2007 Alumni Survey (Edited) 45 responses as of 8/28/2007, from the following classes: 1 from 1987; 1 from 1989; 1 from 1990; 2 from 1991 3 from 1992; 3 from 1993; 2 from 1994; 2 from 1995; 1 from 1996; 1 from 1997;  4 from 1998; 1 from 1999; 1 from 2000; 2 from 2001; 2 from 2002; 5 from 2003; 2 from 2004; 7 from 2005; 3 from 2006; 1 from 2007 Not all 45 alumni responded to all the questions: one only gave free-form feedback; some have left Theatre and had no reason to answer questions regarding the profession. Do you still consider yourself a theatre artist and, if so, what type? (Actor, director, producer, technician, etc.)  *I am a nationally acclaimed artist. It's just not the Theatre.  *I'm currently a writer, but was an actor/performer for years. I'm currently a comedy writer, and perform stand-up/sketch comedy from time to time.  *Yes, I'm still an actor  *ACTOR, WRITER, PRODUCER, RACONTEUR, HOST  *Nope. I'm a librarian.  *Yes I do consider myself an actor still although I haven't done a show in 3 years.  *Yes-Actor/Director  *Yes! I am a professional actor, director, choreographer, and educator. For 8 years I have been the Education Director for the Phoenix Theatre for Children in Columbus, Ohio. I will also be teaching a theatre movement class and a Kabuki class in the fall at OSU.  *Actor  *Yes, of sorts. Actor, costumer.  *Previously Actor and producer, currently Actor & Voice-over Artist  *Actor  *This is a funny question. I just recently started having to admit to myself that I wasn't sure I could even call myself an actor anymore. I haven't done anything in almost 3 years (North Shore Fish, and probably my best work to date). I started a real job as a data analyst for a healthcare company and bought my first home. It's weird how, when you take major steps like that, your life take an almost immediate turn and you don't even realize it until much later. It's sad, and I miss it sometimes but I guess sometimes priorities change and you do what you have to do. It's a hard pill to swallow.  *Yes, I am an actor and am currently producing my first show in NYC as well.  *Yes. Actor.  *Yes, actor, director, teacher, choreographer and fight choreographer  *Yes, actor, writer.  *YES! I am an actor, theatre educator, and director but primarily an ACTOR  *Absolutely. Actor/singer/dancer/choreographer/and now, budding playwright*Yes--I consider myself a Still a theatre artist...Foremost, I am an actor--who enjoys playwriting and collaborating on new work. I also am a director and a producer at times as well  *Not at the present time - but will again someday. I consider myself a writer still. [1987-1999 Results - 17 out of 21 surveyed or 80% still consider themselves theatre artists]  *I am and always will be a theatre artist. Currently, I am an actor, but I am hoping to expand into theatre education. But, I'll always be an actor.  *Yes, an actor  *Yes, Actor/Singer/Dancer  *I am an actor, I just finished my second national tour (the wizard of Oz)  *Actor  *Director. I also write and Design  *Actor, director, producer, writer and visual artist  *Actor  *Actor for film  *Actor/Singer  *Actor/director  *Singer, musical director  *Yes, actor.  *Yes, I generally consider myself a "theatre artist." I act, direct, produce, teach and write.  *Yes, Actor. I realize that I used to consider myself a dancer more than I do now.  *I still write and have been discussing opening a theatre company with Adam Marple, but law school is my main priority at the moment.  *yes, actor/teacher  *Yes. Actor.  *Yes, actor  *yes, actor dancer singer  *Absolutely! Actor extra ordinaire!  *Yep, Actor  *Actor [2000-2007 Results - 21 out of 23 surveyed or 91% still consider themselves theatre artists] How long have/did you seek employment as a professional actor? (Give a rough estimate of years, please.)    *Not one single minute. (Last year in the PATP was ‘87)  *I was working as an actor and comedian on and off for 11 years. (‘89)  *10 years give or take (‘90)  *13 (‘91)  *Approximately five years? Maybe six? (‘91)  *12 years. The last show I did was at Steppenwolf in Chicago. But now I am taking time off to be a stay at home mom. (‘92)  *It’s been 15 years. (‘92)  *I have been seeking since 1993 however I have been more successful making money as a director and educator. (‘93)  * I've been a member of Actors' Equity for 6 years (‘93)  *5 minutes. well, okay not really. i looked for a little but not seriously. i actually got my first paid gig (as an actor) in 2001 ('93)  *Constantly for the last 13 years. (‘94)  *10 years on and off (‘94)  *Probably up until I bought my home so roughly 10 years after graduating the PATP at WSU. (‘95)  *As an actor you are ALWAYS seeking employment. Ongoing 12 years -- since being out of undergrad – though I quit acting for about five years of that. So roughly seven years? (‘95)  *Still seeking...12 years since school (‘96)  *10 years (‘97)  *Nine years; since graduation. (‘98)  *I have been seeking employment professionally more vigorously the last 4 years but off and on the entire ten since graduation. (‘98)  *I've been actively seeking work as an actor for 9 years. Whether or not I've "made it" as a professional, is your opinion. I would consider myself successful. (‘98)  *I am still seeking professional employment as a professional theatre artist...it's been 10 years now.  (‘98)  *Hardly at all... maybe less than a year all together (‘99) [1987-1999 Results - 2 of the 4 who left the profession stopped after less than a year.  The other 2 who no longer consider themselves theatre artists stopped after five and ten years respectively.  The remaining 17 of 21 or 80% are still seeking employment.]  *I have been seeking employment as a professional actor for seven years and counting. (‘00)  *Since I’ve graduated from PATP (over 6 years) (‘01)          *I've been in NYC for little over five years, and working most of that time. I've been in the Union for a little over 2 years.  (‘01)  *4 so far (‘02)  *5 years (‘02)  *0. I stopped acting in 2002 (besides class work). I have however worked constantly for the past 4 years as a Director, Writer, Designer, or ASM. (‘03)  *10 (‘03)  *The last four years (‘03)  *six years (‘03)  *it's been approx 4 years now (went to grad school for 3 years and worked professionally at the same time) (‘03)  *Since I was 15. 10 years. only 4 years post college (‘04)  *0 (‘04)  *Going on 3 years. (‘05)  *2 years (‘05)  *Roughly a year after the apprenticeship at Actors Theatre of Louisville. I've lived/worked in New York for 13 months seeking acting work. (‘05)  *Throughout school and for a year afterwards (6 total). (‘05)  *Professionally I've been working since I was 17, so 3 years since I graduated and 8 years total. (‘05)  *I'm not clear on how to answer? : ) Do you mean before the first gig (after school)? Or do you mean how long have you stuck it out in the business (2 years...since college)? (‘05)  *6 years (‘05)  *1 year thus far (‘06)  *I’m in grad school for another year, but I’ll get back to you! (I guess 0, unless you count the year I auditioned for grad schools...) (‘06)  *About 9 months until I was offered an acting job and then an additional 3 months to start that job. (‘06)  *I'm working now as a actor and I have every summer during school...so after school 3 months (‘07) [2000-2007 Results: 100% of the 23 surveyed still consider themselves as theatre artists — though one is now a director instead of an actor. ] Did you have to keep a day-job during or in-between your professional acting jobs? What type of jobs were they?             *I waited tables, temped and went back to school and became a massage therapist.  *I have in the past; I babysat, worked for a temp agency, I worked in retail, I've worked in many a restaurant, I've catered... *I HAVE NOT ALWAYS HAD A DAY JOB, BUT SINCE MOVING TO  NYC, I HAVE WORKED A DAY JOB PRETTY CONSISTENTLY FOR THE LAST 12 YEARS. I HAVE WORKED IN CORPORATE OFFICES AS A RECEPTIONIST, ASSISTANT AND OFFICE  MANAGER. I CURRENTLY WORK PART TIME MANAGING A SMALL OFFICE NEAR MY HOME IN THE WEST VILLAGE. *Yes. Mainly, I worked as a bookseller. *Yes. Waited tables, sold make-up. But mostly was an executive assistant. I found working during the day to be the most beneficial as I was able to scoot to auditions during lunch hours. And go to shows after work. And if rehearsals were during the day I would just take time off from work.  *Always and I do still.  *I have been fortunate enough to work in the profession in some way for the past 10 years but before... lots of waiting tables and telemarketing.  *I have covered the gamut in restaurant work, from management to waiting tables; I have also held administrative positions; currently, I am an Adjunct Professor at Kennesaw State University in Atlanta (a great part-time job that has been very flexible and understanding.)  *yes. costumer dresser. costumer constructor. waitress. temp. then went back to school and am now my BEST day job, Sign Language Interpreter for the Deaf, I use my acting skills every day, wish I had done it sooner.  *Up to this point, yes. Primarily corporate. Other jobs have included waitress and dog walker. It looks like as of this March ('08) I will be making the leap to NO DAY JOB - Voice- overs only to supplement my acting habit. *Yes- Stage Manager, massage therapist, personal assistant, wood floor salesperson, bar tender, preschool teacher…  *I always did the "temp job" thing in order to be able to act whenever I wanted to. It was always something that  involved either computers or office work.  I did the stereotypical waiter gig in NYC for a while.  *Yes. I worked as a web producer and also an Acting/ Theatre Instructor. I find that working some where as close to the business as possible is the best bet. Currently I am the "computer help guy" at Theatre Communications Group (American Theatre magazine etc.) I find these companies will work with your crazy schedule far better than traditional companies -- which often say they will work with your theatre schedule, but don't really realize what that means.  *Most of the time. Had a little over 1 year without having to have a  day job. I've done all kinds of jobs: Office Temp, retail management, tech support, building management, and started my own business.  *most of the time. I bar-tended and waitress . also teaching  *Not always.  I claimed unemployment for about eight months to do some writing.  I worked a lot of day-jobs though, mostly retail.  Did a little temping/office stuff.  Right now, I’m currently working P/T as a ticket seller in a box office.  *YES, my primary job being a drama teacher in a public high school.  *Yep. All office jobs. temp, sales assistant for a major hotel chain, sales analyst for the same hotel chain, currently an inside sales rep for a legal publishing company. I realized that I needed the flexibility to do more acting gigs and taking a lower paying job with that flexibility has actually proved more lucrative in the long run, both for my pocket book and my soul.  *Thus far I have had to have a day job to support me, both during and in between theatre gigs. I have done "temp" work in several offices. I have been a barista at coffeehouses. I have worked at a fine clothing boutique/yarn store. I have been a care giver for the elderly. I have worked in the public school systems as a one-on-one with kids with special needs. I have led workshops to kids and adults. I have done childcare. I have waited tables.  *Yes - office work always which lead to my current profession [1987-1999 Results - 13 of the 19 or 68% who answered this question stated that, yes, they had a day-job during all or most of their theatre employment.  The other 32% did day-jobs at one time or another.]   *I have always had "day-jobs" both during and in-between gigs. Administration jobs for companies, talent agencies, and universities. It's important to me to have these jobs because I firmly believe that a life outside of the theatre is mandatory in maintaining perspective. A quote from Mary Donahoe, who may have quoted someone else, "You have to have a life to imitate one."  *Yes, you name it…restaurants, office jobs, driver, caterer, etc.  *Yes, I prefer and need day-jobs in between. I've done everything from waitressing, temping, catering, personal assistant, ushering, and being hired as an actor (hired by PR companies for on-site marketing). *My day job is temp/clerical work. *Catering, office temping (administrative asst, receptionist), leading dances at a children's Christmas party, stuffing envelopes  *Not always. Teaching has been good to me. Whether it was at a performing arts high school, regular high school, or the Education Program at a theatre, teaching has paid well.  *Teaching/directing  *Always.  At first I did retail, then hosting, then cater-waitering, now exclusively waiting tables as a survival job.  *Lots of temp work. I work office jobs (ex: reception, admin assistant and data entry)  *Worked as a teaching artist, resident counselor, tour guide, in retail, and as a caterer  *I have been very fortunate not to have needed a day job.  (‘04)  *No not always. But some of the random things I have done included serving, catering, temping, unemployment, and extra work.  *For the first year, yes. I was assistant retail manager at Crabtree & Evelyn.  *I'm a temp more often than not. I've also catered and nannied here and there. I always take flexibility and lack of responsibility over security. Being able to choose whether I work or not on a weekly, or even daily basis, has allowed me the capacity to go to the auditions that I want to attend. I may not live luxuriously, but I'm very comfortable  *I only had a few paying gigs, my day job was to work at Blockbuster and wait tables.  *Not always, but currently, yes. waiting tables is the usual one, but also temping and office work (personal assistant mostly). plus teaching in theater camps in mostly combat and musical theater.  *I like having a day-job (and have always had one), but I recently realized I’m very tired of doing 17 hour days (job + theatre). [Gap, Shipping Manager @ Elenis Cookies NYC, random craigslist stuff (like handing out flyers while riding a segway on 5th avenue).]  *Usually I do. I've worked retail, daycare, and right now I'm a receptionist for a production company, which is nice, because I can also act in commercials for them.  *Yes. waitressing  *I don’t have to right now, because ASF pays me year-round, but I’m sure I’ll need one next year!  * I worked as a barista/shift supervisor and a temp before I got the job I have now. The job I have now (tour actor director for Missoula Children's Theatre) does not allow me anytime for another job nor do I really need one.  *Not yet (‘07) [2000-2007 Results - 11 of the 21 or 50% who answered this question stated that, yes, they had a day-job during all or most of their theatre employment.  9 or 40% did day-jobs at one time or another.  2  — or 10% — haven’t needed a day-job yet.] What was the duration of your longest acting job?  *I did a national tour that lasted 9 months.  *13 weeks  *APPROXIMATELY A YEAR.  *Oh, probably three months. Gotta love summer stock  *9 months  *I have been regularly employed at the Wellfleet Harbor Actors’ Theatre (www.what.org) Often two contracts, sometimes three-so….5 months.  *Acting?? when I first started with the Phoenix it was a year long acting contact but as the year progressed they asked me to start directing and teaching as well.  *13 weeks (summer repertory at GA Shakespeare)  *4 weeks  *11 weeks  *2 years  *If you consider my summer stock acceptance at the Hampton Playhouse in Hampton Beach, New Hampshire...3 months. If you mean regular old play/musical...probably one month (a number of shows lasted that long)  *Approx. 3 months.  *My longest single acting job was about 8 months long (children's theater gig in Chicago).  *9 months  *I was the host of the Sea Lion & Otter show for two years at Sea World.  *Longest was 12 weeks...8 weeks of rehearsal and 4 weeks of performance.  *POSEIDON ran for 4 months and had 2 months of rehearsals. Then we took it to New York which was another month of rehearsals and performances. So 7 months off and on.  *Most of my gigs have been a few months (1-3 months) from rehearsal to performance. I have longer processes that have included conception and creation processes, as well (1 year.)  *1-2 months [1987-1999 Results: Of the 20  responses, the longest acting jobs were from one month to two years; the most common answer — 4 or 20 % — was 3 months.]  *Continuous work would be 3 months. With a few week long gaps upwards of 9 months.  *6 months  *I've done two 9-month tours, and would do that again if the right project came along  *my longest acting jobs have been my tours, which were both 4 months  *9 months with approximately 2 months layoff time included during that time  *I have to answer this as Directing: 3 months.  *3 months  *6 weeks  *12 weeks  *month & ½ to 2 months  *9 months  *I've been working with Forbidden Broadway on and off for the past year and a half. I'm currently in the longest run I've had with them here in Chicago for 9 weeks.  *Single acting job, 2 months; was also employed for 9 months at Actors' Theatre of Louisville doing consecutive shows  *I had a 3-mo. job doing living history in Dayton.  *8 month contract. St. Croix Festival theatre (regional theater)  *6 months  *8 months, Dollywood  *3 months  *Well, I guess we’ve rehearsed and run each show I’ve done this year for about 2-3 months  *This is my first one and I'm signed on for a year    *4 months [2000-2007 Results: Of the 21  responses, the longest acting jobs were from 6 weeks to a year- and-a-half; the most common answer — 5 or 24% — was 9 months .] What has been the typical length of your acting jobs?      *3 months.  *Commercials-1-3 days; tv-1-5 days; theatre-8-10 weeks  *IT VARIES GREATLY--FILM OR TV SHOOTS CAN LAST A  DAY OR A WEEK, THEATRE GIGS CAN RUN FOR A YEAR.  *8 weeks.  *2 months  *2 months, 8 weeks usually, sometimes 7.  *Seven weeks  *That (4 wks.) was really my only one  *7 weeks  *2 weeks to 3 months  *The shows I've done has usually lasted approximately 4-6 weeks.  *8 to 10 weeks  *Lately...1 or 2 days.  *8 weeks  *8-10 weeks for theatre gigs.  *In total 9 weeks (six weeks of rehearsal and 3 of performance)  *6 weeks of rehearsals, 6 weeks of performances  *2 months average. Most shows I have done run 1-3 weeks.  *1-2 months [1987-1999 Results: Typical length of acting jobs ranged from 1 day to 10 weeks.  Most common answer — 9 out of 18, or 50% — was 2 months/8 weeks.]  *3-4 months.  *month and a half to two months.    *Usually 2-3 months, I suppose. Some shorter projects have taken only 48 hours-2 weeks of my time...it varies. But, typically 3 months.  *usually my acting gigs are a month  *2 - 3 months  *Again, Directing: 6 weeks.  *7-10 weeks; sometimes 14  *1 month  *Films take no more than a week. Theatre is around 7 weeks.  *month & ½ to 2 months  *6-8 weeks  *From project to project about 4-8 weeks.  *Jobs usually last 8 weeks (3 weeks rehearsal, 5 weeks shows)  *A mo.  *6 to 8 weeks for contracting out for a single show      *month and a half to two months  *Usually they're 6 weeks    *2-3 months  *About 2-3 months, except the rep which was 5-6 months (but I was just an understudy!)  *This is my first job, so a year  *7 weeks [2000-2007 Results: Typical length of acting jobs ranged from 1 week  to 6 months or longer; some of these folks haven’t been out in the Biz for long, so they don’t really have a “typical” average yet.  Most common answer — 5 out of 21, or 24%  — 3 months.] What type of acting jobs have you had?     *Touring, Comedy Clubs, Renaissance Festivals, Regional Theater, Off-Off Broadway and Fringe Festivals.  *Tv commercials, television shows, regional theatre, off-broadway theatre  *TV COMMERCIALS, FILM, TV, CLASSICAL REPERTORY THEATRE, OFF-BROADWAY,  REGIONAL  *Regional and stock  *stage, print work, film  *ONLY the theatre, but then that is the only place I have been willing to look. Some small film work-nothing significant. More contemporary plays than classical, but many classics as well. I just finished playing Astrov in Vanya in upstate New York.  Life changer-really!  *movie extras, voice-overs, regional, children's theatre, touring musicals, commedia troupe  *Regional Theatre, Industrials, Corporate Training Videos  *That one job I did was at a summer theatre in a non-equity house, I did the female version of the Odd Couple. big surprise, I played the jew.  *Classical stage, contemporary stage, print work, industrials, voice-overs  *touring, new works stage, regional theatre   *Mostly stage theatre (oddly enough, mostly musical theatre. I consider myself more "actor" than "singer"). A couple industrial films while still at WSU. Most of my employment in Chicago has been as a fight choreographer.   *TV, Film, Classical & Modern Stage, Commercials (print and on-camera), regional theatre, Off-Broadway  *Regional and off-off Broadway stage, tv, web shows.  *musicals, straights plays, Shakespeare, regional, off off B'way, educational touring shows  *Regional Theatre, local commercials, industrials, and theme park.   *Mainly Classical stage and regional  *Non-Equity Chicago Storefront, Equity Understudy, local commercials, industrials (training videos)  *I have toured with BETWEEN SISTERS doing artist residencies with several colleges and universities (acting as playwright, producer, co-director, co-artistic director), been a part of panels at conferences and led seminars and workshops with Augusto Boal's Theatre of the Oppressed techniques, I have done mostly small paying local professional acting gigs, I have participated in the collaboration (creation, ensemble and writing) of several new works, many staged readings.  *Not for profit theatres, couple industrials [1987-1999 Sample Results: 5 out of 19 or 26% did Commercials; 4 or 21% have done TV; 16 or 84%  did Regional Theatre; 4 or 21% have done films; 5 or 26% have done Off-Broadway or Off- Off-Broadway; 6 or 32% specified Classical work; 4 or 21% have done Industrials; 3 or 16% specified Musicals]  *Classical and contemporary regional theatre work, touring educational theatre, regional commercials, industrials, voice-overs, and occasional avant-garde theatre projects.  *regional stage, classical stage, regional tours, New York stage, commercials and print jobs    *Mostly touring and regionals for me; and 95% of that is MT. *Touring musicals, dinner theatre musicals *Touring musicals, summer stock, dinner theatre, off-off B'way musical, workshop of children's theatre musical, musical demo recording  *Directing: Children's, Educational, Community, University, Regional, and International. Workshops, Readings, and fully staged  *small named film roles and extras, musicals, regional.  *Regional Theatre  *Independent films and commercials (a re-enactment on America's Most Wanted.)  *voice-overs, classical stage, regional, small professional theatre, industrials, low- budget films  *Regional theatre, local/internet commercials, cruise lines  *Musicals, touring, extra work.  *Classical and contemporary theatre, as well as some Musical Theatre here and there. Have never toured.  *I was offered several touring plays (mostly children’s stuff) and a regional internship after college.  *classical stage, contemporary stage, voice over, regional theater, independent film  *off-off B-wizzle, Film, sketch comedy, teaching/mentoring children’s theatre.  *theme park, recording (speaking and singing), Regional Theatre, commercials  *musical, dance/musical show  *Regional theatre, Theme parks, staged readings, etc  *Touring Children's Musical Theatre  *Regional Work [2000-2007 Sample Results: 5 out of 21 or 26% did Commercials; 1 has done TV; 12 or 57%  did Regional Theatre; 4 or 19% have done films; 3 or 14% have done Off-Off-Broadway; 5 or 24% specified Classical work; 4 or 21% have done Industrials; 8 or 38% specified Musicals; 5 or 26% specified Children’s Theatre; 8 or 38% specified Tours] What was your highest acting salary?     *As an actor 1,000 a week. As a writer $2,000 a week. *$12-13,000 for an episode of Law&Order--that was to shoot it and all the residuals I've received since it aired.*NETWORK TV: When you do an episode of a network TV show,  you're well paid when you film it and the residuals keep coming until it  stops being aired. I've made a lot from the various LAW & ORDER episodes  that I've done. *Whatever the Human Race paid me for Cloud 9, I guess  *sag day rate plus residuals for three days of work in a movie I was cut out of (total money made in 8 years - about $12,000.00)  *I’d rather not say. Less than one would believe, sadly.  The most was at the American Repertory Theatre, in 1998 the Equity Contract was like $650 a wk. That is the most I ever made. Robert Brustien had written a play about Lee Strasberg and I played Strasberg’s son.   It toured in Singapore. The writing….below par I’m afraid.  *$400 per week.  *$1,000.00 / day (Training Video for Coca-Cola)  *That one job was $250/wk I think. you would think I would remember since I only had one friggin' job! sheesh!  *$3000 for a 15 second voice-over buyout. Theatrically, $450/week.  *$350 week  *whatever equity scale was in 1997, for The Mystery of Edwin Drood (at the Human Race)  *Approx. $800 per week.  *$950/day  *$550 week  *$25/hour at Sea World.  *$350.00 a day but typically....$100-$1200 per show total  *$500 for two days of shooting an industrial (I've made more than $500 for a single gig, but for the time commitment, this has been the most money in the shortest amount of time)  *I have been paid a few grand for a semesters work with THE BETWEEN SISTERS PROJECT. If you were to break that down to an hourly wage it would be illegal proportions. Most of my acting gigs are a flat rate of a few hundred bucks.  *$100 flat fee for an industrial [1987-1999 Results: The 20 responses ranged from $100 to $13,000.]  *I've made as much as $8000 for a spokesperson spot I did for a cable company. This was a flat rate but was renewed two years later, so I doubled the original $4000.  *$900/ per day.  *$840-920/weekly, depends on if you're including per diem (which these numbers don't). Per diem can really add to the income, so I've made $1000/wk with that factor.  *the most I have been paid a week after taxes was 650.  *$635 weekly compensation (broken down as $375 salary, $210 per diem, $50 accrued bonus received at end of contract)  *Director: sadly $3000 for the entire period (3 months).  *$500 per week in musical, $250 per day in film  *$100 for a day of staged readings  *$2000. for that Wright Brothers thing in Dayton. This was an hourly wage at $18.00/hr.  *$300/hour  *$933 weekly  *0  *1,000 per week. This includes per diem.  *Zero.  *I've rarely been paid more than $300 a week doing a theatre job.  *$18 an hr. for the aforementioned living history thing. (In Dayton)  *$450/week  *$1000 for a film. porno. soft-core leaning into XXX. with animals. (everything after the word 'film' is a lie.)  *$600 a day  *$350 a week  *Our stipend runs approximately $1000 a month (for grad. school at ASF)  *I receive $175 a week pier diem, $200 a month paycheck, and my tour partner and I sell t- shirts to the children in the shows and receive $2.50 per shirt sold. Together that comes out to about $300 a week.  *$550/wk [2000-2007 Results: The 23 responses ranged from $0 to $8,000.] What was your lowest acting salary?    *I think the least would be - negative 100.00. There was a time when starting a theater company in NYC that I actually had to pay to act.  *$419/week          *$0. For equity showcases or for charity benefits. I do a LOT of benefits and galas for charity. Usually, you are rewarded with a "swag bag"  *nothing  *100.00 stipend for a 3 month show with a very well known theater company directed by a tony award winning director  *I consistently-as recently as last month-and will be joining the company at WHAT in October.  The contract is 222 a week. I love it on Cape Cod-it’s god’s country, the light, the dunes…but the BLOODY PAY! I love the work, that is why I go. That is why I am willing to accept LESS than your average Wal-Mart worker’s salary.  *Ha! $30 for the entire run and rehearsal process.  *$275.00 / week (SPT contract)  *that would be the same. ($250/wk/)  *Many for free before joining the union. The least I was paid was $50 for a non-union show. $25 on opening night and $25 promised on closing night although this was never paid.  *Nothing.  *Is ZERO an acceptable answer?  *Big fat ZERO.  *$75/week and of course $0/week as well  *before Equity nothing; as Equity $220 week  *$40 dollars for performing in a one-act, twice in an Actors Festival, and I once got paid $50 for doing a one-time Staged Reading.  *Well, aside from nothing...$100 for a six week commitment...a stipend really  *A big fat whopping 0. But this was when I first started out or for acting jobs within my own theatre companies.   However, if you are looking at gigs with monetary value, the least is a $50 stipend for 6 weeks of rehearsals and 6 weeks of performances. It didn't even pay for the gas to get to the theatre.  *The least amount I have been paid is 0 dollars for the participation of an entire production (from beginning rehearsals to end performance.) This was considered a donation of time/energy/money to the theatre company.  *Lunch [1987-1999 Results: 9 out of 19 — or 47% — said $0.]  *$12 per show. 99 seat contracts in LA suck!  *Well, technically, nothing per hour.  Next in line would be $100 per week.  *$400/wk, (not including stipends for smaller projects)  *$250 a week after taxes  *On a contract, $200/wk. ...I also did a show I did where I received no compensation except the actors got $5 from each ticket sale that came in with their name on it. I didn't sell any tickets to the show because I didn't want anyone to see it.  *$0.00  *not being paid at all count? Also, $750 total for a 14 week rehearsal/show run (that includes 40 shows!!!)  *$250/week  *120 per show. This was a Cabaret contract, that wasn't a lot considering there were only three shows a week and I was an understudy. I only went on for three or four shows the entire time I was under contract. ...I was also under an Equity Showcase contract which paid 2oo per week for, I think it was six shows a week. 200 was pretty good for that contract because I think they can get away with paying 60 bucks a week, or something around that, while working under that contract.  *Zero.  *Are you kidding? $0.  *$50/week - cincy shakes, ah internships  *other than free? $100 to put a Beowolf costume on and go to some inner city Dayton "performing arts school", do a monologue (for 5 different classes), field questions, and get teased by kids that obviously weren't studying at a performing arts school. Worst job ever. I'm not gonna say who it was, but "the guy" set me up and didn't pay me till 6 months later. Bogus  *GRATIS!!! or $250 flat for a non union commercial  *$250 for the run of a show (about 6 weeks counting rehearsals)  *$100 to play Charles in Blithe Spirit for a week on three days notice.  *$850 for three months of work  *$400 - 3 week rehearsal period and run  *$325 weekly  *I’ve worked for nothing before, and I don’t recommend it haha  *0  *Same as my highest ($300) as this has been my only acting job.  *600 for a show that was about 2 weeks w/ a month of rehearsals [2000-2007 Results: 9 out of 24 — or 38% — said $0.] Where have you lived to pursue acting employment?    *NYC. I spent 10 years there. I also worked regionally (Louisville, Washington D.C. and Maryland - but only lived there when working) but was mostly based in NYC when looking for work. I now live in LA and am focused almost exclusively on writing.  *Chicago--2 years; New York--9 years  *Minneapolis - 4 years and New York - 12 years  *Dayton, OH and Cincinnati, OH.  *Chicago  *I went to graduate school in Boston. I’m a graduate of the American Repertory Theatre’s Institute for Advanced Theatre Training at Harvard University.  Thus I began a Theatre Company (the Ritual Theatre Company, we produced: Bloody Poetry, Waiting For Godot, Hamlet, the Playhouse and Miss Julie) in Cambridge/Boston.  It did well for a while, but crumbled when I moved to New York upon graduation.  So Boston, New York, LA for a brief spell, but that was more circumstantial than professional.  *New York- 3 months-hated it! Chicago-2 years- no paying work.  Columbus 10 years- very successful!  *Dayton, OH (off and on for 6 years), Chicago IL (1 year), Los Angeles, CA (1 year), Montgomery, AL (2 years) and Atlanta, GA (6 years +)  *Rochester, NY  *1) Chicago, IL - 6 years 2) Hinckley, OH - 2 years 3) New York, NY - 2 years+  * San Diego, CA: 2.5 years, Sonora, CA: 1 year, Seattle, WA: 3 years, San Fran., CA: 3 years, Mclaine, VA: 1 year  *Dayton, OH (2 yrs. after graduation), Hampton Beach, NH (3 months), NYC (6 months, I hated it there), Cleveland, OH (3 yrs.), Chicago, IL (6 yrs. and running)  *New York. This is the end of my first year. I have lived in Seattle as well, but this is the first time I have specifically moved somewhere to be an actor.  *Chicago, IL 2 years; Los Angeles, CA 1 year; Denver, CO 3 years (Grad School); New York, NY 4 years  *Boston, San Diego, NYC  *I came out to San Diego in my mid-twenties, and have spent five years here.  *Dayton, OH/Cincinnati, OH too many to admit to...8 years; Orlando, Florida...2 years  *Chicago, IL for 9 years  *Baltimore, MD: 3 month gig ; Chicago, IL: 3 years ; Mt. Holyoke, MA: 3 month gig ; Dayton, OH: 3 month gig ; Cleveland, OH: intermittently for 3 years ; Durham, NC: 3+ (currently still there)  *Chicago for 7 years. [1987-1999 Sample Results: 9 out of the 20 responses — or 45% — have lived in NYC, from 3 months to 12 years; 9 out of 20  — or 45% — have lived in Chicago, from 2 years to 9 years; 4 out of 20  — or 20% — have lived in L.A., from 1 year to 8 years; 3 out of 19 — 16% — have lived in San Diego; 5 out of 19 — 26% — have lived in Dayton]  *Cleveland, OH - 2.5 years; LA, CA - 2.5 years; Boise, ID - 2 years; Seattle, WA - 2 weeks and counting  *Chicago for 4 years and New York City for just over 2 years.  *5 years in NYC  *KY 24 years lol. NY 2  *NYC - 5 years  *Dayton, OH- 3years after school (worked in Dayton, Cincy, and Louisville). NY- 1 year so far.  *Dayton, OH and Los Angeles, CA  *NYC, NY  - 4 years and going strong  *Dayton and Los Angeles  *lived in Denver for grad school and worked with the denver center theatre co. - 3 years just moved to New York this summer  *Dayton with occasional visits to NYC (the internet is an amazing tool)  *Only Dayton.  *New York-going on three years  *Cincinnati, OH. 2 years.  *Louisville, KY--1 year. New York--1 year.  *Dayton, OH 5 yrs, Toledo, OH ½ a year, New York ½ a yr.  *cleveland, ohio has been my home base since I graduated, but I'm moving to NYC for the auditioning in September. usually I've seeked acting work at theaters surrounding where I was currently working (i.e. auditioning at Commonwheel and in Minneapolis while working in St. Croix, etc,)  *New York just had my one year anniversary on July 5th.  *Cincinnati, Seymour, TN and I'll be moving to NYC this fall  *New York City @ 4 months  *Montgomery, AL (a little over a year), Dayton, OH (4 years)  *I went home to Chicago after graduation for almost a year, but I mostly attended combined auditions. ITA is not that great but MWTAs got me this job.  *Dayton, OH moving to NYC in two months! [2000-2007 Sample Results: 12 out of the 20 responses — or 60% — have lived in NYC, from 4 months to 5 years; 3 are moving to NYC in the near future; 2 out of 20  — or 10% — have lived in Chicago, from 1 year to 4 years; 3 out of 20  — or 15% — have lived in L.A., for up to 1½   years; 2 out of 20 — 10% — have lived in Cincinnati; 8 out of 20 — or 40% — have lived in Dayton] What were your WSU PATP classes that helped the most in your theatre career?      *All the stage work - main stage, student productions, black box downstairs, etc. Also movement, stage combat (which landed me some great fights at Actors Theater of Louisville), comedy class (with Mark Olsen), Shakespeare with Bruce, working on student films, that f-ing class that made me get out of bed at 7:30 in the morning freshman year -warmups? SOB's. Acting class freshman year with Leslie Felbain was great too.   *The scene study classes   *Bruce Cromer's acting class, Bob Hetherington's directing class; From time to time, Sandy Crews' IPA/dialect class pops up!  Being in many productions was probably the greatest preparation, but would have been less effective without the classes to support the practicum work.   *Specific acting quarters (comedy, in-depth character study with Bruce Cromer, Shakespeare), speech, and dance with Suzanne Walker   *probably movement classes   *I remember the reason I applied to the program in the first place...I liked the idea that we had to audition for every Main Stage production every quarter. That to me was essential b/c my background was solely conservatory with very little auditioning experience - some but not enough to feel secure.   *Ritual Theatre.     *Anything taught by Bruce Cromer. I still use your Laban techniques and many of your teaching methods in my teaching, performing, and directing. I use a lot of Mark Olsen's warm- ups and Commedia work. I have been in a Commedia troupe thanks to Mark and I teach it as well.   *Shakespeare, Period Styles, Stage Combat, Ritual Theatre, Theatre History   *Anything that Bruce Cromer taught. Sandy's Linklater technique voice classes. Writing, Directing and starring in my OPS. Voice lessons, singing. Dance classes. Mark's comedy class. All the stage combat classes were awesome!   *Audition Class, OPS (although we didn't have a class to help us - it gave me confidence in my ability to create opportunities for myself), Shakespeare, Dialects   *Bruce’s classes, experience acting in a variety of settings   *Stage combat (maybe not as an actor, but as a performer definitely), any class that involved scene work with another person; anything that Cromer taught; Shakespeare class   *Laban with Bruce Cromer. Great training for film/tv work btw as well.  Movement with Mark Olsen;  Improv with Lenny;  Shakespeare with Bruce and Eric Engdahl   *Acting, Voice and Speech, Movement...I couldn't pick a single one   *Bruce's professional world class. All of my classes helped shape my career   *Movement classes with Mary and Bruce.  Objectives class with Sandy.   *Voice--especially for dialect work; Movement---especially for classical work; Acting--- especially work on tactics, objectives, subtext; Singing Lessons and Dance classes; Make-up class   *The practices and strategies of the Audition class during sophomore year still helps me get jobs. The contemporary acting quarter has also been beneficial to me since I tend to work on brand new plays. I've also been able to get call backs for various genres due to the Period/Styles movement class.   *I think (perhaps) the classes that impacted me most as an artist were the ones that have helped me continue to create art. This may differ from the classes that have helped me most as a professional actor. I feel like I benefitted a lot from process of creating my own one person show. I also feel like I continue to implement my movement, speech and styles training continually. Artistically I feel like I benefitted a lot from the Artist Way work and ritual classes. The Robert Cohen ACTOR'S WAY is a book that I am so grateful for receiving insight into and I use it all the time. As well as the Laban work. As a female in the profession, I was greatly empowered and inspired by the women playwrights classes--I feel like that was an introduction to more perspectives and a wider lens of creating theater that was left out of the cannon. I feel that the audition classes, professional world, voice training and dance and film classes are paramount to exposing actors to various ways to work as a theatre artist post-college. I think there should be more opportunity to taking more of these classes that you gravitate towards.   *Doesn't really apply to me... but I think they all apply to "real" life as well. Class which was most memorable was Mary Donahoe's Artist's Way Class - even as I don't currently pursue acting, the touchstone for my creative side that this class gave me has seriously been invaluable. [1987-1999 Sample Results: 5 out of 20 said Voice/Speech (specified - 1 Linklater, 2 IPA/dialects); 4 out of 20 said Stage Combat; 2 out of 20 said the stage productions; 4 said Comedy/Improv class; 6 said Shakespeare class; 2 said Warm-ups; two said OPSs; 3 said Dance classes; 2 said Objectives class; 2 said Singing/Voice lessons; 3 said Laban class]   *Stage Combat - I have bumped up my status in shows because of this. Rock on Bruce!; Shakespeare voice and speech; Shakespeare acting; All acting course work with monologues   *Learning to speak Shakespeare was great for me, and also any class that centered around auditioning technique. *Wow, I really do feel that ALL my classes offered me what I needed to proceed to the next level. I would have appreciated a business class to delve into the semantics of this field, but artistically--my classes and shows at WSU prepped me very well for what awaited. "Do it all" is what I see here in the City...but have true acting at the core of it all.   *My private voice lessons and acting musical theatre classes helped me the most to develop me as an artist.   *dance classes, musical theatre audition class, musical theatre scene class (dialogue going into and out of songs in scenes from musicals), all scene classes   *Director: Acting Warmups, Jamming, Viewpoints, Mask, Any of the classics (Greek, Chekhov, Ibsen, Shaw, Shakespeare) OPS, Stage Combat, Professional World   *Mary's objectives, Sandy's jamming, Joe's score and libretto, Greg's independent study- writing OPS.   *The training itself.  ACTING, movement, voice/speech, objectives, jamming, etc.  Because when you get out into the real world and start working and auditioning with scores of "actors" you realize how untrained many people are.  The statistics only look bad for actors because there are so many people out there giving us a bad name that have never worked to refine their craft.  It becomes very encouraging and inspiring to know that your theatre training roots have so well prepared you for performance. ...I will say, the "acting professional world" class prepared me, but I didn't hear or understand most of those lessons until three years down the road- c'est la vie.   *Acting classes mostly. The film/tv class, Theatre Rep., Professional World.   *to be honest... there wasn't a theatre class that didn't help me. So far, I've utilized almost every theatre class I took in either my professional life or personal life;  most of the general education were useless (i.e.- most of the science classes and labs, math in the modern world)   *none this far. Just the faculty.   *Voice lessons, Joe Deer's Musical Theatre Acting Class.   *Alexander (knowing how to relax and calm down really helps in this business-I still haven't got the best grip on that yet!), voice lessons (I would tell students going through the program to start working on good audition songs your freshman year-think outside of the box and learn how to put your own spin on things, that has really helped me in auditions).   *Acting Professionally, all Mary Donahoe, Joe Deer and Bruce Cromer acting classes.     *Acting Professionally, senior year acting class to prep for auditions and interviews. I've taken many bits and pieces from every class and every production that I did, but that class made me capable (or just aware) of being a normal human being at auditions/interviews.   *Objectives, Shakespeare and Shakespeare Movement, Combat, and Acting Professionally (especially the interview practice).   *Bruce's ACTING PROFESSIONALLY, Joe Deer's acting professionally, Shakespeare, SPEECH (IPA), jamming, objectives, character class, voice lessons   *Acting in the Professional World (Bruce), Suzuki/Viewpoints (Greg), "Personalizing Class" (w/Greg: the other group of sophomores had Audition with Mary. we used Eric Morris' book No Acting Please.), Geology (Kidding), Singing Lessons (Jamie Cordes).   *Joe Deer's showcase class, Greg Hellems segment on auditions in Musical Theatre acting, Joey Bates' Dialect class, Jamie Cordes in general, Mary Donahoe's acting classes, and Terri McWilliams' Musical Theatre Dance Styles, among others   *Shakespeare classes!!!!! Stage combat, Ibsen Chekhov and Shaw, Comedy of Manners, Musical Theatre, etc.   *acting professionally, rep class, improv, singing for the actor.   *Acting Professionally was a big help! I find myself taking a lot from my voice and speech classes as well as voice lessons and musical theatre class. Stage combat helps a lot too, if nothing else just for the endurance. I suppose I took a little something from every class, I really don't feel like any class was a waste. I just resort back to things I've learned when I need them and right now I'm performing every other week ( I switch off between performer and director with my tour partner) and it's a musical with a little bit of stage combat that I have to teach to the kids.   *Objectives and MT Styles [2000-2007 Sample Results: 2 out of 23 said Modern Realism (Chekhov, Ibsen Shaw), 5 said Stage Combat; 4 said Objectives; 9 said Acting Professionally/Professional World; 7 said Singing/Voice lessons; 4 said Jamming; 7 said Shakespeare (out of these 1 specified the Voice/Speech class and 1 specified the Movement class)] What classes do you feel are needed in the PATP?     *Networking - how to keep looking for work.   Auditioning. I think everyone should leave WSU with a stable of well rehearsed Monologues so they can go to SETC and the like and nail some auditions.  Also Surviving. NYC/Chicago/LA or where ever they go. There will be some lean years for most, so what to do in those time would be good.   Mental Health/Support. Seriously. I think part of keeping your career going (in what can be a brutal series of rejections from time to time) is mental fortitude. I think making graduates aware of resources like therapists and the like is important. When they have dark times (which I think is inevitable) knowing where to turn where ever they live can can keep people on track both career wise and mental health wise. It also helps keep you on track with your goals to create either an artistic support group or to be seeing a professional when you're young and out of school. That way you know every week/month - what am I doing to get work? What can I do better? It keeps structure in an unstructured world.   *Maybe something having to do with what life is like living as an actor, how to deal with the "business" of the business, strategies, how to support oneself, the services that are offered to actors in New York and LA that, I think, are invaluable, in terms of how to find affordable housing, how to get health insurance if you don't have it, "survival job" resources, networking stuff, someone to do your taxes for free....stuff that people don't really know about right off the bat.   *Writing for the theatre. A class that covers different approaches to writing  for the theatre (playwrighting, solo writing, using improv for writing. I  could teach it once a year. Good times.)   *More acting for screen. A "business" course.   *I really think there should be a business course that teaches actors what the business really is, how it works, how to market yourself, and how to sell yourself in a casting director's office. Honestly, I think there were maybe three conversations in the 6 years I was in school that pertained to that. It is a serious business that requires a lot of money and you must have a business sense in order to really make it in the business. It is not all "art." In fact I would say only about a quarter of it has anything to do with talent or ability   *There should have been an audition prep class...for all kinds of auditions. The difference between auditioning for a commercial -vs- regional theatre etc. Diversity in the casting would've been nice too. More camera work would have been great too. See how we look on video -vs- film -vs- digital etc. Wished we would've been more actively involved with the film dept. Should have been some sort of collaboration with the 2 depts to have all acting majors have to do at least one student film. Oh and doing lame old 70s shows and soap operas was not helpful in any way (our TV/Film class at the time). We should've worked from scripts with parts that we would've seriously been auditioning for. I remember doing Mary Tyler Moore scenes and scenes from soap operas that weren't even on anymore. Or doing scenes on film from Kramer vs Kramer - what the hell? How was that preparing me? I was in no way at any time in that near future going to be going up for a role like that. ...Felt like we should've been required to take at least one directing class (like a fundamentals or 101) and have to direct at least one scene. Felt like the dance classes we took were not really geared to what actors should know.  Particularly in my year we got screwed out of an OPS class and yet we were expected to write, produce, direct and act in our own show without any education in any of those criteria other than acting. That was a huge mistake. If you're not going to offer the class then drop the requirement of the OPS or provide the necessary tools like a directing and writing class. I think guest teachers more often would've been great - just to get some fresh perspective particularly from working professionals. A business class about the business of the business would've been great. Would've been nice to know what to expect, what to avoid etc. Would've been nice if there was an emphasis on all the different markets there are for this business and that Broadway and Hollywood are not the be all end all to feeding your soul and your family. Would've been nice to get professional photographers and agents in for advice and info. Would've been great if there would've been suggestions as to what we should be doing in the summer for work instead of always resorting to food service or retail (i.e. usher at a theatre, acting camp counselor, work for an agent or photog, stage managing, box office etc). Another thing that would've been nice is if the staff took into consideration what productions the students want to do. It happened some times but not enough. I think the Warm Ups class was ridiculous (no offense). With the kind of schedule we all had to keep, getting people up that early was just cruel and unusual punishment. It felt more like boot camp. No one saw the purpose. Not everyone is a morning person. Not everyone works out the same way. The requirement should've been something anything else. It wound up exhausting people for the rest of their day by noon. 5 days a week no less. If it had to happen then it should've only been on the days when there was no dance class scheduled that day. So instead of everyone having to go to Warm Ups everyday just have the class that didn't have dance that day attend. Not 8am Warm Ups and then an hour or more later take a dance class - it was too much. I remember that. 8am warm ups and then 9am dance - breakfast rarely seemed to make my acquaintance and when it did it wasn't until after 10am some days.   *The reality of the business, and I mean REALITY REALITY.  It’s constantly changing, so I think it’s difficult for the faculty to be up to speed. I think this web page is in an effort to keep informed. The thing is, Bruce, all of the art that’s made at Wright State IS what taught us. Taught us to love the theatre, love acting, admire great playwrights.  And technically we were taught, proficiently.  It’s the culture, it’s the Country, and it’s the business for which we were never fully prepared.  What’s romantic, what’s poetic is that this strange, enigmatic institution in the middle if Ohio could essentially show us what THE THING was.  Whether or not we were willing to sacrifice our lives for it-for it’s survival-was/is up to us.   *Not enough technical theatre. I had no idea what a gel was until I started directing. Actors need to know more about general theatre practices to be successful in the real theatre world. Only when I started to gain these general experiences did I start to get work. I think that there needs to be more emphasis on the different ways for an actor to get work in theatre because these other ways will open more doors. And frankly, (unless you become a "star") directing, design, technical theatre, stage management, choreography, music direction seem to be much easier ways to pay the bills. Actors are a dime a dozen. If you want to have a family and not live in NY or LA you have to more of a general theatrical background. More movement theatre. Are you offering Suzuki or Viewpoints? I wish I would have had that training earlier. You ought to offer a classes in the dreaded children's theatre, more puppet and mask work- Japanese theatre.. I know a great instructor for these:)   *A more in-depth Business of Acting course that focuses on professional behavior and persistence in the business rather than creating a budget for a city   *I don't rightly remember there being specific tracks for people. Some people were clearly best suited for TV/Film, others for Shakespeare and others for Musicals. Perhaps a better focused curriculum for those various choices would have been better than making us all try to be triple threats.   *Even more "real world" classes. More commercial, on-camera and voice-over classes as this can be an actor's bread and butter. Teleprompter and ear-prompter work would have also been helpful. Don't lose the OPSes! Even now I'm considering doing another one in an attempt to be seen by agents.   *More reality testing, speaking to real actors in the field, establishing more support once you leave-like the film department has, where everyone looks out for each other   *More musical theatre focused classes (at the time there weren't any but there are now from what I understand). I think we could have benefitted from some writing classes as well considering for 4 years we were trained as actors and our senior thesis, in order to graduate, was mostly based on what we had WRITTEN.   *More career prep classes. Business of the business. More investment in making the transition from college to the real world.   ...It has been 12 years and Wright State's name recognition in major markets (at least NY and LA) is still sadly very low. We didn't even have a showcase when I went – though I know that has changed.   *More on auditioning and on-camera work.   *more audition classes   *I always wanted to have some improv classes…but it’s all good because I took some when I got out.   *More practical, real-life how do I market myself and make it in the business type of coursework. We had Bruce's Real Life class which helped, but I think more is needed in Marketing yourself and the psychology of making it as an artist.   *I would've liked Professional World to have been a requirement. Since I audited the class, I had a lot of information readily available. But everyone should be informed that where you go and what you do is so important those first few months out of college. It also helps you know the market you are getting into. Chicago is a huge non-union town. The majority of union actors that work, spent years in the non-union circuit. Those union actors that move here from another market have an eye opening experience when they get here and can't get work because no one knows them.   *Yoga classes!   ...More experiences of creating your own theater from the ground up-- especially in collaborative setting. I think all actor's should be required to take a directing, more tech classes, theatre education classes (how to teach theater to others), and playwrighting classes. I wish I was required to take a computer class, a business class and a theatre management class---these are all skills crucial to the real world. An internship would be awesome, too.   *I think it's more important to put emphasis on real world planning for your career during the latter half of the senior year rather than a one-person show (at least during my time there). I think the OPS is a valuable experience... but should be done possibly end of Junior/early Senior year - and even opted out of if professional employment can be obtained instead which is even more valuable on a resume. Having the opportunity to put that one foot in the pond while still having the guidance of the professors would be a huge asset. Getting in touch with yourself as an actor and your art is for the early years and seems to me the easy part. No matter how "good" you are... if you don't know what exactly to do when you get out, life will inevitably take over. The professional world classes should be a required series with real life projects that require students to leave the security of the campus and possibly interview, audition, or do a mass mailing to agents to the city where they plan to relocate to. If they can't learn how to fight for a job when it will get them an "A"... it will be even harder to do it when it's for only $50.   ....I also think that all students should not leave without a prepared "package" to market themselves. Headshots, a handful of different styles of monologues/songs that they know stone-cold, even a demo. Yes, it takes time and money... but perhaps as a group student project discounts could be found??? Get the DT's and Sound guys involved even. Does WSU have photography students? Etc. [1987-1999 Sample Results: 12 out of 21 — or 57% — said business classes; 4  – or 19% — said more audition classes;  4 — or 19% — said on-camera classes]   *Commercial and film acting - things like teleprompter, ear-prompting, and working with scripts that don't have substance and learning how to give them substance. Check out The Actor's Network website. They are a LA based organization that tackles the business of acting. They are fantastic with cutting the amount of work an actor has to do to find work in half.   *I think that the “Living as a professional actor” class should have been a requirement for us.  Most of those types of things I had learn for myself.  Also, our class really needed a better speech/voice curriculum.   *The business class and possibly more networking opportunities with agents and casting directors from the major theatre cities.   *Typing. Students in the program should be told more bluntly what their type is. I know one person who stopped acting, because they were fooled into thinking they could be a leading man by wsu when they were a character actor. They became disillusioned after never getting called back, and quit.   *Business of Acting - how to market yourself, how to submit yourself to agents and casting directors, how theatre casting works in NY (agent calls, Equity calls), how to search for commercial and film work in NY, when and how you should use postcards, how to keep up to date on what's currently happening in the theatre industry   *Directing, writing, and design. No actor is ever just an actor, so why train someone to just act. We had some options, but let's be honest, they weren't easy to schedule or find. PATP should also cover voice over work, more auditions, Video Games, Collaboration, and creating your own company.   *Much more acting for the musical theatre people--with a varied student profile. It became counterproductive to work with the same group of people for the last many terms. More Audition class with cold reads, practiced scenes with a variety of teachers and a variety of students (not just one teacher and the small group that we worked with every term.) Also, a class where we worked all term on a show and then mounted it for an audience as a final grade. Bring back the OPS class if it hasn't been already!   *More time with current industry people.  I would like to have heard more "from the horse's mouth" ie: casting directors, and agents.  Because I left with a very confused understanding of how I MYSELF would find a place in the profession.  I knew why I wanted to do what I do, but I would like to have heard from a wider range of people than just the faculty.  Also, more FILM/TV/COMMERCIAL classes-that's the one easi-ER way to make money in this business, and it was the one class we had way too little of.   *There are ALOT of WSU grads out here in LA trying to be film actors. I think more advanced film/tv classes past the introductory course would be good for the students who are interested. More classes with film students and actors combined is good. Donohoe gave a workshop where the film students got to direct the actors and it was quite insightful.  All in all I think I got a great education though.   *More classes on the business of the business! I felt prepared as far as technique is concerned and having a good grasp of the art of what we were being taught, but there were certain aspects of the business I had no idea existed.   *Sight singing and professionalism/equity procedure   *A course to helps you transition into the "real world." Not just New York or as a professional actor, but a class that helps people figure out what to do with a Musical Theatre degree.   *Acting for television and commercials and an improv class (I have been asked in auditions to add some of my own stuff to a monologue I was given, on the spot. Also, it keeps you on your toes and in the moment.)     *I would have liked at least two quarters of musical theatre performance class.   *WSU would benefit to have a class that simply forced you to read NEW plays, OUT LOUD. This would help young actors stay in tuned with NEW writers and get comfortable doing cold reads. I loved having Rep class for actors introduced my senior year. I wish this class had even more emphasis on TAKING DIRECTION (even if it's not appropriate direction). The ability to take ANY direction given, and do it quickly, has become a invaluable skill. Also, Acting Professionally could have been offered in a 3 quarter session. The more, the better.   *There should be an intensive Audition training program because I think that while WSU gives you a great idea of what you CAN do (meaning, how many different characters you can play), it doesn't emphasize enough of what you SHOULD do (meaning, what your type is and how to use that to your advantage). I see people who are not as good as actors as people from WSU have great success simply because they know their type and how to work it in the audition room.   *A more intensive audition class for the acting majors. Our class kinda got gipped. -and I wish that acting professionally would have given us more of a 101 of how a regional theater company is run, or how broadway is run, or the basics of film projects. I learned so much about who was who from a friend of mine majoring in theater management that saved me from making a real ass out of myself at galas and meet and greets at surrounding theaters. -also would have loved some more tax help as to exactly what to file. We brushed over it, but the basics ins and outs would have been helpful.   *"How to say 'No'" class   *A better showcase, film acting classes   *acting for film. more singing training for acting majors. a commercial or  vo class for actors.     *I could have REALLY used more classes and workshops with auditioning and marketing myself in the business   *Audition classes, that's the part I feel the least confident in and the most clueless about   *A intensive audition class the junior year. [2000-2007 Sample Results: 6 out of 23 — or 26% — said business classes; 5  – or 22% — said more audition classes; 6 — or 26% — said on-camera classes] Do you have any regrets about attending the PATP?      *I have no regrets.   *No. No regrets. I learned so much both as an artist and as a person. Made some lasting friendships and a support group that carried me through years of NYC. I would say the one negative of WSU's PATP is at the time (1989 for you kids out there) there wasn't much of a network to grab onto when you left school. I hope that's changed over the years and now people have people to show them the ropes where ever they land.   *No.   *I am frequently asked by young people (usually musical theatre fans who are  looking at schools) where I studied. I am always happy and excited to talk about WSU. I loved my training and all the opportunities that I was so fortunate to receive there. I hold my time there in very high regard. Though  I recognize that different people need different things, it was the right  program at the right time for me.   *Not in the least. I have a vocabulary and frame of reference now for working with the Boston film community for my avocation. I also use performance techniques daily in my work as a librarian and professor, particularly when presenting at conferences. Plus, I get to see my college buddies on TV, film, and big fancy stages. And I have a leg up in karaoke.   *I had a wonderful time at Wright State. The main reason I transferred from OSU to WSU was so that I could be given more of a chance to actually be on stage. The Osu program was more geared toward their graduate students at the time. I definitely got stage time at WSU. However, I was somewhat spoiled by the funds that were available to make the WSU productions so spectacular. When I first started acting in Chicago there were very good theater companies that had no money and therefore the production values were very poor. It was frustrating and confusing for me as I really didn't learn in my undergrad career that the "real" world of acting was actually much more shall we say "rustic." I will say however that almost everyone I know that actually has had some serious film/tv success has come from from OSU. I wonder if they addressed the business a little better or perhaps offered their students more networking possibilities. Who knows. All in all I would say that WSU was a great school.   *No.   *I wish that the musical theatre program would have been around when I was at WSU. I don't regret my education as a whole but I wish that there wasn't so much faculty turnover the time that I was there. With the exception of Bruce and maybe Mark -I never felt like the faculty was fully invested in my success.   *No, quite the contrary. I am always amazed at the quality and level of training I received; it made the choice of graduate schools quite difficult because many of their curriculum was a repeat of my WSU training.   *i can't help but feel that i was given the short end of the stick. either the best teachers weren't there at the time, or they just didn't focus on bolstering what talents i thought i had in the classroom with giving me opportunities on stage. I was penalized for being vocal about my distaste for a Particular Teacher, and never really vindicated in my opinion. i wasn't convinced that the teachers i had were really there because they loved to teach but because they couldn't find work as actors. (There were exceptions.) I felt that other respected and talented directors had favorites that they used over and over and didn't allow many others to get the opportunity to be on the mainstage. When i was given the opportunity it was far too late. And when that Particular Teacher — directing Taming of the Shrew — offered myself and a classmate parts in that show, they were extremely minor and i got the feeling that if we didn't babysit his kids the night of callbacks, which we needn't attend (wink wink) he would have given the parts to two other poor schmucks, which actually would have been fine with me. Another frustrating moment for me was when the director of  My Fair Lady told me i was not given the part of the maid Mrs.Pierce was because of my height, or lack thereof. I thought this was bullshit, and that at the very least, someone who could sing (myself) should be in a musical as opposed to someone who could not really sing should not despite their higher stature. surely in an academic environment one could be given the chance to do a minor role like that which could have perhaps boosted my confidence just a little. instead, i was relegated to the chorus, which i really didn't want to waste my time doing, and begged to get out of, and worked something out so that i could get paid for dressing the show since i worked at the costume shop. so that was really a good deal since i was the only person paid to be in and work the show! and anyone who says "there are no small parts just small actors" never had a small part. funny thing is that later, i did a community production of Pygmalion playing none other than Mrs.Pierce and i tore the house down if i do say so myself. anyway, these are little things that happened but added up to me being really pissed off. but really my regret is that i didn't at first get myself a liberal arts ed. at some small new england college and then if theatre was really what i wanted after wards, i could have tried to get into a good masters program someplace. that seems like a better way to go. i hated the town, i hated the environment. i was not so crazy about the program, though i suppose i did learn a lot. i probably should have changed my major to costume design or construction because truthfully i think i had more fun doing that than acting. and maybe that was my own mistake which wouldn't have mattered no matter where i went. sorry, you said to be brief. impossible!   *Absolutely NOT. Once I was out in the world I immediately started and continue to realize that I got a really great, well-rounded education.   *No   *Are you kidding? If I could, I would go back and do them again in a heartbeat. I regret nothing I ever did in the PATP. They were the best 4 years of my life and I will remember them vividly until the day that I die.   *Nope.   *No. Miss them from time to time   *not at all, great years and I was very fortunate to have great mentors   *HELL NO   *No, but I do not feel I was ready for it at that point in my life. I think I would have benefitted more from getting a BA and then moving on to an MFA program OR having done the BFA when I was more mature to handle it, but that's not the program...more me.   *I have no regrets of the time I spent at WSU. What I hope for future students, especially those ready to graduate, is for faculty and staff to teach the cold hard truth of this business. It's fine to help people love themselves for who they are, but in the real world, if you are an overweight, young, female musical theatre actor, you just aren't going to work unless someone needs variety in the chorus. There are very few plays and musicals with non- descript female roles. And unfortunately, when a small theatre's shoestring budget is $40,000 for a show, no one is going to take that many chances. One of the hardest things to hear when I got to Chicago and began the agent search, was that I was unmarketable. They all told me I was talented and to come back in 10 years, or if I decided to lose weight. I wish I had known that in college so I could've prepared myself before I came to Chicago and spend another 6 years learning that lesson.   *Absolutely no regrets! My only personal wishes is that I would have experimented more, questioned more, sampled more while I had the opportunities and the resources that were available.     *No not at all. It was the best time of my life. Though personal circumstances have kept me from acting for now, like I said above it's a touchstone to my creativity that I know I can access again when I'm ready and able to. [1987-1999 Results: 15 out of the 21 responses — or 75% —  categorically said no; 5 out of the 20 — or 25% — articulated specific regrets.]           *I love the politeness of this question. It's a tough one to ask, so I applaud you for it.   I don't regret my years in the PATP. The first two I spent trying to leave, but when I was able to visit other schools in NYC and see the lower level of training or quality of the students, I came back to WSU with renewed enthusiasm. My only regret now is that I didn't keep better notes.   *Not at all.  The program gave me the basic tools I needed to be a working actor   *Not at all, for all the good and the bad, I was meant to go there.   *In hindsight, I would have liked to be more of a self-starter in college, to make my own opportunities--do my own cabaret, one-act, two-person musical, etc. Also, in NYC I feel I have made much more progress in my voice lessons (singing) than I ever did in college (and more progress at auditions for singing roles). Part of that may be due to differences in myself, but I can't help but think that part of it is due to the vocal instruction I received at WSU.   *NO wsu is an excellent program. People in NYC know about it. They know the name Joe Deer and Lee Merril, I have been asked about those names on my resume several times.   *Not one bit! I could have gone to bigger name schools in much, much larger cities; but I was allowed to grow and go my own way at Wright State. I was in a cattle call audition at NYU where they never looked at me. You (bruce) gave me a hug after my audition. That told me you were interested in teaching and helping the person. Any regret I have is simply over the location and opportunities available. When I decided to stop acting, the program was flexible enough to allow me to grow in other ways.   *In ways it made me so much better...in ways it made me so much worse... It took away my natural responses in my acting, the fact that I was a natural--it made me think a bit too much. But it empowered me with a language to communicate with fellow theatre professionals, and to explore material in a variety of ways. The training greatly increased my capacity to direct and i use what I learn almost every rehearsal with my players! The best part of your program for me was the time with Tina Landau. Priceless, really. It made me a better actor and artist, surely. Thank you for all your time and hard work with each of us. Meanwhile, I am learning to return to the innocent that I once was as an actor.   *Not at all.   *Not in the slightest. There is always the regret of not utilizing the directing lab more.   *not at all!   *Never   *I regret letting WSU ruin my confidence as an actor.   *Not at all! I loved my years at Wright State and for the most part I felt very prepared to head out into the professional world.   *Not really. I do wish I had been able to participate in more musicals since that is such a huge part of the small professional market.   *Absolutely not. The more I'm around young (and even older) actors in the business, the more I realize how great our training was. I liked that we had many different lessons/techniques to choose from. VERY RARELY do I see young actors with stage combat, classical acting training, Alexander training, playwriting, as much voice and body training, Suzuki/Viewpoints, etc. as we did. Even some graduate programs do not offer as much. The only regret I have is that I wish we had more knowledge of what was going on in the business TODAY. I felt most professors could use a brush-up on CURRENT theatre happenings/writings/techniques/politics.   *God no.   *Not at all. The only regret I may have is letting some people's opinion of myself (including professors) get in my way while I was there. I was told I'd never play an 18-year old, and my 1st real professional job after I got out was playing a 17-year old. I also felt pigeon-holed into that "just an acting major" thing, and I've gotten numerous musical theater jobs since leaving WSU. As far as training goes though, I don't regret a day of being apart of WSU.   *Nope. Had a ball and learned a lot.   *No, I am very satisfied. I got a lot out of the program, and made lifelong friends   *no.   *Not at all!   *Nope, I'm glad I took year off so I could figure some personal things out and then come back sure I wanted to do this. I would highly recommend to any PATP student to take a year off if they are the slightest bit unsure that this is not what they want and then go back if they decide it is. You're a lot more focused and the classes mean more to you.   *No   [2000-2007 Results: 18 out of the 23 responses — or 78% —  categorically said no; 5 out of the 23 — or 22% — articulated specific regrets.] Other comments? 1987-1999   *It's a real service to new grads to be extending the network of people that are out in the real world. I went to a WSU film school reunion (crashed it really) and it was great to see all the old faces. I think it's important for people to take advantage of this. Even if it's just getting some help landing a day job when you first arrive in a new town.   *I went through a period of time where I had some resentment about my time at Wright State. I felt like I was pigeonholed there and not taken seriously by some of the faculty. Perhaps I wasn't taking my craft seriously enough at the time. I now look back and think that I had a great education as I look at some of the other programs in Columbus.. OSU, Otterbein (which is very similar to Wright State) I just wish that maybe I had been there when there was a little more stability. The department did something right though, I work in theatre as my day job and lead a full creative life while having a husband and a six and ten year old. I am so grateful for the things that I learned from Bruce who is why I went into teaching and movement theatre and I have taken bits and pieces from the rest of the faculty as well. I hope to make it to a reunion one of these days but it's always scheduled when I have a show!   *The conservatory nature of WSU's program is one of its chief assets. Also, having "working professionals" as professors allows the students to receive both relative and accurate life training   *I will say that i learned a lot about myself and gained some long lasting friendships which i always will be grateful for. Life is full of lessons and mistakes. The trick is to learn from then and try not to repeat them. I am grateful for the effort that was put into giving me my education. i got out of it largely what i put into it. i could have done things differently. i wish that i had left with the confidence necessary to go out and try to become an actress as i had set out to do. but disillusionment and disheartening disappointment set in mighty fast i am afraid and i didn't have the fortitude to plunder on and try to succeed under such vast scrutiny and adversity. Lucky for me, i live a very happy, comfortable life and it isn't over yet. Who knows? I may try again after my children become more independent and I have more time on my hands.   *You can't be to hard on acting students. The real world is BRUTAL. You start to get used to feeling REALLY good about an audition and never hearing anything. A thick skin, the ability to be honest with one's self about how much you want to be in this business and knowing what you need to do to make yourself marketable is priceless.   *I write this at a critical time in my professional life as an actor. Probably why I decided to fill this thing out-the kind of thing I always avoid.  I am not yet 40. Still late 30’s. Okay I’m 39.  I have not made it.  Difficult to make it in the theatre. In America. 2007.  I was never interested or willing to do anything other than what felt true. Real. Authentic. Beautiful plays, hopefully done well. I avoided commercials entirely (in NYC for 7 years off and on), and even agents in favor of my own company. And I have worked. Consistently.  I hurt economically, let’s say. Have learned to live around that. I also have the luxury of independence. Beyond the hoards of woman that have thrown themselves at me over the years… ...I would like to be plucked out.  I HAVE in many respects made it.  This has been the most successful year of my life in terms of work. Both in artistry and constancy.  I felt that I came into my own this very year. I haven’t stopped since January and it will continue through December.  THIS is what concerns me: the doing of the thing! And persevering.  And figuring out how to live when those around you are buying homes and cars and having children and fighting wars and you’re still struggling to make rent.  Because it is this god damned, relentless reminder that the actor is STILL somehow a second-class citizen in this culture, somehow expendable, lest he hit that can take the wind out.    ...I don’t use that word, hit. I don’t like it.  It’s too sudden, like all of the sudden something else.  And while that may be true from those who are doing the hitting, those great pluckers out, I still maintain that we are involved in a very sensitive, careful, rigorous and sacred process-not to be diminished by the illusion that someone else has given something to you that you so clearly have earned yourself.   ...Sort of the opposite of, You cannot sir take from me anything that I will more willingly part withal!   *Completing this survey gave me the opportunity to remember some of my time at WSU. I almost get teary eyed thinking about my time there as if it were yesterday. My best friends in life right now are all people I went through that program with and I have the PATP to thank for that. Who on earth knows where I'd be right now or what kind of person I'd be if I hadn't been accepted to the program. I had only been performing on stage for approximately 3 years at the time I auditioned for the program and yet I still managed to get in AND get a scholarship to attend. I miss everything about WSU and would do it all over again in a heartbeat   *It's funny...but just as I got to my e-mail this morning two of my dear friends just landed Broadway shows. They will become officially the only two actors I know who are just actors -- but even they will only have contracts through January and have to start all over again. ...Absolutely commercials are a god-send. I think anyone who is intent on trying to make a career as an actor these days MUST do them -- along with television and film. The simple fact is that one day shooting a three line non-union commercial pays more than a standard week on Broadway for the "no-name' actor. There are far more commercials being shot than plays being done and always the chance of getting really lucky and hitting a national commercial or something like that could mean you never have to work a "survival" job again. The final thing is that everyone has a place in commercials as well -- regardless of type and I will be perfectly honest and say it requires almost no talent whatsoever. For example -- I went to a commercial audition for a European spot that starred Richard Gere last week. I was called in because they wanted someone that looked like an office computer geek type guy. The "audition" consisted of standing in front of the camera and slating. They then asked if I could ride a bicycle. I responded "yes" and that was it. Based on that audition someone is going to land a one or two day shoot that was going to pay in the neighborhood of $3000 dollars. Enough said.   ...I have stopped doing Regional theatre for now myself. The economics don't work with living in NYC, and I would have to give up a.) the opportunity to get something really great in NYC during the time period b.) most likely my girlfriend and c.) a stable life of any sort...health insurance etc. The unfortunate reality is that regional credits don't mean anything to NYC casting people either -- unless we are talking about leading roles at the handful of MAJOR theatres in the country. My agent doesn't even submit me for regional work unless I ask her -- as she can't make any money either. *The years that I spent at WSU studying were some of the most fruitful and fulfilling experiences of my life. There are many times that I fall back on the work and technique that I cultivated there.   *Training is so important, however, the most important thing an actor needs cannot be taught, which is persistence. Never give up!!   *Wright State was a fantastic playground for me, but the culture of the PATP was not always indicative of the real world, at least my experience. You are going to work with incompetent people. Not every play/musical you work on is good. Sometimes they are downright awful. The most talented person doesn't always get the job. When money is on the line, risks aren't going to always be taken. The actors are the last ones to be paid. Sometimes dressing up like a chicken for a children's show is the better gig over Willie Loman in Death of a Salesman. ...So much focus is spent on ACTING. But I have found that the most lucrative work is actually as a choreographer. If you are looking to be an artist and that's it, make sure you can express your theatrical art in as many ways possible. Most of the successful artists in Chicago, the ones who work constantly, are those that do more than one thing. They are not only actors, but musicians, composers, playwrights, directors, choreographers, and designers. The more hats you can wear, the better chance you have to work. ...Oh, and take a computer class. Desk jobs have better benefits than waiting tables.   *Just the more you can help them spread their wings the better. 2000-2007   *I'm glad to see that graduation numbers are down. I hope that is because there are less students rather than a larger ratio not graduating. My biggest complaint about my years at WSU were the end, when our class of 8 were dwarfed by the two years below us. It really felt like we graduated with the year before us. That was why I chose to use my last quarter to study in London, UK. If I could impart any wisdom to all the classes it would be to take charge of your education. It is what YOU make it. Even if you are a senior, you still have time to use the time and space available to learn and explore. If you don't make the opportunities they won't happen.   *I think the PATP is a great fundamental learning experience for actors.  As I have found, you learn as much (probably more) through the experiences and hardships of trying to be a successful working actor.  I do strongly believe that this program prepares young actors for a world that is to come, good or bad, without any sugar coating, which is something now that I look back on and appreciate.   *Thank you for your interest in my humble opinion :) I actually just got home from a nice gig doing Les Miserables, so this was fresh off a job and now, back to the grind!   *WSU is a great acting program. There just needs to be a little more tough love. it is an extremely warm program with profs who love their students, but it could be a little more agressive. I do think however that directing students away from what will get them work just to broaden their horizons is silly. I was always steered away from singing ballads, and forced to sing uptempo songs to "stretch" me. Ballads get me cast over and over again, it is what I am hired to do. Uptempos are not my thing. I knew that then, but was steered away from my niche. If a student knows what they will be doing (as I did having gone to ypas and having been trained by artists from julliard, yale and broadway) let them perfect that, instead of trying to "stretch" them into areas they will never be cast in for real.  having said that, I suggest wsu to everyone I meet, and the program is known in the buisness.   *College, like every other experience in life, is what you make of it. New York is also what you make of it.   *Thank you! Thank you! Thank You! You do good things, and you should be very proud of your involvement in all of our lives. You rule, Bruce "Zeus" Cromer.   *Much of what I said is clearly something you all address already. I think the program has many great things. More great than not. Academic art always presents the same problems. How to keep it fresh and meaningful yet grade it and evaluate...sure, it's tough. I had a handful of exceptional teachers there who I thank. I had a few who weren't good people, but were good at what they do. We learn from everything.   *I hear a lot of people talk (including my current agent) about the current state of actor training programs at universities and everyone makes the argument that actors are not prepared enough for the "real world" for the business side of things.  I think that that is absolute bullshit, and here is why:  If throughout my years at WSU, the faculty in the PATP continually talked about the many difficulties of the acting profession, and the financial woes associated with the art, then I would never have been fully engaged as an artist.  I would have been constantly caught up in that whole "what's the point" mentality, and I never would have learned all that I did, not only about acting, but about myself as an artist, and truly finding myself.  Inundating people with the "numbers" part of this, is not  what acting institutions are all about- they're about training you to be an ACTOR.You learn the ropes of the biz when you start just like everybody before you.  You learn financial understanding when you work a job during college.  Yes it's scary.  And yes, it's daunting, but too much education about "the biz" and not enough training to be a better actor can be detrimental not only to the individual, but to the collective artistic society as a whole.  Keep it up, Wright State PATP.   *I don't know how the showcase is constructed now (my year it was almost non-existent) but I think it would benefit the students if they showcased with another school on the same day as them.  I haven't been to any of the reunions yet, but it seems like a good tool to help people stay in contact and network.   *WSU was a home for me. I have a lot of pride in the PATP and I hope that it continues to focus on ACTING and not slip into the path of "musical theatre" acting. A good voice is one thing, but a good voice that can play an objective is what really matters. We should be training future Artistic Directors, not chorus members.   *In 30 years of theatre, Wright State has yet to do a Jerry Herman musical. That's sad. ... Some staff members/directors should actually cast shows with people who aren't members of the 'favorite-club' or the 'my parents give a big fat-assed donation club.' Spread out the opportunity a little. Some of the faculty could masterbate less in front of the students. By masterbate, I mean behave as self proclaimed geniuses of the theatre. ...Mainly, WSU THeatre Department could become a conservatory seeing as how that's what the course load actually is. Having students take full-time theatre classes, enormous movement requirements, stay late for rehearsals and take general education courses is way too much.   *I just got cast in the original Chicago company of Altar Boyz! I'll be playing Abraham (the Jewish kid in a Christian boy band). So I'm headed back to Chicago in September for an open-ended run! ...As to those actors in Jersey (who have the day jobs and breaks between acting gigs), I think that being primarily a straight actor or a strictly classical actor has its drawbacks as far as the business side goes. Not only are you competing with the best of the best in New York, but you are also doubling your competition by going against all of the primarily musical theatre actors who want to work on their legit careers as well. Everyone has had to work their share of civilian jobs during down time, but you have to make sure your civilian job does not take over your life. I've already seen a few friends who have fallen into a rut by living off of their civilian jobs and by doing so they lose complete sight of their initial goals. You have to keep yourself driven because no one is there to push you but you. I've also learned how depressing this business can be, personally and professionally, but it also has amazing highs. I just know deep down that I would not be truly happy unless I was performing, it's what keeps me going.   *I've VERY happy to see a survey happen post-graduation. While you're in school, those "end-of-the-quarter surveys" are not taken seriously (usually). I'm looking forward to seeing comments from the other alumni. I'm also looking forward to seeing how these surveys affect the program's growth.   *I miss you guys and hope all is well!   *What's this for exactly? I would hope that the faculty took it upon you (as the master of alumnis and their website) to get feedback on the department. But if it's just for you, I hope the rest of the faculty can see these results. I'm sure you're getting a lot of great feedback from this. Thanks, as always, Bruce!   *This is a huge generalization and I'm sure it will piss people off, so I'm sorry in advance...but...all white people look alike.   *Thanks to everyone who contributed to my learning experience   *I think bringing in more people in the business, and letting the students work with them and talk with them is a great opportunity to get a real feel for the business. Also, AUDITION classes, actually auditioning and working on the necessary skills to prepare for the different types of auditions they might have, is CRUCIAL, and I wish I had gotten more of that while I was at WSU.   *I would still highly recommend WSU! After seeing and hearing what other people went through in college I still think I made the best choice and that the school did not fail me but prepared me for this profession.