| Auditions |
What We're Looking For in Actors Creative, versatile performers We need more than just actors. We need true performers who are team players. We need actors who are excited by the challenges of entertaining an audience of thousands. Ensemble (the French word for "together") We choose to work with talented, entertainers who are NICE people who get along with fellow actors and crew. We want people who make it a pleasure for a director to have you on their stage. We are looking for parts of a whole, people who can function well as a team. Following the advice of the Harvard Review of New Management Techniques, we have instituted an active, committed and strongly enforced * No Assholes rule in our company. (*This is Harvard's term, not ours) Actors who can BUILD and PROMOTE Each actor needs to contribute to the Company in some way, either by building, painting, helping with delivery/set- up or building props OR by doing a minimum of two promotional events (workshops, singing, mini performances or handing out flyers at other events). No one is exempt from this rule. We believe that actors who help build the set and personally promote the show have more respect for the Shakespeare In The Park experience. Actors who can FIGHT We need Actor Combatants who are highly trained and/or certified on swords (broadsword in particular) and hand to hand combat. We need actors who can perform safe and exciting fights EXACTLY as choreographed each and every time. Ego management We need actors with the ability to maximize the benefits of being strong performers with healthy egos in conjunction with the ability to place that ego aside in order to take direction or support their castmembers. We have no room for people who put their own performance ahead of the ensemble. Endurance & A Strong Work Ethic Shakespeare in the Park is a very tough job. Our rehearsal schedule is rigorous, our performance conditions can be primitive. We need people who can handle the ebb and flow of a long rehearsal period followed by an intensive “hell week” then with set building and performances -- people capable of challenging themselves to keep their performances, work ethic, and attitudes fresh. Most rehearsal weeks include four evenings and one Saturday. Close to show time, we go to five evenings and one Saturday then performance week is 7 days. The rehearsal process is 6 weeks long and you are required to come to the first rehearsal OFF BOOK.. Commitment We need actors who are 100% committed to our company from day 1 of rehearsal through set strike. As an actor, you make a difference in the way people think and feel; you touch lives, and your performance brings to life the works of William Shakespeare for thousands of people. |
Please note the following characteristics of
Shakespeare Miami productions and allow them
to influence your audition choices:
Eye Contact
We ask you to look for sections of text that work well
when spoken directly to audience members. Please
consider using eye contact as a part of your audition
piece.
USE AND RELISH THE WORDS
Make Big, Bold, Daring, Entertaining Choices
(This does not mean "yell" at us. Loud doesn't
necessarily mean bold.) Subtle chracters are too small
for Shakespeare's strong emotions and bawdy fun.
Conservative choices may work well for the first 4 or 5
rows... we are interested in entertaining the people in the
100th row. Look for the humor and intensity in your
lines; speak out; don't "play it safe"; use this opportunity
to surprise us with your bold creative choices.
Watch the hands.
you know what we are talking about. *see Hamlet's
advice for the actors...
Comedy is hard but it won't hurt you!
We tend to see a lot of dramatic pieces in audition.
Comedy is much more difficult to pull off successfully so
if you want to impress us, find an ironic, funny, bawdy or
lewd speech. (I'm not saying we are doing Renaissance
Faire shakespeare here... we're not). However, pulling off
a comedic speech shows us a few things, timing,
understanding of the text, natural inclination for the work.
We love all audition pieces, but nothing impresses us
like someone who can pull of a comedic monologue.
Other Good Things to Know...
Interested in an Internship? Interns work side by side with professionals in every area of our company, gaining on the job experience as they polish skills in their chosen career. How Do I Become an Intern? The first step is to apply for an internship. Fill out the form on the right and let us know more about you and your interests, experience and career goals. A staff member will contact you. The next step is an interview and then possible internship placement in one of the company departments: Acting, Stage Management, Public Relations, Technical, Costume or General Crew Shakespeare in the Park production of MacBeth Show dates January 15-January 25, 2009 Fight rehearsals begin in October Show rehearsals begin in November. We take a week off for the Christmas holidays in December. Rehearsals are Monday - Thursday from 6-10pm at the Shake-a-leg Community Center Fighters and dancers may have Saturday rehearsals |
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| Be seen in good company |
| To Apply for an Internship |
Department Heads -
Paid Positions:
Technical Director - Able to oversee sound, lighting and
closed water systems on our set.
Backstage Manager - Responsible for set up of the stage,
must direct the set up of dressing rooms and costume and
props departments. Runs the backstage area during all
performances in our unique out doors performance space.
Lighting Designer - Must be able to work closely with the
Director. Must be able to work quickly and adjust to the
specific requirements and demands of our set build-out and
technical systems.
Sound Designer - must be familiar with working with a
minimum of 10 wireless mics which are changed during the
performance and mixing the show on the fly.
Construction Chief - We build our set in exactly two days.
(Enough Said)
Non-Paid Internship Positions:
Assistant Stage Manager
(Front of house)
Assistant Stage Manager
(Technical)
Works under the Stage Manager
Wardrobe Manager
Works under the Costume Designer
Assistant to the Director
Works as the personal Assistant to the Producing Artistic
Director for the company
Properties Manager
Works with the ASM - Technical
Paid Positions:
Technical Director - Able to oversee sound, lighting and
closed water systems on our set.
Backstage Manager - Responsible for set up of the stage,
must direct the set up of dressing rooms and costume and
props departments. Runs the backstage area during all
performances in our unique out doors performance space.
Lighting Designer - Must be able to work closely with the
Director. Must be able to work quickly and adjust to the
specific requirements and demands of our set build-out and
technical systems.
Sound Designer - must be familiar with working with a
minimum of 10 wireless mics which are changed during the
performance and mixing the show on the fly.
Construction Chief - We build our set in exactly two days.
(Enough Said)
Non-Paid Internship Positions:
Assistant Stage Manager
(Front of house)
Assistant Stage Manager
(Technical)
Works under the Stage Manager
Wardrobe Manager
Works under the Costume Designer
Assistant to the Director
Works as the personal Assistant to the Producing Artistic
Director for the company
Properties Manager
Works with the ASM - Technical
| We are looking for: Technical Staff & Crewmembers |
Casting for the 2009 Mainstage Production of MACBETH has been completed
Please call 305/458-9789 to find out about
internship opportunities. This number is for
internship calls only. You may also email us at
shakesmiami@gmail.com. (Please put this
address in the proper email format. Our
website has been attacked by spammers.)
internship opportunities. This number is for
internship calls only. You may also email us at
shakesmiami@gmail.com. (Please put this
address in the proper email format. Our
website has been attacked by spammers.)