Handbook for NUAI Candidates

(and Nominators, Coaches and Advisors too)

2014
University/Resident Theatre Association, Inc.
1560 Broadway, Suite 1103, New York, NY 10036
National Office (212) 221-1130 * NUAI Hotline: (520) 760-2434
www.URTA.com; auditions@urta.com

Visit our web site for FAQs, videos, a blog and much more!

CONTENTS
Page #
Confirmation Letter ............................................................................. 2
Actor Information................................................................................. 3 - 8
Design/Tech Information ..................................................................... 9 - 12
Director/Stage Manager/Theatre Manager Information ....................... 13 - 14
Continuing Education Program ........................................................... 15
Offer/Acceptance Policy ...................................................................... 15 - 16

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Dear ________________________________________________
Your application for the National Unified Auditions/Interviews has been processed. You will soon
receive an email from auditions@urta.com with your assigned DAY/ TIME/STATION NUMBER (as
applicable). If you are a Director/Stage Manager/Theatre Manager, you already know the day of the
event, but your email will contain a list of the recruiting schools in your area.
Before you do anything else, be sure to Like URTA on Facebook, and youll be entered to win a $100
Amazon gift card! Then, add auditions@urta.com to your address book, as future correspondence will be
via email. Please make it a habit to check your TRASH folder daily, as some email programs see our
material sent via Constant Contact as SPAM and delete it. URTA is not responsible for missed
communications due to aggressive SPAM filters.
This Packet contains the materials you need to prepare:
Handbook for NUAI Candidates. Use this to prepare for your audition, portfolio, and interviews.
Share it with your coach/advisor if you have one. If you lose this booklet, you may download
another one from our web site.
The URTA Directory of Member Training Programs. Advance research is invaluable - do not wait
to see if you get any Callbacks. Remember that not all schools recruit every year.
Site sheet with the location(s) of the URTA event and hotel information. You are not required to
stay here, but we have negotiated great rates and if you do stay, you help URTA control costs.
If you signed up and paid for a seminar, your ticket is enclosed. Look in the pages of the booklets
or at the bottom of the envelope as they are easy to overlook.
PLEASE READ EVERYTHING CAREFULLY. We know it is a considerable amount of material but it is
vital information. Read the FAQs on the website and watch the helpful videos about the audition/interview
process on our website (www.urta.com).
General Reminders
You do not attend all of the days in each city it is a one day commitment (some actors may
have a second day of auditions if they selected the Satellite Audition option).
We encourage you to pursue ALL opportunities, but you must leave the day of your URTA
assignment completely clear to take full advantage of this opportunity. Once you have your
assignment, do not create conflicts by scheduling OTHER auditions or interviews on the same
day. Come to town a day early or stay an extra day so you don't have to miss your URTA
Audition or Interviews. There is an FAQ on this subject if an unavoidable conflict arises.
Please email your most current, cumulative GPA to auditions@urta.com no later than 12/31. It
must match your transcript. If you receive callback/interviews, you may need photocopies of your
transcripts. Order an official one and then make copies.
Bring everything in this packet, along with the Application Guidelines/Instructions, and any emailed
receipts or letters you received after applying, as well as a copy of the email we send with your day
assignment. If you have questions that are not addressed in the Guidelines/Instructions OR this
Handbook OR on the website FAQ page, then email me at auditions@urta.com. You may also call (520)
760-2434 during office hours 12 4pm Eastern Standard Time.
We wish you the very best success in this process, and we look forward to meeting you. Break a leg!

Sara Falconer
Sara Falconer
Director of Membership Services

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Acting Audition Information

______________________________________________________________________
The primary ingredient of any successful audition is centered in truthful and imaginative acting, employing
skills and techniques that are very similar to those used for playing a role in a production. What stands
out as a major difference is that, in a play, the actor is part of a production, but in an audition, the actor is
the production. While each audition needs to be fully analyzed, passionate, and well rehearsed, you still
need to make sure that you show the Recruiters who you are, what you are capable of (at this point in
your training), and why they should consider you for their specific program.
Ask yourself the basic questions about your audition piece: 1. To whom am I talking? 2. What I am trying
to get them to do, or how am I changing their behavior? Then concentrate your energies not on showing
yourself to the audience, but on getting the person to whom you are speaking to change in the way you
want. If you focus on changing the other person, then the audience gets to see more of you. Thus a fine
audition is a revelation of Self, not a slick impersonation. Inappropriate selection of material and poor
presentation techniques are the two most common faults in general auditions. Both areas demand
objectivity, which is why an audition coach is strongly suggested.
There are many excellent books on the audition process. Three classics are:
Shurtleff, Michael and Fosse, Bob. Audition: Everything An Actor Needs to Know to Get the Part,
Walker & Company, 2003.
Cohen, Robert. Acting Professionally. McGraw-Hill Humanities, 5th ed., 1997.
Ellis, Roger. The Complete Audition Book for Young Actors. Meriwether Publishing, 2003.
AUDITION FORMAT
1.
Acting Auditions are two minutes in length. This includes your introduction and transitions, but
does not include your entrance and exit into the room. You are free to do whatever you wish in the two
minutes, but our suggestion is two contrasting monologues. If you choose to do two monologues, they do
not have to be the same length. Again, the choice is yours, but remember to find pieces that are active;
where you need to change something in the other person.
2.
When you enter the audition space, the stage manager announces your name and you walk onto
the stage. Set the table and chair if you are using them; then you may acknowledge the auditors with a
"Good morning or "Hello" and a repeat of your name. Then do your introduction, i.e. "My first piece is
(Character's Name) from (Play Title)." Do not surprise the auditors without an introduction, no matter how
clever or dramatic. If you do, auditors may spend the first few moments reflecting on your lack of
introduction rather than your audition.
3.
Timing begins when you introduce your audition. You may introduce both pieces if you are doing
two, or individually before each piece. If you introduce them both at the start, it is VITAL that you take the
transition time between the two pieces. Think of organizing your audition as a one-act play containing
major "beats" or "units of action:"
1. Your entrance and greeting.
2. Introduction of Selection #1.
3. Transition from yourself to character #1.
4. Presentation of your first selection.
5. Transition from character #1 back to yourself.
6. Introduction of selection #2.
7. Transition from yourself to character #2.
8. Presentation of your second selection.
9. Transition from character #2 back into yourself.
10. Thank you and exit.
4.
Consider, play and rehearse each beat carefully. Your entrance, transitions, thank you and exit are
most definitely part of your audition, though the entrance and exit is not included in your timing.
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5.
Don't rush transitions. For this audition, how you "shift gears" from one part of the audition to the
next is important. If ignored, auditions tend to blur into two general minutes of non-specific "performing."
Transitions give you a chance to catch your breath under the potentially nerve-wracking circumstances of
an audition. Rushing from an introduction into a monologue or from one piece to another without ever
shifting gears destroys the dramatic illusion, so, please, dont forget to breathe.
6.
Never emotionalize, editorialize, or apologize for your audition. What may have gone wrong for
you might have gone unnoticed by the auditors. Your audition begins with your entrance so maintain a
confident, positive persona. Don't be nasty if the stage manager mangles your name...a smile and a
gentle correction is much better. Similarly if you are stopped, dont huff and puff and stomp off stage.
Again, the smile, and a nice thank you is the wisest choice.
7.
Don't be thrown or concerned by lack of response from the Recruiters. They tend to remain neutral
or slightly detached during auditions in order to maintain their objectivity. Lack of response does not mean
they don't like what you're doing.
AUDITION MATERIAL SELECTION
1. Never attempt an audition monologue without reading the entire play and understanding your
character in the context of the play. Pay close attention to this point if you search for material from
monologue collections! Material from these collections can be overdone.
2. If you do two selections, they should be CONTRASTING. The standard choice is a contemporary
prose piece together with a period verse piece. However "Contrast" does not ONLY mean Shakespeare
and Sarah Ruhl. It can be demonstrated through type of character and material. Consider contrasting a
dramatic piece with a comedic one; or prosaic/poetic; urban/rural; etc. Look for selections with contrasts
in mood, intention, rhythm, emotional level, content, etc. Be aware that if you do NOT do a classical piece
in your audition, you may be asked for one if you get Callbacks. Keep in mind that Shakespeare is not the
only classical playwright. Strong audition pieces can be found in the Greek plays, as well as
Shakespeares contemporaries and those of the Restoration.
3.
Avoid climactic material that requires great depth or intensity of emotion. There is not enough time
to achieve these emotional peaks effectively and honestly. On the other hand, beware of dull and passive
pieces which dwell on character or plot exposition. Also, do not choose pieces that are stories or comic
routines without a connection to the person to whom you are speaking.
4.
Selection(s) should be self-explanatory with a clear beginning, middle and end. Two or more
speeches may be combined to form a monologue, as long as connections are smooth and logical. Test
the clarity of your piece by reading it to someone unfamiliar with the play. If there is confusion regarding
the Who, What, Why, When or Where of the piece, it should be eliminated.
5.
Avoid one-person show material. The Recruiters want to see YOU, not your interpretation of a
celebrity. We also do not recommend using original material. While you may be the next great American
playwright, recruiters may be caught off guard, and spend the first minute of your audition trying to figure
out where the piece came from.
6.
Sexually explicit or extremely offensive material may work against you. While eccentric selections
may be attention-getters, remember that your material is a reflection of your taste. Recruiters are not
fuddy duddy prudes, but given the brief time you have on stage, it is best to leave a positive impression.
Likewise, good writing will always serve you better than mediocre writing. You know the expression, you
are what you eat? Here, you are what you present. Your material choice counts a great deal, so
choose the best pieces you can!
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It is wise to brush up on any extra selections you may have in your audition repertoire as some
schools will give you the opportunity to present additional pieces during the Callbacks.

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PREPARING YOUR AUDITION

1.
Reminder: audition time is TWO MINUTES. Set up a schedule with your coach if you are using one
(we suggest using a coach who is familiar with URTA auditions), allowing time to review, select and edit
pieces and rehearse thoroughly. Discuss your interpretation with your coach to be sure you have a solid
understanding of given circumstances, character, intentions, obstacles, and relationships for each of your
characters. Present "dry runs" in a variety of spaces, in front of two or three faculty members or fellow
students, both for critical feedback and for practice in auditioning for a group of people. You will most
likely not know the dimensions or type of room you are auditioning in until you arrive, so it is best to be
prepared for anything!
2.
Do not direct your focus directly to one of the recruiters. The recruiter may not be able to evaluate
you impartially if you ask them to come into the world of your monologue. Keep your imaginary partner on
stage with you (downstage, please). Playing towards an empty seat in the audience, or in the direction of
the light booth are stronger choices for the purposes of this audition. Avoid putting the other character on
the floor to keep your face up.
3.
Stage your audition simply, utilizing a minimum of space -- preferably within a radius of 5-10 feet.
This does not mean to say you must restrict your movements, however. Stage yourself 3/4 to full front,
since your best side is the one with your face! A table and chair are available, but you dont have to use
them. No props, unless it is something you might normally wear or carry, such as glasses, a handkerchief,
a letter in your pocket, a scarf, a jacket, etc. The focus should be on you, not on your set design.
4.
Be confident that your total presentation, including introduction and transitions, comes in under
two minutes. You do not want to worry about being cut off, so eliminate this concern now. "Talking fast"
or rushing your transitions will NOT give you more time. Michael Shurtleff, the dean of audition training,
insists, "no audition is ever too short." Timing is enforced and if you run over, you will be asked to stop.
SINGING AUDITIONS (Optional)
1.
If you are a strong singer, you may have an additional 16 bars not to exceed 30 seconds. None of
our MFA programs recruit for Musical Theatre specifically. A bad song after a good acting audition can
leave doubt in the recruiters' minds. We discourage singing unless you are certain you have a strong
voice, or that your song communicates something important about you as an actor. Regardless, ask
yourself the same questions about your song as you do with your monologues. At URTA, you must both
sing and act your song well.
2.
Bring a battery operated media player for accompaniment (and don't forget to charge it or bring
batteries as an outlet will not be provided). A cappella singing is not permitted. Cue up your selection
before entering the audition room. Place the player at the foot of the stage or on the table, facing towards
you, so that you can hear the accompaniment and the Recruiters can hear you. You may not accompany
yourself on guitar, or anything else
3.

Favor upbeat show tunes in your selection.

4.
This is an opportunity to demonstrate that you are an accomplished actor who can also sing, and is
not an audition for a musical. The 30 seconds are in addition to your 2 minutes of acting. Timing is
enforced and begins when you start to sing. And no, you cant sing for 2 minutes and do a 30 second
audition, so dont even ask!
AUDITION SPACE
1.
You will have a chance to preview the audition space, test the acoustics and walk the stage before
or during the morning orientation. If you arrive late, you may miss this opportunity. Be aware of where
you are going, what door you use to get out, where the chair is, if you plan to use it, find your light, etc.
2.
Relate to your environment throughout the audition. Establishing an environment (indoor, outdoor,
familiar, unfamiliar, etc.) and attitudinal relationships to other characters are two of the most useful, and
most frequently overlooked, acting tools in an audition.
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WHAT TO BRING/WHAT TO WEAR

1.
Clean, neat, comfortable and relatively conservative clothing is usually the best choice. Do not try
to "costume" yourself, but avoid apparel that contradicts your character (i.e. royalty in running shoes, Noel
Coward in tee-shirts, etc.). Make sure your hair is off your face. Dangling, jangling jewelry is distracting.
Do you really need to assert your individuality by wearing your tongue stud? Generally a button down
shirt or sport coat with nice slacks for men; a blouse and skirt/slacks, or a dress for women, works well.
2.
You do not need to bring them to the Audition, but if you receive any Callbacks, you may need your
picture/resume (stapled back to back) and photocopies of your transcripts. We suggest 5 - 10 of each.
Insure that your resume's contact information is accurate, particularly phone and email.
3.
Yes, photocopies of your scholastic transcripts are fine. You may or may not need these if you
receive Callback/Interviews. Please do not mail them to the URTA office.
WHEN YOU ARRIVE
1.
Orientation is mandatory on the morning of your URTA Audition. Your email will tell you what TIME
your Orientation is. There may be more than one Orientation each day, so please attend the one
indicated in your email. Plan to arrive early enough to check in before Orientation begins.
2.
At the Orientation, you will meet the stage manager and see the audition space. You will be told
what time, later that same day, results will be distributed. After Orientation, you may leave, but plan to be
back at least 30 40 minutes before your scheduled audition time as we sometimes pick up time.
2.
You will do your audition for the recruiters from URTA institutions and our guest participants. You
are free to leave when you are done, but remember to come back later THAT SAME DAY at the
appointed time.
3.
When you come back that afternoon, you will receive a sheet that lists any Callbacks you may have
received. URTA has scheduled these for you, and they begin immediately. There is no way to determine
how late these may go, or how many Callbacks you could receive. After the Callbacks, if you get any,
your obligation to the URTA Auditions is complete, and you may leave, unless you are also participating
in the Satellite Auditions (Please see separate section).
PREPARING FOR A CALLBACK/INTERVIEW
1.
Research programs in advance using the enclosed Directory, and the vast resources available on
the internet. Links to URTA members are on our website. Do not wait until the interview to find out what
type of training each program offers. Take the responsibility and be informed.
2.
Arrange practice sessions with someone such as your coach acting as a recruiter. Be prepared to
answer questions regarding your training needs and career goals. Be specific - the statement, I want to
be a working actor is too general. This is the time to be yourself. Recruiters are not just interested in your
talent or potential but WHO you are as a person. Remember that you are both looking at each other with
the idea that you will spend a great deal of time together over the next several years.
3.
Each Callback/Interview is slightly different. Some recruiters just want to find out more about you,
some will want to discuss their programs. Others may ask you to work on a piece, maybe something you
did in your audition or maybe something else. You could be alone, or in a group of other actors. We
suggest that you be open to any adjustment or situation that may be thrown your way.
4.
Each Interview lasts 15 minutes with 5-minute transit time in between. Running around the hotel
can be tiring, so be prepared. Bring a snack, some water, some breath mints, a hairbrush, so you can go
into each interview looking your best. Dont forget headshots, resumes and transcripts.

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SATELLITE AUDITIONS
When you sign up to do the URTA Auditions, you are applying to audition for our member schools and
Guest Participants who are pursuing URTA membership. The Satellite Auditions are a separate,
optional event in New York and Chicago, and are attended by Guest Participants who are not pursuing
membership in URTA. In San Francisco, the Satellite Recruiters attend the URTA Auditions so a
separate audition is not necessary.
1.
Candidate must be signed up for the URTA Auditions in order to be eligible to attend the Satellite
Auditions too. The option to sign up for the Satellite Auditions was on the original application, but
registered Candidates may add it on our web site, and when you arrive. There is an additional fee for the
Satellite Audition, and space is limited.
2.
The Satellite Audition will take place on the day AFTER your URTA Audition - for example if your
URTA Audition is on Monday, your Satellite Audition will be on Tuesday. It will be in a different location
than the URTA Audition. You will receive your time by email. Unfortunately, you cannot do the URTA
Audition AND the Satellite Audition on the same day.
SATELLITE AUDITIONS FORMAT
1.
Mandatory Orientation for Satellite Auditions is at 9:30am on the day of your Satellite Audition.
Check in before Orientation begins. You will meet the stage manager and see the audition space. You do
not need picture/resume at this time. After Orientation, you may leave the area, but return at least 30
40 minutes before your scheduled audition time.
2.
The Satellite Audition works the same as the URTA Audition - your name is announced by the
stage manager, and timing begins when you introduce your piece. Candidate has two minutes to present
the same audition material as prepared for the URTA Audition, or something else. There will also be the
additional 30 seconds/16 bars to sing.
3.
You can leave when you are done, but be sure to come back at the appointed time to review the
callback sheets. If a program requests to see you, you will sign up right there for an appointment later that
same day. There is no way to determine how late these may go, or how many Callbacks you could
receive, if any. These callbacks are not controlled or scheduled by URTA.
4.

After the Callbacks, should you get any, your obligation is complete, and you may leave.

BEFORE YOU LEAVE FOR THE NUAIs

Does your audition consistently fall within the time limits, including transitions and the introduction?
Have you performed the audition to an audience, in a variety of spaces?
Do you enjoy performing these pieces? Does your audience like them?
Is there a live, urgent objective for each piece?
Do the pieces allow you to reveal yourself, rather than an impersonation?
FINAL NOTES
1.
If you have an online resume or web site, and would like to make that available to the recruiters,
please send it to auditions@urta.com by December 31st.
2.
An audition is an opportunity, not a contest to be won or lost. Recruiters know there is no way to
demonstrate all your talents, skills, and experience in a single two-minute audition, so dont try! This is
simply a brief introduction to your talent, personality and basic performance skills. Most of the Recruiters
are actors themselves, and have been in your shoes, and appreciate how artificial and intense auditioning
can be. Above all, they are on your side and are rooting for you. So, don't put any more pressure on
yourself than necessary. Relax and do your best. You can't ask any more of yourself.

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3.
Re-read the application instructions, paying particular attention to the information pertaining to
actors. Re-read the letter at the beginning of this document, and the emails sent by URTA, review the site
sheet, check out the FAQ page and watch the video on the web page, and then read this Handbook
again. It is 100% your responsibility to know what is going on and to understand the process. The URTA
process can be exhausting, so keep that in mind when planning travel and scheduling other auditions.
4.
If you signed up to do both the URTA Auditions and the Satellite Auditions, you must attend the
orientation for each, on the day assigned. If you receive callbacks from the URTA Auditions, they are
scheduled THE SAME DAY as your URTA Audition. Callbacks for the Satellite Auditions are held on the
day of your Satellite Audition.
5.

Break a Leg!

Sample Acting Resume

Heidi Turner
(303) 555-5427
heidi.turner@geezmail.edu
AGE: 21
HEIGHT: 5'7"
WEIGHT: 137
EDUCATION
2008-2012

EYES: Green
HAIR: Brown
VOICE: Alto

UNIVERSITY OF COLORADO, B.A. Theatre

Expected Graduation Date: May, YEAR (GPA)

Date
YEAR

Role
Miranda

Play
The Tempest

Director
Josie Skilton

Venue
CU - Mainstage

YEAR

Ida

See How They Run

Gabe Scott

CU - Mainstage

YEAR

Lyssa

An American Daughter Cran Mahood

Studio 300

YEAR

Sarah

Guys and Dolls

Kenny Burt

Grange Theatre

YEAR

Alithea

The Country Wife

Sturgis Grant

East Playhouse

YEAR

Raina

Arms & the Man

Mary Parrish

Lodge Studio

YEAR

Cherie

Bus Stop

Josie Skilton

Warehouse Theatre

SPECIAL SKILLS:
Singing: 5 Years study with Sandra Huffman
Dance: 10 years ballet/jazz/modern: Debbie Thornsberry, Joan Yell, Mallory Graham
Dialects: Standard British, Cockney, Southern American, Russian, French
AWARDS & HONORS:
YEAR BEST ACTOR Hermia, A Midsummer Nights Dream CU - Mainstage
YEAR Stratford Players Scholarship
YEAR KCACTF Region III Finalist

THIS IS JUST A SUGGESTION. YOU CAN INCLUDE MORE

BUT KEEP IT TO ONE PAGE
Be sure it is firmly attached to your photo, back to back
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Guidelines for Design/Technology Portfolio

Reviews
______________________________________________________________________
All candidates have the opportunity to be seen by the recruiters who attend the event in Chicago.
Responsibility for candidates preparedness, and the quality of portfolio presentation, rests solely with the
candidate. We suggest that all candidates work with an Advisor in preparing for the Portfolio Reviews
(remember to prepare for the interview portion, too). URTAs video about the Design/ Technical Portfolio
Review and Interview Process is available at www.urta.com.
URTA urges candidates to focus on strengths and to not register in areas in which you are not
seriously interested.
Research which institutions have applicable programs, and in what years they recruit, since they dont
all recruit every year.
If you are not called back by a particular institution, it does not necessarily reflect the recruiters
opinion of your portfolio. They simply may not have an opening for a student concentrating in your
area of interest at that time.
There is no design/tech recruiting in New York or San Francisco.
For some candidates, this day will be intense, with several hours of interviews
without a break. Be prepared - bring a snack, some water, a voice recorder to help
with note taking. It can be a huge blur, so be warned, and come prepared.
ONLINE PRESENCE
You should set up an online presence for your portfolio and resume, i.e. Facebook, a simple Flickr
account or your own web site. Recruiters look at these before and after the Portfolio Reviews, so
make sure it is operational. This gives give you the opportunity to show things that are too big to
carry, or no longer available to present. Send the complete URL to auditions@urta.com by 12/31.
Make sure a link to your resume is available on your web site. Please use common sense. For
obvious reasons, you may not want your spring break pictures on the same site as your
professional portfolio.
PREPARING YOUR DISPLAY/PORTFOLIO
Be selective in preparing your presentation. Portfolios should include the best examples of your
work and design capabilities, as well as some of your process. The recruiters want to see your
skills and abilities in design more than they want to see how well you can set up a nice
portfolio. They look for quality, not quantity. The display is you! Since you are not present when
URTA representatives view your work, the display will determine if you are called back for an
interview. You can always show more in your online presence, if you want.
The portfolio should be organized and neat, but please no scrap booking! Portfolio materials should
be clean and presented to their best advantage e.g., matted, mounted, etc. when appropriate.
Practice set-up and organization of your table before your come so you know how to lay it out.
Your work should speak for itself, but be prepared to answer questions about your process and to
explain your design ideas. If asked about a production, assume that the person is familiar with the
plots of most classic and current drama. Outline the plot if you have designed an obscure or new
play, but only explain as much as is necessary to understand your design idea and/or choices.
Identify work as a class project or realized production with play title, producer (organization or class),
and date.
Reflect your area of future concentration and interest in the portfolio you present. If you have a
produced design, show examples of your process drawings and the development of the project to the
finished product on-stage. Document the evolution of a complex technical project through a series of
photographs.
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Use photos with accurate color development. Select photos that are not repetitive and show your
work clearly. At least one full stage shot of a setting and full figure shots of characters in costume are
expected.
We suggest not using photos of productions on which you served as "assistant designer." You can
take credit as "assistant designer" on your resume, and maybe provide applicable paperwork
(drafting, lighting plot, etc.), if any. Including a photograph is misleading and you risk that photos of
your own work will suffer in comparison to photos of a teacher or professional's work, on which you
assisted.
It is a good idea to have examples of non-theater work reflecting your taste and abilities e.g.,
graphic arts projects; life drawings; or examples of photography. It is not necessary to bring threedimensional objects, but a well-built set model, costume, property or example of related craft work is
acceptable. Photos of three-dimensional work may also be included.

RESUME AND TRANSCRIPTS

Make absolutely certain that all contact information is correct and up-to-date on your resume.
Because recruiters see hundreds of candidates, include a small photo of yourself, either as a printed
part of your resume, or stapled directly to it. This will help the recruiters remember you when they get
back to campus and are sorting through notes.
Leave at least 40 copies of your resume and photocopies of your academic transcripts on your table
for recruiters to pick up during the reviews. Yes, photocopies of your transcripts are perfectly
acceptable. Be sure to email your updated GPA to URTA by 12/31.
SOUND DESIGNERS:
You must provide your own equipment, including playback deck, headphones and extension cords.
No loudspeakers will be allowed in the presentation rooms.
Prepare a five to seven minute cassette, CD or other media with brief examples of your best work.
Place a vocal identifier at the beginning of each example stating the play title, the producer
(organization or class), and date, or other appropriate information if the example is not from the sound
score of a play.
Provide headphones and set the loudness to the level at which you want your cues heard.
When you set up your display, make sure to check that your audio is playing back through the
headphones properly before leaving the room.
STATION SET-UP and REVIEW
Candidate is assigned a day and a station number. Your obligation to URTA is complete at the end of
the day.
Orientation will begin promptly at 8am. Arrive at the designated location early to check in. Do not be
late, as you will have less than an hour (until 9am), to set up your station.
Candidates must leave the area at 9am. You may bring someone to assist in setting up the station, if
desired or required. If you are done early, you may look at the other portfolios, but please dont touch
anything!
Each station consists of an approximately 32" x 6' table (dimensions vary slightly) and two chairs. The
entire display must be contained on the table, and if necessary, on the floor space immediately
surrounding the table for something like a dress mannequin. There will not be a wall behind the table.
Candidates may utilize their own free-standing display boards if desired, but is responsible for set up
and removal of all parts of display. There are office supply stores in Chicago, so you don't have to
travel with these items.
Take all personal belongings and leave the area completely. Please do not linger in hallways or other
nearby areas. Give the representatives space to move through the stations comfortably. Use this time
to review your interview questions and answers, and maybe pick up a snack for the afternoon.
RECRUITER REVIEW
At 9am, representatives from the URTA organizations and Guest Participants will review the stations.
Recruiters will sign up for Jump Start Interviews (see below), and hand in a callback rosters to the
URTA representative with the names of the candidates they wish to see in the Afternoon Interviews.
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JUMP START INTERVIEWS

In an effort to make best use of everyones time, URTA has instituted the Jump Start Interviews.
This 2-hour time period allows additional interviews which might not otherwise have been able to be
scheduled. They take place while the URTA team is working on the rest of the afternoon schedule.
Each candidate will have a Jump Start Interview sign up sheet on his or her table with 15-minute
slots: such as 11:00, 11:15, 11:30 and so forth.
Recruiters who are interested in a candidate have the option of either taking a Jump Start Interview
slots OR meeting with that candidate later in the day. The Jump Start Interviews are just as
legitimate and important as the ones that the computer generates. Only one interview per candidate
per school.
INTERVIEWS
Depending on what time Jump Start Interviews begin, candidates are allowed back into the space to
see if anyone signed up for Jump Start Interviews. If no one signed up, that does not mean the
candidate will not receive interviews later that day, but those candidates are free to leave until the
start of the Afternoon Interviews.
Candidates should take a few minutes to straighten up the station. Make sure you have two chairs.
Pop a breath mint and brush your hair!
Interviews are 15 minutes long and take place at the candidates station, with recruiters rotating from
table to table.
An URTA staff member will signal when there is 5 minutes left in the interview, and then when it is
time for the recruiter to move on to their next appointment.
After the Jump Start Interviews, there may be some free time before Afternoon Interviews begin.
At the designated time, the URTA representative will pass out the Afternoon Interview schedules.
BE ON TIME! Afternoon Interviews begin shortly thereafter.
If your schedule does not begin until later in the day, you may leave - just come back a little early in
case the schedule picks up in time.
URTA staff will keep time during the Afternoon Interviews. You will hear the "five-minute warning" at
which time it is important to begin wrapping up the interview. Be sure you have ended your interview
before "time" is called, and allow the representative(s) to move on to their next interview.
If more than one representative from a single institution wants to meet with you, they will meet with
you as a team. You will not be scheduled for more than one interview with any institution. If you met
with a school during the Jump Start Interviews, you will not have a second interview with them
during the Afternoon Interviews.
Once your interviews are over, whether they are Jump Start or Afternoon Interviews, quietly
remove your portfolio and display material, clean up the area around your table, and you may leave.

Summer Opportunities
There MAY be guest participants looking for summer employees. If you indicated you are interested in
summer work as well as graduate school, be prepared to talk about this too! It is a different conversation
than a grad school interview, so please keep this in mind. Your goals and expectations could be
completely different for summer work!

VERY Important Reminders

POWER: Access is limited. Please bring your own extension cord as it may be some distance to the
outlet.
INTERNET: Internet access may NOT be available in the exhibit room, so don't count on it.
The day can be very long for some candidates. Take advantage of any break to stretch your legs,
walk around, get a drink of water, etc. You may have long breaks between interviews, or none at all.
If you urgently need a break, and your next interviewer has already arrived, just let them know you
need a minute to run to the restroom. You may want to bring a snack in case you dont get a break!
We urge you to bring paper and pen or a tape recorder to take notes during any interviews you may
receive. If you have lots of interviews, it will be difficult to remember things later.
Be sure to check the web site FAQs page or email auditions@urta.com, if you have questions.
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___________
xxxxx
Staple small
photograph here
xxxxxxxx

Sample Design/Tech Resume

_______________

NAME OF DESIGN/TECH CANDIDATE

Specialty of Design
Phone Number
Email address

EDUCATION: (name of institution), [BA or BFA] in _______________, granted DATE

EXPERIENCE:
year Design Specialty, PRODUCTION, Director, Theatre
year Lighting Design, PROOF, J. Morse (dir.), NSU Mainstage
year Lighting Design, THE TEMPEST, J. Morse (dir.), NSU Mainstage
year Lighting Design, A LESSON FROM ALOES, L. Cameron (dir.), Tiffany Theatre
year Lighting Design, MUCH ADO ABOUT NOTHING, J. Morse (dir.), NSU Mainstage
year Lighting Design, THE REAL THING, J.J. Gerard (dir.), NSU Second Stage
year Design Specialty, PRODUCTION, Director, Theatre
RELATED EXPERIENCE:
year Asst. Lighting Design, FIDDLER ON THE ROOF, T. Preste (des), Fern Theatre
year Research Assistant, THE LARK, K. Bellows (des), NSU Mainstage
year Master Electrician, A MIDSUMMER NIGHT'S DREAM, T. Rees (des), Cast Theatre
year Asst. Lighting Designer, PRODUCTION, Designer, Theatre
year Lighting Assistant, PRODUCTION, Designer, Theatre
year Board Operator, PRODUCTION, Designer, Theatre
RELATED SKILLS AND INTERESTS:
Painting, photography, audio engineering, welding and carpentry. Fluent in French, computer
literate (PC & MAC), enjoy travel.
AWARD(S):
year, name of award, brief description
year, name of award, brief description
REFERENCES:
1st reference
title/relationship
theatre/institution
(area) phone
email address

2nd reference
title/relationship
theatre/institution
(area) phone
email address

3rd reference
title/relationship
theatre/institution
(area) phone
email address

(THIS IS JUST A SUGGESTIONBUT PLEASE, KEEP IT TO ONE PAGE ONLY)

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Directing, Stage Management, and Theatre

Management
______________________________________________________________________
As a reminder, Interviews are held as follows:
NEW YORK CITY:
Saturday, January 25, 2014 (Directing/Stage Mgmt. Only)
CHICAGO:
Saturday, February 1, 2014 (All Three Areas)
You will need to be onsite to pick up your final schedule at 8:30am on the day above.
Early in November, URTA will email a List of Schools that are offering positions for the coming academic
year. When you get the List, select those schools for which you wish to be considered, noting which
schools will be attending each interview site. Make sure URTA has your correct email address!
Before Winter break: Review the List and send a Common Packet to the schools in which you are
interested. The earlier you get the Common Packet to the school, the more time the school will have to
properly evaluate your candidacy. Schools should have your information prior to their winter break. If any
school needs additional information prior to granting an interview, they will contact you directly.
These areas are extremely competitive, and schools may only take 1 or 2 candidates every 2 or 4 years.
Even if you follow all the instructions, you may not get interviews, if your current level of experience does
not meet the criteria of the program, or if your common packets are late.
Common Packet Contents:

Individualized Cover Letter of Interest

Resum of Experience with a passport-sized photo
Photocopies of Scholastic Transcripts
Three Letters of Recommendation

Directors, also include:

Statement of Directorial Philosophy / Professional Goals

Stage Managers, also include:

Statement of Professional Goals

Theatre Managers, also include:

Two Writing Samples

Some schools require printed, mailed materials, and some will require email submissions. No matter what
format, make sure the packet is COMPLETE and each page has your name on it. In your cover letter,
indicate that you are registered with URTA, and at which Interview Site you plan to attend. Some schools
do not interview in both sites, so when you get the list, if you want to change, that is fine, just let URTA
know via email ASAP.
If you want to insure your Common Packets are received, either include a self addressed stamped
postcard with your packet, or request a confirmation email. URTA has no way to track this information,
and it is your responsibility to make sure your packets are received.
BY DECEMBER 31: After you send your Common Packets, complete the DIR/SM/TM Reference Form.
The direct link to this form is http://tinyurl.com/URTARefForm.
Interview Schedules: Scheduling of interviews is handled by URTA. The schools notify us of the
candidates they wish to meet during the first two weeks of January. Once we have a preliminary
schedule, we will email your interview schedule. Do not expect your final interview schedule earlier
than two weeks prior to the date of the interview. Bear this in mind when making travel arrangements.

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PLEASE NOTE: Remember YOU must send your Common Packet to each program in which you are
interested to request an interview. No interviews will be scheduled otherwise.
URTA welcomes your participation. If you have questions on an individual school, inquiries should be
directed to that program. Should you have questions on the procedure for the NUAIs, please contact
Sara Falconer, directly at auditions@urta.com.
NOTE FOR DIRECTING CANDIDATES:
The School List will indicate which schools use the URTA Play List. The plays were selected because of
their facility to be examined from a directorial standpoint, and their accessibility to the candidate. If a
school indicates they use the URTA Play List, you should familiarize yourself with one of these works and
come prepared to address it from a directorial point of view at the interview. Not all programs require
familiarity with the Play List, and some may require other plays, as listed in their program descriptions
you should be prepared for all eventualities.
URTA PLAY LIST
Either The Tempest OR King Lear (William Shakespeare)
Intimate Apparel (Lynn Nottage)
Angels in America Pt. 1 (Tony Kushner)

Sample Directing/Stage Management, Theatre Management Resume

_________
xxxxx
Staple small
photograph here

NAME OF CANDIDATE

xxxxx

Area of Specialty
Phone Number
Email address

Directing Experience
The Foreigner
On the Verge
Hello Out There
Extraordinary Measures
Cloud Nine
Henry V

Larry Shue
Eric Overmeyer
William Saroyan
Eve Ensler
Caryl Churchill
William Shakespeare

Warehouse Theatre
Jonestown Playhouse
JMU Mainstage
JMU Studio Theatre
Ridge Community Theatre
JMU Mainstage

Assistant Directing
Our Town
Pirates of Penzance
Twelfth Night (ASM)
Wind in the Willows10 wk tour
One Act Play Festival (PSM)

Thornton Wilder
Gilbert & Sullivan
William Shakespeare
(upper Midwest)
Student Originals

Madison Civic Theatre

Virginia Shakespeare Festival
JMU Mainstage
Robin Hood Players
KCACTF Region IV

Related Experience (include experiences which might be useful in the area you are recruiting)
Fight Choreographer & Broadsword, Foil, Hand-to-Hand
Piano (13 years), Guitar, Juggling
Stage Manager for such and such play
Training
Columbia University -Director Symposium; J. Hirsch, R. Foreman, Summer 2011
Williamstown Summer Theatre, Directing Intern, 2010
Stage Combat Workshop, D. Moomaw, 2009
James Madison University (JMU), BA Theatre 2009
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Continuing Education Sessions

URTA offers a series of workshops and seminars for registered NUAI candidates. Led by faculty from
member institutions, distinguished guest artists and industry professionals, these sessions cover a variety
of subjects. Some are hands-on, active workshops and others will be more discussion oriented. Each
session will offer a unique chance to gather information and ideas applicable whether you head off to
graduate school next fall or on down the road, or even if you enter the profession directly.
If you signed up for one of these sessions on the application, tickets are mailed out with confirmation
materials. If you want to sign up in advance, specific details and an application form are available on our
website. Tickets will also be available at the door but space is limited.

The URTA Ethics Policy

The Board of Directors of the University/Resident Theatre Association has adopted the following
recruiting policy regarding the offer and acceptance process between URTA member schools, associated
theatre companies and Guest Participants, and candidates recruited through the National Unified
Auditions and Interviews. The policy was instituted to help insure a clear and fair process between
Recruiters and candidates during the anxious time between the making of offers and the students'
acceptances, and to encourage candidates to visit campuses, and to carefully consider the offers that
have been tendered. This policy is similar to the "Resolution Regarding Graduate Scholars, Fellows,
Trainees and Assistants," sponsored by the Council of Graduate Schools, and to which nearly all
graduate schools in the country are signatory. The URTA policy, however, provides different deadlines to
accommodate the idiosyncrasies of graduate programs in theatre.
URTA Policy, Ethical Guidelines for Making Offers:
Candidates are under no obligation to respond to offers of financial support prior to the end of a three
week period that commences with the second Monday after the NUAI tour has ended, or the day URTA
member institutions are first allowed to make offers. In 2014, this three week period is February 17 March 9. Earlier deadlines for acceptance of such offers violate this policy.
If a candidate accepts an offer before the end of the three week period, and subsequently desires to
withdraw that acceptance, he or she must submit a written resignation of the appointment at any time,
through the end of the three week period. However, an acceptance given or left in force after the three
week period, requires that the candidate not accept an offer from another institution without first
obtaining a written release from the institution to which a commitment has been made.
Similarly, an offer made by an institution after the three week period is conditional on presentation by
the student of the written release from any previously accepted offer. A copy of this policy should
accompany every scholarship, fellowship, traineeship, and assistantship offer.

This policy is posted on our web site. Members, Guest

Participants and Candidates must adhere to it.

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What The Policy Means in Plain English

1. URTA members, associated theatre companies, and Guest Participants cannot make offers until
the second Monday after the NUAIs are over (In 2014, offers cannot be made until 12:01am on
Monday, February 17).
2. Offers made are guaranteed for the three week period that begins with the aforementioned
Monday, February 17. For example, an offer made on 2/18/14 is guaranteed through 11:59pm on
Sunday, March 9; an offer made on 3/6/14 is also guaranteed through March 9. In both examples,
a final response could be required by 12:01 am on Monday, March 10.
This gives candidates time to think over the offer(s), visit the campus(es) and/or theatre(s) if
possible, and research the program(s). Candidates MAY, however, respond to an offer at any time
after it is made. In a nutshell, the offer is guaranteed for the three week period from February 17
through March 9, 2014.
3. During the three week period, if a candidate accepts an offer, and then for whatever reason
changes his/her mind, the candidate need only write a letter to the school whose offer you
accepted, withdrawing the acceptance. Fax and email are acceptable in most cases, as time is of
the essence.
4. If, however, an offer is accepted, and the three week period runs out, and THEN the candidate
changes his/her mind (i.e., another institution makes an offer and you prefer to accept it), the
candidate must ask for, and obtain, a written release from the first institution. The second institution
cannot take the acceptance unless written release from the first institution is provided. Again, fax,
email and Fed Ex should expedite this process. If a candidate has made a verbal commitment to
the first organization, it's only fair to ask them for a release and let them know why. They have
reserved a space and funds for each candidate and if one of their selections back out, they may
need to find a replacement. This release should be granted quickly.
This policy is applicable to URTA member institutions and all Guest Participants, and to all
candidates who went through any part of the URTA National Unified Auditions and Interviews.
If you have any questions, or need additional information, please call the URTA National Office. We
can be reached at (212) 221-1130, or email us at auditions@urta.com.

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