The theatre world is mourning the loss of Alan Mandell, best known for interpreting Samuel Beckett's work.

Hello!

So I recently auditioned for a musical and I felt good about how it went. I felt that I performed my song strongly and there was a movement part that I also feel good about. I was honestly thinking a callback would be in the realm of possibility.

However, I ended up not receiving a callback. I know that no callback doesn’t mean no role but I am worried that I’m not getting in to the production anymore when I was feeling so confident from my initial audition. I know roles are based on fit, but I’m beginning to wonder if the reason I’m not being cast isn’t lack of fit but more because I don’t have the skills they’re looking for.

Is there a way to know the difference? In my case does it sound like it’s a fit issue or talent issue? Happy to provide more information if needed.

Need to make a prop bowl of soup and make it solid; or at least not a total liquid consistency.
Brown in color and have a few things visible sticking out the top.
Hoping for fun suggestions.
Thanks and cheers!

I'm not sure where else to ask this but how could I begin a career in theatre. A few years ago I did theatre design In college, I was interested in the production side of theatre, design sets, costumes, etc, but I also fell in love with the English part and wanted to get into the writing side, I dropped out due to personal reasons.

I'm currently in college doing English and psychology, in this course, we are looking at theatre/literature and if I complete my degree in English I qualify to be a drama teacher

What I'm wondering is could I use this course to get back to my original theatre roots? I'm not really interested in drama teaching but would love to write and get back into production and wondering is it possible for my current course and if so how? Or would I have needed that specific theatre design degree

i work at a movie theater and we livestream the MET opera performances, and the next one coming up is a performance of Macbeth.
is it still considered bad luck to say macbeth in a movie theater? most of our patrons just ask for tickets to “the opera” but some of them say the title of whatever the show is, will they get bad luck from this? will i?
very curious how this superstition is supposed to work!

Not sure where else to ask this. I want to watch an actual nice quality recording, not the 500 billion YouTube ones where I can barely tell what they're saying. I think I'm specifically looking for the one with Rebecca Hall. I can't find the video ANYWHERE. Is it streamed anywhere??

so question for all the actors of the world- is it like extremely stupid that i (a teen) have an actual goal of being on broadway someday (even js as ensemble)? i wouldn't say i'm EXTREMELY talented at singing or dancing but im working so hard at it every day and i can definitely act. telling people i want to be an actor when i grow up sounds like im a little kid saying they want to be a princess or something. it is my one goal in life and i'm honestly willing to do anything to make it happen. it's been my dream for as long as i can remember and i'm willing to be told no thousands of times before i even hear one yes. i just know i can do it. but like is this stupid? i want to go to school for musical theatre and my parents don't love that idea because i'll be a "starving artist" (valid concern tho) so like... anyone have any advice on convincing them OR advice on how to actually make it as an actor? what is the "it factor" you need? is it rly js knowing people and having connections? (if so, how do i get those lol) thanks for reading, so sorry this was so long!

Hi! I'm directing a very short halloween table-read with live foley this month and trying to source some good household items or similar for actors to use. It's an intimate stage/audience so the noises don't have to be loud and it doesn't have to be perfect!

In particular we're looking for wind (howling), creaking doors and floors, footsteps on gravel/wood etc, heart beat, struggling, and any other generally spooky noise making things.

If anyone has any ideas do let me know!

I'm part of a script reading series, and im looking for some older, dramatic plays that would be good. I already have an Inspector calls as one of them. I was also planning to do the crucible, but I decided against it because I wasn't sure how to handle the slave character. our town is also in the running, but it is pretty long for a first act so im not sure. any suggestions?

I was also thinking a Dolls house, death of a salesman, or the glass menagerie would be good, but our local high school reads those plays every year for English class, and I think it'd rather introduce people to something new

Fair warning, this is a long one! There’s quite a bit of context behind what I’m trying to work through, and I’d rather explain it properly than oversimplify something that’s genuinely complicated. If long posts aren’t your thing, no hard feelings if you scroll past! I’m hoping to hear from people who’ve experienced something similar and can offer thoughtful perspectives rather than feedback on the length of the post itself.
I’ve been involved in theatre for roughly half my life, and I’m a fully-fledged adult who’s been navigating adulthood for quite some time now, lol. Lately, I’ve found myself questioning something I never expected: whether I’m genuinely ready to close this chapter of my life.
I can’t tell whether I’ve outgrown theatre, developed a healthier relationship with it, or if I’m experiencing burnout or emotional detachment. Honestly, I feel about 50/50.
A little background:
I lost my dad unexpectedly about a year and a half ago. Following his passing, I intentionally stepped away from auditioning and pretty much anything theatre-related to focus on myself, my family, our grief, and all the emotional and practical challenges that come with an unexpected tragedy.
And honestly? I enjoyed the break.
Not the circumstances, obviously, but the freedom that came with stepping away. I wasn’t constantly looking at auditions, preparing material, taking classes, or worrying about casting and community politics. Instead, I focused on family, therapy, navigating our new normal, and other things that brought me happiness.
I want to clarify that while grief will always be part of my life, I feel I’ve developed a healthy relationship with it. Losing my dad isn’t something I’ll ever simply “get over,” but I don’t necessarily feel that grief is preventing me from enjoying theatre. If anything, this past year and a half has helped me grow emotionally and mentally, reevaluate my priorities, and recognize what genuinely matters to me.
Part of why I decided to audition again was because my dad was always one of my biggest supporters. There was something meaningful about getting back onstage and doing something I knew he’d be proud of. It wasn’t necessarily a tribute, but it was part of my motivation.
Fast-forward to my current production:
I’m currently in my first show since taking that break. It’s a show I’ve been a fan of for years, and I was genuinely excited about the opportunity when I auditioned.
But here’s the thing: I’m just not invested.
It’s not that I’m having a terrible experience or being mistreated. I’m simply not feeling the excitement or fulfillment I used to associate with performing.
We open in about two weeks, and rather than looking forward to it, I’m honestly looking forward to being finished.
I find myself checking the clock and thinking, “Ugh, I have rehearsal tonight,” when I’d genuinely rather be home relaxing with family or doing something else that interests me.
I’m also struggling with some choreography and a particular vocal section more than I normally would this far into rehearsals. I’m practicing my butt off, but certain things aren’t clicking. I can’t tell whether my lack of investment is affecting my performance or whether my frustration with my performance is contributing to the disconnection.
But I also wonder whether it’s partly this particular production.
It’s a show I’ve loved for years, but it’s not necessarily the type I’d normally audition for. It’s also a more mature, PG-13/adult-oriented production in a community that heavily favors family-friendly theatre.
We knew going into it that the show probably wouldn’t attract the same audiences as more traditional productions in our area. But that’s also part of why I respect this theatre company.
They’re genuinely trying to challenge some of the favoritism and exclusivity within our local theatre community by diversifying their seasons, expanding representation, and creating opportunities for performers who might otherwise be overlooked. I really admire that and wanted to support it.
The cast and production team are also genuinely kind and welcoming. I have no complaints about how I’ve been treated.
That said, while I get along with everyone, I don’t necessarily feel the same personal connection or camaraderie I’ve experienced in other productions. We have different personalities, interests, and social dynamics, which is completely fine. Castmates don’t have to become your best friends for a production to be worthwhile.
But I wonder whether that lack of connection, combined with the type of show and my changing priorities, might explain why this experience isn’t resonating with me.
Then again, I chose/wanted to audition. I knew what the show was, and I genuinely wanted to participate. So why am I feeling this way now?
And here’s another complication: How do I know whether it’s just this production when getting another opportunity isn’t necessarily within my control?
Part of me feels like I should give theatre another genuine try before deciding whether I’m ready to move on. Maybe I need another production to see whether that excitement is still there.
But realistically, who knows when that opportunity would come?
Historically, I’ve been cast in roughly one production every four years despite auditioning fairly consistently before my break.
My community has an incredibly deep talent pool, and I’m realistic about my own abilities and limitations. I don’t expect to be cast in everything I audition for, but there are also frustrating patterns within the community.
It’s predominantly family-friendly, so many of the same shows are repeatedly staged across different companies. Often, the same directors and production teams are hired, and those teams understandably gravitate toward performers they’ve previously worked with and trust.
I understand why that happens, but when the same people continually circulate between productions, it creates a cycle that’s difficult for others to break into. Add favoritism, personal connections, and occasional nepotism, and opportunities become increasingly limited for those outside established circles.
I sometimes wonder whether the community even recognizes the cycle it’s created.
Then there’s the financial and physical reality of trying to improve as a performer.
I have a physical disability that limits my dancing, and while I recognize my strengths, particularly vocally and as an actor, I’m realistic about my weaknesses, especially in a community where being a triple threat often feels increasingly necessary.
If I could afford additional classes, voice lessons, acting lessons, and other training to strengthen those areas, I absolutely would.
But I’m an adult with adult responsibilities, and in this economy, things like rent, groceries, and basic living expenses understandably take priority over theatre classes.
It’s not that I lack dedication or the desire to improve. I simply have to be realistic about what I can financially and physically invest in a hobby, especially when opportunities to actually perform are already so inconsistent.
Theatre is a hell of a hobby. Between rehearsals, auditions, rejection, finances, physical demands, and politics, it requires a tremendous amount of investment.
So while part of me thinks I should try another production before making any conclusions, I could potentially spend years auditioning just to figure out whether my current experience was an exception.
And honestly, I’m not sure I want to invest that much time and energy just to answer that question.
Another significant factor is my mother.
She’s heavily involved behind the scenes in our local theatre community, although she’s not a performer herself.
I know she loves me and wants me to succeed, and I don’t necessarily think she’s trying to live vicariously through me. But she has very strong opinions about what I should audition for, which opportunities I should pursue, and what success should look like for me.
Over the years, that has sometimes meant pressure to audition, criticism of my decisions, comparisons to other performers, and involvement in audition-related matters I’d rather handle independently.
I’ve worked on establishing boundaries, but those conversations haven’t always gone well. Her reactions have sometimes made me resent the very thing she’s trying to encourage me to pursue.
For this current production, I didn’t even tell her I was auditioning. I waited until after I was cast because I wanted the experience and decision to be mine.
That boundary has helped.
But if I ultimately decided I was done with theatre altogether, I genuinely don’t think I’d even tell her. Not because I need her permission, but because I know it would likely become an emotionally exhausting conversation involving disappointment, pressure, and pushback rather than simply respecting my decision.
Since she’s actively involved in the community, theatre is something she regularly brings up, so completely separating myself from her expectations isn’t necessarily easy.
I’m an adult, and I recognize that I can’t control her reactions. Ultimately, this is my life, my hobby, and my decision. But I’d be lying if I said that dynamic hasn’t influenced my relationship with theatre.
Which brings me to what makes this all so confusing: I genuinely think I have a healthier relationship with theatre now than I ever did before.
This past year and a half has helped me recognize that theatre doesn’t have to define me.
I don’t need to audition for everything, constantly prove myself, chase every opportunity, or measure my worth by casting decisions.
I can choose which productions and companies deserve my time, pursue roles that interest me, recognize my strengths and limitations, and walk away from opportunities that aren’t worth the commitment.
I can appreciate theatre for what it is without allowing the politics, rejection, or expectations surrounding it to consume so much of my energy.
And honestly, I think a lot of people in theatre struggle with that balance. Sometimes it feels like we’re conditioned to believe that if we’re not constantly auditioning, training, or performing, we’re somehow falling behind.
But theatre doesn’t have to be your entire identity to be meaningful.
So theoretically, I could absolutely continue performing with that healthier mindset. I could audition occasionally, participate when I genuinely want to, and step away when I don’t.
The problem is, just because I’ve reached a point where I could have a healthier relationship with theatre doesn’t necessarily mean I still want to participate.
And that’s where I’m stuck.
Maybe I’ve genuinely grown into a different stage of life where other things bring me just as much joy, if not more.
Maybe I’ve outgrown the pressure and environment surrounding theatre rather than performing itself.
Maybe this particular production simply isn’t the right fit, despite being a show I love and a company I respect.
Or maybe I’m burned out, emotionally disconnected, or discouraged, and I’m convincing myself that stepping away is personal growth because it’s easier than continuing to navigate something difficult.
Am I genuinely moving forward, or am I allowing years of politics, rejection, family pressure, and frustration to push me away from something I still love?
There’s also a part of me that feels guilty admitting any of this because I know people who auditioned for my current production and weren’t cast. I’m grateful for the opportunity, but I can’t manufacture enthusiasm simply because other people would be thrilled to be in my position.
I realize some of this probably sounds like I’m answering my own question, but that’s exactly why I’m struggling. I can make a reasonable argument for several explanations, and I genuinely don’t know which one reflects what I’m feeling.
I’m not necessarily looking to make a dramatic declaration that I’ll never perform again. I just don’t know whether I want theatre to continue being part of my life, even on a smaller scale.
So I guess what I’m really asking is:
How do you distinguish between genuinely outgrowing something you once loved, developing a healthier relationship with it, and simply becoming burned out or emotionally disconnected?
And how do you figure that out when you can’t necessarily just give it another try because opportunities are so inconsistent?
For anyone who’s experienced something similar, what helped you recognize the difference? Did you eventually rediscover your passion, find you were happier without theatre, or realize you’d outgrown the environment rather than the art form itself?
I’m not looking for someone to tell me whether I should quit or continue. I’d genuinely appreciate hearing how other people navigated this uncertainty, especially when there wasn’t one obvious reason to walk away.

I really need some help. Between being sick, having homework, and having rehearsal daily for 4 hours I am burnt out. I can tell that I am pushing my body too far, but since it’s tech week, I can’t just take a day off. I don’t know what to do.

If someone can share where can i get a copy of the script ‘Episode in the life of an author’ by Jean Anouilh I’d be extremely grateful. Have tried searching for it online but unable to find it. Thank you.

Our teacher tasked us to do the tone changes where we drastically change our tones using one line and crying was one of them. I'm not embarrassed to cry in front of others, its just that I force myself to cry in acting which is not advisable from other people. I also tried thinking of a memory that ruins me however it just doesn't work for 3 seconds. The only way that I can actually cry infront of the audience is applying menthol near my eye and it lacks the overall emotion because I am depending on it😭.

Pls help meee, any advice or video recommendations would be appreciated 🥺.

Hi everyone!

I am a college student stage managing for my university’s theatre program. I am teaching an intro to stage management workshop to the students this Friday, and would love to pull some quotes from working stage managers to include! The google form has all the information you’ll need: https://docs.google.com/forms/d/e/1FAIpQLSc1l6vqzXqlnMasuLs9tD6rJxMzVWQKztsFhPGeDMxW6sXHpw/viewform?usp=sharing&ouid=101280985616526618575

no idea how serious or reliable they are but a wealthy patron wants me to put on a classical Greek play to promote Hellenic culture in my local city. they approached me after being impressed by fringe show earlier this year. Im all for it and drafting ideas now. supposed to meet them for lunch soon. any advice or things I should do?

I'm producing Blithe Spirit (and I'm also set designer....it's community theatre, we wear many hats lol) and I could really use some advice on how to decorate the walls.

The director wants dark red walls. We're doing a stormy blue as an accent color, with gold hardware on the doors/different knick knacks on the set.

The thing is, our flats are super old. Like, you can peel off the layers of paint, old. Some of them are damaged and have holes from screws and nails.

We used to do this thing where we'd screw the flats together, tape the seams with masking tape, and then paint over it. But it always looked terrible. The edges of the flats are all janky, and I'd really like to cover them up. In the past, we've sometimes had a set design that would cover the seams with rocks, wood beams, etc.

However, the Condomine 's house is supposed to look ...wealthy. Taping the seams and painting over them would absolutely show up once painted and it would look like trash.

We've thought about screwing a piece of luan over the flats, so it covers the seams, and then paint the luan, but it's going to be so visually uninteresting. I tried using peel and stick wallpaper last night, and it didn't look right. It would probably also be extremely expensive. The length of our set is 80 feet long, 8 feet high. We have a bookcase, fireplace, and 2 sets of French doors so it's not exactly 80 feet of surface area to cover.

We are running out of time, but I will stay at the theater all night once we hit tech if I have to in order to make this stage look good. We've used wallpaper paint rollers in the past, and that took forever (like an entire day) We also don't have decent wallpaper paint rollers, although I can probably pick one up. We'll have paintings on the walls and what not, but that won't hide everything. We thought about stapling fabric to the walls, stretching it tight so it looks like fabric wallpaper, but since the demise of Joanne Fabrics, getting a large amount of fabric cheap is a little hard.

All of that said, does anyone know of a way to make these flats look nice? What can I try that I already haven't thought of - or am I doing something wrong with my current ideas? How can you take old, beat up flats with layers of paint that are older than I am and paint/cover/or otherwise to make it looks like it belongs in the home of a wealthy British novelist in the 1940's?

Eta: wording

Hello, I’m trying to find a few 4 minute scenes for 2 male actors for our end of year performance - I’m 32 and my scene partner is 18. Does anyone have any suggestions? A strong tone shift & something that carries well in a theatre would be amazing.
Thanks :)

Hello! My high school is putting on a show but our original plans fell through due to a licensing issue and we are scrambling to find a replacement. We have been told we can only do a place from a Canadian licensing company. We would like something a little more recognizable or easier for marketing, something appropriate for a high school too. Any ideas?

I’m currently submitting for many schools for BFA Acting and most of them need supplementals. Most of them have the same prompts and is it horrible if I wrote one for UNCSA and if another school has the same prompts I change certain things to accommodate that school?

Hi everyone,

I'm interested in learning how independent theatre artists and small theatre companies promote their productions and reach new audiences.

With so many performances and events happening, getting people interested in a show and encouraging them to attend can be challenging.

For those working in theatre, what strategies have worked best for promoting productions, building an audience, and getting more people to attend live performances?

I'd love to hear about your experiences and suggestions.

for example, you are cast as the lead when your a freshman, and the seniors are pissed. your acting feels mediocre, your voice keeps cracking, and you start to feel maybe you didn’t deserve the role.