The Drama League Directors Project

Frequently Asked Questions

General Questions

Absolutely! There are two ways to reach us.
  • The first is via email, at directorsproject(at)dramaleague.org.
  • The second is to attend our free Q&A sessions, where you can meet and talk to our artistic staff members about your application. We offer them in the lead-up each autumn to the application deadlines each year. If there are sessions upcoming soon, you can find them among our Workshops And Events.
The Drama League Directors Project offers Fellowships, Residencies, Assistantships, Exchanges, and Services for directors working in theater, film, television, and related fields where directors are needed. You can find each program page in the navigation bar at the top of this (and every) page.
That’s up to you!
  • Many of our Fellowships are for theater directors, but others are for film, television, and filmed media.
  • The Irene Gandy Assistantships are for early-career directors who would like to assist renowned directors on major productions.
  • Some Residencies are for directors who develop and direct the work of their collaborators; others are for directors who both write and direct their own work.
  • Some opportunities are for early-career directors, while others are for those in the middle or later stages of their career.
  • Some opportunities are as long as two years in duration, others just a few weeks.
  • There’s no such thing as a perfect fit. Perfection is a myth!
  • If you feel a program would be generally of use to you, we look forward to reading your application.
  • Some programs require a different level of experience than others, or focus on a different kind of directorial work, so we suggest you read the descriptions carefully. 
  • The two-year programs aren’t for everyone, we understand; they are for directors who are interested in a deep, extended opportunity…which means, during that time, that OTHER opportunities may not be possible.
  • Please make sure that you are fully committed to participating in the WHOLE experience before applying, and making it your personal priority.
  • Applicants must be available for all program components during the program period without exception. Conflicts with the program components will result in the cancellation of those components, without being rescheduled, and a resulting reduction in the program and its effectiveness.
  • The Drama League supports your directing career…congratulations on the gig!
  • Conflicts with program components, however, will result in the cancellation of those components and a reduction in the program, without being rescheduled.
  • Therefore, we strongly encourage you to make sure you can participate in the entire program timeline BEFORE you apply.

Eligibility Questions​

Yes. The Drama League Directors Project advances career opportunities and development for directors working in the creative sector and related fields. We believe it is important to offer these opportunities to as wide a range of artists as possible, and encourage all directors, including members of underinvested communities, those who have historically been underrecognized in leadership, and those whose paths to direction may have been nonlinear or nontraditional, to apply. This includes, but is not limited to, Black, Indigenous, Latino/Latina, Asian-American/Pacific Islander, Middle Eastern/North African, South Asian, Southeast Asian, biracial, mixed-race, Global Majority, LGBTQIAA2+, women, non-binary, and disabled directors, as well as directors from rural or non-urban localities. This also includes directors both nationally and internationally. Everyone!
Yes. Applicants must have served as the ‘director of record’ — the lead director for theater or other live performance — for a minimum of three productions before applying. These can be professional, semi-professional, or community theatre productions, of any size or scale, as long as they opened for live performance to a public audience.
Any theatrical production where you directed performers in a live setting, that “opened” in front of an audience, and you were either:
  • paid to direct, or
  • you produced yourself, or
  • directing with a company where you agreed to forego a salary or stipend (as one might at a community theater). 
  • Readings, workshops, or other private performances not open to the public
  • Productions where the applicant was the Observer, Assistant Director, or Associate Director
  • Films, television episodes, or other filmed projects
  • Productions directed as part of one’s academic study (i.e., when obtaining a degree at a college or university).
We mean events that were performed for a live audience. These could be single performance events, or longer runs…doesn’t matter to us! Outdoor, site-specific, promenade, and other hybrid productions are welcome.
While we deeply respect your credits in acting, assistant direction, associate direction, choreography, intimacy choreography, stage management, etc., they do not count towards the eligibility minimum of directing credits.
Yes! Being hired to direct at a university can be counted towards the eligibility requirement. Directing as a student, however, cannot.
No. Recipients cannot be enrolled in any high school, undergraduate or graduate degree program during the program’s period of support. Please check each program’s timeline on its individual program page to see when it begins and ends.
No. We understand that directors come to their profession from a variety of paths and experiences.
  • The answer is (a qualified) yes. Any applicant who is not a U.S. citizen will need to obtain all documents and permissions (visas or otherwise) to spend the time listed in the program’s timeline in the United States or, in the case of the Rose Fellowship, in the United Kindom. This time commitment ranges from one week to two years, depending on the program.
  • AND, even though our programs are educational in nature and not considered employment, they come with a monetary scholarship prize that some nations (including the United States) consider taxable. Please check with your own country’s embassy, ministry, or municipality to ensure you understand the responsibilities you undertake when applying.
  • One other thing: The Drama League offers air travel for some of its programs, but only for domestic (U.S. originating) flights. For those living outside of the United States, program participation means you will have to fly to/from the continental United States first on your own, and then The Drama League will coordinate travel inside the country.
To be fair to all applicants, there will be no deadline extension. We suggest finishing your application and submitting it at least 72 hours before the deadline, to ensure you don’t encounter any internet outages or software difficulties.
  • In very loose, general terms, we think of an Early-Career Director as someone who is at the beginning of their professional journey, recently completing any educational path they have taken and being 1-3 years into their career.
  • A Mid-Career Director, then, might be someone who has been working in the field for 4-6 years or more, and an Established Director would be anyone who has done more than that. 🙂
  • HOWEVER, we understand these categories, even as general as they are, are not incredibly effective when elucidating the career paths of artists. They are not important to us, nor discussed in our selection panel’s deliberations.
  • Why not? Well, just because you’ve worked consistently for ten years does not mean that opportunities have come your way; similarly, directors who have only been working a few years may have luckily moved quickly to big opportunities, and do not need the same things their peers need. In truth, every individual comes to directing on their own path.
Of course! It is hoped, however, that you will talk about this in your answers, and address the reasons you feel you are the ideal candidate for the program.

Application Questions

No. Our application software, Submittable, allows you to begin an application and then save your work in process, and return to it at a later time. The Drama League will not be able to view your application until you confirm that it is complete. If you choose to work on the application in multiple sessions, we recommend you set personal reminders of the deadline (or 72 hours before the deadline, so you have time to complete it).
All of our applications require:
  • your full (legal) name
  • your pronouns
  • mailing address
  • telephone number
  • email address
  • a headshot or professional photo of yourself
  • your directing website or substitute online presence, like a Linked(In) page
  • an URL link to samples of your directing work (photos and/or optionally videos)
  • two professional references (just their names and contact information, not letters from them).
  • A list of your directing credits, and assistant/associate credits if you have them.
  • You will also need to provide short narrative answers to questions related to your directing, and to the particular program.
  • For the Next Stage and (Re)Engage Residencies, which develop new works, you’ll also need to upload work samples of the script, drafts, and have permission from the author to apply if you are not the author.
  • For the Beatrice Terry Residency, where a director writes and directs their own work, you’ll need to upload samples and a previous work.
  • For the (Re)Envision Residency, you’ll need to upload a draft of the play or translation.
  • For the FutureNow Fellowships, the director will apply with a playwright, who will need to provide information as well. Please refer to the application for further details.
To us, your Directorial Practice should detail…
  • why you are an artist in the first place;
  • what are the hallmarks of your directing style;
  • why directing is the medium you’ve chosen to impact your fellow citizens with;
  • your view of the world and your influences;
  • techniques you’ve employed in your work;
  • and most importantly, what distinguishes you from everyone else applying. Be specific: what is different, special, or unique about you?
  • We are NOT asking about you personally, only about your Directorial Practice. Sharing your background, identity or family history might be informative, but it’s not the point.
  • You should also discuss the process you employ when directing. Some things that you discuss are how you read texts, take notes, approach research, execute rehearsals, lead production meetings, give and receive notes, approach casting, utilize previews, etc.
  • Speak from the heart, and speak your truth…we understand these are difficult questions!
  • In general, we’d like to understand what you direct (and why), what you need, and how we can help you.
  • We encourage you to use direct, concise language, and steer clear of jargon.
  • Follow the “less is more” rule; you do not have to use the maximum word count.
  • Mentioning influences, inspirations and references are helpful contextually for the application readers, who may be unfamiliar with your work.
  • When Drama League applications ask for work samples, we suggest that the language you use about your work match what the panel will see in the samples.
  • Being specific with rich, sensory language can help us understand how your directing relates to the work samples you are sharing.
  • The panel is looking for authentic people with a clear and exciting point of view on the world. We’re looking for directors with a desire to make even better art in the future.
  • The application asks you to tell us about the way you direct, and what needs you have that we can help with. Although our applications do not ask for an “artist statement” (we reject the field’s desire to force artists into boxes), the advice in this article is terrific for guiding an approach to our application in general.
No. Because we do not have written consent and a verifiable pre-event set of applicants and guests, we do not record the Q&A sessions. Furthermore, we want applicants in those sessions to speak freely, and recording sometimes inhibits their open communication. We encourage you to join us for these sessions, which are listed each autumn on our Workshop and Events page. Due to the large number of applicants and the small size of our staff, we are unable to offer one-on-one sessions.
Some applications are free, and some have a small administrative fee to cover the cost of the application software, but no one has to pay to apply to The Drama League Directors Project. For programs that have an administrative fee, anyone may request a fee waiver by emailing artistic@dramaleague.org. We want to support directors who want to be a part of this community, and the application fee will not be a barrier for anyone.
Reach out to us at artistic@dramaleague.org. We’re here to help!
All applicants will be notified of their status by the last week of April. Please do not reach out inquiring about application status prior to April 25th; if you have not received an email from us April 26th, reach out to artistic@dramaleague.org and we’ll be happy to update you.

Additional Questions?

Email directorsproject@dramaleague.org with program questions, or artistic@dramaleague.org with administrative questions. Due to volume, answers may take up to three (3) business days.

Drama League Stage Directing Fellowship

The scholarship prize for this opportunity is $100,000 over two years, disbursed in equal installments as determined by our finance department (currently monthly) by ACH.
The Fellowships are designed to be similar in experience, but each provides its own unique relationship to theater institutions, and are dependent upon very complex timelines. (Eight theater companies working together, as you can imagine, is logicstically complicated!) For that reason, applicants are matched by The Drama League and the partner theaters to tracks that best suit both the institution and the recipient. If you are offered one of these Fellowships, you will be informed which track you are being offered.

Television and Film Directing Fellowship​

Yes. This Fellowship is a bridge for mid-career or established theater directors to make their first foray into these related, but different, fields.
No, BUT…we do expect to see evidence of interest and curiosity prior to applying. This opportunity is intended for working theater directors who are serious about expanding into film, television, streaming, or other related disciplines. This curiosity might be classes or workshops you’ve taken, experiments using iPhones, short films directed or other experiences with filmed material, or individual study. In other words: you don’t have to have filmed anything (yet), but this is not for those with only casual interest.

Rose Directing Fellowship​

The Rose Theatre will offer the recipient housing in a private room in a beautiful home near the theater. You’ll be well taken care of!
No, the Recipient will be responsible for their own travel around London while there. However, the staff of the Rose will make every effort to help you obtain tickets to performances at other theaters, and to connect you with interesting people in the London theater community.
Similar to production and arts leader practices in the United States, you will have a regular schedule both for production (rehearsals, meetings, tech, previews, etc.) and a schedule as a member of the team at Rose. The particulars of the schedule will be worked out with the Rose Theatre leadership as we get closer to the Fellowship period.

FutureNow Fellowships​

The F.A.Q. section for the 2026 FutureNow Fellowships will be updated in September.

Beatrice Terry Directing Residency ​

While directors often direct the work written by others, the Beatrice Terry Residency is designed for directors who generate their own texts, adaptations, or source materials…that is, they are both writer AND director of their projects. This means that we expect applicants to have a fair amount of projects in their history where they directed works they also wrote.
The Beatrice Terry Residency is designed for stage directors who identify as writer-directors…who most often write the productions that they also direct. While anyone who identifies in this manner is welcome and encouraged to apply, it is our hope that this dual focus is a longtime, integral part of your artistry.
We get this question more often than one might expect. For the Beatrice Terry Residency, we employ an inclusive understanding of women and nonbinary folk. The residency seeks to make space and resources for these communities, who often encounter additional barriers when they choose to both write and direct their work simultaneously…barriers that men have historically NOT faced in the field. While we accept applications from everyone, of course, we consider the legacy of bias that has historically plagued the arts sector, and attempt to correct for it.
To create a full developmental process, the recipient will receive a week-long residency at Hubbard Hall Center for the Arts and Education, about three hours north of New York City. The recipient will have access to beautiful artist housing, theaters, rehearsal spaces, and the beautiful natural surroundings of Cambridge, NY. If they desire, they can be joined by collaborators and Drama League staff to develop the piece, and it is possible to have volunteer actors there read pages if desired. At the end of the time there, there can be an open presentation of the work-in-progress attended by the supportive local community, which we encourage recipients to do! The Recipient then has up to two years to further develop the work, in which time they can, if they wish, receive space and financial support for a reading at The Drama League in New York City.

Next Stage Directing Residency ​

The idea behind the Next Stage Directing Residency is to assist in that sometimes-difficult middle section of a piece’s development — that period when the piece is past its genesis, but needs deep thought, refinement and interrogation by artists before it is ready to be produced. Simply put, we’re hoping to take your piece to the “next stage” of its journey, in a director-led, rehearsal-based developmental workshop that follows the questions and impulses of the director. Unlike the Beatrice Terry Residency, this Fellowship is open to all directors, and can be based on the work of other playwrights if you wish.
At The Drama League, we believe that community is key to artistic growth, and providing a moment of community in a developmental process can provide crucial insights and joyful discovery for everyone involved. We’ll work with all recipients to make sure the moment of open rehearsal is safe, supportive, enjoyable, and art-forward.
Wonderful! The Recipient will receive a summer one-week residency during NYSAF’s Summer Season at Marist College in Poughkeepsie, NY, about an hour north of New York City. There, you’ll be joined by some of your collaborators and Drama League staff to explore the piece in a director-led, rehearsal-based process. The following winter, there will be an open presentation of the work-in-progress, which takes place at The Drama League in New York City and is produced by New York Stage And Film.

Irene Gandy Directing Assistantships​

There is no specific industry standard for the position of Assistant Director. However, it is a crucial role on many theatrical teams. In most cases, they support the Director in their work on the production. This can mean anything: administrative tasks, coffee runs, but also creative support…the Assistant Director may take notes for the director or take their own, for instance. They may support with staging, or in production and design meetings. They are often utilized significantly in tech and previews to help shape the performance. Every director works with the Assistant Director slightly differently, but the best directors utilize this position as a second eye on the process, and benefit from two heads looking at the same issues.
No. Directing Observerships are not offered by The Drama League. While observerships can offer a chance to learn by watching, they generally have no artistic role on the project, and are not credited positions on the artistic team.
Because of the timing of the application process, it is almost always impossible to know the show you will be asssiting on…theaters simply don’t lock in their performance schedules publicly far enough in advance. However, applicants who are selected as Semi-Finalists will interview directly with the Mentor Directors, and if we know what the show is at that point, we’re happy to share it! Theaters that have participated in the past include some of the largest in America — Lincoln Center Theater, Manhattan Theatre Club, New York Theatre Workshop, Denver Center Theatre, Geffen Playhouse, Trinity Rep, Guthrie Theatre, and Seattle Rep, among others.

Additional Questions?

Email directorsproject@dramaleague.org with program questions, or artistic@dramaleague.org with administrative questions. Due to volume, answers may take up to three (3) business days.