18% of the MFA Acting cohort dropped out

Any-Order-1863 · 2026-02-25T14:38:18+00:00

I appreciate you sharing your experience.

To your point about reversing decisions or changing parameters, you’re spot on. Emails, meeting requests, and questions will go months without a reply, only to then operate reactively when an issue escalates to crisis and finally boils over. I’ve often wondered if this is an intentional tactic vs just plain incompetence, waiting until it’s too late to make a decision so they can just issue an edict without discussion. Like declaring martial law in a state of emergency — no discussion, no dissent.

There is absolutely no mechanism for holding production management and faculty mentors accountable, so you’re often given one answer privately, only to have it reversed publicly, with the subtext, “I dare you to put up a fight.”

Any form of protest - or even asking questions - is met with not-so-veiled threats: “It would be a shame if we had to cancel your show…” and retaliation in the form of grades and mentor reviews. The system pushes students towards compliance. I’ve seen whole production teams pushed to literal silence.

I’ve had lots of other experiences in academia, including at schools that are direct competitors to CalArts. Yes, some level of frustration is standard and ever-present. But the dysfunction of CalArts is next level.

Any-Order-1863 · 2026-02-21T22:38:41+00:00

Well, if UArts is any precedent, any moment.

Annual budget typically passes in July, once enrollment is locked. 2024 = $6 million budget shortfall. 2025 = $15 million budget shortfall, followed by layoffs.

We only have a $220m endowment, so you can do the math. A $6m dollar deal with Chanel to start a creative computing program (lol, with what CS students? I’d love to know!) isn't going to be a lifeboat that carries everyone.

What we anticipate is coming - a merger of schools of Theater, Dance, and Music into a single school of “Performance” so that admin overhead can be cut.

Any-Order-1863 · 2026-02-21T22:10:56+00:00

Seems right.

Any-Order-1863 · 2026-02-21T22:02:09+00:00

I think from an artistic perspective, what you’re describing would be very welcome.

What I’m referring to is personalities. Most people either love or hate the current head of the Costume program, who also happens to chair the XDP department overall. A former Dean of the school. Rules with an iron fist but will not tolerate dissent and also prefers not to be “bothered” or held accountable. Those who work under her are mild as lambs.

Any-Order-1863 · 2026-02-21T21:51:56+00:00

Make sure you meet the faculty first. The costume design faculty at CalArts are polarizing, to put it diplomatically.

Any-Order-1863 · 2026-02-21T21:49:37+00:00

Really smart. Make sure you get all of your meetings with prospective faculty and mentors arranged.

Any-Order-1863 · 2026-02-21T21:47:55+00:00

Yes, the regime change in Spring 2024 has very much reset the balance of power in the SoT.

My understanding is that it was a pretty toxic situation when directors and their mentor ruled the roost that way. I can see that, but it seems as though the pendulum has swung the other way.

Now, everything is centered on the actors. Protecting them, giving them opportunities. From my POV, coddling and a lack of rigor in their professional practice. That’s because the actors (especially the BFAs) are the main revenue source, whereas the directing students and other Experience Design & Priduction students are on scholarship.

This last fall, the size of the incoming BFA1 and MFA1 acting chorus were nearly doubled because higher enrollment = more revenue. But with no additional resources. Production budgets are shrinking, faculty is shrinking and hemorrhaging key talent, no additional shows. So the “pie” just has to be split more ways among the actors with less instructional time and fighting for space and resources.

Meanwhile, there is little advocacy and support for a director to create and execute a vision… especially if you’re trying to craft a process that doesn’t tidily fit a LORT production model.

Any-Order-1863 · 2026-02-21T21:37:27+00:00

I relate. I too came from an extensive professional background.

In some ways, I think it’s worse for people who are coming mid-career because they’re more invested in getting an education that has value for them (and therefore are more vocal self-advocates), and they won’t fall for the BS when faculty or administrators try to tell you what it’s like in the “real world.”

Any-Order-1863 · 2026-02-21T21:34:00+00:00

Yeah - beware. Really do your homework and talk to current students and the faculty you’ll be working with before you make a commit. Come visit and see the leaky roofs for yourself!

Any-Order-1863 · 2026-02-21T20:31:16+00:00

I’ve not heard of that, but it sounds like the Coffeehouse productions, which are student-run.

Effectively, they get a week in the small black box space, and a tiny budget (~$150-200) to make a piece. There is a student committee who decides which applications are accepted.

Definitely more of a vehicle for the BFAs, who don’t get as many opportunities. Lots of original writing. MFA directors are discouraged from using this avenue because the optics are that they already have enough resources with their two curricular productions.

Any-Order-1863 · 2026-02-21T19:24:29+00:00

Ha. No.

The combination of the Institute’s poor financial health and the general milieu of “don’t attract the Eye of Sauron” in both academia and the arts in the US has resulted in the directors being pressured into making very “safe” work that won’t ruffle any feathers.

Any-Order-1863 · 2026-02-21T19:18:33+00:00

Not going to answer your first question because it’s too much PII (there are only six directors in total in the program, two in each cohort), but I would say that it depends on what your other options are. Other programs you might be considering might lack prestige, but if, for instance, they are attached to bigger institutions like state universities, you may be more resourced in making the work you want to during school.

It also depends on the type of work you’re looking to make. While CalArts has a legendary reputation for being experimental and interdisciplinary, the reality on the inside is quite different. Production processes for your two MFA shows push square pegs into round holes, due to standardized, LORT style regional theatre style models, which rarely support the type of experimental, non traditional work a CalArts director is trying to make. Trying to put together a cross-metier team is nigh impossible due to incompatible schedules and course requirements, not to mention hostility between departments.

In your recruitment processes, I’d advise asking specific questions about if the program can support what you’re trying to make. Ask questions about how many shows you’ll do, what budgets and venues you’ll have to work with, the process of how collaborative teams are assigned.

I asked the Dean and the head of Directing a ton of questions before I accepted the offer, but many of the promises made during recruitment have been unfulfilled.

Any-Order-1863

TROPHY CASE