2018 Schreiber Shorts Auditions Announced! Sign up today.

The next Annual Schreiber Shorts Festival will be performed February 28th- March 4th, 2018 at the Robert Moss Theatre. Auditions will be held on January 15th from 2-7p, January 17th from 11a-5p and January 19th from 5-9p. You may signup for an audition slot in person on the bulletin board outside the 10th floor office. Please no calls or emails. For the audition, please prepare a 60-90 second contemporary monologue and bring 3 copies of your headshot/ resume. This will be an AEA Showcase production- both Equity and non-Equity actors are welcome.

To read full scripts, visit our AUDITIONS page.

Cast of ‘The Snowmaker’ Announced- New Works Initiative

Congratulations to the cast of ‘The Snowmaker’ by Aleks Merilo, directed by Terry Schreiber- the first reading in the 2017-2018 New Works Initiative.

Charlotte LeMaire as Harper.

Raheem Brock as the Man.

Joshua Mark Sienkiewicz as Declan.

Daniel Popowich as Leif.

Melanie Glancy is assistant directing and stage managing.

The reading will take place on Saturday, October 28th at 7pm. Seating is limited- please email info@tschreiber.org to reserve seats.

Thank you for everyone who came out to audition- please stay tuned to our Auditions page for more opportunities.

Auditions Announced for ‘The Snowmaker’ by Aleks Merilo at TSS

We’re pleased to invite T Schreiber students and alumni to audition for our inaugural reading in the Terry Schreiber New Works Initiative, The Snowmaker by Aleks Merilo, directed by Terry Schreiber. Please review the rehearsal and performance schedule below, and then stop by the office on the 10th floor to schedule an audition. Auditions are by appointment only (scheduled in person on the 10th floor office) from 2-7pm on October 5th & 6th. Callbacks if necessary will be from 2-7pm October 7th. Auditions cannot be scheduled via email or phone- you must sign up in person in the 10th floor office (no phone calls or emails, please). 


Saturday, October 21st, 2017 from 2-6pm

Thursday, October 26th, 2017 from 2-6pm

Friday October 27th, 2017 from 2-6pm


October 28th, 2017- 7pm call, 8pm reading

The full script, character breakdown and audition sides can be found on our auditions page here. 

Audiences are Enchanted

After every performance of THE FALLEN, the audience enters the lobby in a kind of hushed state of awe. Playwrights, fellow actors, students, writers, loyal patrons and newcomers have been inspired to express their thoughts about THE FALLEN. Every email, Facebook post, Tweet, and online comment by our Goldstar patrons has raved about the play.nn nn“Moving, poignant, powerful stories. As each story unfolded, the actors truly held their own, showing great, targeted raw emotion and angst in their role of victim or perpetrator. Superb acting. Creative minimalist sets held my interest. Appropriate nudity ‘worked’. All in all, a production worthy of Off Broadway, for sure.”nnn-Goldstar membernnnn“A haunting play that left me wanting to learn more about the war. The actors were phenomenal and treated the delicate manner with the respect it deserved. Go see it before it’s gone!”nnn-Goldstar membernn nn“Emotionally charged performances by all. You’ll think about it long after you leave the theater.”nn-Goldstar membernnn nn“Fantastic watch. Intense but well written and well enacted. Clearly speaks to the psychological impact of the different stakeholders in the Bosnian war- the onlooker, the perpetrators, the victims and the survivors of the war! Definitely worth the time and money.”nn-Goldstar membernn nn“Always enjoy my experiences in this intimate theater. Emotionally stirring play..engaging actors; great set design. A solid production.”nn-Goldstar membernn nn“I truly enjoyed your highly-engaging and thought-provoking production of The Fallen. At the elevator, after last night’s performance, I conducted a quick exit poll among those who have just seen the play. They all agreed that it was an outstanding production.”nn-Ron Covarnn nnYasmine Beverly Rana’s play is undoubtedly well-written. It is cleverly structured which keeps the audience at the edge of their seat, constantly guessing and piecing the scenes and characters together as layers upon layers of information are slowly revealed…”nn-Ron Covarnn nn“Thanks for putting up “The Fallen”. Thank you, thank you.
It touches a sublime part of my humanity that I seldom feel; like hearing the echoes of a key, carved from ice, shattering in an otherwise empty ice cellar; a world away from the fullness of summer’s bustle outside.”nn-Fenton Linn nnWe just returned from the latest Terry Schreiber directed production at T. Schreiber Studios. Wow! This play documents the effects of war on an intimate level and explores the legacy of trauma. It is a moving drama that chronicles a mother/daughter story that goes from a scene in a holding room in Kalinovik Camp to a Sarajevo apartment rooftop in 2010. There are a few very upsetting scenes, but the subject matter is so humanly, intelligently and powerfully presented that is captivating and causes one to ask questions and discuss more… I highly recommend it!”nn-Cynthia Shawnn nn“Good Afternoon  Mr. Schreiber,nnI saw The Fallen this past Saturday evening….the writing was very, very good and the superb acting brought the story to life.  What happened is very sad and once again shows man’s inhumanity to man, but it’s a story that needs to be told!  Job well done!”nn-Allannn 

Terry Schreiber Receives The Active Arts Award!

The Active Arts Awards Gala for Terry Schreibern~ Monday, April 22, 2013 ~

It was a warm and festive evening with friends and colleagues, beautifully catered andmplanned by The Active Theatre.


Tony Award Winner and T. Schreiber Studio alum, Anthony Crivello, honors Terry. What a glowing moment! Terry then poured out his heart to all of us with stories about his many years in the theatre. Because of the intimate surroundings, you could the faces of everyone beaming and wiping away tears. The love in the room was palpable. activelogoAbout the award:n”The Active Arts Award honors exemplary achievement in the theater arts as well as a commitment to and support of emerging artists and theater companies. The recipient is determined through a nominating process that includes The Active Theater staff, board of trustees and respected collaborators. Schreiber joins a distinguished roster of previous awardees, including Estelle Parsons and Austin Pendleton.” — (View entire article HERE.)

Producing on a Short Shoelace



We are pleased to announce the publication of Terry’s new book: Producing on a Short Shoelace, the culmination of 40 years of experience producing off-off Broadway theater. Actors and supporters of The T. Schreiber Studio and Theatre have had an indelible influence on the work and philosophy outlined in this publication.


We are so thrilled to share this book with you, just as you have shared your talent and dedication with us. Published by New York Theatre Experience, Inc., a Kindle edition of Producing on a Short Shoelace is now available through Amazon.com.  It may also be read on your PC, iPhone, iTouch, BlackBerry, Android and many other mobile devices.nhttp://www.amazon.com/dp/B006ACBAXI 

nAmazon SummarynTerry Schreiber is a noted theater producer, director, acting teacher, andnfounder of the prestigious T. Schreiber Studio in New York City. Terry herentraces his forty-year career in the vanguard of New York’s off-off-Broadwaynscene, crisply summarizing the tricks, survival techniques and tensionsnentailed in striving to stay alive while producing scores of qualitynproductions on little capital, much love, imaginative entrepreneuring, thenaid of many others, and a bit of good luck here and there. Filled withnanecdotes and pragmatic advice, the richly textured book moves beyond anchronological account of Terry’s career and the history of his Studio tonpresent Terry’s thoughts on past events and how they shaped his philosophynas both a teacher and a long-standing leader of the theater community. Thisnis a must-read for up-and-coming indie theater artists. It containsninvaluable how-to-and how-not-to-guidance on making theater on a “shortnshoelace.”

“You MUST read this Q & A with Terry Schreiber”

Excerpts from a recent interview by Kelly Calabrese of NYCastings.com.


Insiders Guide to NY Acting Studios – Spotlight on T. Schreiber Studio with Terry Schreiber



Posted on: 7/7/2011 2:00:00 PM under Advice


nnWritten by: Kelly Calabresen

n”I always start with I MUST,” says Terry Schreiber, “because I MUST propels you. ‘I MUST have Juliet tonight or I’ll die.’ And I ask you what that means to you, not just intellectually. What does that mean to you in your body?”nnSince 1969, Terry Schreiber has helped open up actors with his relaxed, safe and supportive atmosphere. The Studio began with Terry Schreiber teaching classes twice a week to twelve actors in a converted loft on the Upper East Side of New York City. Enrollment increased and the group began mounting productions in what were the early beginnings of New York City’s Off-Off Broadway movement and building its reputation of high quality productions and performances. Today, the Studio resides in a renovated multi-use space on the 7th floor of 151 West 26th Street in New York’s lively Chelsea neighborhood. Classes and productions run continuously throughout the year.nnTo help you learn more about T. Schreiber Studio, NYCastings spoke directly with the legendary, passion filled man – Terry Schreiber…n

You MUST read this Q & A with Terry Schreiber

nQ: In your studio, you focus on removing the tension that blocks feelings. How does this help actors?nnIn every class we do relaxation exercises. We differentiate between nervousness and tension because if you’re not nervous when you are about to go on stage – you are not alive. The tension is what gets in the way. We tend to build up guards to protect ourselves from feelings that we don’t want to have. Our exercises will help you to release that without analyzing who you were at what age to block that feeling. That is one thing I am deft on in acting classes is a teacher trying to be a psychologist. We have a class called Body Dynamics and Carol Reynolds is a certified Bioenergetics teacher.n

nSometimes, the areas you have to go to into in acting are very difficult areas to open up to. It gets into some feelings that have been blocked for a while. It’s amazing what happens after that 45 minutes because you are so centered and the concentration is right there and available. It opens up your imagination, your inner life, that organic life that you want to get to.nnI talked to Ed Norton about American History X and asked “How could you say those things to Elliot Gould it had to be very hard,” because Ed is such a liberal person and Ed said it was. The dialogue can be thick in your mouth but you have to get free with the words because the character is.n

nQ: How does being relaxed and centered affect how a person portrays a character?nnNo athlete is going to come out and just play a game. They get to the park hours early and warm up. An actor has got to do the same. You cannot convince me that anyone can come to the theatre at 7:30 and be ready to perform at 8pm. There is just too much going on in our personal lives. Look at someone like Mary-Louise Parker who has her own keys to the stage door and gets there at 5pm. You’ve got to get rid of the day. You can’t just walk out there and be ready to go. You’ve got to be centered in what you are going to do that night. You have to do a gradual warm up and find out where your energy is in your body. Is it high or low? You want to get down to that lower energy.nnQ: How does your technique help actors succeed long term in this biz?nnFor the experienced actor, the actors use it as a gym. They use it as a place to work out, so that the audition is not the be all end all of their career. It is a good opportunity to do the roles they are afraid of, to do writers who have a different rhythm than their own and to stretch. Especially, if they have trouble getting to the things that are called for many times in auditions – the vulnerability or anger. You’ve got to find that in you because you are your own instrument.nnI don’t think you can ever just ‘as if’ yourself through a role without being on top of the role and connected to it. When you see the really good actors they are connected to what they are doing. They aren’t doing just an idea of the role. The inner connection comes from you, that you open up yourself and share that side of you with us. Once you are doing it, the audience thinks you are the character and in the classroom you are opening up to that.nnQ: How does an actor get started with T. Schreiber Studio?nnWe do a big orientation here every Monday night for new people for an hour and a half because we do a presentation and individual interviews…We try to create a very safe environment here so people are comfortable taking risks or chances without judgment. I have no auditing for that reason because I think that is a complete violation. If you have twelve new people in class, every time, it is a performance. I don’t want that. I want you to really explore your work and fall on your butt a couple of times because out of that comes growth. It’s got to be a supportive atmosphere…nnQ: If someone is trained but not in your style, will they start at beginning or intermediate level?nnIt depends on the background. If I am interviewing, or Peter is interviewing, we will ask if you’ve had any Meisner training or Strasberg training with sensory work and physical conditioning. We ask who you have been studying with and what kind of approach did they take because I feel it is very unfair to put an actor in a class over their head. They should feel comfortable yet challenged. As we move along the exercises get more demanding. We try to build through a whole series of exercises where each gives you more courage and freedom. It will still be difficult to jump in but it is about you finding tools that work for you.n

nQ: How does your approach give New York actors an edge at auditions?nnYou have to get into yourself…Sit in the chair and drop over and don’t care if some other actor wonders what you are doing. You’ve got to be willing to do that. There may be people who kid you but you’ve got to laugh it off and go back to what you were doing. It is key.nnQ: What type of person is best suited for your style of training?nnSomebody who is open enough to give themselves to this kind of work and want to explore. Some of the exercises will work for you and some not and that’s ok because you come out with tools.n

nWhen you are really playing an objective your objective plays you and you have to give up control to do that or else you are just up in your head, manipulating it. You are not really taking it on.nnQ: Your Studios seems more like a community than a school with all it’s theatres. Is it?nnYes, it is a family here. We do a three play season, we just finished a couple of weeks ago with our last production for the season, we are doing a bare bones production in July and will open again in October with Lobby Hero.n

nAnd we have a commercial class, a voice over class, Peter Miner who has been with me for years teaches on-camera 1 & 2 so if you’ve never had any experience you can get your feet wet with On-Camera 1…We cover everything that you are going to face out there in the world.n

nQ: If you had to sum up why someone should study at YOUR Studio – what verb, adjective or phrasing would you use?nnI think we are really about providing an open and supporting atmosphere to explore the work, to explore the craft. You can feel safe here. And that’s a very important thing. Some teachers attack, they strip someone’s ego to rebuild them, and I think that’s out the window. They are not a therapist and can leave a person in trouble.nnAfter you do a scene at our Studio, I will ask you where that takes you and you will feel the freedom to share and talk about it. To say it reminds you of a time in high school. I just need a hint of where you are going with the role or what you are trying to get inside or share with yourself. Whatever you are playing it’s got to come back to you and finding that character within you. Sometimes that is very hard, you can be playing someone who is nasty and you can’t judge that character. You’ve got to play it and let the audience do the judging.nnQ: Any advice you have been given that helped you stay inspired?nnWhen I first came to New York I was introduced to Kim Stanley who for me is the greatest actor I’ve ever seen on stage. When I was leaving her house, she took my hands and said, “Just remember, as you go along with your career you may have to sell out on some things but just make sure you can buy them back.” It was a wonderful point about integrity.nnI also believe that it is very important to keep growing. When a young person hits it and then stops there, doesn’t use a class again for a gym, that’s a trap. There is always an opportunity to grow. When you shut off learning and think you know it all that’s when the instrument starts to shut down. Look at the actors you admire, like Meryl Streep, and the risks and the chances they take.n

nThank you to Terry Schreiber for his time and insight!n

 For the Full Interview




TS Tribute to Lanford Mentioned in NYIT’s Memorial Article

Excerpts from Shay Gine’s article, Safe Home, Lanford Wilson on NYITawards.com nnWilson often portrayed a romantic and patriotic, yet mournful view of the American dream. “No playwright writes with a better ear, compassion, understanding, and clarity about the American search for identity and acceptance than Lanford Wilson” says Terry Schreiber.nnWilson was very generous when it came to sharing his talent and knowledge. From 2004 to 2007 he served as a lecturer at Houston University mentoring theatre students. He attended several productions at the T. Schreiber Studios and always took the time to discuss his plays with the students and spend time with them afterward. “He was so generous to our actors with his time and gave them unforgettable insight into his characters and plays,” says Schreiber.nnClick Here for the Full Article