Co-Published: BeYourArt.com and The North Shoreian Magazine, Volume 2, Issue 8, Practicalities of the Surviving Artist, The Harvest Issue. Article written by Don Rebar.

Intern.  The word alone strikes fear into the hearts of many—from the most seasoned professional to the hungry high school student wishing to gain experience.  Nightmarish legends of supervisors that transform budding young professionals into ditch diggers, or of slacker interns whose apathy will be the downfall of society are commonplace.  No matter how many of these horror stories are tall tales in actuality, the basic principle behind them remains: at the end of the internship, one party’s experience with the other was poor.  Sometimes, no matter how hard the intern works or how generous the supervisor is, this outcome is inevitable.  Even in these cases, there are a few fundamental rules to help maximize a marginalized experience.

While there are many tools out there to help find internships (ArtSearch—a publication of Theatre Communications Group, Playbill.com, Craigslist), the most prudent way to find out about internships is to take a visit to the theatres you are considering.  Research their work beforehand—who has worked with them, how they approach their brand of theatre, what kinds of outreach they do.  Go see their shows and get to know their staff.  Many theatres will also hold receptions, talkbacks, and other free gatherings to meet and greet their audience members.  Although they might be too busy to speak in-depth with, briefly introduce yourself and try to further the conversation over email, phone, or by making an appointment.  If distance is an issue, surf their website for a glimpse into their work.  Even if another theatre seems like a better fit, being familiar with multiple organizations will aid you in the long run.

Once hired, know what kind of work will be expected, but be prepared to do anything.  The phrase “and all other duties as applies” should be taken very seriously.  Remind yourself that the company will not ask you to perform jobs outside of your chosen field to simply disrespect you.  More than likely the theatre will try to expose their interns to as many different aspects of the profession as possible.  Also, many are operating off of a shoestring budget and their interns are also an inexpensive source of labor.

When this happens (and it will), there are a few steps that will help you take matters into your own hands without clashing with the administrative office.  First of all, finish the jobs that you are assigned to do.  This is a sign of professionalism and also tells the company that you are mature enough to take ownership in their work, no matter what the task.  Feel free to speak to someone if you feel unsafe, mistreated, or intentionally disrespected, but be discreet about your complaints.  Secondly, undertaking these tasks will help you gain respect among your peers.  In small organization like a theatre company, word of mouth is a powerful ally.  If someone sees you preparing a prompt book in the morning, moving furniture in the afternoon, and changing the marquee sign after the evening show, you force them to acknowledge that you are serious about your craft and your career.  Third, do take the time to speak to other artists about their work.  Do not (like many interns) shut down or gossip about how much better the world would be if you were onstage or designing costumes.  Your internship is an opportunity to ask professionals for insight into their process.  Take advantage of it.  Inevitably, your interest in their work will help pique interest in yours.  This is the time to show off your audition pieces or the scenic rendering that got you the “A”.

Remember, the interns who get the most out of their experience come away from their experience with two basic things: connections and experience.  Be aware that there are many ways that these objectives can become derailed.  The best thing for any intern to do is to be proactive and take responsibility for getting the most out of the situation.

Don Rebar is a 3 year MFA Candidate in Dramaturgy at Stony Brook University.  On various theatre jobs he has worked as a carpenter, a stage manager, an undertaker, a wine pourer, a file clerk, an usher, a furniture mover, a stagehand, and a dramaturg.

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2. How to Become an Equity Artist
3. RESOURCES