Continuing students, new students and students from across campus in all fields of study are encouraged to audition. Our main stage productions provide terrific opportunities to perform and collaborate with others, and to earn course credit.  The Department of Theatre Arts & Dance is committed to creating a diverse and inclusive environment. We encourage all students interested in performing to audition, regardless of cultural background, race, color, religion, gender, gender identity or expression, familial status, sexual orientation, national origin, ability, age, or veteran status.

2018 - 2019 Season

To request script access email from your address.

WOYZECK - Synopsis


MR. BURNS: A Post-Electric Play by Anne Washburn

A nuclear event has destroyed all power plants in the United States and caused a general collapse of the country’s electric grid. The fallout creates unprecedented destruction to the region’s health, and infrastructure, and society disintegrates. In this post-apocalyptic setting, we find ourselves among a random gathering of survivors as they make camp for the night. Around a communal flame, the traumatized characters speak of anything besides the tragedy. They stumble upon something familiar, something (almost) shared, something easily contained: TV. Pop Culture. Cartoons. Someone (mis)remembers an episode of The Simpsons, and a new ritual of performance is born.

These shaken, suffering characters come together around a fire to tell a story: to use the shape of narrative to give form to their experience, which has been blown so desperately out of its former bonds.

This is deeply human. It is what the arts – specifically the narrative arts – are for. Before storytelling was a means to sell products, or satirize disparate opinions, it was a way to come together; to affirm our shared existence, to define community.

So, what happens to those stories we tell in times of trauma? Washburn’s play sees us through such a social and narrative transformation: In the moment of trauma the stories are a way to contain and manage suffering: a diversion, an escape. After trauma, they are a way to awaken feeling, to scrub away the scar tissue that protects our compassion and understanding. And if the story persists it enters the realm of myth. Character becomes universal; plot point becomes allegory; resolution becomes legend. The tale told to survive becomes the survivor’s tale, and a pattern used to inspire and warn; a shape to live by.

Mr. Burns asks what are those stories we tell? What are the ones we need to tell? What stories are we telling now that keep us alive, whether we know it or not? And what is the role of the storytellers in our societies? In our over-mediated, commodified culture it is easy to assume that art has no significance – that it is frivolous and fickle. But Washburn shows us that art, in this case communal storytelling, is a way we can maintain our humanity. At the end of all things, perhaps it is the only way.

Alexis Macnab, November 2017

Spring 2018 Season



  1. Sign up for an audition time: Audition Sign-up.
  2. Complete the Audition Questionaire.
    1. Two ways to sign in to Audition Questionnaire:
      1. Sign-in using your SSU account: Select 'SIGN-IN', then type your FULL SSU email address (i.e then click next. Then sign-in to the SSU portal with your SSU credentials.
      2. Sign in using a non-SSU Gmail account.
  3. Bring additional, printed head shots to the audition.
  4. Review all the information (audition format, rehearsals, performance dates) for each production, to ensure your schedule can accommodate all show commitments.


All cast members must register for these courses - you will not be automatically enrolled. 
Cast lists will be sent to the Theatre Arts & Dance office, and a permission number for the correct course (THAR 301, 302, THAR 330 and MUSIC 330) will be provided to all cast members.

All students cast in Bulrusher or Man Equals Man should register for THAR 302 for 3 units in the semester in which the show rehearses and performs (Fall 2017). Students cast in Twelfth Night should register for THAR 302 for 3 units for the semester in which it performs (Spring 2018).

Dance ensemble members for Fall Dance 2017 concert should register for THAR 301 for 3 units in Fall 2017. Playwrights for Mega Hot must enroll in THAR 302, Drama Ensemble Workshop, for Fall 2017. 

Since You’re a Good Man Charlie Brown rehearses in Fall 2017 but performs in the spring of 2018, cast members should register for 3 units in both semesters. Students cast in You’re a Good Man Charlie Brown register for THAR 330 in the fall and spring semester, while Music majors and minors should register for MUSIC 330.

If you are cast in You’re a Good Man Charlie Brown, you will NOT be considered for a major role in Twelfth Night (Spring 2018). Smaller roles are possible. 


In order to achieve more accurate enrollment for the work student and faculty are doing on shows, we have a new wrinkle to the audition process.

For this year, all students who are cast in any of the season’s shows MUST take THAR 301 (Dance Workshop Ensemble), THAR 302 (Theatre Workshop Ensemble), or MUS 330 (Musical Theater Production, for non-THAR majors/minors) or THAR 330 (Musical Theatre Production, for THAR majors-minors) for at least 1 credit for Fall 2017.

  • If fulfilling this requirement means you will go over the 18-unit enrollment limit, you must AT THE TIME OF AUDITION fill out a Petition form to go over the 18-unit limit.  We generally expect that all Petitions related to THAR 301 and THAR 302 will be approved.
  • If fulfilling this requirement means you will have an official time conflict with another course in which you are enrolled, you must AT THE TIME OF AUDITION fill out a Time Conflict form.  Please note that in reality you must be available for all rehearsal call times; the Time Conflict form is simply to resolve time conflicts as they appear for these courses within the system.

Stage management will provide you with copies of these forms to fill out AT THE TIME OF AUDITION.  You will turn them in to stage management who will in turn give them to the Chair’s office.  The Chair’s office will submit the forms of students who are cast, and will recycle the others.


By Eisa Davis
Directed by Harry Waters
Oct. 19-29, 2017
Evert B. Person Theatre

Set in redwood country north of San Francisco in 1955, a multiracial girl grows up in a predominantly white town whose residents pepper their speech with the historical dialect of Boontling. Found floating in a basket on the river as an infant, Bulrusher is an orphan with a gift for clairvoyance that makes her feel like a stranger even amongst the strange: the taciturn schoolteacher who adopted her, the madam who runs her brothel with a fierce discipline, the logger with a zest for horses and women, and the guitar-slinging boy who is after Bulrusher's heart. Just when she thought her world might close in on her, she discovers an entirely new sense of self when a black girl from Alabama comes to town. Passionate, lyrical, and chock full of down-home humor, this play is an unforgettable experience by a new, thrilling voice. - Finalist 2007 Pulitzer Prize in Drama

"[Davis] tickles the ears of her listeners...moving scenes on the banks of the pebble-strewn river...feel utterly true." -The New York Times

"Davis explores her themes in unexpected and evocative ways...The still waters of Bulrusher turn out to run pretty deep." -The San Francisco Chronicle

Note from Director:  “Magic Realism” is defined as what happens when a highly detailed, realistic setting is invaded by something too strange to believe. Let that simmer in your response to BULRUSHER.

Please prepare and memorize two monologues.

  1. A contemporary monologue (not classical or verse) but meaningful - can be comic, dramatic, or original poetry - minimum 1 minute and less then 2 minutes.
  2. A personal story that you create and perform about WATER * wishes or wonder - 1 minute.
  3. Do you play an instrument?  If so, please BRING with you and be prepared to play something
  4. (Optional) Sing a song of your choice a cappella (without accompaniment) - 1 minute.

Do remember a moment when WATER affected you in some meaningful way? A waterfall, frozen icee, slide, shower, rain, slip and slide, ocean surfing, drowning in a pool...include sensory details (smells, sounds, sights, textures. etc)

Or do you remember a wish you had - and why did you wish it? Was there a wish you got and it turned out "well","wrong" or "weird"

Do you remember the time you actually were in a state of WONDER with an event, a person, an experience? What are the sensory details - why does it stick with you?

NOTE:  If you are cast in Bulrusher, you will NOT be able to be considered for the casts of Man Equals Man (Fall) or You’re A Good Man Charlie Brown (Spring) due to scheduling conflicts.

Preliminary: TH, Feb. 23 from 6 – 9p, Ives 119

Callbacks: FRI, Feb. 24 from 12 - 1:30p and 2 - 3:30p, Ives 119


First Rehearsal

Rehearsal Call Times
Sundays 4-7p
Mondays 6-10p
Tuesdays 6-10p
Thursdays 6-10p
Fridays 10a-2p

Technical Rehearsals
F Oct 13 10:30a-10:30p
S Oct 14, 10:30a-10:30p

Dress Rehearsals
M Oct 16, from 6-11p
T Oct 17 from 6-11p
W Oct 18, from 6-11p

Week One: TH Oct 19, 7:30p (OPENING); F Oct 20, 7:30p; S Oct 21, 7:30p; Su Oct 16, 2p (MATINEE) + Post Show Discussion;
Week Two: W Oct.25, 10am (K12 FREE), TH Oct 26, 7:30p (Fac/Staff night + Pre-show Talk 6:30p); F Oct 27, 7:30p; S Oct 28, 7:30p; Su Oct 29, 2p (MATINEE & CLOSE)

Special Notes
Those who are cast in this production must be available for all rehearsal hours. No night classes. You must be available for all tech rehearsals and performances.

Available Roles
BULRUSHER   Found in a basket of reeds as a child, raised by a male schoolteacher. Has clairvoyant powers if she touches water that others have touched, fiercely independent, coming of age in a big way. African American, Native
SCHOOLCH    Bulrusher’s adoptive father, very silent. White
LOGGER   The man who found Bulrusher in the basket of reeds; may hold a secret to her past. African American
BOY    Mooning, bratty teenager who pines for Bulrusher and won’t take no for an answer, even though she seems way too mature for him. White.
VERA    Logger’s niece, recently arrived from Alabama, fleeing violence and segregation, develops a passionate friendship with Bulrusher. African American
MADAME      Runs the local brothel, a fierce disciplinarian


Man Equals Man

By Bertolt Brecht
Directed by Judy Navas
November 2-12, 2017
Ives Hall 119

Four soldiers loot an Indian temple, but one is left behind. Terrified of their fierce Sergeant, they get Galy Gay, an Irish docker, to pose as the fourth man. Galy Gay witnesses his own ‘supposed’ execution and funeral; in the last two scenes he takes part in a war against Tibet and has become the perfect soldier. The missing man tries to rejoin his comrades, but is turned away with Galy Gay's old identity papers. The story is vaguely set in British India, but both time and geography are largely nonsensical.

TH Evening, Aug 24, 6-10p, Person Theatre
F Evening, Aug 25, 6-10p, Person Theatre

Please prepare and memorize two monologues
1. Dramatic piece
2. A modern or contemporary humorous piece

NOTE: Actors of all cultural and ethnic backgrounds are welcome.


Please also complete:

AUDITION QUESTIONAIRE (See sign-in instruction, to of page, under STEPS TO AUDITION)

S Aug 26, 10a-4p, Ives Hall (various spaces TBA)
Su Aug 27, 10a-2p, Ives Hall (various spaces TBA)

All students who are cast for Man Equals Man should register for THAR 302 for 3 units in Fall 2017. If you are cast in Man Equals Man, you will NOT be considered for the cast of You’re a Good Man Charlie Brown (Fall/Spring), due to scheduling conflicts.

First Rehearsal

Rehearsal Call Times
Monday through Thursdays from 7p-10p, and Friday from 3p-7p. Weekly schedule will be posted each Saturday for the following week.

Technical Rehearsals
F Oct 27 10:30a-10:30p
S Oct 28 10:30a-10:30p

Dress Rehearsals
M Oct 30, T Oct 31, and W Nov 1, 6-11p

Week One: TH Nov 2, 7:30p (OPENING); F Nov 3, 7:30p; Sa Nov 4, 7:30p; Su Nov 5, 2p (MATINEE + Post Show Discussion)

Week Two: W Nov 8, 10a (K-12 MATINEE); TH Nov 9, 7:30p (Fac/Staff night + Pre-show talk 6:30p); S Nov 11, 7:30p; Su Nov 12, 7:30p (CLOSE)

Available Roles
Many parts can be cast cross-gender

Four privates in a machine-gun unit of the British Army in colonial Asia:

GALY GAY, an Irish porter
MR. WANG, monk in Tibetan temple
MAH SING, his sacristan
LEOKADIA BEGBICK, canteen proprietress


Mega Hot 2017

8th Annual Super Mega Molten Hot Lava New Play Festival
Written by SSU Students
Curated by Scott Horstein
November 16-19, 2017
Studio76, Ives Hall

Get in on the ground floor with SSU’s playwrights of tomorrow, with script-in-hand readings of new short plays and longer works from the Department of Theatre Arts & Dance Playwriting Program. The last Mega Hot featured, among other things, people who did strange things with pills, little kids dinosaur-stomping their parents, dead people who shouldn’t be there, and fake drunks. Who knows what this year's festival will bring?

No audition required. Participation is by sign-up later in the semester, which is posted on the department callboard around mid- to late October.



First Rehearsal
M Nov 6, 6-11p 

Rehearsal Call Times
At least one of the following rehearsals, possibly more if you are cast in multiple readings: 
M Nov 13; T Nov 14 and/or W Nov 15 from 6-11p.

TH Nov 16, 7:30p (OPENING); F Nov 17, 7:30p; Su Nov 19, 5:00p & 8:00p (CLOSING + Strike)

Available Roles


Fall Dance 2017

Shared Spaces: A site-specific journey through SSU's campus
Fall Dance 2017 – Student Created Works
Directed by Christine Cali
December 7-10, 2017

SSU Campus Locations TBA

Join us for an evening of powerful, transformative dance under the stars...“Shared Spaces” will take audiences on a journey across the SSU Campus for a series of student created, site-specific works. With an emphasis on inclusivity and collaboration that embodies SSU’s Dance Program, student choreographers and dancers are guided to think critically, ask important questions and be brave in their creative decisions.

Come in your dance attire and be ready to move. 
Callbacks - None


W Aug 23, 7p, PE1, Preliminary Meeting - for more info (optional)
M Aug 28, 7-10p, PE1, Dance Auditions - OPEN audition for anyone with dance experience

Dancers must be available for all rehearsals and performances.

First Rehearsal
T August 30, 7-10p

Rehearsal Call Times
TBA (depending on casting)

Technical Rehearsals
TBA – Check back in mid-August 2017

Dress Rehearsals
M Dec 4, from 6-11p
T Dec 5, from 6-11p
W Dec 6, from 6-11p

One Week Only:  TH Dec 7, 7:30p (OPENING, Fac/Staff Night + Post Show Discussion), F Dec 8, 7:30p (Fac/Staff Night + Post Show Discussion); S Dec 9, 2p (MATINEE) & 6:30p; Su Dec 10, 2p (MATINEE) & 6:30p (CLOSE)


You're a Good Man, Charlie Brown

Book, Music and Lyrics by Clark Gesner
Music Direction by Lynne Morrow
Stage Direction by Doyle Ott
January 31 - February 11, 2018
Evert B. Person Theatre

Based on The Comic Strip “Peanuts”byCharles M. Schulz
Book, Music and Lyrics by Clark Gesner
Additional Dialogue by Michael Mayer
Additional Music and Lyrics by Andrew Lippa

Original Direction for this version of
“You’re A Good Man, Charlie Brown” by Michael Mayer

Originally Produced in New York by Arthur Whitelaw and Gene Persson

YOU’RE A GOOD MAN, CHARLIE BROWN (Revised) is a fresh approach to the all-time 1967 classic, based on the beloved comic strip by Charles Schultz. Sally Brown joins Charlie Brown, Linus, Lucy, Schroeder, and Snoopy in this charming revue of vignettes and songs. Two new songs, “Beethoven Day” and “My New Philosophy,” have been added to the twelve wonderful numbers of the original version, which include “My Blanket and Me,” “The Baseball Game,” “Little Known Facts,” “Suppertime,” and “Happiness.”

TH Evening, Aug 24, 6-10p, Person Theatre
F Evening, Aug 25, 6-10p, Person Theatre

S Aug 26, 10a-4p, Ives Hall (various spaces TBA)
Su Aug 27, 10a-2p, Ives Hall (various spaces TBA)


Please also complete:

AUDITION QUESTIONAIRE (See sign-in instruction, to of page, under STEPS TO AUDITION)

Prepare and memorize:
1. One monologue, not to exceed 90 seconds 
2. Two contrasting songs (at least one in English) not to exceed 3 minutes combined 
3. Together, the monologue and song(s) should not be more than 5 minutes

Be sure to bring legible sheet music for the pianist/accompanist in a 3-ring binder that makes it easy for the pianist to turn pages.

If you have not prepared either a monologue or songs, please come anyway. We’d love to see you! We can work out a way to get a feel for your interests, experience and skills.

Participation in the “You’re a Good Man Charlie Brown” will be credited as a class. Students cast in “You’re a Good Man Charlie Brown” in Theatre Arts & Dance majors register for THAR 330 in the fall and spring semester, while Music majors and minors should register for MUSIC 330. Rehearsal times fall as indicated below on Tuesday and Thursday nights, and on one Saturday per month. For this production, only those rehearsing will be called, but the cast must be available for all the times listed below.

First Rehearsal
T August 29, 7-10p

Rehearsal Call Times
FALL 2017, GMC 1027 & 1028
Tuesday and Thursday evenings from 7-10p plus the following Saturdays:
S Sept 23 from 10a-5p
S Oct 21, from 10a-5p
S Nov 11, from 10a-5p
S Dec 2 from 10a-5p

SPRING 2018, Person Theatre
T Jan 23 (2018) from 7p-10p 
Tuesday and Thursday evenings, 7-10p 

Technical Rehearsals
TH Jan 25 from 7p-10p (Sitzprobe with Orchestra) 
S Jan 27 from 10:30a -10:30p
Su Jan 28 from 10:30a -10:30p
Dress Rehearsals
M-T Jan 29 and 30, from 6:30p -11p

Final Dress & K12 Preview
W Jan 31, 10a-1p

Week One: W Jan 31, 10a (PREVIEW, K-12 FREE, Piano Only), TH Feb 1, 7:30p (OPENING); F Feb 2, 7:30p; S Feb 3, 7:30p; Su Feb 4, 5p (Post-Show Discussion) 
Week Two: W Feb 7, 10a (K-12 FREE MATINEE, Piano Only); TH Feb 8, 7:30p (Fac/Staff night); F Feb 9, 7:30p; S Feb 10, 7:30p; Su Feb 11, 2p (CLOSING MATINEE)

Available Roles
All roles are open to all ethnicities and cultural heritages. Some roles are open to male/female cross-casting of characters. There are opportunities for non-singing choral and puppetry casting as well.

CHARLIE BROWN (Baritone/Tenor—middle B flat to F) 
SNOOPY (Tenor/Baritone—middle C to high A) 
LUCY VAN PELT (Mezzo/Alto Belt—G below mid C to high F) 
LINUS VAN PELT (Baritone/Tenor—middle B flat to E) 
SALLY BROWN (Soprano/Mezzo Belt—middle B flat to high A flat) 
SCHROEDER (High Baritone/Tenor—middle B flat to high A flat)
WOODSTOCK – Male or Female (Elementary Student)


Twelfth Night

Written by William Shakespeare
Directed by Paul Draper
March 14-31, 2018
Evert B. Person Theatre

Viola has been shipwrecked in a violent storm off the coast of Illyria; in the process she has lost her twin brother, Sebastian. She disguises herself as a boy and assumes the name Cesario for protection. Thus disguised, Viola becomes a page in the service of Orsino, the Duke. It seems that Orsino is having little luck courting Olivia, who is in mourning for the deaths of her father and brother. As Orsino's proxy, Viola is sent to Olivia with love letters. Viola refuses to budge until she is let in to see Olivia; Olivia, intrigued by the impudent young "boy," contrives to get "Cesario" to return by sending her steward, Malvolio, after her with one of Olivia's rings. Viola realizes to her dismay that Olivia has fallen for her Cesario rather than Duke Orsino—further complicated by the fact that Viola has had stirrings herself for Orsino.

In the two major subplots of the play, Sebastian (Viola's twin, presumed dead) comes ashore in Illyria thinking that Viola has drowned in the shipwreck. A man named Antonio rescued him from the surf, and continues to aid him—at some risk to himself, as Antonio fought against the Duke at one time. Meanwhile, in Olivia's house, Sir Toby Belch (her uncle) has hoodwinked a foppish Sir Andrew Aguecheek into supporting him by convincing him that he could be a suitor to Olivia. There is a running feud between Malvolio and Sir Toby; with the help of Maria, Olivia's maid, and Feste, a clown, Sir Toby plots to make a buffoon of the steward. Maria writes a love letter to Malvolio that will make him think Olivia has fallen for him.

Malvolio falls entirely for the sport, which eventually leads to his confinement as a madman. All the while, Sir Toby is egging Sir Andrew into a duel with Viola's "Cesario" character as she departs from Olivia; Olivia is now entirely smitten with Cesario, even though Viola continues to press Orsino's cause. As Viola and Sir Andrew prepare for a duel that neither one wants, Antonio happens upon the scene. Believing Viola to be Sebastian, he intervenes and is arrested. Viola, of course, does not recognize Antonio. Later, Sir Toby and Sir Andrew encounter Sebastian, who doesn't back down from Aguecheek when challenged and resoundingly beats him. Olivia intervenes in the matter, and—mistaking Sebastian for Viola/Cesario—presses her suit for him. A bemused Sebastian agrees to marry her.

Antonio is brought before the Duke for questioning, and Viola relates the events of the duel. Antonio tells everyone how he dragged "this man" from the surf, saving his life. Then Olivia enters, searching for her new husband—which she thinks is Viola (as Cesario). Adding to this confusion, Belch and Aguecheek enter claiming that Viola/Cesario has violently assaulted them. In the midst of Viola's denials, Sebastian appears. The brother and sister recognize one another and are reunited; Sebastian helps to clear the confusion as to who fought and married whom. At the end, Orsino and Viola pledge their love, Olivia and Sebastian will remain satisfactorily wed, and Olivia rebukes Belch and Maria for their abuse of Malvolio, who vows his revenge upon the whole lot. Sir Toby agrees to wed Maria to make up for getting her in trouble, and all—except the disgruntled Malvolio—will apparently live happily ever after.


Please prepare and memorize 
1. Two monologues no longer than 3 minutes in combined total length. One must be from Shakespeare in verse, and one must be comic in tone. One may be contemporary. Both can be from Shakespeare.
2. If auditioning for FESTE: Sing 8 bars of a ballad, either with your own live accompaniment or a capella.

NOTE: Roles traditionally played by males may be cast as women, and vice versa.
TH Evening, Aug 24, 6-10p, Person Theatre
F Evening, Aug 25, 6-10p, Person Theatre


Please also complete:

AUDITION QUESTIONAIRE (See sign-in instruction, to of page, under STEPS TO AUDITION)

S Aug 26, 10a-4p, Ives Hall (various spaces TBA)
Su Aug 27, 10a-2p, Ives Hall (various spaces TBA)

If you are cast in You’re a Good Man Charlie Brown, you will NOT be considered for a major role in Twelfth Night. Smaller roles are possible. Students cast in Twelfth Night should register for THAR 302 for 3 units for the semester in which it performs (Spring 2018). A few preliminary rehearsals will be held in November 2017 (after Man Equals Man opens) and will break for the winter holidays. Full rehearsals resume on the first day of classes for the Spring 2018 semester.

First Rehearsal
T Nov 14, from 6:30-10:30p  (READ-THRU, DESIGN PRESENTATIONS)

Rehearsal Call Times
Mondays 6:30-10:30p 
Tuesdays 6:30-10:30p 
Thursdays 6:30-10:30p 
Fridays 1p-5p

Technical Rehearsals
F Mar 9 10:30a-10:30p 
S Mar 10, 10:30a-10:30p

Dress Rehearsals
M Mar 12, from 6-11p
T Mar 13 from 6-11p

Pick Up Rehearsals
M Mar 26, 6p-10; T Mar 27, 6p-10p

Week One: W Mar 14, 7:30p (OPENING); TH Mar 15, 7:30p; F Mar 16, 7:30p; 
Week Two: W Mar 28, 10am (K-12 FREE MATINEE), W Mar 28, 7:30p; TH Mar 29, 7:30p (Fac/Staff night + Pre-show Talk 6:30p); F Mar 30, 7:30p; S Mar 31, 7:30p (CLOSING)

Special Notes 
Those who are cast in this production must be available for all rehearsal hours. No night classes. You must be available for all tech rehearsals and performances.

Available Roles
OLIVIA, a rich countess
VIOLA, in love with the Duke / dresses as and calls herself Cesario
MARIA, Olivia's maid
ORSINO, Duke of Illyria
SEBASTIAN, brother of Viola
ANTONIO, a sea captain
VALENTINE, friend of Orsino
CURIO, friend of Orsino
SIR TOBY BELCH, uncle of Olivia
SIR ANDREW AGUECHEEK, suitor to Olivia
MALVOLIO, steward to Olivia
FESTE, a clown; Olivia's servant (must be able to sing well, and perhaps play a stringed instrument)


Spring Dance 2018


This year, our annual faculty and guest dance concert will feature a co-created dance work by SSU dance program faculty Kristen Daley and Christine Cali in collaboration with the dancers and will be performed alongside a new work by Brooklyn-based Urban Bush Women, who were in residence at SSU this Fall 2017. UBW will be artists in residence for four weeks this spring, March 26 - April 20, creating an original work focused on equity in creative process. The Theatre Studies program will also collaborate with UBW, helping to create new writing and shape language for the new work, guided by UBW artists and Theatre Studies faculty Scott Horstein. 

Bringing the untold and under-told histories of disenfranchised people to light through dance, UBW seeks to create a more equitable balance of power in the dance world and beyond.

“Provocative, powerful, explicit, strong, unapologetic…”

- Nadine George-Graves, Author of “Urban Bush Women: Twenty Years of African American Dance Theater, Community Engagement, and Working it Out”

CORE values shared by UBW in creative process:

  • Validating the Individual: Each individual has a unique and powerful contribution to make.
  • Catalyzing for Social Change: UBW's work intends to help people make sense out of the world and prepare to take action in it.
  • Building Trust through Process: A transparent process of artistic and managerial leadership builds and nurtures trust.
  • Entering Community and Co-Creating Stories: Each community is unique and has the answers it seeks to uncover.
  • Celebrating the Movement and Culture of the African Diaspora: UBW is committed to highlighting the power, beauty and strength of the African Diaspora.
  • Recognizing Place Matters: We recognize that being part of, responding to and contributing to the overall well-being of our home community, Brooklyn, is of the utmost importance. 

Monday, January 29
AUDITIONS:  6pm-8pm PE1 
WRITERS:  8-9 pm – PE1

Come in your dance attire and be ready to move.

Open to ALL performers: dancers, actors, singers with prior experience in their discipline, who also have an interest in community engagement, social justice and dance-based performance. 
Dancers that sing & act, actors that dance & sing, writers who dance, dancers who write, are encouraged to audition! 

We anticipate including up to 4 writers total. Writers must be available for all rehearsals for the assigned piece. If you are interested in being considered as a writer, send the following via e-mail to Scott Horstein ( by Monday, January 29.  Submissions will be reviewed by Scott Horstein, Kristen Daley, and Christine Cali:

  • 2 different samples of performative writing:  drama, poetry (of any genre), spoken word, screenplays.  Each sample can be a maximum of 10 pages.
  • A 1-page statement of interest, explaining:
  • Your interest and/or experience in social justice work
  • Your interest and/or experience in the performing arts
  • (optional) Any aspects of your own cultural identity (ability/faith/age/race/sexual orientation/gender/socio-economic class/ethnicity) that you might be excited to explore as part of this project.

Dancers must be available for all rehearsals and performances.  Writers must be available for all rehearsals.

TBA depending on casting
Kristen Daley & Christine Cali, January 30 - March 21: Availability Mon/Wed 6pm-10pm, Fridays 12-3pm, and an occasional rehearsal or two during UBW’s residency
UBW, March 26-April 20: Availability Mon/Wed 6pm-10pm, Fridays 12pm-3pm (except for Friday April 6 which will be 3-6), some Saturdays 

Schedules to be determined by cast and availability. 

Week One: W April 25, 10a (OPENING, K-12 FREE MATINEE), TH, April 26, 10a (K-12 FREE MATINEE), F April 27, 7:30p (Fac/Staff Night + Pre-Show Talk 6:30p); S Apr 28, 7:30p
Week Two: TH May 3, 7:30p; F May 4, 7:30p; S May 5, 7:30p (CLOSE + Post Show Talk)