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

SpeakEasy Stage Company’s 2020-2021 Season EPA’s will take place online this year due to Covid-19. The deadline to submit an audition is June 5th.

PLEASE NOTE: Due to health concerned related to the Coronavirus epidemic, we have moved our production of Once On This Island to Spring 2020, and Slave Play into our following season in 2021.

Reviewing these EPAs will be: Producing Artistic Director Paul Daigneault and Artistic Fellow Shira Gitlin.

  • PLAYS

    Union actors for two plays in SpeakEasy Stage Company’s 2020-2021 Season:

    PEOPLE PLACES & THINGS and THE INHERITANCE

    Union Weekly Contract Salary $506

    For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast. Please note that at this time, all roles in Bright Star have been cast and we will only be looking for replacements. 

    To be considered, please email auditions@speakeasystage.com with your Equity status, full name and pronouns, contact information, the shows for which you would like to be considered, your headshot/resume as a PDF titled “LAST NAME, FIRST NAME (2020)”, and 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. 

    Production scripts can be accessed by contacting StageSource. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

    PEOPLE, PLACES, & THINGS: Rehearsals begin December 14, 2020; Performances run January 8 – February 6, 2021

    THE INHERITANCE: Rehearsals begin March 22, 2021; Performances run April 30 – June 19, 2021 (Possible Extension to June 26, 2021)

    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.

    PREPARATION:

    For PEOPLE PLACES & THINGS and THE INHERITANCE: 

    Submissions should be no longer than 5 minutes. 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.  

    To be considered, please email auditions@speakeasystage.com and be sure to include:

    • Equity status
    • Full name and pronouns
    • Contact information
    • The shows for which you would like to be considered
    • Your headshot/resume as a PDF titled “LAST NAME, FIRST NAME (2020)”
    • 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. 

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

  • MUSICALS

    Union actors for SpeakEasy Stage Company’s 2020-2021 Season:

    ONCE ON THIS ISLAND and BRIGHT STAR

    Union weekly contractual salary $506.00

    For pre-cast roles, auditioning performers will be considered as possible (emergency) replacements, should any become necessary. No understudies are being cast. Please note that at this time, all roles in Bright Star have been cast and we will only be looking for replacements. 

    To be considered, please email auditions@speakeasystage.com with your Equity status, full name and pronouns, contact information, the shows for which you would like to be considered, your headshot/resume as a PDF titled “LAST NAME, FIRST NAME (2020)”, and 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. 

    Production scripts can be accessed by contacting StageSource. An Equity Monitor will not be provided. The producer will run all aspects of this audition.

    ONCE ON THIS ISLAND: Dates to Be Announced at a Later Date

    BRIGHT STAR: Rehearsals begin Feb 1, 2021; Performances Feb 26 – March 27 2021

    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. 

    PREPARATION:

    For ONCE ON THIS ISLAND and BRIGHT STAR: 

    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. 

    To be considered, please email auditions@speakeasystage.com and be sure to include:

    • Equity status
    • Full name and pronouns
    • Contact information
    • The shows for which you would like to be considered
    • Your headshot/resume as a PDF titled “LAST NAME, FIRST NAME (2020)”
    • 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. 

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

CASTING BREAKDOWN

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

  • ONCE ON THIS ISLAND

    Ti Moune: Female-identified, 18-25. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
    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
    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. Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
    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. Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
    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.

    Papa Ge: Any Gender, 30-59. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latinx / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
    The sly God of Death; antagonist to the other gods; cunning, manipulative, seductive, cynical, and teasing, he is feared by the people because of what he represents: the unknown that is death; the other main instigator of the drama; strong baritone, C Sharp (below C) to G (above C); strong musician skills; ability to play instrument(s) is a plus; principal.

    Andrea/Female 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
    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/Female 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/Male 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.

    Male 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, 7-11. Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander
    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. 

  • PEOPLE, PLACES & THINGS

    *The roles of Emma and Paul/Dad have been cast. Actors will be seen for these roles as replacements only.

    *EMMA: Female-identified. 30s-40s. Any Ethnicity.
    Recovering drug and alcohol user; Has a hard time with reality; Guarded, reluctant; Unable to fully tell the truth, both to herself and others. 

    *PAUL/DAD: Male-identified. 50-60s. Any Ethnicity.
    As Paul: Member of The Group; A user who goes through different stages of recovery, including relapse; Eventually finds religion.
    As Dad: Uncomfortable; He has no patience left for Emma, but he does still love her.  

    DOCTOR/MOM: Female-identified. 50-60s. Any Ethnicity.
    As the Doctor:  Fierce, but motherly. Believes in the system in place at the rehab.
    As Mom: Defensive, unemotional, matter-of-fact; Cruel, but also caring in her own way

    FOSTER: Male-identified. 20s-40s. Any Ethnicity.
    Former user; An employee at the rehab; Optimistic, grounded, and earnest. 

    MARK: Male-identified. 30s-40s. Any Ethnicity.
    Former user and member of The Group; Cynical; A strong temper and former anger issues; Values honesty above all else.

    CHARLOTTE/ENSEMBLE: Female-Identified. 20s-40s. Any Ethnicity.
    Former heroin user and member of The Group; 10 years clean until an accident caused her to relapse; Sees herself in Emma.

    T/ENSEMBLE: Any Gender. 20s-40s. Any Ethnicity.
    Former user and member of The Group; Born to a methadone-using mother; Was in the foster care system since at least age 15, but probably much earlier; HIV positive; Has a lot to prove. 

    JODI/ENSEMBLE: Female-identified. 20s-40s. Any Ethnicity.
    Alcoholic, former prescription pill user, and member of The Group; Has to make a difficult decision about her future life. 

    SHAUN/ENSEMBLE: Male-identified. 20s-30s. Any Ethnicity.
    Former cocaine user and member of The Group; A high-powered trader before the financial crash; A perfectionist who is lost in the scope of the world. 

    LAURA/ENSEMBLE: Female-identified. 20s-40s. Any Ethnicity.
    Alcoholic, former user, and member of The Group; Has hurt many of the people in her life, but is far enough along in recovery that she can see how far she has come.

  • BRIGHT STAR

    *All roles have been cast. Actors will be seen for these roles as replacements only.

    *Alice Murphy: Female-identified, 34-39. Any Ethnicity.
    To play Alice at age 38–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, 30-35. Any Ethnicity.
    Will play Jimmy Ray in his early 20s in flashbacks–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; kind-hearted, 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; an ambitious, 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.

  • THE INHERITANCE

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

    *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.

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. 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.

Relevant Dates for Technical Production Opportunities:

ONCE ON THIS ISLAND | Dates TBD
PEOPLE, PLACES & THINGS | JAN 8-FEB 6, 2021
BRIGHT STAR | FEB 26 – MAR 27, 2021
THE INHERITANCE | APRIL 30-JUNE 19, 2021

  • WEB DESIGNER

    SpeakEasy Stage Company, a leading non-profit theatrical company based in Boston which stages New England premiere plays and musicals, is seeking a Web designer to update its WordPress web site. This is a temporary staff position, which will be performed remotely. We are looking to have the work completed by June 30, 2020 if possible. 

    The ideal candidate can take the current SpeakEasy branding and create key templates that will: 

    • be engaging 
    • allow for various types of content including video 
    • be easy for theatre staff to update after launch 
    • be mobile friendly (responsive design) 
    • Be secure 
    • Be accessible to users with different abilities 
    • Connect to the existing external secure ticketing and donation platforms 

    We are seeking a candidate with a portfolio of compelling designs, knowledge of WordPress, and experience in the arts world. The ideal candidate is an independent worker who takes direction well. The candidates must be proficient in the Adobe Creative Suite, Hosted WordPress sites, and DNS transfers, and can deliver agreed-upon templates and launch the site with provided content. 

    Compensation will be determined through the interview process – employment will be W-2 as a seasonal employee. 

    If interested, please send an email with a PDF of your resume and portfolio or list of completed designs to: 

    jobs@speakeasystage.com 

    Applications will be accepted until May 22nd 2020. 

    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. 

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 the Summer & Fall are now closed.  Applications for the Spring 2021 semester will be accepted in 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 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. 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.

     

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, 2020 (possibly earlier) to June 30th, 2021, 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 2020-2021 Artistic Fellowship are now closed.
Please check back in the Spring of 2021 for information on how to apply for the 2021-2022 Fellowship.

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 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.