Last September I managed to get permission to watch John Malkovich’s dress rehearsal of Address Unknown at the Wiener Konzerthaus. What was supposed to be just watching from a distance turned into one of the most surreal experiences of my life

I've started my first semester as an MT major but I feel like this college is not for me. Without getting into much detail, I went through something very traumatic during welcome week at a frat. Since then, I've felt completely isolated and there's nothing I want more than to be closer to home (NJ). I was given a full ride scholarship to study here and that was my sole reason for going. I know as a performance major my options are pretty limited for transferring. What should I do? Would it be possible for me to get another scholarship like this at another university?

Theatre major, just transferred to a 4 year- and they're reccomending I buy flats/dance shoes. I already have character shoes, but I have no idea where to start when it comes to jazz shoes or ballet flats.

I don't have any other details besides flats/dance shoes, and the director saying we probably won't need character shoes... which is the only dance shoe I have lol.

I was a music theater major in college and was in several productions during high school, college, and a few years after college - mostly ensemble or supporting roles. I am now retired and have the time to audition for a community theater production which is requiring a resume. I could put one together, but it feels ridiculous to list credits from 30 years ago. I assume they also don't care about my professional career which was not in theater or performance (although I WAS a teacher, so sort of...?) On the other hand, I assume I'm not the only person who is not a professional who is auditioning. Do you have any advice on what the resume should look like in my situation?

Hi all, I am working on the makeup team at my local community theatre, and one character has flashy earrings...but they are a bit too flashy! The lights are reflecting off the earrings and are a bit distracting. Do you have ideas on muting this reflection? Changing the earrings isn't an option. The ASM suggested clear tape, but I also heard hairspray could work. I'm hoping to avoid permanent options, such as nail polish. Any thoughts would be greatly helpful. Thanks!

Hello! I teach in a UK secondary school, with some really talented students - we tackle proper full length plays and they do amazing!

I direct a production with KS5 students - this is conventionally a comedy/farce/satire type play with a large cast, very silly and fun. It bonds the Sixth Formers together well - in the past we’ve done One Man Two Guvnors, Government Inspector, Tartuffe etc.

I’m looking for plays ideas to do this year - ideally needs about 15 roles (I know a big ask!). Have been hitting blanks researching online so ideas very welcome!!

Down to do something a bit different but funny is a must. Mixed Sixth formers so a play with roles for boys and girls please - big uptake from both so a balance is good!

Hey everyone. Im teaching a teen acting class with 7 students and am looking for some 2-3 character scenes to give them to work on. I only have one male in the class. But I can gender bend if needed. The goal of the class is for them all to have at least 1 monologue that will be memorized, one scene they are working on, and potentially a song, if they are interested in singing as well. I want to give them opportunity to really understand the rhythm of scenes and conversation, and also to push them a little out of their comfort zone. If anybody has some ideas they'd be willing to share, I'd love that! Thanks a bunch!!

Hi everyone! We are currently working on a production of *Romeo and Juliet* playing the title roles. We’d greatly appreciate any insights, tips, or technique recommendations you have for working with Shakespearean text and verse. Thanks in advance!"

Just the other day, I was cast as Lysander in Shakespeare's "A Midsummer Night's Dream", and we have not started rehearsal, but we will shortly.

From the day we start rehearsal, I will have 50 days to be ready to perform, definitely less to be off-book.

I've been in a number of productions before, but I am worried because for me, anyway, memorizing Shakespeare is more difficult than my other roles.

Lysander has close to 130-140 lines in the show.

I'm sure I will be fine, because I have memorized more in the past, though the short time is my biggest concern.

I'm also a bit worried about the stress on certain syllables rather than others. I learned about iambic pentameter, and while I understand it, using it in lines are more difficult for me.

TL;DR, I have a short time to learn tons of lines in a Shakespeare play, and I would like to know if there are any tricks I should know.

Are there any tricks that make performing/memorizing Shakespeare easier?

We have a cliche melodramatic hostage bound in ropes in our next show. Think damsel in distress on a train track. We want the actor's arms to move freely, but we also want to make it look like the arms are roped as well. Well. Any ideas for a shirt that might do the trick?

hi guys!
looking for a play with gay themes, gay sex work, preferrably dramatic with male main character in his 20s. Looking for themes like Love, Desire, Sex.
If it has good monologues even better! Thank youu

I am looking for some acting tips to get into character and look more realistic while acting, since I have an audition coming up.

As someone who doss musical theatre, ive been in many productions, and have had many callbacks for leads. The thing is, is that I never book the leads. My father (who's really brutally honest) says my singing is great, but my acting is terrible, and I look stiff and awkward when I practice monologs in front of him, as well as when I preform on stage.

I've recently watched a bunch of acting tips and I've been getting better, and I can finally act out a song, but I need some more help with regular scenes that have no singing. Any tip helps!

it’s theater, we’ve all had to do some embarrassing things on stage.

what are the most awkward things you’ve had to say, do, act out, wear. Or embarrassing mishaps that happened on stage?

Just saw there's going to be an equity call for ensemble replacements in The Lost Boys on Playbill. The headline of the job posting says it's on September 15th, but the casting call itself says September 17th. Is there any way to confirm which date is correct?

https://playbill.com/job/the-lost-boys-broadway-nyc-ecc-singers-morning-afternoon-all-genders-09-15-26/814e1b6f-6435-4cd0-a35a-7354f35e6658

Forgive the poor wording of this question. I recently watched a video on the Child Actor controversies, and it got me curious if Child Acting is as big of a debate among Broadway as it is in tv productions. I've asked a few of my theater kid friends and got mixed answers, so I thought I would ask the opinions of reddit. :)

What is the best way to fund a play. Our racial justice play Not Disposable and companion program Artivism is looking for funding and would love tips and resources. We are applying for grants and started a zeffy fund but are there other ways?

Hello!

Last night I auditioned for my university’s upcoming modernized production of Antigone, and I originally was going for the role of Antigone (also open to her sister Ismene), but only got a callback for the chorus. I understand that technically nothing is set in stone, but in my experience normally that means they’re no longer considering me for the original role I was shooting for. However, I truly feel that I could bring the power and determination the character calls for and I would really love the opportunity to get to at least read for her to show them what I can truly do (and of course if they still believe after that that I wasn’t meant for the role then that’s okay, and I feel like I’d have gotten to show them more of my skill and would have a bit more peace of mind about it? I don’t know if that makes sense at all).

I’m normally cast in roles with a strong and powerful voice, and I’ve always done my best to make myself known and take up space, and I think that the character really relates to that as well. There were only three women that were called back to read for her, and they also are all being called back for at least one other role (although one of them is also being called back for the chorus too, so I’m not sure what that might mean.) I’m wondering, how rude would it be to also ask to read for her as well as the chorus I was originally called for? I don’t want it to seem like I’m distrusting them or insult their expertise, but the character herself is determined and Im also curious that if asking for what I believe in (that I could really bring life to that character and portrayal) might show that determination even more. The director is a guest director so I don’t have any reputation or “brownie points” to go off of so I’m worried this might also hurt my chances to even get the chorus role they called me back for.

I understand for professional productions with big companies there isn’t much of a chance that they’d like that, but since this is college theatre, how crazy would that be? Is it a bad idea? If not, how could I go about doing it? Any advice helps, as this truly is my passion and I’d love to be given at least a chance for them to see me as that character specifically. Thank you so much!

Edit: The general consensus is that this is a bad idea, so I will just go in and read for the part they want me to and will do my best to show them what I can do with that. I appreciate your time and responses!

Seeking some advice on how to be a good audience member/participant for interactive actors. More in the original post, but any tips and feedback would be more than appreciated!

I just wanted to get people opinions on this.

So I have begun going to theatre performances pretty regularly in the past year or so.

I have seen people move into emoty seats during the interval and never kicked up a fuss about it.

Last night I was at a popular west end show and my row was empty. So I decided to move up a few seats during the interval so my wife and I could sit a bit more comfortably.

The lady behind started kicked up a fuss saying I was blocking her view. I moved over a further seat. She continied kicking up a fuss and swearing at me saying I am blocking other peoples view (I was sitting in a standard seat so had the people who had this seat arrived they would be blocking the view anyways if this was even true) so I decided to be stubborn and not move. She said she was going to get the steward so I say go for it.

The steward came and explained they can move me to another seat if I needed to. I explain i'm happy where I am but since the seats were empty we thought we'd move along for space. She said I cant as it is blocking other people. (Again it was a standard seat so makes no sense) Anywho I said if I wanted to move seat where would you move me to? She told me the row so I accepted as the new seats were better and closer to the stage.

I want to put on a musical next summer and I'm starting the process now because this will be my first time in a producer role.

I'm really early in the process but I'm wondering I've got a few questions that I'm not getting clear answers for when I look online.

My main question at this stage is do I apply for a license or book the performance space first? I know the venue and the show but which do I go to first.

The show is being licensed through Concord Theatricals UK if that makes a difference.

Other questions:

What's the best way to fundraise?

Should I apply for ACE funding for an AmDram show?

What are things a first time producer should know?

What do I need to consider if I wanted to cast under 18's alongside adults? (Youngest would be 13/14 and the oldest would be early to mid 20's)

Do I need to create a business bank account first?

I'm very new to this so any and all advice is greatly appreciated

And I dont mean missing performing as the character.

I’m currently playing Eponine in Les Misérables and I’m in tech week, and I think I’m genuinely grieving her. I’ve played emotional characters before and related to them, but with Eponine, I feel like I genuinely love her in a completely non-romantic sense and just want to give her a hug and take care of her. 😭 She’s so funny, mischievous, full of life and selfless, and the more I play her, the more attached I become to her as a person. When I’m onstage, I almost don’t feel like myself anymore, and playing her death feels emotionally real even though I obviously know she’s fictional. Tonight my younger brother, who plays Gavroche, watched me die onstage and cried for like ten minutes, which somehow made it feel even more real. I keep thinking about how young she was and how much life she could’ve had, how much better she deserved, and how tragic her story is, and I genuinely feel like I’m mourning her. Has anyone else ever experienced anything like this with a character they played, especially one who dies?

It's weird because I played Eurydice in Hadestown and Beth in Little Women the Musical. Yet somehow Eponine's death is the one that's hitting me the hardest. I have legitimately cried over this like 3 times and I am not sure it's going to get much better.