The transition between academic theatre and professional theatre is rough. No matter one's area of focus, be it performance, design, dramaturgy, or administration, there is a real difference between college and the professional world. One day, you're a big trout in a small pond, the next day, you're food for bigger fish. It's a jolt to the system.
But there are things one can do to help acclimate oneself to the often rough, cold, blustery climate of the theatre world. You could jump in headfirst, like those crazy people who get enjoyment out of swimming in Lake Michigan in the middle of winter. If you choose that option, one of three things can happen. One, your body will adjust to the icy water, and you'll swim like an Olympian. Two, you will scramble out as fast as is humanly possible, declaring temporary insanity ("what was I thinking?"). Or three, you'll get hypothermia and well, you know.
A more sensible alternative, however, is to wade in bit by bit, with other people there to help you along, encourage you, and show you the path they used to get where they are. In other words, you can do an internship.
I remember my own internship a decade ago with the National Playwright's Conference at the Eugene O'Neill Center in Waterford Connecticut fondly. At the time, as the dorky, awkward 21-year-old that I was, I didn't realize how much I was learning (during the time that I wasn't photocopying, typing, and filing, of course). But now I have incredible memories of talking with August Wilson, watching Lloyd Richards direct, and sitting in on some of the most interesting conversation I'd ever been around. I had never seen real professionals write, direct, and act before; it was a true eye-opener. That internship was so significant to me that I even framed a letter that August Wilson sent to me after the summer was over. I guess I'm still dorky, but I can't help it.
So while you may be rarin' to rush headlong into the professional world, consider the advice of some of the experts. Internships can be a great way to get a foot in the door.
"We don't only encourage internships -- we arrange many of them," says Joel Fink, the Director of the Theatre Conservatory and Associate Dean of the Chicago College of Performing Arts at Roosevelt University (). "For us, they're an integral part of the program."
One of the advantages of being one of the 200 students at the Theatre Conservatory is the school's location in the heart of Chicago. "We are surrounded by theatres of all kinds and sizes," says Fink. "Part of the reason our students come here to study is that they're a part of theatre in a larger context."
Roosevelt students have the option of finding their own internships, or enlisting the aid of the school. And while performance internships for actors are often hard to find, it seems as though theatres in Chicago are eager to give a leg up to the Conservatory's top students. "We've had interns in every production at Chicago Shakespeare Theater for the past two years," boasts Fink. Eight Roosevelt students are in rehearsal for Chicago Shakespeare's current production of "The Taming of the Shrew," and there were 19 in last season's "Julius Caesar." BFA and MFA students alike have also found themselves on the stages of the Goodman Theatre, Steppenwolf Theatre Company, and Lookingglass Theatre, to name a few. Students at the Conservatory can also find internships working in other areas of theatre, from marketing to dramaturgy to design.
Fink acknowledges that it can be difficult for student actors to come by performing internships, but that's where the relationship between the school and the theatre community comes in handy. "We feel very lucky that the professional theatres in Chicago see the value of having our young people in their shows."
Victory Gardens
Carolyn Kriss, a student at Yale University, got her feet wet at Victory Gardens Theatre () this summer with an artistic internship, in a multi-faceted job. "I did a lot of very different things," she explains. "A lot of script reading and writing script evaluations." She also wrote articles for the theatre's newsletter, and did dramaturgical work for the plays in rehearsal.
"I also got to sit in on the workshop they do of the new plays," Kriss says enthusiastically. "That was really neat -- the play just changes before your eyes."
Kriss, who grew up in Winnetka, lived with her parents for the summer and commuted to the theatre each day. While some theatres offer stipends for their interns, Victory Gardens doesn't. But was it worth the commute into the city each day to work her tail off at an unpaid internship? "You bet it was worth it," says Kriss, who counts the experience as an invaluable part of her education. Kriss' experience at Victory Gardens, surrounded by writers and the creative process, convinced Kriss that she wants to pursue writing herself.
"The most important things I learned had to do with writing -- the qualities of a good script. That's what I'm most interested in," she said, acknowledging that Victory Gardens was a great choice for her internship, especially if she ever wants to submit a script.
The upside of having an internship at a theatre, according to Kriss, is getting to know the people in charge. "It really helps to know people," she says. While Kriss doesn't want to be an actor, she saw firsthand the benefits of actors taking internships in administration. "There was another intern working with me who wanted to be an actor," Kriss recalls. "[Victory Gardens Artistic Director] Dennis Zacek helped her with her audition and gave her advice before she went back to college."
Victory Gardens Associate Artistic Director Sandy Shinner oversaw Kriss' internship, as well as the internships of two other college students this summer. "I've never had three interns before," laughs Shinner. "I've had eleven interns this past year, which is a lot, considering that we're a fairly small theatre."
Unlike many theatres that require official applications for internships, Victory Gardens' process is less formal; the theatre relies upon personal recommendations of schools to find the right people. Dean Corrin, a resident playwright at the theatre, also heads the playwriting program at DePaul University's Theatre School, and frequently recommends interns for the theatre. Charles Smith, another Victory Gardens writer and the head of the Professional Playwriting Program at Ohio University also sends interns Victory Gardens' way.
The informality of the application process, combined with the intimate size of the theatre, allows Victory Gardens to tailor each job to the each intern. "We talk about what they're most interested in," says Shinner. "If they're interested in literary management, directing, development, PR, business, whatever -- we can have them do a well-rounded kind of internship."
Victory Gardens, like many theatres, relies upon its interns to do critical work. "We value their input," says Shinner, insisting that a Victory Gardens internship is far more than just copying and filing (though that's part of it, too). "They're responsible for preparation of study guides, writing, script processing."
The people who get the most out of their internships are those who are clear about what they want to do. "They take initiative and ask to be included," says Shinner. Interns have served as assistant dramaturges and assistant directors.
During her internship, Carolyn Kriss had the opportunity to write an article for the Victory Gardens newsletter, which is read by the theatres subscribers and patrons. "That's pretty big," says Shinner.
Asked if there were any drawbacks to her internship, Kriss laughed. "The overwhelming negatives are photocopying and filing. I discovered I am very bad at photocopying, which is embarrassing because it's supposed to be so simple. And I didn't know that there were so many headshots in this world. But now I do, because I filed them all."
Talisman Theatre's Shakespeare in the Park
Talisman Theatre in Elgin, Illinois () offers two internship levels during its annual Shakespeare in the Park: one for high school students, one for college students. "The high school students have an intensive program," says Artistic Director Mark Hardiman. "They do work both backstage and onstage, with small walk-on roles." High school interns are also required to participate in a demanding scene workshop, which culminates in a final presentation of class work. College interns at Talisman get slightly larger roles, with lesser backstage and set construction assignments.
The rigorous schedule requires serious commitment from Talisman's interns. "We want people who are interested in the question, 'Do I want to make this my life?' Hobbyists are not of an interest to us," says Hardiman. Doing outdoor theatre, he says, challenges the interns to think about whether they truly want to do theatre for a living. "At the end of the internship, you'll know the answer," he says. Interns also come away from the experience with a variety of theatrical skills, both on and off stage.
Hardiman says there are several benefits to an internship with Talisman. "We don't treat the interns differently than the professionals," he asserts. "The interns really begin to understand what theatre people's lives are like." Also, the work ethic at a professional theatre, and especially at an outdoor summer theatre, is of a higher level than interns will find in high school and even in college, and interns are required to step up their level of commitment to match the professionals.
But the greatest advantage, Hardiman says, is that "you get into the network of working professionals." Talisman brings in directors from other theatres, giving interns exposure to a variety of people. "It's a great way to make the transition from school to professional work."
Talisman internships, like many theatre internships, give college credit as well. The downside? "It pays badly," admits Hardiman, "but theatre always does."
Steppenwolf Theatre Company
One of the most sought-after internships in Chicago is at Steppenwolf Theatre Company, (), where Jessica Umphress is the Internship Coordinator. "It's fairly competitive," says Umphress. "We're looking for people who can demonstrate a commitment." Because the competition for internships at Steppenwolf is so tough, the theatre gets a wide range of experienced interns, ranging in age from 21-35.
"One thing that sets us apart is that our internships are intensely hands-on," says Umphress. "We give them a week to get oriented, but after that we expect them to know who's who and what's what."
"Our interns don't get coffee, run errands, and do photocopies. They're pretty much a part of the staff. Steppenwolf wouldn't be able to function if they weren't here," Umphress explains. That is perhaps the reason behind the rigorous application process, which requires applicants to submit portfolios, proof of experience, and letters of recommendation before they are invited for an interview process.
But the payoff is worth it, she insists. Not only do Steppenwolf interns receive a stipend, but the opportunity to be a working part of a prestigious theatre is hard to put a price on. "From the first day, everybody on staff makes a commitment to get to know the interns as people," Umphress says. "Steppenwolf has a commitment to fostering new professionals. Everybody feels an obligation to make this the best possible experience for the interns." Interns at Steppenwolf participate in career development programming, and are encouraged to collect as many contact names and phone numbers as they can.
At Steppenwolf, internships are divided into the categories of Administrative and Production. Administrative interns participate in anything from artistic internships (script reading and analysis, for example) to marketing to company management, while Production interns focus on costuming, lighting, sound, and other technical aspects of production.
"Oh, I love it," says Alison Roberts, an Artistic intern at Steppenwolf. A student at Philadelphia's Temple University, Roberts is majoring in Journalism, Public Relations, and Advertising.
Roberts' internship is divided in half. She has one foot in Steppenwolf's new play initiative, in which she reads scripts sent in by hopeful playwrights. "Then we pass judgment on them," she says, explaining how they grade submissions. "That's the principal duty, and there's also a lot of dramaturgical research."
Her other foot is planted in educational programming. "I've been in charge of compiling the study guide for 'A Lesson Before Dying,'" she says with pride. "It was my baby."
Roberts has had other internships in journalism and public relations, so she was mentally prepared for her internship at Steppenwolf. "I'm so grateful to be here, observing behind the scenes. There's always something to learn, which makes me think, 'Wow! You're actually paying me to learn a lot here.' People really take you under their wing."
James Geneske, also an Artistic intern at Steppenwolf, is working under Artistic Associate Curt Columbus. "He's basically the point man for everything in this theatre," says Geneske with pride. "So I do a lot of work for him. I talk to agents, write for the news magazine, find illustrations for the magazine, work with the casting director, and stuff like that."
Geneske, who just graduated from Drake University (my alma mater, too!), studied directing and history, and minored in music. He's not sure exactly what his next step is once his internship is over, but plans to remain in Chicago now that he's made so many connections at Steppenwolf. "The best part about this internship is probably the networking. I work with marketing, development -- all the departments. I'm constantly in the loop about what's going on."
"I think I want to go into arts administration," Geneske reflects. "But I want to try other things as well. I'm just learning more and more."
Finding an Internship
Roosevelt's Joel Fink has been finding internships for his students for seven years, ever since arriving at the university. While finding the right internship may be tough, he admits, it's not impossible.
"Check the papers," is his first advice. Theatres looking for interns will often advertise in trade papers and magazines. "ArtSEARCH by TCG has a whole section called 'Career Development.' That's a great place to start," says Fink.
Another route is to talk with the education and outreach departments of the theatres you're interested in. "Send them a letter, picture, and resume," he advises. Also, most theatres' websites will contain information about applying for internships.
Mark Hardiman (Talisman Theatre) offers advice as well: "Go where you're going to get the most experience. You're only young once. Look at what the internship asks of you, and pick the one that's going to be the most work."
There are internships, Hardiman says, that require little more than getting coffee. "As a directing intern," he recalls, "I did internships where I just sat and watched the rehearsal. You don't want that. You want to be in a place where you're going to do a lot of hands-on stuff. That's what makes the experience valuable. It'll be harder, but it'll be worth it."