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 [email protected].

Auditions

SpeakEasy Stage Company’s 2019-2020 Season EPA’s will be held on Monday, May 13 & May 20, 2019 from 10:00 AM to 6:00 PM (lunch break 1:00 PM -2:00 PM) in the BCA Plaza Black Box located at 539 Tremont Street, Boston, MA 02116.

Present at these EPAs will be: Producing Artistic Director Paul Daigneault and Artistic Fellow David Keohane.

  • MAY 13 EPA

    Union actors for four plays in SpeakEasy Stage Company’s 2019-2020 Season:
    CHOIR BOY, ADMISSIONS, PASS OVER, and THE CHILDREN.

    Union Weekly Contract Salary $473

    For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast.

    To be considered, please email [email protected] with your Equity status, contact information, and hour you wish to be seen. AEA members without appointments will be seen as time permits.

    CHOIR BOY: Rehearsals begin August 19, 2019; Performances run September 13 – October 12, 2019 (Possible Extension to October 19, 2019)

    ADMISSIONS: Rehearsals begin September 30, 2019; Performances run October 25 – November 30, 2019.

    PASS OVER: Rehearsals begin December 9, 2019; Performances run January. 3 – January 25, 2020 (Possible
    Extension to February 1)

    THE CHILDREN: Rehearsals begin February 3, 2020; Performances run February 28 – March 28, 2020 (Possible
    Extension to April 4, 2020)

    For these auditions, no nudity or any form of sexual contact will be required as part of an actor’s audition. We
    will not ask prospective participants to perform violence or sexual contact as part of an audition without disclosing this expectation in the audition notice or invitation. SpeakEasy Stage Company seeks to foster an environment of communication, safety, respect, accountability, and the health, safety, and well- being of institutions and its
    participants.

    Actors of color are strongly encouraged to audition, and all roles are open to inclusive casting. SpeakEasy Stage
    Company shall conduct all auditions/interviews in a manner that promotes fair consideration to persons of all races,
    ethnicities, national origins, genders, sexual orientations, ages, and ability statuses. SpeakEasy Stage Company is an Equal Opportunity Employer. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

    Please bring your Equity membership card to this audition.

    PREPARATION:

    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.

    Scripts will be available at the StageSource office. Selected sides and a reader will be available at the audition

    Non-Equity Actors may add their name to a wait list via email for both audition days. Please contact [email protected] and 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

  • May 20 EPA

    Union actors for SpeakEasy Stage Company’s 2019-2020 Season:
    CHOIR BOY, ADMISSIONS, PASS OVER, THE CHILDREN, and BRIGHT STAR.

    Union weekly contractual salary $473.00

    For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast.

    To be considered, please email [email protected] with your Equity status, contact information, and hour you wish to be seen. AEA members without appointments will be seen as time permits.

    CHOIR BOY: Rehearsals begin August 19, 2019; Performances run September 13 – October 12, 2019 (Possible Extension to October 19, 2019)

    ADMISSIONS: Rehearsals begin September 30, 2019; Performances run October 25 – November 30, 2019.

    PASS OVER: Rehearsals begin December 9, 2019; Performances run January. 3 – January 25, 2020 (Possible
    Extension to February 1)

    THE CHILDREN: Rehearsals begin February 3, 2020; Performances run February 28 – March 28, 2020 (Possible
    Extension to April 4, 2020)

    BRIGHT STAR: Rehearsals begin April 6, 2020; Performances run May 1-May 30, 2020 (Possible Extension to June 6, 2020)

    For these auditions, no nudity or any form of sexual contact will be required as part of an actor’s audition. We will not ask prospective participants to perform violence or sexual contact as part of an audition without disclosing this expectation in the audition notice or invitation. SpeakEasy Stage Company seeks to foster an environment of communication, safety, respect, accountability, and the health, safety, and well- being of institutions and its
    participants.

    Actors of color are strongly encouraged to audition, and all roles are open to inclusive casting. SpeakEasy Stage
    Company shall conduct all auditions/interviews in a manner that promotes fair consideration to persons of all races,
    ethnicities, national origins, genders, sexual orientations, ages, and ability statuses. SpeakEasy Stage Company is an Equal Opportunity Employer. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

    Please bring your Equity membership card to this audition.

    PREPARATION
    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. Scripts will be available at the StageSource office. Selected sides and a reader will be available at the audition.

    Non-Equity Actors may add their name to a wait list via email for both audition days. Please contact [email protected] and 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.

  • CHOIR BOY

    Pharus Jonathan Young (Lead): Male-identified, 17. Black.
    extremely smart; effeminate; senior student and lead of the Charles R Drew Prep School for Boys Choir;
    opinionated, outspoken, charismatic, sly sense of humor; must be a highly skilled singer of gospel and spiritual hymns. Please note: nudity required.

    Anthony Justin “AJ” James: Male-identified, 18. Black.
    senior student, baseball player, choir member Charles R Drew Prep School for Boys; athletic; kind, level-headed, easy to like. Pharus’ roommate; must be a highly skilled singer of gospel and spiritual hymns.
    Please note: nudity required.

    Bobby Marrow: Male-identified, 16. Black.
    junior student, choir member, nephew to the headmaster; arrogant, confrontational, entitled; an alpha male; must be a highly skilled singer of gospel and spiritual hymns.

    David Heard: Male-identified, 17. Black.
    senior student, choir member; religious; planning to be minister; a peace-maker, usually a boy of few words; must be a highly skilled singer of gospel and spiritual hymns.
    Please note: nudity required.

    Junior Blacke: Male-identified, 16. Black.
    junior student, choir member; the most innocent of the boys; Bobby’s milder sidekick; must be a highly skilled singer of gospel and spiritual hymns. Please note: nudity required.

    Headmaster Marrow: Male-identified, 40-59. Black.
    the youngest and latest Headmaster at The Charles R. Drew Prep School for Boys; dedicated to maintaining the high standards and mission of his school; devoted, committed, impassioned; a man with heart who leads with tough love; Bobby Marrow’s uncle.

    Mr. Pendleton: Male-identified, 65-75. White.
    returning professor at the Charles R. Drew Prep School for Boys; teaches African American History; avuncular in nature with life experience to share; humble and down-to-earth; challenges his students to think beyond their immediate perceptions of the world they live in.

    Ensemble (1-3 Actors): Male-identified. 16-18. Black.
    Students at the Charles R Drew Prep School for Boys; must be a highly skilled singer of gospel and spiritual hymns.

  • ADMISSIONS

    *SHERRI ROSEN-MASON: Female-identified. 50’s. White.
    Very liberal secular-Jewish woman; Head of Admissions for Hillcrest. Has a warrior’s spirit, a fighter. As hard as she fights at work, she fights even harder for her kid. Even when he doesn’t make it easy.

    *BILL MASON: Male-identified. early 50’s. White.
    Very liberal WASP; Sherri’s husband; Head of the School at Hillcrest. Has lived a pretty charmed life, for the most part. Firmly believes he is always right, and acts accordingly; in other words, leaves little room for doubt. Assertive in his opinions, decisive.

    CHARLIE LUTHER MASON: Male-identified. 17. White.
    Bill and Sherri’s son; a senior at Hillcrest. Precocious and intelligent. His anger can overtake him, but he doesn’t lead with it. At his core, he’s a sweet kid. Like lots of kids his age, he can quickly become a devout believer in newly adopted philosophies.

    *GINNIE PETERS: Female-identified. 50s. White.
    Very liberal WASP; stay-at-home Mom; her son is Charlie’s best friend. She is one of Sherri’s closest friends. Unlike Sherri, who has mastered work-life balance, Ginnie’s easily overwhelmed, even as she has much less on her plate.

    ROBERTA: Female-identified. 70s. White.
    White; works in development at Hillcrest. She is warm and means well, if also obstinate and stubborn. When she offends, it is unwittingly; her confusion is genuine. The world is changing faster than she can keep up.

    *The roles of Sherri, Bill and Ginnie have been cast. Actors will be seen for these roles as replacements only.

  • PASS OVER

    Role 1: MOSES: male-identified. late teens/early 20’s. Black.
    a young man from the ghetto. brokenhearted. courageous. sad. but also a slave driver. but also the prophesied leader of God’s chosen people.

    Role 2: KITCH: male-identified. late teens/early 20’s. Black.
    a young man from the ghetto and Moses’ friend. jovial. loyal. kind. naive. a lovely friend to have. but also a slave. but also one of God’s chosen.

    Role 3: MISTER/OSSIFER: male-identified. late 20’s/early 30’s. White.

    • MISTER: a man in a light-colored suit. out of his element. earnest. wholesome. terrified. but also a plantation owner. but also pharaoh’s son.
    • OSSIFER: an enforcer of the law. not from around here, but always around. pragmatic. intimidating. also terrified. but also a patroller. but also a soldier in pharaoh’s army.

  • THE CHILDREN

    *ROSE: Female-identified. 60s. Any Ethnicity.
    British accent required. Voluntarily childless; she takes life as it comes; she has a distinct sexual power; warm, loquacious, enigmatic, and self-possessed.

    *HAZEL: Female-identified. 60s. Any Ethnicity.
    British accent required. Mother to four adult children; married to Robin, and a former colleague of Rose; a super-organized yogi in denial of her body’s dilapidation; she is a wholly determined creature of habit, who exudes  domesticity even in moments of crisis.

    *ROBIN: Male-identified. 60s. Any Ethnicity.
    British accent required. A father to four adult children; married to Hazel, and a former colleague of Rose; charming, dramatic, and genial; he is weary, but wily and has the ability to transform from boorish to noble in the blink of an eye.

    *The roles of Rose, Hazel and Robin have been cast. Actors will be seen for these roles as replacements only.

  • BRIGHT STAR

    Alice Murphy: Female-identified, 34-39. Any Ethnicity. An editor of a southern literary magazine;
    intelligent, attractive, professional–but with an air of melancholy. The same actress will also play Young Alice at age 16–rebellious, high-spirited, sexually forward, adventurous. Must be very strong singer and comfortable in folk and bluegrass styles. Vocal range: Very strong singer in a pop-folk style. Wide vocal range.

    Billy Cane: Male-identified, 22. Any Ethnicity. A soldier returning home from WWII;
    an aspiring young writer; fresh, open, optimistic, charming, and a little naïve. Vocal range: Bright, natural Bari-Tenor.

    Jimmy Ray Dobbs: Male-identified, 20-40. Any Ethnicity. Mayor Dobbs’ son and young Alice’s beau;
    handsome, boyishly charming, well-built, and intelligent; from a family of wealth and power and is being groomed by his father for a similar future in the family business; an independent thinker who is not afraid to stand up to his father for what he believes in; he has a sense of personal responsibility and morality as well as a deep reserve of passion and emotion. The same actor will also play an adult

    Jimmy Ray at age 40. Vocal range: Very strong singer in a pop-folk style. Bari-Tenor.
    Mayor Josiah Dobbs: Male-identified, 56-67. Any Ethnicity. The Mayor of Zebulon; a political and financial powerbroker–distinguished, even elegant, an imposing and controlling presence; has a genuine interest in protecting his son’s future and his family name, but in doing so, is ultimately pushed to a point of extreme and irrevocable cruelty. Vocal range: Bass-Baritone.

    Margo Crawford: Female-identified, 22. Any Ethnicity. a small-town bookstore owner;
    a childhood friend of Billy’s who now harbors romantic feelings towards him; a natural beauty with a keen intellect. Vocal range: A Mezzo-Soprano sweet, warm folk voice.

    Daddy Murphy: Male-identified, 56-67. Any Ethnicity. Alice’s father;
    an authoritative and a stern disciplinarian; devoutly religious, hard-working, a poor but proud farmer. Vocal range: Baritone.

    Mama Murphy: Female-identified, 50-64. Any Ethnicity. Alice’s mother;
    a caretaker to her family and her rural community; a warm, loving, sensible woman; hardworking, with great inner strength and compassion. Vocal range: Strong singer in a pop-folk style. Alto.

    Daddy Cane: Male-identified, 60-65. Any Ethnicity. Billy’s father;
    a widower; spry, good-looking; kindhearted, if a bit lonely. Vocal range: Bari-tenor.

    Daryl Ames: Male-identified, 26-39. Any Ethnicity. an assistant at a literary magazine;
    funny, with a dry and officious sense of humor; insecure, and perhaps a bit socially awkward, but endearing and innately likable; some character singing required but not a major singing role; should be able to move well. Vocal range: Bari-tenor.

    Lucy Grant: Female-identified, 20-30. Any Ethnicity. a junior editor at a literary magazine;
    anambitious, professional young “modern” career woman of the 1940s; sexy, forthright, and  provocative with a sharp sense of humor; must be able to vocally carry a big uptempo “foot stopping” drinking song and dance/move very well. Vocal range: Strong belt.

    Ensemble (1-4 actor/singer/musicians): Any gender, 20-50. Any Ethnicity. Strong singers with ability to perform multiple roles; skilled musicians.

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 [email protected] 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 [email protected], 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 [email protected]

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.

 

Relevant Dates for Technical Production Opportunities:

CHOIR BOY | SEP 13 – OCT 12, 2019
ADMISSIONS | OCT 25 – NOV 30, 2019
PASS OVER | JAN 3-25, 2020
THE CHILDREN | FEB 28 – MAR 28, 2020
BRIGHT STAR | MAY 1 – 31, 2020

  • Boston Project Coordinator

    SpeakEasy Stage Company seeks a highly motivated, diplomatic and dramaturgically-minded project coordinator for The 2020 Boston Project. This position works closely with The Boston Project playwrights, and serves as a liaison between the SpeakEasy staff and Boston Project creative teams.

    SpeakEasy Stage Company is an equal opportunity employer, and we do not discriminate based on race, religion, age, sexuality, gender identification, or physical ability. The company is committed to equity, diversity and inclusion.

    Responsibilities of the position:

    • Act as the main point of contact between SpeakEasy staff and Boston Project artists
    • Establish and grow a positive, artistic relationship with each Boston Project playwright
    • Determine and enforce deadlines throughout the course of the play development process
    • Work with each Boston Project playwright to assemble a full artistic team:
      – Project Dramaturg
      – Director
      – Actors:

      • Manage logistics of table reads, workshops, and staged readings over the course of the 2019-20 season, including:
        – Scheduling (in collaboration with Production Management staff)
        – Casting (in collaboration with artistic teams)
        – Script preparation and distribution
        – Contract management
        – Scheduling and planning two-week rehearsal and workshop intensive, culminating in public readings, with the support of Boston Project Stage Manager, June 1-14 2020
        – Nurture a healthy working environment for artists and collaborators

    The Boston Project Coordinator should have 3-5 years of relevant experience as a new play dramaturg and arts administrator. Experience working successfully one-on-one with a playwright to develop a new script is a must. Experience working as a contracted production manager or arts administrator for a mid-sized (or larger) theatre is strongly preferred. A thorough knowledge of the Boston arts community is essential.

    The Boston Project Coordinator works on an independent service contract, with flexible hours and ability to work off-site via phone, email, and remote collaboration tools provided by SpeakEasy.  The Coordinator must be able to commit to a ten-month working period (September 2019 – June 2020). The first 6 months require approximately 5 hours per week, and the final 3 months will require 10-15 hours per week.  A stipend of $4,000 is generously funded by the Harold & Mimi Steinberg Charitable Trust.

    To apply, submit a resume and cover letter to [email protected] Please be sure to include the name of the position to which you are applying in the subject line of your email.

    Find out more about The Boston Project at http://www.speakeasystage.com/boston-project-2019/

  • Wardrobe Supervisor

    SpeakEasy Stage Co. is looking to hire a Wardrobe Supervisor for our upcoming season.

    Pay is $450 for tech week and $350 for performance weeks, 6 performances per week, additional $58 for added performances. Non-union.

    Job Description:
    Responsible for doing daily laundry, pressing, ironing, and maintenance of the wardrobe, as well as twice-weekly dry cleaning.  Preset all clothes for the top of each show. Assist the Costume Designer at Load In and Strike.

    The Wardrobe Supervisor will have access to backstage wardrobe room with washer and dryer, industrial iron, steamer, and sewing machine.  Dry cleaning vendor is directly across the street from the theatre.

    In the past, SpeakEasy has combined the Wardrobe position with a Run Crew position, for a crew member who wishes to increase their earning by coming in early to maintain the wardrobe prior to each show.

    Contact: Paul Melone, Production Manager
    [email protected]

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.

Applications for Summer and Fall 2019 internships are now closed. Applications for Spring 2020 will be available in early October. 

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 [email protected].

  • 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. Marketing internships are directly supervised by Dominique Burford, 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 three references
    • A writing sample 1 to 2 pages max (optional)

    Application materials should be e-mailed to [email protected], 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 three references
    • A writing sample 1 to 2 pages max (optional)

    Application materials should be e-mailed to [email protected], 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 three references

    Application materials should be e-mailed to [email protected], 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 [email protected] 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, 2019 to June 30th, 2020, 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 2019-2020 Artistic Fellowship will be accepted beginning March 15th 2019 and are due no later than May 1st, 2019. 

The Fellowship Program is made possible in part by the generosity of the George & Alice Rich Charitable Foundation.

  • 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.


 

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 [email protected], but must be received by the application due date.

Application materials should be saved in .pdf format and submitted via e-mail to [email protected]. 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 [email protected].