June 15th-July 15th
SHAKESPERIMENT:
Shakespeare Performance Laboratory
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WHO WE ARE: New Hampshire’s only professional residential outdoor classical repertory company, we put the “shake back in Shakespeare”® with our “guerilla-style” productions that are performed anywhere, anytime, in any condition! Operating under the “Artist-Manager” model that was the norm from Shakespeare through the Victorians, each of our 2 ensemble acting companies (SHAKESPERIMENT/Company A and Company B) are small groups of “multi-talents” who form a “lean, mean Shakespeare machine”® of “artists” (who perform) as well as “managers” (that serve as their own run crew). From the Artistic Director to the Stage Manager to the intern, everyone takes the stage and everyone has several tasks behind the scenes as well. The bottom line—there are no “only backstage” and no “only on stage” positions—if you are with us, you will do both! Located in New Hampshire’s beautiful “lake and mountain” resort region, our “bare bones bard”® style breaks down the fourth wall--not only encouraging audience participation, but provoking and demanding it—as we perform in alternating repertory on simple, outdoor, platform stages with nothing to detract from the power and force of Shakespeare’s words. We cast not according to age, gender or “type” but according to who’s best for what role. Just as the Bard intended, our small casts mean that roles are doubled and trebled: We look for actors versatile enough to play the “hero” and the “zero” in the same show, without the benefit of elaborate lighting or makeup.
WHAT IT IS: We believe that the only way to learn how to perform Shakespeare is by doing just that--performing in front of an audience. But not many get to do this, because classical acting companies don’t grant principal auditions if you lack training and experience. It becomes a frustrating “Catch-22”: You can’t be hired unless someone has hired you before, but no-one will hire you if you don’t have the credits! Our solution was to create SHAKESPERIMENT/Company A: For four weeks, early-mid career actors (usual age range is 21-32) are “immersed” in the business of being a Main Stage principal with a professional regional company. Company A is identical to our (paid) Company B--performing full length productions (as well as short matinees) in alternating repertory. The only differences being that SHAKESPERIMENT/Company A has a lengthened rehearsal process (to allow for classes and workshops) and the more established Company B actors are paid. Unlike any other regional classical company, our “emerging artist” SHAKESPERIMENT/Company A is responsible for 50% of our season and their shows are the FIRST our audiences see each summer. We offer the following, all of which make you incredibly attractive to the widest range possible of future employers.
From no other program in existence will you come away with such a diverse resume.
1) Invaluable Main Stage principal credits and training
2) Family/educational theatre credits,
3) “Original practice”/cue prompt approach training and credits
4) Last, we hope you’ll stay with us! We created SHAKESPERIMENT to train actors in our unique style for future promotion to our (paid) Company B. To that end, each year we invite SHAKESPERIMENT/Company A actors into Company B.
In 2010, the entire (paid) Company B was comprised of 2009 SHAKESPERIMENT-ers.
OUR SUCCESS: The proof in the program’s success: After giving them their first “break”, our SHAKESPERIMENTERS get work! Some of our recent alums have gone on to work in tv (national commercials, “Chasing Mummies”, “The Good Wife”) and feature films (the upcoming “Humans vs Zombies”) as well as being hired by the American Shakespeare Center, Maryland, New Jersey (numerous times), Texas and Richmond Shakespeare Festivals, tours with Great Lakes Shakes, Equalogy and Chamber Theatre Productions and work with regional theatres all across the U.S. (such as NYC’s Classic Stage Company current smash hit “Three Sisters” with Maggie Gyllenhaal, Peter Saarsgard, Josh Hamilton, Juliet Rylance & Marin Ireland, directed by Austin Pendleton) as well as admission into prestigious intern & MFA programs in the U.S. (The Public Theatre, the Shakespeare Theatre (of D.C.), Ensemble Theatre of Cincinnati, Florida’s Studio Theatre) and abroad (Oxford, Cambridge and Ireland’s Gaiety School of Acting). As well, our actors report double and treble increases in auditions/callbacks. Lastly, because this is our entry level/training company, we guarantee an audition with us for the following season. Every year, these auditions have resulted in the promotion of SHAKESPERIMENT alumni to our salaried Company B. (In 2010, Company B was 100% former Company A actors).
WHAT YOU’LL DO: This is a dense and intense “boot camp” approach that puts YOU in the spotlight and asks that YOU be 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 come “performance ready” off book for all roles (as your work begins upon arrival in NH). Weeks 1 & 2 center around rehearsal, dress and opening all Company A shows. Weeks 3 & 4 allow for some hard-earned leisure time to enjoy the beauty of the 4 star resort setting, but also feature learning opportunities/workshops (including the popular “Business of Acting” that gives frank and insightful “insiders” coaching from the people hiring you as to how to be a working actor—resumes, headshots, auditions, managers/agents— as well as goal-setting). At the end of the course, you’ll be given evaluations and feedback of your progress through-out the course by those who have worked with you.
WHAT YOU’LL PAY: 2012 SHAKESPERIMENT/Company A Cost: $750.00(nonrefundable) plus a $100 housing security and damage deposit (returned if there are no problems with the housing site). Cost Includes: Housing, Lead Roles in evening MAIN STAGE productions, family shows, all workshops, lectures, exercises and rehearsals as well as Welcome and Farewell Dinners.
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CASTING & SELECTION PROCESS: WHAT TO EXPECT:“SHAKESPERIMENT” is highly competitive. (In 2011, over 500 actors applied, with 150 auditions granted and 14 actors cast). We exclusively cast SHAKESPERIMENT at the Straw Hat auditions Feb 18-20th in NYC. Because we “pre-screen” from submissions prior to the auditions, granting time slots to people we are interested in already, we have a “rolling” contract process—which means, “we cast ‘em as we see ’em”. ( To give an example, in 2010, two actors were pre-cast as holdovers from 2009 and 5 actors went to contract on the same day as their Straw Hat auditions.) If we like you, we are ready to commit to you on the spot, and we expect the same of our actors. If you accept our offer, you’ll be expected to sign a contract and pay in full winthin 1 week of signing. Not unlike many other companies, because ”ensemble” is the key to our approach, actors in BOTH companies are not assigned roles until AFTER the contract period has ended and all places have been filled. First and foremost, we want you to “check your ego at the door”--committing to being a part of the ensemble. Our limited cast sizes mean that everyone has about the same stage time and all get “moments to shine”. PLEASE NOTE: Travel to some of our tour performance sites and rehearsal spaces means that, although not necessary, we tend to favor actors with vehicles.
AUDITIONS--WHAT TO PREPARE: 2 contrasting (one “heroic” tragedy, history or romance role and one “silly/fool/clown” role) Shakespearean monologues and one acapella Renaissance/Shakespearean song or madrigal.
WHAT OUR ALUMS HAVE TO SAY:
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2006:
"I had the best summer of my life... Unforgettable.... An experience I'll take with me and treasure always." (Christine)
"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)
2007:
"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)
“Now that I am running my own company, I realize just how hard you all worked to give me a great summer. As well, I use every bit of what I learned, both directly (by being an ensemble member) and indirectly (by having been given an intimate look into the running of a theatre company.) Thank you.” (Jerry)
2008:
“Thank you so much for making this summer so wonderful! I can’t wait to work with you again in the future!” (Stephanie D)
2009:
“The hands on approach and diving right into Shakespeare forced me to understand (and really connect with) the text.” (Chris)
“Seeing that I have performed Shakespearean text as a man, as a woman and in ‘original practice’ style definitely makes my resume stand out.” (Meg)
“Now with (Theatre Under the Stars) on my resume, Shakespeare companies who had previously not seen me are scheduling me for auditions” (Stephanie S)
“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)
“The ‘original practice’ approach terrified us, but the show was a huge success. It was one of the most exhilarating theatrical experiences I’ve ever had.” (Chiara)
2010:
“You have created a great thing…Thank you for this opportunity to share our art with the audiences.” (Jenna)
“Thank you for giving a Musical Theatre major a chance to explore her classical roots” (Lily)
“TUTS has challenged and encouraged me tremendously. Thank you for taking a chance on me.” (Christa)
“From the moment I walked into the audition, I knew this theatre was just what I wanted. Thank you for the encouragement, the honesty and the opportunity to find my inner leading man!” (Kyle)
“I broadened my theatrical horizons and am able to perform in any space at the drop of a hat, adjusting at a moment’s notice. I never thought in a million years I would do professional Shakespeare, but I’ve found that I can carry what I have learned into ANY role in future. NOTHING IS IMPOSSIBLE!” (Mike V)
“My favorite things? Working outside-- the thrill of taking risks in such a huge space. Also-- working with actors from all across the country and learning so much from my castmates. Favorite experience? On Closing Night, a little girl came up to me after A Midsummer Night’s Dream and asked me, ‘Why don’t the big man (Oberon) and Tanya (Titania) just share the little (changeling) boy?’ She understood the story and she was only 4! Being taught how to be so clear and specific as a storyteller and ending the show (as Puck) with a thank you to the audiences, who were so appreciative, meant the world to me!” (Chelsea)
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 backup 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: 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: 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 leading 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 cleaning and setting up the theatre pre and post-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.
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-$1000 for the approximately 4 week period. 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) roommates. 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.
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. 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 2 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? 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, indoor tennis and raquetball, classes, etc).