THEATRICAL FELLOWSHIP Program
The Playwrights Horizons Theatrical Fellowship Program (formerly known as the Resident Program) offers excellent practical experience in training for a career in the arts and affords an opportunity to work side by side with some of the top professionals in the American theater. Fellowships are offered in Directing, Stage Management, Costumes, Properties, Casting, Development, General Management, Literary Management, Musical Theater, and Marketing.
Because our fellows provide the institution with invaluable support and are treated like staff members, a fellowship at Playwrights Horizons offers significantly marketable experience in one’s chosen field. We are proud of the fact that many alumni have gone on to become some of the most active directors, writers, composers, and arts administrators in the country. In addition, many current staff members are former residents/fellows, including our Artistic Director Tim Sanford.
All application deadlines for the 2015/16 Season have passed.
For more information, please contact Karl Baker Olson at KBakerOlson@PHnyc.org.
Seasonal Fellowships are offered in Directing, Stage Management, Costumes, Properties, Casting, Development, General Management, Literary Management, Musical Theater, and Marketing. These mostly begin in mid-late August or early September and last through June of the following year.
The availability of Summer Fellowships varies from year to year depending on the needs of our office. These generally run June through August.
The Casting Fellow acts as an assistant to the Casting Director and Casting Associate, helping to coordinate and run auditions. Specific duties include communicating with agents and artists, preparing audition materials, maintaining casting files, and attending casting meetings, readingsn and plays. One full-time position is offered.
The Costume Fellow acts as an assistant to the Costume Shop Supervisor on six productions. Duties include constructing and altering costumes, organizing costume stock, purchasing, exchanging, and returning show garments, and aging and distressing costumes. Experience with sewing, basic data entry and book-keeping encouraged. Please include samples of work with application materials. One full-time position is offered.
The Development Fellow is an integral member of a six-person department that raises close to $4M a year. This position is a great opportunity to learn the full range of activities of a non-profit Development office, and a good fit for someone working towards a graduate degree in arts or non-profit administration, or looking for work experience before entering the job market. Duties include: proposal and letter writing, digital communication with individual donors, prospect research, special event duties, and administrative tasks including mailings and database entry. Strong written and communication skills are essential. Proficiency with Microsoft Office required, and knowledge of The Raiser’s Edge or Tessitura, InDesign, and Photoshop (or Adobe Creative Suite) preferred. One position is offered. Full-time commitment is ideal but not required.
The Directing Fellow acts as an assistant to the director on three Playwrights Horizons productions — assisting with research and attending production meetings, design meetings, rehearsals, and preview performances. Specific duties vary depending on the nature of the show and the needs of the director. Two full-time seasonal positions are offered: the Directing Fellows rotate shows, each working on two Mainstage productions and one Sharp Theater production. Most successful applicants have graduated from college and spent at least one to two years pursuing work as a director in New York. This residency is not available during the summer.
The General Management Fellow will work closely with the Company Manager and the General Management team on all the daily aspects of running a non-profit off-Broadway theater including drafting contracts; tracking production expenses; monitoring and reporting on ticket sales, availability and house seats; assisting with theater rental coordination; reporting weekly to the unions, prepping for board meetings, and more.
An ideal candidate will be passionate about new plays and producing theater, and will have experience with the Microsoft Office suite, along with great oral and written communication skills. One part-time position is offered (two days per week, ideally Monday and Thursday).
Note that in recent years this position has been filled by a student currently enrolled at the Playwrights Horizons Theater School.
In addition to general administrative tasks, the Literary Fellow assists the Associate Artistic Director and Literary Manager in evaluating and responding to script submissions, maintaining the playwright database, coordinating in-house readings, and scouting readings and productions. One full-time position is offered.
The marketing department at Playwrights Horizons operates as a full-service agency with one client: Playwrights Horizons. Working with a six-person team, the Marketing Fellow actively participates in all areas of subscription and single-show marketing campaigns, as well as supporting colleagues in the development and artistic departments, in addition to the Playwrights Horizons Theater School. The Fellow will be exposed to a range of activities, including but not limited to campaign planning, brand management, institutional communications, digital media, promotions, ticketing and database use, events management, and market research. Opportunities exist for a motivated and proactive Fellow to work as part of a team and independently, enabling them to pursue interests and develop skills for the future. Prerequisites: superior communication, careful organization, and strong attention to detail; box office and CRM experience desirable. One full-time position is offered.
In addition to general administrative tasks, the Musical Theater Fellow assists the Director of Musical Theater with evaluating musical theater submissions, coordinating in-house musical readings, and scouting readings and productions. One part-time position is offered (two days per week).
The Properties Fellow acts as assistant to the Prop Master on six productions constructing props, shopping, performing research, updating paperwork and attending productions meetings and rehearsals. Experience with wood working, metal working, soft goods, painting, and general crafts encouraged. Driver's license required. Please include samples of work. One full-time position is offered.
The Stage Management Fellow acts as a second assistant to the Equity Stage Manager and Assistant Stage Manager throughout each show's four week rehearsal period. Common duties are tracking properties, blocking, scheduling, script changes, prompting, etc. During technical rehearsals and the run of the show, the Fellow works backstage. Two full-time seasonal positions are offered: the two Fellows rotate shows, each working on two Mainstage productions and one Sharp Theater production. This fellowship is not available during the summer.
HOW TO APPLY
Applications for available Summer 2016 and 2016/17 Seasonal Fellowships will be accepted starting in early 2016.
The initial round of applications requires submission of a cover letter, resume, and contact information for three references. If selected to interview, applicants may be asked to provide writing samples or a portfolio.
For more information about the application process, please contact Karl Baker Olson at KBakerOlson@PHnyc.org.
FREQUENTLY ASKED QUESTIONS
What is the application deadline?
Please check back in early 2016 for further information about future deadlines.
Application deadlines for the 2015/16 Season have passed.
I'm interested in multiple Fellowships. Can I apply to more than one?
Applicants are welcome express interest in more than one fellowship. However, as each one varies a great deal, we find that the most successful applicants are those who are drawn to a specific department.
what are the application requirements?
For Costumes and Properties Fellowships, please submit a resume, cover letter, list of three references, and photos and/or samples of your work.
For all other fellowships, the initial round of applications requires submission of a resume, cover letter and contact information for three references. If you are selected to interview, you may be asked to provide writing samples or a portfolio.
Are the fellowships full-time?
Mostly. On average, Casting, Costumes, Development, Marketing, and Literary Management Fellows work 5 days per week during normal business hours (10am-6pm). When involved with a show, Directing and Stage Management Fellows work the 6 day rehearsal/ performance schedule (Tuesday-Sunday). Fellowships in General Management and Musical Theater are part-time; fellows in these departments work 2 days per week during normal business hours.
Are the fellowships paid?
Yes. Positions pay a $40 daily stipend. Full-time fellowships will also receive a monthly MetroCard. Other benefits include numerous free or discounted tickets to Broadway and Off-Broadway theaters.
Can I work a second job to support myself?
It is possible for fellows to find other ways of supporting themselves during their time outside of office hours (10am-6pm) or their rehearsal schedule. Production positions may allow time for temporary work during the down periods between shows. Consideration should be given to the financial implications of being a full-time resident.
I'm not from New York. What about housing?
Unfortunately, we do not offer housing to our fellows.
i'm not a us citizen. can i apply to the program?
You do not need to be a US citizen to be a fellow at Playwrights Horizons. Because a stipend is taxable income, you will need to provide a US taxpayer ID.
Is prior experience required?
Prior experience in and knowledge of the theater is encouraged, but more than that we look for people who have demonstrated a passion for working in the arts and who are at a point in their careers/education to strongly benefit from the experience we offer.
Playwrights Horizons, its staff, and the artists who grace its stages together form a perfect environment for anyone interested in how great theater gets made. During my year as Musical Theater/Artistic Resident, I made impressive connections, got valuable career advice, and witnessed breathtaking art take shape in the rehearsal room.—Robert Lopez, 1997/98 Artistic and Musical Theater Resident, Composer & Lyricist - Broadway: The Book of Mormon and Avenue Q (Tony Awards); Film: Frozen (Academy Award)
Playwrights Horizons was my first open door. My duties included two stints as an assistant director, first on Keith Reddin's HIGHEST STANDARD OF LIVING, followed by Alfred Uhry's DRIVING MISS DAISY. Andre Bishop was in his office with Wendy Wasserstein or Chris Durang and Ira Weitzman asked me to write coverage on not one but three un-produced Sondheim musicals. The lessons and inspirations of that year continue to be foundational in my life and work to this day. It was my first artistic home.—Christopher Ashley, 1986-87 Directing Resident. Artistic Director, La Jolla Playhouse; Director - Broadway: Memphis, Xanadu
For me, a career in the theater was something I hadn't even envisioned as a possibility. But I can clearly remember sitting in my rolly chair in the corner of the literary office of Playwrights, watching my bosses doing these jobs I didn't even realize existed. You could actually make a living reading and thinking critically about plays. It may seem silly, but that concept blew my mind and expanded my perception of what was possible. On top of that, I spent the year receiving a rigorous theater education.—Kim Rosenstock, 2003/04 Literary Resident. Playwright - PH: Fly By Night; Other Off-Broadway: Tigers Be Still; TV: New Girl
Playwrights Horizons has been the single most influential institution on my career in the theater. I applied to their Directing Resident program the minute I graduated college because I was interested in developing new American plays, and Playwrights Horizons was the home for the writers I admired and the development of their work. Immediately upon moving to New York, I was sitting in a room with great playwrights, actors and directors, assisting some of the finest directors working Off-Broadway and learning the whole landscape of the professional theater. It was a monumental education. Ten years later I was lucky enough to be asked back to direct a play for Playwrights Horizons, and that play, Circle Mirror Transformation, launched my career. And it all started with The Directing Resident Program.—Sam Gold, 2000/01 Directing Resident. Director - PH: The Flick, The Big Meal, Kin, Circle Mirror Transformation; Broadway: Fun Home (Tony Award), The Real Thing, The Realistic Joneses.