Sarah Bernstein received her MFA in Playwriting from Hunter in 2018, studying under Annie Baker and Branden Jacobs-Jenkins. Her plays have been produced and/or developed with The New Group, the Lark Play Development Center, the Amoralists, Project Y, Forward Flux, New York Madness, The Motor Company, the Source Festival, FullStop Collective, and the New Voices Project. She received her BA from Brown University, where she studied playwriting with Paula Vogel. When she is not writing plays, Sarah runs workshops for young writers through Writopia Lab and her humor writing has been published in Reductress and The New Yorker.
Tell us more about yourself, and we'll help you find useful information.
Are you a...
Joseph Maybloom is a TA for the Introduction to Theatre course and is currently an MA candidate in Theatre at Hunter College. His primary areas of interest include the portrayal of Jewishness in performance (particularly in the Middle Ages), witchcraft’s influence on early modern performance themes, and contemporary queer performance. This past summer he presented his paper entitled "Staging an Unholy Conversion in The Croxton Play of the Sacrament" at the 2019 ATHE Conference. Joe graduated as the class valedictorian from Marymount Manhattan College, where he received his BA in Theatre Arts with concentrations in Theatre History and Performance Texts and Theatre Performance. In addition to his work at Hunter, Joe serves as the Director of Undergraduate Admissions and Enrollment Operations at The Jewish Theological Seminary.
3 versions, 3 spaces, 3 budgets
3 student directors, 3 sets of student designers and producers, 3 separate casts
1 team of faculty mentors
This fall the Theatre Department will produce three “lab model” versions of Eurydice, by Sarah Ruhl, to be created by three CoLab companies of student directors, actors, designers, and production staff. This is not a “Zoom Production,” and while we won’t actually build a physical production, we will be rehearsing the play online, engaging in a robust research process, and creating full design plans to the fullest extent possible (given the current impossibility of being together in the space).
The aim of the project is to spend the semester digging deeply into the research, design, analysis, and rehearsal processes of a typical, in-person production. This will allow us to focus on aspects of production that don’t always receive the attention they deserve, primarily as a result of the time constraints of staging of a show during “normal” semesters.
We will be archiving the process on a special, student-designed CoLab website, and at the end of the semester, the various aspects of the work will be shared publicly in a form to be determined by each company’s creative process.
CoLab is being offered as THEA 40159 - Spc Topics - Theatre CoLab. Not only actors, but also directors, designers, stage managers, technical directors, and production managers may take the course for credit. Students choosing not to take course credit will receive Apprenticeship credit. Students need not enroll in the official course to participate, but all must obtain faculty permission (see application info, below).
Each CoLab company will design its production for a different size space with a different size hypothetical budget—‘small’ for the Goldberg Studio (HN537), ‘mid-size’ for the Loewe, and ‘large’ for the Kaye Playhouse.
Three student directors will be chosen by the faculty production committee through an application process. The directors will then hold group auditions for actors as well as review applications (in consultation with faculty) to select stage managers, set/prop designers, lighting designers, costume designers, sound designers, and technical directors from the CoLab class.
The work of the three directors and three stage managers will be overseen by Adrienne Williams. The work of the three set/prop designers will be overseen by Louisa Thompson; costume designers by Deepsikha Chatterjee; lighting designers by Ian Calderon; sound designers by Beth Lake; and tech directors by David Bean. Jen Leno, Omen Sade, and Theo Campbell will assist.
Brad Krumholz will be the overall producer of CoLab, and he will mentor the 3 production managers; in addition, his production class will function as the three production companies’ administrative cores.
If you’d like to get involved, please write a statement of interest to firstname.lastname@example.org. Please include your name, major, level of experience, field(s) of interest and specialization, a short work bio, and of course your reason for wanting to be a part of CoLab. This is a class in collaboration, so students will likely serve multiple roles, in an effort to answer to the needs of the productions as they arise. You can find short job descriptions below.
If you’d like to get involved, please write a statement of interest to by Friday, August 14th. You can expect to hear back no later than Monday, August 17th.
Level of experience
Field(s) of interest and specialization
A short work bio
Your reason for wanting to be a part of CoLab.
This is a class in collaboration, so students will likely serve multiple roles, in an effort to answer to the needs of the productions as they arise. See job descriptions below to choose a specialization.
A digital copy of the play is available here:
**Deadline Extended** Friday, August 14th — CoLab team applications due
(this deadline does not apply to freshmen or transfer students)
Wednesday, August 26 - Monday, August 31 — Audition period
Tuesday, September 1 — Last day to register for CoLab class
Set/Props Designer: Work collaboratively with the artistic team to create a cohesive design for the production, concentrating on the use of space and objects to help shape the imagined event, staging, and visual storytelling. With Support from Louisa Thompson, a process will be created to help team visualize ideas, represent choices, and present a final design. In regular meetings progress will be shared and discussion required. Designer will be expected to incorporate director input/feedback, observe rehearsals, compile research, and document process as part of this project.
Costume Designer: With professor Deepsikha Chatterjee, Costume designers will work with directors and actors, read and discuss the play, and come up with a concept of the play based on an assigned budget. The costume designer will then learn to research and design the characters and create a costume plot for the show. Costume designers will work on planning for a full production by creating buy/pull/rent lists, planning virtual design presentations for directors and actors, and planning for buying, renting, and virtually fitting some costumes.
Lighting Designer: Under the guidance of Ian Calderon, Lighting Designers will collaborate with the director and fellow designers to establish a visual style for the world of the play. The goal will be to support the voice of the playwright and the directorial concept. The team will research and develop a visual point of view for consideration and the exchange of ideas. Through the rehearsal process and staging sessions, the visual rhythm of the play will emerge. The pre-visualization of dramatic transitions, mood-shifts and dynamic focus to help move the narrative will be documented for each scene. Equipment inventories will be considered and adapted to the selected theatre space. Through regular meetings with the director and the team, a visual storyboard will be developed to support the staging, the three-dimensionality of the set, the color and textures of the costumes, and the air and space of sound. The documentation will serve as the basis for the light plot, the focus session, and the building of lighting cues.
Sound Designer: Under the guidance of Beth Lake, work with creative team and cast to conceive of a cohesive design including speaker and microphone plot, cue list, sound samples, and playlist for all aural elements of the production.
Technical Director: Work with the department TD, David Bean to coordinate and supervise technical aspects of the production.
Production Manager: Work with Head of Production, Brad Krumholz, to manage the CoLab project overall, oversee the budgeting process for the CoLab companies, schedule and lead production meetings, and create and effectively manage a production calendar so that everything happens in a smooth, orderly, and timely manner.
Stage Manager: Under guidance of Hunter theatre alumna, Sarah Shea, work with director and actors throughout the entirety of the production. Stage managers will develop rehearsal schedules, create daily calls and rehearsal reports, track blocking and props / other elements that are added during rehearsal, and collaborate with designers and actors to ensure everyone feels securely on track in their process.