Adult classes

Winter workshops

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Actor/Poet/Clown

Stretch your theatrical muscle, broaden your performance technique, and challenge your inner poet with award winning actor, published poet, and Cirque du Soleil clown Ron Campbell. Whether you’re developing your stand-up act, expanding your storytelling skills, or creating your one person version of War and Peace, you’re going to have to play characters. That character may just be a clearer, more heightened version of yourself, or it may be a cast of thousands. Learn the techniques that will help you (and the myriad characters that live inside you) tell your story. Through gently guided acting exercises inspired by the work of Stanislavski, Mikhail Chekhov, Philippe Gaulier, and others and utilizing texts from poets like Pablo Neruda, Boris Vian, and Mary Oliver, students will write, create, and present their ideas for feedback to the class. Don’t miss this chance to get inspired and be inspiring! Paper, pencil, and spirit of adventure required. Characters welcome!

SAT & SUN 1–4:30pm · 12/1, 12/2 · $125 (fall)
SAT & SUN 1–4:30pm · 3/2, 3/3 · $125 (winter)

In a career that has spanned three decades and four continents, Ron Campbell has performed everywhere from the streets of Paris, Rome, and Florence to the Royal Albert Hall in London and the Fuji Dome in Japan. A recipient of the Fox Fellowship for Distinguished Achievement, the “King of the Clowns” in Cirque du Soleil’s Kooza, and award-winning one-man show practitioner (R. Buckminster Fuller, The Thousandth Night, Shylock, The Dybbuk, The Boneman of Benares, Beckett’s Eh Joe among others), Ron has trained with such luminaries as Philippe Gaulier, David Shiner, Min Tanaka, and Georges Bigot, and has taught physical theatre, clowning, and mask in Japan, Europe, and North America. An associate artist at California Shakespeare Theater, Ron has played everything from Richard the Third to Sherlock Holmes to Don Quixote, for which he received both the Bay Area Critic’s Award and Theatre Bay Area’s Outstanding Principal Performance Award. Ron is the founder and CEO of Soar Feat Unlimited.

Actor’s Retreat

The window between Christmas and New Year’s is a short respite; you probably want to use it to rest, rejuvenate, and envision a wonderful year to come. This retreat is intended to help you do all three. You will renew your craft, nurture your creative spirit, and envision your 2019 artistic goals. We will start each day with a variety of practical spiritual techniques adapted especially for actors and drawn from master acting teachers. We will work physically, vocally, emotionally, and interpersonally. Once we feel free and rooted in our authentic selves, then we will move on to scene work. Finally, each day will finish with a writing process that culminates in your having a step-by-step plan for how to achieve specific professional and artistic goals in 2019. Scenes will be assigned to facilitate optimal artistic growth. Note: Due to the holiday season, the class is designed to be a self-contained experience, so pre-class prep and rehearsal is encouraged but optional.

Auditors can attend one, two, or all three days. They can watch all the work and participate in all exercises, but will not be assigned a scene to present. $50 per day.

FRI, SAT, SUN 10am–5pm (1-hour lunch break) · 12/28, 12/29, 12/30 · $300

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 Theater and has a PhD in Transformative Studies from California Institute of Integral Studies.

Moment Work with Tectonic Theater Project

Pioneered by Moisés Kaufman, Moment Work is Tectonic Theater Project’s groundbreaking devising method that explores the theatrical potential of all the elements of the stage (props, sound, architecture, lights, costumes, etc.) in order to create strong theatrical and dramatic narratives. Used to create such seminal works as The Laramie Project and Gross Indecency: The Three Trials of Oscar Wilde, Moment Work encourages playwrights, directors, actors, and designers to collaborate on an investigation of the full narrative of the stage. This workshop is open to all artists who seek new ways of creating work and reimagining existing texts. Obie Award-winning Moisés Kaufman is planning to do a short Q&A, subject to rehearsal schedule, to discuss Moment Work and Paradise Square: A New Musical, which he will be directing at Berkeley Rep.

WED 1–4:30pm · 1/9 · $100

Laurie Lathem is the director of Tectonic Theater Project’s Moment Work Institute. A theatre artist and arts educator with over fifteen years’ experience in arts education, she was the artistic director of the Virginia Avenue Project in Santa Monica where she produced and directed three to four original theatre productions per year and launched several in-school playwriting residencies and innovative collaborations with other arts organizations. Laurie directed the acclaimed solo show Old Man in a Baseball Cap by Fred Rochlin at Actors Theatre of Louisville and La Jolla Playhouse, and has also taught at Highways Performance Space in Santa Monica and at Central Juvenile Hall in Los Angeles. Laurie was the founding creative director of the Berkeley Rep School of Theatre and is a graduate of Northwestern University.

Producing Theatre

Create bold new work and shape the future of the industry. We will discuss the big picture: the history of the industry and how the business operates today. Susan Medak, managing director of Berkeley Repertory Theatre, will give you the basic tools you’ll need to consider as a theatre producer.

SAT 12:30–5pm · Dates TBA · $110

Susan Medak has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (LORT) and treasurer of Theatre Communications Group (TCG), organizations that represent the interests of nonprofit theatres across the nation. Susan chaired panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berkeley Association (DBA). She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. Susan serves on the faculty of Yale School of Drama and is a member of the International Women’s Forum and the Mont Blanc Ladies’ Literary Guild and Trekking Society. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund and the 2017 Visionary Leadership Award by TCG. During her time in Berkeley, Susan has been instrumental in the construction of the Roda Theatre, the Nevo Education Center, the renovation of the Peet’s Theatre, and in the acquisition of the Harrison Street campus. She also worked with three consecutive mayors to help create Berkeley’s Downtown Arts District.

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 · 1/12 · $90

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.

Presence and Physical Readiness

The term music visualization is one of many possibilities in dance to enter a dialogue with speech, sound, and music. Through the process of visualization we practice to be completely present in the body and to transform the music directly into movement. It is about listening precisely and reacting as simultaneously as possible with the body in space, time, and power to acoustic impulses. This training promotes the response capability and presence in the body. In dance history, the term can be traced back to Ruth St. Denis. She tried to implement pulse, rhythm, melody arc, and moods of the music, as well as individual instruments simultaneously with the body and thus achieved a congruence between music and movement.

SAT & SUN 1–4pm · 1/26, 1/27 · $110

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

Brigitta Schrepfer loves dance as a language full of vividnesss! She is a Swiss contemporary dancer, improvisor, choreographer, and professor of dance. Awarded with several prizes she is touring with her company, Brigitta Schrepfer’s SOMAFON, in Switzerland and abroad. Her works such as, Onkel & Tanzen, Les Amuse Bouches, and Girls Games are highly innovative, dynamic, and humorous. She teaches contemporary dance technique, movement improvisation, anatomy, and dance history at Zurich University of the Arts and at University of Music in Basel.

Theatre of the Present

A master class in creating new work that reflects the times we live in.

“To find a form that accommodates the mess, that is the task of the artist now,” Beckett concluded. Theatre is a martial art. It can also be a tool for change. The actor/artist has a responsibility to use their skills to be our mirror: to show us ourselves in all our beautiful and grotesque glory. Refine your skills and broaden your vision through gently guided exercises combining a multiplicity of disciplines designed to help theatre artists express their world more fully, vividly, and with greater scrutiny. Exercises include techniques developed by the Body Politic, Philippe Gaulier, Theatre du Soleil, Cirque du Soleil, and the Actors Gang. A spirit of rebellion required.

SAT & SUN 1–4:30pm · 2/2, 2/3 · $125

In a career that has spanned three decades and four continents, Ron Campbell has performed everywhere from the streets of Paris, Rome, and Florence to the Royal Albert Hall in London and the Fuji Dome in Japan. A recipient of the Fox Fellowship for Distinguished Achievement, the “King of the Clowns” in Cirque du Soleil’s Kooza, and award-winning one-man show practitioner (R. Buckminster Fuller, The Thousandth Night, Shylock, The Dybbuk, The Boneman of Benares, Beckett’s Eh Joe among others), Ron has trained with such luminaries as Philippe Gaulier, David Shiner, Min Tanaka, and Georges Bigot, and has taught physical theatre, clowning, and mask in Japan, Europe, and North America. An associate artist at California Shakespeare Theater, Ron has played everything from Richard the Third to Sherlock Holmes to Don Quixote, for which he received both the Bay Area Critic’s Award and Theatre Bay Area’s Outstanding Principal Performance Award. Ron is the founder and CEO of Soar Feat Unlimited.

Mining Myths: Adaptation Workshop

Adaptation is an art form that is alive and well in the theatre world. From Sarah Ruhl (Eurydice) to Mary Zimmerman (Metamorphoses), theatre-makers are constantly revisiting classic stories and applying them to our times. Even Shakespeare was an adaptor, picking and choosing from myths of the past. And why not? Myths are myths for a reason: they’re great stories. In this full-day workshop, we will select, adapt, and produce a version of an ancient myth. The day will begin with selection and exploration of a myth. As an ensemble of adaptors/theatre-makers we will then create a piece of theatre based on the myth. We will flex our theatrical and dramaturgical muscles, mining the stories for relevance and theatricality. The day will culminate in a performance open to friends and family. Playwrights and performers are welcome to apply to this immersive, interactive, dynamic workshop.

SAT 10am–4:30pm (30-minute lunch break) · 2/9 · $115

Alex Moggridge is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s stages multiple times, including the upcoming production of Metamorphoses. Elsewhere, he has acted with such companies as American Conservatory Theater, Actors Theatre of Louisville, Yale Rep, Long Wharf Theatre, and many more. Alex’s plays have appeared off Broadway and regionally. His most recent production, The Boatman (an adaptation of a Greek myth, which he wrote for Berkeley Rep School of Theatre’s Summer Intensive!), recently opened to critical acclaim at Flint Repertory Theatre. Alex holds an MFA in acting from ACT.

Feldenkrais Method®: Awareness Through Movement

Bring more creativity in your daily life! Everyone can benefit from the Feldenkrais Method® Awareness Through Movement—from athletes and artists to administrators and attorneys. Students learn to widen the perception they have of themselves and how to make clear choices that will enhance their creativity. This method helps to rewire the nervous system in order to become aware of habits and eliminate unnecessary movements, which are often the source of limitation and discomfort. Improve physical function and health, reduce pain, increase sensitivity and vitality, and expand your movement repertoire. Moving becomes more pleasurable, more graceful, and effortless. Open to all levels.

SAT & SUN 10:30am–1pm · 2/16, 2/17 · $100

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

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 · 1/7, 1/14, 1/28, 2/4, 2/11, 2/25, 3/4, 3/11, 3/18, 3/25 · $325 (August)
SAT 11am–1:30pm · 1/26, 2/2, 2/9, 2/16, 2/23, 3/2, 3/9, 3/16, 3/23 · $300 (Davis)

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.

Shannon R. Davis directs and educates in the Bay Area, across the country, and internationally. Current: Oregon Shakespeare Festival’s Killian Directing Fellow, Berkeley Rep teaching artist, company member and director at Theatre of Yugen. Directing: Oregon Shakespeare Festival, University of Wisconsin–Madison, Theatre of Yugen, Microsoft Research, Facebook Research, San Anselmo Playhouse, Musical Café, Shotgun Players, Exit Theatre, Brava Theater, others. Teaching: UW–Madison, International School of Asia Karuizawa, Beyond Acting, Bay Area Children’s Theatre, FOGG Theatre, StageWrite, others. Acting: Forward Theater Co., Renaissance Theaterworks, Theatre of Yugen, Children’s Theater of Madison, City Theatre Co., Vortex Rep, others. MFA, Directing. MFA, Acting. BA, Directing/Voice. Studied at UW–Madison and MXAT–Harvard.

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 will learn to analyze the text for its rhythms, its rhetorical flourish, and its tonal colors, and apply it to their monologue work. All levels welcome.

TUE 7–10pm · 2/12, 2/19, 2/26, 3/5, 3/12 · $230

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.

Intermediate Acting: Barrow Group Approach

In this eight-week course, students will play with acting exercises, monologues, and scenes using The Barrow Group Approach to Acting; a set of simple, practical tools designed to get acting to look as much like real life as possible, so audience members feel like they are watching real people rather than actors working. We’ll use script analysis to determine what the story is in order to get busy doing physical actions. Using real behavior within the imaginary circumstances of the script encourages spontaneity and gives the feeling that we don’t know what will happen next—just like real life! (It also happens to keep those watching on the edge of their seats!)

TUE 2–4pm · 1/15, 1/22, 1/29, 2/5, 2/12, 2/19, 2/26, 3/5 · $275

Alyson Rutter recently moved to the Bay Area after 10 years as a union actor in NYC where she starred in the award-winning films Video, Apathy, and The Great Love Rosemary, and performed in numerous stage productions. She can also be seen in The Knick, Damages, Bored to Death, and the feature film We Only Know So Much. Directing credits include The Pavilion, called a “tantalizing revival” by the New York Times, Dying City, and Gruesome Playground Injuries, among others. She wrote and performed her one-woman show, The Goldilocks Effect, at The Barrow Group Theatre Company where she also taught acting.

Intermediate Acting

Students will 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. May be repeated.

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.

WED 7–10pm · 1/9, 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6, 3/13 · $350

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.

Intermediate/Advanced Acting

Students will analyze and perform two- and three-person scenes that vary in style and period and that dive deeper into the tools of The Barrow Group Approach to Acting, which was developed by Seth Barrish, founder and co-artistic director of The Barrow Group Theatre Company in New York City, as applied to scene study. Students will select their own scenes and partners; outside rehearsal is encouraged. May be repeated.

Prerequisite: Prior acting experience or previous intermediate 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.

TUE 7–10pm · 1/8, 1/15, 1/22, 1/29, 2/5, 2/12, 2/19, 2/26, 3/5, 3/12 · $350

Alyson Rutter recently moved to the Bay Area after 10 years as a union actor in NYC where she starred in the award-winning films Video, Apathy, and The Great Love Rosemary, and performed in numerous stage productions. She can also be seen in The Knick, Damages, Bored to Death, and the feature film We Only Know So Much. Directing credits include The Pavilion, called a “tantalizing revival” by the New York Times, Dying City, and Gruesome Playground Injuries, among others. She wrote and performed her one-woman show, The Goldilocks Effect, at The Barrow Group Theatre Company where she also taught acting.

Advanced Acting: Meisner Technique

Actors will work on exercises and scenes, utilizing elements of the Meisner Technique in the process of bringing the text to life! Following the specific needs of each individual instrument, we will explore and integrate exercises and material that will awaken deeper levels of curiosity, broaden experience, and further mastery of the craft.

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

MON 6:30–9:30pm · 1/14, 1/28, 2/4, 2/11, 2/25, 3/4, 3/11, 3/18, 3/25 · $340

Rachael Adler studied with Sanford Meisner at the Neighborhood Playhouse in New York, and was later designated there to teach the technique. After a career as an actor and model in New York and the Bay Area, Rachael founded two Meisner conservatories (Studio Magnetic, Waterfront Playhouse and Conservatory). In addition to studying the Meisner Technique, Rachael has also trained in other techniques with Larry Moss, Sandra Seacat, Bill Hickey, and Earle Hyman at HB Studios in New York, Loyd Williamson at the Actors Movement Studio, and many other acting, voice, and movement techniques. Rachael’s other areas of expertise include classes in scene and monologue work. She has taught at ACT, Mills College, Foothill College, and other venues in the US, and is the Master Meisner Teacher at MeisnerEspana in Barcelona, Spain.

On-Camera Acting: Level 1 & 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 (please bring a 16GB SD card). 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. May be repeated.

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.

MON 7–10pm · 1/7, 1/14, 1/28, 2/4, 2/11, 2/25, 3/4, 3/11, 3/18, 3/25 · $360 (Level 2)
TUE 7–10pm · 1/8, 1/15, 1/22, 1/29, 2/5, 2/12, 2/19, 2/26, 3/5, 3/12 · $360 (Level 1)

Rolf Saxon (AEA, BAE, SAG/AFTRA) trained with ACT’s first Young Conservatory class and the Guildhall School of Music and Drama in London. Working extensively in film, television, and theatre, including the Royal Shakespeare Company and Theatre Complicte as well as West End and regional productions, his film and television credits include over 25 films and being a regular on three television series. Among others, he has worked with Tom Cruise, Brian De Palma, Vin Diesel, Tom Hanks, Daryl Hannah, Helen Mirren, Trevor Nunn, Ryan Reynolds, and Steven Spielberg. A director in both theatre and film, he has also been a private tutor and coach for over 20 years teaching including the Drama Lab (London) and the Guildhall School of Music and Drama (London). Currently, he is an Adjunct Professor of Drama at Ohlone College, teaches at the Berkeley Rep School of Theatre, SFAA, and the Royal Central School of Speech and Drama in London.

Beginning Voice-Over Acting

This voice-over class introduces and establishes the skills required to perform different genres of voice acting. Beginning and professional actors learn the techniques and artistry of reading commercial, narration, and character copy. Students also learn professional microphone techniques, home-recording tips, and how to read authentically, as well as how to launch a freelance voice-over career. Students will also get to work with a professional sound engineer. Lessons will be recorded for students to keep for their records.

SAT & SUN 10am–5pm (1-hour lunch break) · 3/30, 3/31 · $290

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.

Intermediate Voice-Over Acting

In this voice-over class, students will study and practice multiple styles of voice acting, be introduced to more advanced techniques, and deepen their choices and confidence on the microphone. 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 · 1/28, 2/4, 2/11, 2/25, 3/4, 3/11, 3/18, 3/25 · $385

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.

Solo Performance

Devise original material for solo theatre in a supportive and fun environment. Students explore characters, imagery, objects, and different narrative voices and investigate the potential of rhythm and its effect on voice, physical expression, thought, and emotion. Experiment, fail, laugh, and surprise yourself. The class outcome is for each student to have a 5–7 minute solo performance piece from imagination to performance, and often the beginnings of a longer piece. All levels welcome. Joe has performed his original solo shows in theatres in the US and Europe.

WED 7–10pm · 2/20, 2/27, 3/6, 3/13, 3/20 · $230

Joe Orrach is an actor, choreographer, dancer, and story-teller in live theatre and film. Joe started as a boxer, Welterweight Champion of the US Air Force, before turning his athleticism to dance, especially tap. Joe has performed with the Smothers Brothers, Lilianne Montevecchi, Melissa Manchester, Michael Davis, Bill Irwin, Joan Baez, and others; tap-danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance; and has been directed by Woody Allen, James Mangold, Tim Boxell, Jeremiah Chechik, Stefan Haves, and David Shiner. During 2013–18, Joe conceived, directed, choreographed, and performed his original works 147, In My Corner, The Boxer, Roughing It Up, and STReeT/FeaT in US and European theatres. Joe choreographed and was guest artist and boxing consultant in Terrence Blanchard’s opera Champion at SFJazz and reprised his featured role in 2017 at the Kennedy Center in DC. He recently choreographed The Royale at Aurora Theatre, Berkeley. Joe has an MFA from USC’s School of Dramatic Arts. When not on stage, Joe can be found in the classroom, community center, or boxing gym. Through Joe Orrach Performance Project, he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

Theatre of the Oppressed/Playback Theatre: Mirror & Hammer

Playback Theatre is a form of interactive theatre where audience members are invited to tell stories. A group of trained actors then skillfully re-enact the stories on the spot using sound, spoken word, and movement to empathically and aesthetically reflect back on the experience. Theatre of the Oppressed is a direct, dynamic, theatrical approach to challenging oppression and injustice, using the theatrical space as a laboratory for problem-posing, analysis, testing, and involving direct audience participation, group solidarity, and critical political analysis. Together, they correspond to Mayakovsky’s “mirror of art” that reflects human experience and “the hammer” of engaged action that shapes, transforms, and advances human society. Participants will learn basic physical vocabulary and techniques of Playback Theatre and Theatre of the Oppressed and how to integrate and move fluidly between these two forms while highlighting the synergies, contrasts, complementarities, and contradictions. Participants will learn how to transition from Playback Theatre to Theatre of the Oppressed and back again, and also develop the skilled listening, energetic acuity, skillful characterization, story-telling, theatrical aesthetics, ritualization, and containment necessary to create rich, complex, and satisfying aesthetic representations to transform oppression and build community. This intensive workshop should be of interest to actors, performers, playwrights, therapist, activists, educators, and anyone else with an interest in exploring the skills of empathy, awareness, community-building, problem-solving, and social transformation through art and theatre.

THU 7–10pm · 1/17, 1/24, 1/31, 2/7, 2/14, 2/21, 2/28, 3/7, 3/14 · $325

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.

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 · 1/12 · $90

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.

Stage Combat/Acting Violence: 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 recognition as a Theatrical Combatant with Dueling Arts International. Full fingered gloves are required.

Class is held at Berkeley Rep’s rehearsal studio at 999 Harrison St, Berkeley CA 94710.

MON 7–10pm · 2/11, 2/18, 3/4, 3/11, 3/18 · $230

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theater, 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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Auditioning: Prepare for TBA Generals and Open Calls

Get a comprehensive audition tune-up. This class covers all aspects of the audition process but focuses on the commitment to strong, imaginatively chosen actions. Learn how to show your full range as an actor and to bring any piece to dramatic life! Each actor will receive individual attention on their monologues and acquire the skills to bring your audition to the next level. Please have two memorized monologues. Students of all levels are welcome.

WED 7–10pm · 1/9, 1/16, 2/6 · $165

Amy Potozkin, CSA is in her 29th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays for ACT (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her MFA from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of CSA, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures; One Man, Two Guvnors; An Octoroon; and Angels in America.

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/Intermediate Improvisation

Gain experience and understanding of the philosophies and fundamentals of improvisational theatre via a Keith Johnstone (IMPRO)-based practice in this beginning/intermediate 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.

WED 7–10pm · 1/9, 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6, 3/13 · $350 (Galvez)
WED 2:30–4:30pm · 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6 · $275 (Klemm)

Zoe Galvez has been teaching and performing improvisational acting for over a dozen years. She studied improv and acting with David Razowsky, Uta Hagen, Keith Johnstone, Rebecca Northan of Loose Moose, SF Mime Troupe, Anne Bogart and the SITI company, BATS, The Groundlings, and The Moscow Art Theatre. She is a member of the Screen Actors Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) and a Main Stage company member of the nationally acclaimed BATS Improv. Zoe has introduced thousands of people to the magic of improv in the Bay Area and beyond. She is a pioneer in bringing improvisational theatre to the world of business with ImprovHQ.

Kasey Klemm is a professional improviser with 20+ years of experience. He is the former artistic director of BATS Improv, San Francisco’s longest running and most-acclaimed improvised theatre company, and cites Keith Johnstone as one of his biggest influences. Kasey’s easy going nature and passion for improvisation helps create a playful space for students of all levels to explore their inherent creativity and take risks in a positive and supportive environment.

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.

THU 7–10pm · 1/31, 2/7, 2/14, 2/21, 2/28, 3/7, 3/14, 3/22, 3/29 · $325

Kasey Klemm is a professional improviser with 20+ years of experience. He is the former artistic director of BATS Improv, San Francisco’s longest running and most-acclaimed improvised theatre company, and cites Keith Johnstone as one of his biggest influences. Kasey’s easy going nature and passion for improvisation helps create a playful space for students of all levels to explore their inherent creativity and take risks in a positive and supportive environment.

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 Improvisation at the Berkeley Rep School of Theatre or special permission from the instructor.

WED 7–10pm · 1/9, 1/16, 1/23, 1/30, 2/6 (performance), 2/13, 2/20, 2/27, 3/6, 3/8 (performance) · $330

Kasey Klemm is a professional improviser with 20+ years of experience. He is the former artistic director of BATS Improv, San Francisco’s longest running and most-acclaimed improvised theatre company, and cites Keith Johnstone as one of his biggest influences. Kasey’s easy going nature and passion for improvisation helps create a playful space for students of all levels to explore their inherent creativity and take risks in a positive and supportive environment.

The Art of Business Improv

Improv is no longer just for actors! “The Master of Fine Arts is the new MBA,” so argued author Daniel Pink in his seminal New York Times story about the new creative economy. While this is an extreme statement, its implications are powerful: you cannot excel in business without creativity. In our competitive and evolving economy, being logical and analytical is no longer enough; the modern executive must be nimble and inventive to face the constant change. Theatre artists possess many of the skills regularly sought after in today’s economy—creativity, resiliency, agility, courage, collaborative awareness, and high levels of emotional intelligence. This class is specifically designed for professionals from any field, at any level, who want to reap the benefits of this training and develop their leadership skills. In this playful and unpretentious atmosphere, even the most reserved student will learn to harness their creativity, enhance their public speaking (through story telling assignments and explorations), trust their instincts, deepen their listening skills, read nonverbal body language, master their emotions, quiet their inner critic, and gain confidence in front of an audience.

THU 7–9pm · 2/28, 3/7, 3/14, 3/21, 3/28 · $210

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.

Physical Comedy for Actors and Improvisers

Ground your characters in authentic presence and allow them to soar to new heights of physical virtuosity with this in depth look at clowning and physical comedy. Clown exercises will help you develop a stronger awareness of your embodied stage presence, while building the tools to express an authentic character through physicality and movement. You’ll learn slapstick, partner lifts, and knockabout techniques; and we’ll explore the structures of physical comedy. By the end of this class, you’ll be prepared to create your own physical comedy sequences on the fly or as part of a scripted performance. All levels welcome.

TUE 7–10pm · 2/26, 3/5, 3/12, 3/19, 3/26 · $230

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Joan Howard is a physical theatre creator, slapstick acrobat, and clown. She is a graduate of Flying Actor Studio’s Physical Theatre Conservatory and a student of red nose clown and pedagogy with master teacher Giovanni Fusetti. Joan is core faculty at SF Circus Center’s Clown Conservatory, is a slapstick choreographer and props designer for Bay Area Children’s Theatre, and works as a hospital clown with the Medical Clown Project. She is co-creator of Idiot String, an ensemble theatre company devoted to inciting delight and activating meaningful human connection through play.

Together Joan and Hannah perform as the acrobatic clown duo Max and Antoinette, and co-teach physical comedy at SF Circus Center’s Clown Conservatory. With Circus Center, Joan and Hannah are in the process of creating ClownCorps, a program dedicated to combining mindfulness and compassion with clowning for social justice.

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. All levels welcome.

TUE 7–10pm · 1/8, 1/15, 1/22, 1/29, 2/5 · $230

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.

Directing / Devising

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Directing

When directing, everything matters! This class offers a hands-on approach to understanding the art of stage direction led by one of the nation’s most innovative directors. In this introduction to a stage director’s craft, we’ll explore how the director crafts every event that occurs onstage from the beginning to the end of the play. Prepare the text, the space, the elements of design, and the actors to tell a story. Students will direct several scenes within the course of this workshop and receive critiques of their work. This class will also cover the process of textual analysis, design, rehearsal process, and, most importantly, working with actors. Students will direct 1–2 scenes from a play that comes from a selection of plays presented by the teacher and work with actors/students from the Berkeley Rep School of Theatre.

MON 7–10pm · 1/7, 1/14, 1/28, 2/4, 2/11, 2/25, 3/4 · $300

Jonathan Moscone serves as Chief of Civic Engagement for Yerba Buena Center for the Arts, envisioning and implementing strategies to fulfill YBCA’s role as a citizen institution in the city’s neighborhoods, schools, and throughout the civic realm. Prior to YBCA, Jonathan served for 16 years as Artistic Director of California Shakespeare Theater, where he directed nearly 20 productions. He has directed at theatres across the country including Berkeley Repertory Theatre, Alley Theatre in Houston, American Conservatory Theater, Magic Theatre, Campo Santo, Milwaukee Repertory Theater, and Huntington Theatre in Boston. A graduate of the Yale School of Drama with an MFA in Directing, he received the inaugural Zelda Fichandler Award by the Stage Directors and Choreographers Foundation in 2009, for “exceptional contribution to the national arts landscape through regional theatre work.” His teaching credits include: Berkeley Rep School of Theatre, ACT’s MFA Program, and the Yale School of Drama. He has served on the national board of Theatre Communications Group in New York City and currently serves on the boards of the San Francisco Film Commission, Alice Waters’ Edible Schoolyard Project, and the Homeless Prenatal Program.

Moment Work with Tectonic Theater Project

Pioneered by Moisés Kaufman, Moment Work is Tectonic Theater Project’s groundbreaking devising method that explores the theatrical potential of all the elements of the stage (props, sound, architecture, lights, costumes, etc.) in order to create strong theatrical and dramatic narratives. Used to create such seminal works as The Laramie Project and Gross Indecency: The Three Trials of Oscar Wilde, Moment Work encourages playwrights, directors, actors, and designers to collaborate on an investigation of the full narrative of the stage. This workshop is open to all artists who seek new ways of creating work and reimagining existing texts. Obie Award-winning Moisés Kaufman is planning to do a short Q&A, subject to rehearsal schedule, to discuss Moment Work and Paradise Square: A New Musical, which he will be directing at Berkeley Rep.

WED 1–4:30pm · 1/9 · $100

Laurie Lathem is the director of Tectonic Theater Project’s Moment Work Institute. A theatre artist and arts educator with over fifteen years’ experience in arts education, she was the artistic director of the Virginia Avenue Project in Santa Monica where she produced and directed three to four original theatre productions per year and launched several in-school playwriting residencies and innovative collaborations with other arts organizations. Laurie directed the acclaimed solo show Old Man in a Baseball Cap by Fred Rochlin at Actors Theatre of Louisville and La Jolla Playhouse, and has also taught at Highways Performance Space in Santa Monica and at Central Juvenile Hall in Los Angeles. Laurie was the founding creative director of the Berkeley Rep School of Theatre and is a graduate of Northwestern University.

Mining Myths: Adaptation Workshop

Adaptation is an art form that is alive and well in the theatre world. From Sarah Ruhl (Eurydice) to Mary Zimmerman (Metamorphoses), theatre-makers are constantly revisiting classic stories and applying them to our times. Even Shakespeare was an adaptor, picking and choosing from myths of the past. And why not? Myths are myths for a reason: they’re great stories. In this full-day workshop, we will select, adapt, and produce a version of an ancient myth. The day will begin with selection and exploration of a myth. As an ensemble of adaptors/theatre-makers we will then create a piece of theatre based on the myth. We will flex our theatrical and dramaturgical muscles, mining the stories for relevance and theatricality. The day will culminate in a performance open to friends and family. Playwrights and performers are welcome to apply to this immersive, interactive, dynamic workshop.

SAT 10am–4:30pm (30-minute lunch break) · 2/9 · $115

Alex Moggridge is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s stages multiple times, including the upcoming production of Metamorphoses. Elsewhere, he has acted with such companies as American Conservatory Theater, Actors Theatre of Louisville, Yale Rep, Long Wharf Theatre, and many more. Alex’s plays have appeared off Broadway and regionally. His most recent production, The Boatman (an adaptation of a Greek myth, which he wrote for Berkeley Rep School of Theatre’s Summer Intensive!), recently opened to critical acclaim at Flint Repertory Theatre. Alex holds an MFA in acting from ACT.

Solo Performance

Devise original material for solo theatre in a supportive and fun environment. Students explore characters, imagery, objects, and different narrative voices and investigate the potential of rhythm and its effect on voice, physical expression, thought, and emotion. Experiment, fail, laugh, and surprise yourself. The class outcome is for each student to have a 5–7 minute solo performance piece from imagination to performance, and often the beginnings of a longer piece. All levels welcome. Joe has performed his original solo shows in theatres in the US and Europe.

WED 7–10pm · 2/20, 2/27, 3/6, 3/13, 3/20 · $230

Joe Orrach is an actor, choreographer, dancer, and story-teller in live theatre and film. Joe started as a boxer, Welterweight Champion of the US Air Force, before turning his athleticism to dance, especially tap. Joe has performed with the Smothers Brothers, Lilianne Montevecchi, Melissa Manchester, Michael Davis, Bill Irwin, Joan Baez, and others; tap-danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance; and has been directed by Woody Allen, James Mangold, Tim Boxell, Jeremiah Chechik, Stefan Haves, and David Shiner. During 2013–18, Joe conceived, directed, choreographed, and performed his original works 147, In My Corner, The Boxer, Roughing It Up, and STReeT/FeaT in US and European theatres. Joe choreographed and was guest artist and boxing consultant in Terrence Blanchard’s opera Champion at SFJazz and reprised his featured role in 2017 at the Kennedy Center in DC. He recently choreographed The Royale at Aurora Theatre, Berkeley. Joe has an MFA from USC’s School of Dramatic Arts. When not on stage, Joe can be found in the classroom, community center, or boxing gym. Through Joe Orrach Performance Project, he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

Movement

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Balance Your Left and Right Side: Reembody/Alexander Technique

Do you ever feel like two actors are living inside your body? You have your dominant side: strong, sturdy, and reliable; and your non-dominant side: receptive, fluid, and unstable. What if the relaxation, vocal power, and good posture you crave was as simple as countering side-dominance tendencies? What if this easily and quickly cured your neck tension, knee pain, and tight hips? Learn the Reembody Method—a cutting-edge system to balance your left and right sides. You will also learn the Alexander Technique—a time-honored method used by actors to improve posture, breath, and movement. Find yourself moving, breathing, and living with a power and ease you never imagined possible. Discover new ways to embody your acting and your life! Open to all levels.

TUE 7–9:30pm · 1/8, 1/15, 1/22, 1/29, 2/5 · $185

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.

Feldenkrais Method®: Awareness Through Movement

Bring more creativity in your daily life! Everyone can benefit from the Feldenkrais Method® Awareness Through Movement—from athletes and artists to administrators and attorneys. Students learn to widen the perception they have of themselves and how to make clear choices that will enhance their creativity. This method helps to rewire the nervous system in order to become aware of habits and eliminate unnecessary movements, which are often the source of limitation and discomfort. Improve physical function and health, reduce pain, increase sensitivity and vitality, and expand your movement repertoire. Moving becomes more pleasurable, more graceful, and effortless. Open to all levels.

SAT & SUN 10:30am–1pm · 2/16, 2/17 · $100

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

Tap Dance

Tap classes are great for spirit, mind, and body, and a terrific way to get in tiptop shape and enjoy yourself. Learn how to tap in the tradition of the old masters and break ground with some of the new contemporary styles. Ear training, weight transfer, balance, stamina, style, and a chance to experiment with choreography are just a few benefits of the tap class. Whether you are a professional dancer or just starting out, come study with a world-renowned tapper who has danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance! Open to all levels.

WED 7–9pm · 1/9, 1/16, 1/23, 1/30, 2/6, 2/13 · $175

Joe Orrach is an actor, choreographer, dancer, and story-teller in live theatre and film. Joe started as a boxer, Welterweight Champion of the US Air Force, before turning his athleticism to dance, especially tap. Joe has performed with the Smothers Brothers, Lilianne Montevecchi, Melissa Manchester, Michael Davis, Bill Irwin, Joan Baez, and others; tap-danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance; and has been directed by Woody Allen, James Mangold, Tim Boxell, Jeremiah Chechik, Stefan Haves, and David Shiner. During 2013–18, Joe conceived, directed, choreographed, and performed his original works 147, In My Corner, The Boxer, Roughing It Up, and STReeT/FeaT in US and European theatres. Joe choreographed and was guest artist and boxing consultant in Terrence Blanchard’s opera Champion at SFJazz and reprised his featured role in 2017 at the Kennedy Center in DC. He recently choreographed The Royale at Aurora Theatre, Berkeley. Joe has an MFA from USC’s School of Dramatic Arts. When not on stage, Joe can be found in the classroom, community center, or boxing gym. Through Joe Orrach Performance Project, he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

Physical Theatre: The Funny Bone Series

Dedicate a few hours a week to your Funny Bone. Learn the joy and power that play and movement will bring to your performance. Whether you are a beginner ready to start the journey or a seasoned professional player, come and explore the key components to physical expression. Taste test mime and masks, improvise with words and movement, be sure to send in the clowns, and exit as an actor/artist with new found perspective. You will find your stupid silly side, win…or fail…magnificently, and always continue to move on!

THU 7–10pm · 2/21, 2/28, 3/7, 3/14, 3/21 (presentation) · $230

Nancy Gold is a multifaceted performing artist, director, teacher, and author of Finding Your Funny Bone! The Actor’s Guide to Physical Comedy and Characters. She has studied physical theatre in Paris with Jacques LeCoq, mime with Claude Kipnis, and clowning with Ctibor Turba. She has a BFA from the University of Illinois and a Master’s equivalence. She teaches at Berkeley Rep School of Theatre, ACT Young Conservatory, Academy of Art University, California Shakespeare Theater, Marin Theatre, UCLA, and public and private schools throughout the country. Directing credits include A Servant of Two Masters, Pippi Longstocking, Madeline and the Gypsies, The Caucasian Chalk Circle, as well as numerous original plays about empowering women for young audiences and adaptations based on literature. Nancy performs comedy and vaudeville with her partner, Lol Levy.

Presence and Physical Readiness

The term music visualization is one of many possibilities in dance to enter a dialogue with speech, sound, and music. Through the process of visualization we practice to be completely present in the body and to transform the music directly into movement. It is about listening precisely and reacting as simultaneously as possible with the body in space, time, and power to acoustic impulses. This training promotes the response capability and presence in the body. In dance history, the term can be traced back to Ruth St. Denis. She tried to implement pulse, rhythm, melody arc, and moods of the music, as well as individual instruments simultaneously with the body and thus achieved a congruence between music and movement.

SAT & SUN 1–4pm · 1/26, 1/27 · $110

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

Brigitta Schrepfer loves dance as a language full of vividnesss! She is a Swiss contemporary dancer, improvisor, choreographer, and professor of dance. Awarded with several prizes she is touring with her company, Brigitta Schrepfer’s SOMAFON, in Switzerland and abroad. Her works such as, Onkel & Tanzen, Les Amuse Bouches, and Girls Games are highly innovative, dynamic, and humorous. She teaches contemporary dance technique, movement improvisation, anatomy, and dance history at Zurich University of the Arts and at University of Music in Basel.

Physical Comedy for Actors and Improvisers

Ground your characters in authentic presence and allow them to soar to new heights of physical virtuosity with this in depth look at clowning and physical comedy. Clown exercises will help you develop a stronger awareness of your embodied stage presence, while building the tools to express an authentic character through physicality and movement. You’ll learn slapstick, partner lifts, and knockabout techniques; and we’ll explore the structures of physical comedy. By the end of this class, you’ll be prepared to create your own physical comedy sequences on the fly or as part of a scripted performance. All levels welcome.

TUE 7–10pm · 2/26, 3/5, 3/12, 3/19, 3/26 · $230

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Joan Howard is a physical theatre creator, slapstick acrobat, and clown. She is a graduate of Flying Actor Studio’s Physical Theatre Conservatory and a student of red nose clown and pedagogy with master teacher Giovanni Fusetti. Joan is core faculty at SF Circus Center’s Clown Conservatory, is a slapstick choreographer and props designer for Bay Area Children’s Theatre, and works as a hospital clown with the Medical Clown Project. She is co-creator of Idiot String, an ensemble theatre company devoted to inciting delight and activating meaningful human connection through play.

Together Joan and Hannah perform as the acrobatic clown duo Max and Antoinette, and co-teach physical comedy at SF Circus Center’s Clown Conservatory. With Circus Center, Joan and Hannah are in the process of creating ClownCorps, a program dedicated to combining mindfulness and compassion with clowning for social justice.

Theatre of the Present

A master class in creating new work that reflects the times we live in.

“To find a form that accommodates the mess, that is the task of the artist now,” Beckett concluded. Theatre is a martial art. It can also be a tool for change. The actor/artist has a responsibility to use their skills to be our mirror: to show us ourselves in all our beautiful and grotesque glory. Refine your skills and broaden your vision through gently guided exercises combining a multiplicity of disciplines designed to help theatre artists express their world more fully, vividly, and with greater scrutiny. Exercises include techniques developed by the Body Politic, Philippe Gaulier, Theatre du Soleil, Cirque du Soleil, and the Actors Gang. A spirit of rebellion required.

SAT & SUN 1–4:30pm · 2/2, 2/3 · $125

In a career that has spanned three decades and four continents, Ron Campbell has performed everywhere from the streets of Paris, Rome, and Florence to the Royal Albert Hall in London and the Fuji Dome in Japan. A recipient of the Fox Fellowship for Distinguished Achievement, the “King of the Clowns” in Cirque du Soleil’s Kooza, and award-winning one-man show practitioner (R. Buckminster Fuller, The Thousandth Night, Shylock, The Dybbuk, The Boneman of Benares, Beckett’s Eh Joe among others), Ron has trained with such luminaries as Philippe Gaulier, David Shiner, Min Tanaka, and Georges Bigot, and has taught physical theatre, clowning, and mask in Japan, Europe, and North America. An associate artist at California Shakespeare Theater, Ron has played everything from Richard the Third to Sherlock Holmes to Don Quixote, for which he received both the Bay Area Critic’s Award and Theatre Bay Area’s Outstanding Principal Performance Award. Ron is the founder and CEO of Soar Feat Unlimited.

Actor/Poet/Clown

Stretch your theatrical muscle, broaden your performance technique, and challenge your inner poet with award winning actor, published poet, and Cirque du Soleil clown Ron Campbell. Whether you’re developing your stand-up act, expanding your storytelling skills, or creating your one person version of War and Peace, you’re going to have to play characters. That character may just be a clearer, more heightened version of yourself, or it may be a cast of thousands. Learn the techniques that will help you (and the myriad characters that live inside you) tell your story. Through gently guided acting exercises inspired by the work of Stanislavski, Mikhail Chekhov, Philippe Gaulier, and others and utilizing texts from poets like Pablo Neruda, Boris Vian, and Mary Oliver, students will write, create, and present their ideas for feedback to the class. Don’t miss this chance to get inspired and be inspiring! Paper, pencil, and spirit of adventure required. Characters welcome!

SAT & SUN 1–4:30pm · 12/1, 12/2 · $125 (fall)
SAT & SUN 1–4:30pm · 3/2, 3/3 · $125 (winter)

In a career that has spanned three decades and four continents, Ron Campbell has performed everywhere from the streets of Paris, Rome, and Florence to the Royal Albert Hall in London and the Fuji Dome in Japan. A recipient of the Fox Fellowship for Distinguished Achievement, the “King of the Clowns” in Cirque du Soleil’s Kooza, and award-winning one-man show practitioner (R. Buckminster Fuller, The Thousandth Night, Shylock, The Dybbuk, The Boneman of Benares, Beckett’s Eh Joe among others), Ron has trained with such luminaries as Philippe Gaulier, David Shiner, Min Tanaka, and Georges Bigot, and has taught physical theatre, clowning, and mask in Japan, Europe, and North America. An associate artist at California Shakespeare Theater, Ron has played everything from Richard the Third to Sherlock Holmes to Don Quixote, for which he received both the Bay Area Critic’s Award and Theatre Bay Area’s Outstanding Principal Performance Award. Ron is the founder and CEO of Soar Feat Unlimited.

Stage Combat/Acting Violence: 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 recognition as a Theatrical Combatant with Dueling Arts International. Full fingered gloves are required.

Class is held at Berkeley Rep’s rehearsal studio at 999 Harrison St, Berkeley CA 94710.

MON 7–10pm · 2/11, 2/18, 3/4, 3/11, 3/18 · $230

Dave Maier is the resident fight director at San Francisco Opera, California Shakespeare Theater, 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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Voice for Performance: On the Stage and in Daily Life

Free your natural speaking voice! 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 apply techniques learned to a piece of their choice.

MON 7–10pm · 2/25, 3/4, 3/11, 3/18, 3/25 · $230

Christine Adaire is a Designated Master Linklater voice teacher, trained by the world renowned voice teacher Kristin Linklater. She is currently the Head of Voice at American Conservatory Theater in San Francisco. She has worked as an actor, voice coach, and director in many American regional theatres, including Oregon Shakespeare Festival, The Old Globe, Milwaukee Repertory Theater, Guthrie Theater, Chicago Shakespeare, Goodman Theatre, Lyric Opera, Steppenwolf, Shakespeare Santa Cruz, and Shakespeare & Company. She has taught workshops in Shanghai, Barcelona, London, Australia, and New Zealand. Her current area of research and writing is transgender voice. She works with transgender individuals so that they can modify their voice to more fully express their gender identity.

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. All levels welcome.

TUE 7–10pm · 1/8, 1/15, 1/22, 1/29, 2/5 · $230

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.

Beginning Voice-Over Acting

This voice-over class introduces and establishes the skills required to perform different genres of voice acting. Beginning and professional actors learn the techniques and artistry of reading commercial, narration, and character copy. Students also learn professional microphone techniques, home-recording tips, and how to read authentically, as well as how to launch a freelance voice-over career. Students will also get to work with a professional sound engineer. Lessons will be recorded for students to keep for their records.

SAT & SUN 10am–5pm (1-hour lunch break) · 3/30, 3/31 · $290

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.

Intermediate Voice-Over Acting

In this voice-over class, students will study and practice multiple styles of voice acting, be introduced to more advanced techniques, and deepen their choices and confidence on the microphone. 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 · 1/28, 2/4, 2/11, 2/25, 3/4, 3/11, 3/18, 3/25 · $385

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.

MON between 10am–noon · $80/hour
To schedule a voice session email rcastelli@berkeleyrep.org

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 · 1/8, 1/15, 1/22, 1/29, 2/5, 2/12, 2/19, 2/26, 3/5, 3/12 · $350

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.

Mining Myths: Adaptation Workshop

Adaptation is an art form that is alive and well in the theatre world. From Sarah Ruhl (Eurydice) to Mary Zimmerman (Metamorphoses), theatre-makers are constantly revisiting classic stories and applying them to our times. Even Shakespeare was an adaptor, picking and choosing from myths of the past. And why not? Myths are myths for a reason: they’re great stories. In this full-day workshop, we will select, adapt, and produce a version of an ancient myth. The day will begin with selection and exploration of a myth. As an ensemble of adaptors/theatre-makers we will then create a piece of theatre based on the myth. We will flex our theatrical and dramaturgical muscles, mining the stories for relevance and theatricality. The day will culminate in a performance open to friends and family. Playwrights and performers are welcome to apply to this immersive, interactive, dynamic workshop.

SAT 10am–4:30pm (30-minute lunch break) · 2/9 · $115

Alex Moggridge is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s stages multiple times, including the upcoming production of Metamorphoses. Elsewhere, he has acted with such companies as American Conservatory Theater, Actors Theatre of Louisville, Yale Rep, Long Wharf Theatre, and many more. Alex’s plays have appeared off Broadway and regionally. His most recent production, The Boatman (an adaptation of a Greek myth, which he wrote for Berkeley Rep School of Theatre’s Summer Intensive!), recently opened to critical acclaim at Flint Repertory Theatre. Alex holds an MFA in acting from ACT.

Moment Work with Tectonic Theater Project

Pioneered by Moisés Kaufman, Moment Work is Tectonic Theater Project’s groundbreaking devising method that explores the theatrical potential of all the elements of the stage (props, sound, architecture, lights, costumes, etc.) in order to create strong theatrical and dramatic narratives. Used to create such seminal works as The Laramie Project and Gross Indecency: The Three Trials of Oscar Wilde, Moment Work encourages playwrights, directors, actors, and designers to collaborate on an investigation of the full narrative of the stage. This workshop is open to all artists who seek new ways of creating work and reimagining existing texts. Obie Award-winning Moisés Kaufman is planning to do a short Q&A, subject to rehearsal schedule, to discuss Moment Work and Paradise Square: A New Musical, which he will be directing at Berkeley Rep.

WED 1–4:30pm · 1/9 · $100

Laurie Lathem is the director of Tectonic Theater Project’s Moment Work Institute. A theatre artist and arts educator with over fifteen years’ experience in arts education, she was the artistic director of the Virginia Avenue Project in Santa Monica where she produced and directed three to four original theatre productions per year and launched several in-school playwriting residencies and innovative collaborations with other arts organizations. Laurie directed the acclaimed solo show Old Man in a Baseball Cap by Fred Rochlin at Actors Theatre of Louisville and La Jolla Playhouse, and has also taught at Highways Performance Space in Santa Monica and at Central Juvenile Hall in Los Angeles. Laurie was the founding creative director of the Berkeley Rep School of Theatre and is a graduate of Northwestern University.

 

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