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]]>Any given production of theatre is brimming with different artistic talents. Lighting design, choreography, costume design, performance — and even casting. That’s how Stephanie Klapper views her role as a casting director for theatre, film, television, orchestras, and other streaming media.
“We’re a designer of the cast,” she says. “Our artistry is a little different to nail down, but I think that’s what we have. That’s our secret.”
Klapper and her team at Stephanie Klapper Casting (SKC) work with directors and producers to connect performers with artistic opportunities. On new pieces and musicals, her team also works closely with the playwright, composer, lyricist, and book writer. As Klapper describes, they develop a deep understanding of the stories and characters in the script, interpret the directors’ wants and needs, and locate opportunities for actors and performers to bring roles to life.
Just like the designers on any given production, their work comes to fruition on opening night when the house lights dim, and the cast takes the stage. Dramatics chatted with Klapper to explore her views on the craft, how she works with her team, and what makes her job so creatively satisfying.
The Process of Casting a Show
SKC is based in New York City. They partner with theatre artists to cast productions on Broadway, Off-Broadway, at regional theatres across the country, on stages abroad, for television and films, for web-based projects, and for audio streaming works.
When asked how many projects she and her team at SKC cast every year, Klapper says simply, “I don’t count. It’s a lot. We’re very, very fortunate, and it’s rare we’re not doing something.”
No two projects are exactly alike when it comes to casting. Sometimes the SKC team has a few months to cast and other times they have to cast on the fly if a production needs to fill or replace a role immediately. Klapper can recall many times when an actor needed to leave a production due to illness or family emergency, but the show was already running and needed a new performer to step in ASAP. She can also recall a few times when an actor was presented with another opportunity and the SKC team had mere hours left to fill the role.
Nevertheless, Klapper says their process typically unfolds as follows: a director or producer sends Klapper the script, she and the SKC team read and discuss it, they receive character descriptions and character breakdowns from the director, and they bring in actors to audition for the director.
“It’s important to know what directors are looking for, and our job is really to get inside their heads,” Klapper says. “We translate what they say and begin to understand aesthetically where they’re coming from and what the larger project is going to be like. That helps us in terms of the actors we bring in for them.”
Klapper says SKC funnels the input and character breakdown they receive from the creative team into their casting process. They consider people who they have previously worked with as well as people who are recommended by the creative team, people who are both represented and unrepresented by agents, and people whose work has been submitted to them. They keep and reference a list of actors who have auditioned for them and actors who they have been following.
SKC’s relationships with managers and agents are also instrumental to their casting process. Additionally, Klapper watches shows in New York City and around the country and works as a teaching artist and guest lecturer, helping to meet and identify emerging talent and broaden the actor pool to choose from.
Depending on the theatre and the client they’re working with, they’ll hold preliminary auditions in person or virtually, then they’ll coordinate schedules with the director for in-person callback sessions, after which the director makes the final casting choices.
Giving Performers Opportunities to Shine
Klapper says there are a few misconceptions about casting and the culture surrounding it. In particular, she says casting directors are often thought of as “the gatekeepers of the world and the people who prevent people from moving forward.” That’s not how she sees herself, her team, or her professional peers.
“I think, almost unilaterally, casting [directors] get great joy from giving people opportunities. It happens in different ways and everybody’s different in how they do that,” Klapper says. “For me, I just really love giving people the opportunity to shine.”
Being insightful is also a big part of their job. They may spot an opportunity an actor might overlook, based on their skills and talents.
“Sometimes productions are about giving people opportunities to find their talent within a role,” she says. “Maybe we’ve seen something in a performer they don’t even know yet, but they have some special ‘Spidey skill’ that we know this part will help them to shine in.”
Klapper describes the SKC team as bright, caring, respectful, and kind people who care deeply about what they do and about giving people opportunities. It’s an open-minded environment that welcomes different perspectives.
“We have great conversations about not just our profession but the world at large and what’s going on right now. I think we all come from different places of thinking, and I think we’re all very respectful of each other and we share what our insights are,” she says. “Every project we talk about, we each bring something different to the table, and I think that’s what makes us so special in what we do — there’s a lot of perspectives.”
3 Tips for a Career in Casting
We asked Klapper to offer pearls of wisdom to students and young performers. She pulled from 25+ years of experience in the industry and offered this guidance:
1. “There’s no such thing as limits.”
Especially at this time in your life—don’t limit yourself, and know that you’re invited to the table. She says, “What’s great right now, in the culture of casting, is that we’re interested in everybody, in everything, and in great discoveries. We talk more about ethnicity up front now. We talk about abilities and actors who have disabilities and how important it is that everybody’s represented on stage. It’s not just a select group of people.”
2. “Never stop learning.”
Don’t limit your potential in exploring new and different skills. Klapper says, “It only makes you a more interesting person, and ultimately, we’re casting the person — not just the best actor.”
3. “Be kind to other people, be polite, be respectful, and never be faultless.”
It’s important to remember you never know who’s going to be in your life for a very long time. You want to make sure you treat people the way you would want to be treated.
While there are plenty of theatre careers to choose from, casting director are the best of both worlds. The role allows artists an opportunity to have a meaningful impact and closeness to a production, while doing so behind the scenes. It requires fundamental theatre skills, like script analysis, but offers you the freedom to go with your gut and give your fellow actors an opportunity to find their dream roles.
Natalie Clare is a regular contributor to Dramatics, a freelance arts and culture reporter in Cincinnati, and an arts and education marketer. She has a handsome husband, an adorable baby boy, a mischievous cat, and far too many plants.
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]]>If you’re planning to pursue a career in theatre, you’ll want to know all about theatre fellowships. These professional opportunities can provide a gateway to where you want to be and are most often awarded to theatre artists who have obtained a degree or have some professional experience. Aspiring playwrights, directors, choreographers, actors, and designers alike will want to keep fellowships on their radar.
What is a Theatre Fellowship?
Generally speaking, a fellowship is a structured professional opportunity to deepen your training in a specific skill set, craft, or area of study. They’re held within a professional environment so recipients (fellows) gain in-depth, hands-on training. Fellows typically receive funding to support themselves and/or their work fully for a certain period of time.
It’s important to note: the competition for securing a fellowship is tough! ProFellow, a resource for students and professionals seeking fellowships, writes, “We define a fellowship as a short-term, funded, merit-based opportunity to do something exceptional. … Fellowships are competitive and provide an opportunity to do or create something with the financial support, resources and freedom that a typical job cannot offer. Fellowships enhance your resume and provide networking opportunities with leaders in your career field.”
In the performing arts, theatre fellowships offer the opportunity to train more intently on your artistic expertise. You may seek one out to help you develop a script, train as a director, learn from artistic leaders, or continue your training in a specialty.
Some theatre fellowships are designed for specific groups—including, but not limited to, women, people of color, and the LGBTQ+ community—to increase diversity and equity within the theatre industry. The Miranda Family Fellowship, for example, aims to “support emerging artists and arts administrators from underrepresented communities” through education, long-term support, and partnerships with industry institutions.
How Are They Different from Internships?
To the layperson, fellowship and internship may seem like interchangeable terms—but there are unique differences that set them apart.
If you’re a student or a recent graduate, you’ll want to look at an internship as a way to break into the industry. You’ll gain firsthand experience with and perspective of day-to-day life in a certain role or with a certain company. These programs or roles sometimes lead to permanent positions, but not necessarily always. An internship will give you general exposure to professional culture that you can apply to several different opportunities. Many internships in the theatre profession offer some form of compensation, but it likely won’t be enough to sustain a living. As such, many internships are structured for a finite number of hours per week (say, 20) and for a finite amount of time (a semester or 3-6 months, for instance).
If you’ve already been working in the industry and you want to go further, you may look for a fellowship so that you can focus more deeply on a subject or skill set. Let’s say you’re an emerging director and you’ve gained a few years of professional experience. A directing fellowship with a theatre company whose work you admire would accelerate your career goals. You’d widen your network, deepen your knowledge, and keep your directing chops sharp.
How Can a Theatre Fellowship Influence Your Career?
Many artists would agree in the theatre industry, training never stops. There are always more skills you can obtain, perspectives you can develop, and techniques you can master. A theatre fellowship supports these goals by immersing artists in professional spaces where “real-world” work is being created.
Similarly, in the entertainment industry at large, it’s “all about who you know.” Fellowships offer invaluable access to networking. By working directly with theatrical peers and leaders, you have the opportunity to meet many different people regularly during rehearsals, workshops, performances, and relevant events. This exposure can connect you to potential collaborators, producers, artists, leaders, and other folks in the industry who can make a big difference in your career decisions.
Having a fellowship to list on your resume really boosts your credentials, too. The application process is rigorous and competitive, and being selected as a fellow is a huge achievement. When an institution hires you as a fellow, it’s a strong vote of confidence that they believe in your work and want to support your goals.
Theatre Fellowship Examples
As you consider the many directions your theatre path may take, keep fellowships top-of-mind as an important step. You can obtain more than one fellowship, too, so don’t limit your choices! Here’s a look at some of the industry’s top programs to give you an idea what’s in store:
- MacDowell Colony Fellowship
- New York Theatre Workshop 2050 Fellowship
- Dramatists Guild Foundation Fellowship
When looking to apply for a program, be sure to research the fellowships that pique your interest or speak to you as an artist. Even if you’re not ready to apply, it’s ideal to keep your eyes on your future and to keep yourself motivated in your goals. Finally, be sure to follow the careers of artists who have completed theatre fellowships. Many fellowship programs will list past recipients on their websites. And the next time you’re at a performance, scan the artist bios in the program or online and see if any of them have fellowship accolades. You’ll be surprised how many working professionals got their start with a well-timed fellowship!
Natalie Clare is a freelance writer and content marketer. She works with brands of all kinds to amplify their messaging and digital presence, and she writes articles about the arts and culture scene in Cincinnati, Ohio. You can view her work at nataliecwrites.com.
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]]>The post Composing a Career in Sound Design appeared first on Dramatics Magazine Online.
]]>Many theatre artists can recall when they “caught the theatre bug.” That moment when you realize how much you love the art form and how comfortably you fit into theatrical spaces. And then the moment that follows it, when you realize you want to create a career path out of it.
Matthew M. Nielson started his theatrical career in a rather serendipitous way. He was working at Round House Theatre in Bethesda, Md., shortly after studying music and theatre at Montgomery College. He built scenery by day and worked on the run crew by night. And then one day, “they plopped me behind the soundboard, and something just clicked,” he says. “It all made sense to me without ever having really done anything with sound before. It was just instinctual, you know?”
Today, Nielson is an award-winning sound designer, composer, and audio producer. He works on stages across the country and abroad, at regional theaters and off-Broadway. He also works in film and television, on web-based projects, and in audio theatre and podcasts. He owns Curious Music Company, a production music company and music library, and he’s a resident artist with Round House.
He chatted with Dramatics to learn more about his career path and the tips he has for Thespians looking to make a career in sound design.
A Music Kid in D.C.
Growing up, Nielson was “a music kid,” as he calls it. His father was in barbershop quartets, and Nielson sang in the choir and chorus for several years. He recalls his first theatrical experience early on, and in some ways, it foreshadowed his career.
“My actual first experience with theatre was in fifth grade where my school did a very shortened version of The Taming of the Shrew,” Nielson says. “We were in D.C., and we got to perform a section of it at a festival at the Folger Theatre. I never realized the significance of that until I actually started working at the Folger Theatre.”
The Folger Theatre at Folger Shakespeare Library is one of several reputable theatres in Washington, D.C. and the surrounding region. Outside of New York City, D.C. is well regarded for its performing arts scene. It’s widely considered a top theatre city in the U.S., and it’s where Nielson developed his skills in sound and audio. After having been “plopped behind the soundboard” for a show at Round House, the direction of his theatrical career came into focus. The production was called Three Days of Rain.
“Honestly, I can’t remember a whole lot about what the show is about. But I just remember the designer picked some very lovely music for it, and the whole second act, it was supposed to be raining outside,” Nielson says, adding that what clicked with him was “just learning good ways to do rain.”
Nielson then became the in-house audio master for Round House and worked at such reputable theaters as Wolf Trap in Virginia and the Public Theater in New York. He eventually broke into sound design — also at Round House — and began working as a freelancer for theaters around the country and abroad, which he continues today.
It’s All in the Details
When he’s composing and designing sound for a scene, there’s far more intricate focus than folks may realize. A straightforward scene in which two characters are talking in can be filled with sound even if there’s only dialogue, a realization he learned while composing film.
Typically, Nielson says, while scoring a film scene, a sound designer will strip away the ambient audio, so we only hear the dialogue of the actors speaking as picked up by the microphones. Then, they’ll add back sound effects to create the ambience which gives the scene a more natural feel while elevating the sound of the dialogue. After working in film, Nielson returned to theatre with a newfound approach.
He explains, “I started to miss hearing that ambiance. So I would do just a tiny bit of audio, like traffic outside, and then add room tone inside. Is there A/C? Is there heat? Is the door we hear in the kitchen? Do we hear the fridge? Just tiny, tiny little things like that.”
Nielson has amassed an extensive library of sound effects over the years, organized into a digital database he can readily search and “audition” an effect while working on a project. If he doesn’t have the right audio file, he puts his creativity to work and records his own — and that’s often where the fun comes in.
Nielson recalls a commercial project that he worked on for Delivery.com. The main character in the narrative is frantically knitting a sweater throughout the commercial. Nielson realized he didn’t have the right sound effects to emphasize the sound of the knitting needles, so he purchased three kinds from Amazon — plastic, wooden, and metal — and “auditioned” each of them.
“I would play the commercial in my digital audio workstation where I can watch and record at the same time. So I would have my knitting needles up to the microphone, and watch, trying it with all three kinds of needles,” Nielson explains.
Years later, Nielson picked up the knitting needles again while working as sound designer on a production at Cincinnati Playhouse in the Park. The show, Summerland, was about a spirit photographer in the 19th century who claimed to take photos of the dead. Throughout the story, characters hear tapping sounds from another room (or perhaps another realm), adding to the mystery of whether the photographer could truly capture ghosts on camera.
“I was trying to get just the tapping sound that I was looking for. So I’m at my house, tapping on the coffee table with a glass surface, tapping on the kitchen table, the fridge,” Nielson explains. “I ended up using those knitting needles just to do the click, click, click, click, click, and then I would put all kinds of crazy effects on it so it would sound like these clicks were happening all over the room.”
3 Tips for a Career in Sound Design
Nielson has forged an award-winning career in sound design and composition that has spanned two decades. Here are his pearls of wisdom for students seeking a place in the sound arena of theatre:
1. “If you want to be a freelance theatre artist, you have to be adaptable.”
Nielson says when the pandemic hit in 2020, he was contracted for eight productions that were all canceled. He quickly had to pivot and utilize the knowledge and experience he gained while working in film and television so he could work on audio and sound design for web-based projects during quarantine.
2. “Really learn what it means to collaborate with your fellow artists. Be open to what’s happening around you and be available to listen and respond creatively.”
Nielson encourages rising theatre artists to take the time and initiative to understand what their collaborators actually do. What does it mean to be a lighting designer, a costume designer, an actor? He says it’s important to understand what each person goes through on stage, off stage, and behind the scenes.
Equally important is not getting caught in creative silos, and collaboration prevents that from happening. “It took a couple of years and some really persistent other designers — who are now some of my favorite collaborators — to make me realize that I had a voice in the room and that other people wanted to hear it and that it could actually be part of shaping the world [on stage],” he says.
3. “Be honest. And this is less about lying to other people as it is being honest to yourself.”
He says this is especially important if you want to be a freelance artist in theatre. He cautions against overbooking yourself and stretching yourself too thin. It’s possible to keep reaching for goals while still understanding your limitations. Lastly, it’s okay to ask for help from friends, colleagues, and theatre companies.
You can learn more about Nielson and his creative work at matthewnielson.com and curiousmusic.com.
Natalie Clare is a regular contributor to Dramatics, a freelance arts and culture reporter in Cincinnati, and an arts and education marketer. She has a handsome husband, an adorable baby boy, a mischievous cat, and far too many plants.
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]]>The post What is Dramaturgy? appeared first on Dramatics Magazine Online.
]]>What is dramaturgy, you ask? (Or you do not ask because you don’t even know how to pronounce dramaturgy!)
One of the most fascinating, and mysterious, jobs in theatre is that of the dramaturg. Tasked with understanding the story and all of its many components, a dramaturg can be crucial when developing a script and preparing it for the stage. Dramaturgs typically work with playwrights, directors, designers, actors, and/or producing theatre companies.
In this article, we’re demystifying dramaturgy. We’ll take a look at the craft itself, how dramaturgs chart their career, and what skills lend themselves to the role.
WHAT IS DRAMATURGY?
The basic definition of dramaturgy is “the art or technique of dramatic composition or theatrical representation.” It comes from the Greek word dramatourgía, meaning “a dramatic composition” or “action of a play.” In essence, dramaturgy is the practice of understanding the structure, context, characters, language, and themes of a play. It can also apply to opera and film.
What does the dramaturg do?
● Analyze play scripts and librettos
● Perform research about a variety of story elements
● Consult the playwright on a script’s form and structure
● Support the development of a new script, revival, or adaptation
● Advise the director, designers, production team, and actors
● Write educational or supplementary content for audiences
● Maintain knowledge of a show’s production history and author(s)
● Consult outside subject matter experts if the material calls for it
● Consider how the production will connect with today’s audiences
The role of a dramaturg can vary from production to production. Some dramaturgs work as freelancers and independent contractors, and some work in a theatre company’s literary department. This makes dramaturgy one of the most flexible careers in theatre.
Despite this range of tasks and functions, every dramaturg has the same basic objective. Catherine Sheehy, Chair of Dramaturgy & Dramatic Criticism at David Geffen School of Drama at Yale University, describes it in a video: “It is the dramaturgy which connects that work to its maker, its audience, and its cultural context. And it is the dramaturgy which connects all of those three to each other.”
KNOWING THE WORLD OF THE STORY
A dramaturg’s in-depth research informs and enhances the world of the story. That might include analyzing the time period of the play’s setting.
For example, August Wilson’s Century Cycle includes a series of ten plays that represent the Black American experience in each decade of the 20th century. A dramaturg would perform research on the time period’s major news items and events, details about typical daily life in a certain region, social dynamics between different groups of people, artistic and cultural movements, and other factors that influenced the lives of Black Americans as they’re relevant to the characters. In doing so, a dramaturg provides key insights about historical accuracy.
A dramaturg can also provide a look at a show’s production history, source material and origins, context around the material, and information about subjects in the story.
With The Curious Incident of the Dog in the Night-Time, for example, a dramaturg would research all of these areas. The play is based on a best-selling novel by Mark Haddon. Its world premiere production earned the show a reputation for its sophisticated technology and physical movement—an artistic and intentional choice made by the director and production team. There are also important interpretations of the show’s protagonist, Christopher. He has unique sensory challenges that are integral to his character development and the choices he makes.
In these scenarios, the dramaturg’s work can inform how a director approaches the material, how actors bring the characters to life, how designers envision sets and costumes, and how a theatre might supplement the production through educational materials and audience engagement opportunities. They might also consult with experts who already have a deep well of information about show-specific subjects, characters, and themes.
CONSULTING ON THE CREATIVE PROCESS
The scope of dramaturgical work for any given production depends on the needs of the artists and the theatre who is producing their work. Primarily, a dramaturg is there to support the playwright and their story with research, leaving creative decisions to the artists.
In an insightful interview with MusicalWriters.com, dramaturg/writer/scholar/creative executive Ken Cerniglia describes the basics of dramaturgy and his experience as full-time dramaturg and literary manager with Disney Theatrical Productions. His biography says that during his 16 years in this role, he “developed over 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, and Tarzan.”
He says in the interview, “[P]art of my job is to bring relevant historical facts into the creative discussion to enable informed decisions. You can’t take artistic license if you don’t even know what you’re departing from in the first place, and more importantly, why. At the same time, if you’re rigid about historical and scientific accuracy, you risk being boring.”
Cerniglia then explains how his dramaturgy helped Disney bring the theatrical adaptation of the 1992 movie musical Newsies to Broadway. He performed research about the actual 1899 New York City Newsboys Strike, and how historical figures like publisher Joseph Pultizer (the musical’s villain) played a role in it. His research provided important context that helped the creative team make some changes from the source material that enhanced the story but still maintained historical accuracy.
He describes, “The musical’s book writer, Harvey Fierstein, also invented the character of Katherine, which was the name of Pulitzer’s oldest daughter, but Fierstein made her a reporter—a young career woman—and a love interest. This choice provided our 21st-century musical with an appealing female lead and juicy second-act plot complications. Although not historical, Katherine Plumber was historically plausible; our research into journalist Nellie Bly, who was famous decades before 1899, helped inform the development of the character.”
WHAT MAKES A SKILLFUL DRAMATURG?
Dramaturgy is an ideal area of expertise for those who are passionate about theatre and gravitate to roles off stage. It’s essential to have general knowledge of the theatrical art form and its history. It’s also important to know how a play comes to life and who’s responsible for what during production.
Dramaturgs who excel in their field commonly have the following characteristics:
● They love to read, write, and research new topics.
● They have a strong grasp of literary analysis, including narrative structure, character development, symbolism, and language.
● They work well both independently and collaboratively.
● They’re detail-oriented and keep their work organized and clear.
● They’re sensitive to and respectful of the creative process.
● They’re observant, curious, and open-minded.
● They consider how art, in all its forms, relates to larger social and cultural contexts.
Does this sound like you? If so, the field of dramaturgy might be calling!
Natalie Clare is a regular contributor to Dramatics. She’s a freelance writer who specializes in arts and culture, and is based in Cincinnati, Ohio. Visit her work at nataliecwrites.com.
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]]>The post Copyright in Theatre appeared first on Dramatics Magazine Online.
]]>For thespians, copyright in theatre is one of the most essential topics to know and understand. It’s right up there with knowing the building blocks of your craft—like knowing how to read sheet music, how to properly format a script, and how to fix a costume’s loose hem. When you create for the stage (and what you interpret from others’ work), it’s legally protected property.
You may have heard or read about a recent, unauthorized production of Hamilton in August 2022. The Door Christian Fellowship Ministries in McAllen, Texas, staged and live-streamed performances of the blockbuster musical without first obtaining official permission from the production’s creators and copyright owners. The church must now pay damages as a result of their copyright violations.
Specifically, the church came under fire for a number of violations. They altered dialogue and lyrics, changed some of the music, deleted songs, advertised the production using the show’s logo, streamed it online, and utilized costume and set designs that are all too similar to those in the original production.
You can read more about the story here. Let’s take a closer look at copyright in theatre and how it affects artists, students, and educators, so that you can be sure the work you’re doing is respectful and legal.
WHAT IS COPYRIGHT?
In the United States, copyright is “a type of intellectual property that protects original works of authorship as soon as an author fixes the work in a tangible form of expression.” Copyright law makes it illegal for anyone to use protected work without the author’s permission during the author’s lifetime plus 70 years.
LegalZoom provides a detailed list of protected works under copyright law:
- “Literary works. This can include novels, nonfiction works, poems, articles, essays, directories, advertising, catalogs, speeches, and computer programs.
- Musical works. This category includes both the musical notation and the accompanying words.
- Dramatic works. This type includes plays, operas, scripts, screenplays, and any accompanying music.
- Pantomimes and choreographic works. Popular dance steps are not included in this type of work.
- Pictorial, graphic, and sculptural works. Works included are sketches, drawings, cartoons, paintings, photographs, slides, greeting cards, architectural and engineering drawings, maps, charts, globes, sculptures, jewelry, glassware, models, tapestries, fabric designs, and wallpapers.
- Motion pictures and other audiovisual works. These include movies, videos, and film strips.
- Sound recordings. This includes recorded music, voice, and sound effects. Thunder, animal noises, and other sounds of nature may be copyrighted by the persons who record them.
- Compilations. You can put together a collection of existing materials and the collection as a whole can be copyrighted. Some examples would be a book of poems written about trees or a list of the best cancer doctors in the U.S.”
Copyright protection does not extend to “any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work.”
HOW DOES COPYRIGHT EXIST IN THEATRE?
The Dramatists Guild, which has a copyright advocacy program, says artists in the theatre industry work for themselves. Because of that, copyright protection enables them to earn and sustain a living off their work. They distill the importance of copyright in theatre as follows:
“Everybody who writes or records original material has a copyright in their writing, whether it’s a play, libretto, lyric, or musical composition. Owning the copyright is what gives the author the ability to negotiate fair contracts for the use of their work, and everybody who licenses and performs a show has to abide by those contracts.”
In a video resource titled “Copyright 101,” the Dramatists Guild explains that copyright protection begins at “the moment of creation.” Once you’ve written something with the intention of producing, publishing, or performing it in some way, your work becomes copyright-protected. Additionally, copyright protection gives artists the right to reproduce, publish, display, perform, distribute copies, and create derivative works from the art they create.
In a theatrical production, other copyright-protected works can include set design, costume design, lighting design, and choreography. Stage directions, as interpreted by a director, typically do not fall under copyright protection. An article, “Property Rights and Wrongs” from American Theatre, notes, “Directorial choices such as blocking or production concept continue to occupy nebulous ground legally.” (Check out the full post to learn about specific examples.)
WHAT IS “FAIR USE?”
By definition, fair use is “a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances.” Essentially, it means there are some activities and situations in which it’s okay to use copyright-protected material without the copyright holder’s permission. Some of these instances include news reporting, research, comment, scholarship, criticism, and teaching.
However—and it’s a big however—that doesn’t mean educators have universal permission to use copyright-protected material in school. You might use a script, a recording, a film, or a novel for educational use within your curriculum, but you can’t claim fair use when it comes to performances. This is a common misconception with theatrical performance in schools. When you’re utilizing copyright-protected material for the stage, you must request permission (and, most likely, pay certain fees) to present a performance.
RESOURCES AND RECOMMENDATIONS FOR STUDENTS AND EDUCATORS
This article only touches on the basics of copyright in theatre. Copyright law is expansive and evolves over time with amendments and additions. Here are a few, essential steps that will keep you from landing in hot water with your productions:
- ALWAYS obtain permission first. It doesn’t matter if you’re performing for a class, presenting to a private audience, or staging a show for free—you must license the performance rights from the author or their legal representation (typically that’s a licensing agency).
- Never make changes without the author’s permission. Adjusting any portion of the material as it’s dictated in the script is a copyright violation. Requesting to make changes isn’t as daunting as you might think. Authors approve changes all the time to accommodate specific audiences and performers, but you must ask permission first. You can submit your changes and allow them to approve, deny, or suggest alternatives.
- Don’t post a video of the performance. Many licensing companies these days offer streaming rights and on-demand viewing options to accommodate audiences. There are usually specifications which allow you to use video for marketing and promotional services, too. But if you’re thinking about sharing the performance publicly, on broadcast, or on social media without any permission beforehand, don’t. Remember that theatre is a live art form, meant to be enjoyed in the moment with the people in the room.
Finally, be sure to check out these resources so that you’re even more equipped with copyright knowledge.
- Copyright.gov: Performing Arts
- Dramatists Guild: Copyright 101
- National Federation of State High School Associations: NFHS Copyright Resources
- National Association for Music Education: Copyright Resources
- LegalZoom: Copyright Laws and School Performances
- Music Theatre International: Dos and Don’ts of Licensing
- Concord Theatricals: Intro to Licensing
- Dramatic Publishing: FAQs About Licensing and Royalties
- Pioneer Drama Service: FAQs
Natalie Clare is a regular contributor to Dramatics.org. Visit her site.
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]]>Nikki Wills earned the 2022 Thespy Award for stage management at the International Thespian Festival! Below, she tells us how she started her role as stage manager and what she’s planned next for her theatrical career.
Nikki Wills
Bishop Gorman Catholic High School
Troupe 4347 | Las Vegas, NV
Check Please: Take 2 by Jonathan Rand
What are your top 3 tips or advice about being involved in theatre?
The best pieces of advice I have ever received are:
- “No advice is useless, some advice you use and benefit from, some advice is only useful because it showed you what not to do, or the advice shows you a third new solution.” No advice is useless, even when it seems as if it would make things worse. Trying something anyways can either prove your initial opinion wrong, or it can show you a third way — a blend of your way and the advice. Of course there are the off times where their advice really didn’t work for you, but even then you learned from it.
- “Say yes to everything, you never know what’s waiting on the other side of the barrier you created for yourself.”
- “Show others respect and they will respect you in return.”
Tell readers the most important steps you took to win the 2022 Thespy for Stage Management.
The most beneficial part of my process was my “burner copy” of my portfolio. For me this was a glittery pink binder that I swore was only a rough draft and that I would later completely re-make for my final copy. I tore pages up and scribbled things out with a sharpie, and by the end of mangling this tester binder, I knew exactly what I wanted my final product to look like, what I wanted it to contain, and how I wanted it to be designed.
How long have you been doing stage management?
This might be shocking, but I only started stage management less than a year ago. I’ve been in the performing arts for most of my life. However, I didn’t experiment with stage management or tech at all until recently. I sort of fell into it. I had just auditioned for a show and some of us were joking about how I loved the show so much I could direct it myself. The director overheard and offered me stage manager and assistant director, and I said yes! I fell in love and the rest is history.
Tell us a story about a major potential disaster you overcame as stage manager.
Our school always makes sure that the assistant stage manager (ASM) gets to call one of the shows. For this show, the ASM called two of the three spotlights suddenly went out mid-run. Specifically, one turned off on its own and the other started smoking, and due to safety concerns I made sure it was turned off immediately. Obviously, this could quickly become a lighting disaster. We hadn’t planned for this, as it had never happened before.
How I handled it is I asked the ASM to not call any of the spotlight cues in order to not confuse me or the last remaining spot operator. I then climbed the ladder to the last spot and used my knowledge of the show to call the spot based on importance. Sadly, the show couldn’t be perfect but I was able to make sure no actor was stuck in complete darkness.
Nikki Wills
What’s next in your theatre career?
This fall, I am attending Drexel University’s film and television program to continue my career in the arts. Film and theatre are two unique disciplines that often intersect — an example being how actors often act on stage and on camera, or in my case, a stage manager can also work towards being a film director. Theatre will always be a part of my life, and I intend to stage-manage shows through college. The film school I am attending only accepts 64 students every freshman class, which makes for a very small and tightly knit community. Because of this, I am pushed to create connections with artists in our community, which I hope I can also use to my advantage as I advance my stage management career.
What would you like to say that we didn’t ask you about?
In this position, I always get asked about where I find joy in this. And I honestly cannot blame anyone who hasn’t experienced it themselves for asking. An actor often finds joy from things such as the applause they get, or nurturing the character they created. A technical designer often finds joy in their creation — for some, that’s a set they enjoyed building, or a costume that the designer gets to watch be brought to life.
As a stage manager, I’ve always struggled to put it into simple words for it’s a little less of an obvious answer, for me at least. But after thinking on it, I’ve been able to pin it. The joy I find in this is, in part, all the little things: getting to pack a backpack and challenging myself to organize everything I could possibly ever need into it, all of my beloved sticky notes that I get to ball up after solving the issues written on it (p.s. I seriously make a massive ball for each production and see how big I can make it), or finding the best erasable pens.
Then there’s also the bigger things, such as when everything is going wrong and your heart is racing and all that time you spent memorizing the show is suddenly coming into play because unlike anyone else, you don’t need the scripts or the call sheets or the rosters anymore — you can just run with your brain and fix things in show time. Or that feeling after you have a perfect show, and everyone is just beaming with joy. And, of course, I can’t forget my guilty pleasures, such as letting the spot operators and orchestra manager go off-com early [and disconnect their headsets] to hop into the audience, helping usher people out so everyone else can get moving to close up the night and get to the after events I helped plan. Even after spending over an hour on those three sentences, I still feel as if I couldn’t do it justice because it’s such a different experience for everyone, and it’s something I encourage everyone to experience themselves and find their own points of joy within it.
View all of the 2022 Thespy Award winners, and get ready for ITF 2023! Watch for deadlines to be updated soon at itf.schooltheatre.org. 
Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.
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]]>The post 2022 Thespy Winner Brooke Gustafson appeared first on Dramatics Magazine Online.
]]>Meet Brooke Gustafson! At last summer’s International Thespian Festival, she won the 2022 International Thespian Award for Excellence in Costume Construction. Below, she tells us more about her theatrical background and how she’s planning to build a career in theatre.
Brooke Gustafson
Metrolina Christian Academy
Troupe 8868 | Indian Trail, NC
Meg’s Ballgown from Little Women by Louisa May Alcott
Tell readers the most important steps you took on your way to winning the 2022 Thespy Award for Costume Construction.
Shockingly enough, I found the research element of costume construction to be the most beneficial and important to my future success. For the months leading up to the actual construction process, I remember spending a majority of my free time researching on Pinterest or reading dissertations. These readings ranged from deep dives into the 1860s lifestyles and clothing, character analysis, or pictured examples of clothing from that era. Whenever I attempt to create art, my goal is to learn as much as I can throughout the process and grow into a better thespian. The same was applicable as I presented to the judges. I strived to research facts that wouldn’t only teach me something new, but also the judges. As for the actual submission process and presentation, I presented to multiple friends and family members in order to gain their advice and options.
Scene from Cinderella featuring Brooke’s costume construction.
How long have you been doing costume construction? Is there an interesting origin story about how you came to the craft?
I’ve been sewing for around two years now. The origin story is actually quite fun. It all started in 2020 when the world shut down for COVID. I began sewing masks for individuals and businesses at the beginning of quarantine. From there, I immediately fell in love with sewing and thought, Hey, how hard could costuming a show be? That summer, I costumed a production of Cinderella on my own and learned just how much goes into costuming. Since then, I’ve costumed all of my high school shows and my summer drama club shows, and created my own business doing alterations and custom creations for people.
Is there one costume you loved/hated working on?
One costume that I had a strong love/hate relationship with was the iconic “16 going on 17” dress for Leisl from The Sound of Music. It was made from a gorgeous champagne-colored silk satin that shined on stage. I designed the dress based off the dress from the movie; however, since it was a stage production and we didn’t have historically accurate undergarments, we couldn’t have her skirt fly up like it does in the movie. I tried many different arrangements, but it was difficult to get the correct amount of flow required for the dance yet ensure the skirt didn’t fly up. I thoroughly enjoyed the challenge because it was the first time I had to connect a dress design to the dance sequence in order to create a seamless performance.
What’s next in your theatre career?
I’m so excited to be attending Elon University this fall for a double major in Arts Administration and Theatre Studies. I plan to work professionally in the industry for five to 10 years, and then eventually start my own drama studio using the skills I learned in the industry and my education to prepare high school students for success.
What would you like to say that we didn’t ask you about?
I’d just like to encourage everyone to pursue some new experience or challenge. Whether it be a scholarship application, competition, audition, job, or new hobby, everything you work towards gives you insight for the future. Even if the outcome isn’t what you expected, you can gain wisdom from your attempts. That includes attending your State or International Thespian Festival. Utilize every opportunity and challenge you come across along the way. Audition for that play, compete in the Thespys, attend your favorite workshops. The experiences, connections, and knowledge I gained at these festivals will stay with me forever.
View all of the 2022 Thespy Award winners, and get ready for ITF 2023! Watch for deadlines to be updated soon at itf.schooltheatre.org.
Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.
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]]>The post 2022 THESPY WINNER JAMISON KO appeared first on Dramatics Magazine Online.
]]>Meet Jamison Ko, who earned the 2022 International Thespian Excellence Award for Stage Management at the International Theatre Festival last June! Read about her experience with theatre, her advice for up-and-coming Thespians, and what she’s planned for the future.
Jamison Ko
Casteel High School
Troupe 8337 | Queen Creek, AZ
The Drowsy Chaperone by Bob Martin, Don McKellar,
Lisa Lambert, and Greg Morrison
What are your top three tips or words of wisdom about being involved in theatre?
Get involved! Nothing will benefit you more than learning about all the different aspects of a show that aren’t involved in what you currently do. Every actor should try tech, and vice versa. The experience of putting on a show is greatly exemplified when you recognize all of the different people and parts it took to get to the finished product. Also, look for show binders at second-hand stores like Goodwill.
Tell readers the most important steps you took to win the 2022 Thespy for Stage Management.
I start by making a list of things that went well during the show process (punctual meetings, staying on task at rehearsal, etc.). From there, group those positive things into categories based on what skill you used to accomplish that thing (i.e. time management, communication, etc.). Use those larger categories as stepping stones for your presentation, supported by your paperwork. Don’t be afraid to show your personality and passion, and practice for everyone you can!
How long have you been doing stage management? Is there an interesting origin story about how you came to this important part of a production?
I have been stage managing for five years! Some of my favorite stage management credits include Pippin and The Drowsy Chaperone. My journey into technical theatre began after being cut from my school musical. I desperately wanted to be involved with the show and the theatre community, so I interviewed to be a technician. From there, I fell in love with the backstage environment and the process of creating a show, which led me to stage management the following year.
Tell us a story about a major potential disaster you overcame as stage manager, and how.
I worked on a production where one of our assistant stage managers (ASMs) had to leave the show just prior to beginning full runs. Losing them put a major wrench in the hierarchy and plan we had for moving into tech week. I was forced to quickly adapt the delegation of tasks to be covered by myself and now only one ASM so that we didn’t lose any progress or forget to do anything previously covered by the now absent ASM. We also had to rework the agenda for that week’s production meeting to include a conversation on how we would alter the backstage crew plan to function effectively with fewer people so there were no surprises or forgotten elements come tech week. Both of these things were incredibly challenging but thankfully handled promptly and allowed us to move forward in the show without any major setbacks.
What’s next in your theatre career? Further education in theatre? A different path where theatre still is a part of your life?
My next step is to attend Oklahoma City University in fall of 2022 to study stage management, and eventually make theatre and stage management into a career!
What would you like to say that we didn’t ask you about?
In my presentation, I obviously talk about my prompt book, but I also always make a point to discuss the softer side of the job. As stage manager, you have not only the responsibility of running the show but also an obligation to make sure the cast and crew are able to give their best performance during each show and rehearsal by providing an environment that encourages vulnerability and is supportive and comfortable for everyone involved. The stage manager plays a very crucial role in establishing and maintaining this environment and just making sure that everyone in the production can be their best!
View all of the 2022 Thespy Award winners, and get ready for ITF 2023! Watch for deadlines to be updated soon at itf.schooltheatre.org.
Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.
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]]>The post 2022 THESPY WINNER TYLER GARLEJ appeared first on Dramatics Magazine Online.
]]>Meet Tyler Garlej, who earned the 2022 International Thespian Excellence Award for Theatre Marketing at the International Theatre Festival last June! Learn more about his theatrical background and experience below.
Tyler Garlej
Salpointe Catholic High School
Troupe 5370 | Tucson, AZ
Governing Alice by C. Denby Swanson
What are your top three tips or pearls of wisdom about being involved in theatre?
First, don’t always think that you have to fill people’s shoes when other members of your troupe leave. It is not your job to fill those shoes, but to fill your own shoes and leave those behind when you graduate. Second, have confidence in yourself onstage. When you do, you will not only have a good show, but you will also have a great character. Finally, cherish every moment you have in theatre, because no matter what your role is — from the actor onstage, to the run crew backstage, to the technical crew in the booth, to the front of house team — without any of these roles…there would not be a show.
Tell readers the most important steps you took on your way to winning the 2022 Thespy for Theatre Marketing.
I made sure my designs and marketing strategies were cohesive and engaging for the show. I won the overall high Superior score for my work on Governing Alice by C. Denby Swanson. The focal point was a brick wall with a mural of graffiti splashed on it, and it was an attempt to tease and entice the viewers to want to know more about the play. My director and I decided that concept would be our inspiration for the graphics for flyers and advertising. Everything that was designed, created, and marketed was completed by myself, as I was the marketing manager for this whole show. It was definitely a learning curve to manage all aspects of marketing — it was for social media, flyers, press releases, and all the way down to the programs. I found that communicating with our director was essential to completing projects.
How long have you been doing theatre marketing?
This was my first year doing theatre marketing. I have always had a passion for business and marketing. My mom actually taught me all I know about design, marketing, brand strategy, and project management. My high school director also allowed me to take on the responsibility of our Instagram account, and it was remarkable. When I started, we had 300 followers. I set goals for myself to increase our followers, and with just pushing that one Instagram account and not anything else, we increased our followers by being active and enticing people to interact with us. We gained over 195 followers in a just short time!
What method of promotion has worked best for you and why?
The method that has worked best for me is social media, especially Instagram and Facebook. I think the reason why is because our we’ve grown up with social media and digital technology for almost 30 years now. Social media is a great way to target your selected audience. Even newspapers and magazines are going more digital, which also helps make it easy to promote your work.
What would you like to try if you had the means (time, money, access to technology)?
If I had the time, money, and access to technology, I would get a digital marquee sign for our school theatre so that we can promote shows and anything fine arts-related. This coming year, my marketing team and I have fought for a TikTok account for our theatre as well to promote the shows.
Photo of Tyler Garlej by Jamie Williams
What’s next in your theatre career? Further education in theatre? A different path where theatre still is a part of your life?
Over the past four years, I have fallen in love with all aspects of theatre. Starting out as an actor, then learning tech and all aspects of backstage has made me want to stay involved as much as I can in my future. However, I am planning on going to college for a major in Business with a minor in marketing. I don’t intend to leave the theatre completely. I plan on doing either local or community theatre while in college and then I would love the opportunity to have a job in my field, such as doing marketing for shows on Broadway.
What would you like to say that we didn’t ask you about?
Many people don’t realize that along with acting, the show would not be possible without all the various technical crew members. After experiencing the behind-the-scenes work that goes on, I have so much more appreciation for learning these fields and I appreciate everyone who I have worked with and learned from. As for marketing the shows, without the business sense and creativity of promotion, we would not have an audience. Theatre is full of creative people, and it interlocks everyone. Creative minds work well together, and that encompasses the whole show — ranging from set design, lighting, sound, makeup, stage management, directing, acting, and yes, even the creative process of marketing. Thinking full circle makes the team.
View all of the 2022 Thespy Award winners, and get ready for ITF 2023! Watch for deadlines to be updated soon at itf.schooltheatre.org.
Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.
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]]>The post Artists Who Advocate appeared first on Dramatics Magazine Online.
]]>As one of the willing artists who advocate for all to see, you can’t help but fall in love with Jamie Barton when you meet her on her socials. She rocks a edgy and colorful personal style, and in her Instagram bio she describes herself as a “[p]roudly queer opera singer into drag queens, bluegrass, social justice, equality, and cats.” She’s a 2022 Grammy nominee, as well as an empowering artist who uses her platform to connect with and inspire others. We highly recommend you check her out and click “follow!”
ARTISTS WHO ADVOCATE…IN OPERA!
Barton is a mezzo-soprano vocalist who has performed nationally and internationally in concert and in operas. Hailing from rural Georgia and raised on bluegrass music, she’s a graduate of vocal studies at Shorter College and Indiana University Jacobs School of Music. She began her career in musical theatre and has indicated that she’d love to return to the genre as Mrs. Lovett in Sweeney Todd, as Charlotte in A Little Night Music, and as The Witch in Into the Woods.
Notable opera credits include Carmen in Carmen, Brangäne in Tristan und Isolde, Fricka in Das Rheingold, Orfeo in Orfeo ed Euridice, and many others. She has performed at the Metropolitan Opera, Teatro Real Madrid, Washington National Opera, the New York Philharmonic, Carnegie Hall, John F. Kennedy Center for the Arts, and with symphony orchestras of Atlanta, Baltimore, Dallas, Iceland, Oulu, Pittsburgh, and Toronto, among many others.
GROUNDBREAKING CAREER MOMENTS
Barton’s path to professional success has certainly been an inspiring one. She’s paved her way through the traditionally conservative world of classical music by staying true to who she is and shaking things up along the way. Here are some highlights:
- June 2013: The first woman to win both first prize and the song prize at the BBC Cardiff Singer of the World Competition, which is a distinguished classical music competition.
- April 2015: Won the Richard Tucker Award, one of opera’s most prestigious honors. The foundation which selects the winner explains the award is given to “an American singer poised on the edge of a major national and international career, and it is hoped that the award acts as a well-timed catalyst to elevate the artist’s career to even greater heights.”
- September 2015: Featured in the New York Times (NYT) while performing in Anna Bolena at the Metropolitan Opera. The NYT called her “opera’s nose-studded rock star.” The profile also described her as “a leader of a new generation of opera stars.”
- 2018 and 2020: Won BBC Music Magazine awards. In 2018, she received the Vocal Award. In 2020, she received Personality of the Year.
- September 2019: Headlined “Last Night of the BBC Proms,” and performed “Rule, Britannia!” while waving a rainbow flag in celebration of the LGTBQ+ community. The song is a classically British song of patriotism (like the song “God Bless America” in the U.S.). The Proms is a prominent classical music fest.
- September 2021: She performed as Carmen alongside Stephanie Blythe as Don Jose, Carmen’s romantic counterpart. The pair brought a non-normative, genderfluid element to the classical stage.
- 2022: Nominated for a Grammy Award for “Best Classical Solo Vocal Album” for Unexpected Shadows, which she made with composer/pianist Jake Heggie and cellist Matt Haimovitz.
EMPOWERING OTHERS ON SOCIAL MEDIA
Alongside her critically acclaimed musical talent, Barton stands out in the world of classical music for her social activism. Her Instagram, in which she boasts over 23,000 followers, engages in dialogue about body positivity, LGBTQ+ rights, social justice, and equality. She identifies as bisexual and frequently publishes content designed to uplift women, queer people and members of other marginalized communities. Last June, she published a video of her singing “Somewhere Over the Rainbow,” accompanied by an on-screen sign language interpreter. She captioned the post, “In case you’re as angry and heartsick as I am over… well, Everything… here’s a little moment of love and community to pause your scroll.”
Part of Barton’s appeal comes from her honesty and vulnerability about unique career challenges. She’s posted about how “nerve-wracking” it can be to trust a designer in creating costumes for her as a plus-sized performer. She calls out assumptions and stereotypes about casting choices that favor certain groups over others. Her candidness about her experiences and her frankness about social topics generate and continue important conversations that push the industry toward a more inclusive and progressive environment.
Recently, Barton lent her talents and influence to Ukrainian relief efforts. She performed in a special concert at the Met in which the ticket sales and album sales supported relief efforts. She also ran a personal matching campaign on her social media, through which she and her followers raised over $9,000 for organizations providing aid to the citizens and country of Ukraine. She wrote in an Instagram post on March 8, “The grand total that you guys submitted in donation receipts to organizations providing aid to the citizens and country of Ukraine was a WHOPPING $4522!! WOW!!! I matched that told in a donation to [CARE] in the same amount, which means *together*, we have sent $9044!! Bravi tutti, y’all. Thanks for banding together to help people who are truly in need right now.”
At the same time, Barton delights in publishing behind-the-scenes content that shows how much she simply loves what she does. Take, for example, a video in which she explains (with excitement!) a prosthetic eye wound created by her hair and makeup artist. It’s part of her character as Eboli in Don Carlos. When she finishes the video, she reveals the prosthetic and says humorously, “Look at that… gnarly, gnarly, Princess Eboli!” It’s the kind of “insider” content that thespians, artists, and performers alike recognize and appreciate.
Barton is also a volunteer with Turn The Spotlight. Their mission reads, “We offer mentorship by and for exceptional women, people of color, and members of other equity-seeking groups, with a particular interest in supporting artists who are using their talents and skills to strengthen their communities and pursue social justice.”
With so many accolades and so much charm, Barton’s star has not only risen but continues to shine very brightly — and it’s a star in which many young artists can find inspiration. Follow her @jbartonmezzo on Instagram, Facebook, Twitter and YouTube. Visit jamiebarton.com.
Natalie Clare is a freelance writer and regular contributor to Dramatics. Visit her work at nataliecwrites.com.
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