Get Involved

SpeakEasy’s mission to connect our audience, staff and artists through production means that we are constantly seeking the best new talent in Boston to join our community. In this section you’ll find information on job opportunities, internships, fellowships and auditions throughout SpeakEasy’s season. We also post all opportunities on the StageSource hotline, and most major job sites when applicable.

Of course, to stay as up-to-date as possible on everything SpeakEasy has going on, you can always join our e-mail list.

Interested in volunteering as an usher for one of our shows? Click here and “RSVP” to the production for which you’d like to be considered. Questions about ushering may be directed to volunteer@bostontheatrescene.com.

Auditions

Announcing EPA Auditions for our 2019-2020 Season:
PLAYS: Monday, May 7th 9:00AM-5:00PM (Lunch 1-2pm)
MUSICALS: Tuesday, May 8th 10:00AM-6:00PM (Lunch 1-2pm)
To request an audition, please email auditions@speakeasystage.com with your Equity status, contact information, and the hour you would like to be seen. Individuals will be scheduled upon receipt of email.
This EPA will be held in the Roberts Studio Theater at the Calderwood Pavilion located at 527 Tremont Street, Boston, Massachusetts 02116.Auditions will be in 5 minute slots.
Actors may read one or more scenes from the season’s plays, perform one or more monologues, or prepare a combination of scene(s) and monologues(s) from other sources. SpeakEasy suggests, if not performing scenes, to choose two contrasting monologues.

Non-Equity Actors may add their name to a wait list via email for both audition days. Please be sure to include:

  • Headshot and resume (PDF please)
  • A contact phone number and email
  • Equity status
  • The shows for which you would like to be considered

CASTING BREAKDOWN

Actors of color are strongly encouraged to audition, and all roles are open to inclusive casting.

  • SMALL MOUTH SOUNDS

    By: Bess Wohl
    Director: M. Bevin O’Gara
    Rehearsals: Starting on December 10, 2018
    Performances: Jan. 4 – Feb. 2, 2018 (Possible Extension to Feb. 9, 2018)

    JUDY: Female. About 50. Any ethnicity.

    Joan’s partner. Works at an “O magazine” like publication as a top editor in the art department. She’s the kind of person who only needs four hours of sleep per night—she’s direct, competent and capable. She was recently diagnosed with breast cancer, and, as the doctor said, she “will not have a good outcome.” Disclaimer: The character engages in simulated marijuana smoking.

    ALICIA: Female. 30-ish. Any ethnicity.

    From Southern California. She is the kind of person who manages to make a lot of noise even when she’s “in silence.” She recently went through a very bad breakup and is looking for something– or somebody–to make her feel okay again. Cries easily. Disclaimer: This character appears in only underwear for one scene and engages in other sexual content.

    RODNEY: Male. Mid-30s. Asian or Southeast Asian.

    Ageless, fit, grew up in the Pacific Northwest, teaches yoga in New York and the Hamptons (in the summer). Though he is married, his extensive man jewelry does not include a wedding ring. Disclaimer: This character maybe frequently shirtless and engages in other sexual content, including brief nudity.

    THE TEACHER: Any age. Any gender. Any ethnicity.

    A disembodied, androgynous voice with a strange, slightly accented way of talking. The androgynous tone might be the result of some kind of sickness or might be just the way the teacher sounds. Either way, it sounds throaty and scratchy. The accent is somewhere between affected and foreign. The voice is amplified through a microphone. And. Pauses a lot at. Odd moments.

    Please note: The roles of JOAN, NED, and JAN have already been cast.

  • BETWEEN RIVERSIDE AND CRAZY

    By: Stephen Adly Guirgis
    Director: TBA
    Rehearsals: Starting on August 13, 2018
    Performances: Sept. 7 – Oct. 6, 2018 (Possible Extension to October 13, 2018)

    POPS: Male. 50-69. Black.

    The patriarch of the family. A retired cop and with a lawsuit against the city. Trying to keep whatever is left of his family intact. Disclaimer: This character engages in simulated sexual intercourse and other sexual content.

    JUNIOR: Male. 40-49. Black.

    Pop’s son and currently dating Lulu. Trying to work his way through life as best as he can. At odds with Pops and is perhaps doing some illegal activity to make a few bucks. Stuck at the moment. Disclaimer: Character engages in sexual content and simulated marijuana smoking.

    OSWALDO: Male. 25-35. Latino/Hispanic.

    Junior’s ex-con friend from rehab, crashing at Pop’s apartment. A troubled young man seeking comfort wherever he can find it. Fighting to stay sober. Alienated by his own family.

    LULU: Female. 20-39. Latina/Hispanic.

    She is Junior’s girlfriend, also staying at Pops’ apartment; she looks to Pops to be like a father figure and holds tight to this newfound family; funny, good-hearted, and dedicated; she is street-smart, but not too bright; she may dress promiscuously and rely on her looks to get by, but she is surprisingly soulful and sweet. Disclaimer: Character engages in sexual content and simulated marijuana smoking.

     CHURCH LADY: Female. 30-49. Latino/Hispanic.

    Originally from Brazil, a novitiate for the convent. Is holding dark secrets that suggest a complicated history. Trying to do the right thing, whatever that means to her. Disclaimer: Character engages in simulated sexual intercourse with possible brief nudity.

    LIEUTENANT CARO: Male. 40-59. White.

    Italian, has quickly climbed the ladder within the NYPD and is a future Deputy Commissioner. Engaged to Detective O’Connor. Trying to help Pops resolve a long fight with the department.

    DETECTIVE O’CONNOR: Female. 30-49. White.

    Pop’s former partner in the NYPD. Loves him dearly and wants the best for him. Caught between her ambitious fiancé and her mentor/father.

  • SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

    By: Jocelyn Bioh
    Director: Summer Williams
    Rehearsals: Starting on April 8, 2019
    Performances: May 3-May 25, 2019 (Possible Extension to June 1, 2018)

    Note from the Playwright: All characters are of West African descent and are to be played by African and/or Black actors.

    PAULINA SARPONG (pronounced PAUL-LEE-NAH / SAAR-PONG): Female. 18 years old. Black.

    Most popular girl in school and knows it. She is beautiful, talented, vindictive yet somehow loveable.

    ERICKA BOAFO (pronounced BWAH-FOH) Female. 18 years old. Black.

    Light/fair skin; Biracial (Black and White) woman. She is a transfer student and is new to school. She is seemingly nice, but people do not know much about her.

    AMA (pronounced AHH-MAH) – Female. 18 years old. Black

    The sensible, smart one of Paulina’s pack. Is not afraid to say it like she means it.

    NANA (pronounced NAH-NAH) – Female. 16 years old. Black

    The simple pseudo dumb one of Paulina’s pack. She struggles with her love of food and snacks. Very sensitive.

    MERCY – Female. 16 years old. Black

    The witty sidekick to Gifty and will do and say anything to stay a member of Paulina’s pack.

    GIFTY – Female. 16 years old. Black

    The ‘Frick’ to Mercy’s ‘Frack’; loves being part of Paulina’s pack and will do anything to be considered cool.

    HEADMISTRESS FRANCIS – Female. 40’s. Black

    The Headmistress of Aburi Girls Boarding School; loves the girls but is also constantly exhausted by them.

    ELOISE AMPONSAH (pronounced AMM-PONE-SAAH) – Female. 40’s. Black.

    Extremely poised and well-mannered former Miss Ghana 1976. She now is a recruiter for the Miss Ghana Pageant. She speaks with a slightly affected British accent and prides herself in always being a lady.

  • FUN HOME

    Music: Jeanine Tesori
    Book & Lyrics: Lisa Kron
    Based on the Graphic Novel by Alison Bechdel
    Director: Paul Daigneault
    Rehearsals: Starting on September 24, 2018
    Performances: Oct. 19 – Nov. 24, 2018

    ALISON: Female. 37-44. Vocal Range: Low E to Light Belt C-Sharp. Any ethnicity.

    The narrator of this story. Now a self-aware adult, she is able to reflect insightfully on her own life and her relationship with her father before his tragic death. Must be a strong singer who can move seamlessly in vocal quality from speech to song.

    BRUCE: Male. 40-49. Vocal Range: B to G. Any ethnicity.

    Alison’s father. A high school English teacher and funeral home director who spends his spare time on the historic restoration of his home. A complex man with a hot temper because of years of repression. He can be caring and attentive to his children but is also quick to anger. Must be a strong singer who can move seamlessly in vocal quality from speech to song. Disclaimer: This character engages in sexual content.

    HELEN: Female. 40-49. Vocal Range: A Flat to Strong Mixed E. Any ethnicity.

    Alison’s mother. Frustrated and exhausted by her tumultuous marriage. She has spent her life trying to be a good mother and wife while turning a blind eye to the irreverent activities of her husband. Must be a strong singer who can move seamlessly in vocal quality from speech to song.

    MEDIUM ALISON: Female. 19. Vocal Range: Strong mix-belt to C and effortless mix to E. Any ethnicity.

    Alison Bechdel as a freshman at Oberlin College, discovering her sexuality. For an incredibly well-read, hyper-intelligent teenager, her uncertainty about who she is makes her socially awkward at times. Must be a strong singer who can move seamlessly in vocal quality from speech to song. Disclaimer: This character appears in underwear for one scene and engages in sexual content. Seeking actor 18+ to play 19.

    JOAN: Female. 19. Some harmony singing (Alto). Any ethnicity.

    A student at Oberlin College. She exudes a confident, sexual energy, with a dry sense of humor. Unlike Alison, Joan is very comfortable in her skin and openly identifies as a lesbian. Disclaimer: This character engages in sexual content. Seeking actor 18+ to play 19.

    ROY/PETE/MARK/BOBBY JEREMY: Male, 20-24. 70s pop sound to a B. Any ethnicity.

    Seeking one actor to play all roles. Roy: a young man Bruce hires to do yard work. Pete: a mourner who visits the funeral home. Mark: a high school junior. Bobby Jeremy: the lead singer of a band in Alison’s imagination. Seeking a singer with a strong, clean, 70s pop sound to a B. Disclaimer: This character engages in sexual content.

    SMALL ALISON: Female. 9-11. Vocal Range: B to B. Any ethnicity.

    Alison Bechdel as a child. Precocious and opinionated. On the cusp of finding herself and forming her own views on how a girl her age should behave and dress. Seeking an actress who is confident and intelligent. Must be a strong singer who can move seamlessly in vocal quality from speech to song, natural sound. Range: B to B.

    CHRISTIAN BECHDEL: Male. 10-12. Any ethnicity.

    Alison’s older brother. As the oldest of the three children, he strives to be the leader, but is sometimes overshadowed by Alison’s strong personality. Seeking a singer with a natural sound, good sense of harmony, and pitch.

    JOHN BECHDEL: Male. 7-9. Any ethnicity.

    Alison’s younger brother. Like most boys his age, he is full of energy with a quirky imagination. Looks up to his siblings. Seeking a singer with a natural sound, good sense of harmony, and pitch.

    ALSO SEEKING THE FOLLOWING OFF-STAGE UNDERSTUDY

    Any gender. 10-12. Any ethnicity. To cover: SMALL ALISON, CHRISTIAN BECHDEL, and JOHN BECHDEL.

  • ONCE

    Book by Enda Walsh
    Music and Lyrics by Glen Hansard & Marketa Irglova
    Based on the Motion Picture by John Carney
    Director: Paul Melone
    Rehearsals: Starting on February 4, 2019
    Performances: Mar. 1 – Mar. 30, 2019 (Possible Extension to April 6, 2019)

    Please note: ALL ARTISTS MUST SING AND PLAY MUSICAL INSTRUMENTS IN THE SHOW. The score consists of parts for: guitar, piano, ukulele, mandolin, cello, melodica, violin, banjo, bass guitar, accordion, and drums/percussion.

    GUY: Male. 25-35. Vocal Range: G2 to C#5. Any ethnicity.

    Irish-born. A struggling musician who works with his father in a vacuum repair shop. He is brooding but charismatic with extreme appeal. Bari-Tenor with a rock/folk voice. Speaks with an Irish accent. Must play guitar. Disclaimer: Character engages in costume change in view of audience.

    GIRL: Female. 25-35. Vocal Range: C4 to G3. Any ethnicity.

    Czech-born. Direct, intelligent, and witty with a no-nonsense attitude. Doesn’t want sympathy from others. Mezzo-soprano with a rock/folk voice. Speaks with a Czech accent. Must play the piano.

    REZA: Female. 25-35. Vocal Range: C4 to A5. Any ethnicity.

    Czech-born. Seductive, funny, and smart with a larger than life attitude. Soprano with a rock/folk voice. Speaks with a Czech accent. Violin/fiddle a plus.

    EAMON: Male. 20-49. Vocal Range: G2 to G#4. Any ethnicity.

    Irish-born. Music manager at the studio where Guy and Girl record their album. A tough nut to crack. Baritone with rock/folk voice. Speaks with an Irish accent. Guitar, piano, melodica, cajon, and castanets a plus.

    DA: Male. 50-69. Vocal Range: Baritone. Any ethnicity.

    Irish-born. Guy’s father who runs a vacuum repair shop. A man of few words but caring and warm. Baritone with rock/folk voice. Speaks with an Irish accent. Mandolin a plus.

    BARUSKA: Female. 50-69. Vocal Range: G3 to C5. Any ethnicity.

    Czech. Girl’s mother. A caring woman with few inhibitions. Alto with rock/folk voice. Speaks with a Czech accent. Accordion and e concertina a plus.

    BANK MANAGER: Male. 35-45. Vocal Range: G3 to B4. Any ethnicity.

    Irish-born. Prim and proper bank businessman with a secret passion for music. Tenor with a rock/folk voice. Speaks with an Irish (Cork) accent. Must play guitar or cello or both.

    ANDREJ: Male. 20-35. Vocal Range: C2 to G#4. Any ethnicity.

    Czech-born. An employee at a fast food chain with big dreams. Earnest and kind with a gangly, slight stature. Baritone with a rock/folk voice. Speaks dialogue with a Czech accent. Must play electric bass. Ukulele and guitar a plus.

    SVEC: Male. 25-39. Vocal Range: B2 to G#4. Any ethnicity.

    Czech-born. An eccentric guy who spends most of his time watching television and drinking coffee. Baritone with a rock/folk voice. Speaks with a Czech accent. Must play drums. Banjo, mandolin, and guitar a plus. Disclaimer: Character removes trousers on stage.

    EX-GIRLFRIEND: Female. 25-35. Vocal Range: Mezzo-soprano. Any ethnicity.

    Irish-born. Guy’s ex-girlfriend who now lives in New York. Sensual & charismatic. Mezzo-soprano with a rock folk voice. Speaks with an Irish accent. Violin and cajon a plus.

    EMCEE: Male. 30-49. Vocal Range: G2 to G#4. Any ethnicity

    Irish-born. A good-natured ball buster who works at the local bar. Baritone with a rock/folk voice. Speaks with an Irish accent. Guitar a plus.

    BILLY: Male. 30-49. Vocal Range: G2 to G#4. Any ethnicity.

    Irish-born and has one parent from Spain. Owner of the music store where Girl plays piano. Large, loud, and funny but also protective. Baritone with a rock/folk voice. Speaks with an Irish accent. Must play guitar. Cajon, ukulele, and cymbals a plus.

    IVANKA: Female. Can play 6-10 years old. Any ethnicity.

    Czech-born. Girl’s daughter. Has a sweet-natured temperament. Must be comfortable performing on stage. Singing or playing instrument a plus, but not required.

  • THE VIEW UPSTAIRS

    Music, Lyrics, and Book by Max Vernon
    Director: Paul Daigneault
    Rehearsals: Starting on May 6, 2019
    Performances: May 31-June 22, 2019 (Possible Extension to June 29, 2018)

    WES: Male. Mid-late 20’s. Vocal Range: Pop Tenor/Bari-tenor. Any ethnicity.

    20-something fashion designer from the current day. Self-consciously hip, prematurely jaded, and perpetually anxious. Wes wears a fabulous facade, but deep-down harbors real insecurities and dissatisfaction with his life. Has never experienced real tragedy or love. Disclaimer: Character engages in simulated drug use and sexual content.

    PATRICK: Male. Early 20’s. Vocal Range: Tenor with a pop sound. Any ethnicity.

    Young, runaway hustler who projects innocence and fragility, but is a lot tougher than he appears. Patrick creates fantastic, imaginative stories to distract from the harsher realities of his life. Has the ability to see a vulnerability and sweetness in Wes. Disclaimer: Character engages in sexual content.

    BUDDY: Male. 50’s. Vocal Range: Tenor/Bari-tenor. Any ethnicity.  

    The resident piano player of the UpStairs Lounge. Charismatic, but also very temperamental and somewhat bitter. Loves the attention he commands within the community, but also resents being stuck in it. Dreams of one day being a big star but knows it will never happen. Closeted, with a wife. Must play piano. Disclaimer: Character engages in violent content.

    WILLIE: Male. 40’s-60’s. Vocal Range: Tenor. Black.

    Holdover from another era of gay life with a more camp sensibility. Might know all the secrets of the universe, might be in the early stages of dementia.

    HENRI: Female. 30’s-40’s. Vocal Range: Strong R&B, belt to E. Any ethnicity.

    Tough as nails, no-nonsense, old school butch. Henri is the bartender of the UpStairs Lounge and runs a tight ship. Although she comes across as a bit severe, she cares very deeply for the community within the bar.

    FREDDY: Male. 20’s-30’s. Vocal Range: High tenor or belt with falsetto. Latino/Hispanic.

    A construction worker by day, Freddy also doubles as the drag queen Aurora Whorealis by night. Big personality, energetic, and bright. A close friend to Willie and on good terms with everyone else in the bar. Disclaimer: Character engages in sexual content with possible brief nudity.

    INEZ/REALTOR: Female. Late 40’s-60’s. Vocal Range: Soprano. Latina/Hispanic.

    Inez is Freddy’s mother and also occasionally a mother to the other men in the UpStairs Lounge. Born in Puerto Rico, she moved her family to America when Freddy was still young. Lovable, warm, and supportive, Inez assists with her son’s drag performances. As realtor, she is smarmy, fake, smiles too much, etc.

    RICHARD/RITA-MAE: Any gender. 40’s. Any ethnicity.

    Priest of the Metropolitan Community Church. Perhaps more conservative than other patrons in the bar, but level-headed and warm.

    DALE: Male. 30’s-40’s. Any ethnicity.

    Sensitive and more radical in his sexual politics. A raw nerve and someone who’s experienced a good deal of hardship at society’s hand. Disclaimer: Character engages in violent content.

    COP: Male. 30’s-40’s. Any ethnicity.

    In the past the cop is corrupt, homophobic, and violent. In the present, the cop is still stern, but has a sense of humor, and seems to be in service of justice.

Play Submissions

&nspb;

At SpeakEasy Stage, we are committed to reading, hearing, developing, and producing new work by local artists. If you have a play you’d like us to know about, there are several ways to get involved:

The Boston Project
The Boston Project is a new play development initiative which aims to create plays set in our hometown. Submissions are open each spring, and the development process runs during our season from September-May. The Boston Project is designed for Boston-based playwrights who are invested in the communities that make up our city, and who are eager to explore those communities through collaboration with other Boston artists. Read more about The Boston Project here.

Unsolicited Submissions from Boston & New England Playwrights***
Do you have a completed play that you’d like our literary team to read and discuss? Local writers, please email the full text of your play, saved as a .pdf, and a current theatrical resume to submissions@speakeasystage.com. Let us know if you’d like feedback, and we’d be happy to engage with any dramaturgical questions you may have. No paper submissions, please.

***Please note that The Boston Project is the pipeline through which we consider previously unproduced plays for potential mainstage productions. Unsolicited submissions from unrepresented playwrights are not being considered for our mainstage at this time.

 

 

Local Readings & Workshops
We understand that the best way to experience a script is live and on its feet, and so we try to see as many local staged readings, workshops and world premieres as possible. If your play is receiving a public reading or performance, e-mail information on the date, time, and responsible theatre company to submissions@speakeasystage.com, and we’ll make every effort to have a representative attend.

Unsolicited Submissions from New York & Non-Local Playwrights
SpeakEasy Stage accepts submissions from agents and development organizations in the United States, Canada, and the UK. Please send all inquiries to submissions@speakeasystage.com.

Jobs

We are an equal opportunity employer and do not discriminate based on race, religion, gender, age, sexuality, gender identification, or physical ability. We will make reasonable accommodations for interviews and service.
When emailing resumes and materials, please be sure to put the name of the position to which you are applying in the subject line.

 

 

There are no job openings at this time. 

Internships

SpeakEasy internships are an excellent way to learn more about the workings of a mid-sized professional theatre company through hands-on experience and mentorship. Our work environment is supportive and open, giving interns access to the multidisciplinary art of theatre management, which includes the rehearsal and production process, community outreach, development, marketing and general management.

Semester-long internships are office-based and are designed to fit within a 16-20 hour schedule weekly between 9am-5pm Monday-Friday. Click on the internship options to the right for more info about what to expect in each focus area.

Internships are unpaid and do not carry promise of employment after completion, though they may be used for school credit (if your college permits). In addition, we are happy to offer free tickets to our shows and events to all interns, along with full access to other company events whenever possible.

Fall 2018 internship applications are no longer being accepted. 

Summer 2018 internship applications are no longer being accepted. 

Please note that our season of productions runs from September-May, so Stage Management and Design/Technical internships are not available during the summer term. If you have interest solely in a design/technical theatre focus (costumes, props, set, light, or sound design) please contact Dominique Burford, Associate Production Manager about alternative opportunities for individual productions at dominiqueburford@speakeasystage.com.

  • Arts Administration

    Administrative Interns gain exposure to all facets of managing a mid-sized non-profit theatre company, working closely with the Artistic, Development, Marketing, and Production departments as they:

    • Prepare dramaturgical and marketing materials for upcoming productions
    • Coordinate and assist with special events, readings and benefits
    • Lay the groundwork for donor and audience engagement initiatives
    • Read and Assess script submissions from local and national writers
    • Build relationship with audiences and volunteers

    Interns will be expected both to help with general office duties, and also take on and manage a wide variety of necessary tasks throughout the semester. Candidates with a passion and love of theatre, good writing and computer skills, and a gregarious, outgoing, and enthusiastic personality will be the best fit for this position. Administration internships are directly supervised by Jennifer Morris, Administrative  Associate.

    To apply, please submit:

    • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
    • A resume or resumes detailing both your administrative and theatrical experience
    • The names and contact information of two references
    • A writing sample (optional)

    Application materials should be e-mailed to info@speakeasystage.com, with the position to which you are applying in the subject heading.

  • Marketing

    Marketing Interns assist SpeakEasy’s marketing team as they:

    • Plan production marketing campaigns, including poster and postcard design, web design, ad placement, promotions, group sales, special events, business partnerships and more
    • Work with the press to ensure a show gets maximum exposure, including photos, preview articles, reviews, and features
    • Enact public relations efforts, including community building and outreach, educational efforts, and charity donations Interact with patrons and subscribers, and help the public learn about a production from all sides

    Candidates for this internship should be motivated, with good people skills, computer literacy and experience with Microsoft Office (familiarity with Adobe Photoshop is a plus). The ideal applicant will have a basic knowledge of common social networking devices, such as Facebook and Twitter, and will possess superior writing skills. Some graphic design experience is preferable. Marketing internships are directly supervised by Jim Torres, Director of Marketing & Communications.

    To apply, please submit:

    • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
    • A resume or resumes detailing both your administrative and theatrical experience
    • The names and contact information of two references
    • A writing sample (optional)

    Application materials should be e-mailed to info@speakeasystage.com, with the position to which you are applying in the subject heading.

  • Production Management

    Production Management interns assist SpeakEasy’s production management staff as they coordinate, design and execute mainstage productions, special events and auditions. Interns have the opportunity to assist with multiple facets of the season, including:

    • Hands-on work alongside technical and production management staff on our mainstage shows*
    • Coordinate schedules and meetings with production team
    • Plan, organize, and execute load-in and strike of productions
    • Maintain production stocks and supplies
    • Attend rehearsals and design/production meetings as needed

    Candidates should have some experience in theatre production (either professional, community, or educational), knowledge of Microsoft Office apps (especially MS Excel), as well as strong self-management and organizational skills.

    Production Management interns are supervised directly by Paul Melone, General & Production Manager and Dominique Burford, Associate Production Manager.

    To apply, please submit:

    • A cover letter indicating your areas of interest and experience, your preferred start date, weekly availability (if available), and whether you plan to receive college credit for your internship
    • A resume or resumes detailing both your administrative and theatrical experience
    • The names and contact information of two references

    Application materials should be e-mailed to dominiqueburford@speakeasystage.com, with the position to which you are applying in the subject heading.

  • Stage Management

    Stage Management interns work alongside our professional stage managers and run crew on our mainstage productions, gaining essential knowledge in the responsibilities of a stage management team for professional plays and musicals. Internships in stage management are offered on a show-by-show basis.

    Stage Management interns must be able to commit to a full 8-week production schedule, which includes rehearsals, tech, and performances. A mix of daytime, evening, and weekend availability is required based on the particular show to which you are assigned. Production schedules will be listed below to indicate when applications are open for that show.  

    Prior experience in Stage Management at the community, professional, or educational level is required, though certain candidates with extensive training in theatre arts will be considered.

    To apply, please email dominiqueburford@speakeasystage.com with a resume and cover letter detailing your previous experience and what interests you about the show to which you are applying. You should also include your full availability and any potential conflicts with the production schedule. You may be asked to complete a short survey to give us a fuller sense of your strengths and experiences in theatre production.

     

Fellowships

The SpeakEasy Fellowship Program acts as a bridge for early-career arts administrators between their academic experience and a professional life in the arts. Working closely with the director of their department, fellows gain mentorship, career guidance, and hands-on experience through independent and collaborative projects over the course of a full theatrical season.

Next season’s fellowships will run from August 1st, 2018 to June 30th, 2019, and involve 25 hours of on-site work per week, with occasional evening and weekend events. Each fellowship is paid hourly.

Specific criteria for each position and application information are below, but successful candidates for any of the fellowships will have:

  • A high level of motivation and a passion for theatre
  • The ability to work effectively in a highly-collaborative environment
  • Working knowledge of Microsoft Office, Google Apps and Adobe Creative Suite
  • Excellent written and verbal communication skills
  • Drive, initiative, and professionalism
  • Excellent creative problem-solving, brainstorming, and multi-tasking skills

Applications for the 2018-2019 Fellowships are due no later than May 15th, 2018. 

  • Artistic Fellowship

    Working under the Producing Artistic Director, the Artistic Fellow will spend the season gaining experience in high-level theatrical administration, with responsibility in multiple areas, including auditions and casting, dramaturgy and literary management, season development, special event production, and general administrative duties. Applicants for this fellowship should be interested in pursuing a career as an artistic director of a theatre company.

  • Marketing Fellowship

    Working under the Director of Marketing, the Marketing Fellow will gain both high level and hands-on experience in theatrical publicity and communications, with responsibility in multiple areas, including press outreach and promotion, audience engagement events, group sales, e-blasts and social media, subscription campaigns, budgeting and finance management, and audience relations. Applicants interested in this fellowship should be interested in pursuing a career in marketing, public relations, and/or arts administration.

  • Production Fellowship

    Working under the General and Production Manager, the Production Fellow will spend the season gaining experience in both the hands-on and day-to-day administrative operations and hands-on implementation of a five-show production cycle. The fellow will play a key role in the production of SpeakEasy’s fall benefit and spring gala, and take the lead on producing the spring Boston Project workshops and staged readings. Applicants for this fellowship should be interested in pursuing a career as the production or general manager of a theatre company.


 

Application Requirements

To apply for any of the fellowships, please prepare:

  • A cover letter detailing which fellowship you are applying for
  • A resume containing relevant job history and theatre experience
  • A narrative of no more than three pages addressing:
    • Why you are interested in the fellowship to which you are applying
    • The qualities, skills, and interests that make you the best candidate
    • What you are hoping to gain from the fellowship experience
    • A description of your broader career goals, and what impact or transformation you would like to have in the Boston theatre community
  • A brief description (no more than one page) of either the most moving piece of theatre you’ve ever seen, or an artist who inspires you
  • Two letters of recommendation from former employers, professors, or supervisors (with at least one being from a staff member of an arts organization or a theatre professor). These letters may be sent separately via e-mail to fellow@speakeasystage.com, but must be received by the application due date.

Application materials should be saved in .pdf format and submitted via e-mail to fellow@speakeasystage.com. Please indicate the fellowship to which you are applying in the subject heading of your e-mail.

Any questions regarding SpeakEasy, the Fellowship program, or the application process may be directed to fellow@speakeasystage.com.