Webster's Conservatory blends students' academic experience with its association with professional theatre companies located on campus.
UNIVERSITY
Mud
WEBSTER UNIVERSITY
470 EAST LOCKWOOD, ST. LOUIS, MISSOURI 63119
presents
A PROFESSIONAL THEATRE TRAINING PROGRAM IN EIGHT SEMESTERS
featuring
BFA DEGREE
with majors in
ACTING, MUSICAL THEATRE, SCENE DESIGN, COSTUME DESIGN, LIGHTING DESIGN, SOUND DESIGN, WIG AND MAKEUP DESIGN, SCENE PAINTING, COSTUME CONSTRUCTION, TECHNICAL DIRECTION, STAGE MANAGEMENT
and
BA DEGREE
with a major in
DIRECTING
in partnership with
THE DEPARTMENTS OF DANCE, MUSIC, and ART, DESIGN, AND ART HISTORY
and
REPERTORY THEATRE ST. LOUIS, OPERA THEATRE OF SAINT LOUIS, THE MUNY: THE MUNICIPAL OPERA ASSOCIATION OF ST. LOUIS, ST. LOUIS SHAKESPEARE FESTIVAL, VARIETY ST. LOUIS, ARROW ROCK LYCEUM THEATRE
From the Dean of the Leigh Gerdine College of Fine Arts
professional performing institutions— Repertory Theatre St. Louis, Opera Theatre of Saint Louis, St. Louis Shakespeare Festival, Arrow Rock Lyceum Theatre, and The Muny—provide our students with incredible and unique opportunities unequaled at any other undergraduate institution. To see and be a part of exceptional, professional theatre is a rare opportunity. The faculty and staff know that demanding work and exciting performances are natural results of the talent at the heart of who we are. We are confident you will find the challenges and training to be exceptional. At the Sargent Conservatory, we lead through doing and excel by challenging. Come join our ensemble.
Paul Steger
Paul Steger Dean, Leigh Gerdine College of Fine Arts Webster University
Webster University’s Sargent Conservatory of Theatre Arts continues to be recognized as a national leader for training artists for careers in the theatre and film industry. We are an exceptional place to train and an exciting place to create remarkable theatre experiences. We are committed to help you prepare for your career. We celebrate the fact that theatre requires an incredible blend of a highly diversified series of accumulated skills whether you are a performer, designer, technician, director, or stage manager. To blend those skills and become proficient professionally, you must be willing to commit to a challenging and stimulating sequence of courses and experiences that will help you define your voice and learn the skills you will need to succeed. Webster’s Sargent Conservatory is a unique place to hone your craft. Our partnerships with remarkable and nationally recognized
Webster University
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From the Chair of Webster University’s Sargent Conservatory of Theatre Arts
and even in our hearts. For over 55 years, Webster University’s Sargent Conservatory of Theatre Arts has been guided by the core belief that there is power in a strong ensemble. No matter what role we play—whether it is in the rehearsal hall, in class, onstage, backstage, in the booth, or in the shops—each of us performs as part of a larger team effort. This core principle permeates our work. We commit to care for each other and help each of us thrive as artists and citizens of a global community. We hope you consider joining our ensemble.
Gad Guterman Chair, Sargent Conservatory of Theatre Arts Webster University
Gad Guterman
These have been complicated times. One fact keeps me feeling not only optimistic but also grateful. My theatre education and practice have honed my resilience. Making theatre requires collaboration, imagination, problem-solving, time management, resource management, improvisation, and tending to interpersonal relationships. We simply cannot make theatre if we don’t play with what we’ve been given and play in a safe, caring, compassionate manner. “Crisis is always an opportunity for change.” That’s playwright Paula Vogel on why the current moment, challenging as it may be, is also thrilling. In our playing and in our embodying imagined circumstances, we build the equitable, antiracist, inclusive, sustainable world that we want for ourselves. What we do in our studios, in our rehearsal rooms, and on our stages serves as rehearsal for what we do in our homes, in our streets,
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Sargent Conservatory of Theatre Arts
Only the Finest
Myths and Hymns
Each spring, Webster University’s Sargent Conservatory of Theatre Arts holds auditions and interviews in several major cities throughout the United States as well as on the home campus. All students in Conservatory, regardless of their area of interest, are screened through interviews, auditions, or portfolio showings. Students accepted into Conservatory have demonstrated artistic ability and the desire to excel in the profession. From the many students who audition each year, we expect that no more than 30 will enter performance programs, five will enter the stage management program, and 25 will enter production programs. We carefully mentor each student’s progress through ongoing evaluation processes. At the end of each semester, performance students
present at “showings” and engage in one-on-one interviews with faculty. Production students present a portfolio review, which includes all faculty. A critical element of Conservatory philosophy is that each member understands the entire theatrical process: actors build sets, construct costumes, hang lights, or run props. Designers, technicians, and stage managers study acting, and all learn the fundamentals of directing. Our highly selective screening process, our rigorous curriculum, and our strong relationships with professional theatre companies lead to our graduates being among the finest and best-prepared professionals entering the job market.
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Cast of Characters
American Idiot
Paul Steger....................................................................... Dean, Leigh Gerdine College of Fine Arts Gad Guterman............................................................. Chair, Sargent Conservatory of Theatre Arts Carole Tucker............................................... Associate Chair, Sargent Conservatory of Theatre Arts PERFORMANCE PROGRAMS Tali Allen........................................... Musical Accompaniment, Vocal Coaching, Musical Direction Jef Awada..................................................................... Head of Performance Programs, Movement Joanna Battles..................................................................... Head of Recruitment, Voice and Speech Michael Baxter........................................................................................................ Musical Theatre Vanecia “Xulee” Boone......................................................................................... Voice and Speech Lisa Campbell Albert......................... Musical Accompaniment, Musical Direction, Vocal Coaching Rayme Cornell........................................................................................ Associate Producer, Acting Christopher Dietrich............................................................................................... Senior Showcase Lois Enders................................................................................................... Musical Theatre Dance Doug Finlayson................................ Head of Directing Program, Directing, Acting for the Camera Adam Flores................................................................................................................. Studio Acting Gary Glasgow............................................................................................................ Acting, Pilates Gad Guterman.................................................. Text Analysis, Theatre History, Creative Dramatics Julie Hanson............................................................................................................ Musical Theatre Julie Jordan.............................................................................................................. Theatre History
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Sargent Conservatory of Theatre Arts
Bruce Longworth........................................................................................ Acting, Voice and Speech Ron McGowan.................................. Musical Accompaniment, Vocal Coaching, Musical Direction Stephen Neale..................................... Musical Accompaniment, Vocal Coaching, Musical Direction Becks Redman................................................................................................................... Auditions Michael James Reed........................................... Musical Theatre, Auditions, Acting for the Camera Rachel Roberts.......................................................................................................................... Yoga Jess Shoemaker............................................................................................................. Text Analysis Andy Sloey.................................................................................................................. Improvisation Paul Steger............................................................................................................................ Combat Lara Teeter......................... Head of Program, Musical Theatre, Musical Theatre Dance Styles, Tap Jennifer Wintzer...................................................................................................................... Acting PRODUCTION PROGRAMS Dennis Milam Bensie................................................................................... Wig & Makeup Design Lee Buckalew....................................................................................................... Sound Technology Dunsi Dai..................................................................................................................... Scene Design Sabrina Doris.................................................................................................. Costume Construction Doug Finlayson.................................................................................................... Visual Storytelling Rich Fisher........................................................................................................................ AutoCAD Renee Garcia................................................................................... Costume Design, Visual History Gad Guterman......................................................................................................... Theatre History Becky Hanson............................................................................ Crafts, Costume Shop Management Julie Jordan.............................................................................................................. Theatre History Jayson Lawshee..................................................................................................................... Design Scott Loebl................................................................................................................. Scene Painting Arthur Lueking................................................................................................... Technical Direction John Ryan...................................................................................................... Scene Shop Supervisor Michele Siler................................................................................... Costume Design, Visual History Carole Tucker.................................................. Costume Construction, Costume Shop Management Tracy Utzmeyers......................................................................................... Production Management Christina Watanabe.................................................................................................. Lighting Design Emilie Weilbacher-McMullan.............................................................................................. Drafting Amanda Werre........................................................................................................... Sound Design Evangeline Rose Whitlock................................... Head of Production Programs, Stage Management Sean Wilhite......................................................................................................... Sound Technology Ralph Wilke.................................................................................................. Furniture Construction John Wylie............................................................................ Technical Production, Lighting Design DIRECTORS FOR 2023-2024 Tali Allen............................................ Music Director, Natasha, Pierre & the Great Comet of 1812 Jef Awada............................................................................................... Director, Romeo and Juliet Michael Baxter............................................. Director, Natasha, Pierre & the Great Comet of 1812 Heather Beal................................................................................ Choreographer, Blood at the Root Lisa Campbell Albert.................................................................... Music Director, The Spitfire Grill Rayme Cornell....................................................................................... Director, Blood at the Root Adam Flores..................................................................... Director, The Last Days of Judas Iscariot Ellen Isom........................................... Choreographer, Natasha, Pierre & the Great Comet of 1812 Luna Martin........................................................................................................... Director, Silence Jenny Wintzer.......................................................................................... Director, The Spitfire Grill
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A Bright Room Called Day
OUR PROFESSIONAL PARTNERS Arrow Rock Lyceum Theatre The Muny: The Municipal Opera Association of St. Louis
Opera Theatre of Saint Louis Repertory Theatre St. Louis St. Louis Shakespeare Festival Variety St. Louis
OUR WEBSTER PARTNERS Department of Art, Design, and Art History
Department of Dance Department of Music
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Sargent Conservatory of Theatre Arts
Performance Programs: Acting
Students in the acting program train for work in a wide array of venues. Voice, movement, and acting are core to the curriculum every semester. Classes cover many styles, including period and contemporary realism, Chekhov and Ibsen, Shakespeare, Restoration, and Edwardian. Work in class prepares actors for both stage and film work. SCENE I: DISCOVERY Units in acting, voice and speech, movement, stagecraft, text analysis, and makeup help you discover what it means to be an actor and to establish the basis for your personal technique. Methods include:
SCENE III: APPLICATION Work in contrasting styles becomes even more ambitious. Skills you acquired in years one and two are applied to:
› Shakespeare › 17th- and 18th-century comedy of manners › Edwardian drama
Voice and movement classes develop even more specific skills in:
› Dialects › Period movement › Stage combat › Alexander Technique
› Foundational movement › Vocal production and phonetics › Games and exercises › Improvisation › Scene study › Theatre history
Classes in directing and improv are added to the basic core of courses.
SCENE IV: PREPARATION New skill and investigation units are added to your core curriculum, including:
First-year students do not perform publicly but do present scene work for Conservatory at the end of the year. SCENE II: EXPLORATION You stretch and strengthen basic techniques from your first-year units using highly contrasting styles of dramatic literature. Added to the core of acting and voice and speech are:
› Interviewing › Auditioning › Cold reading › Acting for the camera › Clown
And, in Spring semester, you present in Senior Showcase!
› Yoga › Neutral mask › Physical characterization › Song study › Audition techniques
You join the casting pool and are now eligible to perform in the Conservatory season.
Seminar
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Performance Programs: Musical Theatre
Myths and Hymns
The Conservatory musical theatre program continues to be unique in its emphasis on acting. Students train for work in a wide array of venues. Voice, movement, and acting are core to the curriculum every semester. Classes cover many styles, including period and contemporary realism, Shakespeare, Restoration, and Edwardian. Work in class prepares actors for both stage and film work. Students complete the four-year sequence of the Conservatory Acting Program in addition to degree requirements in the Departments of Dance and Music. Units in the program include:
SCENE I: DISCOVERY Units in acting, voice and speech,
movement, musical theatre, song study, voice lessons, vocal coaching, ballet, stagecraft, text analysis, and makeup help you discover what it means to be an actor and to establish the basis for your personal technique. Methods include:
› Foundational movement › Vocal production and phonetics › Games and exercises › Improvisation
› Scene study › Song study
› Musical theatre › Song study › Music theory
› Piano › Dance
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Sargent Conservatory of Theatre Arts
Courses outside Conservatory include:
Voice and movement classes develop even more specific skills in:
› Music theory musicianship › Private voice and piano › Ballet I and Jazz I
› Dialects › Period movement › Stage combat › Alexander Technique
First-year students do not perform publicly but do present scene work for the Conservatory at the end of the year. SCENE II: EXPLORATION You stretch and strengthen basic techniques from your first-year units using highly contrasting styles of dramatic literature. Added to the core of acting and voice and speech are: › Yoga › Neutral mask › Physical characterization › Musical theatre music & text analysis › Audition technique In Musical Theatre Song Study, these skills are applied to various Broadway genres and to the completion of an audition book.
Third-year Musical Theatre Styles units are devoted to musical theatre scene, song, and dance study.
Courses outside Conservatory include:
› Vocal ensemble › Ballet II or III › Jazz II or III
› Musical Theatre Dance Styles I or II › Dance improvisation and composition › Continued private voice and piano SCENE IV: PREPARATION New skill and investigation units are added to your core curriculum, including:
› Interviewing › Auditioning › Cold reading › Acting for the camera › Clown
Courses outside Conservatory include:
› Musicianship › Private voice and piano › Ballet II and Jazz II › Musical theatre dance audition › Tap dance › History of the American musical theatre
You continue in specialized musical theatre:
› Acting and audition techniques › Ballet II or III › Jazz II or III
You join the casting pool and are now eligible to perform in the Conservatory season.
› Musical Theatre Dance Styles I or II › Dance improvisation and composition › Private voice Musical Theatre students have the opportunity to present a solo cabaret performance, and, in Spring semester, present in Senior Showcase!
SCENE III: APPLICATION Work in contrasting styles becomes even more ambitious. Skills you acquired in years one and two are applied to:
› Shakespeare › 17th- and 18th-century comedy of manners › Edwardian drama
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Directing Program
Rain and Zoe Save the World
The Webster University directing program combines elements of each area in the Conservatory to provide students with a well-rounded theatre background. Practical experience supplements classroom work, and Conservatory directors assist on professional productions such as those at Repertory Theatre St. Louis, a nationally recognized LORT (League of Resident Theatre) organization. Combined with a senior semester on one of Webster’s international campuses, the directing program provides a rich environment of learning for the student director.
Directors are storytellers. As students of directing begin their journey toward a career in theatre, the coursework at Webster vigorously stresses the craft of directing, while providing opportunities for each student to discover the stories they want to tell. The road to professional directing is a long one. Throughout their career in Conservatory, directing students will study directing, acting, design, and stage management. In their final semester, students will direct a capstone project. Webster provides the opportunity for students to emerge as leaders and sets them on the journey toward a professional career in directing.
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Sargent Conservatory of Theatre Arts
Stage Management
Stage managers work on every phase of a production process, from prep to closing night. A stage manager is a skilled leader who knows what to say, when to say it, and how to say it. Stage managers facilitate communication between directors, choreographers, writers, designers, actors, office staff, and other collaborators. Stage managers run rehearsals and attend meetings. Once installed in the theatre, the stage manager coordinates all production elements and calls the cues of the show for technical rehearsals, previews, and performances. After official opening, other creative collaborators will depart and the stage manager becomes responsible for maintaining the production’s artistic integrity. The program at Webster University’s Sargent Conservatory of Theatre Arts trains the next generation of leaders in the theatre and live events sector by blending classroom training with practical work on productions. Students receive instruction and one-on-one mentorship from industry professionals with a vast range of experience, including Broadway, off-Broadway, regional, dance, corporate events, and opera. Stage management students also have the opportunity to intern and assist on productions with professional companies in St. Louis and across the country. Through study abroad programs, stage management students can build a rich global experience. The trajectory of courses begins by building a foundation in the technical skills of stage management. These include:
forged in a theatrical process. In the third and fourth years, students synthesize coursework, production assignments, and professional experience. In March of their final year, students participate in the Senior Portfolio Open House, where they connect with industry professionals and alums in preparation for post-graduation work. Students begin working on productions as assistants as early as their first semester in school and engage with industry professionals immediately. Throughout their time at Webster, they steadily build their own network and add tools to their literal and metaphorical kits, uniquely equipping the student to take on any professional endeavor.
› Preparing for and running a rehearsal successfully › Creating paperwork › Calling a show › Taping out a set in a rehearsal room › Running a tech rehearsal
In the second year, students explore the inter/intrapersonal aspects of a stage manager’s work and focus on the relationships
Myths and Hymns
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Design: Scenery, Costumes, Lighting, Sound, Wig & Makeup
Seminar
The Sargent Conservatory is one of the few undergraduate institutions where all productions are designed by students. Faculty input on production work is strictly advisory. This practice allows you to acquire production experience necessary for your degree and provides representative samples for your portfolio. The combination of practical shop and stage work as well as conceptual work in the design studio creates a unique opportunity for artistic and professional growth.
Supplemental work in the Art Department in design and drawing classes provides a base for developing additional skills. During the second year, you work in your major area while developing other basic skills, including:
› Design analysis › Costume production › Scene shop practices › Rendering techniques › Specialized drafting › Crew management
The Sargent Conservatory offers complete design training in the major areas of:
› Scene design › Costume design › Lighting design › Wig & makeup design › Sound design
In the third and fourth years, you take studio units in design areas and practice your craft in production. In addition, you take units in acting and directing. Many students choose to study abroad at one of Webster’s international campuses or complete an internship during their third or fourth year. Our partner institutions also provide opportunities for professional experience. In March of their final year, students participate in the Senior Portfolio Open House, where they connect with industry professionals and alums in preparation for post-graduation work.
The program begins with a fundamental first year of experience that includes studio work in:
› Scenography › Drafting › Technical production › Visual history
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Sargent Conservatory of Theatre Arts
Technical Production: Technical Direction, Scene Painting and Costume Construction
American Idiot
Webster is a leader in innovative solutions to technical problems, with highly skilled professional mentors and up-to-date equipment providing production elements for three performance spaces. Our technical programs demand operations and craft of the highest standards. It is within this environment that students learn their skills. The first two years of the program parallel those of design (see page 13), to ensure a balance of studio course work and practical application.
At this point, technical students usually also work in internship programs with other theatres, manufacturers, and designers, or choose to study abroad at one of Webster’s international campuses. Each of our shops is professionally staffed by Repertory Theatre St. Louis during the day and by students in the evening. The Sargent Conservatory technical director and costume shop manager work specifically for the department. Members of staff from our six partner institutions serve as faculty in production areas. Our partner institutions also provide opportunities for professional experience. Students in the program, under the guidance of professionals, work to accomplish safe and efficient results of the designers’ visions. In March of their final year, students participate in the Senior Portfolio Open House, where they connect with industry professionals and alums in preparation for post-graduation work.
In the third and fourth years, technical students study:
› Advanced technical production techniques › Materials › Management
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Theatre and the Space
Loretto-Hilton Center
Theatre does not exist without space. At Webster University’s Sargent Conservatory of Theatre Arts, the actor, stage manager, designer, director, and technician have the opportunity to work in a variety of spaces. The Loretto-Hilton Center for the Performing Arts, funded in part by the late Conrad Hilton, is a luxurious arts complex containing two theatres, administration offices, two spacious dance studios with locker rooms, design spaces, fully equipped scene and costume shops, light and sound labs.
LORETTO-HILTON CENTER 130 Edgar Road St. Louis, Missouri 63119-3194 (314) 246-6929
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Sargent Conservatory of Theatre Arts
VIRGINIA BROWNING MAINSTAGE THEATRE
› An intimate atmosphere for a multitude of artistic activities, with seating for nearly 1,000 people › Home to the Repertory Theatre St. Louis, the Sargent Conservatory of Theatre Arts Mainstage Series, Webster University Dance Ensemble, and Opera Theatre of Saint Louis
American Idiot
EMERSON STUDIO THEATRE
› Located on the lower level of the Loretto- Hilton Center › Flexible space that is constantly changing from mock proscenium to a total environment › Where Repertory Theatre St. Louis presents its Studio Series of intimate theatrical works › Where the Conservatory presents works from its subscription season
Sueño
STAGE III
› Small proscenium-style house contains movable seating, modified thrust capabilities, and a traditional proscenium › BA candidates in Directing produce senior capstone projects in Stage III, a public series of fully mounted productions › Performance experiences of one-act plays and directing projects scheduled on Tuesdays are open to the entire Webster community
Mud
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Auditions and Interviews
Sueño
Webster University’s Sargent Conservatory of Theatre Arts requires auditions/interviews for all students planning to major in theatre. WHAT ARE WE LOOKING FOR AT YOUR AUDITION/INTERVIEW? Performance Programs: Acting, Musical Theatre, Directing As a prospective performance major, you must prepare two monologues of no more than three minutes total. The selections should be of a contrasting nature. Choose characters close to yourself in age from scripts written after 1930. You must memorize and fully prepare your monologues. Do not plan a long introduction. Simply announce the name of the play and character and begin. Do not select Shakespeare or classical pieces. Do not do extreme characterizations of body, voice, or speech to alter your own age, physical abilities, or
mental health. The characters should be as natural, authentic, and close to you in real life as you can imagine. Do not alter your dialect or accent. Use your own speech, even if the character would normally speak with an accent that is different from yours. Musical Theatre Candidates The audition will consist of the presentation of two monologues using the same guidelines and procedures detailed above. In addition, you must present two songs of contrasting nature of no more than 32 measures each to provide substantial information on your vocal quality and range. One of the songs should be from the “Golden Era” genre that spans from 1943 to 1964. The other song may be from a contemporary musical or a pop/rock song.
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Sargent Conservatory of Theatre Arts
directing experience. The portfolio might therefore include work in other disciplines such as acting, design, choreography, opera, singing, photography, video, film, painting, or writing. Share your artistic interests. › An essay with pictures. Using pictures and words, create a 750 to 1,000-word essay on one of the following topics: › Tell a compelling story from your life (or someone you know) and describe how you would bring it to the stage. › What surprises/inspires you most about your experiences with live performance? Give an example of how you might create such a moment yourself. › Describe how you would go about sharing your passion for the theatre with children. Give an example of a project you could direct to demonstrate that passion. PRODUCTION PROGRAMS Students seeking an interview for Costume Construction, Costume Design, Lighting Design, Scene Design, Scene Painting, Sound Design, Stage Management, Technical Direction, or Wig & Makeup Design must present a portfolio that showcases the variety and caliber of your work in fine arts or theatre. Your interview therefore includes a portfolio review. Such a portfolio might include pieces from the following: › Drawings, any subject and media › Examples of work in color › Drafting › Prints › 3-D projects of any type › Actual theatrical design work, either for a production or a project › Photographs of projects › Evidence of work in carpentry, electronics, mechanics, scenic construction › Sound files
ADVICE FOR YOUR AUDITIONS Props and Costumes Feel free to use a chair if you need it. Keep the number of props and costume pieces down to one or two at the most. Clothing Please dress in clothing comfortable enough to allow you to do your best work, while still maintaining a professional look. No gym clothes, nothing too tight or revealing, and no heels above three inches tall. Accompaniment For on-campus and Chicago auditions: An accompanist will be provided for your audition. Please be sure to bring your sheet music, clearly marked, for each of your two songs. For New York and Los Angeles auditions: Please have your piano accompaniment recorded and bring a playback device to play your two songs. Dance We may request you to send a video of ballet, jazz and/or contemporary dance that is no longer than one minute in length. An additional one minute dance video of hip-hop and/or tap will be optional. Please do not send us dance videos unless we have requested them. Directing Candidates: Applicants for the directing program will audition with two monologues using the same guidelines and procedures detailed above. You will also need to interview. At that interview, you will need to present: › A portfolio that showcases any materials that might demonstrate your work and interest in theatre and/or in the arts. If you have directed a play or scene or assisted on a project, bring materials from that work (a promptbook, photographs, a videotape, photography, etc.). We also understand that students interested in the Directing program might have little or no formal
Letters of recommendation from two people familiar with your work should be included.
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Performance Programs (Acting, Directing, Musical Theatre) Auditions for the Performance Programs can only be scheduled on the designated dates, outlined below. Individual appointments are not available. Our Audition Coordinator will follow up with you once we have received your Request Form. Production Programs (Design/Tech, Stage Management) We schedule interviews and portfolio reviews on an individual basis in Saint Louis. We also schedule interviews and portfolio reviews during the Unified Auditions in Chicago, New York, and Los Angeles. Our Audition Coordinator will follow up with you once we have received your Request Form. We prefer to meet you in person and encourage you to visit us on campus. Virtual interview options are available in instances of extenuating circumstances. Our Audition Coordinator can discuss virtual options after you have completed your application to the university.
We schedule interviews individually to allow ample time to review the portfolio and to discuss your experience and career goals. Stage Management Candidates: Applicants to the stage management program must present a portfolio that should include: › A one-page resume that has references and contact information › A curated sample of production work through all phases of production (prep, rehearsals, tech, previews, performances). Please compile this in a way makes sense to you – this can be by production or by category, as long as it is organized and clearly laid out. › Your materials should showcase your best work and give an idea of the scope of shows you have worked on. It is okay to pull a cast list from one production, a calendar from another, blocking sheets from a scene in class, etc. › Please remove any personal information such as cast email addresses and phone numbers. Please do not include any forms (such as emergency forms) that have personal or sensitive information. › Photos of productions or of yourself in action are great! › Letters of recommendation are fine to include but are not required. HOW DO YOU SCHEDULE YOUR AUDITION/INTERVIEW? Visit webster.edu/conservatory/ conservatory-auditions.php to get the scheduling process started. Please note that you must submit your application to the university prior to requesting an audition/ interview. If you have any questions regarding the Conservatory or the audition process, please contact our Audition Coordinator at auditions@webster.edu or at 314-246-7712 (email preferred).
PERFORMANCE AUDITION CALENDAR FOR 2024
On-Campus Auditions 2024 › Friday, January 19, 2024 › Saturday, January 20, 2024 › Friday, February 2, 2024 › Friday, February 23, 2024 › Saturday, February 24, 2024
On-campus auditions can be helpful since the prospective student is able to spend the day on campus not only auditioning, but also meeting with faculty and students, and touring the campus facilities. For Acting, Directing, and Musical Theatre auditions, check-in commences promptly at 8:30 a.m., and auditions conclude by early afternoon. Students should come dressed in comfortable clothing and be prepared for a brief group warm-up session. Following the warm-up session, students have time to change before
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MEET SARGENT CONSERVATORY FACULTY Sargent Conservatory faculty attend a variety of Thespian Festivals and other similar events throughout the summer and fall. › Auditions at these sites for Musical Theatre, Acting, and Directing are considered “meet-and-greets” rather than full evaluations. Potential candidates for our Performance programs must apply and schedule an official audition through Admissions as outlined above. › Conversely, we may consider interviews and portfolio reviews at these events for Production candidates (Design, Technical Theatre, and Stage Management) to be full evaluations, and no subsequent interview might be necessary. Prospective Production majors will still need to apply and be accepted by the University before gaining admission into the Conservatory program. IMPORTANT NOTES ABOUT WEBSTER UNIVERSITY’S SARGENT CONSERVATORY OF THEATRE ARTS Direct all questions regarding auditions and interviews to the Office of Admission at 314-246-4216 . Students must apply and be academically accepted to Webster University before we can release audition/interview results for the Conservatory. The Conservatory is a professional training program. Therefore, only students enrolled in Conservatory classes may audition for productions. Conservatory (CONS) class units are closed to students who are not Performance, Production, Directing, or Stage Management majors. Transfer students in acting or musical theatre need to complete four years of training in the Conservatory in order to graduate, regardless of previous coursework. We evaluate transfer students in production and directing programs individually by portfolio review/interview to determine placement within the training sequence.
their audition. They will perform the audition pieces on an individual basis. Students may be asked to do various exercises and improvisations during their audition and should be prepared to discuss their work on the audition pieces. Auditioning students have the option to visit classes as schedules permit, except on Saturday. They also are encouraged to view a performance while on campus. We strongly advise that students coming from some distance arrive the night before. Auditioning students will need to make their own arrangements for an overnight stay. Information on recommended hotels can be found at webster.edu/visit . Scroll down to Accommodations in St. Louis. Off-Campus Auditions/Interviews 2024 Off-campus auditions and interviews are held in locations throughout the United States in conjunction with the Unified Auditions to accommodate those students who are not able to audition on campus.
NEW YORK: UNIFIED AUDITION TOUR
› Saturday, January 27, 2024 › Sunday, January 28, 2024 › Monday, January 29, 2024
CHICAGO: UNIFIED AUDITION TOUR
› Sunday, February 4, 2024 › Monday, February 5, 2024 › Tuesday, February 6, 2024 › Wednesday, February 7, 2024 › Thursday, February 8, 2024 LOS ANGELES: UNIFIED AUDITION TOUR › Saturday, February 10, 2024 › Sunday, February 11, 2024
Virtual audition options are available in instances of extenuating circumstances. Please contact our Audition Coordinator at auditions@webster.edu to discuss virtual audition options.
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Our Partners
Webster University’s Sargent Conservatory of Theatre Arts has six professional partners. We are the leader in developing productive professional partnerships that benefit our experiential programs. Each partner works with us in unique ways to provide exposure to professional quality, practices and individual opportunities for experience. Our partners are all committed to the education and training of young artists.
OPERA THEATRE OF SAINT LOUIS Opera Theatre of Saint Louis is one of the leading American opera companies, known for a spring festival of inventive new productions, sung in English, featuring world-renowned singers and accompanied by members of the St. Louis Symphony. Opera Theatre of Saint Louis artists share performance and creative space with Conservatory students, in addition to providing master classes, internships, and employing students each season in multiple backstage roles. www.opera-stl.org
On the Campus of Webster University
In Partnership with Webster University
REPERTORY THEATRE ST. LOUIS Since 1966, Repertory Theatre St. Louis has been the St. Louis region’s premier live, professional theatre. Our innovative partnership inspired other theatres and programs to form similar relationships. With a mission that dedicates itself to excellence in producing an eclectic range of live theatre, The Rep is also committed to building and sustaining its vital connection with Webster University. Rep performers, designers, artisans, and administrators share performance and creative space with Conservatory from July through March. Students are assigned to Rep backstage crews, assist various artists, and on an individual production basis, audition for casting. www.repstl.org
THE MUNY (MUNICIPAL THEATRE ASSOCIATION OF ST. LOUIS) The Muny is the United States’ oldest and largest outdoor musical theatre. Each summer, The Muny enriches lives by producing exceptional musical theatre accessible to all. Since 2012, Webster University and The Muny have shared a partnership that blends the renowned Muny theatre with Webster’s nationally acclaimed Conservatory of Theatre Arts. This partnership has provided many year-round opportunities for Conservatory students, including master classes, internships, employment, and casting in the season. www.muny.org
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ST. LOUIS SHAKESPEARE FESTIVAL St. Louis Shakespeare Festival fosters community and joy across the St. Louis region through the Shakespearean tradition of art for all. Its programming includes Shakespeare in the Park, an annual production in Forest Park and one of the most anticipated events of the St. Louis summer season; Shakespeare in the Streets, a grassroots theatrical experience that invites St. Louis neighborhoods to tell their stories; and TourCo, a stripped-down, actor- centric production that brings Shakespeare’s iconic texts to schools, parks, libraries, civic centers, and wherever people gather to learn, experience, and be inspired together. The partnership with Webster University supports opportunities for employment, internships, and casting. www.stlshakes.org
ARROW ROCK LYCEUM THEATRE Our newest partner, the Lyceum Theatre is one of Missouri’s oldest professional regional theatres. Located in the unique Village of Arrow Rock, Missouri, The Lyceum is housed in a beautiful, intimate 416 seat theatre where Lyceum audiences truly are a part of the action. Each year, more than 33,000 patrons enjoy Broadway-caliber productions created by professional theatre artists carefully chosen
from around the country. www.lyceumtheatre.org
VARIETY ST. LOUIS Variety’s Performing Arts programs, Variety Theatre, Variety Children’s Chorus, and Variety Dance, bring together children of all abilities to spread a message of inclusion. www.varietystl.org/impact/performing-arts
Webster University
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Full-Time Faculty and Staff
A Bright Room Called Day
City, co-founder/performer/writer of Scary Little Town, an ensemble-based sketch comedy troupe, and Oregon Children’s Theatre. He has directed for St. Louis Shakespeare Co., Metro Theatre Co., the Tennessee Williams Festival St. Louis, YoungLiars, and the Shakespeare Theatre in Washington, DC. Jef served as movement director for the Great River Shakespeare Festival for four years and for YoungLiars Theatre Co. where he is a company member. In the spring of 2022, he completed his training as an Alexander Technique teacher at Soma Studios in Minneapolis. Joanna Battles ( she/her ) › Associate Professor, Voice and Speech › Head of Recruitment › BFA, New York University › MFA, Brown/Trinity › Certificate, Fitzmaurice Voicework™ › Certification, Yoga Buzz 200 hour, emphasis in trauma informed practice › At Webster since 2013 › joannabattles07@webster.edu
Jef Awada ( he/him )
› Professor, Movement › Head, Performance Programs › BFA Acting, Emerson College › Certificate, Professional Training Program, Dell’Arte School of Physical Theatre › MFA Performance Pedagogy, University of Pittsburgh › Certificate, Alexander Teacher Training, Soma Studios › At Webster Conservatory of Theatre Arts since August 2006 › jeffreyawada43@webster.edu Jef is a director, movement coach, and teacher. His interest in diverse perspectives on movement training has led him to study traditional commedia dell’arte with Giovanni Fusetti, Suzuki technique with Yukihiro Goto, clown with Philippe Gaulier and Ronlin Foreman, and Russian scenic movement with Andrei Droznin. Prior to earning his MFA, Jef worked as an actor in New York and around the country. Highlights include: New Works festivals at P.S. 122 and The American Livingroom Series at HERE in New York
Joanna is a professional actor and director,
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Rain and Zoe Save the World
as well as a voice, speech and dialect coach for theatre and film. Since moving to St. Louis in 2013, Joanna has worked extensively as a Dialect Coach at the Repertory Theatre St. Louis, New Jewish Theatre, St. Louis Actor’s Studio and the MUNY. In addition to serving as a Text Coach for St. Louis Shakespeare Festival, Joanna acted in the Shakespeare in the Streets production of Ghosts of Maplewood , and directed the Educational Tours of Macbeth , Hamlet , Julius Caesar , and Romeo and Juliet . At the Conservatory, Joanna most recently directed Alice Birch’s Revolt. She said. Revolt again . In 2018, Joanna completed her 200-hour trauma- informed yoga teacher training from St. Louis-based Yoga Buzz. Prior to her position at Webster, Joanna served as the Co-Head of the Undergraduate program of Theatre at Louisiana State University where she taught Voice, Speech and Acting classes in the MFA and Undergraduate Acting programs; and was the professional Vocal Coach on staff at Swine Palace Productions. In addition to her work at LSU, Joanna was an adjunct faculty
member at New York University, Playwright’s Horizons Theatre School, and Brooklyn College. Joanna is an associate teacher of Fitzmaurice Voicework™, and a trained practitioner of Chuck Jones Vocal Technique. Joanna is a proud member of VASTA, ATHE, and Actor’s Equity Association. Dennis Milam Bensie ( he/him ) › Instructor, Wig & Makeup Design › BA, Southern Illinois University at Carbondale › Apprentice, Los Angeles Opera › Certificate, IATSE Train the Trainer › At Webster since 2021 › dennisbensie@webster.edu Dennis Milam Bensie began his wig career in the Seattle theatre scene over 30 years ago. His work continued at over 25 other regional theatres across the country and including The Old Globe Theatre in San Diego, Actors Theatre of Louisville, The Alliance Theatre of Atlanta, Oregon Shakespeare Festival and most recently Broadway Sacramento at the
Webster University
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Dunsi Dai ( he/him )
Music Circus. Bensie’s film and TV wig credits include HBO’s Three Busy Debras , Hulu’s The Jinkx and DeLa Holiday Special , and the indie feature film Potato Dreams of America .
› Professor, Scene Design › BA, Central Academy of Drama (China)
› MA, Stanford University › MFA, University of Illinois › At Webster since 1996 › daidu@webster.edu
Rayme Cornell ( she/her ) › Associate Professor, Acting › Associate Producer
Dunsi has designed scenery for off- Broadway and regional theatres across the country. His favorite designs include Rita’s Resource (Pan Asian Rep, NYC), Once Upon a Mattress (Brook Hollow Players, NY), Carmen (Trenton State Theatre, NJ), Desert Song (Hampton Playhouse, NH), West Side Story (Struthers Library Theatre, PA), Marat/ Sade (Stanford Rep, CA), Big River (Human Race Theatre, OH), and Blues in Alabama Sky (True Color Theatre, GA). In the Midwest region, his favorite designs include Wit (Repertory Theatre St. Louis), Waiting for Godot (St. Louis Black Repertory Theatre), Fiddler on the Roof (STAGES St. Louis), Hanna’s Suitcase (Metro Theatre Company), Old Wicked Songs (New Jewish Theatre), 1776 (Arrow Rock Lyceum Theatre), Two Headed (Black Cat Theatre), Remnant (Mustard Seed Theatre), Indecent (Max & Louie Productions), and Glass Menagerie (Tennessee Williams Festival). Dunsi won the Kevin Kline Award for Outstanding Set Design in 2008. He is a member of United Scenic Artists Local 829. Dunsi has been endorsed by the St. Louis Post-Dispatch as the Best Scene Designer on the 2015 Go List. Website: faculty.webster.edu/daidu
› BA, University of Nevada Las Vegas › MFA, Acting & Directing, University of Missouri Kansas City › At Webster since 2018 › raymecornell08@webster.edu Rayme has been a professional actor for over 25 years. She is a member of the Screen Actors Guild, American Federation of Television and Radio Artists, and Actors’ Equity Association. Rayme began her teaching career as an Assistant Professor in the Stage and Screen Acting program at the University of Nevada Las Vegas, where she taught in the graduate and undergraduate performance programs. Rayme was the host of the award- winning PBS show Real Moms, Real Stories, Real Savvy. She has worked in film, television, Off Broadway, and with some of the most prestigious regional theatres in the Unites States: The Old Globe, The Alley Theatre, Crossroads, The New York Acting Company, The Repertory Theatre of Saint Louis, Shakespeare Santa Cruz, St. Louis Shakespeare Co., Philadelphia Theatre Co., New York’s Primary Stages, Lake Tahoe Shakespeare Co., Arizona Theatre Co., Vineyard Playhouse, The O’Neill, Missouri Repertory Theatre, and Tennessee William Festival St. Louis. Rayme is a private coach for professionals and a Teaching Artist at the Don LaFontaine VO Lab for the SAG Foundation in LA and New York. Her clients range from network news anchors and celebrity chefs to UFC champions. Rayme is known for her extensive voice-over work. She has represented such products as L’Oreal, Ford, Dunkin Donuts, Uber, Lifetime, WE, Oxygen, USA Network, History and Discovery Channels, MTV, VH1, BET, ESPN, and many more. Her greatest role to date is that of being Brick’s mom.
Doug Finlayson ( he/him ) › Professor, Directing › Head, Directing Program › BA, Baldwin Wallace College
› MFA, Purdue University › At Webster since 1998 › finlaydo@webster.edu
Doug has been the Head of Directing at Webster University since 1998. He recently directed The Comedy of Errors at the Illinois Shakespeare Festival. Doug has worked with
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