TDPS Callboard

The Callboard is your hub for all auditions, production labs, and rehearsal spaces. Check here throughout each semester for important dates, forms, and course details.

CalNet login (bMail) is required to view documents linked from this page. New and transfer students without a CalNet ID may contact the Undergraduate Advisor or the TDPS Main Office.

Acting & Directing Classes

  • Class auditions for the acting sequence are held the first week of instruction each semester.
  • A CalNet ID is required to sign up for auditions. If you do not yet have a CalNet ID, please contact the TDPS Main Office.
  • For detailed information, visit the TDPS Class Audition FAQ.

Productions & Workshops

Performing in TDPS

  • Each semester TDPS produces three to six performance works comprised of plays, dance performances and student directed workshops. While auditions are open to all UC 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. 
  • Participant expectations, evaluative criteria, and grading standards are outlined in Participant Responsibilities and Sample Performance Syllabi below.
  • Production auditions take place within the first few weeks of each semester. Sign-ups will be posted online here at least two weeks prior to the audition date. Callback and casting results will be posted below following the auditions. 

Casting Policy

  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 UCB 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 Public Programming 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 Production Committee, and the Department Chair.

  1. 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.

  1. Theater, Dance, and Performance Studies majors may have a casting advantage because of familiarity with previous experience and training, but it should be understood that it is a competitive audition process, open to all UC students.

  1. 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.

  1. While UC extension students are able to enroll in TDPS courses associated with performance, UC Extension Fall Program for Freshmen does NOT allow students to enroll in “elective” courses, and therefore students of the program are ineligible for participation in production.

Rights & Responsibilities of Participants

Production participation is an honor, 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. Adherence 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

      1. 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.
      1. 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 notified immediately 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. THR 180 and 181 for Berkeley Dance Project, Playhouse and Studio Productions are taken for a letter grade. THR 171 for Workshop productions are taken Pass/No Pass. The evaluative criteria are the same for all productions, as is the expectation of perfect attendance. 

      Overview of THR 180: Berkeley Dance Project

      This class 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 will 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. Audition is required.

      Overview of THR 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 & 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 eight weeks within a semester, culminating in ticketed public performances. This course may be taken multiple times for credit and may fulfill major and minor requirements.

      Course Materials (THR 181 Only):

      Students enrolled in THR 181 and participating in a performative role in the production will be required to pay a lab fee of $20 to cover the cost of theatrical makeup that will be personally used in the course of the production. Students who have previously purchased a theatrical makeup kit specified by the department may request full or partial fee waiver based upon presentation of appropriate kit components during the makeup consultation. 


      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. 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.


      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 fulfilment 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 Call board 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 Sheet posted on the Callboard and acknowledged at the time of the audition.

      Production Details: Spring 2020

      The Arsonists

      Playwright: Max Frisch

      Director: Patrick Russell

      Peformance Dates: 12–15 March, 2020


      In a nameless town. At an unknown time. A community is on edge as arsonists wreak havoc in the night, going door to door, setting homes ablaze. When the self-assured businessman Biedermann finds himself with the arsonists on his doorstep, will he be prepared for their cunning and coercive tactics?

      As timeless as it is timely, Max Frisch’s cautionary comic parable on greed, apathy, and the power of persuasion has the urgency of a ticking time bomb.

      Casting: Details Coming Soon

      Commitments: Students cast in the show are committing to be available for all indicated calls on the AR Master Calendar, and must enroll in THR 181 for 3 units.

      Open Call Auditions: Tuesday, 28 January, 6:00 – 10:00PM, Durham Studio Theater, Dwinelle Hall

      Callbacks: Wednesday, 29 January, 6:00 – 10:00PM, Specific Schedule To Be Announced

      Snowflakes, or Rare White People

      Playwright: Dustin Chinn

      Director: Mina Morita

      Performance Dates: 24–26 April and 1–3 May, 2020


      In 23rd Century Nueva New York, the dwindling white American population is protected by the federal government. Two of the last are brought to the Museum of Natural History as a living exhibit in the Hall of Caucasian Peoples, only to be freed by a sympathetic gift shop employee. Is society ready for their return?

      Inspired by the Hall of Asian Peoples at the American Museum of Natural History and articles bemoaning the "dwindling majority" of white Americans, this cuttingly smart comedy explores American conceptions of race and ethnicity, representation, and the precariousness of social status.

      Casting: 5–7 Women, 5–7 Men, Cast Breakdown

      Commitments: Students cast in the show are committing to be available for all indicated calls on the SF Master Calendar, and must enroll in THR 181 for 4 units.

      Open Call Auditions: Thursday, 23 January, 5:30 – 10:00PM, Bancroft Dance Studio (Note Change in Location)

      Callbacks: Friday, 24 January, 6:00 – 10:00PM, Specific Schedule To Be Announced

      Berkeley Dance Project 2020

      This production is a two semester sequence with auditions in the 3rd week of class, rehearsal throughout the fall semester, and final rehearsals and performances in the first six weeks of the spring semester.

      Directed this year by current TDPS Chair, Lisa Wymore, Berkeley Dance Project 2020 will focus on Community. Works  will be set by Lisa Wymore, Latanya D. Tigner, and guest artist Erik Lee. In addition, student dance groups from campus will submit works to be featured in the program. Further details will be provided in early August. 

      Casting: The choreographers are casting dances of at least 5, and up to 12, dancers per piece.

      Commitments: Students cast in the show are committing to be available for all indicated calls on the BDP20 Master Calendar, and must enroll in THR 180 for units corresponding to the works in which they are cast. The fall semester is 2 units for one piece and three units if cast in two. All performers must also enroll in 1 unit for spring semester to cover pick up rehearsals, tech rehearsals and performances. 

      Audition:  BDP20 was cast and created in the fall semester.

      Student Directed Workshops

      Workshops are designed as capstone experiences, providing laboratories for nascent work.  An opportunity for writers, directors, and performers to develop ideas and get them on their feet. They are intentionally shorter time commitments than Studio or Playhouse shows, and focus on language and performance with minimal technical production.

      Marie Shelton

      An absurdist reimagining of Hamlet.


      The rest is silence... or is it?

      In an underground theatre in Paris, Berlin, Copenhagen, or wherever you like, in the 1950s, 60s, now, or whenever you like, the story of young Hamlet is being repeated, performed, and memorialized for the thousandth time. There's a band, a bit of jazz, a microphone, a script. A cigarette, another cigarette. A skull, another skull. Hamlet gets up onstage, has a few things to say, steps down, and is heard no more– that is, until the next night when he gets up onstage, has a few more things to say, steps down, and is heard no more again– that is until the next night. And the next. And the next. And the next.

      Inspired by Theatre of the Absurd, the plays of Samuel Beckett, French New Wave cinema, and vaudeville, Marie Shelton's adaptation of Hamlet takes a poetic and grotesque look at the language and situations of William Shakespeare's time-honored classic to explore how we come to understand ourselves through others– through their bodies, through their memories, and through the theatre they perform every day.

      Open Call Auditions: Tuesday, 28 January, 6:00 – 10:00PM, Durham Studio Theater

      Callbacks: Wednesday, 29 January, 6:00 – 10:00PM, Specific Schedule To Be Announced

      Casting: Seeking up to 9 performers; 2 male identified, 2 female identified and up to 5 additional people.

      Rehearsals: 10 February – 3 March, Monday through Friday, 6:00 – 10:00PM

      Performances: 4–5 March, 7:00PM

      Commitments: Students cast are committing to be available for all indicated calls for their particular workshop listed on the S20 Workshop Master Calendar, and must enroll in THR 171 for 2 units.

      Stefan Wayne

      An adapted play, Don't Bet on the Englishmen.


      Don't bet on the Englishmen is a play originally written in Serbian and adapted to English by Stefan Wayne. It is a story about three childhood friends in their 20s, and new discoveries made about their friendship during the most important hour of their lives. The play runs slightly less that an hour and has three male characters.

      Open Call Auditions: Tuesday, 28 January, 6:00 – 10:00PM, Durham Studio Theater

      Callbacks: Wednesday, 29 January, 6:00 – 10:00PM, Specific Schedule To Be Announced

      Casting: 3 Male Characters. Actors of all ethnicities and accents are encouraged to audition. A collaborator to assist with organization and playback of some sound cues is also desired. Inquire at the audition or with the workshop director.

      Rehearsals: 30 March – 21 April, Monday through Friday, 6:00 – 10:00PM

      Performances: 22–23 April, 7:00PM

      Commitments: Students cast are committing to be available for all indicated calls for their particular workshop listed on the S20 Workshop Master Calendar, and must enroll in THR 171 for 2 units. 

      Randall Belyea

      An original dance work, Digital Dreams.

      Open Call Auditions: Monday, 27 January, 6:00 – 9:00PM,  Zellerbach 170

      Casting: Details Coming Soon

      Rehearsals: 16 March – 28 April, Monday through Thursday, 6:00 – 9:00PM (excluding spring break)

      Performances: 29–30 April, 7:00PM

      Commitments: Students cast are committing to be available for all indicated calls for their particular workshop listed on the S20 Workshop Master Calendar, and must enroll in THR 171 for 2 units.

      New Play Reading Series

      The New Play Reading Series is a unique collaboration that brings undergraduate and graduate students together in a repertory company to produce three staged readings of contemporary plays. In Spring 2020, the Series will feature an exciting partnership with Z Space, a professional theatre company in San Francisco.

      See this page for more information about the New Play Reading Series.

      Open Call Auditions: All students auditioning for works on Tuesday, January 28 from 6–10pm will be seen by NPS directors and may indicate interest in the readings. Students who are interested only in the New Play Series may audition/read for NPS directors on Wednesday, January 29 from 7-8PM in Dwinelle 44B. To Audition on Tuesday, please sign up on the call board. To audition only for NPS on Wednesday, please attend the audition and sign up on the list at the door. 

      Commitments: If cast, students must enroll in 1 Unit of Theater 98. Students must attend every staged reading (including the readings in which they are not cast), as well as every rehearsal for the shows in which they are participating as a member of the production team. All students are also required to participate actively in our beginning-of-semester orientation meeting and our end-of-semester wrap-up meeting. Reference the NPS S20 Master Calendar for all required dates.

      Production Labs & Run Crew

      THR 167, 168, 169

      Course Information and How to Enroll

      Participating in TDPS Productions in a technical capacity generally requires completion of THR 60: Introduction to Technical Theater and Production. Following the introductory course, additional work may be pursued in THR 167, 168, and 169.

      How to Enroll in Run Crew & Shop Labs

      THR 167, 168, and 169 are not listed in the class schedule and require individual course numbers for enrollment. Preferences must be submitted in the semester prior to intended enrollment to get onto the course list. Seats may 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. Please contact the Production Manager with questions.

      Preference Submission for THR 167, 168, 169

      • Please read the syllabi and schedules linked below prior to submitting your preference form.
      • Completion of this form will place you onto the enrollment list in the order received.
      • Your submission will be confirmed and you may be asked to meet with the Production Manager.
      • Submission of preferences for a course does not guarantee enrollment; seats are limited in each semester.
      • Once assignments are made, students must confirm and enroll prior to the posted deadline to avoid forfeiture of position.

      Confirmation of technical production assignments will be posted on the online Callboard at the beginning of the second week of instruction. Individual course numbers for enrollment will be emailed to students.

      Forms & Schedules

      Courses in Technical Theater, Stage Management, and Design

      Further information about technical and design courses may be found here.

      Assignment Posting Document for Spring 2020

      • You MUST initial by your name to accept your assignment.
      • Upon acceptance, students will be sent a class number and permission code and should enroll ASAP.
      • All assignments must be acknowledged and accepted by Noon on Wednesday, 29 January.
      • Assignments for remaining seats in THR 167, 168 will be posted as assigned, through 5PM on Tuesday, 28 January.
      • Neglecting to confirm your assignment may result in loss of your position.

      Class/Student Rehearsal Space

      Requirements for Zellerbach Space Use:

      • Current TDPS course enrollment for class assignments only
      • Book a maximum of 1 hour per use to ensure fellow students have access
      • Abide by all posted Space Use Policies
      • Consume food or beverage OUTSIDE the studios (bottled water, excepted)

      Zellerbach Building Access:

      • Zellerbach Hall is shared with Cal Performances. Please make use only of TDPS resources and spaces and be quiet and respectful in the hallways. 
      • Enter the building solely through the Stage Entrance on the North side, lower level.
      • Standard Stage Door hours for Fall & Spring Semesters (subject to change for shows, holidays, and campus recesses):
        • Monday–Friday: 8am–10pm
        • Saturday & Sunday: 10am–10pm

      Book Studio Spaces @

      UC Student Groups or those not enrolled in TDPS courses should NOT book space using this system. Instead, refer to the Student Space Use page.

      • Zellerbach Rooms available through this system include TDPS Dressing Rooms 133, 135; Room 7, 413 and Z170. 
      • Students may book available spaces up to 10 days in advance.
      • When possible, additional Cal Performances dressing rooms will be made available via the Stage Door Guard—see the desk sign.
      • First time using skedda? REGISTER AN ACCOUNT
      • Please use your account to sign up and NOT social media or personal email accounts.
      • Only students currently enrolled in a TDPS course should register. Skedda accounts will be audited against class rosters.