theatre and the Performing Arts, Shelly Field
Directory of Theatre Training Programs, Jill Charles
Internships: Peterson’s Guides (annual)
Handbook for Theatrical Apprentices, Dorothy Lee Tompkins
New York’s Other Theatres, Mindy Levine
Opportunities in Theatrical Design and Production, Ann Folke and Richard Harden
Professional Actor Training in NYC, Jim Monos
Performing Arts Career Directory, Bradley J. Morgan and Joseph M. Palmisan
Regional Theatre Directory, Jill Charles
Summer Theatre Directory, Jill Charles
TCG Theatre Directory Theatre Profiles (TCG)
The Business of Show Business, Judith Katz
The Actor’s Picture/Resume Book, Jill Charles
ArtSearch, monthly publication
Graduate Schools in the Performing Arts
The Backstage Handbook, Paul Carter APPENDIX II: HELPFUL DEFINITIONS Some Definitions and Explanations (from Skidmore College’s website)
Commercial Theatre: Theatre for profit; generally involves trained union professionals
Broadway: Commercial theatre in the legitimate theatres in a designated area in NYC; Independent producers create production organizations for each new production and then rent available theatres for open-ended runs
Off-Broadway: A combination of commercial and not-for-profit theatres in NYC; generally much smaller than Broadway theatres; most have union contracts in force; some maintain permanent staffs and offer internship opportunities
Off-Off Broadway: Generally noncommercial theatre in the smallest of venues in NYC; nonunion; often involves experimental or alternative approaches to theatre
Not-For Profit Theatre (Noncommercial): Organizations supported through foundation grants, local, state and federal funding programs, donations, underwriting, and ticket sales; includes professional organizations and amateur/volunteer organizations
Regional Theatre: Noncommercial theatres in cities throughout the country belonging to LORT (League of Resident Theatres); Permanent production organizations; limited union contracts; internship opportunities; usually in operation Sept. through May
Arts Centers: Noncommercial performance complexes such as the Kennedy Center in Washington, DC and Lincoln Center in NYC.; range of activities including theatre, opera, music, dance, film, etc.; permanent professional staff
Summer Stock: Hundreds of theatres in operation throughout the country during the summer; range of types involving both professional and amateur staffs including "star" houses, musical tent theatres, Equity regional theatres and nonunion resident theatres; includes prepackaged touring shows, classics, tryouts of new plays depending on type of theatre; both union and nonunion personnel; internship and/or apprentice opportunities in addition to full-paying staff positions; often involves producing one show each week; one might have large responsibilities as a "big fish in a little pond" in a small nonunion house or a "little fish in a big pond" in a well-known union house where there are opportunities to learn from trained professionals -- both situations can be valuable
Community Theatres: Grass roots local theatres that are based upon volunteerism of both trained and untrained amateurs; nonunion
Dinner Theatres: Often found in resort and suburban areas; light comedies and musicals, often packaged; either union or nonunion
Dance and Opera Companies: mostly not-for-profit; all employ administrative, production and technical personal and many accept interns; often involves national and/or international touring as well as residencies; might be union or nonunion
Children’s Theatres: Companies (often touring) specializing in production for children; commercial and not-for-profit; often retain permanent staffs, usually nonunion
Equity Showcase (Equity Waiver) Theatres: Short-run productions showcasing Equity actors, directors, designers and playwrights; little if any pay; union members work under contracts allowing for inexpensive production costs; most based in NYC and LA
Industrial Shows: Productions developed for large corporations to introduce products and inform and reward franchise owners; organized by specialized production companies; all union
Equity Membership Candidate Program: A program developed by Actors' Equity to allow nonprofessional actors and stage managers to get credit towards Equity membership for work at certain Equity theatres. An EMC must complete fifty weeks of work to qualify for membership. These hours may be accumulated over a period of time in a number of different theatres. After forty weeks the EMC takes an exam. Once passed the EMC may join Equity. After the fifty week period an EMC has a five year eligibility period. Not all Equity theatres have EMC programs and the specific conditions and responsibilities differ from theatre to theatre. APPENDIX III: RESUME TIPS (from Skidmore College’s website)
A clear and attractive resumé is vital to your life as a theatre artist.
An theatre resumé does not follow the standard business format.
• Do not write "Resumé" or "C.V."
• Do not state "career goals" or "salary expectations."
Your entire resumé should fit on one side of a single page (8" x 10").
Arrange the material artfully and professionally and be carefully of trying to crowd too much information in using too small a type face -- keep it neat and readable.
Do not pad your resumé — the theatre world is far too small for you to get away with it! Be honest, but try to present even the most limited credits in the best light possible. Do not include extra non-theatrical/film/TV/commercial work.
Have copies made at any copying center. Use a reasonably heavy weight paper and consider using a color (nothing too bright).
Always look at other peoples' résumés. If you like something you see about typeface, organization, layout, paper, etc., work it into your own. Avoid being too cute or flashy. Elements of the Resumé
1. Your name should appear at the top, either centered or in the upper left corner.
1. Place at the top, either centered or in the upper left corner
2. Decide whether or not to categorize yourself as a performer (Actor, Singer, Dancer, Actor/Singer, Singer/Actor, Singer/Dancer, Actor/Singer/Dancer, etc.), stage manager, technician, designer, etc.-- be honest!
2. Union Affiliations (if any) should appear below your name — abbreviations are fine.
3. Phone number and Address where you can be reached
a. indicate whether it is a phone or a machine
b. If you use a pager, indicate this with the number
4. Agent: when and if you get representation, include your agent’s name and number.
5. Vital statistics (for performers only) are grouped together, usually on the left. These include:
a. height to the inch(necessary), weight to the pound (optional, but . . . )
b. hair color
c. eye color
d. If you sing, indicate your voice range (bass, baritone, alto, tenor, mezzo, soprano) and, if you ike, style (pop, belt, classical, legit)
e. If you dance, indicate the type (jazz, tap, ballet,modern, ethnic, ballroom, etc.)
f. It is not necessary to indicate your age or age range - let your photo speak to this
g. If you were not born in the U.S., consider adding "U.S. Citizen" or "Naturalized Citizen" as appropriate
6. Credits:
a. For New York theatre, list theatre credits first (most important roles first)
b. Include the name of the play, your role, and the theatre in which it was produced. Organize with headings (Broadway, Off-Broadway, Off-Off Broadway, Regional Theatre, Dinner Theatre, Stock, Tours, etc.). Do not include playwright
c. If you have any professional credits, list these first
d. Film credits should follow (film, role, production company, director).
e. Television credits are next (show, role, network)
f. Commercials are generally listed as "On camera and/or voice overs — list and tape upon request"
g. List your most important and impressive credits first. You need not give dates and credits do not have to be in chronological or reverse chronological order
h. Try to replace your college credits with professional credits as quickly as possible
i. In LA list Film first, then TV and theatre
j. If your list is not complete, use: "Selected Credits" rather than "Representative Roles"
k. Omit high school credits as soon as possible
l. Organize non-performance credits in reverse chronological order. Identify the theatre, your job and the date
7. Training:
a. List where you studied
b. List with whom (if reasonably prominent)
c. List the highest degree(s) you completed or anticipated date of degree
d. Be sure to include all relevant master classes, apprenticeships and internships
e. Indicate specialized training (voice, movement, Shakespeare, View Points, etc.)
f. Keep this section relatively short 8. Special skills: juggling, driving, fencing, stage combat, language fluency, dialects, musical instruments, horseback riding, painting, formal wardrobe, etc. If appropriate, add "Directing resumé available on request". Do not get too cute here and make sure your really can do these things!
9. Sports: (for performers only) swimming, riding, aerobics, martial arts, etc.
10. Other Work Experience: (for non-acting resumés only) List all other jobs in reverse chronological order How to Get Started:
a. Use a word processor.
b. Develop a work sheet that lists all of the above elements.
c. List credits in an appropriate order and determine what information about these credits you want to appear.
d. Try to find successful and effective example of resumé layout that you can copy.
e. Play with a variety of layouts - avoid trying to fit too much information on a single page. Keep it clear and readable. Remember, your finished resumé will be 8"x10", not 8 1/2" x 11".
f. Get someone more experienced to review your resumé and make necessary adjustments.
g. Retain your resumé file on the computer -- with each new job, acting teacher, etc., you will want to rework your resumé.
h. Consider tailoring your resumé for certain jobs (rearrange information, include some things you omitted, cut some things you used, etc.). Copying
1. Look into copy services such as those offered by Kinko's
2. If you have (or have access to) a reasonably good printer, consider printing your own copies
3. Consider the paper weight and color (stay away from any colors beyond light pastels)
For examples of acting resumes, please see the following 2 pages.
APPENDIX IV: AUDITION TIPS from about.com • Arrive at least 15 minutes early. You don't want to have to rush into your audition. Give yourself time to find the space and warm up.
• Pack your bag with a book in case there is waiting and a bottle of water. Not every place has a water fountain.
• Be nice to everybody. You never know if the person you are speaking to is important.
• There may be several people waiting with you to audition. Remember that they are competing with you for the same job. Don't let them intimidate you.
• Wear neat, comfortable clothing. Look nice, but make sure you can move around the room. And don't wear a costume. Your outfit can suggest the character such as a high-collar blouse for a period piece, but don't get all dressed up. • Careful when using perfume or cologne. You don't want to send anyone out of the room in a sneezing fit.
• Try to find some background information about who you are auditioning for. If you are auditioning for a particular company, be familiar with their work. It can also help you decide which pieces to choose for your audition.
• Bring clean and clearly marked sheet music. If you are auditioning for a musical, be sure the music you give the piano player is cut down to 16 bars and is free of stray marks and coffee stains.
• Bring at least five headshots. You never know how many you will need.
• Make sure your resume is firmly attached to your headshot. If possible, photocopy or print your resume to the back of the headshot. Don't staple it unless you absolutely have to; headshots with staples get tangled in a pile. It is much easier to access the individual sheets. And one page is plenty.
• Make sure your headshot/resume is no larger than 8" by 10". This will fit into a folder. If the headshot is oversized, it may end up in the trash.
• Set up the audition space for your needs. If there is a chair center stage, but you are going to stand for your audition, ask if you can move it out of the way. Don't try to work around it.
• Remember to smile. If you are nervous, take a deep breath and try to relax. Recognize that you are not going to get every job you audition for, but can learn from every experience.
• When you are called in for your audition, be confident and smile and unless it is vital, avoid asking too many questions as your audition probably has a tight time slot.
• If no information for the audition is given, keep your monologue to about a minute. Most directors can tell in that time if they are interested. Have several pieces prepared and one longer piece in case they ask to see more.
• Definitely do not ask if you will be called back. The casting director will let you know, that you can be sure of. If you do get called back, wear the same outfit as during your audition.
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