Work With Us

Work With Us

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.

To stay up-to-date on everything SpeakEasy has going on, join our e-mail list.

Open Positions

Fellowships

Internships

Play Submissions

Open positions

Various positions with the company are open on a rolling basis year around as needed for seasonal, project based, and freelance positions. Check here for currently open positions that we are looking to fill.

Relevant Dates for Technical Production Opportunities:

THE SOUND INSIDE – SEP 24 – OCT 16, 2021
BLKS – OCT 29 – NOV 20, 2021
PEOPLE, PLACES & THINGS – JAN 7 – FEB 5, 2022
ONCE ON THIS ISLAND – MAR 11 – APR 16, 2022
THE INHERITANCE, 1 & 2 – APR 22 – JUN 11, 2022

Overhire Crew

SpeakEasy relies on overhire crew with a variety of technical skills for hourly work.  This work is advertised via an internal email list of overhire workers, and also posted to the Boston Theatre Freelance facebook group.  We hire these workers during the week immediately prior to public performance when we need many hands to assemble the physical elements of the show.  These jobs do not continue during rehearsals or performances.  The supervisor is the department head – TD for carpenters/loaders, Master Electrician for electricians, Sound Designer or Audio Supervisor for sound engineers, Props Master for props and craft artisans, and Wardrobe Supervisors and Costume Designers for stitchers.

Rates are $17/hour, paid with a 4-hour minimum.  That means that if the work call is only one or two hours, the worker is still paid for 4 hours.  The “4 hour mini” is an industry standard that makes the travel time worth it though short maintenance or notes calls may be brief in duration.

To gain entry to the overhire list, we require an e-mailed resume describing training and past or current jobs in technical theatre, that is descriptive about skills including:

  • Theatre lighting – electrician, hanging, cabling, and focusing lights   
  • Sound technician for audio gear setup, troubleshooting, and take down   
  • Stage carpentry   
  • Scenic painting   
  • Props or crafts work   
  • Stitching or altering costumes   
  • Driving, vehicles such as car, cargo van, or box truck   
  • Loading (less skilled, more ability to move items and equipment)

It is common to have multiple areas of expertise listed for one person on the overhire list.

We add technicians with high-school level of skills and experience to the overhire list all the time.  While we could not succeed with a crew consisting of all workers of limited skill, there is often room for a variety of skills to round out a crew.  Jobs get assigned on the fly and there is room for as-you-go learning of specific tasks.

For this reason it is suggested that the overhire list be the first way to gain employment backstage for skilled work.

To gain access to the overhire list, please send a resume, and we may contact you for a brief phone, video, or in-person interview before adding you to the list.

Compensation – $17/hour W2, temporary work, no benefits included.

Designers: Lighting, Sound, Set, Costumes, Projections/video

Designers (Sound, Set/Scenic Lighting, Costumes, Sound, Projections/video) are key creative contributors to productions.  The job requires a great deal of artistry as well as technical knowledge and practical problem-solving.  Designers do a mix of realizing their own design to handing off detailed drawings or specifications to have the design elements build, shopped, or acquired by other workers.

We start with the art first, so in addition to a resume and experience, a portfolio is essential to getting hired as a designer.  Portfolios on a publicly accessible website are preferred, but any form that can be easily viewed electronically will work.

Designers who are new or unknown to the company usually are hired by scheduling a portfolio review with the Production manager and/or Artistic Director, and then by arranging other short interviews with Directors or other lead artistic staff on a project.  These interviews may be by phone or video or in person.

We also accept references from directors, designers, and stage managers who often recommend designers they have worked with in the past.

Compensation: Designers are freelancers, paid a flat fee, starting at $1,500 for mainstage productions.  Special projects or second stage productions may start lower.  The job is hired as a freelance contractor, with the designer doing most of the creative work at their own studio or residence on their own schedule.  Paid as 1099.  We hire a mix of union (USA Local 829) and non-union designers.  Union designers may receive benefits according to the contract, non-union designers do not receive benefits above the fee.

Costume Designers usually do more hands-on work to realize designs (buying, building, or altering) and are offered additional fee towards that work based on the cast size and period or complexity of the show.

Run Crew

Wardrobe Supervisors, wardrobe run crew, backstage crew, and board opsRun crew positions are hired hourly to fill key roles in running and maintaining our productions.  We begin by hiring the supervising positions: Wardrobe Supervisors, Stage Managers, and Assistant Stage Managers at the beginning of each season.  Based on the needs and budgets of the show, we hire run crew to fit the needs of the show.  All crew jobs share in basic maintenance and cleaning of the stage and backstage areas and pre-show prep.  Crew do not do building maintenance or specialized work on set, lights, or sound equipment.

Run Crew positions require skills and experience working backstage on live theatre events.  We tend to hire with stage management experience for most general crew jobs, but if the production has a special technical element we will look for skilled applicants.  Board operators must have some background operating lighting, sound or video systems but are often trained on our particular setup during rehearsals.

Compensation:

  • Wardrobe Supervisors $15/hr W2 eligible for overtime   
  • Run Crew – $13.50 per hour W2 eligible for overtime over 40 hours per week

Stage Managers, and ASMs

All Stage Management jobs and some ASM (Assistant Stage Management jobs) are union positions for SpeakEasy mainstage shows.  Stage Managers are hired mostly upon personal recommendation from directors, choreographers, and artistic directors.  Stage Management candidates who are new to the company are hired after several in-person or remote job interviews and extensive checks of references.  The communication between the stage manager and the director, cast, creative team, and run crew is critical.

Assistant Stage Managers are hired as union and non-union depending on the production.  ASM candidates often come from resumes submitted directly, by promoting a run crew or overhire employee, or from a personal recommendation from another stage manager or director.

Union Stage Managers are paid $450-600 per week salary plus overtime and benefits, with rates set by a Union Collectively Bargained Agreement.  Non-union Assistant Stage Managers are paid 13.50 per hour, eligible for overtime, no benefits, and minimum salary of $300/week.

Technical department heads: Project Technical Director (TD) Master Electrician, and Props MasterSpeakEasy stage does not own and operate a theatre full time, so we hire technical department heads on a show-by-show basis, to be resident and working on-site the week prior to opening our shows.  For consistency we try to hire for multiple projects.  We hire candidates that come to us through resume submission, personal recommendation from other theatres and production managers, and by promoting employees with past experience in Overhire and crew positions.

In addition to a resume and reference check, we require several interviews that include in-depth descriptions of past projects and examples of technical abilities as well as people-management skills.

Compensation: Project TD and ME positions are paid a salary starting at $1,100 per show.  Props Masters are paid a similar salary OR hourly at $17/hour depending on the complexity of the project.

Project Technical Director

SpeakEasy Stage Company is seeking Project Technical Directors for our 2021-2022 season.

Pay: $1200 salary per show W2 depending on requirements of show and experience of candidate. Additional maintenance and notes during the run of the show, after opening, are paid hourly in addition to salary at $20/hour.

Job Description: The Project Technical Director is responsible for the safe and effective realization of the Set Design and stewardship of the performance space, including installing scenery, setting up masking, seating and backstage areas.  Duties include: coordinating load-in logistics with the scene shop and theatre production coordinator, planning the show install prior to tech week, hiring freelance crew, supervising work calls for load-in, notes and strike, executing work notes, hanging masking, setting up chairs, supervising strike and load-out.  SpeakEasy contracts out fabrication of scenery to commercial scene shops.

This position requires on-site work in the theater during tech week and one day of strike. Planning work for pre-production can be done remotely (via e-mail and phone) with occasional attendance at meet-up and shop visits.

Health and Safety: Proof of full vaccination is required. Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer as well as other entities as determined. All employees must adhere to safe and sanitary working conditions according to CDC and AEA regulations for a safe and healthy working environment.

Requirements:

  • At least 5 years experience with scenery construction, installation, and rigging.   
  • Proficiency with theatre construction and painting tools: power saws, pneumatic fasteners, battery operated drills, etc.   
  • Ability to read measured drawings   
  • Ability to clearly communicate with others, in person and in writing, to coordinate and send notes or plans to other departments.   
  • Understanding of all technical theatre disciplines.   
  • Ability to lead crew of 2-7 workers safely and effectively.   
  • Ability to work at heights, on ladders, stairs, and work platforms   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).   
  • Ability to lift 50 pounds for limited amount of time

Schedule and Location: Applicants are encouraged to apply for all projects that they are available.  Hiring one TD for all projects is ideal, however, applicants with availability for only some shows will still be considered.

All work calls are at the Calderwood Pavilion, Boston Center for the Arts, 527 Tremont St. Boston MA. Occasional visits to scene shop or other locations may be needed.

The Sound Inside-
First Rehearsal-8/30/21
Load-In-9/20/21
Start Tech-9/21/21
Opening-9/24/21
Close-10/16/21
Strike-10/17/21
Extension Close-10/23/21
TBDExtension Strike-10/24/21

BLKS
First Rehearsal-10/4/21
Load-In-10/25/21
Start Tech-10/26/2
1Opening-10/29/21
Close-11/20/21
Strike-11/21/21
Extension Close 11/27/21
TBDExtension Strike-11/28/21

People, Places, and Things-
First Rehearsal-12/13/21
Load-In-1/3/22
Start Tech-1/4/22
Opening-1/7/22
Close-2/5/22
Strike-2/6/22

Once on this Island-
First Rehearsal-2/14/22
Load-In-3/7/22
Start Tech-3/8/22
Opening-3/11/22
Close-4/16/22
Strike-4/17/22

The Inheritance-
First Rehearsal-3/14/22
Load-In-4/18/22
Start Tech-4/19/22
Opening-4/22/22
Close-6/11/22S
trike-6/12/22

Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “Project TD” and directed to Paul Melone. Applications will be reviewed on a rolling basis.

Master Electrician

SpeakEasy Stage Co is seeking a Master Electrician for our 2021-2022 Season

Pay: $1100 salary per show W2 depending on requirements of show and experience of candidate. Additional maintenance and notes during the run of the show, after opening, are paid hourly in addition to salary at $20/hour.

Job Description: The Master Electrician is responsible for realizing the lighting design for the show. Responsibilities include: hiring freelance crew, completing electrics paperwork from the light plot, ordering rental gear and consumables, supervising all LX calls, executing design notes during tech week, revising plot and paperwork at the conclusion of tech week, and running strike and coordinating returns at the close of the show.

Load-ins start one week before opening on Sundays or Mondays depending on schedule.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Requirements:

  • At least 5 years experience with lighting programming, installation, and rigging.    Proficiency with Vectorworks and Lightwright   
  • Proficiency with theatre electrics: practicals, wiring, hanging, trouble-shooting   
  • Ability to read measured drawings   
  • Ability to clearly communicate with others, in person and in writing, to coordinate and send notes or plans to other departments.   
  • Understanding of all technical theatre disciplines.   
  • Ability to lead crew of 2-7 workers safely and effectively.   
  • Ability to work at heights, on ladders, stairs, and work platforms   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).   
  • Ability to lift 50 pounds for limited amount of time

Location and Schedule: Applicants are encouraged to apply for all projects that they are available.  Hiring one ME for all projects is ideal, however, applicants with availability for only some shows will still be considered.

All work calls are at the Calderwood Pavilion, Boston Center for the Arts, 527 Tremont St. Boston MA. Occasional visits to scene shop or other locations may be needed.

The Sound Inside-
First Rehearsal-8/30/21
Load-In-9/20/21
Start Tech-9/21/21
Opening-9/24/21
Close-10/16/21
Strike-10/17/21
Extension Close-10/23/21
TBDExtension Strike-10/24/21

BLKS
First Rehearsal-10/4/21
Load-In-10/25/21
Start Tech-10/26/2
1Opening-10/29/21
Close-11/20/21
Strike-11/21/21
Extension Close 11/27/21
TBDExtension Strike-11/28/21

People, Places, and Things-
First Rehearsal-12/13/21
Load-In-1/3/22
Start Tech-1/4/22
Opening-1/7/22
Close-2/5/22
Strike-2/6/22

Once on this Island-
First Rehearsal-2/14/22
Load-In-3/7/22
Start Tech-3/8/22
Opening-3/11/22
Close-4/16/22
Strike-4/17/22

The Inheritance-
First Rehearsal-3/14/22
Load-In-4/18/22
Start Tech-4/19/22
Opening-4/22/22
Close-6/11/22S
trike-6/12/22

Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “Master Electrician” and directed to Paul Melone. Applications will be reviewed on a rolling basis.

Wardrobe Supervisor

SpeakEasy Stage Co. is looking to hire Wardrobe Supervisors for our upcoming 2021-2022 season.  Productions are at the Calderwood Pavilion Roberts Studio Theatre at the Boston Center for the Arts.  527 Tremont St. Boston.

Pay: Pay is $15/hour, W-2, eligible for overtime over 40 hours per week. Schedule estimated at 40 hours or more during tech week, 25-35 hours per performance week.

Job Description: The Wardrobe Supervisor ensures the costume design is fully realized from the first performance to the last, while ensuring a comfortable and supportive environment for the cast.  Responsibilities include loading in and preparing costume pieces with the Costume Designer, assisting with alterations during tech, doing daily laundry, pressing, ironing, and maintenance of the wardrobe, as well weekly or every two weeks dry cleaning.  Preset all clothes for the top of each show, collect and clean costumes and quick changes areas during and after performance.  Assist the Costume Designer at Load In and Strike.  Order replacement consumables and supplies through Production Management.  Work backstage and assist with quick changes, dressing, and occasional prop moves or set changes.

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

Generally, with cast sizes of 13 or more, an additional assistant wardrobe supervisor or dresser is hired to split the workload.  Wig maintenance, touch ups, or coordinating with a wig designer for more advanced maintenance, is determined on a show-by-show basis.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Requirements:

  •  2-4 years experience in Wardrobe in theatre, educational, community or professional.   
  • Excellent organizational, time management and communication skills   
  • Excellent interpersonal skills.   
  • Experience leading crews of 2-3 people.   
  • Ability to create a professional, safe, and welcoming environment for all performers of all body types, ages, genders, and identities. This work requires working at close quarters with other people, measuring bodies, and assisting with applying clothes or removing clothes from the body, and so respect for privacy, bodily autonomy, and understanding of continuous consent are essential.   
  • Understanding of Costume building and maintenance techniques   
  • Able to use a sewing machine, hand sew, operate iron, operate steamer, and use laundry machines according to fabric or costume care guidelines.   
  • Ability to move up and down stairs and carry items up to 25lbs   
  • Ability to move and function in low light situations   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).

Location and Schedule: Evenings and weekends are required for the majority of the work. Wardrobe Supervisors are called for in-person work beginning with Load-in through Strike.  All rehearsals and performances are located at the Calderwood Theatre Pavilion, 527 Tremont St. Boston.

The Sound Inside-
First Rehearsal-8/30/21
Load-In-9/20/21
Start Tech-9/21/21
Opening-9/24/21
Close-10/16/21
Strike-10/17/21
Extension Close-10/23/21
TBDExtension Strike-10/24/21

BLKS
First Rehearsal-10/4/21
Load-In-10/25/21
Start Tech-10/26/2
1Opening-10/29/21
Close-11/20/21
Strike-11/21/21
Extension Close 11/27/21
TBDExtension Strike-11/28/21

People, Places, and Things-
First Rehearsal-12/13/21
Load-In-1/3/22
Start Tech-1/4/22
Opening-1/7/22
Close-2/5/22
Strike-2/6/22

Once on this Island-
First Rehearsal-2/14/22
Load-In-3/7/22
Start Tech-3/8/22
Opening-3/11/22
Close-4/16/22
Strike-4/17/22

The Inheritance-
First Rehearsal-3/14/22
Load-In-4/18/22
Start Tech-4/19/22
Opening-4/22/22
Close-6/11/22S
trike-6/12/22

Full performance schedules are available upon request.

How to apply: Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “Wardrobe” and directed to Paul Melone. Applications will be reviewed on a rolling basis.

ASM: Non-Union

SpeakEasy Stage Co. is looking to hire non-union Assistant Stage Managers for our upcoming production of BLKS.

Pay: $13.50 – $14.25 per hour w-2. Minimum 40hours per week during rehearsal and tech, 24hours per week during normal performance run. Eligible for OT after 40hours. Non-union.

Job Description: Attend all rehearsals and performances. Assist the Stage Manager in running rehearsals, performances, and coordinating and communicating with all members of the cast and production team. Keep all backstage and dressing room areas clean. Set-up for the beginning of each performance, restore room to original condition at the end of each performance, and maintain an accurate production book and run sheets. Run props and set changes backstage for the duration of performance. During run of performance assist with maintaining the show (replenishing props, changing lamps, maintaining the set, etc.). Function as a liaison between the Cast and the Director. Attend strike to assist with all departments.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Requirements:

  • 2-4 years experience working in theater Stage Management or backstage: professional, community, or educational.   
  • Excellent organizational, time management and communication skills   
  • Understanding of Stage Management tools and techniques: Maintaining a prompt book, tracking production items and blocks, recording and disseminating meeting notes, using headsets and other set of communication.   
  • Basic understanding of all theater disciplines   
  • Ability to move up and down stairs and carry items up to 25lbs   
  • Ability to move and function in low light situations   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).

Location and Schedule: Evenings and weekends are required for the majority of the work. ASM’s are scheduled for estimated 30-40hours per week during rehearsal and tech, 24hours per week during normal performance run. All rehearsals and performances are located at the Calderwood Theatre Pavilion, 527 Tremont St. Boston.

BLKS
First Rehearsal-10/4/21
Load-In-10/25/21
Start Tech-10/26/2
1Opening-10/29/21
Close-11/20/21
Strike-11/21/21
Extension Close 11/27/21
TBDExtension Strike-11/28/21

How to apply: Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “ASM” and directed to Paul Melone. Please include which production you are interested in. Applications will be reviewed on a rolling basis.

ASM: Union

SpeakEasy Stage Company is seeking an AEA Assistant Stage Manager for our productions of ONCE ON THIS ISLAND and THE INHERITANCE.

Job Description: Attend all rehearsals and performances. Assist the Stage Manager in running rehearsals, performances, and coordinating and communicating with all members of the cast and production team. Keep all backstage and dressing room areas clean. Set-up for the beginning of each performance, restore room to original condition at the end of each performance, and maintain an accurate production book and run sheets. Run props and set changes backstage for the duration of performance. During run of performance, supervise crew and assist with maintaining the show (replenishing props, changing lamps, maintaining the set, etc.). Function as a liaison between the Cast and the Director. Attend strike to assist with all departments.

Pay Rate is NEAT 6 $600/week w-2, $150 for added performances.  Pay rate is set by the collective bargaining agreement with Actors Equity Association. All rehearsals and performances are at the Roberts Theatre, Calderwood Pavilion 527 Tremont St. Boston.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Requirements:

  • 2-4 years experience in professional theater Stage Management.   
  • Excellent organizational, time management and communication skills   
  • Excellent interpersonal skills.   
  • Experience leading crews of 2-5 people.   
  • Understanding of Stage Management tools and techniques: Maintaining a prompt book, tracking production items and blocks, recording and disseminating meeting notes, using headsets and other set of communication.   
  • Ability to move up and down stairs and carry items up to 25lbs   
  • Ability to move and function in low light situations   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).

Location and Schedule: Evenings and weekends are required for the majority of the work. ASM’s are scheduled for estimated 40hours per week during rehearsal and tech, 30hours per week during normal performance run. All rehearsals and performances are located at the Calderwood Theatre Pavilion, 527 Tremont St. Boston.

Once on this Island-
First Rehearsal-2/14/22
Load-In-3/7/22
Start Tech-3/8/22
Opening-3/11/22
Close-4/16/22
Strike-4/17/22

The Inheritance-
First Rehearsal-3/14/22
Load-In-4/18/22
Start Tech-4/19/22
Opening-4/22/22
Close-6/11/22S
trike-6/12/22

Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “AEA-ASM” and directed to Paul Melone. Please include which production you are interested in. Applications will be reviewed on a rolling basis.

Board Op/Run Crew

SpeakEasy Stage Company is seeking a Sound Op/Run Crew for our 201-2022 Season

Job Description: The Sound Op/Run Crew is responsible for maintaining and running sound equipment during the run of the show from the 1st day of tech through strike.  This includes assisting the Sound Designer with system set-up, daily setup and testing of sound equipment, running sound playback cues, and restoring and packing up sound gear at strike.  The job will include basic Audio duties, running the playback system for sound effects/music, as well as assisting the run crew with general show maintenance as needed.

Requirements:

  • Experience in stage management.   
  • Experience with running and programming a lighting or sound board. SpeakEasy uses ETC light board and Qlab sound board. Programming experience is not required but can be helpful.   
  • Ability to work in low light situations.   
  • Ability to move up and down stairs and carry up to 25lbs.   
  • Must be able to communicate effectively, multitask, work efficiently under pressure.   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).

Pay $13.50 – $14.25 per hour. Eligible for OT after 40hours.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Location and Schedule: Evenings and weekends are required for the majority of the work. Run Crew are scheduled for estimated 30-40hours per week during tech, 20-30hours per week during normal performance run. All rehearsals and performances are located at the Calderwood Theatre Pavilion, 527 Tremont St. Boston.

BLKS
First Rehearsal-10/4/21
Load-In-10/25/21
Start Tech-10/26/2
1Opening-10/29/21
Close-11/20/21
Strike-11/21/21
Extension Close 11/27/21
TBDExtension Strike-11/28/21

People, Places, and Things-
First Rehearsal-12/13/21
Load-In-1/3/22
Start Tech-1/4/22
Opening-1/7/22
Close-2/5/22
Strike-2/6/22

Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “Board Op/Run Crew”, the title of the show you’re interested in, and directed to Paul Melone. Applications will be reviewed on a rolling basis.

Run Crew

SpeakEasy Stage Company is seeking Run Crew for our production of THE INHERITANCE.

Job Description: The Run Crew works backstage to assist the Production Stage Manager and Assistant Stage Manager with smooth running of technical rehearsals and performances.  Duties may include help with setup and strike of props, costumes, and equipment in backstage areas, marking spike with glow tape and spike tape, sweeping and mopping the stage, moving props and scenery, helping actors with costume changes and props handoffs.

Requirements:

  • Experience in stage management.   
  • Experience with technical theater and board operations is recommended but not required.   
  • Ability to work in low light situations.   
  • Ability to move up and down stairs and carry up to 25lbs.   
  • Must be able to communicate effectively, multitask, work efficiently under pressure.   
  • Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption).

Pay $13.50 – $14.25 per hour. Eligible for OT after 40hours.

Health and Safety: Proof of full vaccination against COVID-19 is required (or proof of medical/religious exemption). Employees will also be required to disclose COVID 19 test results for testing that is provided by the employer or other test suppliers. All employees must adhere to safe and sanitary working conditions as described in the Production Health and Safety Plan.

Location and Schedule: Evenings and weekends are required for the majority of the work. Run Crew are scheduled for estimated 30-40hours per week during tech, 20-30hours per week during normal performance run. All rehearsals and performances are located at the Calderwood Theatre Pavilion, 527 Tremont St. Boston.

The Inheritance-
First Rehearsal-3/14/22
Load-In-4/18/22
Start Tech-4/19/22
Opening-4/22/22
Close-6/11/22S
trike-6/12/22

How to apply: Please send ONE pdf that includes your resume, references and cover letter to jobs@speakeasystage.com with the subject “Run Crew: Inheritance” and directed to Paul Melone. Applications will be reviewed on a rolling basis.


Fellowships 

The Fellowship program is for theater administrators looking to transition into the professional world after graduation. This entry level position is considered a part of the core staff of theater professionals and works closely with all departments of the organization.

The Artistic Fellowship for our 2021-22 Season is filled. Applications for the Artistic Fellowship will reopen in Spring 2022.

Artistic Fellowship

Application Requirements

To apply for our Artistic Fellowship, please prepare:

  • A cover letter
  • A resume (including relevant job history and theatre experience)
  • A narrative of no more than two pages addressing:
    • Why you are interested in the fellowship to which you are applying
    • The qualities, skills, and interests that make you the right 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 be sure you submit all require materials or your application may not be considered.

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

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.


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.

Applications for Fall 2021 are closed. Applications for Spring 2022 (start date in January) will be accepted in October.

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. Arts Administrative 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 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 three references
  • A writing sample 1 to 2 pages max (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 three 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.


Auditions

Speakeasy holds auditions by appointment for upcoming projects.

This Season

We are seeking actors for the 2021-2022 Season

Submissions for Union and Non-Union actor closed on July 31st. Inquiries may be considered on a case-by-case basis. For more information, email auditions@speakeasystage.com.

Reviewing auditions will be: Producing Artistic Director Paul Daigneault.

ONCE ON THIS ISLAND book and lyrics by Lynn Ahrens and music by Stephen Flaherty
Directed by Pascale Florestal, music direction by David Coleman
Rehearsals begin February 14, 2022
Performances March 11, 2022 – April 16, 2022

THE INHERITANCE by Matthew Lopez
Directed by Paul Daigneault
Rehearsals begin March 14, 2022
Performances run April 22 – June 11, 2022

Production Details:
Union Contract: NEAT 6 Agreement – Rehearsals $546
EMC points will be available for non-union actors

Submissions
Submissions for Plays: Please submit a self-tape monologue (2 minutes or less) to auditions@speakeasystage.com
Submissions for the Musical: Submissions should be no longer than 5 minutes. Actors are encouraged to perform musical selections in the style of the show. Actors may also feature their skills with piano, accordion, mandolin, guitar, banjo, viola, violin, fiddle, cello, upright bass, percussion, or other instrument.

Please be sure to also include:

  • Equity Status
  • Pronouns
  • Your headshot/resume as a PDF titled “LAST NAME, FIRST NAME (2021)”
  • Your video submission link. For your submission, please use a private link on a streaming service or website such as Youtube or Vimeo (not an attachment) and send the link via email.

Submissions for Union and Non-Union actor closed on July 31st. Inquiries may be considered on a case-by-case basis. For more information, email auditions@speakeasystage.com.

The 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.

For these auditions, no nudity or any form of sexual contact will be reqired 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.

Non-Equity Actors will be reviewed at the discretion of the artistic team.

Please contact auditions@speakeasystage.com with any questions.


Casting Breakdown by Production

ONCE ON THIS ISLAND

Ti Moune: Female-identified, 18-25. Ethnicity: Black / African Descent, Dark Skinned
A beautifully spirited peasant girl, full of restless energy and optimism; the heroine; tries to break social barriers to be with her love, Daniel; strong alto belt, G (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal.

Daniel: Male-identified, 22. 18-25. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Light Skinned.
Ti Moune’s love interest; a handsome, aristocratic young man who struggles with crossing social barriers; sensitive and poetic; strong tenor or baritenor, B (2 below C) to F Sharp (above C); strong musician skills; ability to play instrument(s) is a plus; principal.

Mama Euralie: Female-Identified, 30-59. Black / African Descent, Dark Skinned
Ti Moune’s adoptive mother; described as an “old peasant”; caring, over-protective, superstitious, fiercely loving, and strong-willed, her similarities often lead to clashes with Ti Moune; strong alto, F Sharp (below C) to B (above C); strong musician skills; ability to play instrument(s) is a plus; principal

TonTon Julian: Male-Identified, 30-59. Black / African Descent, Dark Skinned
Ti Moune’s adoptive father (“Tonton” is a French affectionate term for “Uncle”); described as an “old peasant”; he teaches Ti Moune that love has no limits, and he goes to great lengths to support her wishes; caring, loving, and practical; strong baritone, A (2 below C) to E (above C); strong musician skills; ability to play instrument(s) is a plus; principal.

Asaka: Any Gender, 25-59. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
Mother of the Earth; a mentor to Ti Moune; personifies the peasants’ connection to the land; she is generous and good-humored on the surface, but like all the gods feared by the islanders; her “motherly” facade is not to be trusted; she is powerful, funny, and ironic; strong mezzo belt, A (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal.

Erzulie: Any Gender, 20-49. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
goddess of love; a mentor to Ti Moune and foil to Papa Ge; the most approachable of the gods, but ultimately no less egocentric; one of the main instigators of the events of the story, she is looked upon fondly by the people; set out to prove that love is stronger than the fear of death: by love, she means the power of the human heart; strong soprano, B (below C) to E (2 above C); strong musician skills; ability to play instrument(s) is a plus; principal.

*Agwe: Any Gender, 25-59. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
God of water; a mentor to Ti Moune; Larger than life, mysterious; Perhaps the peasants’ greatest fear next to Papa Ge himself; commanding voice and presence; strong, dramatic baritone/bass with a big range, B (2 below C) to E (above C); strong musician skills; ability to play instrument(s) is a plus; principal.

Andrea/Storyteller 1: Female-Identified, 20-29. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander. Light skinned.
Daniel’s betrothed; an attractive, elegant, and refined young woman; she seems cold at first but turns out to be both humane and determined; she pities Ti Moune, but despite having little affection for Daniel, she will not allow sentiment to interfere with her well-ordered plan for marriage and the aristocratic ways; also plays Madame Armand; strong mezzo, B (below C) to D (2 above C); strong musician skills; strong mover; ability to play instrument(s) is a plus.

“Beauxhommes” Narrator/Storyteller 2: Female-Identified, 20-49. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
Excellent singer: soprano; strong musician skills; movement ability is a plus; ability to play instrument(s) is a plus; possible understudy assignments; principal.

“Beauxhommes” Narrator/Storyteller 1: Male-Identified, 20-49. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
Excellent singer: tenor; strong musician skills; movement ability is a plus; ability to play instrument(s) is a plus; possible understudy assignments; principal.

Storyteller 2/Monsieur Beauxhomme/Armand: Male-Identified, 30-59. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
Daniel’s stern father; reminds Daniel of the harsh realities of life; not deliberately cruel, but determined; represents the heart of aristocratic society; also plays Armand, the ancestor; strong baritone, A (2 below C) to D (above C); strong musician skills; movement ability is a plus; ability to play instrument(s) is a plus; principal.

Little Ti Moune: Female-identified, Age 7-11. Ethnicity: Black / African Descent, Dark Skinned
The younger version of Ti Moune; also plays the child for whom the story is told; energetic, confident, funny, and sweet; strong singer, E Flat (above C) to D Flat (2 above C); principal.

*The role of Agwe has been cast. Actors will be seen for these roles as replacements only.

THE INHERITANCE

*MARGARET: Female-Identified. 60+. Any Ethnicity.
A haunted woman. The mother of a young man who died of AIDS in the mid-1980 and who she was estranged from, she has spent her life atoning for her personal failings. Flinty, pugnacious, no-nonsense. She is tasked with caring for Walter’s house and, by extension, all its secrets as well as some of her own.

WALTER/E.M. FORSTER: Male-Identified. 50-59. White.
As E.M. Forster: The eminent British author of Howards End and Maurice. A spiritual and literary guide to a group of young men attempting to tell the story of their lives. Straight-laced. Proper. Occasionally playful and even joyfully wicked. Having grappled with his dishonesty and cowardice in life as closeted gay man fearful of exposure, in death he is a teacher who learns just as much as his pupils about life in the modern world.
As Walter Poole: Henry’s gentle, honest, partner. A haunted man possessed of tremendous compassion but also tremendous emotional caution. He survived the AIDS epidemic by sacrificing himself to the needs of others and now he seems to be half in this world, half in the spirit world—in the process, it seems, of becoming a ghost. Note: As this doubling covers both British and American characters, the role(s) requires an actor extremely deft with both accents.

HENRY WILCOX: Male-Identified. 50-59. White.
A gay billionaire Republican real estate developer. Walter’s partner. Charming, fiercely intelligent and emotionally inaccessible. He survived the AIDS epidemic by closing himself off to the needs of others. In trying to ignore his trauma he has lived a life completely divorced from his emotions, from joy, from connection to others. But the desire for happiness does not come without cost—and he is forced to finally face his past.

YOUNG MAN 1/ADAM/LEO: Male-Identified. 20-29. Any Ethnicity.
As Adam: A charming wide-eyed child of privilege; physically attractive. naturally seductive. He hides these qualities beneath a veneer of innocence and inexperience but beneath the surface, he’s calculating and methodical. He’s too skilled a manipulator to ever be caught at it.
As Leo: A guarded, damaged young man aching for connection and kindness. Leo trusts no one because his life has taught him this is the only way to survive. Please note: nudity required.

YOUNG MAN 2/JASON 1: Male-Identified. 30-39. Any Ethnicity.
A high school science teacher, bookish and sweetly nerdy. The kind of person who doesn’t speak at parties until they’ve had a couple of drinks and then you can’t shut them up. The peacemaker. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 3/YOUNG HENRY: Male-Identified. 18-29. Any Ethnicity.
Appears as a memory of the adult Henry Wilcox. Traumatized by what he witnesses during the mid-1980’s, at the start of the AIDS epidemic, he moves through the world cautiously, with his emotional guard resolutely up. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 4/YOUNG WALTER: Male-Identified. 18-29. Any Ethnicity.
Appears as a memory of the adult Walter Poole. At the start of the AIDS epidemic. A deeply feeling, intensely loyal, innately principled young man. Outwardly, he is as gentle as a cherry blossom. Inwardly, he’s steel-spined and indestructible. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 5/TOBY’S AGENT: Male-Identified. 18-29. Any Ethnicity.
A budding young power agent at one of the big agencies. Thrives on protein shakes and hot yoga. Not without compassion for Toby but increasingly frustrated by his client’s erratic behavior. Knows how to gently pet with one hand and cut throats with the other. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 6/TRISTAN: Male-Identified. 25-39. Black.
An ER physician who spends his days dealing with trauma of all kinds. He is calm under pressure and knows how to diffuse the most volatile situations. He can be droll and wickedly funny when he wants to (and he often does). He can also expertly dissect thorny, seemingly impossible problems with reasoned, blazingly intelligent thinking. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 7/JASPER: Male-Identified. 30-39. White.
A “social justice entrepreneur,” who works in the political realm as a movement influencer. He is wickedly smart if also a little self righteous and blind to his own privilege. He has a good heart and good intentions. When we meet him, he’s an amiable doofus with boyish charm who hasn’t really matured past the age of 22, which is the average age of most of his boyfriends. The 2016 election hardens him in unhealthy ways. He becomes prone to pronouncements, over analysis, and develops an ideological rigidity and inflexibility that causes his relationships to fracture. Plays multiple other roles. Please note: nudity required.

YOUNG MAN 8/JASON 2: Male-Identified. 30-39. Latinx/Hispanic.
A first-grade teacher who often treats the world as if it were his classroom. Big-hearted, joyful, and deliriously idiosyncratic. The fact that he is able to coherently argue his somewhat baffling points of view is evidence not only of his fertile imagination but also his rock-solid intellect. Jason is a perceptive and compassionate man who possesses the ability to understand the emotional stakes of any situation—eventually. Plays multiple other roles. Please note: nudity required.

*YOUNG MAN 9/ERIC GLASS: Male-Identified. 30-39. Any Ethnicity.
Deeply compassionate. Tender. Loyal. Undervalues himself and doesn’t realize how special he is. Tested along the way by heartbreak and loss, he uses these disappointments as fuel to build the growing fire inside him. Doesn’t know that he’s the lead of this play. Once he does and makes a decision to act bravely and decisively, he discovers he has the ability to change the world to an extent far greater than anyone knows. Please note: nudity required.

YOUNG MAN 10/TOBY DARLING: Male-Identified. 20-39. Any Ethnicity.
A raging whirlwind of ambition, sex appeal, self-regard, self-doubt, and ultimately self-destruction. Charming. Verbose. Funny. Sharp-tongued. A self-made man who charges through life as if he were indestructible—ultimately discovering that he is not. He knows the glory of tremendous heights and the devastating lows of self-annihilation. A star that burns too brightly and is extinguished too quickly. He can delight you and appall you, make you swoon one minute and break your heart the next. All of his bluster is to cover the fact that he is the most fragile character in the play. Please note: nudity required.

*The roles of Margaret & Eric have been cast. Actors will be seen for these roles as replacements only.


Play Submissions

We are committed to reading, hearing, developing, and producing new work by local artists. Find out how you can contact us about a play you’d like us to know about.

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. No paper submissions, please.

We cannot commit to reading them within any specific timeline, but will do our best to read within six months of receipt. We cannot guarantee feedback at this time.

***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.

A Lasting Gift

Please consider making a philanthropic gift to SpeakEasy Stage today. Your donation will make a significant impact on our ability to produce SpeakEasy's unique brand of entertaining, thought-provoking, and compelling theatre. Thank you!

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