School of Theatre information
About the School
Berkeley Rep creates ambitious theatre that entertains and challenges its audiences, provokes civic engagement, and inspires people to experience the world in new and surprising ways. The School of Theatre supports this mission through meaningful connections between audiences and our mainstage work, creative entry points for new audiences, tools for artists and students to harness their imaginative power, and immersive training for future theatre makers.
Having first opened its doors in 2001, the School of Theatre offers programming as eclectic as the productions onstage at Berkeley Rep, reaching some 20,000 people in the Bay Area each year. Driven by an expanding community of inspired, curious, and creative theatre lovers, the School’s programming provides opportunities for engagement on a variety of levels.
Since its inception, the School has:
- Served over 311,600 people;
- Collaborated with 550 professional teaching artists;
- Led workshops in 3,560 classrooms in nine counties in the Bay Area;
- Produced 135 original plays created by youth and teen students;
- Mentored 344 young professionals through our Fellowship program (since 1985).
September 23, 2019
Fall classes begin
January 13, 2020
Winter classes begin
March 30, 2020
Spring classes begin
June 15, 2020
Summer Theatre Intensive: Session One begins
July 7, 2020
Summer classes begin
July 13, 2020
Filmmaking and Acting Intensive begins
July 14, 2020
Summer Theatre Intensive: Session Two begins
2071 Addison Street, Berkeley CA 94704
School of Theatre major sponsors
Walter & Elise Haas Fund
Jonathan Logan Family Foundation
The Woodlawn Foundation
Staff and faculty
Berkeley Rep School of Theatre faculty and staff are highly trained professional theatre artists who work regularly in their respective areas of expertise.
Rachel Hull is the director of Berkeley Rep’s School of Theatre, where she oversees a team of talented artists and arts educators. Working within 10 counties in the greater Bay Area, Berkeley Rep’s programming is through elementary, middle, and high school partnerships and all ages programming at the Theatre. Rachel is a member of the Lead Action Team for the Alliance for Arts Learning Leadership through Alameda County Office of Education Arts Education Alliance Bay Area, co-lead of the Berkeley Arts Education Steering Committee, and past board member of American Alliance for Theatre Education. Previously, she was the director of education at Dallas Theater Center, where she oversaw all education and community programs including Project Discovery, winner of the 2013 National Arts and Humanities Youth Program Award from the President’s Committee on the Arts and the Humanities, given by Frist Lady Michelle Obama. As a contributor within the Dallas Arts District, Rachel lead collaborations with a variety of arts and cultural organizations during her tenure at DTC including the Dallas Museum of Art, Perot Museum of Nature and Science, Big Thought, Dallas ISD and other surrounding districts, and a founding member of the Informal Educators of Dallas County, Theatre Educators of North Texas advisor, and steering committee member of Theatre Forward’s education task force. Outside of her work within regional theatre, Rachel mentors student teachers at UC Berkeley, and has taught at Southern Methodist University, the University of Texas at Austin, Educational Theatre Association, Dallas ISD professional development, and presented at the University of Houston’s Center for Arts Leadership, the American Alliance for Theatre Education, and the National Guild for Community Arts Education.
MaryBeth Cavanaugh is the associate director of Berkeley Rep School of Theatre. She recently received her continuing appointment in the Department of Theatre and Dance at UC Davis, where she has taught for 15 years in the MFA and BFA programs. She also teaches at Academy of Art University. She is a member of Stage Directors and Choreographers Society and a few of her choreography credits include resident choreographer at California Shakespeare Theater for twenty seasons, where she also served as associate artist. She also choreographed for Oregon Shakespeare Festival for five seasons, Shakespeare Santa Cruz for nine seasons, Berkeley Repertory Theatre, The New Victory Theater, Yale Repertory Theatre, Brisbane Arts Festival—Powerhouse, Black Swan Theatre Company in Western Australia, Cincinnati Playhouse, Repertory Theatre of St. Louis, Mills College Repertory, and Summerfest Dance. Directing credits: Following the Wrong God Home, Theatre 212; Possession, United Solo Theatre Festival, New York City; Rosencrantz and Guildenstern are Dead, TheatreFIRST; Twelfth Night, North Bay Shakespeare Company; and Measure for Measure, Shakespeare at Stinson. Ms. Cavanaugh was invited (all expenses paid) by the Norwegian Consulate in San Francisco to attend the Ibsen Festival in Oslo, Norway and to finish a new English translation of A Doll’s House from Ibsen’s original manuscript with an Ibsen scholar and a documentary film maker.
Anthony Jackson is a director, deviser, educator, and arts administrator. He currently serves as the associate director of the Berkeley Rep School of Theatre where he oversees the Teen Council and fellowship programs, among other projects. Duties include programming the annual Teen One-Acts Festival and the Young Writers of Color Collective workshops and final presentation at Berkeley Rep’s acclaimed new play development program, The Ground Floor. He also serves as a mentor for 15 teens that are part of the Core Council teen leadership program. Previously Anthony was at Arena Stage in Washington, DC where he taught in all of the Community Engagement department’s programming as the Training Programs Manager and previously as the Partnership Manager. Anthony has traveled to India and Croatia as a guest artist with the U.S. Department of State, devising original plays with Arena Stage’s Voices of Now program. Anthony has also presented workshops at the American Alliance for Theatre and Education, Theatre Communications Group Conference, as well as the Southeastern Theatre Conference. In 2019 he was selected to be a member of the artEquity cohort. As an actor he has toured the U.S. and has performed with the Shakespeare Theatre Company, Olney Theatre, Arena Stage, and other regional theatres.
Marcela Chacón · Education Communications and Partnerships Manager
Si Mon’ Emmett · Education and Youth Programs Associate
Katie Riemann · Data and Tessitura Analyst
Modesta Tamayo · Community Programs Administrator
Zandra Starks · Education Fellow
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.
is an actor, director, and educator deeply committed to unfolding the artistry of the human body, voice, and spirit through the theatrical medium. Since relocating to the Bay Area, Miriam has appeared in the Lorraine Hansberry Theatre’s West Coast premiere of The Urban Retreat, San Francisco Shakespeare Festival’s The Comedy of Errors: Shakespeare on Tour, understudied for California Shakespeare Theater (Queen Margaret, War of the Roses), and appeared as the title role in The Heiress at Lucie Stern Theatre, Irina in Three Sisters at Douglas Morrisson Theatre, Sébastienne in Livermore Shakes’ Tempest, Lady Macbeth for Half Moon Bay Shakes, and as Karen in August: Osage County (Novato Theater Company), among others. Miriam directed The Crucible for Pacifica Spindrift Players (2018) and The Hallelujah Girls for North Bay Stage Company (2016). Miriam also teaches acting for Cal State East Bay, Sacramento State, Marin Shakespeare Company, and San Francisco Shakespeare Festival, and is a proud KCACTF respondent, TBA adjudicator, and member of AEA. MFA, Acting, CUNY Brooklyn College.
Bobby August, Jr.
is an actor, improviser, and teacher. Bobby is also a recipient of the prestigious NBC Bob Curry fellowship at Second City. His group just finished an extended run of completely sold out performances at Second City Hollywood. 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.
is an international performance art, dance, and theatre maker. She has a BA in performance studies from Sarah Lawrence College and has done Master’s work at Dell’Arte School of Physical Theatre and Wesleyan University. After founding The Raw Material Performance Ensemble in Amsterdam, she then traveled and studied dance extensively in Southern Asia. Once arriving in the Bay Area she began teaching, directing, and performing with her ensemble, Teatro Auzzura. Her solo work has been performed at La Mama in New York, the Cleveland Performance Art Festival, and has won Best of the Fringe in San Francisco and Seattle. She also received a Goldie award in 2000 for her role as Salvador Dali’s wife, Gala. Blue’s company has received critical acclaim for their dance theatre work around the US and in Europe.
is Professor of Performance Studies at UC Davis. He is the author of the books Tactical Performance: The Theory and Practice of Serious Play and Electoral Guerrilla Theatre, and the play Cointelshow: A Patriot Act. He was “Art and Controversy” Fellow at Carnegie Mellon and “Humanities and Political Conflict” Fellow at Arizona State University. Bogad is a veteran of the Lincoln Center Director’s Laboratory and cofounder of the Clandestine Insurgent Rebel Clown Army. He has performed on many picket lines in roles such as Saint Francis, Ronald McDonald, and the Angry Banker. Bogad has written and performed for the Yes Men, La Pocha Nostra, Reclaim the Streets, and many other groups. He has performed in major museums and occupied buildings, and lectured and led performance-activist workshops internationally including in Argentina, Brazil, Canada, Chile, Egypt, Finland, Germany, Iceland, Latvia, Spain, and the UK. He is the world’s best, worst, and only economusician. Bogad draws on 20 years of experience as an artist-activist, having worked with most of the contemporary groups he discusses as a writer, performer, and strategist.
is a Massachusetts raised, Bay Area “wash ashore” who has worked in professional theatre for the past eight years. Martha graduated from the Lee Strasberg Theatre and Film Institute and studied with Steppenwolf West under alumni Tom Irwin and LA’s comedy improv group, The Groundlings. Locally, she has worked with Magic Theatre, Shotgun Players, Aurora Theatre, SF Playhouse, Marin Theatre Company, and Central Works, as well as La Jolla Playhouse and Secret Rose Theatre in Southern California. Martha currently coaches acting, improvisation, and audition technique. She’s excited to be back at the Berkeley Rep School of Theatre creating and discovering honesty and expression through performance.
is a local theatre, film, and voice-over actor here in the Bay Area. After spending her college career in Chicago, Millie moved out to San Francisco. In addition to her work on stage, Millie has worked at Nancy Hayes Casting for several years where she assisted many television, film, and theatrical productions with casting. Past credits include the world premiere of Testmatch (ACT), Billie Dawn in Born Yesterday and the Congregant in The Christians (SF Playhouse), Peddler in A Very Old Man with Enormous Wings (Chicago Playworks), and Tiffany in The Shakespeare Bug (Playground and Killing My Lobster). Millie can also be seen in Episode 8 of 13 Reasons Why on Netflix.
Nicole Apostol Bruno
is an AEA actor, educator, and movement artist. As an actor, she has performed with Marin Theatre Company (The Wolves), Z Space (A Good Neighbor), and the Oregon Shakespeare Festival (Great Expectations, The Winter’s Tale, Richard II). She holds a BFA from Southern Oregon University, where she studied under neoclassic mime and movement pioneer James Donlon. As an educator, she has worked with TheatreWorks and Marin Shakespeare Company as well as Berkeley Rep.
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.
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.
is an artist and consultant with a passion for collaboration and a cross-disciplinary approach to theatre making. Paul has been teaching, acting, and directing for the last 25 years. Locally, Paul helped facilitate (through theatre collective 2by4) the early development of Christopher Chen’s Obie Award-winning play Caught and has also directed several productions of other Bay Area playwrights. Paul has also had the pleasure of working at Shakespeare and Company, Steppenwolf Theatre, Interlochen Center for the Arts, Chichester Festival Theatre, and Royal Court. In addition to his theatre work, Paul has worked globally in the areas of leadership and organization development for the last 20 years, helping individuals and teams increase their capacity for authentic collaboration and transformational change.
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.
is the owner of Voice One Training, the premiere voice acting school in San Francisco, and has over 20 years of experience as a voice actor, teacher, and performer. Her many voice over clients include Yoplait, Clorox, Toyota, Old Navy, McDonalds, Pixar, Apple, Google, Microsoft, EA Games, Telltale Games, and Lucas Arts, among others. Sally began developing the voice over curriculum at the Berkeley Rep School of Theatre in 2010, and is thrilled to be teaching for her ninth consecutive year at the school. She has also taught at Cal Shakes, Google Arts, and is a certified executive coach with the UC Berkeley Haas School of Business. In addition, Sally has a master’s degree in Performance from Mills College.
is a local actor/writer. He recently played Malachai in Cal Shakes’ production of black odyssey. A native of Pittsburgh, PA, Michael graduated from Morehouse College in 2016 with a BA in Drama. He recently completed a year-long education fellowship with Berkeley Repertory Theatre.
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.
is emerita from UC Berkeley where she was the advanced acting teacher for the Department of Theater and Dance. She was the founding director of the California Shakespeare Festival Conservatory and has also taught for Boston University as well as for university sponsored programs in London and Ireland. Her most recent local acting credits include Augustine in Everything Is Illuminated and Queen Atossa in The Persians at Aurora Theatre—roles for which she received San Francisco Bay Area Theatre Critics Circle Award Nominations. She performed in productions for Cal Shakes, where she played over thirty roles including Cleopatra, Kate, Titania, Gertrude, Beatrice, and Lady M. She has also performed for the Oregon Shakespeare Festival, Santa Fe Shakespeare, and venues in Seattle and Atlanta. Dolas is the recipient of the 2015 Divisional Teaching Award for non-senate faculty.
has been captivated by voice-over and recording his whole life. As a full-time VO, he has voiced a Star Wars Stormtrooper ornament warning kids to stay away from presents, the Levi’s Stadium Talking Scoreboard campaign, and appeared as an ongoing voice for John Muir Health. He works across all areas of voice-over with commercial, narrative, eLearning clients including Adobe, Exploratorium, Samsung, Visa International, Oracle, Cisco, and Eisenhower Healthcare. You may have heard him as Captain Thorn and the Evil Dr. Houser in the Deadwood Mansion VR Escape Room, Blackfeather the Assassin in VainGlory, Quigley the Robot in Leapfrog’s Letter Machine Rescue Team, The Birdman of Alcatraz in 1954 Alcatraz, or the laconic (and holographic) Bartender in Emerald Theater. Jim also works as an audio consultant to voice actors setting up home studios and is on the faculty at Voicetrax SF.
Si Mon’ Emmett
is a native of Dallas who graduated with a BFA in the UTeach Theatre program at the University of Texas at Austin. Now a certified educator for theatre arts, she works both in classrooms and in administration for the Berkeley Rep School of Theatre as the Education and Youth Programs Associate. Her background in TYA (Theatre for Young Audiences) spans from acting to directing and devising. Previously, she has worked with Dallas Children’s Theater, Victory Gardens Theater (Chicago), and VORTEX Repertory Company and Teatro Vivo (Austin).
was born and raised in London where she combined her knowledge of anatomy as an RN tutor with her theatre training at the Harold Pinter Studios. Deb currently serves on the faculty at SF Academy Art University. She worked with Stephen Hawking’s theatre company Libra. She offers courses at Berkeley Rep and the University of San Francisco (“Voice for Performance”), and coaches for executives from companies such as Sephora, Wells Fargo, Financial Times, Facebook, and Oculus.
is an award-winning actor and teaching artist with over 30 years’ experience. As an actor in the Bay Area he’s appeared in nearly 50 productions at American Conservatory Theater, and in shows for Cal Shakes, Berkeley Rep, SF Playhouse, the Magic Theatre, and Marin Theatre Company. Anthony has also performed at other theatres across the country, off Broadway, and on Broadway. He teaches regularly for ACT’s MFA program, and has taught previously for the Berkeley Rep School of Theatre as well. He trained at The Juilliard School and with The Barrow Group.
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.
is a dance-theatre artist, educator, and a somatic therapist. She grew up doing a range of theatre practices, from Marlowe to The Music Man. Her passion for movement and performance as research led her into modern and postmodern dance and choreography. In recent years her love for text and movement has included experimental productions based on Shakespeare, Melville, and Beckett as well as original autobiographical words, verbatim interviews, and historical research. She did extensive study of dance history, theory, and experimental choreography at UC Riverside and received her MFA in choreography and doctorate in performance studies from UC Davis. As a somatic therapist and educator, she draws on Alexander Technique, Feldenkrais, Body-Mind Centering, Pilates, yoga, and connective tissue massage. She lives in Santa Rosa with her wife and dogs.
has been teaching and performing improv over a decade. 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 Unscripted Leaders. Zoe believes the world would be a better place if everyone took an improv class. 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. Ask her about her dog Mochi!
is a performer, voice actor, and teaching artist born and raised in the Bay Area. She has worked locally as an education intern with American Conservatory Theater. While living in New York she worked as an education intern with Atlantic Theater Company, Theatre Askew, TADA! Youth Theater, as well as a press and marketing intern for Joe’s Pub. Her areas of education and training include Practical Aesthetics technique from Atlantic Theater Company, Devised Theater and Acting at ACT, and Advanced Voice-Over at Berkeley Rep. She holds a BA in Theatre from Lewis & Clark College. Adrian is currently pursuing a MA in Drama Therapy at the California Institute of Integral Studies.
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.
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.
Michaela (Mickey) Goldhaber
is the artistic director of Wry Crips Disabled Women’s Theater Group in Berkeley; was the founder and artistic director of Flying Fig Theatre in New York; has worked as an assistant director at Berkeley Rep, American Conservatory Theater, California Shakespeare Theater, and Aurora Theatre; and has an MFA in directing from UCLA.
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.
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.
is a British-American playwright, performer, and teacher. She trained as an actor at the Royal Academy of Dramatic Art, with a MFA from the University of California at Davis. Unusual collaborations in Harrison’s artistic work have allowed her to develop across disciplines (acting, writing, and dance). As performer and playwright, she continues to work internationally (the UK, USA, NZ, and AU). Most notably she has worked with BBC Radio and A&BC Theatre Co in the UK. In the USA, she has worked with Berkeley Rep, Aurora Theatre Company, Woman’s Will, American Conservatory Theater, California Shakespeare Theater, and A Traveling Jewish Theatre. She has performed on Theatre Row in NYC at United Solo Festival, and her work as a playwright has been produced as part of the RADA Festival and in the San Francisco Bay Area.
holds an AA in vocal performance as well as completing his BAs in music education and musical theatre. He has spent the last 10 years performing and educating young performers across the Bay Area. He has had the opportunity to perform in such productions as Rent and In the Heights and co-direct and musical direct such shows as Mary Poppins and Ruined. With a passion for education and authentic expression, Richard is thrilled to be working with the Berkeley Rep School of Theatre.
is a Bay Area-raised director, playwright, teaching artist, and arts administrator. She is currently serving as the associate artistic director and education coordinator at Cutting Ball Theater in San Francisco. Maya received her BA in theater from Wesleyan University, where she was awarded the Rachel Henderson Memorial Prize for Excellence in Directing. Locally, she has worked with Shotgun Players, New Conservatory Theatre Center, Z Space, Bay Area Children’s Theatre, We Players, Spotlight: Girls, and Idiot String. Maya teaches acting, theatre creation, movement, musical theatre, improv, creative writing, and self-empowerment through theatre to children and teens across the Bay.
has been a teacher for Berkeley Rep, San Jose Rep, Word for Word, TheatreWorks, SF Shakes, and Cal Shakes. He has been seen in such productions as: Food Stories with Word For Word, Around the World in 80 Days with San Jose Rep, House On Mango Street with Teatro Vision, Show Up with New Pickle Circus, The Gate of Heaven with the Old Globe, The Possum Play with Shotgun Players, and Much Ado About Nothing with Shakespeare at Stinson. Gendell has been a company member of Theater of Yugen and The Red Ladder Theatre Company and is also a veteran collaborator of Felonious One Love Hip Hop, with whom he acted in and directed Beatbox: A Raparetta for the Bay Area and New York Hip-Hop theatre festivals.
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.
has been acting and teaching since graduating from American Conservatory Theater. 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.
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.
is a playwright whose work, including Salamander Leviathan, Clementine and the Cyber Ducks, Phantom Band, Un-Hinged: A Silent Opera, and Anaerobic Respiration, has been produced at Joe’s Pub at the Public Theatre, Ars Nova, Alley Theatre, Ontological Hysteric Incubator, Hangar Theatre, Dixon Place, WordBRIDGE, The Playwrights’ Center of San Francisco, and the NYC Fringe Festival, among others. Krista received her BA from Brown University, her MA in Performance Studies from NYU, and her MFA in Playwriting from UC San Diego. She is a Page 73 Playwriting Fellow, MacDowell Fellow, and Shank Playwriting Fellow at the Vineyard Theatre and teaches playwriting at St. Mary’s College.
is a theatre director, producer, and arts educator dedicated to connecting people to one another through creative storytelling. She creates and directs ensemble plays with her company, Idiot String, and the Samuel Peaches’ Peripatetic Players, a travelling troupe that performs in Bay Area parks. Other Bay Area directing credits include New Conservatory Theatre Center, Hatch Collective, SF Theater Pub, the One-Minute Play Festival, Ragged Wing Ensemble, Boxcar Theatre, Dragon Productions, and others. Rebecca holds a Master of Arts in Text and Performance Studies from King’s College London and the Royal Academy of Dramatic Art.
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.
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.
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.
is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s mainstage multiple times, including the recent production of Metamorphoses. He has also 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.
Colum Parke Morgan
is happy to be back in the US, as a recent transplant to San Francisco. After working regionally for many years with an MFA in American Realism, Colum moved to Paris, France for six years and embarked on a study in European and Russian theatre methodologies. He studied with many great teachers, including Gennadi Bogdanov, Sergei Ostrenko, Norman Taylor, Theatre De L’Ange Fou, Robin Carr, as well as École Internationale de Théâtre Jacques Lecoq. Now he returns to the US as a graduate of Integral Movement and Performance Practice (IMPP) from the Thomas Prattki Center in Berlin, Germany. As an actor, Colum has worked internationally. In Paris, Colum worked in many new works, including immersive theatre at the Centre Culturel Irlandais with Cinémorphe. He was a company member with Big Funk Company and NEW! The Improvised Musical, he toured France with Z Space’s Word for Word, and worked for many years as a resident actor with the award winning Compagnie Oz. Regionally in the US, Colum has been a resident actor with PCPA, and performed many shows with Austin Shakespeare, Oregon Cabaret Theatre, ZACH Theatre, Jarrott Productions, and State Theatre. He brings together a deep understanding of theatrical methods and the ways they overlap and are unique, supported with recent findings in psychology, neurology, and behavior sciences. He received his MFA from University of Texas, Austin.
has directed at various regional theatres including Shakespeare Santa Cruz, Utah Shakespeare Festival, Lake Tahoe Shakespeare Festival, Virginia Stage Company, Next Act Theatre, Great Lakes Theater, Idaho Shakespeare Festival, Merrimack Rep, the Kennedy Center, Clarence Brown Theatre, Round House Theatre, the Studio, and Milwaukee Rep where he was associate artistic director for six years and directed nearly 30 plays. He and his works have been honored with Helen Hayes Awards and nominations, and he was a Drama League of New York Directors Project Fellow. He has written adaptations and plays that have been produced at regional theatres, universities, and filmed for Public TV including Way Downriver: William Faulkner’s “Old Man,” which was recently produced at North Coast Rep; A Rising Wind co-written with John Kishline; A Christmas Carol co-written with Joe Hanreddy; Sounding River; Appalachian Voices; An Irish Reunion; and The Last Ride of the Bold Calhouns. Edward has worked as a teacher and guest artist at numerous graduate and undergraduate programs and frequently conducts master classes. Internationally, he toured India as an actor and director through the U.S. State Department and has directed and taught in Costa Rica and the Dominican Republic. He is a member of SD&C and AEA, a casting partner for Cirque du Soleil, and is on the roster of Fulbright Specialists.
spent nearly a decade working as a professional actor and singer in New York after spending a decade in the classical music and theatre world in San Francisco. Now that she’s back home in California, she performs regularly and was seen last summer in the world premiere of the new musical A Walk on the Moon at American Conservatory Theater, as well as at her sold-out cabaret show at Feinstein’s at the Nikko. She has performed throughout California and New York City, including as a soloist in Imant Raminsh’s Symphony of Psalms at Carnegie Hall. A longtime fan of Kurt Weill’s music, she won second place in the International Lotte Lenya Competition. Favorite roles include Mrs. One & Two u/s in Adding Machine (off Broadway), Ms. Wilde in Flashdance the Musical (first national tour), Franca in The Light in the Piazza (Arena Stage and TheatreWorks), Aldonza in Man of La Mancha (Flat Rock Playhouse, North Carolina), Jenny in The Threepenny Opera (Marvel Rep, New York, Drama Desk nominated), and the title role of Carmen (San Francisco Lyric Opera).
serves as Chief Producer 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.
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.
is a local and international award-winning performing artist and instructor. He grew up in Berkeley and upon graduating from UC Santa Cruz with a BA in Theatre Arts, he began his circus training at the San Francisco Circus Center (SFCC). Since 1997, Slater has taught children circus arts at SFCC, Make-A-Circus, Trapeze Arts, Head Over Heels, Teatro Zinzanni, and the Kinetic Arts Center. Slater was a body performer for motion capture with Tech TV, earning an Emmy Award in 2000 for “Specialty: Technical Achievement.” He currently performs both nationally and abroad in his two award-winning creations, Le Projet Migration and The Submarine Show.
Lisa Anne Porter
is co-head of Voice and Dialects at American Conservatory Theater and also serves on the graduate, undergraduate, and Global Studies faculties at UC Davis. She is a Designated Linklater voice instructor and has taught at Shakespeare & Company, Syracuse University, Naropa University, San Francisco State University, and the Tepper Center in NYC. She has professionally coached over 50 productions in voice and dialect. She has performed with numerous repertory companies and Shakespeare festivals, including ACT, California Shakespeare Theater, Shakespeare Santa Cruz, Magic Theatre, Marin Theatre Company, and San Francisco Shakespeare Festival. She has her own professional coaching business and has coached professionals in many fields in their spoken communication skills.
Amy Potozkin, CSA
is in her 30th 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. She worked on various independent films, including Conceiving Ada, starring Tilda Swinton; The 8th Year of the Emergency by Maureen Towey; 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. Amy is a member of CSA, the Casting Society of America, and received an Artios Award for Excellence in Casting for Angels in America and Artios nominations for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures; One Man, Two Guvnors; and An Octoroon.
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.
is an award winning actor and teaching artist with over thirty years’ experience. He has appeared in over a hundred productions at theatres across the country, Off-Broadway, and here in the Bay Area with American Conservatory Theater, Berkeley Repertory Theatre, California Shakespeare Theater, Marin Theatre Company, SF Playhouse, and TheatreWorks. He has appeared on television in Law & Order, Deadline, and Conviction.
(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.
Lindsey Marie Schmeltzer
is an actor and teaching artist based out of the Bay Area. Lindsey teaches with Berkeley Repertory Theatre, Cal Shakes, Livermore Shakespeare’s So Wise So Young in-school Shakespeare program, and Town Hall Theatre. Lindsey has performed with Sacramento Theatre Company, Shakespeare Napa Valley, Texas Shakespeare Company, and Milwaukee Repertory Theater. She has a BA in Musical Theatre from California State University, Chico, and was the education intern for Milwaukee Repertory Theater for their 2012–13 season, where she taught reading skills through acting to low income schools.
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.
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.
graduated from Mills College and US Naval Academy. He is the writer of Vs., produced by TheatreFIRST in their 2016–17 season. His short plays have been featured in the 2012 PlayGround and the 2015 Ohlone College Playwrights Festivals. He lives in Oakland and teaches in the English department at Berkeley City College.
M. Graham Smith
is a San Francisco-based director, educator, and producer. He is an O’Neill National Directing Fellow and an Oregon Shakespeare Festival FAIR Fellow. He’s directed at HERE in New York City and venues in San Francisco, including American Conservatory Theater, Aurora Theatre, Crowded Fire, Central Works, EXIT Theatre, PlayGround, Brava, The Playwright’s Foundation, Cutting Ball Theater, Ray of Light, Berkeley Playhouse, Golden Thread, San Francisco Opera, New Conservatory, and The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. He directed the West Coast premiere of Jerry Springer: The Opera in San Francisco and Truffaldino Says No at Shotgun Players, winning a Best Director award from the Bay Area Critic’s Circle. Recent credits include The Lady Onstage at Profile Theatre in Portland, Oregon; The Liar, adapted by David Ives at Occidental College in Los Angeles as an Edgerton Foundation Fellow; and Deal with the Dragon at Edinburgh Fringe Festival.
initially came to theatre through singing, first with San Francisco Boys Chorus, and then with Kairos Youth Choir. This led to an audition for Berkeley Rep’s Brundibar. The wonderful creation, direction, and ensemble and excitement of a world premiere ensured that Gabriel was bitten by the theatre bug. He was later cast as The Boy in The Pillowman, and served as understudy in Troublemaker, also with Berkeley Rep. After acting in numerous high school projects and participating in independent theatre productions in Berkeley as well, Gabriel continued at University of Puget Sound as both a performing actor and theatre arts and French major. Gabriel is a practitioner of capoeira and an avid basketball player in addition to being a fluent French speaker. Recently graduated, Gabriel has worked as both assistant and teaching staff with Berkeley Rep School of Theatre for over seven years and is happy to be back at his second home.
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.
is a director, arts producer/administrator, actor, fight choreographer, educator, and ensemble theatre maker. Bay Area ensemble theatres that Joshua is working with are Ragged Wing Ensemble, recently closing Time Sensitive by Amy Sass, and Fools Fury, acting in the upcoming September/October regional premiere of Dionysus Was Such A Nice Man by Kate Tarker. Joshua serves as Company and Production Manager of Ragged Wing Ensemble. As a director Joshua has created/devised the ensemble works Perspective, which investigates reactions to the overview effect, as well as Under Construction 2017: A Collage of America Today. Joshua is a former company member of Fly-By-Theatre in Atlanta, which devised productions at the intersection of theatre and dance. Joshua holds an MFA in Directing for Stage and Screen from the Johnny Carson School of Theatre and Film at UNL. Joshua is an Associate Member of the Stage Directors and Choreographers Society, an Actor/Combatant and member of the Society of American Fight Directors, and a 200-hour Classical Yoga Teacher.
is an actor, rapper, playwright, director, producer, and educator. His work crosses artistic and cultural borders to combine conventional theatre styles with the themes, language, music, history, politics, and aesthetics of the Hip-Hop generation. Dan is a founding member of the critically acclaimed Hip-Hop music and theatre collective Felonious. Dan is currently developing Curren$y, an all female Hip-Hop adaptation of Shakespeare’s Merchant of Venice. His play Daylighting was produced by Shotgun Players in 2014. His play Stateless, a Hip-Hop and beatbox-infused theatrical collaboration with Tommy Shepherd, balancing German and Jewish history with the problems of racism and the African American experience, has been produced in San Francisco, Hamburg, and New York. His play Angry Black White Boy, based on the novel by Adam Mansbach, premiered at Intersection for the Arts in October 2008, ran for 12 sold-out weeks, and was named Top Ten Best Theater Plays by the San Francisco Chronicle and San Francisco Examiner. His play Beatbox: A Raparetta (co-authored with Tommy Shepherd) has been produced in San Francisco, Oakland, Petaluma, Germany, and at the New York Hip-Hop Theater Festival.
What parents and students say about School of Theatre faculty
“[The instructor] was great at stopping people and pushing people while still being encouraging, and was astute about who to push further. It felt like individualized instruction in a group format.”
On-Camera Acting, Summer 2018
“The instructor held the space really well—he made me feel very safe while we experimented with exercises that involved vulnerability.”
Acting Intensive, Spring 2018
“It was a wonderful class! [The instructor] was great at ‘diagnosing’ exactly what each student needed in order to move to their particular next level.”
Voice for Performance, Spring 2018
“I learned an enormous amount about directing, techniques for handling actors, interpreting scripts, the process of putting a play together, etc.”
Directing, Spring 2018
“I felt welcomed and accepted. I anticipated a fine, interesting, and engaging class—but to find myself amidst such a nurturing environment just kind of released all kinds of delightfully artistic and creative juices.”
Voice Over, Spring 2018
School of Theatre major sponsors
Walter & Elise Haas Fund
Jonathan Logan Family Foundation
The Woodlawn Foundation
Berkeley Rep School of Theatre’s youth and teen programming is limited to children who are up-to-date with those vaccinations recommended by the Centers for Disease Control (CDC) and required by California Education Code Section 48980.5, unless a medical exception applies. For children with medical exemptions, the School must be notified and a physician’s written statement supporting the medical exemption must be submitted prior to participation.
To view a schedule of the CDC’s vaccine recommendations please see cdc.gov.
To view the vaccines required by California law, please see leginfo.ca.gov.
Registration / Cancellation
All registrations are processed in the order they are received. Registrations will be accepted until the class is full or until the end of the first week of class, whichever comes first.
Class confirmations: After your order is processed, you will receive an email from email@example.com confirming your registration.
We reserve the right to cancel a class if enrollment is insufficient. In this instance, any tuition paid will be refunded in full.
Returned checks: A $25 service charge will be attached to any check returned by the bank due to insufficient funds.
Class cancellation policy:
- If you cancel 24 hours or more before the first class meeting begins, we will refund tuition less a $50 processing fee per class. If you cancel within 24 hours before the first class meeting begins, we will refund tuition less a $75 processing fee. If you cancel within 24 hours after the first class meeting, we will refund half the tuition amount. And 24 hours or more after the first class meeting, no refund will be given. Refunds will not be given for the following classes: Advanced Acting: What’s So Funny?—Acting Comedy; Acting Shakespeare: Beginning; Alexander Technique for Mind/Body Balance; Auditioning: Prepare for TBA Generals and Open Calls; Confidence and Craft: A Monologue Workshop; Devising/Adapting Literature to the Stage with the Creators of Gatz; Feldenkrais and the Alba Method of Acting; Improvisation Performance Lab; Intermediate Voice-Over Acting; Live Improvised Foley Artistry; Producing Theatre; Professional Voice-Over Acting; Tactical Performance: The Theory and Practice of Serious Play; Theatre of the Oppressed: Mindfulness, Meditation, and Liberation; Theatre of the Present.
Summer Intensive cancellation policy:
- Cancellation policy: If you cancel before April 1, we will refund tuition less a $175 fee. If you cancel after April 1, we will refund tuition less a $425 fee. After June 1, no refund will be given.
- Summer Intensive payment policy: The credit card provided during online registration will be automatically used for remaining payments to cover the balance of the tuition. For Session 1 (middle school), $445 will be charged on April 1, 2020 and $425 will be charged on June 1, 2020. For Session 2 (high school), $495 will be charged on April 1, 2020 and $425 will be charged on June 1, 2020. If you do not wish to use the same method of payment for each installment, please call the School of Theatre at 510 647–2996.
Filmmaking and Acting Intensive cancellation policy:
- If you cancel before April 1, we will refund tuition less a $150 fee. If you cancel between April 1 and May 31, we will refund tuition less a $400 fee. After June 1, no refund will be given.
Theatre Design and Production Lab cancellation policy:
- If you cancel before April 1, we will refund tuition less a $75 fee. If you cancel between April 1 and May 31, we will refund tuition less a $125 fee. After June 1, no refund will be given.
Teen Night Season Pass cancellation policy:
- Teen Night Season Pass registrations are non-refundable and non-transferable. Season Pass holders will receive a reminder email before each Teen Night. If you are unable to attend a performance, please send an email to firstname.lastname@example.org to release your ticket for another teen.
Berkeley Repertory Theatre is not responsible for any lost, damaged, or stolen personal belongings.
Students are expected to attend all scheduled classes and scene partner rehearsals on time and ready to work. Repeated non-compliance without notification may result in dismissal from class without refund.
All dates, times, and programming subject to change.
2071 Addison Street, Berkeley CA 94704
School of Theatre major sponsors
Walter & Elise Haas Fund
Jonathan Logan Family Foundation
The Woodlawn Foundation