Bottle Alley Theatre Co Seeking Director/Acting Coach for 'The Zoo'

Bottle Alley Theatre Company is seeking ONE last director to join their creative team (already consisting of a mind-boggling FIVE directors) for their extremely experimental performance piece entitled The Zoo.

Confused? Let's clarify:

First, a vague synopsis: The Zoo is about six criminals, each committing atrocities completely independent of each other. Sensationalized by the media and turned into quasi-celebrities, they are later apprehended and placed on large show trials. Instead of being executed, they are placed in a public prison, built specifically for them - and what is a public prison, but a zoo?

Each director is responsible for directing just ONE actor (and thus here is where the acting coach part comes in). The reason for this is so that there can be a level of attention to detail unlike most conventional plays. Bottle Alley's Artistic Director Chris Fontanes shall supervise/direct the entire production overall.

This is what is known as a "long-term" project, with The Zoo (the last show of the season) slated to open in September and with production kicking off in January. However, due to the scale of the production and its level of detail, we're eager to fill that last director's spot now.

No experience is necessary - however, the applicant should have an understanding of acting and how to work with someone on this one-on-one level. In addition, we're looking more for someone with the right attitude who can work in a larger creative group while still being independent.

And, yes, this position is paid.

Interested? Confused a little? Then send your resume or letter of interest to Artistic Director Chris Fontanes at cmfontanes@gmail.com

This a FIRST COME, FIRST SERVED type of thing. Applicants will be reviewed, and then possibly have an interview set up at a later date.

Interview with Matthew Cassi, Director of Bloody Bloody Andrew Jackson at the Woodlawn Theatre, San Antonio, Playing November 8 - Dember 1, 2013

Published in the Woodlawn Theatre blog:

Interview with Matthew Cassi, director of Bloody Bloody Andrew Jackson

by Hannah Wood October 30, 2013

Recently, I had the privilege of interviewing Matthew Cassi, director of Bloody Bloody Andrew Jackson. It’s coming out November 8th in the Black Box and it sounds like tons of fun. You know how people tend to get really bright-eyed and excited when you ask them about something they like to talk about? That’s Matthew Cassi personified. Thus, he was an extremely fun person to interview.

HW: How long have you been working here at the Woodlawn?

MC: This is the second production that I have directed. Last season, I directed a play called Eurydice here in this small Black Box space as well. I’ve worked with Greg Hinojosa, the artistic director of the Woodlawn a few times at other theatres, so we’ve had a working relationship for four or five years. But this’ll be my second production here at the Woodlawn.

HW: What is Bloody Bloody Andrew Jackson about to you?

MC: Bloody Bloody Andrew Jackson is an comedic, punk rock view into politics of the 19th century, including the eradication of the Native Americans. It looks at the president like a celebrity and it looks at him – you know today’s perspective of how we look at celebrities and how celebrities act? It looks at the presidency of the seventh president from that perspective and reveals things that correlate it to today, politically and socially as well.

HW: How does this show measure up to others that you’ve directed? Is it more difficult or less difficult? Why? And why do you think so?

MC: I’m kind of known, and I say that unpretentiously – if there’s a way – I’m kind of known for directing comedies and dramas. [. . .] I’m originally from Seattle and I’ve been here about seven years. I went to school in Seattle and worked as an actor and director for several years before I went here. So, in this town, I’m more known for farces and over-the-top comedies and dramatic plays. People don’t know me as a director of musical theatre. It can be pretty challenging. I wouldn’t say it’s any more challenging than any other production I’ve directed. Every production has some challenges. Comedies are hard, dramas are hard, musicals are just as hard. 

Some of the elements in this show are harder because I have 13 cast members and each of them has about five or six different characters they play. So, multiply 13 by five or six and that’s the number of costume pieces that I have to coordinate with props and all of that. That can be pretty complicated. So, some of the elements in this production consume more time for me as a director and for the actors as well. 

It can get pretty tiring and cumbersome. But, I don’t look at my productions as harder than the rest. I look at every one as just as challenging as the last. And, the way I approach things, I don’t want to do things I can do in my sleep. I want to be challenged and this is just as challenging as the last four or five that I’ve done. With each show, I have to examine the complexities of it and set a game plan. I do a lot of preparation and research even before I get into the rehearsals for a production. And that’s just me. For me, I look at every production from the same lens. And I just have to adjust accordingly based on the complexities or requirements of the things within the show. . . . Does that make sense?

Read more at the Woodlawn Theatre blog. . . .

Interview with Matthew Cassi

on October 30, 2013 in Main Stage with No Comments

Recently, I had the privilege of interviewing Matthew Cassi, director of Bloody Bloody Andrew Jackson. It’s coming out November8th in the Black Box and it sounds like tons of fun. You know how people tend to get really bright-eyed and excited when you ask them about something they like to talk about? That’s Matthew Cassi personified. Thus, he was an extremely fun person to interview.

HW: How long have you been working here at the Woodlawn?
MC: This is the second production that I have directed. Last season, I directed a play called Eurydice here in this small Black Box space as well. I’ve worked with Greg Hinojosa, the artistic director of the Woodlawn a few times at other theatres, so we’ve had a working relationship for four or five years. But this’ll be my second production here at the Woodlawn.
HW: What is Bloody Bloody Andrew Jackson about to you?
MC: Bloody Bloody Andrew Jackson is an comedic, punk rock view into politics of the 19th century, including the eradication of the Native Americans. It looks at the president like a celebrity and it looks at him – you know today’s perspective of how we look at celebrities and how celebrities act? It looks at the presidency of the seventh president from that perspective and reveals things that correlate it to today, politically and socially as well.
HW: How does this show measure up to others that you’ve directed? Is it more difficult or less difficult? Why? And why do you think so?
MC: I’m kind of known, and I say that unpretentiously – if there’s a way – I’m kind of known for directing comedies and dramas. I’m not really know for musical theatre in this town. I’m originally from Seattle and I’ve been here about seven years. I went to school in Seattle and worked as an actor and director for several years before I went here. So, in this town, I’m more known for farces and over-the-top comedies and dramatic plays. People don’t know me as a director of musical theatre. It can be pretty challenging. I wouldn’t say it’s any more challenging than any other production I’ve directed. Every production has some challenges. Comedies are hard, dramas are hard, musicals are just as hard. Some of the elements in this show are harder because I have 13 cast members and each of them have about five or six different characters they play. So, multiply 13 by five or six and that’s the number of costume pieces that I have to coordinate with props and all of that. That can be pretty complicated. So, some of the elements in this production consume more time for me as a director and for the actors as well. It can get pretty tiring and cumbersome. But, I don’t look at my productions as harder than the rest. I look at every one as just as challenging as the last. And, the way I approach things, I don’t want to do things I can do in my sleep. I want to be challenged and this is just as challenging as the last four or five that I’ve done. With each show, I have to examine the complexities of it and set a game plan. I do a lot of preparation and research even before I get into the rehearsals for a production. And that’s just me. For me, I look at every production from the same lens. And I just have to adjust accordingly based on the complexities or requirements of the things within the show. . . . Does that make sense?
- See more at: http://woodlawntheatre.com/blog/?p=52#sthash.JIz6vYWU.dpuf

Interview with Matthew Cassi

on October 30, 2013 in Main Stage with No Comments

Recently, I had the privilege of interviewing Matthew Cassi, director of Bloody Bloody Andrew Jackson. It’s coming out November8th in the Black Box and it sounds like tons of fun. You know how people tend to get really bright-eyed and excited when you ask them about something they like to talk about? That’s Matthew Cassi personified. Thus, he was an extremely fun person to interview.

HW: How long have you been working here at the Woodlawn?
MC: This is the second production that I have directed. Last season, I directed a play called Eurydice here in this small Black Box space as well. I’ve worked with Greg Hinojosa, the artistic director of the Woodlawn a few times at other theatres, so we’ve had a working relationship for four or five years. But this’ll be my second production here at the Woodlawn.
HW: What is Bloody Bloody Andrew Jackson about to you?
MC: Bloody Bloody Andrew Jackson is an comedic, punk rock view into politics of the 19th century, including the eradication of the Native Americans. It looks at the president like a celebrity and it looks at him – you know today’s perspective of how we look at celebrities and how celebrities act? It looks at the presidency of the seventh president from that perspective and reveals things that correlate it to today, politically and socially as well.
HW: How does this show measure up to others that you’ve directed? Is it more difficult or less difficult? Why? And why do you think so?
MC: I’m kind of known, and I say that unpretentiously – if there’s a way – I’m kind of known for directing comedies and dramas. I’m not really know for musical theatre in this town. I’m originally from Seattle and I’ve been here about seven years. I went to school in Seattle and worked as an actor and director for several years before I went here. So, in this town, I’m more known for farces and over-the-top comedies and dramatic plays. People don’t know me as a director of musical theatre. It can be pretty challenging. I wouldn’t say it’s any more challenging than any other production I’ve directed. Every production has some challenges. Comedies are hard, dramas are hard, musicals are just as hard. Some of the elements in this show are harder because I have 13 cast members and each of them have about five or six different characters they play. So, multiply 13 by five or six and that’s the number of costume pieces that I have to coordinate with props and all of that. That can be pretty complicated. So, some of the elements in this production consume more time for me as a director and for the actors as well. It can get pretty tiring and cumbersome. But, I don’t look at my productions as harder than the rest. I look at every one as just as challenging as the last. And, the way I approach things, I don’t want to do things I can do in my sleep. I want to be challenged and this is just as challenging as the last four or five that I’ve done. With each show, I have to examine the complexities of it and set a game plan. I do a lot of preparation and research even before I get into the rehearsals for a production. And that’s just me. For me, I look at every production from the same lens. And I just have to adjust accordingly based on the complexities or requirements of the things within the show. . . . Does that make sense?
- See more at: http://woodlawntheatre.com/blog/?p=52#sthash.JIz6vYWU.dpuf

Call for Director and Stage Manager for 'The Relentless Pursuit of Ice' by Max Langert, Punchkin Repertory Theatre

Want to be part of a creative team? Punchkin Repertory Theatre needs to fill a Director position and a Stage Manager position immediately for our upcoming run of The Relentless Pursuit of Ice by Max Langert to be performed at the FronteraFest 2014.

Director duties include:

• adapting a script and collaborating with the team
• breaking down a script, analyzing and exploring the content and conducting relevant research;
• managing time and organizing people and space;
• communicating with all parties involved, including actors, the creative team, the production team
• preparing detailed notes for the cast and creative and production teams;
• helping to publicize the production

Stage manager duties include:

-Coordinating the scheduling of rehearsals, paper tech, tech, and run
-Acting as liaison between actors, director, and other company members (e.g. - rehearsal reminders, issues)
-Noting blocking, props, lighting/sound cues

Both Postions:
-Must be able to attend all rehearsals and performances
-Must be patient and flexible in thinking
-Must be highly organized
-Must have reliable transportation
-And above all, must LOVE theatre!

Capital T's Annual 'New Directions' Opportunity for a First-Time Professional Director, Application Deadline August 31, 2013

2014

Call for Promising Young Directors
 
When is the deadline?
August 31st 2013 at 11:59pm.

What is New Directions?
The New Directions program offers a young director with no professional credit the opportunity to direct a full-length play and bring a fresh new voice to Austin theatre while getting paid. The show will be fully produced by Capital T Theatre, and the director will have the opportunity to develop a piece of theatre that both reflects and contributes to the diversity of the Austin/Central Texas arts scene. As part of the New Directions program, Capital T is currently searching for a promising young director for the company's contribution to the Long Fringe of FronteraFest. The Austin American Statesman calls this festival the fringe theater event of the Southwest.

All applicants need to be available in the Austin area during the rehearsal and performance processes (early December through early February). The company currently has several exciting scripts under consideration for FronteraFest, but welcomes suggestions from applicants as well.

Plays must meet the following criteria:

• newer, edgy, and engaging full-length scripts (90 minutes or less);
• up to approximately 3-4 characters;
• minimal technical requirements;
• ability to be produced in six weeks or less.

Who can apply?
 
Anyone under 35 years of age who does not have a professional directing credit on their resume may apply. We consider any paid directing job a professional credit.
 
What do I need to do to apply?
 
To be considered for New Directions an applicant must submit a full theatrical resume and cover letter. The resume should include all theatrical credits. The cover letter should address why you are interested in being the next New Directions Director. It should also answer the question:"How can the New Directions program help you reach your next goal?". Forward the resume and cover letter to info@capitalT.org
 
What happens next?
 
After the deadline has passed, the resumes and letters of interest will be read by a committee who will then select up to 10 finalists to invite to formal interviews. At these interviews each candidate will be given the opportunity to share a visual portfolio as well as discuss plays that are being considered for production. After this first round of interviews 3 finalist are selected for final interviews. Final interviews will be conducted with the artistic director, past new directions directors, and company members.
 
Who are the past New Directions directors?

Most recently, Kelsey Kling directed the Austin premiere of GRUESOME PLAYGROUND INJURIES. This was Kelsey's first collaboration with Cap T. It was a critical and box office hit. The Austin Chronicle boasted “Kelsey Kling makes a distinguished directorial debut with Rajiv Joseph’s gem of a love story”.

In 2012 Scott Tipton was selected to have the honor of directing the United States premiere of Ella Hickson's PRECIOUS LITTLE TALENT. Scott said of the experience, "It is a great honor to be ‘entrusted’ with the responsibility of being one of the first individuals who introduces the playwrights story." This was the first time he had worked with Cap T. After directing PLT he has since relocated to the Houston area and continues to direct theatre.

In 2011 Gary Jaffe directed the smash hit SPIRITS TO ENFORCE by Mickle Maher. Not only gaining rare unanimous praise fromcritics and audiences alike, it was nominated and won the 2011 Austin Critics' Table Award for Best Drama. This was Gary's first time to work with Capital T. Gary was recently named Artistic Director for Tutto Theatre Company here in Austin.

In 2010 Derek Kolluri directed the critically acclaimed DYING CITY for Capital T. The show, which was the most well received of fronterafest longfringe, was given extended performances outside of the festival. Since directing for Capital T Derek has gone on to found The Sustainable Theatre Project. A new theatre company in Austin, STP plans to offer fresh, professional theatre to the Austin theatre community while maintaining the highest possible respect for the environment.

In 2009 Kelli Bland was selected as for our New Directions program to direct the US premiere of THE BIRD and THE BEE by Al Smith and Matt Hartley. This was her first time to work with Capital T. The plays THE BIRD and THE BEE were nominated for Outstanding production of a Drama by the Austin Critics Table Awards. The plays were also the highest attended theatrical event of FronteraFest 2009. Since directing for Capital T she went on to direct and produce the world premiere of the independent musical FASTER THAN THE SPEED OF LIGHT at Salvage Vanguard Theatre and now collaborates with PAPER CHAIRS.

In 2008 John Carroll was selected for the New Directions program. It was his first time to work with Capital T. He directed the regional premiere of I GOOGLE MYSELF by Jason Shafer. The play earned great critical success in it fronterafest run and was subsequently remounted at Hyde Park Theatre in the summer of 2008 becoming the highest earning production of Capital T's at the time. John has gone on to found the Weird City Theatre Company, a company that produces re-envisioned classics and original works while merging a new audience with the traditional.

Video: Ralph MacPhail Speaks about Princess Ida, Gilbert and Sullivan Society of Austin, June 13 - 23, 2013

A video introduction by Ralph MacPhail, Jr. to the

production of

 
Princess Ida
by Sir W.S. Gilbert and Sir Arthur Sullivan
directed by Ralph MacPhail, Jr.
musical direction by Dr. Jeffrey Jones-Ragona
featuring Michelle Haché in the title role with a cast of 36

June 13 - 23, 2013

at Worley-Barrton Theatre, Brentwood Christian School, 11908 N. Lamar Blvd.

Tickets available via the Long Center

Adults $25-30, special pricing for students with ID and for y oung persons

Special pricing available for groups of 10 or more (contact michael@gilbertsullivan.org)

Click to purchase on-line or telephone 512 474-5664 for greater flexibility in specifying desired seats

Bottle Alley Theatre Co Seeking Scripts & Directors by May 31, 2013, for Second Season

Bottle Alley Theatre Company is seeking new and original scripts for production as well as directors interested in directing experimental projects.


We are currently in the midst of Make-Believe, our fourth production as well as our final show in what we are calling our "first season" of shows. We would like to start planning for the future and to read new words and meet new, talented people who can come in and bring a fresh perspective.


A little bit about us, and the kind of theatre that we do: We produce experiments. New work. Unapologetic, smashmouth theatre that makes the audience THINK and FEEL. Theatre that is not afraid. If you can dream it, we might be able to produce it. Puppet shows. Theatre in warehouses. Movement pieces. Poetry. Theatre that will move us and the audience to discuss the work, long after the performance is over. Drab theatre, works by playwrights that have been dead for years, curtains and blackouts are not our style.


Still interested? Hope so!


Scripts: Pretty simple: Send your scripts! It might take a while to get back to you, but know that your words are being read and kicked around by our talented group of minds. We might or might not suggest edits and you might or might not be interested in making them. Either way, we'd love to read these words.


Unfinished scripts/proposals are kind of a risky business. We LOVE hearing new ideas, but would greatly prefer finished product. But if you feel so passionate about an idea that you just have to share it, then please do!


So, yeah. Send your script along with a brief bio about it (where'd the inspiration come from, how long have you been working on it, etc) as well as any production history that it has (if any) as well as a little bit about yourself. Just simple stuff. Are you a student, a graduate, you work at a record store, stuff like that.


Directors: Pretty simple as well: send your resume! If we are interested, we'll set up a interview so we can get to know you a little better. Now, maybe you come with your own scripts and ideas. That's fantastic! Include it in a brief cover letter. Like so: "Hello Bottle Alley. My name is Chris Fontanes, a director here in Austin. I have an idea to direct a play about bugs."


Maybe you are a director in search of a project or the right script for you. That's great too! Send us your resume! If we're interested, we'll set up an interview, and try and find the right script/project for you.


Contact: Email Artistic Director Chris Fontanes at his personal email address cmfontanes@gmail.com. SERIOUS INQUIRIES ONLY, PLEASE


Deadline: The deadline for ALL submissions is the end of May - the 31st, to be exact.  Hope to hear from you soon!

Call for Scripts and Directors, Last Act Theatre Company

The Last Act Theatre Company is accepting script and directing submissions for our next season beginning January 2014. Please know that we are a small group in Austin, Texas, with a very modest budget. You would not be paid for your services but if your submission is chosen by our administrative board, we will produce a full-length play of your original work and/or direction.
If you are interested in submitting, please know that you can submit:

• -script proposal w/ no director in mind

• -script and director proposal

• -director proposal (you can specify whether you are interested in directing regardless or if you are interested contingent on the shows that will comprise the season)

Our 2013-2014 season will be comprised of two shows with three week runs and one FronteraFest piece.
For those interested in submitting a script proposal, the options are:

• -original plays

• -adaptations of classics (anything royalty free)

• -existing play w/ a fundraising plan to cover the royalties

Submission deadline is March 16, 2013 at 5:00 p.m. We will make our decisions by April 30, 2013 for the season. Directors may be chosen at that time or if needed we can send scripts to interested participants and then pick directors by May 31, 2013.
If you would like to submit, or have any questions about the process, please contact us at lastacttheatre@gmail.com.

San Antonio Call for Scripts and Directors for One-Act Festival, Renaissance Guild, Deadlines February 20 and 21

 



Calling all Authors & Directors -- San Antonio's Premiere Black Theatre Company presents ActOne Series, Volume XVI

Scripts & Directors wanted! The AOS was developed to provide a venue and a voice to writers. Once the pieces are selected, local playwrights will have the opportunity to observe some of the rehearsals and address questions from directors and actors.

The process culminates in two evenings of performances on May 9 and 10, 2013, when the writers get the opportunity to see their works come to life, local actors show their stuff on stage and the San Antonio community gets the opportunity to celebrate the work of their neighbors, friends and promising new theatre voices.

Theme: "Writer's Choice", so writers can tell us what's on their mind!! Almost any topic goes: comedy, drama, religious, politics, love, hate, etc. We Want Your Words!

Guidelines: We are looking for copy written, unpublished works that have not been previously performed in the Southwest Region, 5 to 15 minutes in length (can be an excerpt from a longer piece), with a maximum of 6 characters, and little or no technical requirements. Although we are accepting scripts for roles for all actors ages 12-99, we are also looking for scripts that feature young actors ages 12-18 in this series. Submissions are strictly volunteer-non-equity.

For more details or information on Renaissance Guild's mission statement, visit our website: www.therenaissanceguild.org
Deadline for Script Submissions: February 20, 2013 (submission received after February 20, 2013 will be considered for future productions). Due to the large number of submissions, you may receive a response only if your script is chosen.

AOS Directors wanted! We are looking for directors for our next ActOne Series. Director applicants must be creative and able to work with people of all ages, genders, backgrounds, personalities and ethnicities. Deadline for Director Submissions - Feb 21, 2013 Experience - prior directing experience is a plus. Can be a novice, but must have some kind of theatre background (i.e. artistic or technical) and must be coachable. Novices will be mentored. Subject Matter - no censorship allowed. No text will be altered on scripts selected. Position is strictly volunteer-non equity. If you are interested please submit a resume, or bio, or letter of introduction including why you want to direct. Must be available to participate in audition process and conduct rehearsals. Audition date(s): March of 2013

Rehearsal dates: March 25 - May 8 Rehearsal days: M & W or Tu & TH (no Fridays) Rehearsal times: 6pm-7.30pm, or 7.30pm-9pm, based on cast schedule.
Each show will be rehearsed twice a week for 90 min. Rehearsal location: TBA

Script & Director submissions: Email preferred in Word or PDF format. Email to: actoneseries@therenaissanceguild.org or mail to The Renaissance Guild - ActOneSeries, Attn: Program Mgr., P.O. Box 12381 San Antonio, Texas 78212

AOS Co-Program Managers: John Martin-Fitzhugh & Danielle King. For More Information email: actoneseries@therenaissanceguild.org

Director Needed by Hill Country Community Theatre near Marble Falls - Paid Position

The Hill Country Community Theatre is looking to hire an experienced director for their upcomingproduction of the comedy/drama Charlie Cox Runs With Scissors. 
 
 The position pays $1000. 

The theatre is located in n Cottonwood Shores, near Marble Falls (click for map)./Performance dates are April 25 thru May 5.

Please forward resumes to Steve Reily at scrntx@gmail.com. Information about the theatre can be found on our website thehcct.org or Facebook/Hill Country Community Theatre.

Seeking Director, Actors, Stage Techs for January 15 FronteraFest production 'Slumming, University Style'

Need director for dark comedy performed at FronteraFest on jan 15

Slumming, University Style

Also actors needed for: flexible to age, race, experience, some possible singing or dancing but not on professional level.

mixed race female -- around 35
middle age male - will also imitate General Patton
black male - college grad, militant, will also imitate singer James Brown
female - actress type. will also imitate Marie Antoinette, recent graduate
male - from Mississippi, around age 30

play will be filmed with DVDs going to all cast, prints of poster of play
some perks; also plan for film to play live on TV or radio

Could also use stage manager, lighting, sound

Contact zelderkronkflash@yahoo.com