Callboard

Welcome to the student hub for auditions, productions, and rehearsal spaces. Check here throughout the academic year for important dates, forms, and course details.

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Class Auditions & Interviews

Productions & Workshops

168 Shop Labs & 167 Run Crew

Student Rehearsal Space

Class Auditions & Interviews

Spring 2026 Acting Class sign-ups will be posted here on January 6th, 2026. 

General Guidelines & FAQs

The Acting Sequence

General Information:

The acting sequence is designed as a series of courses which introduce the actor to progressively more complex concepts/styles/playwrights. 

TDPS students will benefit from taking all of the courses in the sequence, which present a wide and evolving variety of skills.   

Auditions connect faculty and individual students, help ensure the best allocation of limited places, and incorporate a vital part of the actor’s training.

Classes In The Acting Sequence

  • Theater 10 — Fundamentals of Acting I
  • Theater 109 — Fundamentals of Acting II
  • Theater 110A — Intermediate Acting: Scene Study & Style
  • Theater 110B — Intermediate Acting: The Power of Language
  • Theater 111 — Advanced Acting Studio
  • Theater 115 — Advanced Acting Company

Prerequisites And Following The Sequence

Each class in the sequence serves as the prerequisite for the next class.  No classes may be skipped. 

Incoming freshmen must begin their acting training with Theater 10.

The 110 courses (A and B) may be taken in any order. 110A and 110B are separate courses and require separate auditions.  Both 110A and 110B should be taken before the student auditions for 111. 

Advanced Acting Studio (111) and Advanced Acting Company (115) are the only courses which may be taken twice for credit. The student must audition each time. 

Acting Faculty will decline to view auditions which do not meet the necessary pre-requisites for a given course.

Exceptions: Exceptions to the prerequisite policy are rarely made and are only granted in response to individual and specific logistical issues. Exceptions must be approved by the TDPS undergraduate advisor and the coordinator of the acting program.

Transfer Students

Transfer students should generally audition for either of the intermediate courses (110A in the fall or 110B in the spring), provided that a minimum of two prior, credit-granting acting classes have been taken at the university or college level.  If only a single credit-granting acting course has been taken, the student should audition for 109. 

Acting Class Auditions

Classes Requiring Auditions:

  • Theater 10 — Fundamentals of Acting I
  • Theater 109 — Fundamentals of Acting II
  • Theater 110A — Intermediate Acting: Scene Study & Style
  • Theater 110B — Intermediate Acting: The Power of Language
  • Theater 111 — Advanced Acting Studio
  • Theater 115 — Advanced Acting Company

Audition Guidelines:

Auditions are held individually for each class section on the first day of class. Sign-up sheets are posted approximately two weeks prior to the start of the semester on the TDPS Callboard.

Students will not be able to enroll in acting classes before the beginning of the semester.

Prerequisites:

Theater 109 requires at least one semester of college-level acting training (or equivalent experience) and each subsequent class in the series requires an additional semester of college-level training or experience.

Audition Preparation:

  • For Theater 10: Prepare a one-minute speech from a play or film script. Memorization of the piece is strongly encouraged.

  • For Theater 109, 110A, 110B, 111, 115: Prepare a one-minute monologue from a play or film script. Memorization of the piece is required for these courses.

Enrollment:

After auditions, class rosters will be posted on the TDPS Callboard. If you are accepted into a class, the instructor will give you the permission number to enroll in the class. No one will be considered for these classes without an audition.

Frequently Asked Questions:

How long should my monologue be?

One minute maximum. Be sure to time your piece. If you go over time limit during the audition, you may be asked to stop.

Do I need to memorize my monologue?

You have a better chance of getting into Theater 10 if you memorize your monologue. Memorization is required for Theater 109 and beyond.

Any tips for selecting my monologue?

  • Look for a speech from a play. Passages from other forms of literature, including poems, are usually not as strong. 
  • It is usually best for beginners to stick to contemporary pieces.
  • Choose something you can relate to—probably in your general age range.

What are your tips for performing the monologue?

  • Remember to breathe.
  • Avoid accents that are not part of your natural speech.
  • Speak loudly and clearly enough for us to hear you.
  • Imagine whomever you are speaking to is standing or sitting in front of you and speak to that imaginary person.

How early should I arrive to my audition appointment?

Everyone should be present at the start time on the first day of class.

Can I skip a course in the acting sequence?

In general, it is recommended that you do the entire acting sequence in order once you arrive at UC Berkeley.

If you are trying to skip Theater 10 and go into 109, you should have at least one semester of college-level acting training or equivalent acting experience. Your monologue will have to reveal that training and experience to help you gain access to the class. 

If you are trying to skip Theater 10, 109, or 110A and go into 110B in the spring, you should have at least three semesters of college-level acting and voice training or equivalent acting experience. Your monologue will have to reveal that training and experience to help you gain access to the class.

What if I am a transfer student?

Transfer students are encouraged to begin their training at the appropriate level based on their studies in community college. It is recommended that you do the entire acting sequence in order once you arrive at UC Berkeley, unless you've had two or more semesters of college-level acting training in community college or equivalent acting experience.

When is the intermediate sequence taught?

Theater 110A is taught each fall; Theater 110B is taught each spring.

Do I need to perform a classical monologue for my 110A audition?

If you have taken Theater 10 or 109, you may use your contemporary monologues from those classes. You are not required to use heightened language or classical monologues.

Do I need to perform a classical monologue for my 110B audition?

If you have taken Theater 10, 109, or 110A, you may use your contemporary monologues from those classes. You are not required to use heightened language or classical monologues.

What is the ratio of people who audition and people who are admitted?

It varies greatly from semester to semester. Often many more students audition than we have space for, so placing everyone is not guaranteed.

What if I don't get in to my preferred class?

Due to the large number of students who audition, it is not possible to get individual feedback from instructors holding the auditions. We strongly encourage you to try again the next semester.

Don't think of this as a wasted semester of training. Get involved in other TDPS classes that have a performance component. Audition for a TDPS workshop or production. Contact the Film & Media Department or student film clubs for acting opportunities, or audition for an on-campus production sponsored by one of many student-run performance groups.

If you would like to gain more experience off campus, organizations like Theatre Bay Area offer audition preparation workshops, and many organizations around the Bay Area offer theater classes. For an extensive list, please see the undergraduate advisor in 15 Dwinelle Hall.

Theater Class Interviews

Classes Requiring Interviews:

  • Theater 105: Movement for Actors
  • Theater 112: Voice & Speech
  • Theater 162: Fundamentals of Stage Directing
  • Theater 163: Stage Directing

Interview Guidelines:

All interested students must attend the first class meeting to be interviewed by the instructor for admission into the classes listed above. For class schedules, visit classes.berkeley.edu

Please be prepared to talk about your interest in the class and any relevant experience you have. Selected students will be given the Permission Numbers needed for enrollment.

Accommodation Policy

All UC Berkeley students are invited to audition or interview for TDPS classes. If a disability-related accommodation is needed for a class audition, please contact the Undergraduate Academic Advisor at least one week prior to the start of the semester.

For students in DSP, please contact your DSP specialist well in advance of the audition so there is time for the accommodation process and notify the department to make arrangements. Please ask DSP to also send disability accommodation notices for auditions to the Undergraduate Academic Advisor at least one week prior to the start of the semester.

Please note that some audition spaces are not readily accessible for those with mobility impairments. With advance notice, we are happy to make arrangements for an alternate venue.

Productions & Workshops

Performing in TDPS

  • Each semester, the Department of Theater, Dance, and Performance Studies  (TDPS) produces three to six performance works comprised of plays, dance concerts or showcases, and student-directed workshops.
  • While auditions are open to all UC Berkeley students, TDPS productions are curricular, and those cast must enroll in courses to receive credit commensurate with the time spent in preparation, rehearsal, and performance. 
  • Expectations, evaluative criteria, and grading standards are outlined below in Participant Rights & Responsibilities, and Sample Performance Syllabi.
  • Auditions for productions and workshops are usually held within the first few weeks of each semester. Sign-up forms will be posted below at least two weeks prior to the audition date. Callback and casting results will be posted above following the auditions. 

Casting & Course Guidelines

Casting Policies

  1. The Department is committed to educating Berkeley students in the artistic range of performance. For this reason, it is our policy to restrict casting to UC Berkeley students. Directors and Choreographers must receive prior approval from the Department Chair in order to cast from outside of the UC Berkeley student pool. To ensure fairness across the season, this request must be made as part of the initial proposal to the Department's Season Planning Committee, and must be made for all theater and dance productions. In rare instances, an emergency (illness, death in the family, injury) might result in the loss of a cast member, and the substitution of a non-student performer; in such cases, appropriate measures will be taken through consultation between the responsible Director/Choreographer, the Production Manager, the Chair of the Season Planning Committee, and the Department Chair.

  2. All cast members are required to enroll in units of the corresponding course for the production, commensurate with the time spent in rehearsals and performances; typically 2–4 units. Students with extenuating circumstances may petition for reduced unit enrollment through the Undergraduate Advisor. When necessary, credits may be undertaken through UC Extension. Professional guest artists (for example, faculty acting in the production, etc.) are not required to enroll. The maximum number of units available to participants will be determined by the Department, based on the production and level of participation.

  3. Theater, Dance, and Performance Studies majors may have a casting advantage from previous experience and training, but it should be understood that it is a competitive audition process and open to all UC Berkeley students.

  4. For the purposes of our casting policy, students from the following programs, with whom UC Berkeley has cross-registration programs, will be considered UC Berkeley Students:

    Cal State University, East Bay; Mills College; San Francisco State University; Sonoma State University; Holy Names University; John F Kennedy University; and Dominican University of California.

  5. While UC Extension students are able to enroll in TDPS courses associated with performance, the Fall Program for First Semester (FPF) does not generally allow students to enroll in elective courses, and therefore students of the program are ineligible for participation in production.

Participant Rights & Responsibilities

Production participation is a privilege, which carries responsibilities. Directors, choreographers, actors, dancers, designers, playwrights, and technicians unite for a finite rehearsal and performance period in order to create a performance work. A production’s success relies on the commitment of all involved. Once a cast, design team, collaborators, and crew have been selected, the absence of any team member is detrimental to the project. Such absences are unprofessional and unacceptable.

Responsibilities for Director/Choreographer

  1. Adhere to schedules for auditions, rehearsals, and performances as determined by the Production Manager.

  2. Maintain primary concern for the safety of the cast and crew.

  3. Ensure that students are registered for the corresponding course and for timely submission of final grades. Student Directors/Choreographers should work with faculty advisors related to enrollment and grading.

Responsibilities for Performers

Before you audition, learn all you can about the production:

  • Read the script and learn about the Director/Choreographer and what they have in mind for the production.

  • Confirm your availability for rehearsals and performances by reviewing published schedules, available on the Callboard and at auditions. Can you make the necessary time commitment? Do you have academic conflicts with required attendance dates?

  • Unless a student makes a written request of the Director or Choreographer at the time of the audition, it is assumed that the student will eagerly accept any role or assignment they are offered. Ensure you are clear about your availability and any conditions you are placing upon your audition because:

    1. Acceptance of a role in a TDPS production requires the participation in ALL scheduled rehearsals, photo shoots, designer appointments, technical rehearsals, dress rehearsals, performances and strike associated with the production.

    2. Participants must enroll in a corresponding course for units commensurate with time spent in preparation, rehearsal and performance.

    3. Declining an offered role without having made extenuating conditions known at the time of the audition forfeits the opportunity to perform in a TDPS production for the remainder of the semester and/or subsequent semesters, as determined by the Chair.

    4. A student who drops out of a production after having been cast is likewise ineligible for further casting that semester and/or subsequent semesters as determined by the Chair.

    5. Director/Choreographer will report violations (per #3 and #4) to the Chair in writing.

Grounds for Dismissal

A performer may be dismissed from a production for:

  • Unexcused absence or tardiness from any rehearsal or performance.
  • Inappropriate behavior as further outlined in course syllabi.
  • Failure to meet appointments with Designers/Directors or other Production staff.

The only excused absences from rehearsal or performance are:

  • Serious illness/accident.
  • Death in the family.
  • Natural disasters.

Mechanism for Dismissal of Cast and Crew

Any student who has shown cause for dismissal may be dismissed from the show. In some cases, particularly those involving unexcused absence, the student may be dismissed immediately by the relevant supervisor (Director, Choreographer, or Production Manager); in other cases, the supervisor may give one warning (written or verbal), with the understanding that a second offense will result in immediate dismissal. In all cases, the Department Chair will be immediately notified of the offense and reserves the right to dismiss a student from a production upon written recommendation from the appropriate supervisor. Students dismissed from a production will receive a failing grade in the relevant course and will not be eligible for casting in a TDPS production for that semester and/or subsequent semester(s) as determined by the Chair.

Sample Performance Syllabi

TDPS productions are curricular, often the culmination of advanced coursework within the department. In addition to department policies and posted Performer Responsibilities, course syllabi contain expectations, evaluative criteria, and grading standards for participants. Theater 180 and 181 for Berkeley Dance Project, Playhouse and Studio Productions are taken for a letter grade. Theater 171 for Workshops is taken Pass/No Pass. The evaluative criteria are the same for all productions, as is the expectation of perfect attendance.

Overview of Theater 171: Student-Directed Workshop

This course operates as a small workshop production, providing academic credit for performers and other specified participants in theatrical events produced by the Department of Theater, Dance, and Performance Studies. Participants must enroll in at least one unit and up to two units of 171, depending upon level of involvement and/or student preference, or as prescribed by the instructor of record. All course activities occur within a finite schedule, generally spanning four weeks within a semester, and culminating in unticketed public performances. This course may be taken multiple times for credit and may fulfill major and minor requirements. Audition is required.

Overview of Theater 180: Berkeley Dance Project

This course is designed for students who are seriously interested in performing dance on the concert stage. Involvement prepares students to perform in a highly-produced dance concert called the Berkeley Dance Project. The course is designed to teach students about the process of dancing for a choreographer. This will involve: participating fully in all rehearsals and all required performances, contributing ideas to the creative process, and being open to choreographic strategies and methods. Students may be cast in up to three separate dance pieces. Each dance piece varies in scope and style depending on the themes and concepts being explored by the individual choreographer. This course may be taken multiple times for credit and may fulfill major and minor requirements. Audition is required.

Overview of Theater 181: Playhouse and Studio Productions

This course operates as a large, complex performance lab, providing academic credit for performers and other specified participants in theatrical events produced by the Department of Theater, Dance, and Performance Studies. Participants must enroll in at least one unit, and up to four units of 181, depending upon level of involvement and/or student preference, or as prescribed by the instructor of record. All course activities occur within a finite schedule, generally spanning five to eight weeks within a semester, and culminating in ticketed public performances. This course may be taken multiple times for credit and may fulfill major and minor requirements. Audition is required.

Schedule:

This course meets according to the established rehearsal scheduled for a given production. Refer to the Master Calendar for your production available on the TDPS Callboard and provided by your Stage Manager and/or Director. Note that specific call times on indicated rehearsal and performance dates will be set on a weekly or daily basis and will be communicated to you by the Stage Manager or Production Manager.

Attendance:

This is a course that requires full participation. Because sessions are part of the creative process, there is no way to make them up. Missing even one session to which you are called will affect the outcome of the work being created. Therefore, a perfect attendance record is the assumption for this course, which means on-time attendance to every rehearsal, and performance call indicated on the Master Calendar for the production, or at least to the calls provided by the Stage Manager for your particular role. Please consider this seriously before deciding to take this class. Perfect attendance is defined as being on time and present for all calls, and being ready to work at the call times. The only excused conflicts/absences are those presented by the student and approved in writing by the instructor prior to completion of callbacks. The only other excused absences from rehearsal or performance are serious illness/accident, death in the family, natural disasters. Students who are ill, or who are seriously injured, and are at risk of missing multiple sessions, must contact the instructors immediately to determine the course of action to be taken. Any students needing accommodation for observance of religious holidays are also responsible for contacting the instructor at the time of auditions.

Course Requirements and Evaluative Criteria:

Grades for this course will be based on evaluation of the factors listed below:

  • Maintaining a mature, responsible, supportive and communicative attitude towards fellow students, staff, faculty, and the project as a whole
  • Coming prepared and ready to work to all scheduled sessions, workshops, rehearsals and performances
  • Working diligently to fulfill the standards and objectives established by the director, whether a student, faculty member, or outside professional
  • Being responsive to student stage managers and staff, which includes checking email and voicemail daily
  • Timely and diligent completion of all assignments, cast responsibilities, off-book deadlines, scheduled costume fittings and required readings
  • Willingness to experience and apply new ideas and approaches, and learn new skills
  • Full participation and attention in discussions and notes sessions
  • Respecting the theatrical process, in rehearsal and performance, and being patient with its intrinsic challenges, including using any downtime in a productive way

Evaluative Procedures:

Theater is by nature a collaborative process. The teacher of record will communicate with production department heads, other faculty, student directors, and staff involved with the production to determine a student’s level of accomplishment, based on the above criteria.

Grading Standards:

A Exceptional and committed fulfillment of all the stated requirements; exhibiting a high degree of professionalism throughout the process, and respect for all of its elements and collaborators.

A- Exceptional fulfillment of a majority of the stated requirements, including prompt attendance and meeting all established deadlines.

B+ Solid fulfillment of the stated requirements, with occasional lapses in commitment or professionalism, or a less than perfect record of promptness and readiness to rehearse. Examples might include losing focus in some rehearsals, needing to be given notes more than once, or not using downtime to constructive purpose.

B Satisfactory fulfillment of the stated requirements, and an overall professional attitude. but fairly regular lapses in attention, judgement, or follow-through. Responds well to constructive criticism in most cases, and makes adjustments accordingly. Examples might include students who distract others from the smooth running or rehearsals, or are not ready to rehearse on more than one occasion.

C Students understand what is required of them, but often need to be reminded of their tasks and responsibilities, and/or can obstruct the smooth running of rehearsals or performances. Students don’t respond well to criticism, or only do so when pressed, and /or rarely take initiative beyond their basic tasks. Students may often be late to calls, or not meet off-book deadline.

Students who fail to maintain the standards of a grade of “C” will be dropped from the class and receive no credit.

Rehearsal Absence Policy:

  • 0 absences are allowed (beyond what has been established at the time of your audition and acceptance of the role).
  • Promptness is required. Being ‘on time’ means being present and ready to work at the designated call time. Arriving at the call time is equivalent to being late.
  • Please refer to the Department of Theater, Dance, and Performance Studies Performer Responsibilities posted on the Callboard and acknowledged at the time of the audition. If you do not have a copy for yourself, please ask the instructor for a copy.

Performance Absence Policy:

  • 0 absences are allowed
  • Promptness is required
  • Please refer to the Department of Theater, Dance, and Performance Studies Performer Responsibilities posted on the Callboard and acknowledged at the time of the audition.

Accommodation Policy

All UC Berkeley students are invited to audition for TDPS productions and workshops. If a disability-related accommodation is needed for an audition, please contact the Undergraduate Academic Advisor at least one week prior to the start of the semester.

For students in DSP, please contact your DSP specialist well in advance of the audition so there is time for the accommodation process and notify the department to make arrangements. Please ask DSP to also send disability accommodation notices for auditions to the Undergraduate Academic Advisor at least one week prior to the start of the semester.

Please note that some audition spaces are not readily accessible for those with mobility impairments. With advance notice, we are happy to make arrangements for an alternate venue.

Auditions for Productions & Workshops

Information about A Midsummer Night's Dream and The Philippine Deep can be found in the dropdowns below.

General information about more Spring 2026 productions will be posted here later in the fall semester.

Cast List for The Philippine Deep

Click anywhere in this box to view the list.

Cast List for A Midsummer Night's Dream

Click anywhere in this box to view the cast list.

Berkeley Dance Project 2026

Berkeley Dance Project 2026

Directed by Lisa Wymore

Choreography by Randee Paufve, Sarah Crowell and Lisa Wymore.

Overview: 

Berkeley Dance Project 2026 will feature two pieces choreographed by Randee Paufve (guest artist) and a piece co-choreographed byLisa Wymore (faculty) and Sarah Crowell (guest artist). The concert will also feature student-created pieces selected from our Fall Choreography Showcase.

  • Sarah Crowell and Lisa Wymore's piece “Freedom is a River” is a new choreographic and performance piece.

    • The river is source, baptism, deep grief, unbridled joy, connection, nurturer, flow
      The river has voices, identities, memories
      The river remembers freedom, even when it has been damned
      When river meets sea, it does not end
      It transforms.
      It becomes what it was always moving toward
      …..openness, dissolution, belonging

      “Freedom is a River” invites the performers and the audience to access our collective body memories of the river’s endless journey, using the concepts of Mia Birdsong’s framework for liberation from the Next River Project.

  • Randee Paufve's piece, "Sisters", premiered August, 2024 at ODC Theater in San Francisco. The piece is an anthology of dances that confronts a contemporary political issue: a woman’s right to choose. Rooted in the choreographer’s and original cast’s personal narratives of sisterhood and bodily autonomy, the piece celebrates the whisper networks, emotional labor, and sororal secrets that sustain us. Through precise, evocative choreography and deeply felt performances, Sisters transforms private experience into collective expression. For the Berkeley Dance Project’s Spring 2026 production, choreographer Randee Paufve will collaborate with students to create a condensed version of the original evening-length work.

    “Sisters takes its audience on a vulnerable, intimate journey. Though we were seated for Sisters’ entire hour, the suite of vignettes (solos, duos, trios and full cast) felt like it was transporting the viewer from one space to another, each chapter conveying a different mood, quality and emotion. Narratively, the common thread sang, screamed and sobbed from the stage.” ~Heather Desaulniers, August 2024~

Key Dates:

Auditions:

  • January 23, 6pm - 10pm
  • Bancroft Dance Studio (2401 Bancroft Way)

Rehearsals:

  • Rehearsals will begin between early March and mid March, depending on the pieces in which dancers are cast.
  • Tech rehearsals will be held on the evenings of April 22–25 and 28–29
  • Production Calendar

Performances:

  • April 30 & May 1, 2, 3, 2026
  • 3 evenings, 1 matinee
  • Zellerbach Playhouse

About the Choreographers:

Lisa Wymore is a Professor in the Department of Theater, Dance, and Performance Studies. She teaches classes in choreography, dance technique, pedagogy, improvisation, creativity studies, and performance. She is Co-Artistic Director of Smith/Wymore Disappearing Acts with Sheldon B. Smith. She investigates human-computer interactivity with various creative collectives including  the Z-Lab, Kinetech Arts “Dance Hack” and a group of artists and social activists investigating generative AI and embodied creativity. Wymore is part of the Othering and Belonging Disability Cluster and serves on the Executive Committees for Berkeley Center for New Media and the Jacobs Institute for Design Innovation.

Sarah Crowell is an award-winning dancer, choreographer, arts educator and nonprofit leader who creates powerful collaborative experiences through movement, intimate storytelling and scathing political commentary. For 30 years she was a leader at Destiny Arts Center, a youth arts organization based in Oakland, whose mission is to inspire and ignite social change through the arts. Since leaving Destiny in 2020, Sarah has worked with arts organizations, colleges and universities, nonprofits and foundations, as a performer, curator, speaker, facilitator, collaborator and curriculum writer. She co-directs the Belonging Resident Company, a dance/theater troupe born out of the Othering and Belonging Institute, dedicated to creating embodied performance work centered around belonging. In August of 2025 Sarah accepted the position of Artistic Director of Dance Mission Theater in San Francisco.

Randee Paufve is a choreographer, dancer, teacher, and the Artistic Director of Paufve Dance. A 2019 Fulbright Scholar and featured artist on NPR’s All Things Considered, she was also named one of San Francisco Magazine’s 2017 “100 Artists Putting the East Bay on the Map.” She received the 2015 Isadora Duncan Dance Award (Izzie) for Outstanding Individual Performance—her sixth nomination across multiple categories—and was honored with the inaugural Della Davidson Prize for Innovations in Dance-Theater.

Paufve’s choreography has been commissioned and presented nationally by San Francisco's ODC Theater, SummerfestDance, West Wave Dance Festival, SF Museum of Modern Art, and University of San Francisco; UC Davis' Mondavi Performing Arts Center; Portland Institute for Contemporary Arts, and On the Boards/Seattle; Harvest Chicago Contemporary Dance Festival; Joyce SoHo Theater in Manhattan, the Dance Complex in Boston, Vermont's Phantom Theater, and at 33 Hawley in Northampton. Internationally, her work has appeared at the Madurai Art Fest in Tamil Nadu, the Fulbright South/Southeast Asian Conference in Kerala, India, and at ImPulsTanz in Vienna. Her creative process has been supported by numerous grants and residencies, including Ucross Foundation, New Dance Alliance, Djerassi Resident Artists Program, Red Cinder Creativity Center, and Shawl-Anderson Dance Center.

Casting 

Dancers of all racial, ethnic, gender, sexuality, and dis/ability identities are encouraged to audition. All bodies and neuro-abilities are welcome.

  • Sarah Crowell and Lisa Wymore's piece “Freedom is a River”will be looking for 12-15 dancers, performers, and movers who are curious to explore the themes of “Freedom is a River.”
  • Randee Paufve's piece, "Sisters", will be looking for 7–10 dancers who are:

    • Eager to engage with and revision advanced-level choreography exploring the themes of Sisters. In this context of this piece, “advanced” means not only techn ical dancing, but also expressive capacity and performance experience/skills.

    • Self-directed and comfortable with learning highly crafted choreography from video.

    • Passionate about choreographic craft, and dance as an art of physicality, connection,

    • attention, and expression

    Note: The original cast of Sisters included dancers trained across diverse forms such as modern/contemporary, ballet, bharatanatyam, and folklórico. Sisters welcomes dancers to audition with training in various movement backgrounds.

    Content Advisory for Sisters: The choreography involves some touch/partnering, and floorwork. The movement and choreography is based on personal experiences of the original cast, stories involving sisterhood, motherhood, birth, pregnancy, abortion, and death 

Audition Details & Sign-Ups:

Prepared material is not required. Come ready to move fully and perform dance phrases taught by the choreographers. You may be asked to respond creatively to a prompt. Plan to be available for the duration of the audition, but you may be released once you have been seen by each choreographer.

Commitment:

Berkeley Dance Project is a considerable time commitment that requires 1–3 units of course credit (Theater 180) and evening/weekend rehearsals 3–4 times per week. Participants will be expected to be available for each rehearsal unless they have listed it as a conflict in advance.

Student Workshop: Adaptation

Adaptation

by Elaine May

Directed by Joshua Gould

Spring 2026 Theater Workshop 

Workshop Dates:

Auditions & Callbacks:

  • Auditions: Monday, January 26, 2026, 6pm–10pm
  • Callbacks (by invitation): Tuesday, January 27, 2026, 6pm–8pm

Rehearsals:

  • February 2 – February 23, 2026 (Monday–Friday, 6pm–9pm)
  • Tech: February 24 & 25, 2026 (6pm–11pm)

Performances:

  • February 26 & 27, 2026
  • Zellerbach Hall, Room 170

About Workshops:

As performance laboratories, workshops provide opportunities for student directors, choreographers, and writers to develop ideas and put them into practice. Workshops focus on language and performance with minimal design/technical elements. The process consists of three weeks of rehearsals and two evenings of public performances.

About the Play:

Adaptation is a satiric comedy which portrays everyday life with all its anarchic madness, banal familiarity, and utter nonsense. Performatively modeled after the classic board game Parcheesi, the play follows the adventures of a contestant who either advances or is sent back through the seven ages of human development. An ensemble consisting of the Game Master and the other players of the game assist the contestant through their development from “mewling infant” to “second childishness and mere oblivion.” The New York Times observed that May’s play has “sting and flash; marvelous, funny, provocative and, in its way, touching.”

About the Director:

Joshua Gould is a senior majoring in theater and minoring in religious studies. An award-winning actor (KCACTF) in community college, Gould began directing upon coming to U.C. Berkeley, working with various student-run and off-campus organizations before being selected to direct a workshop project for TDPS (Spring 2026). He has also worked extensively in many other aspects of theater. As a lifelong fan of Mike Nichols and Elaine May, Gould is excited to bring Adaptation to Berkeley because of its comedy and timely message. Other directing credits include The Real Inspector Hound and Hurricane

Casting & Characters:

Adaptation will utilize an ensemble of 7-10 actors playing a variety of roles. Casting possibilities are extremely flexible and actors of all backgrounds and experience levels are encouraged to audition.

Characters: 

  • The Contestant (Phil Benson)
  • Game Master
  • Player 1 Father/Cia Man/Harve/Dore
  • Player 2 Mother/Sharon/Second Woman
  • Player 3 Norma/Doctor/Grady
  • Player 4 Doris/Ashley/Irving/Carol
  • Player 5 Psychologist/Sandy/Shirly/Professor
  • Player 6 Teacher/Mark/Speaker/Hilton
  • Player 7 Taxi Driver/First Frat/Johns/Garfine
  • Player 8 Assistant to the Game Master/After Dinner Speaker/Principal/Second Frat/First Man

Content Advisory:

Adaptation addresses themes of sex, politics, and other topics that some people may find unsettling. The play presents moments of charged comedy and contains language that was widely utilized at the time of its writing, but which is problematic today. These moments and language will be changed to reflect evolving sensibilities and to suit a contemporary Berkeley audience. There are also mature moments throughout Adaptation, which will be treated and rehearsed with care and sensitivity by the production team, ensuring that everyone feels safe and comfortable.

Commitment:

TDPS Workshops require 1–2 units of course credit (Theater 171) and rehearsals for 3 1/2 weeks (generally Monday–Friday, 6pm–9pm). Participants will be expected to be available for each rehearsal unless they have listed it as a conflict on their audition form.

Click here to view the rehearsal calendar.

Audition Details & Sign-Ups:

Sign-ups for auditions will be posted here two weeks before auditions.

Please prepare a contemporary monologue of two minutes or less. In selecting audition material, auditioners may wish to note that Adaptation involves actors portraying comedic, dramatic, and absurd situations in varying degrees and combinations. Additionally, please be prepared to answer some questions the director may ask, regarding a variety of subjects (school, interests, experience, theater, etc.).

Student Workshop: Whatever You Want, Man


Whatever You Want, Man

Adapted and Directed by Erin Weitzman 

Spring 2026 Theater Workshop 

Workshop Dates:

Auditions & Callbacks:

  • Auditions: Monday, January 26, 2026, 6pm–10pm
  • Callbacks (by invitation): Tuesday, January 27, 2026, 8pm–10pm

Rehearsals:

  • March 16 – 20, March 30 - April 10, 2026 (Monday–Friday, 6pm–9pm)
  • Tech: April 13 & 14, 2026 (6pm–11pm)

Performances:

  • April 15 & 16, 2026
  • Zellerbach Hall, Room 170

About Workshops:

As performance laboratories, workshops provide opportunities for student directors, choreographers, and writers to develop ideas and put them into practice. Workshops focus on language and performance with minimal design/technical elements. The process consists of three weeks of rehearsals and two evenings of public performances.

About the Play:

Whatever You Want, Man is an adaptation of Shakespeare’s As You Like It, in which the Forest of Arden meets San Francisco (and New York, kind of). Through the interweaving of Shakespearean text and modern dialogue, the characters and comedy come to life in an imaginative collaboration between theater past and present.

About the Director:

Erin Weitzman is a senior from Westchester, New York, studying English, Theater, and Creative Writing at Cal. She is making her directorial debut with Whatever You Want, Man, a project that fulfills her dream of writing a Shakespeare adaptation. At Berkeley, Erin has spent time reviewing Bay Area theater for Theatrius, working for Cal Athletics, and volunteering at KALX 90.7FM as a DJ. Her short plays have been performed as staged readings here at Cal in Durham Studio Theater, as well as back home at her alma mater high school and in Central Park. She is thrilled to have her first full-length play produced by the TDPS department.

Casting & Characters:

Seeking 10 actors. Students of all racial, ethnic, gender, and dis/ability identities are encouraged to audition; all bodies, neuroabilities, accents, and dialects are welcome. Seeking a debut cast excited to collaborate, invent, and create the world together in the premiere of this new play.

Characters: 

  • ORLANDO, lover boy, aspiring rapper (modern dialogue speaking)
  • OLIVER, elder brother to Orlando (modern dialogue speaking)
  • ROSALIND, daughter to Duke Senior, narrator, exploring her identity in SF(modern/Shakespearean speaking)
  • CELIA, Rosalind’s cousin, daughter to Duke Frederick (Shakespearean text speaking)
  • TOUCHSTONE, jokester, open to adventure new perspectives (Shakespearean text speaking)
  • DUKE FREDERICK, the usurping “duke” (mob boss), New Yorker (Shakespearean text speaking)
  • DUKE SENIOR, exiled, brother to Duke Frederick, New Yorker (Shakespearean text speaking)
  • SILVIUS, a young barista in love (modern dialogue speaking)
  • PHOEBE, a disdainful tattoo artist (modern dialogue speaking)
  • CORIN, an old cafe owner (modern dialogue speaking)

Content Advisory:

There are multiple moments of potential physical intimacy. An intimacy coordinator will be involved in all relevant situations. Strong language used.

Commitment:

TDPS Workshops require 1–2 units of course credit (Theater 171) and rehearsals for 3 1/2 weeks (generally Monday–Friday, 6pm–9pm). Participants will be expected to be available for each rehearsal unless they have listed it as a conflict on their audition form.

Click here to view the rehearsal calendar.

Audition Details & Sign-Ups:

Sign-ups for auditions will be posted here two weeks before auditions.

For the audition, please prepare a monologue of up to 2 minutes.

New Play Reading Series

New Play Reading Series

Graduate Student Instructor: AeJay Antonis Marquis  Instructor of Record: Timmia DeRoy

General Note:

Please find the syllabus for the course connected to the Spring 2026 New Play Reading Series here: Rehearse/Reveal: Studio Lab for New Work

Class Audition & Callback Requirements

Auditions will be held on the first day of the class. 
  • Date: Tuesday, January 20, 2026
  • Time: 4:30-7:30pm
  • Location: Dwinell Hall, Room B-4
Note on casting: As this is a new work laboratory in a university setting, age, gender, and sexual identity may be fluid for the purposes of this learning process. We do not expect to limit casting by these identifiers, although race may be considered as to honor the imagined voices and lived experiences of characters in each play. Ultimately, we will be casting up to 14 members of an ensemble to engage in or with both texts. Auditions:
Prepare a 1–1.5 minute contemporary monologue, AND bring in a 1–1.5 minute brief sample of your writing (dramatic, poetic, short-story) to share with us. Memorization is not required. If reading, please bring a printed copy.

Callbacks: If callbacks are needed, they will be hosted on Thursday, January 22, and will include sides from the texts.


Commitment:

Students interested in the New Play Series must be available to enroll in the above course which takes place on Tuesdays and Thursdays from 4:30-7:30p. Throughout the course you will be working on the development of two new projects as well as writing your own 10-minute play. There will be opportunities to act, direct, and learn/ enhance your dramaturgy skills. Additionally, performers must enroll in the course to participate. If cast, you will receive an enrollment code from Professor Timmia Hearn DeRoy.

Project A

VALUE OVER REPLACEMENT
A New Play in Development
By Ruben Grijalva

Overview

VALUE OVER REPLACEMENT is a new work in progress about the brutal math of greatness, the slippery meaning of integrity, and the impossible pressures placed on athletes, fathers, and families. Spanning ballparks, radio studios, locker rooms, congressional hearings, and living rooms, the play centers Edward “Chip” Fuller—a light-hitting infielder whose brief stint in the majors spirals into a successful career in sports radio until a steroid scandal threatens to unravel everything he has built.
The play moves fluidly between present action and memory: Chip’s childhood training with his father, his days as a struggling minor leaguer, and his attempts to raise his own neurodivergent son in a world obsessed with performance. With humor, heartbreak, baseball mythology, and moments of fevered moral clarity, the play interrogates how far someone will go to feel “enough,” what one generation passes to the next, and the cost of becoming the hero you dreamed you’d be.
This is an in-development script, and it will continue to evolve through the rehearsal and workshop process. Actor flexibility, curiosity, and collaboration are deeply valued.

Writer’s Bio

Ruben Grijalva (he/him) is a San Francisco Bay Area-based playwright exploring moral questions to which he has no good answer. This approach leads to plays that you might describe as comedies about tragedies, featuring protagonists that you might describe as seemingly good people doing seemingly bad things. His short plays include “Anna Considers a Cocktail” and the PianoFight ShortLived winning “All The Worlds Are Stages.” His full-length plays include Anna Considers Mars, the Edgerton New Play Award winning Value Over Replacement, and “Shoot Me When…,” winner of the 2022 Will Glickman Award for Best New Play in the Bay Area. Value Over Replacement was also recognized as O’Neill National Playwrights Conference Finalist and a Bay Area Playwrights Festival Semi-Finalist. 

Casting

Seeking 7 actors. Several roles are doubled, requiring versatility, specificity, and clarity of physical and vocal differentiation.

Characters

  • Edward “Chip” Fuller Mid–late 30s, male - A former light-hitting infielder whose short-lived MLB career leads to radio fame. Competitive, funny, self-protective, deeply wounded, and perpetually wrestling with failure, ambition, fatherhood, and moral compromise.
  • Jack Fuller / Dan Drake, 40s–50s, male.
  • Jack: Chip’s father. A frustrated ex–minor leaguer. Harsh, demanding, and deeply invested in his son’s success.
  • Dan: A sharp, sardonic sportswriter and co-host of Chip’s radio show. Witty, observant, morally complicated.
  • Note: Jack should always wear a tattered baseball cap to differentiate.
  • Emily Fuller Mid–late 30s, female. Chip’s wife; Executive Director of “Chip’s Kids,” an autism research nonprofit. Smart, empathetic, ambitious, exhausted. Balances love with survival, and sees the consequences of Chip’s choices more clearly than he does.
  • Alex Fuller / Young Chip / Danny Briggs 10–15 years old (or played by an adult actor “Peter Pan” style).
    • Alex: Chip’s son; high-functioning autistic, determined, literal, disciplined.
    • Young Chip: The boy becoming the man; eager, desperate to please.
    • Danny: A young fan; hopeful, shy, full of promise.
  • Mike Clawson / Congressperson, Male, 35–40.
    • Clawson: A teammate and steroid supplier. Charismatic, dangerous, seductive in his logic.
    • Congressperson: Sharp, political, performative.
  • Peggy Briggs / Congressperson / Event Staff Member
    • Female, 40–60.
  • Stage Directions Narrator
    • Any age, race, gender, etc.
  • Callers - Various voices (performed by actors not in the scene).

Casting Notes

This play centers the emotional complexity of a family navigating ambition, disability, masculinity, grief, and public failure. We welcome actors of all backgrounds and identities who can bring specificity, emotional depth, and humor.Strong movement, vocal character shift, and ability to balance realism with heightened theatricality are valuable.All genders, sexual identities, body types, accents, and dis/abilities are welcome.

Perusal Script

The most current draft of the script is available here:

Please note: The script will continue to evolve throughout auditions and rehearsals, and may be revised during the course process

Content Advisory

The play addresses:

  • Steroid use and substance abuse

  • Parental pressure and emotional manipulation

  • Autism and ableismStrong language

  • Familial conflict and marital strain

  • Media harassment

  • Themes of shame, ambition, injury, and self-worth

  • References to youths harmed by steroid use

  • There is no required physical intimacy for this reading.

PROJECT B 

A Midsummer Night's Dream

A Midsummer Night's Dream

By William Shakespeare, adapted by Diane Zimmerman

Directed by Patrick Russell

Overview:

This production of Shakespeare’s A Midsummer Night’s Dream will be an ensemble-driven exploration of transformation, mischief, and desire. We are seeking a diverse cast of bold, playful performers who are eager to collaborate, take risks, and embody both the humor and the heart of this classic.

Key Dates:

Auditions: Monday, October 27, 2025 from 5-10 pm

Video auditions: Submissions due by Friday, October 24, 2025 at 6 pm

Callbacks: Monday, November 3, 2025 from 6-10 pm

Rehearsals: February 2-March 11, 2026

Performances: March 12-15, 2026

Casting:

All roles are open to actors of any gender identity, body type, or background. Doubling will allow actors to explore multiple worlds of the play—from the Athenian court, to the magical forest, to the comic “play-within-a-play.” Above all, we are looking for performers who can bring imagination, physicality, and joy to the stage.

Characters:

  • Hermia – Sweet, earnest, old-fashioned in manner.

  • Lysander – Confident, energetic, and physically expressive.

  • Helena – Sensitive, vulnerable, often caught in unrequited affection.

  • Demetrius – Determined, proud, sometimes misguided by desire.

  • Nick Bottom (Pyramus) – Enthusiastic performer, full of bravado, convinced of their own brilliance.

  • Puck (Robin Goodfellow) – Mischievous, playful, servant to Oberon, delights in stirring up trouble.

  • Theseus / Oberon – Theseus: a seasoned leader, dignified. Oberon: ruler of the fairies, commanding and ageless.

  • Hippolyta / Titania – Hippolyta: a warrior-queen, strong and independent. Titania: queen of the fairies, fierce, regal, and ageless.

  • Tom Snout (Wall) – A working person, practical, straightforward.

  • Snug (Lion) – A working person, gentle in spirit despite their role as “lion.”

  • Francis Flute (Thisbe) – The youngest worker, eager but inexperienced.

  • Peter Quince (Prologue) – Organizer of the group, pragmatic, slightly more educated than the others.

  • Robin Starveling / Peaseblossom – Starveling: a worker, cautious, literal. Peaseblossom: a fairy attending Titania.

  • Philostrate / Cobweb – Philostrate: master of revels, serious and efficient. Cobweb: a fairy attending Titania.Eugenia / Mustardseed – Eugenia (Hermia’s parent): proud, proper, of status. Mustardseed: a fairy attending Titania.

Perusal Scripts:

Students are strongly encouraged to read the play before they audition. All actors who are called back are required to have read the play.

Perusal scripts for A Midsummer Night’s Dream are available at the TDPS main office (15 Dwinelle Hall, Monday–Friday, 9am–12pm and 1pm–4pm). Scripts must remain in the office, so please plan to stay while reading.

Content Advisories:

There are multiple moments of potential physical intimacy. An intimacy coordinator will be involved in all relevant situations.

In-Person Auditions/Callback Details & Sign-Ups

Auditions for A Midsummer Night's Dream have concluded.

You may only sign up for either an in-person audition or a video audition. If your name is listed in both places, one will be deleted.

In-Person Auditions will be held on Monday, October 27, from 6-10 PM in Durham Studio Theater in Dwinelle Hall. 

For the audition, please prepare a classical monologue of up to 2 minutes.

Callbacks will be held on Monday, November 3rd from 6-10 PM in Durham Studio Theater in Dwinelle Hall. If called back, you must be available to attend callbacks in person.

Video Auditions/Callback Details & Sign-Ups

Auditions for A Midsummer Night's Dream have concluded.

Video Auditions: Please only sign up for a video audition slot if you cannot attend the in-person audition date, or if in person sign-ups are full.

You may only sign up for either an in-person audition or a video audition. If your name is listed in both places, one will be deleted.

Video submissions due by October 24th, 2025 at 6 pm. 

Here's how to submit a video audition: 

  1. Position your camera such that your face and upper body are clearly visible.

  2. Once you are recording, introduce yourself and your monologue! Give us your name, pronouns, and the name of your piece. 

  3. Perform your monologue! Please prepare a classical monologue of up to 2 minutes.


Callbacks will be held on Monday, November 3rd from 6-10 PM in Durham Studio Theater in Dwinelle Hall. If you submit a video audition, if called back, you must be available to attend callbacks in person unless you have received special permission from director Patrick Russell.

Commitment:

Students who are cast in A Midsummer Night’s Dream must commit and be available for all indicated calls on the production calendar and must enroll in Theater 181 for Spring 2025 (3 units, commensurate with time spent on preparation, rehearsals, costume/makeup/hair fittings, performances and strike). All production activities will be held in person unless otherwise noted. Click here to see the full rehearsal calendar in Propared. 

If you have any questions or require specific accommodations for your audition, please email director Patrick Russell (patrickrussell@berkeley.edu).

The Philippine Deep

The Philippine Deep

By Abigail De Kosnik

Co-Directed by Juztine Tuazon-Martin and Abigail De Kosnik

Overview: 

The Philippine Deep tells the story of five generations of a family, spanning 150 years of history in the Philippines and in the United States. The play takes place on two stages: the Contemporary Stage and the Historical Stage. On the Contemporary Stage, a young Filipina-American is surprised by a late-night visitor–her shady brother, running from the law–and the siblings talk about the stories of their ancestors and how their family’s past affects their present. On the Historical Stage, the ancestors’ stories play out, with personal heartbreaks and triumphs unfolding against the backdrop of colonization, war, and postwar political crises.

Key Dates:

Auditions: Wednesday, November 5, 2025 from 6-10 pm

Callbacks: Thursday, November 6, 2025 from 6-10 pm

Rehearsals: March 2-13, 2026, Monday thru Friday, 6-10 pm

Performances: Friday, March 13, 2026 at 7 pm and Saturday, March 14, 2026 at 2 pm

Casting: 

Seeking 8 actors; each actor will portray multiple characters. The play features more than 35 characters. 

This play centers on multiple generations of a Filipino and Filipino-American family, and almost all of the characters are of Filipino descent. To honor the cultural context of the play, we especially encourage students who identify as Asian/Pacific Islander, particularly Filipino, to audition. Students of all genders and sexual identities, bodies, sizes, dis/abilities, accents, and dialects are welcome to audition.

Characters: 

The Daughter and Son are siblings in the contemporary world—the remaining six actors play the pivotal moments of generations of family history spanning 150 years. This includes portraying multiple ages and playing relationships like romantic partners, parents and children, and other family members.

  • Performer 1: Daughter

  • Performer 2: Son

  • Performer 3: Chinaman, Don Pablo Tan, Antonio, and others 

  • Performer 4: Spaniard, Mañuel Serra, Carlos, and others

  • Performer 5: Filipino, Derecho, Francisco, Agusto

  • Performer 6: Theresa, Nitang, and others

  • Performer 7: Adela and others

  • Performer 8: Caridad, Carmen, Rosita, and others

Note: As this is a new play that is still in development. These breakdowns may change before the performance.

Perusal Scripts:

Please read the current draft of the play here at your earliest convenience. (NOTE: The play script will evolve between auditions and the start of rehearsals, and may keep evolving during the rehearsal process.)

Perusal scripts are available at the TDPS main office (15 Dwinelle Hall, Monday–Friday, 9am–12pm and 1pm–4pm). Scripts must remain in the office, so please plan to stay while reading.

Content Advisory:

  • The subjects of domestic violence and physical violence, including warfare, are addressed.

  • The actors will not be expected to perform any moments of physical intimacy.

Audition/Callback Details & Sign-Ups:

Please click here to sign up for an in-person audition and complete an audition form.

Auditions will be held on Wednesday November 5th from 6-10 pm in Durham Studio Theater in Dwinelle Hall.

For the audition, please prepare a contemporary or classical monologue of up to 1 1/2 minutes or use one of these monologues provided. Monologues do not have to be memorized. If you haven't memorized it, please bring a printed copy to read during your audition.

Callbacks will be held on Thursday, November 6th from 6-10 pm in Durham Studio Theater in Dwinelle Hall.

Commitment:

Students who are cast in The Philippine Deep must commit to being available for the entire rehearsal process and both performances. Cast members must enroll in Theater 171.1 for Spring 2026 (1 unit, P/NP). All production activities will be held in-person unless otherwise announced. Click here to see the full rehearsal calendar in Propared. 

Production Labs & Run Crew

Participating in TDPS productions in a technical capacity generally requires completion of Theater 60: Introduction to Technical Theater and Production. Following the introductory course, additional work may be pursued in Theater 167, 168, and 169. See below for enrollment instructions. Additional information about production and design courses is available here.

Course Information & Enrollment Instructions

THEATER 167, 168, 169

Theater 168: Technical Theater Shop Practice

Students can enroll directly into Theater 168 via the enrollment system.

Six lab options will be offered during Spring 2026:

In the enrollment system, search for Theater 168 and select one of the labs listed below based on your availability and interest. Labs begin during the first week of classes and meet once a week from 2-5pm. 

Scenery Labs:

  • Lab 1 - Scenery Lab - Wednesdays - 2-5pm
  • Lab 2 - Scenery Lab - Thursdays - 2-5pm
  • Lab Instructor: Robin Maegawa

Lighting Labs:

  • Lab 3 - Lighting Lab - Tuesdays - 2-5pm
  • Lab 4 -  Lighting Lab - Thursdays -  2-5pm
  • Lab Instructor: Dio Ramirez

Costume Labs:

  • Lab 5 - Costume Lab -  Wednesdays - 2-5pm
  • Lab 6 - Costume Lab -  Thursdays - 2-5pm
  • Lab Instructor: Denise Umland

Please direct questions to Jamila Cobham, Production Manager, jamilacobham@berkeley.edu

Pre-requisite/Co-requisite:

Successful completion of, or concurrent enrollment in Theater 60: Introduction to Technical Theater and Production is required.  Transfer students who received waivers for Theater 60 may need to receive permission numbers to enroll.  If you are unable to enroll, please contact Jamila Cobham, Production Manager, for enrollment assistance: jamilacobham@berkeley.edu

Theater 167: Technical Theater Run Crew and Theater 169: Technical Theater Advanced Practice

Theater 167 and 169 are not listed in the class schedule because they require an individual course number for enrollment. Lab preferences must be submitted in the semester prior to intended enrollment to get onto the course list. Seats may be available at the beginning of the semester for those not on the list, though it is not guaranteed. It is imperative that you read and understand the syllabus and schedule for your intended course. See below for details and links.

Please direct questions to Jamila Cobham, Production Manager, jamilacobham@berkeley.edu

Preference Submission for Theater 167 

Prior to submitting your preference form, please read the syllabus and production schedules linked below under Forms and Schedules.

  • Completion of this preference form will place you onto the waitlist in the order received.
  • Submission of preferences for a course does not guarantee enrollment; seats are limited in each semester.
  • Your submission will be confirmed via an email from the Production Manager. In the email you will receive an individual course permission number for enrollment and your lab assignment.
  • If additional information is required after submitting your preference form, you may be asked to meet with the Production Manager.

Preference Submission for Theater 169

Schedules and shop assignments should be arranged with the lab instructor before completing the preference form. Please email the relevant lab instructors below. 

Once your advanced Technical Theater assignment is approved, please complete the preference form. Once completed, your assignment will be confirmed via an email from the Production Manager. In the email you will receive an individual course number for enrollment. 

Forms & Schedules

CalNet login is required to view the files below:

Student Rehearsal Space

Regretfully, due to limitations of both staffing and space availability, we cannot make any of our spaces available to student groups or individuals not currently enrolled in TDPS courses.

Requirements for TDPS Studio Use:

  • Anyone currently enrolled in a TDPS class may use Zellerbach Rooms 7, 170, 133, 135, and 413 for TDPS course-related work only. 
  • Students are not allowed to book space for non-TDPS related activities including student group rehearsals and assignments for other departments.
  • ALL Students must reserve/book each space in advance via Skedda. Students are not allowed to use a TDPS space without a reservation. Failure to comply with this rule will result in loss of privileges and other disciplinary actions as warranted.
  • Studio spaces are only available for student bookings Mondays through Fridays from 9am - 8:30pm. 
  • Book a maximum of 1 hour per use to ensure fellow students have access.
  • Abide by all posted Space Use PoliciesFailure to abide by these policies will result in loss of privileges and other disciplinary actions as warranted.
  • Please do not consume food or beverage inside the studios.
  • Students using studios in Zellerbach must check in with the Stage Door attendant and show their Cal ID upon arrival, and check out with the attendant when finished using the space.

Book Studio Spaces at tdps.skedda.com

  • ALL Students must reserve/book each space in advance via Skedda. Students are not allowed to use a TDPS space without a reservation. Failure to comply with this rule will result in loss of privileges and other disciplinary actions as warranted.
  • Studio spaces are only available for student bookings Mondays through Fridays from 9am - 8:30pm.  
  • First time using Skedda? Register an account.
  • Please use your berkeley.edu account to sign up and not personal email accounts.
  • Only students currently enrolled in a TDPS course may register. Skedda bookings will be audited against class rosters. You must include your TDPS Course number, reason for your booking and the full names of any additional attendees.
  • Students may book available spaces up to seven days in advance.
  • You will be asked to check in via email or the Skedda app to confirm your use of the space. This check in is available starting one hour before your booking. If you do not check in within 30 minutes of your booking's start time, your booking will be automatically removed and you will need to create a new booking.