Tackling Portfolios & Interviews for Non-Performance Majors: How to WOW Them

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If you’re a behind-the-scenes type of person, the idea of talking about what you’ve done or who you are can feel pretty intimidating. And how do you even know what other people want to see and hear anyway?  Do you worry that you haven’t racked up enough experience in high school to show them that this is what you’re meant to be doing?  Here’s the bottom line: they just want to see how you think - that you’re connected to the work and, equally importantly, you’re more than just what’s on your resume.

A non-performance BFA is a big undertaking. Interviewers are using the time to determine if you can engage with the work, instead of just saying that it’s “cool” or “fun”.  Going to school for a degree in theatre is a big culture shift; it means you’re no longer treating theatre like a hobby. In the interview, the school wants to see your dedication and your drive. They want to know that you can succeed there. 

Below are a few tips for preparing your portfolio and approaching your interview that might take away some more of the mystery.

1. The most important thing about your portfolio is your ability to talk about it.  

Putting together a portfolio for your interview can feel like a big, scary task. Where do you even start? What do you include? Start by thinking about your favorite projects. Ask yourself, “What have I worked on that I’m passionate about?” The main purpose of a portfolio is to start a conversation at your interview. It doesn’t need to be fancy, but it does need to help you to talk about what you’ve done in an enthusiastic way. It needs to show you have a point of view. 

Don’t stress if you don’t have lots of fancy photos. Talent is separate from experience. Put the shows you’re most excited by first, so you can start the conversation from a confident place. Make sure your portfolio is neat and thoughtfully assembled, too.  Presentation is important, but it’s not about who has the prettiest pictures. It’s about what you say about what is in those pictures.

2. Be a Problem Solver

Think about a time when your reasoning or problem solving skills saved the day. Did your fast thinking on a spotlight cue help hide someone’s late entrance? Did you find a way to make a project work after losing an actor? Did you find a way to engineer a pivotal but tricky prop? Be ready to talk about that. The ability to adapt and think strategically is a BIG plus for any theatre artist, and you want the interviewer to know what you’re capable of. 

3. Know Your Role 

Be able to talk about what you did and why you liked doing it. Different high schools may have different definitions for each job on a production. You might think that you want to be a director only to find out that what you’ve been doing all along (and really love) is stage management. Part of the interview process is about letting the school know what you’ve already done, and what you want to do, in order for them to help you find a place in their program. 

For your portfolio, choose pictures and paperwork that illustrate your role on a production. Did you go to a school where the teachers do most of the design work so you don’t think you have much to show? Include pictures of the doorway you built, and be ready to talk about how you did it and why it was important to the show. Assistant direct a production? Include photos of the scene you thought was the best part of the production so you can talk about why that is. Go to a school with only four stage lights? That’s great! Talk about where you hung those four lights and why. Again, it’s not about having the most beautiful pictures in your portfolio—it’s about how you talk about the plays.

4. Be able to talk about the play. Don’t just give a plot synopsis. 

When you are asked about the shows in your portfolio, schools don’t want to hear the Cliffs Notes version of what happens in the play —they want to hear you articulate the themes or ideas in the play. They know The Crucible is about the witch hunts in Salem in the 1600’s, but why was Arthur Miller writing about it in the 1950’s, and why is it still relevant today?

Don’t put too much pressure on yourself to find the “right” answer here; art is subjective after all. This is more about demonstrating the way you think. That’s what schools want to see: that you can think deeply about the play. They want to know how you see it, and understand your individual perspective as an artist. 

5. Be ready to answer questions. But also be ready with some of your own.

There are some pretty typical questions you will get asked in these interviews, so they are good to think about in advance. You will likely get questions like, “Explain one of your formative theatre experiences” or “What was it about this production that made you want to be a director/design/etc?” Other standard questions include ones about the types of plays you read, or where you would like to see your career going after you finish your undergraduate degree, and why this particular program. Being prepared for some of these questions will give you confidence when you’re in an interview setting. And articulating the answers for yourself can also help provide you directions into making a decision for yourself about what program and degree you really want to be pursuing.

You should have a few of your own questions, too. This not only shows that you’re interested, it also demonstrates a curiosity and an investment — two important qualities in any theatre artist. So what should you ask? A  really great question might be something general such as, “What type of student does your program attract?” Having something specific to the school is good as well, but it should be something you can’t learn from their website. For example, if they show a list of theatres students have worked at, ask about how an internship fits into a degree there, or what a production schedule looks like, or how much work in your area is department driven as opposed to student driven. Hopefully, by the time you interview you’ll have already poured over their website, and genuinely want to know things about the program, so some questions will be obvious. The interview is not just a chance for them to get to know you, it's a chance for you to help determine if this program is really right for your needs and wants; asking the right questions can make all the difference here. 

PRO TIP: Small things add up. 

There are lots of little ways to leave the right impression. Here are a few: 

  • Never underestimate the power of eye contact. 

  • Dress appropriately (especially for Video Interviews — they don’t want to see you in your sweats)

  • Send Thank you notes. (Yes, your parents are right.) This makes an impression. Handwritten is best, but email is fine too. 

  • And never forget to show enthusiasm. This might sound simple, but it really is important. 

Final Thought: There’s more than one path to success. 

It’s ok to use the application process to realize that you’d rather pursue your theatre interest in another way and get a different degree. You might find that you want to use your college years to get a broader education than can be provided by a BFA. Being able to make an informed choice is important, these degrees come with a large and focused workload. Internships are a great way to explore your career options and make connections. Or an MFA later on is always an option. There are many, many paths to a career in theatre, especially behind the scenes. Find your own way. 

…………....

And that, my friend, is the simple truth about what “they” are looking for and how you can set yourself up for success as you navigate your theatrical application journey.  If you aren’t quite sure what to put in your portfolio, how to craft strong interview responses, which questions to ask, and how to leave a lasting impression with even the most competitive of schools, you have come to the right place!  As a theatre artist who has worn many hats myself (including Artistic Director, Director, Producer, Casting Director, Designer, and etc.), I can help you determine the right approach to your theatre education, find the most dynamic way to focus your materials, and give you the confidence needed to nail your presentation.  Sign up for a Non-Performance Consultation and together we will discover the best way to show these schools your personal brand of “wow”.

 
 
M. Bevin O'Gara

M. Bevin O'Gara is director and producer. She spent three years as the Producing Artistic Director at the Kitchen Theatre Company in Ithaca, New York. Prior to that, she spent 15 years with the Huntington Theatre Company in Boston, Massachusetts. During her time there, Bevin oversaw dozens of productions, workshops and readings and played an active role in realizing new work by writers such as Craig Lucas, Kirsten Greenidge, Melinda Lopez, Stephen Karam, Lydia R. Diamond and A. Rey Pamatmat. Her work in casting allowed for numerous local actors to be showcased across Huntington and Boston stages.

As a director she has worked at the Huntington Theatre Company, Denver Center for the Performing Arts, Cleveland Playhouse, Kitchen Theatre Company, SpeakEasy Stage Company, Company One Theatre, Actors’ Shakespeare Project, Lyric Stage Company, Nora Theatre Company, Bad Habit Productions, Boston Playwrights’ Theatre, New Repertory Theatre and Holland Productions.

She worked as the Artistic Associate at the New Repertory Theatre in Watertown, MA, where she started their second stage series; Downstairs at New Rep. Other companies include Williamstown Theatre Festival, Actor’s Center of Australia, and the Gaiety School in Dublin. Bevin has been a Guest Artist or Lecturer at Harvard University, Cornell University, Emerson College, Ithaca College, Brandeis University, Boston University, Tufts University, Boston College, Boston Conservatory, Northeastern University, and Lesley University.

Bevin is the proud recipient of the Lois Roach Award for Outstanding Commitment to the Boston Theatre Community and was recognized by the Massachusetts State Association of the Deaf for her commitment to D/deaf and hard of hearing artists. She holds a BFA from Boston University.

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