For some (including yours truly), the answer to the last question is usually theatre-related – acting, playwriting, or directing. Whatever your answer, it’s safe to say that majoring in Theatre in college does not guarantee you a job in theatre once you get out into the real world. Theatre is an extremely competitive field, and the hard truth is that most people just don’t “make it big” like they thought they would.

So you’re in your mid- to- late-20’s, and you’ve realized that while you had plenty of fun in college, the dog-eat-dog world of theatre isn’t for you. What are you to do with your degree, especially if you don’t have a second major to fall back on?

The truth is, being trained in theatre gives you a much larger skill set than you might think. From enhanced communication skills to an ability to work under pressure, there are tons of qualities in theatre majors that will give you a leg up in the professional world. Here are just a few ways to use that degree that you may not have thought of when signing up for your first acting class:

Human Resources Manager

One thing that employers are always on the lookout for is good communication skills. Theatre majors are very likely to have excellent communication skills because of the focus put on listening in performance classes. When someone is able to be present and listen, they are better able to communicate effectively. This skill is an important part of any Human Resources department, and with companies opting for outsourced human resources in the UK, it’s now easier to find a job in this field. As the person in charge of things like staffing and work design, being able to communicate clearly and effectively is a necessity. Not only does the manager have to be able to relay instructions and important messages, but she or he will also be communicating with a wide array of people. A manager who is able to get their thoughts across concisely as well as think on their feet would be a welcome addition to any team.

In addition to effective communication, HR practitioners also play a crucial role in shaping workplace culture by recognizing and celebrating achievements. The ability to learn to celebrate your successes at work significantly enhances team morale and fosters a positive work environment. Celebrating milestones and accomplishments not only boosts individual motivation but also reinforces a sense of shared purpose and appreciation within the team. This practice can transform the workplace into a more engaging and supportive space, where employees feel valued and inspired to contribute their best. A manager who understands the importance of acknowledging success and incorporating it into the company culture will be instrumental in cultivating a dynamic and thriving workplace.

Program Coordinator

“Critical thinking” may not be the first thing that comes to most people’s minds when they think “Theatre major,” but it should be. To be successful in any area of theatre, you have to be able to problem-solve. Whether a scene isn’t coming together right on stage or the budget doesn’t allow for certain special effects, everyone involved in a production needs to be able to think outside of the box. This quality is extremely important for program coordinators. How can you expect someone to coordinate schedules and activities if they can’t be resourceful or think for themselves? There’s so much organization and preparation that goes into theatre, and that makes Program Coordinator a great option for any struggling Theatre major.

Teaching

This may seem like a no-brainer, but a Theatre major’s options extend far beyond teaching acting classes. To quote Amy Farrah-Fowler (Big Bang Theory), “At its essence, teaching is a performance art.” A teacher is responsible for her or his students’ education, and for many students simply relaying pieces of information one-after-the-next isn’t enough. A teacher needs to be able to engage and entertain students, and who better to do that than someone with that specific training? While you would need a second major (such as English or History) and a teaching certificate in order to teach with a school district, teaching assistants and teaching aides aren’t always required to have certificates. If you’re considering teaching as a career, then you should learn more about the Washington teachers retirement system to secure a comfortable and reliable retirement in the future.

Whether you’re being hounded with questions at a family gathering or questioning your college path, knowing your options as a Theatre major (or minor, if that’s easier to fit in) is important. Many people enjoy theatre but don’t think being trained for it in college will have any merit in the “real world.” This couldn’t be further from the truth. So many important skills are learned in theatre classes that are hardly ever taught in less artistic departments, and all of these skills will be applicable in the workforce.

Sources

• https://www.pdx.edu/careers/what-can-i-do-with-a-degree-in-theater-arts
• https://qatar-weill.cornell.edu/cpd/pcRole.html
• http://www.snagajob.com/i/education-jobs/

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Whether you’re a theatre major or not, auditions can be extremely daunting. Questions like, “What monologue should I prepare?” “What should I be wearing?” and “Does being able to bend my thumb behind my hand count as a special skill?” race through your head from the minute you commit to the moment you’re standing in front of playwrights and directors.

It’s torture, but it’s also a lot of fun.

Just the other week, I auditioned to be a part of the Theatre Department’s 10 Minute Play Festival. Every spring semester, the department puts on this festival to showcase original work by students and to provide more opportunities for student directing, acting, etc. Even though I wasn’t cast, I still had a great time at auditions.

The first great thing about auditioning for the 10 Minute Play Festival is that I didn’t have to memorize anything. Not. One. Line. All of the scripts, or “sides,” are there at the audition. That means you no longer have to worry about forgetting your lines.

Of course, it also means you have to live up to the playwright’s idea of their beloved characters, and should you fail you risk not being considered for the part.

For me, that’s actually a huge downside to these auditions. During season auditions – which require at least one memorized monologue – chances are no one judging your performance created the persona you’re taking on. This takes off a lot more stress than you might think.

While there may be opinions of how a character should be presented or how a monologue should be delivered, the judgement is much more focused on skill than expectation. Basically, as long as your performance is truthful and engaging, you’re probably in the clear.

Another huge difference between season auditions and the 10 Minute Play auditions is that the latter is a lot more relaxed than the former. Season auditions follow strict audition times and once your slot ends, your audition is over.

For the 10 Minute Play auditions, I was the first person slotted for the day. I showed up an hour early. I ended up reading from almost every play in the festival, and I read with two or three partners.

Getting to read through almost every play was a lot of fun. Not only did I get to do a lot of acting that day, but I got to use the techniques I’d learned in my acting class.

For every part I read for, I would read the play description and do a quick scan of the character’s lines. From that, I’d try to find the character’s objective – goal – so I could make a decision about how to play them. While this tactic didn’t land me any parts, I did get a few laughs out of the directors and playwrights.

Auditions can be intimidating, but the experience is worth the nerves. As frustrating as it is to audition again and again without getting a part, I don’t think I’ll stop. Breathing life into something that’s only ever lived in someone’s imagination…there’s no feeling like it. You’re yourself and someone else at the same time, in circumstances you feel deeply but can never completely understand. There’s a kind of magic in acting, and it’s worth the nerve-wracking fear and failure just to get a taste.

The post Inside the Audition appeared first on KRUI Radio.

Mainstage

• Food and Fadwa
  • Written by Lameece Issaq and Jacob Kader and directed by Marina Bergenstock, Food and Fadwa takes a look at the struggles faced by the Faranesh family in military-occupied Israel. Food and Fadwa opens Thursday, February 4th at 8 pm.

• Iphigenia Crash Land Falls on the Neon Shell that was Once her Heart (a rave fable)
  • Legendary myth and futuristic technology collide in this tale of sacrifice, power, and politics. Written by Caridad Svich and directed by Mario El Caponi Mendoza, Iphigenia begs the question of man’s true purpose. Iphigenia opens Thursday, March 3rd at 8 pm.

• Lady From the Sea
  • Written by Henrik Ibsen, translated by Rolf Fjelde, and directed by Nina Morrison, UI Theatre’s production of Lady From the Sea provides a fresh and unique take on the 1888 Norwegian play. In this production, the genders of the all characters will be switched to provide a look at how women are imprisoned by patriarchal society. Lady From the Sea opens Friday, April 15th at 8 pm.

Gallery

• Danelaw
  • Information for Danelaw is not currently available. For up-to-date information, check its page on the UI Theatre website. Written by Guadalupe Flores, Danelaw opens Thursday, February 18th at 8 pm.

• Baltimore
  • Baltimore is a part of the Big Ten Theatre Consortium, an initiative whose purpose is to provide diverse, age-appropriate roles for young women while also tackling relevant social issues. Written by Kirsten Greenidge, Baltimore follows resident adviser Shelby and the consequences following a racially-charged incident on her floor. Baltimore opens Thursday, March 24th at 8 pm.

Workshop

• Wendigo
  • Information for Wendigo is not currently available. For up-to-date information, check its page on the UI Theatre website. Written by Chris Matheson, Wendigo opens Friday, February 26th at 8 pm.

Also this semester are the Ten Minute Play Festival and the New Play Festival. Both festivals will feature new material written and directed by students in the Theatre Department. The Ten Minute Play Festival will take place from February 11th to February 14th and the New Play Festival will take place from May 2nd to May 7th. Productions will take place in the UI Theatre Building.

For information on tickets, showtimes, and further show information, check out the Theatre Arts Season page.

The post UI Theatre: 2016 Season Preview appeared first on KRUI Radio.

Heaven?

Hell?

Or somewhere else?

Written by grad student Alysha Oravetz and directed by Felipe Carrasco, Boom Boom Town provides a darkly comedic insight to life, death, and everything in between. Filled with unique characters and countless twists and turns, Boom Boom Town was definitely an unexpected treat.

The play takes place in a strip club owned by Marjorie (Haley Courter) and Travis (Andrew Berger). The two – joined by bar patrons Declane (Marc Saladino) and Lynn (Danny Peterson), Officer Judith (Lexi Morsch), and stripper Caroline (Sheradin Jansen) – embark on personal journeys for truth and redemption. They are guided by Ukrainian stripper/prostitute/”wise woman” Yelena (Christina Sullivan), known first to the audience as the Greek goddess Persephone. Persephone and Underworld guardian Cer (Boston Dunning) watch as each character makes realization after realization about themselves and at the end, sends each spirit to its corresponding section of the Underworld.

I was immediately intrigued after I sat down and was given a play bill with the title of the play, the cast and crew, and a description of the Fields of Asphodel. A long-time fan of Greek mythology, I was excited to see the part the Underworld would play in the show; I was not disappointed.

At the end of play, each character sits in front of one of the three sections of the audience and takes their turn making a final monologue before succumbing to the Underworld. In front of me sat Marjorie, Travis, and Caroline; to my left in the Elysian Fields sat Judith and Declane; to my right sat Lynn in the Fields of Punishment.

While all gave rousing and thought-provoking monologues, Marjorie’s was the one that resonated with me as an audience member. She talked about all of the everyday things she would miss, and how she wanted all the simple, little things back. She knew she was on the brink of nonexistence and she was terrified. Courter’s performance in that moment was one of the most emotionally hard-hitting of the whole show.

Just as hard-hitting was Jansen’s performance, particularly during one scene where her character Caroline has been pushed to her breaking point. Emotionally unstable and isolated, Caroline turns to cocaine. In her rush to snort the line and temporarily suppress her pain, Caroline becomes frantic and loses patience with both the situation and herself. She swipes the powder off the table and breaks down in tears. It was a moment of weakness for Caroline but a moment of brilliance for Jansen.

As much as I enjoyed the play, I was constantly struggling to follow the plot. The dialogue was – at times – sporadic and seemed unrelated. Perhaps the confusion was intentional, but as I felt the exposition was already underdeveloped, the effect was debilitating.

Thirty minutes and one in-depth conversation with my boyfriend (who, having no background in Greek mythology, struggled to understand the play in its entirety) later, I was finally able to piece together most of the plot. Persephone and Cer are guardians of the Underworld, watching for souls on the brink of death and guiding them to their rightful places in the afterlife. The characters in the bar died (I’m still not clear on when) and spend the whole play trying to come to terms with their lives and the choices they did or didn’t make. In hindsight, the plot wasn’t difficult to figure out; the dialogue just became too distracting.

I was impressed by the scene changes as well as the lighting throughout. The cast acted as a stage crew, moving set pieces in the dark while club music blared over the speakers. Occasionally, a silhouette of Caroline dancing could be seen behind a sheet on a walkway above the stage. These were very cool elements that entertained as well as engaged me as an audience member.

Finally, I was very bothered by the chemistry between Persephone and Cer. Their relationship is a classic example of love-hate, but I was missing the connection. There was something so forced about a lot of their interactions that left me wanting more, and not in a good way. While Sullivan and Dunning both gave impressive and energetic performances, so much potential was missed when their characters interacted. Interestingly, the chemistry seemed to be at its best when the two were physically further apart and suffered more and more the closer they became.

Overall, Boom Boom Town served as an impressive response the frequently asked, “Where do we go when we die?” Excessive swearing and questionable delivery aside, the themes concerning what’s really important in this life each of us has been given were powerful.

Although Boom Boom Town is no longer showing, the university’s Theatre department has many more production lined up for the semester. Make sure to visit the website for times, tickets, and synopses.

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The theatre filled with a variety of students, families, and community members, who all took their seats just in time for the orchestra to play at 2:00 PM. When the curtain rose, it was certainly a sight to behold. The actors, adorned in brilliant, sparkly costumes, used fabulous facial expressions as they danced their way across the stage.

The feeling was ethereal — the music swelled when moments were tense and lulled when the mood was calm; Tchaikovsky’s genius was made evident from the start. The synchronization was phenomenal, as were the special effects. Three life-sized toys were pulled out of a box, a nutcracker came to life, and a Christmas tree magically doubled in size.

Throughout the course of her journey, Clara encountered people from all over the world. Children, snowflakes, and angels danced with her, but eventually it was time for her to go. In the mesmerizing and touching final scene, Clara waved goodbye to her newfound friends and held her toy nutcracker. She then fell asleep, dreaming of her spellbinding adventure.

Christmas is now only twenty-two days away, readers — get excited and find a chance to see The Nutcracker. It truly is a captivating and unforgettable experience.

The post “The Nutcracker” Brings Christmas Cheer @ Englert Theatre — 12/1/12 appeared first on KRUI Radio.