Adult classes

Intensives: Spring Training

Take your skills to the next level with a week of intensive immersion. These two workshops are ideally taken together, but can be taken separately. You will receive a 10% discount if you enroll in both.

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Int/Adv Acting: Existentialism & Theatre of the Absurd

As we all enter challenging times socially and politically, this is a great time for you to mine the depths of existentialist vision in the theatre. We will explore plays by Beckett, Stoppard, Sartre, Ionesco, Genet, Albee, and more. These mid to late 20th century writers have left an indelible mark on the theatre. Understanding their lives and work is essential to actors working in a 21st century cultural landscape. In this four day intensive you will get rare and precious opportunity to explore these authors as a group to see if we can better interpret their themes and styles. In order to optimize the classwork, students are expected to be memorized and rehearsed prior to the first class. Outside prep time and dedication will be required, but it will be worth it. As they say, it if doesn’t challenge you, it doesn’t change you.

MON–THU 7–10pm · 3/20, 3/21, 3/22, 3/23 · $175

James Wagner is a Los Angeles based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher he explores cutting edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He has pursued integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theatre and has a PhD in Transformative Studies from California Institute of Integral Studies.

Int/Adv Technique Intensive: The Rehearsal Toolbox

This workshop will focus on giving students concrete and specific drills and exercises to use when rehearsing a scene or monologue with friends or at home. These tools are designed specifically to get you out of your head and into an experience of play and discovery. These tools create quick, fun, exciting results and loosen people up to discover actions, create characters, and discover realistic behavior on stage. You will walk away with a list of simple tools/game/exercises that you can apply immediately. We will apply the techniques to monologues and scenes.

FRI 7–10pm, SAT 10am–5pm (includes 1-hour break), SUN 11am–2pm · 3/24, 3/25, 3/26 · $175

James Wagner is a Los Angeles based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher he explores cutting edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He has pursued integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theatre and has a PhD in Transformative Studies from California Institute of Integral Studies.

Acting

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Beginning Acting

Develop a basic understanding of acting fundamentals through Stanislavski-based practice. Using exercises and scene work, the class introduces students to the elements of dramatic action, text analysis, and character development, as well as the tools for releasing inhibitions and expanding vocal and physical range. May be repeated.

MON 7–9:30pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8, 5/15, 5/22, 6/5, 6/12 · $310 (Nicolaus)
SAT 1–3:30pm · 4/22, 4/29, 5/6, 5/13, 5/20, 6/3, 6/10 · $265 (August)

Bobby August, Jr. is an actor, improviser, and teacher. He earned an MFA in Acting from the University of California, Davis. Some of his favorite past performances include portraying Romeo in Romeo and Juliet, Benedick in Much Ado About Nothing, Howie in Rabbit Hole, Petruchio in The Taming of the Shrew, and The Player in Rosencrantz and Guildenstern are Dead. Bobby also devises physical theatre pieces with long-time collaborator Iu-Hui Chua. They created and performed Crawl and Ligilo at the Mondavi Center for the Performing Arts. In addition, Bobby is the owner and director of the award-winning Made Up Theatre (MUT) in Fremont, California. His theatre specializes in presenting completely improvised plays. He has performed with MUT at improv festivals throughout the country—most recently winning Best Improv Group at the Sacramento Comedy Festival. His improv education includes training at the world-famous Second City and Annoyance Theatre in Chicago.

Jack Nicolaus is an actor, director, clown, educator, and arts advocate with 10 years of experience in the professional theatre world. He has worked with organizations such as the John F. Kennedy Center for Performing Arts, American Repertory Theater, Geffen Playhouse, 59E59, Peoples Improv Theater, Berkeley Repertory Theatre, and the Department of Defense. He is the artistic director emeritus of Everybody Nose: NYC, a clown ensemble in New York. He has a Bachelor’s Degree in Acting and Directing from UCLA School of Theater, Film, and Television and a Master’s in Education from Harvard University.

Text Work for the Actor

Words, words, words…The playwright gives us a script full of them. Our job is to lift them up off the page alive and breathing. Free yourself from struggling with lines (including the task of memorization) and the “how” of playing a character. This class is the vehicle for finding your individual way into a script and richly navigating that journey as the lines become your thoughts and needs expressed. Learn how to tackle the challenges of any type or style of text through finding a comfortable, connected relationship to emotional truth and words in any form: prose, poetry, classical, modern, realistic, or abstract. All levels welcome.

MON 7–10pm · 4/10, 4/17, 4/24, 5/1, 5/8 · $220

Lynne Soffer is a professional actor, teacher, director, and dialect/text coach. Lynne has taught for a variety of schools and theatre companies, including Berkeley Rep, ACT, PCPA Theatrefest, San Jose State University, Stanford University, California and Marin Shakespeare Theaters, The Voice Factory, Voicetrax Studios in Marin, and various schools throughout Alaska. She has served as dialect, text, and/or voice coach for over 285 productions at theatres across America, including ACT, Berkeley Rep, San Jose and Seattle Repertory Theatres, SF Opera, the Old Globe (San Diego), Dallas Theater Center, Arizona Theatre Company, Magic Theatre, Denver Center, Marin Theatre Company, San Jose Stage, California Shakespeare Theater, and the world premiere of The Laramie Project in Denver and New York, and for several motion pictures including Fruitvale Station (2013), Duets, and Metro, and an upcoming Netflix miniseries 13 Reasons Why. A proud member of Actors’ Equity for 35 years, she is the recipient of their Lucy Jordan Humanitarian Award for her work with actors, and holds an MFA from ACT.

Acting Shakespeare

How do we best approach the challenge of acting Shakespeare? The profound understanding of human character has set Shakespeare above all other playwrights in the English language. The most effective performers of the Bard’s plays, in Britain and America, have always understood that his language is the key to unlocking the secrets of character and action that have kept the plays vital for over 400 years. Students learn to analyze the text for its rhythms, its rhetorical flourish, its tonal colors, and apply it to their monologue work. All levels welcome.

MON 7–10pm · 5/15, 5/22, 6/5, 6/12, 6/19 · $220

Julian López-Morillas is well known in the Bay Area as a professional actor and director specializing in Shakespeare. He holds the rare distinction of having appeared in professional productions of all 38 of Shakespeare’s plays and has directed some 20 of them. He had a long association with California Shakespeare Theater and served as its Associate Artistic Director for several years. Julian has taught Shakespeare as literature at Mills College and classical acting technique at UC Berkeley, San Jose State, Foothill College, Solano College, and Dominican College.

Intermediate Acting

Students analyze and perform scenes straight from dramatic literature. Special emphasis is placed on encouraging students to make dramatically effective choices by playing provocative actions, discovering the event within the scene, and finding creative obstacles. Prerequisite: Prior acting experience or previous acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives. May be repeated.

WED 7–10pm · 4/5, 4/12, 4/19, 4/26, 5/3, 5/10, 5/17, 5/24, 5/31, 6/7 · $340

Marvin Greene is a professional actor and has performed with major regional theatres such as ACT, Aurora Theatre Company, Marin Theatre Company, Westport Country Playhouse, Long Wharf Theatre, and San Jose Rep. Marvin served as an instructor at ACT for over a decade and also teaches at the Academy of Art College and Voice One in San Francisco. Marvin has taught at the Berkeley Rep School of Theatre since 2003.

Int/Adv Acting: Contemporary Poetic Texts in Performance

Exploring selections from some of the most innovative playwrights of the day (Sarah Ruhl, Tarell Alvin McCraney, and Charles Mee, to name a few), students will learn to honor the playwright’s vision through respect for punctuation, sensitivity to rhythm, and recognition of style and dialect. Approaching text in a similar way to how an actor scans and mines Shakespeare’s verse for keys to a character’s actions and emotional truths, students will develop tools to investigate contemporary scripts and to perform them effectively and authentically. Prerequisite: Prior acting experience or previous acting classes at the Berkeley Rep School of Theatre or other reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

THU 7–10pm · 4/6, 4/13, 4/20, 5/4, 5/11, 5/18, 5/25, 6/1, 6/8 · $320

Nancy Carlin is a director, actor, writer, dialect coach, and acting teacher. A former company member of American Conservatory Theater and associate artist with California Shakespeare Theater, Nancy has performed and directed extensively in regional theatres, including ACT, Berkeley Rep, Aurora Theatre Company, Shotgun Players, African-American Shakespeare Company, A Traveling Jewish Theatre, and the Oregon Shakespeare Festival. Nancy is the co-author of a new musical, Max Understood. A theatre arts lecturer with UC Santa Cruz and San Jose State, she holds a BA in comparative literature from Brown University and an MFA in acting from ACT. Nancy is a member of SDC, AEA, SAG-AFTRA, and the Dramatists Guild.

Joy Carlin has been an actress, director, and teacher in the Bay Area for many years. For 25 years she was a company member of the American Conservatory Theater. She served as an Associate Artistic Director of ACT for five years, as well as the Interim Artistic Director at Berkeley Rep, where she also acted and directed. She graduated from the University of Chicago, went to the Yale School of Drama, studied with Lee Strasberg in New York, and has roots in Chicago’s Second City. She often acts or directs at Aurora Theatre Company, San Francisco Playhouse, Marin Theatre Company, TheatreWorks, Shotgun Players, and San Jose Rep. She has been seen on TV and in films, including most recently in Woody Allen’s Blue Jasmine.

Int/Adv Acting: Existentialism & Theatre of the Absurd

As we all enter challenging times socially and politically, this is a great time for you to mine the depths of existentialist vision in the theatre. We will explore plays by Beckett, Stoppard, Sartre, Ionesco, Genet, Albee, and more. These mid to late 20th century writers have left an indelible mark on the theatre. Understanding their lives and work is essential to actors working in a 21st century cultural landscape. In this four day intensive you will get rare and precious opportunity to explore these authors as a group to see if we can better interpret their themes and styles. In order to optimize the classwork, students are expected to be memorized and rehearsed prior to the first class. Outside prep time and dedication will be required, but it will be worth it. As they say, it if doesn’t challenge you, it doesn’t change you.

MON–THU 7–10pm · 3/20, 3/21, 3/22, 3/23 · $175

James Wagner is a Los Angeles based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher he explores cutting edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He has pursued integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theatre and has a PhD in Transformative Studies from California Institute of Integral Studies.

Int/Adv Technique Intensive: The Rehearsal Toolbox

This workshop will focus on giving students concrete and specific drills and exercises to use when rehearsing a scene or monologue with friends or at home. These tools are designed specifically to get you out of your head and into an experience of play and discovery. These tools create quick, fun, exciting results and loosen people up to discover actions, create characters, and discover realistic behavior on stage. You will walk away with a list of simple tools/game/exercises that you can apply immediately. We will apply the techniques to monologues and scenes.

FRI 7–10pm, SAT 10am–5pm (includes 1-hour break), SUN 11am–2pm · 3/24, 3/25, 3/26 · $175

James Wagner is a Los Angeles based actor who has taught acting workshops in the Bay Area for over 10 years. As a teacher he explores cutting edge acting techniques—believing that we live in an evolving universe and that acting must have its own evolutionary trajectory. He has pursued integrative techniques that connect body, mind, emotion, and spirit to the various aspects of spatial and interpersonal relationships on stage. James also believes the creative process can be more than just a craft and a profession but also a sacred process and a transformative practice. He is an MFA graduate of American Conservatory Theatre and has a PhD in Transformative Studies from California Institute of Integral Studies.

Advanced Acting

Advanced Acting is an intensive scene study course for students with previous acting training and/or experience. The class focuses on solidifying technique, deepening internal connection, and strengthening textual analysis skills. Scenes are drawn from a variety of styles and genres, and students should expect to spend substantial rehearsal time outside of class.

For acceptance into this class, students must submit a résumé to school@berkeleyrep.org.

Due to instructor’s high demand, class schedule can change occasionally. Total instructional hours will always be met.

MON 6:30–9:30pm · 4/10, 4/17, 4/24, 5/1, 5/8, 5/15 · $250

Andrew Hurteau has been acting and teaching since graduating from ACT. He has performed with Berkeley Rep, ACT, the Magic Theatre, Marin Theatre Company, Aurora Theatre Company, and throughout the Bay Area. In addition to the Berkeley Rep School of Theatre, Andrew has taught at ACT, Academy of Art University, and the Nueva School.

On-Camera Acting: Level 1 and 2

Students will focus on creating character by thoroughly understanding the relationship between the text, situation, and the technical aspects of camera work. When these fundamental tools are genuinely understood and used correctly, only then can actors be free to work to the best of their ability in front of a camera. Areas of study will include script analysis, scene study, and character development, as well as camera technique, set discipline, and set etiquette. All scenes will be rehearsed with direction from the instructor, and copies will be given to students for their reference. A variety of other subjects will also be discussed relating to the business side of show business, including audition technique, agents, union membership, photographs, and websites. Prerequisite for Level 2: Prior on-camera acting experience or previous acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio. May be repeated.

MON 7–10pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8, 5/15, 5/22, 6/5, 6/12 · $340 (Level 2)
SAT 10am–12:30pm · 4/8, 4/15, 4/22, 4/29, 5/6, 5/13, 5/20, 6/3, 6/10 · $295 (Level 1)

Rolf Saxon (AEA, BAE, SAG/AFTRA) is originally from the Bay Area and trained at the Guildhall School of Music and Drama in London, where he remained after graduation working extensively in film, television, and theatre, including the Royal Shakespeare Company, Theatre Complicite, the Royal Court, and the National, as well as West End and regional productions working with, among others, directors Simon Curtis, Simon McBurney, Adrian Noble, Trevor Nunn, and Matthew Warchus, and actors Daryl Hannah, Rosemary Harris, Kelly McGillis, and Gene Wilder. His film and television credits include working with directors Steven Spielberg and Brian De Palma, and actors Tom Cruise, Vin Diesel, Tom Hanks, Dame Helen Mirren, Jonathan Pryce, and Ryan Reynolds. A director in both theatre and film, he has also been a private tutor and coach for over 20 years as well as a teacher at the Drama Lab (London) and the Guildhall School of Music and Drama (London). Presently, he is a Professor at Ohlone College and teaches at the Royal Central School of Speech and Drama (London).

Intermediate/Advanced Voice-Over Acting

This voice-over class studies and practices multiple styles of voice acting, introduces more advanced techniques, and will deepen the students’ choices and confidence on the mic. Students will have the rare opportunity to learn from and work with a professional sound engineer, who will be present at every class. In addition, students will learn about recording equipment and how to set up a home studio. Prerequisite: Beginning Voice-Over Acting class.

MON 7–10pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8 · $340

Sally Clawson is a SAG-AFTRA/AEA actor in voice over, film, and theatre. She has been voicing commercials, industrials, and video games for over 15 years. A partial list of her clients include Clorox, Yoplait, Old Navy, Target, Apple, Google, Wells Fargo, EA Games, Telltale Games, and Lucas Arts. She is currently in her sixth year of teaching at the Berkeley Rep School of Theatre, has taught at Cal Shakes Conservatory, and is currently on the faculty of Voice One. Sally has an MFA in Performance from Mills College.

Advanced Voice-Over Acting

This voice-over class is for students with established home recording studios who are interested in, or have already, launched a freelance voice acting career. The class will focus on shaping, refining, and individualizing each student’s singular voice, and more advanced techniques. Students will have the rare opportunity to learn from and work with a professional sound engineer, who will be present at every class. Students will be required to record assignments outside of class. Class size is limited to 10. Prerequisite: Intermediate Voice-Over Acting class and home recording studio.

WED 7–10pm · 4/26, 5/3, 5/10, 5/17, 5/24, 5/31, 6/7, 6/14 · $390

Sally Clawson is a SAG-AFTRA/AEA actor in voice over, film, and theatre. She has been voicing commercials, industrials, and video games for over 15 years. A partial list of her clients include Clorox, Yoplait, Old Navy, Target, Apple, Google, Wells Fargo, EA Games, Telltale Games, and Lucas Arts. She is currently in her sixth year of teaching at the Berkeley Rep School of Theatre, has taught at Cal Shakes Conservatory, and is currently on the faculty of Voice One. Sally has an MFA in Performance from Mills College.

Theatre of the Oppressed: Mindfulness, Meditation, & Liberation

“Within this fathom-long body, lies the world of suffering, its cause, and its liberation.”—Gautama Buddha

All oppression involves the body—the body holds and reflects the experience of its oppression. Fear, anxiety, and oppression bleed their way into the habits of our human expression, trapping, binding, and shutting down our natural spontaneity and aliveness, making us mechanized, divided, and imbalanced in our bodies and our minds and isolated, aggressive, or confused in our relationships and interactions. The original form of mindfulness—the mind’s capacity to observe itself, reflect, and transform—is theatre. This workshop will explore the rich, deep, powerful practices of mindfulness, dishabituation, and embodiment within the corpus of Augusto Boal’s Theatre of the Oppressed, focusing on practical techniques for transforming and finding liberation through somatic and energetic awareness in the personal, interpersonal, and political dimensions. We will use demechanization, dynamization, image theatre, forum theatre, and rainbow of desire while developing presence, focus, and a strong capacity for meditative awareness. Open to anyone with a desire to use theatre, art, and meditation to explore a powerful approach to transforming self and society. Please dress comfortably to move.

SAT 12:30–5:30pm · 3/4 · $85

Jiwon Chung is a professional actor, director, and a key theorist of Theatre of the Oppressed. He is the Artistic Director of Kairos Theater Ensemble, adjunct professor of Theater and Social Justice at Starr King School at the Graduate Theological Union, and past President of the national organization for Theatre of the Oppressed. Author of numerous books, articles, and performances, he is considered a pioneer in the integration of somatics, Theatre of the Oppressed, and socially engaged art. The focus of his work is in the application of theatre as a tool for social and political change, using Theatre of the Oppressed to challenge, resist, and transform systemic oppression and structural violence and to redress large-scale historical atrocity and injustice. His approach to performance and social change is informed by his background as veteran, martial artist, and three decades of vipassana meditation.

Int/Adv Theatre of the Oppressed: “Rehearsal for Revolution”

Theatre of the Oppressed (TO) is a form of popular education that uses theatre as a vehicle for fundamental social transformation. Forged in the crucible of revolutionary movements, it uses the dynamized human body and the charged theatrical space as laboratories for exploring power, transforming oppression, and finding collective solutions to the fundamental problems of conflict, exploitation, violence, and human suffering. Harnessing the reflexivity of the theatrical form as a generative critical methodology, TO charges that there are no neutral observers, ideologies, or systems of practice: every spectator is a potential actor, every system potentially oppressive or liberatory, and that the collective artistic liberation of our human capacity, dignity, and creativity is an imperative for transformation and survival. This workshop will review basic techniques of Theatre of the Oppressed (Demechanization, Dynamization, Image Theatre, Forum Theatre), as well as advanced uses of Image Theatre, Forum Theatre, internal techniques (Rainbow of Desire, Cop-in-the-Head), while exploring TO-specific approaches to devising, rehearsal, performance, facilitation, and activism. These techniques will be shared as practical and essential tools for artistic development, creative expression, and social engagement. It will also focus on their application to collective problem-solving, community-building, resistance, resilience, and transformation of structural and systemic violence at this historic moment of backlash and racism. Prerequisite: This class is open to those who have already taken Theatre of the Oppressed at Berkeley Rep School of Theatre or another institution, or by interview with the instructor.

THU 7–10pm · 4/27, 5/4, 5/11, 5/18, 5/25, 6/1, 6/8 · $290

Jiwon Chung is a professional actor, director, and a key theorist of Theatre of the Oppressed. He is the Artistic Director of Kairos Theater Ensemble, adjunct professor of Theater and Social Justice at Starr King School at the Graduate Theological Union, and past President of the national organization for Theatre of the Oppressed. Author of numerous books, articles, and performances, he is considered a pioneer in the integration of somatics, Theatre of the Oppressed, and socially engaged art. The focus of his work is in the application of theatre as a tool for social and political change, using Theatre of the Oppressed to challenge, resist, and transform systemic oppression and structural violence and to redress large-scale historical atrocity and injustice. His approach to performance and social change is informed by his background as veteran, martial artist, and three decades of vipassana meditation.

Viewpoints and Presence

This class focuses on developing Viewpoints and presence for actors, improvisers, and directors. Based on Mary Overlie’s Six Viewpoints, we will work kinesthetically with space, time, shape, emotion, movement, and story to develop each individual’s and the ensemble’s creative potential. Students learn how to apply and explore these tools and techniques while learning how to make compelling, dynamic, and intelligent choices that illuminate the relationship between character and action, the theatrical space, and the audience. In addition, there will be a focus on stage presence in connection with the Viewpoints work. We will bring energetic and somatic awareness to filling space, shaping energetic flow, and infusing character with energy to make your performance engaging and authentic to an audience.

WED 7–9pm · 3/29, 4/5, 4/12, 4/19, 4/26 · $150

Iu-Hui Chua is a director, choreographer, and movement artist with an MFA in Dramatic Arts with an emphasis in Choreography. She has danced with Anna Halprin, Ledoh, Dandelion Dancetheater, Headmistress, and Disneyland, and has devised original work with long-time collaborator Bobby August, Jr. Her work aims to illuminate the human experience, encouraging connection and transformation. An artist in residence at Djerassi and the Peñasco Theatre Collective, she has been supported by the Puffin Foundation Ltd., Theatre Bay Area’s CA$H Grant, Creative Capacity Fund’s Quick Grant Award, and the Consortium for Women and Research, and is a recipient of the Cass Calder Smith Artful Harvest Fellowship. Recently she directed Gruesome Playground Injuries starring Bobby August, Jr. and Maria Candelaria, which was nominated for a Theatre Bay Area Outstanding Production of a Play award in 2015.

Stage Combat Certification: Broadsword—Level 1

Ages 16 and up · Broadsword: weapon of choice in the Middle Ages. This certification course will prepare you for great steel slinging roles like Richard III, Macbeth, Beowulf, Robin Hood, and Joan of Arc. This class will stress safety, partnership, and telling the story of the fight while covering basic sword fighting history and terminology. Additionally, students will learn the skills necessary to perform realistic broadsword fights. All students will have the opportunity to rehearse and perform scenes that include stage combat and take a “Skills Proficiency Test” for recognition as a Theatrical Combatant with Dueling Arts International. Full fingered gloves are required. Class size is limited to 10.

MON 7–10pm · 2/27, 3/6, 3/13, 3/20, 3/27 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions, including Pericles, Prince of Tyre and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts.

Stage Combat: Rapier and Dagger

Ages 16 and up · Unleash your inner Mercutio! Learn to create the illusion of violence while studying the martial art most commonly practiced in Renaissance Europe. Students will learn to layer acting skills and stage combat technique to create convincing scenes containing theatrical violence. Use both sides of the brain and body while learning this unique and versatile art form. All students will have the opportunity to rehearse and perform scenes that include a choreographed fight and take a skills proficiency test for certification as a Theatrical Combatant with Dueling Arts International. Full-fingered gloves are required. Class size is limited to 12. Open to all levels.

MON 7–10pm · 4/10, 4/17, 4/24, 5/1, 5/8 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions, including Pericles, Prince of Tyre and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts.

Stage Combat: Unarmed

Ages 16 and up · Learn to take a punch! Unarmed combat techniques are the most common violence techniques found in the theatre. Increase your skill set and versatility, while honing your craft as an actor. This class will cover falls, slaps, punches, hair pulls, fighting with found objects, and other theatrical violence techniques essential to creating the illusion of violence. Additionally, students will rehearse and perform a scene containing unarmed violence. Additionally, students will have the opportunity to take a skills proficiency test for certification as a Theatrical Combatant with Dueling Arts International. Open to all levels.

MON 7–10pm · 5/15, 5/22, 6/5, 6/12, 6/19 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions, including Pericles, Prince of Tyre and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts.

One-on-One Audition Coaching

Don’t be caught unprepared for an upcoming audition. Berkeley Rep faculty members are available to work with actors on contemporary and classical monologues. Make choices that you feel confident about. Be directed by and collaborate with working professionals.

Dates/Times: to be scheduled with the instructor · $80/hour
Please call 510 647–2996 to schedule a coaching session

Audition

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The Art of Auditioning

This class covers all aspects of the audition process but focuses on the commitment to strong, imaginatively chosen actions. Actors will work on either a classical or a contemporary monologue on the first day of the workshop and on the second day, the focus will shift to working with sides and a reader. Learn how to be fully prepared to show your full range as an actor and to bring any scene to dramatic life, ready to make any adjustments that the director might give you. Each actor will receive individual attention on their monologue. And we will recreate the audition situation with a “reader” or a scene partner, a director, and several “sides” from one or two plays; sides will be distributed on Saturday so actors can prepare.

SAT & SUN noon–5pm · 5/20, 5/21 · $175

Lisa Peterson is a two-time Obie Award-winning writer and director who is currently the associate director at Berkeley Rep. Previous projects at the Theatre include It Can’t Happen Here (2016); An Iliad (2012), which Lisa co-wrote with Denis O’Hare, and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). For California Shakespeare Theater, Lisa directed You Never Can Tell, King Lear, The Winter’s Tale, All’s Well That Ends Well, and Love’s Labour’s Lost. Other recent West Coast productions include Hamlet, Henry IV Pt 2, and Othello (Oregon Shakespeare Festival); and Chavez Ravine (Ovation Award for Best Production), Palestine New Mexico, Electricidad, Water & Power, The House of Bernarda Alba, Body of Bourne, and Mules (Mark Taper Forum). In New York, Lisa has directed The Trestle at Pope Lick CreekTraps, and Light Shining in Buckinghamshire (Obie Award for Direction), all at New York Theatre Workshop; King Liz (2nd Stage Uptown); Hamlet in Bed (Rattlestick Playwrights Theater); To the Bone (Cherry Lane Theatre); The Patron Saint of Sea Monsters and The Chemistry of Change (Playwrights Horizons); The Square and Tongue of a Bird (the Public Theater); Fourth Sister and Batting Cage (Vineyard Theatre); Collected Stories (Manhattan Theatre Club); and The Model Apartment (Primary Stages). In Canada, she recently directed The Philanderer (Shaw Festival) and The Trouble with Mr. Adams (Tarragon). She has directed world premieres by many major American writers, including Tony Kushner, Beth Henley, Donald Margulies, Jose Rivera, Ellen McLaughlin, Mac Wellman, Marlane Meyer, Polly Pen, Naomi Wallace, and many others. She regularly works at the Guthrie Theater, Actors Theatre of Louisville, Long Wharf Theatre, Yale Repertory Theatre, Hartford Stage, Seattle Repertory Theatre, Arena Stage, O’Neill Playwrights Conference, Ojai Playwrights Conference, and Sundance Theatre Lab. Lisa and Denis are working on a commission for the McCarter Theatre titled The Song of Rome, and Lisa is writing a new music-theatre piece with Todd Almond called The Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep.

One-on-One Audition Coaching

Don’t be caught unprepared for an upcoming audition. Berkeley Rep faculty members are available to work with actors on contemporary and classical monologues. Make choices that you feel confident about. Be directed by and collaborate with working professionals.

Dates/Times: to be scheduled with the instructor · $80/hour
Please call 510 647–2996 to schedule a coaching session

Improvisation

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Beginning Improvisation

Gain experience and understanding of the philosophies and fundamentals of improvisational theatre via a Keith Johnstone (IMPRO)-based practice in this beginning class. Through playful interactive theatre games and storytelling, students are introduced to the elements of spontaneity, listening, accepting, and responding. This methodology helps students access their imagination, free their inhibitions, and increase their confidence. This class, taught by a professional improviser, focuses on skills that enhance the student’s creative path. Principles explored include being present in the moment, letting go of the inner critic, and strengthening creative impulses. May be repeated.

Winter session: SAT 1–3:30pm · 3/4, 3/11, 3/18, 3/25, 4/1 · $180 (August)
Spring session: THU 7–10pm · 4/13, 4/20, 4/27, 5/4, 5/11 · $220 (Derry)
Spring session: SAT 3:30–5:30pm · 5/6, 5/13, 5/20, 6/3, 6/10 · $150 (August)

Bobby August, Jr. is an actor, improviser, and teacher. He earned an MFA in Acting from the University of California, Davis. Some of his favorite past performances include portraying Romeo in Romeo and Juliet, Benedick in Much Ado About Nothing, Howie in Rabbit Hole, Petruchio in The Taming of the Shrew, and The Player in Rosencrantz and Guildenstern are Dead. Bobby also devises physical theatre pieces with long-time collaborator Iu-Hui Chua. They created and performed Crawl and Ligilo at the Mondavi Center for the Performing Arts. In addition, Bobby is the owner and director of the award-winning Made Up Theatre (MUT) in Fremont, California. His theatre specializes in presenting completely improvised plays. He has performed with MUT at improv festivals throughout the country—most recently winning Best Improv Group at the Sacramento Comedy Festival. His improv education includes training at the world-famous Second City and Annoyance Theatre in Chicago.

Laura Derry was a scripted actor terrified of improv, but after her first class, it was so much fun that she hasn’t stopped doing it. She has a BA in Theatre Arts from UCSC and trained at ACT, Berkley Rep, and BATS Improv. Laura performs improv all over the Bay Area, was on TLC’s reality show Four Weddings, and recently starred in the short film Displacement, which received an award at the Monaco International Film Festival. Laura is a guest artist who teaches in the K–12 school system, applying improv and getting students ready for performances. She works with beginning adult improvisers, more advanced classes geared towards performances involving short form or long form, and local businesses doing leadership and communication trainings with applied improv. Laura is a walking testament to the power of improv—she was once very shy, highly self-critical of her creativity, and terrified of improv. Now she is a professional improviser and teacher who creates a safe, fun space to laugh with a wonderful group of people.

Intermediate/Advanced Improvisation

Open your mind to the infinite possibilities of improvised theatre. Delve into the more potent possibilities of improv, while exploring the nuances of style in storytelling, long form, genre work, and continued development of spontaneity and dynamic play. You will receive direct, tailored, and supportive feedback. This class will be geared toward performance level improv—getting you ready to hit the stage or giving you a tune-up wherever you are as an improviser. No matter what, we will have fun and laugh. A lot.

TUE 7–10pm · 4/4, 4/11, 4/18, 4/25, 5/2, 5/9, 5/16, 5/23, 5/30, 6/6 · $340

Diane Rachel has been performing and teaching at BATS Improv since 1989. She created a specialty long-form program with a focus on intimate acting and stage combat, which has attracted an international following. She has led workshops in Melbourne, Paris, Amsterdam, and Helsinki and has taught at ACT and Stanford. Diane is a founding member of San Francisco improv group True Fiction Magazine.

Improvisation Performance Lab

One of the joys of improvisation is sharing the creativity and spontaneity with an audience. This class introduces the skill of performing improvisational games and stories in a light and generous atmosphere. Students explore the philosophy of “giving” rather than “shining,” and practice interaction techniques that demystify the perceived barriers between performers and an audience. There will be two scheduled performances during class time. Prerequisite: Intermediate/Advanced Improvisation at the Berkeley Rep School of Theatre and special permission from the instructor.

WED 7–10pm · 4/5, 4/12, 4/19, 4/26, 5/3 (performance), 5/10, 5/17, 5/24, 5/31, 6/2 (performance) · $330

Diane Rachel has been performing and teaching at BATS Improv since 1989. She created a specialty long-form program with a focus on intimate acting and stage combat, which has attracted an international following. She has led workshops in Melbourne, Paris, Amsterdam, and Helsinki and has taught at ACT and Stanford. Diane is a founding member of San Francisco improv group True Fiction Magazine.

Improv for the Professional

Improv is no longer just for actors and comediennes! Professionals and entrepreneurs from across disciplines are flocking to improvisation-based training to learn the soft skills needed to succeed in the modern workplace. Why? Because theatre artists possess many of the skills regularly sought after in today’s economy—creativity, courage, excellent communication skills, and high levels of emotional intelligence. Improv is even a required course for many top MBA schools including Duke, UCLA, MIT, and Stanford. This course is designed for professionals, entrepreneurs, creative innovators, non-profit employees, or anyone interested in personal and professional development. In this playful and unpretentious atmosphere, you will learn to bust through your fear of public speaking, deepen your communication skills, harness your creativity, think on your feet, and…have tons of fun while doing it. Come dive in.

TUE 7–9pm · 5/16, 5/23, 5/30, 6/6 · $160

Joyful Simpson is an actress, writer, and creativity educator who combines improv theatre, behavioral sciences, and mindfulness to create dynamic trainings for businesses and institutions. She studied theatre and psychology at Sarah Lawrence College in New York and earned an MFA in Dramatic Art from UC Davis. While at Davis, she spearheaded an applied improv-based training program for the Graduate School of Management. In 2013 she founded Pro-CreativeArts—an applied theatre organization—and is hired throughout the United States to lead trainings that foster creativity, collaboration, and communication for teams and leaders. Born into an iconic theatre family, she brings to her classes a unique body of experience gained from creating and performing theatre professionally since childhood. Her solo comedy recently won Best of Fringe at the 2016 San Francisco Fringe Festival. Her theatre credits include lead actor and co-author of four plays for “Prize of Hope”-winning company Human Nature and co-founder of the ensemble-driven theatre company Rococo Risqué, winner of SF Weekly Best Theater Ensemble 2005. Joyful has also appeared as an actor in many projects on stage and film, including Odyssey Works, an immersive theatre project; The Pursuit of Happiness, with Will Smith; and Spring Awakening, directed by Broadway and West End director Stafford Arima.

Producing

Producer’s Lab: For Actors, Directors, and Writers

Get the gig…the grant…manifest the show! This is an accelerated lab for artists who have experience and a vision. Producing your dream show, getting a grant, or getting hired by a theatre as director or playwright is part craft, and part dating game! We explore the relationships that anchor a production, from designers/cast/crew and, most importantly, finding funding and selling tickets! Create a viable pitch (a battle plan to get hired) that includes venues, aesthetics, budget, personnel, PR/marketing, and ticket projections. Guest professionals share the tools and the tales from the trenches.

THU 7–10pm · 4/6, 4/13, 4/20, 4/27, 5/4 · $220

Patricia Miller has an MFA from UC Davis and is a graduate of Commercial Theater Institute, CounterPULSE Artist’s Bootcamp, and is a Theatre Bay Area Titan Award winner. She is a freelance director/producer (Magic Theatre, New Conservatory Theatre Center, Ashby Stage, Marine’s Memorial, Ross Valley Players). Patricia’s teaching credits include Studio School and Mountview Theatre Schools, London, Berkeley Rep, UC Riverside, UC Davis, City College of San Francisco, Cal Shakes, and SF Shakes. She is Artistic Director of Pollinator and PantoSF.

Movement

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Viewpoints and Presence

This class focuses on developing Viewpoints and presence for actors, improvisers, and directors. Using Mary Overlie’s Six Viewpoints, we will work kinesthetically with space, time, shape, emotion, movement, and story to develop each individual’s and the ensemble’s creative potential. Students learn how to apply and explore these tools and techniques while learning how to make compelling, dynamic, and intelligent choices that illuminate the relationship between character and action, the theatrical space and the audience. In addition, there will be a focus on stage presence in connection with the Viewpoints work. We will bring energetic and somatic awareness to filling space, shaping energetic flow, and infusing character with energy to make your performance engaging and authentic to an audience.

WED 7–9pm · 3/29, 4/5, 4/12, 4/19, 4/26 · $150

Iu-Hui Chua is a director, choreographer, and movement artist with an MFA in Dramatic Arts with an emphasis in Choreography. She has danced with Anna Halprin, Ledoh, Dandelion Dancetheater, Headmistress, and Disneyland, and has devised original work with long-time collaborator Bobby August, Jr. Her work aims to illuminate the human experience, encouraging connection and transformation. An artist in residence at Djerassi and the Peñasco Theatre Collective, she has been supported by the Puffin Foundation Ltd., Theatre Bay Area’s CA$H Grant, Creative Capacity Fund’s Quick Grant Award, and the Consortium for Women and Research, and is a recipient of the Cass Calder Smith Artful Harvest Fellowship. Recently she directed Gruesome Playground Injuries starring Bobby August, Jr. and Maria Candelaria, which was nominated for a Theatre Bay Area Outstanding Production of a Play award in 2015.

Alexander Technique for Mind/Body Balance

Alexander Technique is a time-honored method used by actors to improve posture, breath, and movement. Effective movement liberates your acting skills and enriches your life. As you stop responding to the world in a habitual manner, new avenues of physical ease and creativity open up. Discover the Alexander Technique for body-mind balance. Let your body’s physical genius emerge!

SUN 10am–1pm · 5/14 · $35

Elyse Shafarman holds a Master’s Degree in Physiological Psychology and Alexander Technique Teacher Certification from Frank Ottiwell (2003). Elyse is on the faculty of American Conservatory Theater’s MFA program and maintains a private Alexander Technique practice in San Francisco and Berkeley. Her background as a modern dancer and training in Psychology, yoga, and Mindfulness-Based Stress Reduction influence her approach to teaching.

Stage Combat Certification: Broadsword—Level 1

Ages 16 and up · Broadsword: weapon of choice in the Middle Ages. This certification course will prepare you for great steel slinging roles like Richard III, Macbeth, Beowulf, Robin Hood, and Joan of Arc. This class will stress safety, partnership, and telling the story of the fight while covering basic sword fighting history and terminology. Additionally, students will learn the skills necessary to perform realistic broadsword fights. All students will have the opportunity to rehearse and perform scenes that include stage combat and take a “Skills Proficiency Test” for recognition as a Theatrical Combatant with Dueling Arts International. Full fingered gloves are required. Class size is limited to 10.

MON 7–10pm · 2/27, 3/6, 3/13, 3/20, 3/27 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions including Pericles, Prince of Tyre, and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts International.

Stage Combat: Rapier and Dagger

Ages 16 and up · Unleash your inner Mercutio! Learn to create the illusion of violence while studying the martial art most commonly practiced in Renaissance Europe. Students will learn to layer acting skills and stage combat technique to create convincing scenes containing theatrical violence. Use both sides of the brain and body while learning this unique and versatile art form. All students will have the opportunity to rehearse and perform scenes that include a choreographed fight and take a skills proficiency test for certification as a Theatrical Combatant with Dueling Arts International. Full-fingered gloves are required. Class size is limited to 12. Open to all levels.

MON 7–10pm · 4/10, 4/17, 4/24, 5/1, 5/8 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions, including Pericles, Prince of Tyre and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts.

Stage Combat: Unarmed

Ages 16 and up · Learn to take a punch! Unarmed combat techniques are the most common violence techniques found in the theatre. Increase your skill set and versatility, while honing your craft as an actor. This class will cover falls, slaps, punches, hair pulls, fighting with found objects, and other theatrical violence techniques essential to creating the illusion of violence. Additionally, students will rehearse and perform a scene containing unarmed violence. Additionally, students will have the opportunity to take a skills proficiency test for certification as a Theatrical Combatant with Dueling Arts International. Open to all levels.

MON 7–10pm · 5/15, 5/22, 6/5, 6/12, 6/19 · $220

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theatre, and a company member with Shotgun Players. He has won several awards for Fight Direction and has choreographed violence for several Berkeley Rep productions, including Pericles, Prince of Tyre and Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. His work has been seen at ACT, La Jolla Playhouse, San Jose Rep, Magic Theatre, and Aurora Theatre Company, among others. He is a Full Instructor of Theatrical Combat with Dueling Arts.

Voice / Dialects

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Dialects and Accents for Improvisers and Actors

Don’t want to break out in a cold sweat every time you are endowed as a British dowager in a period romance or a cowboy from Texas in a Western genre?  Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for commonly called for dialects in improvisation—from New York, Plantation Southern, rural Southern, and Texas, to foreign accents such as British, Irish, French, German, and Russian. We will study the dialects in a multisensorial way, with a focus on the physical changes, the phonetic sound changes, and with immersion (listening to primary sources of the dialect). We’ll also get the dialects “up on their feet” in improv games and scenes.

TUE 7–10pm · 4/4, 4/11, 4/18, 4/25, 5/2, 5/9 · $265

Rebecca Castelli holds a BA in voice and theatre and an MFA in acting. Previously from Seattle, she won a Seattle Times Footlight Award for her role of Mabel in The Pirates of Penzance, and also had the honor of acting with Tony award-winning actress Judy Kaye in Gypsy at 5th Avenue Musical Theatre Company. She was a company member of the Marin-based Porchlight Theatre Company for five years and had leads in many of their mainstage productions, including Chekhov’s Three Sisters and Oscar Wilde’s An Ideal Husband. Locally, Rebecca has also acted with Shotgun Players and Cinnabar Theater Company. She dialect coaches for various Bay Area theatres, including Shotgun Players, Theatre Rhinoceros, Town Hall Theatre Company, Mendocino Theatre Company, Virago Theatre Company, and Ross Valley Players. She is a founding member of The Incidentalists, a long-form improvisational group based in Oakland.

Singing for Improvisers and Actors

Do you hide behind a fellow ensemble member any time a musical theatre scene is called for in an improv show? Do you find yourself avoiding auditions that require any type of singing? Do you just want to feel more comfortable and at home with your own voice? If so, this is the class for you! In this class, we will focus on tangible techniques that you can use in rehearsals and performance to ground and release your voice. We’ll also look at singing in improv games and scenes and working with an accompanist, and identify various factors that might be inhibiting you as a singer.

TUE 7–10pm · 5/16, 5/23, 5/30, 6/6 · $210

Rebecca Castelli holds a BA in voice and theatre and an MFA in acting. Previously from Seattle, she won a Seattle Times Footlight Award for her role of Mabel in The Pirates of Penzance, and also had the honor of acting with Tony award-winning actress Judy Kaye in Gypsy at 5th Avenue Musical Theatre Company. She was a company member of the Marin-based Porchlight Theatre Company for five years and had leads in many of their mainstage productions, including Chekhov’s Three Sisters and Oscar Wilde’s An Ideal Husband. Locally, Rebecca has also acted with Shotgun Players and Cinnabar Theater Company. She dialect coaches for various Bay Area theatres, including Shotgun Players, Theatre Rhinoceros, Town Hall Theatre Company, Mendocino Theatre Company, Virago Theatre Company, and Ross Valley Players. She is a founding member of The Incidentalists, a long-form improvisational group based in Oakland.

Voice for Performance

Free your natural speaking voice using the techniques developed by Kristen Linklater. This class will enable students to gradually and safely build vocal strength, while continually aiming to reach full vocal potential. Through a series of exercises designed to eliminate the blocks that inhibit vocal freedom, students will sustain strength and creative vocal range. Classes will begin with extensive warm-ups, which will be incorporated into relevant texts specifically chosen to best embody and express the true unique vocal life of each student. Students will be given the opportunity to work on a passion piece, which they can choose themselves.

TUE 7–10pm · 4/11, 4/18, 4/25, 5/2, 5/9 · $220

Deborah Eubanks is in her 14th year teaching at the School of Theatre. She is currently serving on the faculty at the Academy of Art University. She also serves on the URTA audition panel and teaches acting technique for Art Experience High School students at SF Academy. She has served on the faculty at the University of San Francisco, was Director in Residence at Sonoma State University, Head of Curriculum Design of the Theater Arts program at St. Vincent’s High School, and has taught at American Conservatory Theater and San Francisco Shakespeare Festival. Deborah completed her training at Harold Pinter Studios in the U.K. She has directed at Libra Theatre Company under Stephen Hawking, as well as teaching and performing at Covent Garden Arts Center Cambridge and Age Exchange Theatre in London. Deborah was voted SF Divafest Playwright for Crystal Daze. She is a vocal coach to Oculus, Facebook, and an inspirational speaker at Old Navy.

Intermediate/Advanced Voice-Over Acting

This voice-over class studies and practices multiple styles of voice acting, introduces more advanced techniques, and will deepen the students’ choices and confidence on the mic. Students will have the rare opportunity to learn from and work with a professional sound engineer, who will be present at every class. In addition, students will learn about recording equipment and how to set up a home studio. Prerequisite: Beginning Voice-Over Acting class.

MON 7–10pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8 · $340

Sally Clawson is a SAG-AFTRA/AEA actor in voice over, film, and theatre. She has been voicing commercials, industrials, and video games for over 15 years. A partial list of her clients include Clorox, Yoplait, Old Navy, Target, Apple, Google, Wells Fargo, EA Games, Telltale Games, and Lucas Arts. She is currently in her sixth year of teaching at the Berkeley Rep School of Theatre, has taught at Cal Shakes Conservatory, and is currently on the faculty of Voice One. Sally has an MFA in Performance from Mills College.

Advanced Voice-Over Acting

This voice-over class is for students with established home recording studios who are interested in, or have already, launched a freelance voice acting career. The class will focus on shaping, refining, and individualizing each student’s singular voice, and more advanced techniques. Students will have the rare opportunity to learn from and work with a professional sound engineer, who will be present at every class. Students will be required to record assignments outside of class. Class size is limited to 10. Prerequisite: Intermediate Voice-Over Acting class and home recording studio.

WED 7–10pm · 4/26, 5/3, 5/10, 5/17, 5/24, 5/31, 6/7, 6/14 · $390

Sally Clawson is a SAG-AFTRA/AEA actor in voice over, film, and theatre. She has been voicing commercials, industrials, and video games for over 15 years. A partial list of her clients include Clorox, Yoplait, Old Navy, Target, Apple, Google, Wells Fargo, EA Games, Telltale Games, and Lucas Arts. She is currently in her sixth year of teaching at the Berkeley Rep School of Theatre, has taught at Cal Shakes Conservatory, and is currently on the faculty of Voice One. Sally has an MFA in Performance from Mills College.

Private Voice

Learn to sing with ease and confidence, eliminating vocal pain and fatigue while improving your range and breath control. Each session includes breathing and relaxation exercises, vocal exercises and technique, and vocal coaching on songs, including how to act a song and how to prepare a musical theatre audition.

THU 3–3:50pm · $80/session
Please call 510 647–2996 to schedule a voice session

Rebecca Castelli holds a BA in voice and theatre and an MFA in acting. Previously from Seattle, she won a Seattle Times Footlight Award for her role of Mabel in The Pirates of Penzance, and also had the honor of acting with Tony award-winning actress Judy Kaye in Gypsy at 5th Avenue Musical Theatre Company. She was a company member of the Marin-based Porchlight Theatre Company for five years and had leads in many of their mainstage productions, including Chekhov’s Three Sisters and Oscar Wilde’s An Ideal Husband. Locally, Rebecca has also acted with Shotgun Players and Cinnabar Theater Company. She dialect coaches for various Bay Area theatres, including Shotgun Players, Theatre Rhinoceros, Town Hall Theatre Company, Mendocino Theatre Company, Virago Theatre Company, and Ross Valley Players. She is a founding member of The Incidentalists, a long-form improvisational group based in Oakland.

Writing

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Playwriting

This class is for anyone who has ever wanted to write a play, and those who have already written one and want to develop it further with a writers group. Areas of focus include character development, dramatic structure, writing dialogue, and effective exposition. The course provides a structured writing program, deadlines for presenting work, and a supportive group of writers with which to share and discuss projects. Students present portions of the developing work to the class and submit a draft of the final project to the instructor for written feedback at the end of the course.

TUE 7–10pm · 4/4, 4/11, 4/18, 4/25, 5/2, 5/9, 5/16, 5/23, 5/30, 6/6 · $340

Gary Graves is a company co-director of Central Works Theater Ensemble in Berkeley. Now in its 12th season, Central Works is dedicated to the development of new works for the theatre. He has written and directed numerous productions with Central Works, UC Berkeley, Hardback Theater, and American Theater Arts in Los Angeles. He holds an MFA in Playwriting from Southern Illinois University and a PhD in directing from UC Berkeley.

Writing Funny: An Interactive Writing Comedy Workshop

Everyone enjoys a good laugh. What’s even better is creating that laugh. What makes something funny is a skill that can be honed. We will examine the components of humor and apply it to your work. Whether you are writing a play, short story, novel, or preparing a presentation, “Writing Funny” will improve your work and give it that humorous lift it needs. If there is one funny bone in your body, there are others, and together we’ll find them. The most important thing in this class is that you enjoy writing and creating. The space is safe, your process is respected, and everyone gets a chance to work and create in a supportive, constructive setting. Students are asked to come to the first class with a few pages of a humorous scene, or story with some dialogue. This will be the basis of the first session as we edit, shape, and transform your work, so SNL will come begging for your material!

THU 7–10pm · 3/16, 3/23, 3/30, 4/6, 4/13 · $220

Arje Shaw is a playwright, actor, and producer best known for The Gathering, produced on Broadway in 2001. He has written sit-coms for ABC along with his plays: A Catered Affair, produced Off Broadway, and Magic Hands Freddy, Soho Playhouse starring Ralph Macchio. Moolah is soon to open in New York in 2017; Marriage In Play is being workshopped regionally, and his one-man show, Freddy Goes Solo, is being developed at the Marsh and Stage Werx in San Francisco. He is currently co-producer of the new hit musical Love Sick at the Osher Studio and Mountain View Center for the Performing Arts. Arje is the creator and producer of The Sonnet Man, a hip hop Shakespeare fusion starring spoken word poet Devon Glover. In collaboration with artist Maggie Silverman and Devon Glover, Arje is writing “Billy Eats the Big Apple,” a children’s guide to New York City through rap.