Adult classes

Workshops

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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 2020 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 2020. 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. $60 per day.

SAT, SUN, MON 10am–5pm (1-hour lunch break) · 12/28, 12/29, 12/30 · $330

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.

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 prepare two memorized monologues. Students of all levels are welcome.

MON 7–10pm · 1/13, 1/27, 2/3 · $175

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.

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 · 1/18 · $95

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.

Feldenkrais and the Alba Method of Acting

Students will explore how each body response is linked to an emotion and how we relate certain emotions to a particular movement, gesture, or body sensation. Using the Feldenkrais Method of somatic education, Laura Bond’s work on “The Emotional Body,” and the Alba Method of Acting, students will be given tools to investigate their emotions and/or the emotion and body language of a character they portray. Learn to take care of yourself and transition from stage life back to general life/neutral state.

SAT & SUN 1–3:30pm · 1/25, 1/26 · $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 Shakespeare: Beginning

Modern actors face something of a challenge playing Shakespeare: we mustn’t treat the language like everyday speech, but we don’t want to sound fake or corny. If we are too naturalistic, we sacrifice the poetry; if we concentrate too much on the beautiful sounds, we sacrifice the meaning. If we concentrate solely on the meaning, we will miss out on the emotion; if we lean too heavily on emotion, we lose specificity of thought. If we over-explain the language, we paradoxically make it harder to understand. It’s a balancing act! What is an actor to do? In this workshop, we’ll seek to find that balance, so we can stay rooted in our own truth as we expand into the possibilities of Shakespeare’s great dramatic writing. On the first day, we’ll explore how to “scan” the verse for clues to phrasing, rhythm, meaning, and character. On day two, we’ll apply those clues to Shakespeare monologues, and learn practical tools to help the elevated text sound natural and authentic. Students may bring monologues they have chosen in advance, or they can be assigned a monologue at the end of the first class.

SAT 1–4pm · 2/1, 2/8 · $115

Anthony Fusco 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.

Live Improvised Foley Artistry

This experimental one-day workshop will give improvisers the opportunity to test and add live sound effects to their improv shows. What is foley art? Foley is a unique sound effect technique that involves creating and performing everyday sounds to enhance character and action. We will play with a variety of everyday objects to make sounds as well! This class is for all levels of performers who want to experiment with adding layers of live sounds to their shows.

SAT 1–4pm · 2/15 · $65

Erica Blue 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.

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 12:30–4:30pm · 2/22 · $85

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.

Producing Theatre

Create bold new work and shape the future of the industry. We will analyze the big picture: the history of the industry, how the business operates today, and what lies ahead. We will also discuss realities of producing in the Bay Area: concept and design, budget and scheduling, fundraising and securing funding, finding your crew and venue, the casting and rehearsal process, and marketing and sales.

SAT 12:30–5pm · 2/29 · $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.

Tactical Performance: The Theory and Practice of Serious Play

In this workshop/presentation, Bogad leads artist-activists through an intense but entertaining exploration of the history, ethics, aesthetics, and practical concerns of tactical performance and creative activism. Students will do performance exercises from traditions such as rebel clowning, Theatre of the Oppressed, nonviolent civil disobedience, and others. They will brainstorm original projects with each other, and will watch and critically evaluate videos and actual artistic artifacts from many past creative campaigns. The goal is to learn from the successes and failures of past efforts, and to engage the body and the mind in creative development of new projects. We will examine creative collective resistance to authoritarianism, the use of pranks and mediagenic interventions, and the value/application of creative civil disobedience. The powerful sociodramas created by the American Civil Rights Movement and the American Indian Movement create a framework, followed by other major groundbreaking groups. We also examine these groups’ more ridiculous and contemporary descendants such as Billionaires for Bush, Reclaim the Streets, The Clown Army, and the Yes Men, as well as the grim and gripping actions by Iraq Veterans Against the War and 1000 Coffins. Workshop attendees will begin to develop ideas for actions in small groups using specific prompts to get the conversation going.

SAT 1–5pm · 3/7 · $85

Larry Bogad 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.

Alexander Technique for Mind/Body Balance

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

SAT 1–4pm · 3/7 · $65

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.

Confidence and Craft: A Monologue Workshop

It has been said…that great and memorable auditions come from dynamic, relaxed, and specific choices. That is exactly what students will focus on in this workshop. Simple and effective tools will be offered to help you do your best work and make auditioning something to enjoy, rather than dread. Students should prepare a classical or modern monologue for the workshop. Expect to have fun in a relaxed environment that will promote greater confidence and craft!

SAT 1–4pm · 3/14 · $65

Remi Sandri 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.

Acting

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Beginning Acting

Develop a basic understanding of acting fundamentals through Stanislavski-based practice. Using exercises and scene work, this 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 · 1/13, 1/27, 2/3, 2/10, 2/24, 3/2, 3/9, 3/16, 3/23, 3/30 · $335 (Davis)
TUE 7–9:30pm · 1/14, 1/21, 1/28, 2/4, 2/11, 2/18, 2/25, 3/10, 3/17, 3/24 · $335 (Longworth)

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.

Rebecca Longworth 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.

Beginning/Intermediate Acting

Develop a basic understanding of acting fundamentals through Stanislavski-based practice while analyzing and performing contemporary scenes and monologues. Special emphasis is placed on 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.

SAT 10:30am–1pm · 1/18, 2/25, 2/1, 2/8, 2/15, 2/22, 2/29, 3/7, 3/14, 3/21 · $335 (Greene)
WED 1:30–3:30pm · 1/29, 2/5, 2/12, 2/19, 2/26, 3/4 · $215 (Ani)

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.

Miriam Ani 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.

Acting Shakespeare: Beginning

Modern actors face something of a challenge playing Shakespeare: we mustn’t treat the language like everyday speech, but we don’t want to sound fake or corny. If we are too naturalistic, we sacrifice the poetry; if we concentrate too much on the beautiful sounds, we sacrifice the meaning. If we concentrate solely on the meaning, we will miss out on the emotion; if we lean too heavily on emotion, we lose specificity of thought. If we over-explain the language, we paradoxically make it harder to understand. It’s a balancing act! What is an actor to do? In this workshop, we’ll seek to find that balance, so we can stay rooted in our own truth as we expand into the possibilities of Shakespeare’s great dramatic writing. On the first day, we’ll explore how to “scan” the verse for clues to phrasing, rhythm, meaning, and character. On day two, we’ll apply those clues to Shakespeare monologues, and learn practical tools to help the elevated text sound natural and authentic. Students may bring monologues they have chosen in advance, or they can be assigned a monologue at the end of the first class.

SAT 1–4pm · 2/1, 2/8 · $115

Anthony Fusco 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.

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 · 1/15, 1/22, 1/29, 2/5, 2/12, 2/19, 2/26, 3/4, 3/11, 3/18 · $360

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: Late Stanislavski

When Stanislavski died, his system for training the actor had evolved long after his visit to the United States 15 years before. His system transformed through a Method of Physical Actions and into Active Analysis—an actor training, preparation, and rehearsal technique. Learn the version of Stanislavski taught in Russia. This class will teach you the basics of Stanislavski’s Method of Physical Actions and Active Analysis as applied to scenes, which will be presented at the end of the quarter. Actors (and directors) use Method of Physical Actions and Active Analysis as ways to tell clear story, and bring more detail into character arcs. This class was designed to be taken with Biomechanics and Neutral Mask, but can be taken as a stand alone class.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

WED 7–10pm · 1/15, 1/22, 1/29, 2/5, 2/12 · $245

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.

Biomechanics and Neutral Mask

Study action and theatrical gesture (organization, control, and awareness) according to the principles of Meyerhold’s Theatrical Biomechanics, and experiment with the knowledge of gesture in relation to rhythm and space, using the neutral mask. This class will teach you the basic principles of “the study of the gesture” following the education system of Meyerhold. Our physical training will also focus on the visual rhythm of action and on the study of the expressive form of the actor’s body, as seen with the neutral mask. Actors use Meyerhold’s concepts on many levels of their process, or as a compliment to Stanislavski’s Method of Physical Actions.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

WED 7–10pm · 2/19, 2/26, 3/4, 3/11, 3/18 · $245

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.

Intermediate/Advanced Acting: Meisner

Meisner teaches the reality of doing and to act on your “river of Impulses.” Meisner’s fundamental principles bring authenticity to what the actor must do, rather than the impulse to indicate or self-generate actions. Students will learn the elements that define his exercises, thereby developing the imagination and helping the actor find emotional truth in their roles.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

THU 7–10pm · 1/16, 1/23, 1/30, 2/6, 2/13 · $245

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.

Advanced Acting: What’s So Funny?—Acting Comedy

This hands-on workshop is designed for actors to explore what makes something funny, on the page and on the stage. Staging, text analysis, and discussions will help actors discover how to enact humor from scripts ranging from Shakespeare and Chekhov to Paula Vogel and Tony Kushner.

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

MON 7–10pm · 1/27, 2/3, 2/10, 2/24, 3/2, 3/9, 3/16, 3/23 · $315

Jonathan Moscone 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.

On-Camera Acting: Levels 1 and 2

Students will focus on creating character by thoroughly understanding the relationship between the text, situation, and the technical aspects of camera work. When these fundamental tools are genuinely understood and used correctly, only then can actors be free to work to the best of their ability in front of a camera. Areas of study will include script analysis, scene study, and character development, as well as camera technique, set discipline, and set etiquette. All scenes will be rehearsed with direction from the instructor, and copies will be given to students for their reference; 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 · 1/13, 1/27, 2/3, 2/10, 2/24, 3/2, 3/9, 3/16, 3/23, 3/30 · $360 (Level 2)
TUE 7–10pm · 1/14, 1/21, 1/28, 2/4, 2/11, 2/18, 2/25, 3/3, 3/10, 3/17 · $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.

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 · 1/27, 2/3, 2/10, 2/24, 3/9 · $315

Sally Clawson 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.

Jim Edgar 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.

Professional Voice-Over Acting

This voice-over class is for students with established home recording studios who are interested in, or have already, launched a freelance voice-over acting career. The class will focus on all aspects of the business—acting, engineering, copywriting, directing, marketing, and live recording. Students will be required to record assignments outside of class. Class size is limited to 10.

Prerequisite: Advanced Voice-Over Acting and a home recording studio.

WED 7–10pm · 1/15, 1/22, 1/29, 2/5, 2/12, 2/19 · $340

Sally Clawson 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.

Musical Theatre Acting: Cabaret Prep Class

Many singers dream of performing in their own solo/cabaret show, but don’t know where to start. How do I structure my show? What do I talk about between songs? How do I create a connection between the music and my life—and why do I need to share these stories with the world? In this round of the Musical Theatre Acting class, the focus will be on mining our own life stories to start crafting our own solo shows. Whether or not you want to perform in a complete solo cabaret, or if you want better practice introducing yourself with comfortable patter at concert or fundraiser appearances, this class will use self-reflection, writing exercises, storytelling techniques, and acting lessons to practice and craft the special art of cabaret. We will culminate our class with a special extended evening to share and perform what work in progress we’ve been crafting over the course of the six-week intensive.

Private coaching included: Included in this class is a 50-minute, one-on-one coaching for each participant with acting teacher Ariela Morgenstern and our music director/accompanist.

THU 7–10pm · 1/30, 2/6, 2/13, 2/20, 2/27, 3/5 · $395

Ariela Morgenstern 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).

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 · 1/18 · $95

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 Certification: 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. Class size is limited to 12. Full fingered gloves are required.

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

MON 7–10pm · 2/10, 2/24, 3/2, 3/9, 3/16 · $245

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.

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.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

TUE 7–10pm · 2/25, 3/3, 3/10, 3/17, 3/24 · $245

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.

Storytelling: Performance Lab

This class is intended to be a follow-up to Storytelling: Find Your Voice. But this class is also open to anyone currently working on a story or a solo performance piece who would like to sharpen and hone their performance skills. Storytelling: Find Your Voice was primarily focused on developing story material, while Storytelling: Performance Lab will focus primarily on performance skills and readying your piece for an audience. We will dive into the art of storytelling and solo performance. Storytelling is an art form as old as human civilization. Personal stories from the heart keep us connected to one another and to our compassion, a vital need in our world today. Whether you have a solo show you are working on or you want to hone your performance skills for professional reasons, this class will help you harness your creativity, trust your instincts, quiet your inner critic, find your unique voice, and develop presence and ease in front of an audience. The class will culminate in a student performance at the School of Theatre.

THU 7–10pm · 2/20, 2/27, 3/5, 3/12, 3/19, 3/26 (showing) · $280

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.

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

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.

Improvisation

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Beginning Improvisation

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

THU 7–10pm · 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/5, 3/12, 3/19 · $360 (Klemm)
THU 1:30–3:30pm · 2/6, 2/13, 2/20, 2/27, 3/5, 3/12 · $215 (Waterstone)

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.

Joshua Waterstone 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.

Intermediate/Advanced Improvisation

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

MON 7–10pm · 1/13, 1/27, 2/3, 2/10, 2/24, 3/2, 3/9, 3/16, 3/23 · $330

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.

Advanced Long Form Improvisation: Genre—Spy Film

This class will have a threefold approach: narrative improvisation, dialects and language, and movement. We will be learning storytelling techniques as well as advanced improvisation skills, so that the ensemble can develop a group mind and a sense of “what happens next” in a story. We will also be learning French, German, and Russian accents for our spy characters. The dialects will be approached in a multi-sensorial way, with a focus on the physical changes, the phonetic sound changes, and with immersion (listening to primary sources of the dialect). There will be two classes devoted to movement. The class will culminate in a full-length improvised play based on the style of spy films, such as 007, Pink Panther, and other Eurospy films.

TUE 7–10pm · 1/14, 1/21, 1/28, 2/4, 2/11, 2/18, 2/25, 3/3, 3/10, 3/17 · $360

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.

Erica Blue 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.

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. The class will have eight participants.

Prerequisite: Approval from instructor prior to registration.

WED 7–10pm · 1/15, 1/22, 1/29, 2/5, 2/12 (performance), 2/19, 2/26, 3/4, 3/11, 3/13 (performance) · $410
SOLD OUT—Please call 510 647–2996 for wait list

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.

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.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

TUE 7–10pm · 2/25, 3/3, 3/10, 3/17, 3/24 · $245

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.

Live Improvised Foley Artistry

This experimental one-day workshop will give improvisers the opportunity to test and add live sound effects to their improv shows. What is foley art? Foley is a unique sound effect technique that involves creating and performing everyday sounds to enhance character and action. We will play with a variety of everyday objects to make sounds as well! This class is for all levels of performers who want to experiment with adding layers of live sounds to their shows.

SAT 1–4pm · 2/15 · $65

Erica Blue 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.

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 prepare two memorized monologues. Students of all levels are welcome.

MON 7–10pm · 1/13, 1/27, 2/3 · $175

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.

Confidence and Craft: A Monologue Workshop

It has been said…that great and memorable auditions come from dynamic, relaxed, and specific choices. That is exactly what students will focus on in this workshop. Simple and effective tools will be offered to help you do your best work and make auditioning something to enjoy, rather than dread. Students should prepare a classical or modern monologue for the workshop. Expect to have fun in a relaxed environment that will promote greater confidence and craft!

SAT 1–4pm · 3/14 · $65

Remi Sandri 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.

Producing Theatre

Create bold new work and shape the future of the industry. We will analyze the big picture: the history of the industry, how the business operates today, and what lies ahead. We will also discuss realities of producing in the Bay Area: concept and design, budget and scheduling, fundraising and securing funding, finding your crew and venue, the casting and rehearsal process, and marketing and sales.

SAT 12:30–5pm · 2/29 · $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.

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

Movement

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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.

TUE 1:30–3:30pm · 2/4, 2/11, 2/18, 2/25, 3/3 · $185

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.

Biomechanics and Neutral Mask

Study action and theatrical gesture (organization, control, and awareness) according to the principles of Meyerhold’s Theatrical Biomechanics, and experiment with the knowledge of gesture in relation to rhythm and space, using the neutral mask. This class will teach you the basic principles of “the study of the gesture” following the education system of Meyerhold. Our physical training will also focus on the visual rhythm of action and on the study of the expressive form of the actor’s body, as seen with the neutral mask. Actors use Meyerhold’s concepts on many levels of their process, or as a compliment to Stanislavski’s Method of Physical Actions.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

WED 7–10pm · 2/19, 2/26, 3/4, 3/11, 3/18 · $245

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.

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.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

TUE 7–10pm · 2/25, 3/3, 3/10, 3/17, 3/24 · $245

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.

Alexander Technique for Mind/Body Balance

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

SAT 1–4pm · 3/7 · $65

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

Stage Combat Certification: 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. Class size is limited to 12. Full fingered gloves are required.

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

MON 7–10pm · 2/10, 2/24, 3/2, 3/9, 3/16 · $245

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.

Feldenkrais and the Alba Method of Acting

Students will explore how each body response is linked to an emotion and how we relate certain emotions to a particular movement, gesture, or body sensation. Using the Feldenkrais Method of somatic education, Laura Bond’s work on “The Emotional Body,” and the Alba Method of Acting, students will be given tools to investigate their emotions and/or the emotion and body language of a character they portray. Learn to take care of yourself and transition from stage life back to general life/neutral state.

SAT & SUN 1–3:30pm · 1/25, 1/26 · $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.

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 develop 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.

Sign up for two $245 adult classes and pay only $395—save close to 20%!

WED 7–10pm · 2/26, 3/4, 3/11, 3/18, 3/25 · $245

Miriam Ani 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.

Musical Theatre Acting: Cabaret Prep Class

Many singers dream of performing in their own solo/cabaret show, but don’t know where to start. How do I structure my show? What do I talk about between songs? How do I create a connection between the music and my life—and why do I need to share these stories with the world? In this round of the Musical Theatre Acting class, the focus will be on mining our own life stories to start crafting our own solo shows. Whether or not you want to perform in a complete solo cabaret, or if you want better practice introducing yourself with comfortable patter at concert or fundraiser appearances, this class will use self-reflection, writing exercises, storytelling techniques, and acting lessons to practice and craft the special art of cabaret. We will culminate our class with a special extended evening to share and perform what work in progress we’ve been crafting over the course of the six-week intensive.

Private coaching included: Included in this class is a 50-minute, one-on-one coaching for each participant with acting teacher Ariela Morgenstern and our music director/accompanist.

THU 7–10pm · 1/30, 2/6, 2/13, 2/20, 2/27, 3/5 · $395

Ariela Morgenstern 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).

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 · 1/27, 2/3, 2/10, 2/24, 3/9 · $315

Sally Clawson 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.

Jim Edgar 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.

Professional Voice-Over Acting

This voice-over class is for students with established home recording studios who are interested in, or have already, launched a freelance voice-over acting career. The class will focus on all aspects of the business—acting, engineering, copywriting, directing, marketing, and live recording. Students will be required to record assignments outside of class. Class size is limited to 10.

Prerequisite: Advanced Voice-Over Acting and a home recording studio.

WED 7–10pm · 1/15, 1/22, 1/29, 2/5, 2/12, 2/19 · $340

Sally Clawson 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.

Advanced Long Form Improvisation: Genre—Spy Film

This class will have a threefold approach: narrative improvisation, dialects and language, and movement. We will be learning storytelling techniques as well as advanced improvisation skills, so that the ensemble can develop a group mind and a sense of “what happens next” in a story. We will also be learning French, German, and Russian accents for our spy characters. The dialects will be approached in a multi-sensorial way, with a focus on the physical changes, the phonetic sound changes, and with immersion (listening to primary sources of the dialect). There will be two classes devoted to movement. The class will culminate in a full-length improvised play based on the style of spy films, such as 007, Pink Panther, and other Eurospy films.

TUE 7–10pm · 1/14, 1/21, 1/28, 2/4, 2/11, 2/18, 2/25, 3/3, 3/10, 3/17 · $360

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.

Erica Blue 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.

Live Improvised Foley Artistry

This experimental one-day workshop will give improvisers the opportunity to test and add live sound effects to their improv shows. What is foley art? Foley is a unique sound effect technique that involves creating and performing everyday sounds to enhance character and action. We will play with a variety of everyday objects to make sounds as well! This class is for all levels of performers who want to experiment with adding layers of live sounds to their shows.

SAT 1–4pm · 2/15 · $65

Erica Blue 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.

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.

Playwriting

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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 · 1/14, 1/21, 1/28, 2/4, 2/11, 2/18, 2/25, 3/3, 3/10, 3/17 · $360

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.

Storytelling: Performance Lab

This class is intended to be a follow-up to Storytelling: Find Your Voice. But this class is also open to anyone currently working on a story or a solo performance piece who would like to sharpen and hone their performance skills. Storytelling: Find Your Voice was primarily focused on developing story material, while Storytelling: Performance Lab will focus primarily on performance skills and readying your piece for an audience. We will dive into the art of storytelling and solo performance. Storytelling is an art form as old as human civilization. Personal stories from the heart keep us connected to one another and to our compassion, a vital need in our world today. Whether you have a solo show you are working on or you want to hone your performance skills for professional reasons, this class will help you harness your creativity, trust your instincts, quiet your inner critic, find your unique voice, and develop presence and ease in front of an audience. The class will culminate in a student performance at the School of Theatre.

THU 7–10pm · 2/20, 2/27, 3/5, 3/12, 3/19, 3/26 (showing) · $280

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.

Social justice

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Tactical Performance: The Theory and Practice of Serious Play

In this workshop/presentation, Bogad leads artist-activists through an intense but entertaining exploration of the history, ethics, aesthetics, and practical concerns of tactical performance and creative activism. Students will do performance exercises from traditions such as rebel clowning, Theatre of the Oppressed, nonviolent civil disobedience, and others. They will brainstorm original projects with each other, and will watch and critically evaluate videos and actual artistic artifacts from many past creative campaigns. The goal is to learn from the successes and failures of past efforts, and to engage the body and the mind in creative development of new projects. We will examine creative collective resistance to authoritarianism, the use of pranks and mediagenic interventions, and the value/application of creative civil disobedience. The powerful sociodramas created by the American Civil Rights Movement and the American Indian Movement create a framework, followed by other major groundbreaking groups. We also examine these groups’ more ridiculous and contemporary descendants such as Billionaires for Bush, Reclaim the Streets, The Clown Army, and the Yes Men, as well as the grim and gripping actions by Iraq Veterans Against the War and 1000 Coffins. Workshop attendees will begin to develop ideas for actions in small groups using specific prompts to get the conversation going.

SAT 1–5pm · 3/7 · $85

Larry Bogad 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.

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 · 1/18 · $95

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.

 

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