THU feb 15 + FRI feb 16 AT 7-10:30PM | ROBLE GYM 139


AUDITIONS/interviews Thu Feb 15 & Fri Feb 16 | 7-10:30pm


Stanford Repertory Theater (SRT) mounts its 20th anniversary summer festival, June – August 2018, featuring a fresh new adaptation of Euripides’ Hecuba/Helen, which recounts the aftermath of the Trojan War from the female perspective. Hecuba looks at the destruction of Troy through the eyes of the vanquished Trojan queen; Helen looks at the war from the point of view of its ostensible cause, the idealized Spartan Helen. Euripides exposes the shadowy male justifications used to make war seem like the best solution, rather than the last resort. The festival also includes a film festival and a community symposium, “The Trojan War: Then and Now.”

The SRT company includes professional actors, directors, and designers working alongside students in all aspects of the festival: producing, acting, costuming, technical assistance, and stage management. Student stipends are available for up to $700/week (40 hrs/week) for 9 weeks (producers, stage managers); acting and other positions are $615/week (35 hrs/week) for 9 weeks, from June 19 – August 19, 2018. For a look at previous summers visit


Rush Rehm: translator, adapter (with Courtney Walsh), and director, Euripides' Hecuba/Helen. Rush is the Founder and Artistic Director of Stanford Repertory Theater (SRT). He has directed many productions for the company, including Clytemnestra: Tangled Justice, Words and Images to End All Wars, Moby Dick – Rehearsed (with Courtney Walsh), Copenhagen, Under Milk Wood, The Exception and the Rule, Lysistrata (adapted by Amy Freed), An Inspector Calls, Betrayed, Electra, Libation Bearers, Curse of the Starving Class, The Wanderings of Odysseus, Happy Days/ Oh les beaux jours, Life of Galileo, Faith Healer, Omeros, War of the Worlds, Deianeira, The Collection (with Ed Iskandar), and The Bear (with Aleksandra Wolska).

He has appeared in Hay Fever (Richard Greatham), Waiting for Godot (Pozzo), The Chairs (Lecturer), Biedermann and the Firebugs (Biedermann), The Lover (Richard/Max), Old Times (Deeley), Les Blancs (Charles Morris), Uncle Vanya (Astrov), and Reykjavik (Ronald Reagan). Rush has worked as an actor or director at various regional theaters, including Magic Theater, TheaterWorks, Cutting Ball, Arena Stage, Guthrie Theater, Alliance Theater, Seven Stages, McCarter Theater, the Pram Factory, and La Mama (Melbourne).

Michael Keck: composer/sound designer. Stanford Repertory Theater: Suppliant Women, Deianeira, Electra, and Moby Dick - Rehearsed (Theater Bay Area Award, Outstanding Sound Design) Regional: The Piano Lesson, Top Dog, Under Dog, Gem Of The Ocean, Fences, Death and the Kings Horseman, Measure For Measure, Henry IV, Pt. 1, Ma Rainey’s Black Bottom, Intimate Apparel (Oregon Shakespeare Festival); The Bacchae (Portland Center Stage); Intimate Apparel (Guthrie Theatre); Death Of A Salesman, A View From The Bridge, The Great White Hope, Derek Walcott's The Odyssey, Community Carol, I AM A MAN (Arena Stage); Jitney, Escape From Happiness, Criminal Genius, The Norman Conquest, Copenhagen, Intimate Apparel, The Glass Menagerie (Milwaukee Rep); Othello, An Ideal Husband (Idaho Shakespeare Festival and Great Lakes Theatre Festival); It Ain’t Nothing But The Blues (Barrymore nomination, Prince Music Theater); Doubt and Young Lady From Rwanda (both Barrymore nominations, Peoples Light and Theatre Company); As You Like It, Looking Over The President's Shoulder, Gem of the Ocean, Searching for Eden, Dr. Jekyll and Mr. Hyde, Rabbit Hole (Indiana Repertory Theater); A Village Fable (AATE Distinguished Play Award, Mark Taper Forum), Fences, Ma Rainey’s Black Bottom, The Brothers Size, Gem of The Ocean (Syracuse Stage); Miss Evers' Boys (Cincinnati Playhouse); A Doll's House, Wit, Dinner with Friends (Alliance Theater); Holidays for Children Video Series (Writer/Host/Composer, Fabian-Baber Productions) International: The Brothers Size (Market Theatre – Johannesburg, and Baxter Theatre Center -Cape Town, South Africa); A Streetcar Named Desire, Death of a Salesman (The National Theater of Croatia); Miss Evers' Boys (Barbican Theatre Center and Bristol Old Vic).       Professional Associations: AEA, SAG-AFTRA, ASCAP, NTC, PEN, and The Dramatists Guild.

Courtney Walsh: co-adapter and title roles in Euripides’ Hecuba/Helen. Courtney has worked with Stanford Repertory Theater since 2006, where she has appeared in twenty-nine productions. Among those, she co-directed and acted in Moby Dick – Rehearsed (winning Theatre Bay Area Awards for Outstanding Production, Direction, and Ensemble), appeared in Hay Fever (nominated for Best Production by the Bay Area Theater Critics Circle), and played Jocasta in Oedipus (hailed by the San Francisco Examiner critic as "the finest piece of classical drama I have ever seen"). Other SRT appearances include Happy Days (Oh, les Beaux Jours) in the U.S. and France (in both English and French); The Wanderings of Odysseus at the Cacoyannis Theater in Athens, Greece; and a multi-continent tour as the title character in Clytemnestra: Tangled Justice.

Recently, Courtney appeared in the title role of Mother Lear with We Players, which she co-wrote and co-directed, and will be touring nationally. She was nominated as Outstanding Actress by Theatre Bay Area for Phèdre at Cutting Ball Theater, appeared in the West Coast premiere of Native Son at Marin Theatre Company, created the role of Anna in the world premiere of Seared by Theresa Rebeck at San Francisco Playhouse, and played a six-month run as Mercutio in Romeo and Juliet with We Players. Courtney is also an Associate Artist with 3Girls Theatre.

Courtney studied acting at Yale University and then continued her work on stage and screen in Los Angeles. During a hiatus from acting she earned a law degree, representing children in child abuse cases. Since returning to the stage in 2006, she has played nationally (Los Angeles, San Francisco, San Antonio, Jackson, Salt Lake City, and others) and internationally (Paris, Athens, Berlin, Amsterdam, Cardiff, Corfu, Sydney, Wellington, Auckland, and others). Courtney periodically co-teaches a CSP Drama course at Stanford and workshops on acting in the U.S. and Europe. She is also a mother of four, a competitive equestrienne, and a member of SAG-AFTRA and AEA. Find her at

Aleta Hayes: choreographer. Aleta Hayes is a contemporary choreographer, performer, and lecturer in the Department of Theater and Performance Studies. Before her appointment at Stanford, Hayes taught for eight years at Princeton University in the Program in Theater and Dance and the Program in African - American Studies.

Hayes lived and worked in New York City for fifteen years, choreographing solo and group dance pieces, in which her performances often interpolated acting and singing. Highlights include having leading roles in major works by international artists such as: director, Robert Wilson; composer/scholar, Bernice Johnson - Reagon (Temptation of St. Anthony); choreographer/director, Martha Clarke (Gluck’s Orfeo ed Euridice); choreographer, Jane Comfort (Asphalt); playwright/performer, Carl Hancock Rux; director, Ping Chong (Chinoiserie); playwright/director/performer, Daniel Alexander Jones. Aleta Hayes has performed for and collaborated with colleagues in The Department of Theater and Performance Studies including director Harry Elam, (In the Blood, Rent, Spring Awakening). She has also choreographed for and performed in several seasons of the Stanford Repertory Theater with director, Rush Rehm (Les Blancs, Electra). Other notable solo shows performed by Hayes include: Deineira (translation/direction, Rush Rehm); Songs of Alan (text/performance, Aleta Hayes); Wasteland in Black and White (text/performance/direction Aleta Hayes).

In 2009, Hayes founded the Chocolate Heads on the Stanford campus, a cross-genre, dance and performance troupe creates original site-specific performance installations for new buildings within Stanford’s arts district including: the Bing Concert Hall (inaugural season), the Anderson Collection (Scene in Action), the opening commemorative performance of the Mc Murtry Art and Art History Building (Building Scene), Windover Contemplative Center (Flower, A Moving Meditation). Last year the Chocolate Heads collaborated with the Stanford Historical society and the TAPS Department to consecrate the reopening of Roble Gym (Ghost Architecture). Other notable performances of the Chocolate Heads include: the first Stanford TedX (Red Shift), the Pace Gallery in Palo Alto (David Hockney), the, (Intersection of Performance, Architecture, Design) the Djerassi Artist Residency Gala (Artful Harvest), the Cantor Arts Center (Being Scene), the Yerba Buena Center for the Arts in San Francisco. and Chocolate Heads/Iota collaboration at Pier Point (Nausicaa).


Actors will rehearse and perform in Hecuba/Helen (multiple roles), and Symposium scenes. An estimated time commitment of 35 hours/week. Having an additional summer job is not possible.

Staff and Crew Members will work 40 hours/week. You can read more about individual job descriptions in the “What We’re Looking For” section.

Students who accept roles or positions in SRT’s 2018 Season will receive VPUE Stipends of up to $700/week (40 hrs/week) for 9 weeks (producers, stage managers); acting and other positions are $615/week (35 hrs/week) for 9 weeks, from June 19 – August 19, 2018.



Sign up for an hour long timeslot. Auditions and interviews will take place individually, but you'll be needed for up to one hour. If you cannot make these dates but would like to be considered, email Be advised that you should arrive at least ten minutes prior to your scheduled time to fill out necessary paperwork.


For student auditioners, we ask you to prepare a side from the play. We ask those identifying as female to prepare a chorus section, and (if interested) Polyxena; and for those identifying as male to prepare Castor, Polydorus, and Egyptian Messenger. See our resources section for links to the sides. We also will ask for some physical improvisation around a theme from the play; please come dressed to move. Dancing/singing skills welcome, as our choral director Michael Keck from NYC will be working closely with the director and choreographer.

Those interviewing for producing positions should bring in a resume, and be prepared to discuss how they would imagine helping to run the festival.

For callbacks you will receive other instructions. Callbacks will be held Saturday, Feb 24th between 12pm-5pm in 30-min group timeslots.


We are looking for up for 7 performers (6 females, 1 male) for roles as the Chorus (biggest part in the play), Polyxena, Theonoe, Theoclymenus, Odysseus, and Talthybius. All performers will play more than one part.

  • Male actor (Theoclymenus, Messenger)
  • Six female actors (dancers welcome) for Chorus of both plays, and roles of Polyxena and Theonoe (who also will be in the Chorus)

  • We also are looking for student producers (Company Manager/Press Officer, Film Series/Outreach, Publicity/Box Office), stage managers, costume assistant, and technical director.

  • Executive Producer/Company Manager: works closely with the Artistic Director; in charge of coordinating all aspects of the festival (productions, film series, symposium); “point person” for students in the company; handles Press contacts and reviewers; oversees SRT’s “The Trojan War: Then and Now” symposium. 40 hrs/week
  • Associate Producer, Outreach/Film Series: point person for contact with community groups, Stanford Conference Center, and Theater Bay Area; oversees all aspects of the Film Festival, including filmographies and programs for each screening, arranging guest speakers, and handling post-screening discussions; assists Associate Producer for Front of House with front-of-house for theater performances. 40 hrs/week
  • Associate Producer, Publicity and Front of House: works closely with the Artistic Director, Executive Producer, and TAPS Publicist Stefanie Okuda and CSP publicist Emma Walker; handles print, radio, and television publicity; coordinates with local cable television email publicity, e-fliers, postering; handles all box office and ticketing for our productions; phone and email contact with public; organizes front of house for all performances, Film Series, and Symposium. 40 hrs/week

  • The above positions in Festival Production play a crucial role in Festival planning and execution. Past SRT success has grown out of the team of student producers, many of whom have used the skills developed with SRT to produce for RamsHead and StanShakes and to found their own student companies.

  • Stage Manager, Euripides’ Hecuba/Helen: attends all rehearsals, working closely with the director and the actors; documents show for performance; calls all performances; oversees all aspects of the run of the show. 40 hrs/week
  • Assistant Stage Manager, Euripides’ Hecuba/Helen: attends all rehearsals, working closely with the director and the actors and Stage Manager; documents show for performance; calls all performances; oversees all aspects of the run of the show. Serves as Stage Manager for the Symposium. 40 hrs/week

  • The above Stage Management positions make the Festival performances happen, through their dedication, hard work, total reliability, and commitment to bringing the productions to fruition onstage.

  • Wardrobe FirstHand/Dresser/Costume Run: works closely with Costume Designer Connie Strayer and Costume Shop; serves as Dresser and Costume Run for all performances of Hecuba, Helen, and Symposium scenes 35 hours/week
  • Technical Assistant: works closely with Artistic Director Rush Rehm on all productions and Symposium scenes; works closely with Set Designer. May work on tech run crew for all performances. May also work with Professor Michael Ramsaur on lighting design. 35 hours/week

  • The above back-stage positions are essential performances happen, through their dedication, hard work, total reliability, and commitment to bringing the productions to fruition onstage.

    sign up now!

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    where to go

    Auditioners and interviewees should report to Roble Gym, Room 139 (Seminar room at the end of the hall) at least ten minutes prior to their scheduled time.