Experts Weigh In On Current Job Market Trends
October 20, 2021
Given the change of course that has happened in the world, we wanted to provide expert opinions on what aspiring graduates can do to start off their careers in an uncertain economic climate. We wanted to know what skills will be more important, where the economy is doing relatively well, and if there will be any lasting effects on the job market.
Companies are looking for candidates that can handle the new responsibilities of the job market. Recent graduates actually have an advantage because they are comfortable using newer technologies and have been communicating virtually their whole lives. They can take what they've learned and apply it immediately.
We spoke to professors and experts from several universities and companies to get their opinions on where the job market for recent graduates is heading, as well as how young graduates entering the industry can be adequately prepared. Here are their thoughts.
Our Panel of Experts
University of New Hampshire
Southeastern Oklahoma State University
Flagler College
Murray State University
University of Kansas
Boise State University
Arkansas State University
Montgomery College
Eckerd College on Florida's Gulf Coast
Capital University
Southern Connecticut State University
Missouri State University
Willamette University
University of Redlands
Aurora University
Southern Methodist University
Drake University
Texas State University
Elon University
Seattle Pacific University
Tom Alsip
Director of Musical Theatre, Assistant ProfessorUniversity of New Hampshire
Department of Theatre and Dance
What skills stand out on Theatre Instructor resumes?
Tom Alsip: I think the most important skills are the ones that are specific to your job area while still showing that you have a range of things that you can provide to be helpful.
If I am hiring a technical theatre instructor, I want to see that you have specific skills in one specific area (lighting, sound, technical direction) but perhaps a general knowledge of the other areas as well.
The other things that stand out are a balance of skills. I want to see that you have had training in the academic side of your area but also have hands-on skills that you learned in the professional world.
What soft skills should all Theatre Instructors possess?
Tom Alsip: I think the most important soft skills are problem-solving and organizational skills. With most theatre departments being understaffed, having someone who can take care of themselves and does not need assistance to do their job is key. We always want self-starters who can solve problems as they arise and have the organizational skills to oversee the vast array of projects, classes, and students they will have to advise.
What hard/technical skills are most important for Theatre Instructors?
Tom Alsip: Generally, a degree in theatre would be important (I would call that a hard skill). Also, specific industry certifications or organizational memberships stand out. Are you a member of Actor's Equity, IATSE, SDC, etc.? And, are you trained in unique skills for theatre such as Laban, Contact Improv, Meisner, Linklater, Alexander Technique, Feldenkrais, etc.
What skills will help Theatre Instructors earn the most?
Tom Alsip: I think the skills that help the most are the skills that are specific to your area. While theatre instructors are tasked with taking on more and more diverse jobs in a department, we still want to know you have mastery in ONE area and the ability to help out in others.
Riley Risso Coker
Director of Theatre, Director of the SPARKS Dance Company, Chapter Sponsor, Alpha Psi Omega Theatre Fraternity, Producing Director – Oklahoma Shakespearean FestivalSoutheastern Oklahoma State University
Department of Art, Communication and Theatre
What skills stand out on Theatre Instructor resumes?
Riley Risso Coker: Professional experience where a wide variety of skills and talents are used within the scope of traditional theatrical training.
What soft skills should all Theatre Instructors possess?
Riley Risso Coker: I look for company members that I can send to PR performances without me supervising them. They need to be able to talk to groups of people in a way that laymen can appreciate and ultimately be interested enough to purchase a ticket to a production.
What hard/technical skills are most important for Theatre Instructors?
Riley Risso Coker: In my opinion, all theatre majors should have a general understanding of most jobs within a theatre. If a student is a performance major and never spends any time in the technical areas gaining insight into other areas of the theatre, they aren't really getting an entire education. Every theatre major should have at least one other area in the theatre in which they could be employed. In order to be marketable, every actor should be able to work in the box office, or costume shop, or AD/PR office. Coming out of a pandemic, theatres are looking for versatile company members.
What skills will help Theatre Instructors earn the most?
Riley Risso Coker: Just looking at different job sites, the majority of open positions are in TECHNICAL theatre with DESIGN components to them. Since they are more in demand, they come with a bigger price tag.
Andrea McCook
Associate ProfessorFlagler College
Department of Visual and Performing Arts (in the School of Creative Arts and Letters)
What skills stand out on Theatre Instructor resumes?
Andrea McCook: I think it depends on the institution. Some schools are looking for people with extensive professional credits, especially if the program is a BFA or MFA. Their primary focus tends to be on auditioning and bringing in the highest talent they can in their student body, then showcasing their work at the end of their studies for professionals in the industry. Therefore, faculty who are working professionals have strong connections in the industry and can best share their own experiences.
Other schools, like ours, which is a BA, are more interested in teaching experience, including innovations in types of classes, being student-centered, helping the student grow and develop. We don't audition students and take in whoever is accepted into our program. Therefore, we seek faculty who are committed to helping students discover and develop new skills, preparing them for a wide range of career paths. Of course, someone who also has professional experience combined with teaching is a wonderful candidate. We also want educators who understand and have experience in the industry to help provide connections and opportunities for students.
What soft skills should all Theatre Instructors possess?
Andrea McCook: Understanding how the industry works administratively. Having familiarity with how a theatre company operates and is run, knowing how to fund raise and network, how to do marketing (whether as an artist selling one's own talents or as a company marketing to an audience). Basics of accounting couldn't hurt either.
For performers, we also advocate for teaching artistry. Many theatres have an educational wing, and teaching artists can often find positions working in theatre for young audiences.
What hard/technical skills are most important for Theatre Instructors?
Andrea McCook: Having some experience in technical theatre for everyone is critical. Probably lighting, although set construction is also desirable. However, with lighting, graduates will always be able to find work if they can hang and focus light, as well as program a light board. Those skills are needed in diverse industries, for example, for convention centers, rock concerts, fashion shows, etc.
What skills will help Theatre Instructors earn the most?
Andrea McCook: Probably the business skills, especially fundraising. Arts Administration is where the money is in entertainment. Artistic Directors, Executive Directors, Production Managers tend to be the highest-paid members of a company. If you can start your own company or produce your own event, you can be in charge of your career.
Brent Menchinger
ChairMurray State University
Department of Global Languages and Theatre Arts
What skills stand out on Theatre Instructor resumes?
Brent Menchinger: Flexibility - faculty do more than what is in their training - service, research and creative activity, mentoring, teaching, paperwork. It is important to understand what I was trained to do is probably less than 25% of my job as a teacher/administrator.
What soft skills should all Theatre Instructors possess?
Brent Menchinger: Besides Work Ethic - In theatre and in the academic worlds, both teamwork and collaboration, I think, are most important. However, in academia - thinking outside the box (giving up on the "we have always done it this way" mentality) is important as academia is changing fast.
What hard/technical skills are most important for Theatre Instructors?
Brent Menchinger: What you are trained to do - computer literacy - writing (tons of writing).
What skills will help Theatre Instructors earn the most?
Brent Menchinger: Flexibility and the ability to do more than one thing - however that only helps you get jobs - I have never heard of someone earning more in theatre because they know more unless it is through the process of getting a new job.
What skills stand out on Theatre Instructor resumes?
Laura Kirk: Specialties that fit the area we are trying to fill, and more than one/ so specialized training in more than one area.
What soft skills should all Theatre Instructors possess?
Laura Kirk: Communication, organization, planning - abilities to plan and assess semester arcs of training
What hard/technical skills are most important for Theatre Instructors?
Laura Kirk: Use of software such as Canvas and associated rubrics.
What skills will help Theatre Instructors earn the most?
Laura Kirk: Most jobs can train skills but can't teach character, so evidence of community work, commitment to DEI in a tangible describable way.
Richard Klautsch Ph.D.
Professor and Department ChairBoise State University
Department of Theatre, Film, and Creative Writing
What skills stand out on Theatre Instructor resumes?
Richard Klautsch Ph.D.: Knowledge, experience, awareness of the changing landscape of theatre and its allied arts in the digital age, and a vision for connecting theatre today with new audiences.
What soft skills should all Theatre Instructors possess?
Richard Klautsch Ph.D.: Creativity, responsibility, team collaboration, empathy, organization, critical analysis, and meeting deadlines.
What hard/technical skills are most important for Theatre Instructors?
Richard Klautsch Ph.D.: Knowledge of technique and experience in specific areas of theatre such as acting, directing, writing, design, etc.
What skills will help Theatre Instructors earn the most?
Richard Klautsch Ph.D.: The ability to apply your knowledge and experience in specific areas of theatre to film, television, and other areas of media.
Jeffrey McLaughlin
Associate Professor of Theatre Design and TechnologyArkansas State University
Theatre Department
What skills stand out on Theatre Instructor resumes?
Jeffrey McLaughlin: Creative problem-solving: Every show presents unique challenges, so graduating theatre artists are well-versed in finding interesting solutions even though they are still typically young.
Collaboration: Theatre is a team sport; theatre artists must work well together.
Adaptability: Recent graduates will have more experience dealing creatively with change and making the most of the situation, whether Covid-19 or something else.
What soft skills should all Theatre Instructors possess?
Jeffrey McLaughlin: Motivation/Drive: It is essential to be a self-starter if you want to stand out in a crowd.
People skills: Active listening, empathy, keeping cool in stressful situations seem more important than ever.
What hard/technical skills are most important for Theatre Instructors?
Jeffrey McLaughlin: Data Analysis: To stay relevant, it is vital to look at the numbers. There has been a shift to making decisions for theatre based on quantitative reasoning.
Marketing and Web Design: There is an expectation that everyone can promote themselves and the productions on which they work.
What skills will help Theatre Instructors earn the most?
Jeffrey McLaughlin: Fear and complacency hold a lot of people back from finding their greatest earning potential. However, the ability to overcome fear and get out of your comfort zone opens doors to making more and greater artistic rewards.
What skills stand out on Theatre Instructor resumes?
R. Scott Hengen: Work experience in LORT theatre would be especially helpful and attractive to prospective employers. Even if the work is as an overhire, having those connections and contacts will prove helpful. With those experiences, basic theatre skills will become evident: knowing stage directions, building and handling materials in any or all of the technical shops, and knowing the employees' jobs in those shops and the production team in general.
What soft skills should all Theatre Instructors possess?
R. Scott Hengen: Theatre is a collaborative effort. Having skills in team building and participation are most helpful, which translates into communication, empathy, and respect. Time management and organization are also key for every technician.
What hard/technical skills are most important for Theatre Instructors?
R. Scott Hengen: Basic skills in more than one department are helpful. The more a technician can understand other areas that may overlap, the better the chance of more opportunities. This does not exclude the importance of focusing on one technical area, but the technician who understands how that one area, or several areas, influences each other, the better the technician will understand the collaborative nature of theatre.
What skills will help Theatre Instructors earn the most?
R. Scott Hengen: The combination of both hard and soft skills is best. They work hand-in-hand for the technician to achieve their goals. Hard skills are a great foundation, but without the soft skills needed to collaborate with others, the opportunities to use foundation and advanced skills will be limited.
What type of skills will young Theatre Instructors need?
Jessica Thonen: Whether in the theatre realm or not, it is critically important that students develop soft skills related to interpersonal communication and critical thinking. More and more, employers are relying on their staff to be self-starters that can motivate themselves through completing challenges by always thinking through to the next step without waiting for someone to tell them what to do explicitly. Students who are familiar with working outside of their comfort zones (often outside of their focused area of study) are familiar with creating workstreams that allow them to participate in these types of self-motivated work arenas, and makes them employable even beyond their field of study-a good trick to have mastered if you want to be eligible for a wider variety of jobs and open up your options when the job market has limited opportunities.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Jessica Thonen: Many recent theatre graduates will charge forth, towards the large cities well-known for supporting theatres like New York, Chicago, and Los Angeles. Still, there is a lot of benefit to thinking less about the location and more about the opportunity. For my recent theatre graduates who are serious about working in professional theatre, I encourage them to audition and apply for tours and cruise lines. Cruise ships and tours offer recent graduates an opportunity to sharpen their skills as they perform multiple times a week. Still, the real perks lay in the tour/cruise ship-life: the cost of living is meager as their contract covers housing and food, so students can build an adequate nest egg while seeing the country or even the world.
That being said, graduates who don't end up on tour or with an entertaining contract on a cruise ship can find opportunities in every direction. Our recent theatre graduates manipulate the skills they learned in theatre to excellent careers in event planning, office management, and public relations. When your field of study includes collaborative, creative problem solving, such as theatre does, the sky is the limit.
How do you envision technology impacting Theatre Instructors in the next 5 years?
Jessica Thonen: In the past, technology in theatre has lived within the realm of lighting and sound systems and new techniques in the design and technology realms, but with the advent of virtual theatre, all of that is changing. While many theatres are patiently waiting for the return to in-person, live theatre and all of the magic that offers the performers and audience, we learn a new value exists in virtual theatre. Virtual theatre is more inclusive and can reach farther than the proximity of physical theatre space. Many schools and professional theatres see added value in this arena, and I don't see virtual theatre disappearing entirely.
Already, theatre professionals are racing to become more adept at the technologies required for all the different virtual performances available. We are all learning more and better ways to reach our audiences digitally, out of the pandemic's necessities. This is where technology will continue to grow and expand in theatre, both in producing virtual theatre and in the world of digital marketing. Additionally, more and more auditions that would typically be held in person are necessarily transitioning to a virtual format. While there are disadvantages to this virtual audition process, it certainly saves a lot of money for everyone involved, in addition to a high convenience factor.
What are the biggest trends we'll see in the Theatre Instructor job market given the pandemic?
Dan Heaton Ph.D.: This is a difficult question to answer, since our industry's only previous experience with a pandemic-related shutdown was in 1918. Theatre historian Jonas Barish, famous for his work detailing all the attempts throughout history to stamp out theatre, tells us that those people/groups who have an anti-theatrical prejudice often use public health concerns as a reason to stop doing theatre.
Theatre's redeeming quality has always been its status as an art form humans turn to for entertainment, comfort, insight, and critique. The most significant trend in the next year or so will be theatre companies adapting to public health and safety restrictions and protocols. Suppose theatre companies are allowed to resume face-to-face performances. In that case, I could envision companies needing new positions such as a public health and safety manager (which could be mandated by unions) and/or a public health liaison who coordinates health concerns with members of a production team.
Suppose live, face-to-face productions cannot viably be mounted within safety restrictions. In that case, more companies will create virtual theatre performances, either recorded and streamed or streamed live or performed via a web service such as Zoom. Many theatre companies have already begun creating shows online that incorporate sets, lighting, costumes, sound, music, and choreography, with varying casts. The great thing about theatre artists is that they are creative problem solvers.
What technology do you think will become more important and prevalent for Theatre Instructors in the next 3-5 years?
Dan Heaton Ph.D.: Depending on the pandemic's duration, theatre companies may have to invest in more health and sanitation services for theatre spaces. Inexpensive sterilizing systems and air quality controls could help make theatre spaces safer for performers and patrons. Any technology that makes it easier to incorporate blocking for actors and design elements for productions will be met with enthusiastic applause for online performances. And the technology that allows for more immediate feedback from audiences during a performance would go a long way towards making online arrangements less distant--we need to find a way to reconnect as humans during a performance.
Will there be an increase or decrease in demand for Theatre Instructors in the next 5 years?
Dan Heaton Ph.D.: Regardless of the continuation of the pandemic, graduates in the field of theatre will be needed. If people have to remain at home during isolation or quarantine, theatre artists will need to create work accessible to people remotely. As this article from American Theatre points out, churches, schools, and theatres are necessary for humans to feel connected, become educated, and hope. Theatre
What type of skills will young Theatre Instructors need?
Michael Skinner: Much of the same skills as always, with some flexibility and a new focus on technology. Acting skills need to be transferable and malleable, to perform both on the live stage and to a camera's viewpoint for a virtual performance. Scenic design skills will be required to work in the physical sense and the virtual graphic design realm. Sound, lighting, and costume design will need the same flexibility.
All the skills needed always point to the storytelling, so the skills remain the same, but the applications become variable, depending on the medium of performance.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Michael Skinner: Well, pre-pandemic, yes. Thousands of Theatres across the country had continually hired recent graduates. With the industry on hiatus, many current employees and recent graduates have shifted to virtual performances or even ventured into the V and film realm. Again, all the same, storytelling skills, different medium. With the current hiatus, the one field that is still hiring and desperately needs young members of our industry to step up is Arts Administration. As the theatre world rebuilds itself in the eyes of equitable opportunities and social justice improvements, it is the Arts Administrators that are spearheading this change and are hiring the recent graduates to have a voice in the decisions affecting tomorrow.
How do you envision technology impacting Theatre Instructors in the next 5 years?
Michael Skinner: It is funny that some students are pushing back on the virtual theatre element because they want to go back to the way it was. I do not feel we shall ever return fully to the norm that once was.
When the industry returns with a bang, I believe that virtual performance will now hold a permanent place within our field, bridging the gap between the theatre and film industry. As history has proven in our world for some time, we steal the technology provided for other entities and modify it to our needs.
As we currently are dismantling the logarithms within Zoom, and TEAMS and other platforms to meet our audio and video needs, I feel that there will be a new technology industry for performance platforms that branches off from the corporate meeting tech companies. The merging of the gaming industry, the theatre industry, and the TV industry will merge into faster, more comfortable, and better tech platforms that our current students need to be trained in (and probably help in the development of) before they graduate so that their value is of high demand to keep our stories told.
What are the best companies to work for a Theatre Instructor?
Kyle Thomas Ph.D.: Graduates with a degree in theatre are highly desirable in companies that seek to reach audiences through performance and storytelling. Students of theatre have developed skill sets that correspond with consumer engagement, shape behavioral responses, and navigate unfamiliar systems through gamified training. For example, the upcoming generation of consumers and users are motivated more by their ability to participate in brand identity than by celebrity alignment with a brand.
Companies need theatre graduates for their ability to craft a story for a brand or product-not just an identity-and then develop practical and powerful ways to place the consumer/user directly into that story so that they feel a part of it. For those reasons, theatre graduates should consider looking into companies that have a vibrant media presence and outreach, seek to form relationships with consumers and users for the sake of affecting change, place a premium on collaboration as the means to success, and value creativity-even when it doesn't always translate to numbers-as the way to stay relevant and engaged with their audiences.
Will there be an increase or decrease in demand for Theatre Instructors in the next 5 years?
Kyle Thomas Ph.D.: I think we've been seeing demand for theatre students slowly trend upward for some time. The key is teaching theatre graduates how to translate artistic creativity into a language of business. While companies may not call for applicants to precisely hold a theatre degree, most job descriptions seek the qualifications and skil lsets of a theatre student in the positions they advertise. Working in high-stress environments under a deadline with a strict budget on a task that requires innovative approaches is precisely what every theatre student has done when they work on a production. There is no reason to think that jobs seeking those qualifications will be on the decline any time soon.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Kyle Thomas Ph.D.: Urban areas still tend to have the most diverse options for students of theatre. But I see that trend changing already. The recent emphasis that many companies have placed on work-from-home setups will undoubtedly continue shortly and, perhaps, change the nature of how and where we work permanently. Notably, many theatre graduates have been taught to navigate platforms like Zoom (not to mention social media) as a digital space-where creative forms of engagement make for enjoyable work environments and practices that imbue entire teams with the tools for success. So, while a big city might seem desirable for a recent theatre graduate, the days of remote-work are just beginning.
What type of skills will young Theatre Instructors need?
Rachel Steck Ph.D.: Young graduates who have breadth in the performing arts will be more successful. They need to be strong communicators and collaborators. They need to understand how to work within a timeline and specified resources. They need to be rigorous and creative thinkers. They need to understand the entire process, while working within their specific areas. They need to find a way to say yes, while advocating for healthy/safe working environments and relationships.
Theatre artists also have their skills (acting, directing, designing, technical, administrative, education, etc.), and they also need to understand how to be producers. The pandemic and economic downturn mean that programming will be smaller and tighter. We will have to take on multiple roles and wear multiple hats for each artistic endeavor. We also need to be active advocates for the importance of arts in our communities.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Rachel Steck Ph.D.: Typically, I could share some wonderful artistic communities across the country. The pandemic has shifted all of this. Right now, I would encourage graduates to think broadly and creatively. Find the communities of artists that are doing the type of work you want to do. I believe the pandemic exposes where smaller cities have thriving and creative opportunities, especially for emerging artists.
How do you envision technology impacting Theatre Instructors in the next 5 years?
Rachel Steck Ph.D.: I do believe the pandemic will have enduring impacts on the arts. Everything is going to change. It already has. Broadway will have been shut down for more than a year. Regional theatres work has moved to online and, in many cases, focusing on new work. I hope that there will be some positive changes, including but not limited to, more diverse and equitable opportunities for all artists. We have a chance to reset the environment. I hope we can build artistic communities that support the whole artist and prioritize the amazingly diverse artists in our country.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Trevor Norton: The vast majority of work in the entertainment industry still centers around Los Angeles and New York, but there are opportunities all over the country and world. Chicago, Seattle, Minneapolis, and many other American cities have vibrant theatre scenes. Internationally, India and Korea are rising film meccas. Rather than "break-in" to Hollywood, there are also other cities with many film production. For example, Netflix has a 28-acre production facility in New Mexico, and film production work is growing in Atlanta.
What experience really stands out on Theatre Instructor resumes?
Stacy Joyce: For Theatre, as actors or technicians or designers or administrators, any professional experience while in college stands out. Students working in summer stock over the summers or doing an internship at a local professional theatre show that they will understand the industry's professional expectations.
What Theatre Instructor skills would you recommend for someone trying to advance their career?
Stacy Joyce: In many ways, it would depend on their area of interest. But across the board, it would help to learn about the Theatre and or film/television industry in a broader sense. How do these separate worlds function? And I would also advise graduates to begin to develop their network. Some ways to possibly do this include volunteering or interning for a professional theatre, entertainment union, talent agency, casting agency, or production company. Another option is, perhaps, looking for a part-time entry-level position in the industry, not necessarily in the area you wish to pursue, but that still gives you insight into the inner workings of the drive you want to enter.
What technology do you think will become more important and prevalent for Theatre Instructors in the next 3-5 years?
Stacy Joyce: I understand that, for actors, more and more of the initial audition process moves to self-tape submissions, so actors will need to be comfortable with creating a polished self-taped bid. I also understand that a lot of voiceovers, both auditions and even some actual voiceover production, have moved to actor's home studio set-ups, so understanding how to record and mix audio will be useful if that is of interest. I think, across the board; people will need to know how to use editing software.
Blake Hackler
Associate Professor and Head of ActingSouthern Methodist University
Theatre Department
What experience really stands out on Theatre Instructor resumes?
Blake Hackler: As you know, right now, the performing arts industry is in a period of total shutdown. There are few to no jobs available, and even the most seasoned professionals are concerned about the industry's future. The question of what "stands out " on a resume is only relevant when someone is hiring. However, the answer remains the same: solid training, evidence of a progression in both the quality and visibility of a performer's job history and more than ever, evidence of an ability to move between several fields (i.e., television/theatre/commercial/film)
What Theatre Instructor skills would you recommend for someone trying to advance their career?
Blake Hackler: During a gap year, graduates would do well to focus on two areas: Building skills in their chosen field and building usable skills in an alternate "survival" field.
- Jobs in the TV and Film industry are already starting to return. Graduates in acting should focus on skills they might not be as practiced in; on-camera classes, voice-over training, commercial audition technique, etc. The pandemic has forced a kind of instant accessibility, and training opportunities with top professionals in every area of the performing arts are available from the comfort of one's own home. Of course, not everyone can afford classes right now. In this case, performers could use this time to focus on creating their materials. If you own an iPhone, you can make a movie. I don't know how to, but I know most of my students could figure it out with minimal effort!
- The pandemic has forever released performers of the idea that cultivating survival skills is an artistic cop-out. Instead, artists must be highly trained in their chosen field and be skilled in other workforce areas.
- Performing artists are keenly aware of the lasting effect Zoom, and other online platforms will have on the performing arts. Interest in and mastery of these technologies and the possibilities available on and through these platforms will be a necessity moving forward.
What type of skills will young Theatre Instructors need?
John Graham: The ability to audition remotely. With many large "cattle call" auditions such as UPTA and SETC going virtual this year, it forces theatre companies to cast from afar. I can imagine that many theatre companies will begin to re-think their casting protocols and see the "Zoom-Audition" as a cost-effective way to recruit, attract, and gain talent. We're witnessing it in the University recruitment process already with "Accepted" and other online recruitment tools.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
John Graham: Many newly graduated Theatre majors think that NYC is the place to go to start their acting career, but that's a bit like judging the Indy 500 is the place to start your racing career. Many newly minted BFA Actors are unaware of the broad array of performance opportunities for them in every region of the country. "Go where there's public funding for the arts" is a maxim I stick by. Unfortunately, these days most "Theatre towns" (e.g., NYC, Chicago, L.A., Atlanta, etc...) are overrun with out of work performing arts professionals. So: where to go right now to get hired? Don't move an inch. As we've seen these past months, most performing art jobs are remote, so get your shit together by cleaning up your online presence and then jump when offered a job. These are strange and remote times, so immediate location matters little. Except: "Go where the public funding for the arts is!" So, move to Europe if you want to have a decent life in the arts because it isn't supported here in the states.
What type of skills will young Theatre Instructors need?
Kaysie Brown: Creative problem-solving and critical thinking skills are imperative. They also need to be self-driven, proactive, and good collaborators. Dancers develop all of these skills in our program.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Kaysie Brown: During these times, the exciting thing is that the world has opened up to our graduates through virtual auditions and job interviews. We have a current graduate who auditioned with the Dayton Contemporary Dance Company remotely and made it into the 2nd company! The audition process began with a video, and when he made it to the last cut of 24 applicants, they auditioned via zoom. Additionally, every year our graduates find teaching jobs throughout Texas and beyond, which has been no different this year. Another current graduate got a job teaching dance at a high school in Florida.
How do you envision technology impacting Theatre Instructors in the next 5 years?
Kaysie Brown: I see technology mainly affecting our area. Video or Screendance has been evolving beautifully throughout the years. Since COVID 19, many more screen dances are being created and performed. A new type of knowledge of how to produce virtual productions is developing due to these challenging times. Still, when this all passes, I believe the ability to share presentations virtually will continue due to the possibility of reaching a broader audience. Additionally, our students are having to develop skills for learning online. The dance pedagogy students learn how to teach online, giving them a leg up on their predecessors. Once again, the potential global reach has been an exciting new aspect that we've encountered using technology. We've had students Zoom in to take a class from our student teachers from Oregon to Trinidad!
What are the biggest trends we'll see in the Theatre Instructor job market given the pandemic?
Julio Matos: In terms of trends or shifts, the venues that have transitioned to an online format have recovered in ways that the regular theatre season has not. Television, film, web series, and online content are slowly returning; therefore, shifting to filmed/video work has been key to surviving as an industry.
What technology do you think will become more important and prevalent for Theatre Instructors in the next 3-5 years?
Julio Matos: Self-producing has been on the rise for years. The training and technology required to produce high-quality, self-tapes and submissions, content, and film editing are necessary for training programs to integrate into their curriculum, if they are to remain relevant.
Will there be an increase or decrease in demand for Theatre Instructors in the next 5 years?
Julio Matos: As the industry shifts, so will the methods by which artists are trained. The multihyphenate artist-entrepreneur will continue to thrive, given the need for arts to reflect society and the artist as a mirror of one's strengths and frailties.
What type of skills will young Theatre Instructors need?
Candace Vance: Theatre Artists need to have a reliable technique and practiced expertise to enter the workforce successfully. There is more competition than ever! Also, Theatre Artists are required to think out of the box, work creatively, and manage diverse communication styles and platforms.
Are there any particularly good places in the United States for Theatre Instructors to find work opportunities?
Candace Vance: There is professional Theatre in every major city in the USA, and now more than ever, theatre is happening across cities with the use of virtual platforms!
How do you envision technology impacting Theatre Instructors in the next 5 years?
Candace Vance: Theatre Design is always evolving and artistically incorporating new technologies. Because of the COVID health/safety precautions, the rest of the Theatre world uses technology more and more for production meetings, taped auditions, even rehearsals, and performances in some cases. As we (hopefully) move out of the COVID crisis, I imagine some of these new technological practices will stick. I think we will likely find benefit in some of them and fold them into our more typical working ways.
