Let me tell you something nobody prepares you for. When you move to another country to make art, everything you built before you arrived can vanish overnight.

Let me tell you something nobody prepares you for. When you move to another country to make art, everything you built before you arrived can vanish overnight.
Maybe you're new to theatre, or maybe you're just curious. But do you actually know what happens during tech week? It's one of the strangest, most intense stretches of making a show, and most audiences have no idea it exists.
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Last time we built the portfolio. Now the part almost everyone skips: actually getting it seen. Because your portfolio is not the whole thing. It's the tip of the iceberg.
You get it in front of people two ways: you go to them, and you go where they're already looking.
I've reviewed portfolios for over fifteen years. I get them every year from students applying to my program, and I've built websites since before I even worked in theatre. So here's what makes me stay on a portfolio, and what makes me click away.
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A student asked me today how to start working internationally. I could see what they were picturing: a portfolio so impressive that some theatre across the world just has to say yes.
The border between you and the world was never your work.
How do you build a career when nobody knows your name? No reputation, no network, no one to vouch for you, and a field that feels like everyone already knows each other. I know that feeling exactly, because I've started from zero not once, but twice.
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Lately I keep seeing the same argument online: theatre is just too expensive now. Tickets are out of control. And I get it, they are high. But here's what almost no one in that audience knows: the ticket price isn't the problem. The ticket barely covers anything.
How do you land your first design gig? Everybody thinks the answer is a great portfolio and a lot of applications. That's part of it. But here's what nobody tells you: your first design job almost never comes from a stranger reading your resume.
Here's something I give my first-year grad students before any design exercise. It's called The Artist Date, from Julia Cameron's The Artist's Way.
We tend to think of creativity as a faucet. Turn it on, it flows, you make the work. But it's not a faucet. It's a well.