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TEACHER REQUIREMENTS
STUDENT REQUIREMENTS
nominations due
FRIDAY, DEC. 12, 2025
applications due
FRIDAY, JAN. 9, 2026
FOR TEACHERS
# of NOMINATIONS
NEW THIS YEAR (2026 season)! Each SCHOOL / ORGANIZATION is allowed a limited number of nominations per discipline. If more than one teacher at your school wants to nominate students in the same discipline, you must collaborate to decide who will nominate each student.
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HIGH SCHOOL maximum: 5 juniors & 5 seniors
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PRIVATE STUDIOS / CONSERVATORIES maximum: 1 junior & 1 senior
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UNAFFLIATED PRIVATE INSTRUCTORS maximum: 1 junior & 1 senior
Teachers should be prepared to provide the following:
STUDENT'S INFORMATION
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NAME
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GRADE: Junior or Senior
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EMAIL: If you provide a school provided email address for the student (ex: 123456abc@sausd.edu) please make sure that the address can accept emails from outside your district - specifically, from ocartistoftheyear@aoy.scng.com
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THE STUDENT'S HIGH SCHOOL: Even if the student is being nominated by a studio or private instructor, we want to know which high school the student attends.
TEACHER'S INFORMATION
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YOUR NAME
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YOUR EMAIL: Please make sure that the address can accept emails from outside your district - specifically, from ocartistoftheyear@aoy.scng.com
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YOUR PHONE: The best number at which to reach you.
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LENGTH: 250 -1500 CHARACTERS, including spaces (approx. 50 - 300 words)
PROMPT
Tell us why you believe this student is an Artist of the Year.
Your statement does not need to be long. Ultimately, we are looking for a solid quote to publish in the paper that celebrates your student. To this end, if you choose to write a short statement, it's important that your statement is well-written and coherent.
If you want to repurpose a recommendation that you have already written for your students, you can do that as well. But again, we need to pull a few sentences of it to publish in the paper.
Your statement will also be included with all materials presented to the judges.
FOR STUDENTS
Students will be placed in divisions based on the number of years of training.
CALCULATING YEARS OF TRAINING
# years of school instruction
+ # years of private instruction
= # YEARS TRAINING
even if these years overlap
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SCHOOL INSTRUCTION = Any training received as a part of the middle school and high school curriculum or as extra curricular school activities.
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PRIVATE INSTRUCTION = Any training received that is separate from the school. This can be at a private studio and/or with a private instructor
D1
DIVISION 1
Students will be placed in D1 if:
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TRAINING = 4 or MORE years
-- AND/OR --
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The student's SCHOOL is:
OCSA | Orange County School of the Arts, or
APA | Huntington Beach Academy for the Performing Arts
D2
DIVISION 2
Students will be placed in D2 if:
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TRAINING = LESS THAN 4 years
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The teacher does NOT need to figure out a student's division. This will be determined using questions asked to the student on the student's portion of the application.
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During ROUND 1, students from both D1 and D2 will be passed onto the semifinals.
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We will guarantee that D1 and D2 students will be named as finalists.
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The Artist of the Year will still be one student, chosen regardless of their division.
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When you fill out your application, you will be asked to list the areas of theater you are showcasing. We call these your SPECIALTIES.
The list below is NOT exhaustive and it may not categorize theater in the way that you would.
Use this list as inspiration. If you do not see your involvement in theater on this list, you may write-in what you plan to show us.
PERFORMANCE
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Acting
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Double Threats: Actor/Singer
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Double Threats: Actor/Dancer
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Triple Threats: Actor/Singer/Dancer
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Directing
DESIGN
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Set Design
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Property Design
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Lighting Design
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Projection Design
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Sound Design
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Costume Design
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Makeup Design
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APPLICATION COMPONENTS
Students should be prepared to provide the following:
STUDENT'S INFORMATION
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YOUR NAME: As you want it to appear in print.
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YOUR GRADE: Junior or Senior
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YOUR BIRTHDATE
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YOUR PRONOUNS: Not all names are familiar to us, therefore, including your pronouns helps us to make sure we are correctly identifying you when we write about you!
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YOUR EMAIL: If you provide a school provided email address (ex: 123456abc@sausd.edu) please make sure that the address can accept emails from outside your district - specifically, from ocartistoftheyear@aoy.scng.com
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YOUR PHONE NUMBER: Best number for texts and phone calls.
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YOUR ADDRESS: Best snail mail address to receive information.
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YOUR HIGH SCHOOL: Even if you are being nominated by a studio or private instructor, we want to know which high school you attend.
TEACHER'S INFORMATION
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FIRST AND LAST NAME
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TEACHER'S EMAIL
(optional)
PARENT'S INFORMATION
Include this information only if you want a parent/guardian to also receive communications about Artist of the Year.
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NAME
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EMAIL
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PHONE NUMBER: The best number at which to reach your parent/guardian.
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All students must submit a PHOTO and a PHOTO RELEASE
FORMAT | jpg
SIZE | 1 MB max (or 1000 kb)
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Ideally, we want to see your face in your photo and it should reflect who you are as an artist.
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Photos may be published in print or online by Artist of the Year, MediaNews Group, Chapman University, Segerstrom Center for the Arts, Arts Orange County, and any other sponsor, and by their successors, licensees and assigns.
PHOTO RELEASE OPTIONS
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Print out the Photo Release pdf below.
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Fill out the top of the form.
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Have the photographer sign the release at the bottom. (If you are the photographer, you must sign the release.)
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Scan or photograph the completed release.
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Upload the signed document as a jpg or pdf as a part of your online application.
OPTION 2
ONLY FOR PHOTOS TAKEN BY
A PROFESSIONAL PHOTOGRAPHER
or PHOTO STUDIO
If you HAVE a photo release from a professional photographer/photo studio for the photo you want to use, you may submit that as your photo release.
When providing a release from a professional photographer/photo studio, please do the following:
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Make a copy of the release.
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Hightlight the following on the release:
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The name of the photographer/photo studio who took the photo.
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Language that indicates that the rights of the photo belong to you.
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Language that indicates that you have unlimited permission to use this photo.
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Language that indicates that there are no financial obligations to the photographer/photo studio for the use of the submitted photo, now or in the future.
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SCAN or TAKE A PICTURE OF THE RELEASE with the highlighted language.
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UPLOAD THE DOCUMENT as a jpg or pdf as a part of your online application.
OPTION 3
ONLY FOR PHOTOS TAKEN BY
STEVE WYLIE
You do NOT need to submit a photo release, if your photo was taken by STEVE WYLIE. We have a release on file from him.
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You and your parent will be able to sign the participation agreement online, in the application. If you are unable to sign documents virtually, you may print out this document to sign and attach it to your application.
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Download and print out the Nomination Agreement.
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Fill out the form and collect the relevant signatures.
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BOTH the student AND parent/guardian must sign the agreement.
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Scan or photograph the signed document.
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Upload the signed document as a jpg or pdf as a part of the online application.
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LENGTH: 500 -1500 CHARACTERS,
including spaces (approx. 100 - 300 words) for each prompt
PART 1: REQUIRED FOR ALL NOMINEES
In your opinion, what does it mean to be an artist?
We are not interested in how others have defined what it means to be an artist. This question is designed to help you develop and explain YOUR PERSONAL UNDERSTANDING of what it means to be an artist.
PART 2: You need to answer 2 PROMPTS out of the five below.
We are using these questions to learn about who you are as an artist. Your answers, included in your online application, will help us to best understand how you think and what you are trying to explore artistically.
YOUR WORK: Tell us about the pieces you submitted and why you think they reflect who you are as an artist. Why did you choose these pieces? What do you want people to see/feel/understand as a result of interacting with your work?
BEGINNINGS AND TURNING POINTS: How did you get started in your art form? And/or describe an experience you had that helped you to develop a passion for what you do. What was it about that experience that was impactful?
BREADTH AND DEPTH: Beyond your specialty, are you involved in other aspects of your art form? What else do you do in this art form? What do you want us to know about your involvement in this art form?
BEYOND YOUR ART FORM: Tell us about how your work in your art form has influenced the other artistic parts of your life.
THE FUTURE: Looking ahead, what do you want to do as an artist? Generally, what kind of impact do you want to have on the world? Specifically, what kind of work do you want to do in the future?
You must upload your résumé before you are allowed to submit your online application.
RÉSUMÉ TIPS
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Résumés highlighting your theater work are different from your typical business résumé.
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You don't have to list jobs unrelated to theater. We only need to know about your theater-related experience.
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All credits should be listed in REVERSE CHRONOLOGICAL ORDER. What does this mean??
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List the most recent work at the top of the list and then work backwards.
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The more experience you get, the more likely it is that your best work is your most recent work, therefore, you want that to be the first thing someone learns about you when they look at your résumé.
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Think of it this way: If someone is going to skim your résumé, they are going to look at the top first.
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6. VIDEO / PORTFOLIO
FOR VIDEOS AND PORTFOLIOS
You will not be disqualified if you do not follow these guidelines. We share these guidelines for you because they adhere to industry standards (i.e. what you would be asked to submit for a college or professional audition.) We feel that following these guidelines will help you showcase yourself in the best way possible.
If you choose to diverge from our guidelines (i.e. not showing enough work; not showing contrasting pieces; submitting a live performance; not following the formatting tips; submitting compositions without sheet music, etc.), it makes it more difficult for the judges to fully assess your work.
6A. PERFORMANCE VIDEO | guidelines for performers
VIDEO CONTENT FOR ALL PERFORMERS
IMPORTANT: Put your strongest piece first.
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All pieces should be submitted on one (1) video. You will only have space to submit one link in the application.
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You may put the components in any order you want.
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Please "slate" each piece (introduce yourself and each piece that you will be performing). This can be done verbally and/or with titles on the video.
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You will not be disqualified if you do not follow these guidelines. We share these guidelines for you because they adhere to industry standards (i.e. what you would be asked to submit for a college or professional audition. We feel that following these guidelines will help you showcase yourself in the best way possible. If you choose to diverge from our guidelines (i.e. not showing enough work/not showing contrasting pieces), it makes it more difficult for the judges to assess your range as a performer.
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FOR ACTING ONLY
IMPORTANT: Put your strongest piece first. (It's worth repeating again.)
PLEASE SUBMIT:
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TWO (2) CONTRSTING MONOLOGUES. You might think that this means one comedic and one dramatic. It can, but it can also be a contrast in tone, style, subject and delivery. If you need guidance on how to choose contrasting pieces, check out this article from the Acting Coach of Scotland.
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Each piece on your video should be approximately ONE (1) MINUTE EACH. You will not be disqualified if your pieces are slightly longer than required, so don't worry about being EXACT.... HOWEVER, concise is best.
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FOR DOUBLE THREATS / Acting & Dancing
IMPORTANT: Put your strongest piece first. (It's worth repeating again.)
PLEASE SUBMIT:
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TWO (2) CONTRSTING MONOLOGUES. You might think that this means one comedic and one dramatic. It can, but it can also be a contrast in tone, style, subject and delivery. If you need guidance on how to choose contrasting pieces, check out this article from the Acting Coach of Scotland.
--- AND --
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ONE (1) or TWO (2) DANCE PIECES in a style(s) in which you are confident.
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In your dance piece, we want you to sing and dance at the same time.
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Make sure you are acting while you dance.
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Between the monologues and dance, we want to see a contrasting work. Overall, we want to see the totality of your range.
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Each piece on your video should be approximately ONE (1) MINUTE EACH. You will not be disqualified if your pieces are slightly longer than required, so don't worry about being EXACT.... HOWEVER, concise is best.
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FOR DOUBLE THREATS / Acting & Singing
IMPORTANT: Put your strongest piece first. (It's worth repeating again.)
PLEASE SUBMIT:
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ONE (1) MONOLOGUE. We want to see your acting chops as well as your ability to sing.
-- AND --
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TWO (2) CONSTRASTING SONGS: Specifically, this means songs that differ significantly from each other in various aspects. Consider contrasting in the following ways:
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GENRE: One song could be pop musical, while the other might be classical musical.
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VOCALS: One might have a powerful vocal performance, while the other is more subdued.
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MOOD: One song might be upbeat and happy, while the other is somber or melancholic.
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TEMPO: One might be fast-paced and energetic, while the other is slow and mellow.
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Make sure you are acting while you sing.
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Between the monologue and songs, we want to see a contrasting work. Overall, we want to see the totality of your range.
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Each piece on your video should be approximately ONE (1) MINUTE EACH. You will not be disqualified if your pieces are slightly longer than required, so don't worry about being EXACT.... HOWEVER, concise is best.
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FOR TRIPLE THREATS / Acting, Singing & Dancing
IMPORTANT: Put your strongest piece first. (It's worth repeating again.)
PLEASE SUBMIT:
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ONE (1) MONOLOGUE. We want to see your acting chops as well as your ability to sing.
-- AND --
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TWO (2) CONSTRASTING SONGS: Specifically, this means songs that differ significantly from each other in various aspects. Consider contrasting in the following ways:
-
GENRE: One song could be pop musical, while the other might be classical musical.
-
VOCALS: One might have a powerful vocal performance, while the other is more subdued.
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MOOD: One song might be upbeat and happy, while the other is somber or melancholic.
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TEMPO: One might be fast-paced and energetic, while the other is slow and mellow.
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-- AND --
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ONE (1) or TWO (2) DANCE PIECES in a style(s) in which you are confident.
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In your dance piece, you MUST sing and dance at the same time.
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Make sure you are acting while you sing and dance.
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Between the monologues, songs and dancing, we want to see contrasting work. Overall, we want to see the totality of your range.
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Each piece on your video should be approximately ONE (1) MINUTE EACH. You will not be disqualified if your pieces are slightly longer than required, so don't worry about being EXACT.... HOWEVER, concise is best.
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FOR DIRECTING
IMPORTANT: Put your strongest piece first. (It's worth repeating again.)
PLEASE SUBMIT:
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FIVE (5) MINUTES of performance directed soley by the student.
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VIDEO TIPS
We STRONGLY ENCOURAGE you to follow these tips. You will not be disqualified if you do not follow these tips, however, based on videos that we have seen over the years, these tips will help you showcase yourself in the best way possible.
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IMPORTANT: Put your strongest piece first. (It's worth repeating... again.)
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Submit a minimum of two (2) performances. If you submit only one performance, you will not be disqualified. However, when you submit only one piece, we will be unable to assess your range as a performer.
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Simple videos are fine. They do not need to be professionally filmed, but they should provide a clear picture and audio.
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You should frame your body so that we see you from the waist up, ideally your full body. As a theater actor, you perform with your full body and not just your face. If you show us your full body, it should fill most of the frame (i.e. not from far away.)
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We STRONGLY ENCOURAGE you to record your video in a neutral environment. The fewer distractions in the background, the more we are able to focus on you and your performances.
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We STRONGLY DISCOURAGE submitting clips from a live performance. These videos are usually filmed too far away with poor sound. Plus, the audience reactions and busy backdrops are distracting.
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Treat this like a college or professional audition submission. If you would be proud to submit this video for a college or professional audition, it will likely be a good fit for this submission.
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Show us who you are as an artist. Pick pieces that resonate with you. We are not looking for perfection but we are looking for artistry. If you are nominated, we assume you are talented. Use this opportunity to show us what you are trying to explore/create/convey as an artist.
VIDEO FILE FORMAT
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IMPORTANT: All links must be accessible to the public (no passwords or privacy settings.)
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We suggest uploading videos to YOUTUBE - or - VIMEO - or - GOOGLE DRIVE
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Do not assume that viewers will have a specialized video player if one is needed for your video.
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The link should open straight to the video you want the judges to view. It should NOT open to a page/folder that has multiple videos. If a judge has to guess which video to watch, it is likely that the judge will not watch anything and will move on.
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Remember, you want the video to be EASY to view. If the judges have trouble seeing your work, they will not take the time to figure it out and will move on without evaluating you.
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If you plan to use a phone to record your video, please hold the phone horizontally when you record.
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EXAMPLE VIDEOS for HOW TO FRAME Your Performance
GREAT TIPS & TRICKS FROM ACCEPTD and SPOTLIGHT
6B. DESIGN PORFOLIOS | guidelines for portfolios
PORTFOLIO CONTENT FOR ALL NOMINEES
IMPORTANT: Put your strongest work first.
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Create an ONLINE PORTFOLIO that showcases your design specialt(ies). This can be a website or slideshow. The format it up to you.
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Don't forget to INCLUDE YOUR NAME on your website/slideshow.
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Make sure you identify the design areas you are showcasing. If you want to showcase more than one design specialty, you may include all work on the same website/slideshow.
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Portfolio elements should showcase your thought process when designing a show. To do this, we STRONGLY ENCOURAGE you to include:
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evidence of your design process and intention
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photos of the final product (for those designs that became produced show).
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We encourage you to showcase designs from more than one show if possible.
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Ultimately, the more information we have, the easier it will be to evaluate the artistic merits of your work and artistic intent.
CREATING YOUR ONLINE PORTFOLIO
ALL LINKS MUST BE ACCESSIBLE TO THE PUBLIC.
** No passwords/privacy settings. **
You may use any online format that you feel comfortable using. Please make sure that whatever you work you share is accessible to viewers with a single click.
Portfolio online platforms to consider include:
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Create a Google Slides slideshow (make sure when you share this link, under "General Access", it should be marked as "Anyone with the link" can be a "Viewer")
-- OR --
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Create a free website. Free website building sites include:
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Please do NOT use Instagram to share your work. Some of the judges are not able to access Instagram.
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Please do NOT send a link to a folder with jpgs stored in them (i.e. a Google Drive folder, Dropbox folder, or other cloud based folder). The judges will not open pictures one at a time.
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FOR SET DESIGN
A set design portfolio should demonstrate your artistic vision, technical proficiency, collaborative experience, and storytelling ability.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
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Production date
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Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: A few sentences explaining your approach or interpretation.
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Research images: Mood boards, historical references, architectural influences.
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Sketches & Draftings: Conceptual sketches, floor plans, elevations, CAD drawings.
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Renderings: Hand or digital renderings of the set design.
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3D Models (if you have them): Photos of physical models or screenshots of digital ones (SketchUp, Blender, etc.).
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Technical Drawings (if you have them): This may include:
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Ground plans, sections, elevations (include scale and labeling).
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Any automation or rigging designs, if relevant.
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Paint elevations or props you designed or coordinated.
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Annotated rehearsal photos showing scenic evolution.
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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High-quality images of the set in performance and/or tech.
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Include a mix of wide shots and detail shots.
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If possible, show different lighting states.
A VIDEO OVERVIEW
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If you have video of scenic transitions, a walkthrough of your set, closeups of details you are proud of, a scene that shows off your set to best effect, that might be helpful.
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
PROFESSIONAL PORTFOLIO EXAMPLES
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FOR PROP DESIGN
A prop design portfolio should showcase your ability to research, design, fabricate, and adapt props that support storytelling and match the aesthetic of a production. It should also demonstrate your versatility with materials, collaboration, and creative problem-solving.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
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Production date
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Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: A few sentences explaining your approach or interpretation.
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Research images: Mood boards, real-world references, etc.
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Prop lists/prop tracking docs
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Sketches / Renderings of original designs (hand-drawn or digital)
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Photos of builds in progress: foam carving, 3D printing, painting stages, etc.
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Materials and technique (showcase your versatility)
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Materials examples may include: EVA foam, thermoplastics, resin, wood, fabric, leather, etc.
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Technique examples may include: casting, sewing, painting, distressing, metalwork, electronics
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How do you your props accommodate breakdowns, repairs, or practical functionality details (e.g., quick-changes, food-safe props, blood effects)
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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High-quality images of finished props
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In-context production photos/videos (on stage, in actors’ hands, etc.)
VIDEO OVERVIEW
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If you have video of how your props work, or actors interacting with your props, that might be helpful.
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
PORTFOLIO EXAMPLES
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FOR LIGHTING DESIGN
A lighting design portfolio should showcase your artistry, technical skill, and storytelling through light. It needs to reflect not only your final product (onstage lighting) but also your process, planning, and collaboration.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
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Production date
-
Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: A few sentences explaining your approach or interpretation (what story were you telling through light?)
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Research images / sketches: Mood boards, research imagery, color palettes, lighting inspiration
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Cue sheets or scene breakdowns
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Rehearsal notes showing adaptation or evolution of cues
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Tech documentation
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Light plots with legends
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Section views
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Magic sheets
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Instrument schedules
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Cue sheets/excerpts
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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High-quality images of key moments that incorporate other design elements and actors
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Show your range in color, temperature, intensity, mood, angle, texture, etc.
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Tip: Use wide shots for composition and close-ups to show emotional impact.
VIDEO
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If you have video of lighting transitions, that might be helpful.
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
PORTFOLIO EXAMPLES
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FOR PROJECTION DESIGN
A projection design portfolio should demonstrate your ability to create dynamic, story-driven visual content and integrate it seamlessly into live performance. It needs to highlight both your artistic vision and technical execution—including media creation, cueing, and collaboration with other designers.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
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Production date
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Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: A few sentences explaining your approach or interpretation (what story were you helping to tell with projections?) We don't need to know the plot of the play, but what you are trying to evoke with your design.
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Research images / sketches: Mood boards, research imagery, storyboards, concept sketches, or look-dev stills
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Annotated cue sheets, media maps, or content drafts
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Rehearsal photos with test projections or early versions of your work.
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Tech documentation / Cueing and programming
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Software and tools used
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Projector placement diagrams or system design (e.g., Watchout, QLab, TouchDesigner)
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Media server specs, mapping techniques, playback approach
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Adaptations or solutions for creative/technical challenges
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Diagrams showing how projection integrated with the set, lighting, or blocking
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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High-quality production photos showing projections in action
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Show your range in color, temperature, intensity, mood, angle, texture, etc.
VIDEO
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Video clips or screengrabs of animations/content (host externally if large, like Vimeo or YouTube)
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
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Tip: Since projections can be subtle or difficult to photograph, good documentation and video are crucial.
PORTFOLIO EXAMPLES
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Daria Volynska
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David Murakami
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FOR SOUND DESIGN
A sound design portfolio should showcase your ability to tell stories through sound—whether that's through music, effects, atmosphere, or spatial audio. Unlike visual design portfolios, sound design portfolios rely heavily on audio samples, clear project context, and explanation of your creative and technical processes.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
-
Production date
-
Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: What was the concept or emotional landscape of your sound design? How did you approach tone, timing, environment, transitions?
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Research / inspiration
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Found audio or inspiration tracks that inform the tone or texture of your design
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What did you use to help communicate your audio design to the director or team early on?
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Annotated cue sheets, media maps, or content drafts
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Process documentation
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Early sketches or drafts of cues
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Collaboration notes with directors or choreographers
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Examples of revisions or how you adapted in tech
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Tech documentation / Cueing and programming
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Show your cue structure, musical scoring, or SFX timings
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Include callouts for transitions or synced events (e.g., “gunshot → blackout”)
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Speaker plots, routing diagrams, mic assignments, etc.
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Note special setups (e.g., immersive audio, surround playback, cue triggering via OSC/MIDI)
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PRO TIPS
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Include scene context - it helps reviewers understand how the cue supports the story
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Use clear labeling for audio - Make it easy to scan and choose clips
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Show range and restraint - Include moments of subtle ambiance, not just big effects
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Document your process - Directors and collaborators want to see how you think, not just what you produce
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Keep files light and accessible - Use streaming links or Dropbox, not embedded WAVs or huge PDFs
AUDIO SAMPLES
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3–5 curated clips per project
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Include a variety: atmospheric beds, SFX cues, transitions, underscore, voice manipulation
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Host on SoundCloud, Dropbox, or your own site (don’t embed big files directly into PDFs)
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Label clips with clear titles and short descriptions (e.g., “Storm rising under dialogue, Act 1 Scene 3”)
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A short audio reel (2–3 minutes) that weaves together standout moments from multiple shows
VIDEO
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Video reel if your cues are deeply integrated with staging/timing
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Provide captions or timestamps to give context
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Tip: Since projections can be subtle or difficult to photograph, good documentation and video are crucial.
PORTFOLIO EXAMPLES
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Jason Romney
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Caleb S. Garner
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FOR COSTUME DESIGN
A costume design portfolio should showcase your ability to tell a story through clothing and attire—capturing character, era, mood, and movement—while also demonstrating your design process, research, construction knowledge, and collaboration.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
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Title of Play / Playwright
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Production date
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Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: Brief explanation of your approach to this production. What ideas guided your costume choices (period, theme, symbolism, color story)?
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Research: Mood boards, historical references, fabric swatches, silhouette studies; Can be grouped by character or scene.
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Sketches & Renderings: Full-color costume renderings, labeled by character and scene.
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Construction & Collaboration. This may include:
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Annotated build photos (if you constructed or draped the garment)
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Fabric sourcing notes
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Distressing/dye techniques or specialty finishes
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Collaboration notes: budget decisions, quick-change logistics, etc.
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Process & Technical Documentation
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Costume plots or scene breakdowns
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Budget sheets or sourcing lists
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Fitting notes or schedules
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Quick-change plans
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Hair/wig/makeup integration notes
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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Final costume photos from rehearsals or performances
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Include full-body and detail shots
A VIDEO OVERVIEW
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If movement is an important part of how your costumes present on stage, you may want to include a video.
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
PORTFOLIO EXAMPLES
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Brittannie McKenna Travis
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Robert Croghan
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Paloma Young
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Ashley Soliman
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FOR MAKEUP/HAIR DESIGN
A makeup/hair design portfolio should showcase your ability to transform actors into characters using a range of styles—realistic, period, stylized, or fantastical. It must emphasize both your creative process and technical execution, showing how you approach storytelling through appearance.
IMPORTANT: Put your strongest work first. (It's worth repeating again.)
All of the components listed below are OPTIONAL, however, these components will help us learn how you approach the design process. The more information you share with us, the more we are able to understand how you think as an artist.
FOR EACH SHOW, it may be helpful to see the following:
PROJECT INFO
-
Title of Play / Playwright
-
Production date
-
Collaborators names (the director and other designers)
YOUR DESIGN PROCESS
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A concept statement: Your creative approach to makeup/hair for this production. Think about:
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Any design themes (e.g., realism, abstraction, stylized horror, glam) or research inspiration
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How the looks support character development or story arc?
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Research: Mood boards, period/style references, fabric or wig color samples; Cultural or historical image references
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Sketches / Concept Makeups:
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Character look plans (can be hand-drawn or Photoshopped)
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Before-and-after mockups or overlays
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Face charts with product notes
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Process Documentation
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Step-by-step photos of application (especially for SFX, transformations, prosthetics, or wigs)
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Product lists or kit breakdowns
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Time charts for makeup calls or quick changes
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Examples of communication with directors, stage managers, or other designers.
PRODUCTION PHOTOS (if you have them)
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High-quality images from performances and dress rehearsals
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Include both close-ups and full looks
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Ideally show multiple characters and styles per show
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For wig work, include photos showing the same wig on the block, in fitting, and in performance.
A VIDEO OVERVIEW
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You might consider making a video where you introduce yourself and talk through one or more of your designs.
PORTFOLIO EXAMPLES
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