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Job outlook for theatre managers in the United States
Are theatre manager jobs in demand?
Theatre Manager job and salary trends over time
Theatre Manager jobs over time
Theatre Manager job growth rate over time
Year  | # Of Jobs | % Of Population |
|---|---|---|
| 2021 | 226 | 0.00% |
| 2020 | 551 | 0.00% |
| 2019 | 569 | 0.00% |
| 2018 | 210 | 0.00% |
| 2017 | 195 | 0.00% |
Average theatre manager salary over time
Theatre Manager salary by year
| Year | Avg. Salary | Hourly Rate | % Change |
|---|---|---|---|
| 2025 | $53,001 | $25.48 | +4.2% |
| 2024 | $50,840 | $24.44 | +1.3% |
| 2023 | $50,183 | $24.13 | +1.8% |
| 2022 | $49,310 | $23.71 | +0.6% |
| 2021 | $49,011 | $23.56 | +0.1% |
Theatre Manager jobs by state
Most common states for theatre managers
| Rank | State | Population | # of Jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | District of Columbia | 693,972 | 511 | 74% |
| 2 | Virginia | 8,470,020 | 1,736 | 20% |
| 3 | Washington | 7,405,743 | 1,427 | 19% |
| 4 | Maryland | 6,052,177 | 1,024 | 17% |
| 5 | Massachusetts | 6,859,819 | 1,055 | 15% |
| 6 | Oregon | 4,142,776 | 523 | 13% |
| 7 | Rhode Island | 1,059,639 | 134 | 13% |
| 8 | Delaware | 961,939 | 113 | 12% |
| 9 | Colorado | 5,607,154 | 611 | 11% |
| 10 | North Dakota | 755,393 | 81 | 11% |
| 11 | California | 39,536,653 | 3,919 | 10% |
| 12 | Connecticut | 3,588,184 | 356 | 10% |
| 13 | Utah | 3,101,833 | 317 | 10% |
| 14 | Vermont | 623,657 | 60 | 10% |
| 15 | Georgia | 10,429,379 | 953 | 9% |
| 16 | Minnesota | 5,576,606 | 479 | 9% |
| 17 | New Hampshire | 1,342,795 | 124 | 9% |
| 18 | Montana | 1,050,493 | 96 | 9% |
| 19 | Alaska | 739,795 | 69 | 9% |
| 20 | Wyoming | 579,315 | 51 | 9% |
Theatre Manager job outlook: Expert opinions
Our panel of theatre manager experts
University of New Hampshire
Southeastern Oklahoma State University
Flagler College
Murray State University
Boise State University
Arkansas State University
Montgomery College
SUNY Oneonta
Texas Christian University
Nebraska Wesleyan University
Catawba College
Capital University
Eckerd College on Florida's Gulf Coast
Southern Connecticut State University
Missouri State University
Willamette University
Aurora University
Southern Methodist University
Drake University
Elon University
Tom Alsip
Director of Musical Theatre, Assistant ProfessorUniversity of New Hampshire
Department of Theatre and Dance
What skills stand out on Theatre Manager 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 Managers 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.
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 hard/technical skills are most important for Theatre Managers?
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 Managers 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 soft skills should all Theatre Managers 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 Managers?
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 Managers 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 Manager 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.
Richard Klautsch Ph.D.
Professor and Department ChairBoise State University
Department of Theatre, Film, and Creative Writing
What skills stand out on Theatre Manager 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 hard/technical skills are most important for Theatre Managers?
Richard Klautsch Ph.D.: Knowledge of technique and experience in specific areas of theatre such as acting, directing, writing, design, etc.
Jeffrey McLaughlin
Associate Professor of Theatre Design and TechnologyArkansas State University
Theatre Department
What skills stand out on Theatre Manager 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 hard/technical skills are most important for Theatre Managers?
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.
R. Scott Hengen
Technical Theatre Faculty/Production CoordinatorMontgomery College
Department of Performing Arts
What skills stand out on Theatre Manager 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 hard/technical skills are most important for Theatre Managers?
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.
Will there be an enduring impact of the coronavirus pandemic on Theatre Managers?
Kiara Pipino Ph.D.: It is hard to say, as we never had anything like this before. Academically, the experience of the past year and a half has been different from students in the major - and in any major. Classes that were meant to be taught in person had to shift online, with major adjustments in the curriculum. This isn't necessarily making the class less valuable, but different, yes. I am expecting graduates 2020 and 2021 to have more interest in pursuing further education, and graduate school, as a result of the hope of receiving more in person, fate-to-face instruction.
What certifications/licenses/courses can have the biggest impact for Theatre Managers?
Kiara Pipino Ph.D.: We graduate students with a BS in Theatre. If they pursue further training, the impact of it would be tied to the path they are interested in taking. For example, should they wish to pursue acting, certification is some movement or voice technique might help, as well as the intimacy choreography certification. If they want to teach in the academia, they would need a graduate degree.
What will help Theatre Managers increase their earning potential?
Kiara Pipino Ph.D.: Clearly theatres need to re-open and resume normal activity for our graduates in all field to find their main employment environment. Although it must be said that theatre major can lead to many different job opportunities, not necessarily just in the theatre business.
Theatre will re-open, undoubtedly, but the question is on what budget they will be able to operate.
Dr. Harry Parker
Professor and Department ChairTexas Christian University
Department of Theatre
What are the biggest trends we'll see in the Theatre Manager job market given the pandemic?
Dr. Harry Parker: The professional theatre is, for the vast majority, a free-lance profession, with theatre artists (actors, directors, designers, technicians) going from job to job. Right now, the industry is still on full hold, as we await the labor unions to come to the place where they are comfortable with the safety of their members, and begin approving union contracts once again. It’s unknown when this time will come.
What certifications/licenses/courses can have the biggest impact for Theatre Managers?
Dr. Harry Parker: When it does, there will be many fewer jobs, as many theatres have had to close because of the economic stress of the pandemic.
How have salaries changed over time for Theatre Managers?
Dr. Harry Parker: Salaries vary greatly, but because of the shaky economic standing for so many professional theatres, I expect that union scale will become even more the norm than before the pandemic, at least until audiences begin returning to live theatre.
Will there be an enduring impact of the coronavirus pandemic on Theatre Managers?
Ryan Kathman: I think it's safe to say that there will be an enduring impact of this pandemic on all of us, no matter what field someone is in. But, yes, I think Theatre students coming out of undergraduate programs, for one thing, are going to have to get really good at preparing and participating in virtual auditions, whether they are pre-recorded, conducted live over Zoom, or some combination. I think we'll see job opportunities in web-based productions continue to rise, even after things recover a bit, as the industry was slowly headed that direction even before the pandemic. But I do have a healthy degree of hope about the future of live performing arts in that, historically, after major global or national crises like these - even health crises - a "golden age" of flourishing arts tends to follow. So, potentially, now is a great time to be a Theatre major and be graduating because students will hopefully be entering an industry with booming opportunities as the populace gets excited to start attending live performances again.
What certifications/licenses/courses can have the biggest impact for Theatre Managers?
Ryan Kathman: This depends a lot on which area of Theatre Arts is your emphasis. Obviously if your objective is to be a Theatre educator, then getting the proper state licensing and certification for teaching is vital. There are less of those kinds of standards for performers, but you can become certified as an Actor/Combatant with the Society of American Fight Directors (SAFD), and continue to move up to more advanced certifications after that. There are also other safety certifications available for intimacy direction, firearms training and more. Probably the areas with the highest numbers of certifications and licensing are in Technical Theatre, as young professionals can (and should) become certified for theatrical rigging, welding, and for a host of other safety and technical areas. Finally, in regards to most valuable courses, that's a very difficult distinction to make and will vary with most every educator you ask. For me, I believe strongly in Script Analysis as a fundamental course for every Theatre artist, whether you are an aspiring performer, designer, technician, director or playwright. I also think it's a good idea for anyone studying Theatre to try their hand at some Directing, if given the opportunity, to be able to see the "big picture" of a production and better understand how all the roles function together. Beyond that, a good Professional Preparation course is important, as is one on Auditioning and all Dramatic Literature classes, too.
What soft skills should all Theatre Managers possess?
Ryan Kathman: I've never been crazy about the term "soft skills", but I do understand where it comes from. I just can't help but feel like the name somehow diminishes the value of these attributes when study after study has proven that they are precisely the qualities that every major CEO is looking for first and foremost in employees. Luckily, I happen to believe one of the best kept secrets about Theatre training is that it naturally and inherently focuses students to develop exactly these kinds of traits. I suppose the top skills I would highlight are communication (impossible to work on a production team without it and it's literally what every actor is trying to do in performances), critical thinking (again, script analysis and problem-solving while in rehearsal and performance), adaptability (time, budget and resources force all of us to have to be resourceful and innovative, and actors often need this skill in the moment when something goes horribly wrong in a performance), and creativity (kind of built right into the art form). But you can certainly add teamwork, time management, decision-making, organization, conflict management and leadership to the list, and all of those are covered on a daily basis just in the process of putting on a show.
Erin Dougherty
Associate Professor of Costume Design Costume DirectorCatawba College
Drama/Theatre Arts And Stagecraft
What are the biggest trends we'll see in the Theatre Manager job market given the pandemic?
Erin Dougherty: This is a hard question, as I don't think any of us have that crystal ball. Everyone is ready to work and most of us want to get "back to normal" as quick as possible. However, there have been some real calls during this pandemic to change the philosophy of industry, for the good. Places like tcg.org, who run Artsearch are offering free accounts for job seekers, and making it mandatory for employers to state compensation to help people know what they're getting into before expending time and energy in the search process. This can only benefit everyone. There is a call for accountability, for treating artists with value, and no longer standardizing "suffering" for your art or sacrificing personal lives for the golden carrot, in terms of work-life balance. That may sound idealistic, but theatre artists are notorious for not taking care of themselves and almost priding themselves for long work hours with little pay. We will be slow to change, certainly, especially as the industry tries to stand on its feet with uncertain funding. But, I believe you'll see more transparent job ads and I hope we'll still see a lot of the collaborative spirit of artists helping artists that we have seen during the pandemic. On the practical side, for a while yet, we'll see more virtual productions, either zoom or fully mounted without an audience, or actors in mask work. I think the demand for tech who have digital and editing skill has increased and will continue to be there, and actors who have presence for the camera, those who can play to the stage but still read genuine if the camera and editing crew choose to do close ups. We will also see both academic and professional companies looking for jack-of-all-trades, people who can fit into more than one roll in the company. For tech, designers/technicians who can cross disciplines or areas (costume/prop technicians, scenic/lighting designers, etc.), for performers perhaps people who can also play instruments in addition to being the traditional "triple threat" performers. And of course, a demand from companies and artists alike to expand the pool of diversity, open the doors to women and especially minorities, in light of BLM to tell stories with Black voices and black faces in meaningful ways.
What Theatre Manager skills would you recommend for someone trying to advance their career?
Erin Dougherty: Work on your digital presence. Even before the Pandemic, actors were sending in more and more virtual auditions rather than participating in showcases. For performers, having a really solid package of things that showcase your abilities. For design/tech, getting a clean website that clearly showcases your best work, and perhaps some related projects. If you have the luxury of getting someone to help you, that's always nice, but there are inexpensive sites for hosting your materials, and cell phones can achieve surprising results if you invest in a tripod. Network but engaging with other alumni and people you have met along your journey. Ask their advice, if appropriate. Theatre artists also need to think long and hard about how they are willing/able to engage in the collaborative process. How can you make it easy for someone to work with you? If you're designing something, how do you communicate ideas along the whole process? Are you creating vision boards? How are you making your ideas into a reality? It doesn't necessarily have to be down on paper, but know how you work and what is a boon to employers so that you have those answers ready. There are also masterclasses, both free and for smaller amounts of money, that should be taken advantage of. Learn a new skill, or if that is too stressful on top of everything else that is going on, find an outlet to help you rebalance yourself that lends towards your self-care.
What general advice would you give to a Theatre Manager?
Erin Dougherty: Be persistent. As everyone is aware, this is a difficult time to be emerging into the industry. Think outside the box and take opportunities when then come—commercials, advertisements, maybe window displays or things that don’t necessarily scream theatre. At the same time, don’t be afraid to say no if something isn’t right for you, doesn’t provide any kind of incentive or value to you, or if you’re too overwhelmed and can’t give it your best effort. It’s great to be employed and great to be busy, but serves no one, least of all you, if the end product is not your best effort. I also like to remind people, as there can be a lot of rejection, that art is a part of you but you are not just your art. Build a support team who will be happy for you and cheer you on.
What are the biggest trends we'll see in the Theatre Manager 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 Managers 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 Managers 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
Jessica Thonen
Professor of TheatreEckerd College on Florida's Gulf Coast
Theatre Department
Are there any particularly good places in the United States for Theatre Managers 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 Managers 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.
How do you envision technology impacting Theatre Managers 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 Manager?
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 Managers 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 Managers 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.
Are there any particularly good places in the United States for Theatre Managers 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.
What type of skills will young Theatre Managers 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.
What experience really stands out on Theatre Manager 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 Manager 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 Managers 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 Manager 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 Manager 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.
Are there any particularly good places in the United States for Theatre Managers 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.
Will there be an increase or decrease in demand for Theatre Managers 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.