Erik Stein - Casting Director/ Associate Artist

PCPA (since 2002): Actor: Frollo, The Hunchback of Notre Dame; Bill, Mamma Mia!; Sir Toby, Twelfth Night; Saunders, Lend Me A Tenor The Musical; Shrek, Shrek the Musical; Doolittle, My Fair Lady; Charlee, Christmas Is Here Again; Ringmaster, The San Patricios; Tevye, Fiddler on the Roof; Lancelot, Spamalot; Ragueneau, Cyrano; Lion, The Wizard of Oz; Sir Anthony, The Rivals; Kulygin, Three Sisters; Capulet, Romeo and Juliet; 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: 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, Stephens, Captains Courageous;  York Theatre Company, Chief, 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, Sierra Repertory, Beef&Boards, The Great American Melodrama

Film: Jerry, A Fish Tale; Ten Years Later

Other: 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

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.