JMTC launches TAP programme for emerging theatre professionals

Jamaica's creative industry could soon see a new generation of trained theatre professionals through a programme aimed at developing talent in musical theatre and stage production. The Jamaica Musical Theatre Company (JMTC) has launched its flagship Theatrix Apprenticeship Programme (TAP), which offers aspiring practitioners structured training and mentorship in areas where formal opportunities have been limited. 

According to Danielle Stiebel Johnson, chairman and producer of JMTC, the organisation was established to provide a dedicated space for musical theatre in Jamaica.

“JMTC was created out of a deep belief that Jamaica deserves a dedicated home for musical theatre, not just for performances, but for the development of the people who make those performances possible,” Stiebel Johnson explained. “The vision has always been to build an ecosystem where Jamaican creatives can train, collaborate, produce excellent work, and see a real future for themselves in the performing arts.”

Designed for emerging theatre professionals, TAP was created in response to the limited availability of structured training and formal professional development in areas such as dance, theatre management, stage production, technical theatre, and arts education. Stiebel Johnson said the programme aims to help prepare the next generation of theatre practitioners through structured training and practical experience.

“We kept seeing a gap in the industry,” Stiebel Johnson explained. “Many young creatives are passionate about theatre, but they often only see the performer’s side of it. We wanted to pull back the curtain and show them that theatre is also built by stage managers, technicians, makeup artists, designers, producers, writers, educators, and administrators.”

Unlike traditional theatre training programmes, TAP places significant emphasis on the disciplines that operate behind the scenes. Participants are immersed in real production scenarios where they learn through hands-on practice rather than passive instruction.

“In other words, apprentices leave with experience, not just information,” Stiebel Johnson added.

She added that the programme addresses a need for stronger technical and production support within Jamaica's performing arts sector. While the country has no shortage of performers, she argued that developing skilled professionals behind the scenes is equally important to the industry's growth.

“Theatre does not happen because of performers alone,” she said. “A brilliant performance still needs someone to call the cues, manage rehearsals, design the look, coordinate the crew, teach the craft, build the production schedule, and ensure the creative vision can function onstage.”

By focusing on both performance and backstage disciplines, TAP aims to help professionalise Jamaica’s entire theatre ecosystem and broaden perceptions of what a successful theatre career can look like.

For TAP 2026, the programme will include a four-day stage management workshop and a makeup design masterclass, scheduled to run from July 7 to 12. The sessions will cover critical areas such as technical literacy, strategic planning, live cue practice, character transformation, hygiene, safety, kit management, and backstage workflow.

Professional training, Stiebel Johnson notes, is essential in helping creatives transform passion into sustainable careers.

“Passion is the starting point, but training helps turn that passion into skill, discipline, reliability, and employability,” she said. “Talent matters, but so do professionalism, communication, documentation, safety, time management, and the ability to work within a team.”

She also emphasised the value of certification in a competitive creative industry.

“Certification gives creatives something tangible to show. It says, ‘I have completed training. I understand professional standards. I understand what the work requires.’ That can open doors to jobs, collaborations, internships, and entrepreneurial opportunities.”

For young Jamaicans who may love theatre, but remain uncertain about its viability as a career, Stiebel Johnson has a clear message.

“Your passion is valid, and there is more than one way to build a life in theatre,” she said. “You do not have to fit into one narrow idea of what a theatre career looks like. You can be a performer, but you can also be a stage manager, producer, designer, writer, educator, technician, administrator, makeup artist, or creative entrepreneur.”

She believes TAP is about access, access to knowledge, mentors, and opportunities that can help shape long-term careers.

“It is not just a workshop; it is a career accelerator,” she said. “You leave with experience, a certificate, practical tools, and a clearer understanding of where you can fit in the industry.”

entertainment@gleanerjm.com