Erik Stein*

Casting Director / Associate Artist

Erik Stein*

(805) 928-7731 ext. 4119

PCPA (since 2002):  Actor: Triton, The Little Mermaid; Frollo, The Hunchback of Notre Dame; Bill, Mamma Mia!; Sir Toby, Twelfth Night; Saunders, Lend Me A Tenor; Shrek, Shrek; Doolittle, My Fair Lady; Charlee, Christmas Is Here Again; Tevye, Fiddler on the Roof; Lancelot, Spamalot; Ragueneau, Cyrano; Lion, The Wizard of Oz; Sir Anthony, The Rivals; Kulygin, Three Sisters; Shadow, My Fairytale; Hook, Peter Pan; Belling, Curtains; Lockstock, Urinetown; Javert, Les Misérables; Marcellus, The Music Man; Playwright, Enter the Guardsmen; Don, Rounding Third; Director: The Addams Family, Freaky Friday, Forever Plaid, Songs for a New World, Art

Broadway:  Charity Man, A Christmas Carol (directed by Susan Stroman)

Off-Broadway:  Manhattan Theatre Club, Captains Courageous; York Theatre Company, Johnny Johnson

Regional Theatres:  Over 30 companies including: Goodspeed, Utah Shakespeare Festival, Pioneer Theatre Company, North Shore Music Theatre, Geva Theatre, Theatre Under the Stars, Black Hills Playhouse, The Melodrama, Beef&Boards

Other:  Author of the book No Caution! A Step by Step Guide to Preparing Auditions for Universities, Colleges, Conservatories, and Beyond; founding member of The Alaska Shakespeare Festival and The California Cabaret Theatre

Teaches:  Audition Techniques and the Business of Being an Actor

Training:  PCPA (class of 1990)

Member:  *Actors’ Equity Association

Teaching Philosophy

I like the passion of conservatory students, and I like their bravery. These are students who feel no need for a safety net.

Actors are hunters of truth. They must be taught by those who have held a bow and faced the lion. For twenty-five years I have had amazing mentors. I want to take what they have given me and pass it on. I want to be the mentor who will help you up when you fall and insist you leap again. My job is to teach you the rules, and then encourage you to break them.

The conservatory students force me to simplify. I must be able to define what it is I do, and I am better when I can define it simply. When I can reduce a task, a scene, a character to its very essence, I am propelled into a specificity that makes me not just a better teacher, but a better actor, a better director – a better artist.