WHO WE ARE:
New Hampshire’s only professional outdoor classical summer repertory company, our aim is to put the “shake back in Shakespeare!”® Our “guerilla-style” productions are performed anywhere, anytime, in any condition, operating under an “Artist-Manager” model featuring a small group of multi-talented performers who form a “lean, mean Shakespeare machine”® that not only encourages audience participation, but provokes it! Located in New Hampshire’s Lakes and White Mountain region, our “bare bones bard”® style is performed in alternating repertory on simple, outdoor, platform stages with nothing to detract from the power and force of Shakespeare’s words.
To check out the area, go to www.visitwatervillevalley.com
EACH OF WHOM COMPRISE ONE HALF (4 WEEKS) OF OUR 8 WEEK SEASON…
1. COMPANY A:
"SHAKESPERIMENT LAB” (Fees Involved)
THE COURSE: We believe that the only way to learn how to perform Shakespeare is by doing it. But many actors never get the opportunity, because most classical acting companies don’t grant auditions to actors lacking the requisite professional training and experience. It becomes a frustrating “Catch-22”—how can you learn to be a professional actor if no-one ever gives you the chance to be one? Our solution was to create SHAKESPERIMENT--a four week experiential “immersion” lab where, under the guidance of an established and experienced professional Director, participants come together to form an ensemble company, rehearsing and performing full length evening productions (as well as short matinee productions) to be presented in alternating repertory over the course of three weeks at our Main Stage locations (with a fourth week designated as a “holdover”). SHAKESPERIMENT is our “entry level” professional Company for actors whose raw talent is such that we strongly believe could lead to work as a professional actor (and with whom we would like to work) but who lack the skills, training and maturity most companies require of their salaried actors. It attracts early-mid career actors with training and credits in other arenas, most of whom have limited professional Shakespearean experience. Our four year average age is 24-25. (In 2009, the 6 men and 6 women were age 20-32).
SETTING: Framed by towering balsams which nestle against towering granite hills in the Lakes and White Mountain region of New Hampshire, our “bare bones bard”® is performed in alternating repertory on simple, outdoor, platform stages in multiple locations with nothing to detract from the force and power of Shakespeare’s words--minimal sets, props, lighting and costumes.
THE PROCESS: This is a dense, intense “boot camp” approach that puts YOU in the spotlight (and in the driver’s seat) making YOU accountable and responsible for your craft, learning and career. “The learning comes through the doing” as you rehearse and open all shows in twelve days. In the months leading up to arrival, you will be given a lot of information to help you prepare for your time with us. All actors arrive “performance ready” off book for all roles, as your work begins within hours of your arrival in NH. Weeks 1 & 2 center around rehearsal, dress and opening all Company A shows. Weeks 3 & 4 allow for some down time, but also feature learning opportunities as well as performances. (Wk 4 features the popular “Business of Acting” workshops). You will be told at the beginning of Week Three if all/some of you are being “held over” for a Week Five extension.
THE SHOWS: “A Midsummer Night’s Dream” and “The Two Gentleman of Verona”--one of which will feature a rehearsal intensive whereby the participants (under the guidance of the Shakesperiment Director) will devise and create their unique vision for the production of the show—a reflection of the talents, skills, backgrounds and interests of the individual members of the ensemble. In contrast to this “evolutionary discovery” process, the performance of the second evening Main Stage show embraces an “unrehearsed” module focusing on the rare First Folio “cue prompt” performance technique. Practiced by only a handful of companies in the U.S., it serves as a thrilling and challenging performance modality. It is a rare and valuable string to add to any actor’s bow and an experience which both actors and audiences alike rate as “second to none”. For your 3rd show, the actors are divided into two groups-- one performs our Shakespeare-themed Family Matinees and one the sketch comedy improv show “No Holds Bard”. Actors come away with an improved resume that makes them far more employable--professional Main Stage principal roles in 2 Shakespearean shows, First Folio technique and professional Family/Children’s Theatre credits.
CASTING & SELECTION PROCESS: WHAT TO EXPECT “SHAKESPERIMENT” is highly competitive. (In 2009, over 500 actors applied, with 150 auditions granted in Feb/March and 12 actors cast in late March). Our SHAKESPERIMENT 2010 audition schedule concludes in late February, with actor notification and contract commitments/deposits expected to occur late February through early March. If you accept, you’ll be expected to sign a contract and send a non-refundable ($250) deposit within 2 days of offer, with the balance due no later than April 15th, 2010. Because ”ensemble” is the key to our approach, (ie, “the journey is more important than the destination” in our focus on learning) actors are not assigned roles until AFTER they have signed their contracts. First and foremost, we want you to “check your ego at the door”--committing to your learning by being a part of the ensemble. Our limited cast sizes mean everyone has about the same stage time and all get “moments to shine”.
Highlights include:
**Lead roles in two professional Main Stage repertory productions
**Rehearsals, tutorials & productions tailored to suit your needs and interests
**40 hours (min) of rehearsal, workshops, lectures, tutorials and exercises a week
**Weekly "check-ins" with key staff
**College credits available (independently arranged by the student)
BY AUDITION & INVITATION ONLY.
FOR HIGHLY-MOTIVATED EARLY-MID CAREER ACTORS AGE 19+. NO SHAKESPEARE EXPERIENCE NECESSARY BUT MUST HAVE UNIVERSITY, REGIONAL THEATRE OR OTHER APPLICABLE CREDITS.
COST: $600.00 Maximum: 14 participants Minimum Age: 19
Cost Includes: Lead Roles in evening MAIN STAGE productions as well as matinee productions, all workshops, lectures, exercises and rehearsals. HOUSING: Provided. (Expect to have at least 1 same-sex roommate). Shared living, bath and kitchen spaces. NOTE: Participants must provide own food, round trip transportation and sheets/linens/towels at housing.
PAST “SHAKESPERIMENT” PARTICIPANT FEEDBACK
"I had the best summer of my life... Unforgettable.... An experience
I'll take with me and treasure always."
Christine, 2006
"You gave me roles that I know I may never play again and I am eternally
grateful to you for helping me find my 'inner leading lady’'"
Jane, 2006
"I feel so honored to have been a part of this company. I am so thankful to you for giving me a chance to grow both as an artist and as a performer...I learned so much this summer about both the business and the artistic side of the theatre world. I am more grateful than you will ever know. This was the best summer of my life"
Tucker, 2007
“Thank you so much for making this summer so wonderful! This theatre will always have a special
place in my heart. I can’t wait to work with you again in the future!”
Stephanie D, 2008
“I will never be afraid of Shakespeare ever again”
Chris, 2009
“Seeing that I have performed Shakespearean text as a man, as a woman and in First Folio style
definitely makes my resume stand out.”
Meg, 2009
previously not seen me are now scheduling me for auditions”
Stephanie S, 2009
“I fully appreciated that the Artistic Director, Director and staff took such a strong interest in my success. I left with an increased sense of confidence and knowledge of the work I need to do to get past my own personal hurdles”
Natalie. 2009
“The first folio/cue prompt approach terrified me but the show was a huge success and was one of the most exhilerating theatrical experiences I’ve ever had.”
Chiara, 2009
2. COMPANY B
(Company B actors are at least 23 years old with 2+ years classical training and 2+ years professional (paid) Shakespeare credits. if you do not have these qualifications, please see Co. A--above)
July 17-August 24th
Features paid non-union actor/teachers with (light) backstage and staff responsibilities. We cast the right actor for the role, regardless of age, gender or “type”: Men play women, women play men, “children” may actually be older than their “parents”! If you are a stickler for “realism” and don’t like performing with dogs, children, your bosses, outside in all kinds of weather or a truncated “fast and furious” rehearsal period that is mostly about blocking—then we are NOT the Company for you! If, however, you are a multi-talented “think outside the box” actor comfortable with a directing style of “blocking first, make sense of it later” then YOU ARE FOR US! We need entertainers who feel at home in front of any audience, anywhere, anytime: You will star in our evening Main Stage shows, do a Family Show matinee and teach a theatre camp class—all in the same week! ALUMNI: In addition to inspiring them to start their own theatre companies (4 and counting!) our alumni have gone on to work in tv/films as well as with: Italy's Festa Theatre, The American Repertory Theatre, Theatre at Monmouth, The Shakespeare Theatres of Washington (DC), New Jersey, Chicago, the Adirondacks and Arizona, national tours with Shakespeare LIVE, Chamber Theatre and Shakespearience (among others) and regional companies in New York City, L.A. (and everywhere in between!)
HERE’S WHAT SOME OF OUR
FORMER ACTORS HAD TO SAY….
"Thank you for this amazing opportunity. I have been able to grow in ways this summer that I never expected to...It's been a real joy working with you and to have had a small part in something that will one day be very big"
Dan, 2007
"Thank you for the opportunity to be here and work with you. I had an amazing time, personally and professionally!"
Alanna, 2006
"I am blessed to be playing these roles, with this company of actors and in this perfect setting".
Todd, 2007
"This has been a really exciting experience. The community is thrilled to have us here and has been incredibly supportive of us...I am housed in a mansion (the nicest summer-stock housing I have ever seen!) Above all, the level of talent brought together is exceptional, setting a very high standard for future productions in the region. I hope to have the opportunity to return next year (and beyond) to watch this company develop into a mature, established fixture on the national theatre scene."
Megan, 2006
"Thank you for letting me be a part of something so special"
Mikki 2006
"The roles I played kept my summer exciting and challenging, giving me a heightened sense of strength and confidence in my craft"
Leila, 2007
"What I valued most about my time with TUTS was performing constantly, in different shows, in different venues. I wish all my days were structured that way"
Mitchell, 2009
SCHEDULE: For both companies, most work weeks include six days of performance and/or rehearsal and one day off—although in rehearsal weather plays such a big role we usually end up having no or only half days off during that time period. Some work days will be shorter than others, but we have something going on from 9am-9pm pretty much every day of the rehearsal period, which is approximately 2 weeks for 3 Main Stage shows and 4 half hour Town Square Family Matinee shows. It's a "whirligig of the mind" (body and spirit)!! Once we open, performances are Tuesday, Thursday-Saturday nights with half hour Family Matinees Fri and Sat during the day.
1. Ability to perform outdoors: We perform and rehearse on our unsheltered outdoor stages, 9 hours (or more) often during daylight. It can be hot, buggy, windy, muggy with (sometimes) intermittent rain showers. We have an indoor theatre as a back up space in case of truly inclement weather, but we "go" as much as possible outdoors. We need actors with strong voices to carry over the wind and who won’t wilt in the sun/heat. As well, we need disciplined actors who can focus and not let airplanes, passing cars, barking dogs, music or yelling children distract them during rehearsal and performance. 2. Physical Fitness: We utilize the entire outdoor ampitheatre. That means actors have exits at one end and a very quick entrance at a completely opposite end—even from the woods! There is a lot of running around, climbing, jumping, hand-to-hand, pratfalls and sword play. Backstage there can be some lugging, moving and carrying of large items.
3. Ability to throw away the "4th wall": We perform in an interactive style—addressing the audience directly. As well, our audiences address us—they are encouraged to shout "huzzah" when they are happy, "boo" when they are not (all in good fun) and answer a question if asked. Our Family Shows are interactive in that we get audience members on stage acting with us.
4. Ability to perform ‘anywhere, any time, any condition”: We pride ourselves on our “run and gun” guerilla mentality. This means simple (or next to no) sets. A low, platform stage. No run crew. Little or no set pieces or props. No curtain or wings. Minimal lights. No sound enhancement. Nothing elaborate to hide behind or distract from the power of the words 5. Verbal agility: The biggest direction you’ll get is "PUTP, PUTP"! It means "Pick Up The Pace". Performed as Shakespeare intended, using his text as "clues" and his punctuation as a key to where (and how) to breathe. Our 2007 "Romeo and Juliet" truly was "two hours traffic on the stage" (actually it was more like 1 and 1/2 hours!).
6. Okay with abridged shows, early curtain: For reasons having to do with all sorts of things, we abridge the shows to run in approximately 1 ¼-1 ½ hours including a 15 minute intermission. As well, we have early start times (4:30-6:30 depending upon the space), in order to better replicate authentic Renaissance conditions and to take advantage of as much natural daylight as possible.
7. Can work with Children and Dogs: We have children in at least one Main Stage show. Little eyes (and ears!) are everywhere. Actors who have scenes with the kids are asked to watch them backstage as well as watch out for and mentor them. We usually have at least one dog in one show and the actor who performs with it also watches out for it backstage. If you have an aversion to children or dogs, we may not be the place for you! 8. Diversity: We look for actors who can play/write/sing music a capella (unplugged /unaccompanied), tumblers, dancers, gymnasts, teachers, comedians, improv experts, who can sew their own hem, watch out for their props and perform some backstage tasks. We will use every part of your skills, talent and training. Have an unusual stage-worthy skill? Bring it on! We will (probably) find a place for it somewhere!!
9. Drivers: There is some driving. As well, rehearsals and housing are spread out over a 20 mile radius from the theatre. We look for actors who have cars, valid licenses and insurance. We try to insure that at least 50% of each Company has a car and those who do must agree to transport their colleagues who don't.
10. Well-equipped actors: Actors are expected to provide their own make-up (including special character pieces like aging make-up or mustaches/beards) and rehearsal shoes. For rehearsals, women (or men playing women) must have floor length rehearsal skirts and boned corsets. Actors are encouraged to bring any footwear, wigs and Renaissance clothing items/weapons they have that may help the production (but don't worry--we do provide great costumes--check out our pics to see for yourself).
11. Good Attitude: We are a "lean, mean, Shakespearean machine" in every sense of the word. It is important that morale be kept up. Your personalities count more than your acting ability! One minute you’re mopping up the dressing room, the next starring in "Romeo and Juliet"! Everyone does everything. 12. Training that meshes with us: Although there is much more of an educational component in Company A than B, as part of each company’s rehearsal process, we devote time to our very popular "Bard Bootcamp". It features exercises designed to quickly orient everyone as to how we at TUTS/SITV approach character, text and scansion. There’ll also be an orientation, presentations from directors as per their "vision" for the shows and one-on-one meetings with the directors as per character work. Since our rehearsal time is so limited, the majority of rehearsals are blocking rehearsals. Actors are expected to take the blocking and do character work around it, on their own…so we look for actors who have had training that allows them to do so. The Bootcamp gives us all a chance to "play". In our Company, "the text is all" and we want everyone pulling in the same direction and speaking the same language from the get-go. The months lading up to your arrival in NH are where the “table work” occurs—through emails and phone calls with the directors. You will get your scripts with at least 6 weeks (usually more like 8-10) to learn your lines.
13. Okay with Production Work: All company members will also be assigned production duties that will, at times, be more important than the acting work. Duties include assisting the Company Manager, setting up the theatre for performance, helping to set the lighting, working on costumes and props, teaching at our youth camps, etc. Everyone participates in strike.
14. Punctuality: Our motto: If you are not fifteen minutes early, then you are late. It takes time to prepare for a Shakespearean rehearsal (voice and physical warm up, getting into rehearsal clothes, weapons adjusted, etc) and we need the Company ready to take the stage exactly on time.
15. Respect, Maturity and Trust: We follow the Artist-Manager model. Therefore, the Artistic Director, director and other Company personnel are a part of the acting ensemble. Your "bosses" will have major roles in each of the productions, working alongside you as part of the ensemble--even as your romantic foil. We need actors with enough confidence, maturity and experience to trust, embrace and have fun with that. However it is our policy that no-one appears on our stage that did not audition. The Artistic Director and staff conduct the auditions and make recommendations about the Company. However, final selection of the Company and individual role assignments are then made by an independent panel of theatre and Shakespearean experts who view the videotaped auditions of the selected Company (for Company B) and the resumes (for Company A) and use a 30 point scale (slightly different for each company) to choose the Company/roles--scoring closest to 30 points and a strong audition are two of our biggest casting criteria for both companies. 
16. Professionalism/Integrity: We perform "without a net" and have no understudies. We expect that if you sign a legally-binding contract and give your word to be with us, you’ll show up. No excuses. Therefore, the only excuse for a missed rehearsal is a death in the family. The only excuse for a missed performance is your own death. Because both companies comprise our Main Stage season, there are (possible) legal ramifications for actors that leave the Company after going to contract--even Company A, which is paying tuition. So think carefully before you sign on the dotted line. 17. Non-Smokers: WE ARE A NON-SMOKING COMPANY.
18. Flexibility in the Creative process/Rehearsal: We look for actors that “get it”...and are “quick studies”. Although slightly different for Company A, our truncated rehearsal time leaves very little room for exploration of the text while we are in NH. We put our Company B shows on their feet in approximately 6 days of rehearsal, with 1-2 dresses. How we are able to accomplish this is attributable to several factors: The actors arrive "performance ready" off-book and the director (who has a strong film/tv "time is money" background) has everything paper-blocked and a very strong vision of the show. But more importantly, by the time we arrive in NH, each actor has had phone consults with the director and been sent notes on the director's vision and choices for the shows, their characters and recommendations for other resources they could use in their research and preparation.
19. Understanding the Importance of Casting: If you cast the right actors, there is very little "work" that needs to be done. We spend an average of 6 hours a person in our casting process, with 30-50% of that in direct contact with the actor. We cast "true to self"--and by that we don't mean we trade in the usual Hollywood cliches. In past, a summer with us has helped many "character actors" find their inner "leading man/woman" (and vice-versa). If you are cast with us, be prepared to have one role that will be "a walk in the park" and one that will seem "off the wall" (and probably scare the s--t out of you. 20. What we look for: That said, we have found that some actors "get" what we are about, surrender to our unique "non process" process, embrace and revel in it while others struggle. Less experienced actors (those closest to their university days) or those coming from huge, long-established and well-endowed companies tend to have the most difficult time during NH rehearsals, while those who are older, have worked in a diversity of fields, or have dance, musical theatre, tv or British stage experience have the best time. If you are a "method" actor or one whose vision of "creative process" includes lengthy table work, large amounts of time devoted to exploring the "beats" and "finding your way" in rehearsal or who doesn't like to work from the outside (i.e. the blocking) in, then we are NOT the Company for you!!!
However, if you want to learn a different way of working, a way that helps you quickly "drop into" the immediate performance of a piece, want to add "another string to your bow" and think you might want to work in tv or film, then we ARE the company for you!!
FAQ About What We Offer:
Paid? Company A (”SHAKESPERIMENT”): No. Because it is a conservatory program with educational workshops, lectures and classes that carry additional costs to us, those performers are unpaid and pay tuition that defray the costs to run the program. Company B: Yes. Actors are paid a lump sum that is broken down into bi-monthly (i.e. “every 2 weeks”) payments. Fees range between $800-$1100 for the approximately 5 week period (app. 4 weeks in NH and app. 1 week in NYC). EMC? No. We are proudly a 100% non-Equity company and happy to offer the many, many excellent non-union artists out there a chance to showcase their myriad talents as well as a place to grow and flourish in their craft.
Housing Provided? Yes--FOR BOTH COMPANIES WHILE IN NH: Furnished housing and basic utilities (water/heat/electric) in 3 towns within a 20 mile radius area surrounding the theatre. Most housing is with host families-organizations. Actors can expect to have (same sex) room mates. All residences have access to shared living, bath and kitchen facilities within the residence. We have a limited number of places within walking distance of the theatre, as well as a select few for those with pet allergies. Some (especially the hypo-allergenic) will require a car. FOR COMPANY B WHILE IN NYC: For those who live there, no housing provided (and it is required of those who live there to host non-NYC resident Company members, if able). For those who do not reside in NYC, we will ASSIST you in finding housing but housing in NYC is the actor’s responsibility.
Health Insurance? No. Since our paid actors are subcontractors, we do not offer health, workman’s comp or unemployment insurance. All actors must sign a waiver. COMPANY A actors must have proof of insurance to qualify for the program.
Meals? Not included. But we do host Company BBQ’s, parties and dinners. In NH, we are usually offered 50% discounts by a few of the Valley restaurants and shops.
Roles?If you want to act you’re tush off and play a variety of roles in different venues, then you’ll be in “alternating rep heaven”: COMPANY A comprises the first half of our season, presenting 3 evening Main Stage shows and multiple Sugar-Coated Shakespeare Family Matinees. COMPANY B takes over mid-season to present 3 evening Main Stage shows and multiple Sugar-Coated Shakespeare Family Matinees. All perform on our indoor and outdoor stages at several different sites in the region.Teaching credentials? Company A: No. Company B: Yes. Actors conduct workshops with kids ages 5-16 at our Youth Theater Day Camp. As well, the kids are a part of one Main Stage show. ALL of our actors are expected to be positive role models and mentors to the young thespians among us all summer.
Anything else? Yes. Quality of life, resort area: You get to live in a gorgeous summer resort area surrounded by biking, downhill mountain biking, hiking, swimming, tennis and golf venues. In past, we've been able to get free passes to the local multi-million dollar sports and health complex (2 pools, steam rooms, weight machines, indor tennis and raquetball, classes, etc).
1. StrawHat Auditions: NYC, February 13th-15th, 2010 (www.strawhat-auditions.com) 2. Saturday Feb 20th, 2010: NH PROFESSIONAL THEATRE ASSOCIATION UNIFIEDS: For NH residents and university students 18 and older.
4.If you miss this year's deadlines, we welcome ANYONE who wants to schedule appointments to audition privately with us through-out the year. IN FACT, WE STRONGLY SUGGEST THAT THOSE WHO ARE INTERESTED AND WHO ARE (OR CAN BE) IN THE NH or NYC AREA TO LET US KNOW. We can schedule an audition for you then! Please call or EMAIL and we’ll always try to accommodate your visit. Please include a headshot and resume with your submission.
WE RECOMMEND COMING TO SEE OUR SHOWS BEFORE AUDITIONING. WE ARE LOOKING FOR ACTORS WELL-VERSED IN SHAKESPEAREAN LANGUAGE AND FAMILIAR WITH SCANSION. WE WELCOME MINORITIES, "OLDER" (50+) ACTORS AND PERSONS WITH PHYSICAL DISABILITIES AND STRONGLY URGE THEM TO APPLY.
A. 2 short (no more than 15 lines) contrasting Bard monos. We are looking for your diversity as an actor.
B.We may ask you to READ--We want to see what you can do with something cold.
A FAMILIARITY WITH THE SHOWS WE ARE DOING IS STRONGLY SUGGESTED.
C. We will ask you to SING—a Shakespeare song would be nice. A short madrigal, renaissance or folk song. We want to hear your voice, see your ability to sell a song (perform it) and see who can sing without accompaniment (i.e. your pitch).
If you own a portable instrument you can play well, bring it!
D. We may ask you to scan something and tell us about the meter--We want to see your scansion training.
E. Please bring the filled-in questionnaire sent with your audition confirmation
F. Please bring 2 headshots/resumes We generally take approximately 6 people as a group and ask everyone to audition in front of the others. You may be given adjustments. We may try a few games. We are looking for an ensemble so it is important how you listen and interact with the group. We may ask some to stay behind for a closer (private) look. We do plan on having callbacks.
ABOVE ALL: We want to give you an opportunity to show your talent, your flexibility, your willingness to play and your sparkle. There probably won’t be callbacks, so this is your chance to show us what you have.
Please note the characteristics of SITV productions and allow them to inform your audition choices:
1.) Eye Contact--We break down the fourth wall and speak directly to our audiences. Look for sections of text that work well when spoken directly to audience members.
2.) USE & RELISH THE WORDS: THE TEXT IS ALL IGNORE IT AT YOUR PERIL!
3.) Big, Bold, Daring Choices--Many actors are so afraid of "over-acting" that they over-compensate by making safe, boring, beige choices that are too small for Shakespeare's strong emotions and bawdy fun. Look for the humor and emotional intensity in your lines; let us hear every word; don't "play it safe"; use this opportunity to surprise us with your creativity.