Prospect Theater Company – Frequently Asked Questions

Where is your theatre located?  Are you in Brooklyn?

Prospect does not have a single, physical theater space we occupy.  We generally rent small theaters (99 seats or less) in Manhattan and move around for each production.  This allows us to find the optimal performance space for each show we mount.  Recent performance venues include:  Theatre Row (410 W. 42^nd), 59E59 Theaters (59 E. 59^th St.), the West End Theatre (263 W. 86^th), and the Hudson Guild Theatre (441 W. 26^th).  Despite our name, we have never performed in Brooklyn, and aren’t connected to Prospect Park.  We maintain a year round administrative office at 520 8^th Avenue in Manhattan.

Do your actors / artists get paid?

Yes.  We are a professional company and all of our artists and staff (both union and non-union) are compensated financially for their work, typically with a modest fee or stipend.  However, like most other relatively small, non-profit organizations working off-off-Broadway, almost all of our artists and staff maintain additional “day jobs” in order to pay the rent.  It is an ongoing goal of the company to be able to increase the level at which we compensate our artists, so they can devote more energy to their true vocation:  creating compelling new theater.  If you’d like to make a contribution to help support our artists’ work, it will be greatly appreciated!

How can my show be produced at Prospect?

If you have a project which you believe we may be interested in, please review our submission guidelines.  For writers, a good first step in getting to know the company (and for us to get to know your work) is to apply to participate in our annual music theater laboratory.  Our Dark Nights Series is also a way in which diverse artists may receive opportunities to self-produce using Prospect’s theater space on nights when our mainstage productions are not performing.

What sort of shows do you produce?

Prospect’s mission is to connect theater’s present to its past, in order to build its future.  Our work is usually ensemble-driven, grounded in a particular historical context, and features heightened language, making use of the inherent power of theatricality.  Over the past decade we have produced both new musicals and new plays (frequently inspired by or adapted from classical texts), as well as re-interpretations and adaptations of classic plays or musicals.  While our productions are eclectic in style, they always appeal to both the head and the heart, engaging with intellectual ideas as well as telling emotionally truthful stories.

How can I audition for Prospect?

Auditions for each Prospect production are announced on our website, as well as through industry channels such as Backstage.com and Actors’ Access / Breakdown Services

Are there volunteer opportunities with Prospect?

We do not have a formal volunteer program, but occasionally need volunteers to assist with mailings or ushering.  To express interest, please send an email to Tony@ProspectTheater.org and we will add your name and contact information to our resource list.

Do you offer student internships?

Prospect does not have a formal internship program.  However, interested students should contact us (email info@ProspectTheater.org) to determine if a specially structured opportunity is available that may suit their individual educational goals.  Our annual Producing / Artistic Associates Program offers early-career directors and producers (college graduates) the opportunity to work in an apprentice-style year long program, assisting the company on mounting each season of productions.  For more info click here.

Is there a resident acting company?

No.  There are many actors who have worked with Prospect on multiple projects, but there is not a set company of performers or other artists, as the needs for each of our productions vary greatly, and we cast and hire artists to best serve each show.  We call ourselves a “company” because we believe in ensemble-driven performance, that teamwork and collaboration create excellent productions, and we work year-round to encourage and maintain a supportive network of artists who have participated in all of our productions.

Have any of your shows moved on to Broadway?

Not yet!  However, several Prospect shows have gone on to receive major regional productions at other non-profit theaters such as the American Repertory Theatre in Boston, The Village Theatre in Seattle, and the Shakespeare Theatre of New Jersey.  Additionally, many of our shows have received student productions and community theater productions around the country

Can my regional theater / community theater / student theater group produce a Prospect show?

While each of our shows is created by different writing teams and represented by a variety of agencies, the answer to this question is generally YES!  Emerging artists love to see their work produced whenever possible and are always looking for opportunities to develop their work further.  In order to inquire about the availability of a specific piece, you’ll need to contact the writers’ agent, and you can obtain this information by emailing info@ProspectTheater.org and expressing interest.  Shows created by founding artists Peter Mills and Cara Reichel are represented by The Susan Gurman Agency, LLC.  Illyria is licensed by Theatrical Rights Worldwide, and The Taxi Cabaret is licensed by Samuel French.

Why are you called “Prospect Theater Company”?

Many people assume we have connections to Brooklyn or Prospect Park, but this is not the case!  Prospect was founded by five graduates of Princeton University.  In Princeton, Prospect Street is the location where the group’s founding artists cemented their friendships, and where the idea of starting a company was sparked.  The word “Prospect” also embodies the ideals of the company:  “Prospectors” are forward-looking, filled with promise, and adventurously seek new theatrical discoveries of value which will provide perspective and a new viewpoint on our world.

How long have you been around?

Legally, Prospect was founded in 1998.  We produced our first show, an adaptation of the medieval play EVERYMAN, in March of 1999.  Since 2002 we have produced an annual season of productions in NYC.  To view our full production history, click here.

How much do tickets cost?

Prospect strives to maintain affordable ticket prices, making our work accessible to the widest possible audience.  In the past, ticket prices have ranged from $15 – $65, depending on the size and scope of the production.  When top ticket prices are higher we typically offer a lower-priced seating option as well.  We offer incentives for early purchase through discount codes and season subscription opportunities.  To receive notice of insider or early bird discounts, please join our enewsletter list or Facebook Fan page.  There are also significant group discounts available which can be obtained by emailing info@ProspectTheater.org.

Are there any recordings of your shows available?

A number of the new musicals we have produced have studio recordings currently available.  The original cast album of Golden Boy of the Blue Ridge (2009) is available through iTunes or Amazon.com.  The Blue Flower is available for download on iTunes.  With Glee is in the process of being recorded, and a release date will be announced shortly.  The Shakespeare Theatre of New Jersey has a cast album available of the regional premiere of Illyria.  In the future, we hope to be able to share more of our shows through original cast or studio recordings.  However, the expense of making a cast recording is significant.  In the future, we hope to be able to share with you news of more recordings.

Do you only perform in New York City?

The majority of Prospect’s activities take place in NYC.  However, we have also undertaken summer residencies in Rome, Georgia (1999 & 2000) and at the Goodwill Theatre in Johnson City, NY (2010).  As the company grows, we do hope to expand our reach through touring our productions or partnering with other theater organizations to bring our work to wider audiences.

IRON CURTAIN: A New Musical Comedy

Produced by Prospect Theater Company
Book by Susan DiLallo, Lyrics by Peter Mills, Music by Stephen Weiner
Directed by Cara Reichel, Choreography by Christine O’Grady
Music Direction by Remy Kurs

AEA Transition Agreement, Year 1  -
Both AEA and non-AEA are encouraged to audition
Weekly stipend available for non-AEA performers.

EPA:  Tuesday, July 26th at Actors’ Equity building
ECC: Mon, August 1 at NOLA Studios
To request an audition appointment, please email ironcurtaincasting@gmail.com with your headshot and resume.

Rehearsals start on or about October 10, 2011 and will be held primarily during the daytime hours.

Performances are Nov. 5 – 27, 2011 at Baruch College’s Nagelberg Theatre (55 Lexington Ave., NYC)

IRON CURTAIN takes place during 1954-55 in New York City, Moscow, and Berlin.  Two down-on-their-luck American songwriters (Katz & Finkel) are kidnapped by the KGB and taken to Moscow, where they are forced to work for the “Ministry of Musical Persuasion,” show doctoring the worst Communist propaganda musical ever written.  In Russia, the team achieves the fame which they were never able to find in America, as their hit musical is made into a movie in East Berlin.  Meanwhile, Howard’s girlfriend Shirley journeys across continents, battling incredible obstacles to rescue her one true love.  Ultimately, the writers must face the choice of returning to the freedom of American obscurity, or embracing fully their new Soviet selves.

IRON CURTAIN received a developmental workshop at the O’Neill Theatre Center in 2008, and was featured in the 2009 National Alliance for Musical Theatre Festival of New Musicals.

Actors are asked to prepare two contrasting short selections (not to exceed 32 bars) from the traditional musical theatre repertory which best represent their vocal ability, and may be asked to prepare a short selection from the show.  No pop / rock please.

CHARACTERS

MURRAY FINKEL – Tenor.  Late 30’s to early 40’s.  An American lyricist.  Sweet, eager to please, somewhat neurotic, unnecessarily optimistic – and not terribly lucky in love (so far).  He’s a good writer, when all is said and done, but has a habit of being in the wrong place at the wrong time.

HOWARD KATZ - Baritone.  40s.  American.  Murray’s long-term, long-suffering composer. Howard is a cynic and a pessimist. Depressing, but funny in his depression. Nothing is ever enough for him… or else it’s too much. With all his faults and dark humor, Howard’s basic goodness and decency shine through. Thus he is able to inspire the love of two totally different women – one of whom is willing to go to the ends of the earth for him.

SHIRLEY DOOLEY – Mezzo-Soprano.  Mid to late 30’s.  American.  An actress who came to NYC from Sweet Springs, Ohio to follow her dream. Not the brightest crayon in the pack. Beautiful in a wholesome, hayseed kind of way. Loyal and unflappable, she is willing to wait around for Howard if it takes forever… which it just might.

YENGENYI ONANOV — Baritenor.  50s-60s.  A Russian bureaucrat, the Director of the Ministry of Musical Persuasion.  Kind, generous of spirit, somewhat innocent of the politics around him, and truly devoted to musical theater. [Speaks in a Russian accent.]

SERGEI SCHMEARNOV – Bari-Bass.  40s – 50s.  A KGB agent and CIA double-agent.  Dark, imposing, taciturn, sneaky. You get the feeling he’s smoldering underneath, and capable of anything to further his cause… or save his ass. He’s handsome, dashing, sexy, and just this side of S & M.  If you heard he walked around with handcuffs in his back pocket, you wouldn’t be surprised.  If you heard he kept them by the side of his bed…you wouldn’t be surprised by that, either.  [Speaks in a Russian accent.]

HILDRET HEINZ — Alto with “stunt soprano” ability and range.  Early 50s.  East German theater director;  blonde, severe. Like her mentor, Bertolt Brecht, she has replaced the ‘d’ at the end of her first name with a ‘t’ to make it sound more percussive and martial. But unlike her idol, Greta Garbo, she rarely “vants to be alone.” A devout nymphomaniac, whose attentions soon become focused on Howard.  [Speaks in a German accent.]

MASHA PETROVNA HAYLUKMIYOVA —  Soprano with a strong mix.  Early 20′s.  A Russian chorus girl.  Wide-eyed and innocent at first.  But as we soon discover, she’s a diva in ingénue’s clothing, and undercover KGB who soon seduces Murray.  [Speaks in a Russian accent.]

ENSEMBLE of seven men and women who play a diverse array of characters (musical theater performers, chambermaids, KGB personnel, border guards, etc.) and will also be assigned to understudy principal roles.  We are seeking versatile performers who are excellent singers, strong movers (with some featured dance moments), and outstanding comic actors with affinity for accents.

NIKITA KHRUSCHEV / COP & OTHERS – Male, 40s – 60s

PRODUCER & OTHERS – Male, 40s

HOTEL CLERK (YURY) & OTHERS – Male, 30s

BORDER GUARD & OTHERS – Male, 20s

OLGA & OTHERS – Female, 30s – 50s.

TRAVEL AGENT & OTHERS – Female, 20s-30s.

UNDERLING & OTHERS – Male or Female, 20s-30s, Strong Dance / Tap Ability

Click here to learn how you can become a subscriber and SAVE!

IRON CURTAIN
Nov. 5 – 27, 2011
EXTENDED until Dec. 4th!

Book by Susan DiLallo, lyrics by Peter Mills, music by Stephen Weiner
Directed by Cara Reichel, Choreographed by Christine O’Grady
at Baruch Performing Arts Center, Baruch College
(E. 25^th St., between Lexington & 3^rd Aves., NYC)

An uproarious original musical comedy set during Broadway’s Golden Age of the 1950s! The hapless songwriting team of Howard Katz and Murray Finkel finally get their big break… when they are kidnapped by the KGB, taken to Russia, and forced to fix the world’s worst communist propaganda musical.  Will they choose fame or freedom?
“Fizzy showtunes, dizzy shenanigans, and amorous subplots… this is one curtain not to miss!” – Time Out New York

MYTHS AND HYMNS
Jan 31 – Feb 26, 2012
Music & lyrics by Adam Guettel, additional lyrics by Ellen Fitzhugh
with new narrative and direction by Elizabeth Lucas
At the West End Theatre in the Church of St. Paul and St. Andrew (263 West 86th St., NYC)

Earth, air, water, fire:  A restless daughter, a mother without words, a righteous father, and a lost son.  Venture into one family’s mythologized past as director Elizabeth Lucas (Clear Blue Tuesday) offers her innovative vision for this song cycle by acclaimed composer and lyricist Adam Guettel (The Light in the Piazza).
“A kaleidoscopically heady musical-theater piece… The songs evoke a kind of human yearning that is as piercing as it is unappeasable: yearning for immortality, true love and God.” – The New York Times

Cole Porter’s NYMPH ERRANT
July 7 – 29, 2012
Music & lyrics by Cole Porter, adapted and with new libretto by Rob Urbinati
based on the novel by James Laver and the original libretto by Romney Brent
at an NYC venue to be announced.

One of Porter’s most sexy and sophisticated scores — originally censored in its 1933 London debut — will be premiered in this sleek new adaptation.  From a Swiss boarding school, to an Austrian nudist colony, to a Turkish harem… follow the unlikely adventures of young Evangeline Edwards as she enters the world and seeks her true passion.  A fresh take on a rarely-heard gem!
“Displaying a cleverness and intelligence that is rare in today’s musical theatre… Prospect Theater Company should be commended.  They are torchbearers of a grand theatre tradition.” – NYTheatre.com

Programming and performance schedules are subject to change.

Resume of Composer / Lyricist Peter Foley (PDF)

Proof of Peter Foley New York State Residency – SENT HARD COPY VIA MAIL

“To Sing” from SONGS FROM AN UNMADE BED, performed by Michael Winther (orchestrated by the composer)

RECORDING (mp3)

SCORE (pdf)

“Pineheart” from THE HIDDEN SKY, performed by Matthew Heimer, James Bohanek, Joshua Olesker and Kate Baldwin (orchestrated by the composer)

RECORDING (mp3)

SCORE (pdf)



Prospect Theater Company – Frequently Asked Questions

Where is your theatre located?  Are you in Brooklyn?

Prospect does not have a single, physical theater space we occupy.  We generally rent small theaters (99 seats or less) in Manhattan and move around for each production.  This allows us to find the optimal performance space for each show we mount.  Recent performance venues include:  Theatre Row (410 W. 42^nd), 59E59 Theaters (59 E. 59^th St.), the West End Theatre (263 W. 86^th), and the Hudson Guild Theatre (441 W. 26^th).  Despite our name, we have never performed in Brooklyn, and aren’t connected to Prospect Park.  We maintain a year round administrative office at 520 8^th Avenue in Manhattan.

Do your actors / artists get paid?

Yes.  We are a professional company and all of our artists and staff (both union and non-union) are compensated financially for their work, typically with a modest fee or stipend.  However, like most other relatively small, non-profit organizations working off-off-Broadway, almost all of our artists and staff maintain additional “day jobs” in order to pay the rent.  It is an ongoing goal of the company to be able to increase the level at which we compensate our artists, so they can devote more energy to their true vocation:  creating compelling new theater.  If you’d like to make a contribution to help support our artists’ work, it will be greatly appreciated!

How can my show be produced at Prospect?

If you have a project which you believe we may be interested in, please review our submission guidelines.  For writers, a good first step in getting to know the company (and for us to get to know your work) is to apply to participate in our annual music theatre laboratory.  Our Dark Nights Series is also a way in which diverse artists may receive opportunities to self-produce using Prospect’s theater space when our mainstage productions are not performing.

What sort of shows do you produce?

Prospect’s mission is to connect theater’s present to its past, in order to build its future.  Our work is usually ensemble-driven, grounded in a particular historical context, and features heightened language, making use of the inherent power of theatricality.  Over the past decade we have produced both new musicals and new plays (frequently inspired by or adapted from classical texts), as well as re-interpretations and adaptations of classic plays or musicals.  While our productions are eclectic in style, they always appeal to both the head and the heart, engaging with intellectual ideas as well as telling emotionally truthful stories.

How can I audition for Prospect?

Auditions for each Prospect production are announced on our website, as well as through industry channels such as Backstage.com and Actors’ Access / Breakdown Services.

Are there volunteer opportunities with Prospect?

We do not have a formal volunteer program, but occasionally need volunteers to assist with mailings or ushering.  To express interest, please contact _______ and we will add your name and contact information to our resource list.

Do you offer student internships?

Prospect does not have a formal internship program.  However, interested students should contact us (email _____) to determine if a specially structured opportunity is available that may suit their individual educational goals.  Our annual Producing / Artistic Associates Program offers early-career directors and producers (college graduates) the opportunity to work in an apprentice-style year long program, assisting the company on mounting each season of productions.  For more info click here.

Is there a resident acting company?

No.  There are many actors who have worked with Prospect on multiple projects, but there is not a set company of performers or other artists, as the needs for each of our productions vary greatly, and we cast and hire artists to best serve each show.  We call ourselves a “company” because we believe in ensemble-driven performance, that teamwork and collaboration create excellent productions, and we work year-round to encourage and maintain a supportive network of artists who have participated in all of our productions.  To read our official company membership description, click here.

Have any of your shows moved on to Broadway?

Not yet!  However, several Prospect shows have gone on to receive major regional productions at other non-profit theaters such as the American Repertory Theatre in Boston, The Village Theatre in Seattle, and the Shakespeare Theatre of New Jersey.  Additionally, many of our shows have received student productions and community theater productions.

Can my regional theater / community theater / student theater group produce a Prospect show?

While each of our shows is created by different writing teams and represented by a variety of agencies, the answer to this question is generally YES!  Emerging artists love to see their work produced whenever possible and are always looking for opportunities to develop their work further.  In order to inquire about the availability of a specific piece, you’ll need to contact the writers’ agent, and you can obtain this information by emailing info@ProspectTheater.org and expressing interest.  Shows created by founding artists Peter Mills and Cara Reichel are represented by The Susan Gurman Agency, LLC.  Illyria is licensed by Theatrical Rights Worldwide, and The Taxi Cabaret is licensed by Samuel French.

Why are you called “Prospect Theater Company”?

Many people assume we have connections to Brooklyn or Prospect Park, but this is not the case!  Prospect was founded by five graduates of Princeton University.  In Princeton, Prospect Street is the location where the group’s founding artists cemented their friendships, and where the idea of starting a company was sparked.  The word “Prospect” also embodies the ideals of the company:  “Prospectors” are forward-looking, filled with promise, and adventurously seek new theatrical discoveries of value which will provide perspective and a new viewpoint on our world.

How long have you been around?

Legally, Prospect was founded in 1998.  We produced our first show, an adaptation of the medieval play EVERYMAN, in March of 1999.  Since 2002 we have produced an annual season of productions in NYC.  To view our full production history, click here.

How much do tickets cost?

Prospect strives to maintain affordable ticket prices, making our work accessible to the widest possible audience.  In the past, ticket prices have ranged from $15 – $65, depending on the size and scope of the production.  When top ticket prices are higher we typically offer a lower-priced seating option as well.  We offer incentives for early purchase through discount codes and season subscription opportunities.  To receive notice of insider or early bird discounts, please join our enewsletter list or Facebook Fan page.  There are also significant group discounts available.  For more information on ticket rates, please click here.

Are there any recordings of your shows available?

A number of the new musicals we have produced have studio recordings currently available.  The original cast album of Golden Boy of the Blue Ridge (2009) is available through iTunes or Amazon.com.  The Blue Flower is available for download on iTunes.  With Glee is in the process of being recorded, and a release date will be announced shortly.  The Shakespeare Theatre of New Jersey has a cast album available of the regional premiere of Illyria.  In the future, we hope to be able to share more of our shows through original cast or studio recordings.  However, the expense of making a cast recording is significant.  In the future, we hope to be able to share with you news of more recordings.

Do you only perform in New York City?

The majority of Prospect’s activities take place in NYC.  However, we have also undertaken summer residencies in Rome, Georgia (1999 & 2000) and at the Goodwill Theatre in Johnson City, NY (2010).  As the company grows, we do hope to expand our reach through touring our productions or partnering with other theater organizations to bring our work to wider audiences.

Please review the following materials for the appropriate character prior to your callback.
Also, please bring your book in case we wish to hear an alternate selection.
Each character has both a musical cut and a scene (or two) to review.
Demo recordings of some songs can be reviewed online here.
Please download and print the PDFs – please contact the casting director Robin Carus with questions or problems.
PLEASE NOTE:  On some PDFs of music, the page numbers are in the reverse order on the PDF, but when printed out can be re-arranged in the right order.
Thank you!

JOSIE: (Note: no “Western” accent – Standard Eastern /MidAtlantic OK)
Room to Breathe – 1st 35 bars, take lower harmony notes
Josie Scene #1 (steps into character of SOPHIE)
Josie Scene #2 (steps into character of WYATT)

YOUNG JOSIE: (Note: no “Western” accent – Standard Eastern /MidAtlantic OK)
Nothing Like The Girls – Bar 57 to End
Young Josie Scene A

ALLIE:
All These Years – Bars 30 – 54
Allie Scene – From Entrance through 1st Lyric Stanza (read lyrics as lines)

YOUNG ALLIE:
I Ain’t Goin Back – top through Bar 26
Young Allie Scene

BESS:
In The Cards – 1st 32 Bars
Bess Scene
Penelope Scene (secondary character, Brooklyn accent)

MATTIE:
I’d Do It All Again
Unpacking Dreams (bars 12-32)
Mattie Scene

HATTIE:
In the Cards (bar 51-66)
Shootout (the effect of this is a “scream” of fear – make the high notes as intense as you can, it shouldn’t be “pretty”!)
Hattie Scene

PAULINE:  Standard British Accent
When a Maiden Makes a Promise – Bars 16 to 48
Pauline Scene

KATE:  Hungarian / Eastern European Accent
Games Are Everywhere – top through bar 27
Kate Scene (do your best with the Hungarian, don’t worry about accuracy, just act the meaning!)

CORA / MAUDE:
When a Maiden – Cadenzas (bar 51 through until end, taking the top line)
Penelope Scene (just have fun with Penelope, we’re interested in seeing you create an over the top character)
Pins & Needles (very simple, for movement call) – please listen to recording

For first audition appointments for I MARRIED WYATT EARP, actors are asked to prepare the following short cut of the opening number, “Unpacking Dreams”.  Even though the cut is for 2 characters, for the purposes of the audition, please sing the entire selection as if from one character.  We are interested to hear your vocal style on the material, as well as your acting interpretation.  We will hear your individual 32-bar selection first and then if necessary ask for the side.  A demo recording is available below for your reference.  Thank you

UNPACKING DREAMS – 32 BARS

Demo track links are available here:

Unpacking Dreams – Company

Ain’t Goin Back – Allie, Bess, Mattie

Little Black Sheep – Young Josie

Pins and Needles – Company

Room to Breathe – Josie and Young Josie

I’d Do It All Again – Mattie and Young Josie

All These Years – Josie and Allie

Book by Peter Mills and Cara Reichel

Music and Lyrics by Peter Mills

at the Hudson Guild Theater, New York City
September 15- October 14, 2007

Directed by Cara Reichel
Music Directed by Kevin Haden
Choreography by Marlo Hunter
Lighting Design by Lily Fossner
Costume Design by David Withrow
Scenic Design by Sarah Pearline
Sound Design by Daniel Erdberg
Stage Managed by Bailie Slevin

with
Nancy Reneé Braun, Michael Cunio, Matt DeAngelis, Victoria Huston-Elem, Mitchell Jarvis, Jillian Laub, Stephanie Lo, Jaygee Macapugay, Meghan McGeary, Venita McLemore, Andrew Miramontes, Tracey Petrillo, Michelle Pruiett, Rashidra Scott, Gordon Stanley, Laura Beth Wells, Erin Wilson, Simone Zamore

• “A rock musical that’s not only rock, but actually a musical, too. And a sizzling one… with an erotic, go-for-broke urgency strong enough to make you want to join in the reveling yourself.” – Matthew Murray , Talkin’ Broadway
• “A sexy good time up until the inevitable bloody end… that leaves you in thrall to the rock ‘n’ roll god of wine and ecstasy.” – Backstage

Avital is a performer, choreographer, and director who is thrilled to be working with PTC. She graduated from Brandeis University in 2006 with Bachelorʼs degrees in Theater Arts and History, and a Masterʼs Degree in Comparative History. Recent performance credits include 42nd St (Anytime Annie), Cabaret (Lulu), and On Your Toes (Ma Dolan) at Surflight Theatre, and Sugar (Sweet Sue) at The Broward Stage Door Theater. Avital has directed and/or choreographed at Watertown Children’s Theatre, Brandeis Theater Company, Turtle Lane Playhouse, and Stoneham Theatre, and her concert dance has been seen at Dance New Amsterdam, Steps on Broadway, and in the Undertoe Dance Festival. Avital was the volunteer coordinator of The Dance Complex from 2006-2008, and currently runs Impact Demonstrations, a sales and marketing company for organic and natural products.