The Directing Corps at WTF is a three-tiered program: the entry level Directing Internship, the intermediate Directing Assistantship, and the prestigious Fellowship Projects.
All members of the Directing Corps assist professional directors on the Main and Nikos Stages and also have the opportunity to direct their own projects with casts from the actor training companies at WTF. Directing Interns work with the Apprentices; Assistants work with the Non-Equity Company. Directing Fellows work with the Non-Equity Company and direct one of the LeapFROG Non-Equity Company productions.
One of the only director-lead developmental programs in the country, the Fellowship Projects foster ambitious, high-quality work in the vibrant and safe atmosphere of the Festival’s nationally recognized Workshop program, furthering the Festival’s legacy of supporting the theatrical director in all stages of his or her career. Through the awarding of the prestigious Boris Sagal and Bill Foeller directing fellowships, the Fellowship Projects allow young directors to collectively develop either a new play or musical collectively with members of the Festival’s Non-Equity Company.
The Fellowship Projects are a fast-paced, artistically charged incubator for new work that draws some of the nation’s top young theatre artists each summer; many past Fellows have gone on to work as professional directors in New York and at regional theatres, and past Fellowship Projects such as Alex Timbers and Michael Friedman’s Bloody Bloody Andrew Jackson and Amy Herzog’s After the Revolution have gone on to Off-Broadway and Broadway productions. The fellowships include a generous stipend for living expenses and housing for the summer.
The Boris Sagal Fellowship is awarded through an open application process, and the Bill Foeller Fellowship is by invitation only.
HOW TO APPLY
To apply for the Sagal Fellowship, please submit the following:
1. A cover letter and current resume with address, phone number, and e-mail address.
2. Two written recommendations from people who can attest to both your qualifications and potential as a director. Please submit the title and contact information for the above with the letters of recommendation and please try to include recommendations with rest of the submission. We will, however, still accept recommendations mailed separately from the application.
3. Please answer the following questions in some detail. Each answer should not exceed one typed page:
A) This program encourages directors and playwrights to develop new theatrical material through a collaborative process with a company of eight actors over an eight to ten week period. Developing an idea with a playwright (and composer if applicable) of your choosing, please describe one project you would both like to develop into a play or musical, and attempt to identify the central question or idea this project will try to tackle. Please describe why you think this "idea" should be developed into a play/musical, why you are interested in the subject matter and why you think it would work with a company of young actors, ages 21 to 26. Please note: these projects should not be adaptations of established work, but new ideas based on significant source material--a social or political event, a particular real-life experience--anything that provides a rich and original basis on which to begin the developmental process; we are only interested in creating new work. Do not submit adaptations or projects which are already in development.
B) Please provide a brief description of the relationship between you and the playwright (and composer if applicable) with whom you have developed the above proposed idea for a project. Why do you think their work and personality would be appropriate for this unique, director-driven developmental process? Have you worked on projects with them before, and if so, what type of projects? Describe their work and the appeal for collaborating with them. Please include their resume(s) only; do not send scripts or writing samples. The proposed playwrights and composers must also be available to participate in the fellowship interview process.
We realize it can be a challenge to decide what kind of project idea to submit for the Fellowship. Here are a few guidelines:
-Because of our quick-paced process, we strongly recommend that director-writer teams who apply have worked together before in some capacity.
-For musicals, the composer and book writer should have ideally already written one full-length musical, either together or separately. Our time-frame is not conducive to first-time musical-writing teams. -We are looking for stories that can fully utilize a cast of eight actors.
When mailing your application, please be sure to specify in your letter that you are applying for the Boris Sagal Fellowship. The deadline to apply is January 7, 2013. PLEASE DO NOT SEND DVD's or PICTURES; if you are interviewed we will ask for additional material.
Please send all materials to:
Boris Sagal Fellowship Committee
Williamstown Theatre Festival
229 West 42nd Street, Suite 801
New York, NY 10036-7205
Phone: (212) 395-9090 Fax: (212) 395-9099
Applicants will receive a confirmation email once their materials have been received.
Barnett Cohen, Jordan Barbour, and members of the 2007 Apprentice Company in Wing It, the Free Theatre production in 2007. Photo by Andy Tew.