Adult classes

Acting

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Beginning Acting

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

TUE 7–9:30pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $250 (Leavy)
SAT 1–3:30pm · 7/14, 7/21, 7/28, 8/4, 8/11, 8/18 · $250 (Hillman)

Michele Leavy is an actor and theatre educator. Originally from the San Francisco Bay Area, she has performed locally with such companies as the American Conservatory Theater, Berkeley Repertory Theatre, Center Repertory Company, California Conservatory Theatre, Livermore Shakespeare Festival, Marin Theatre Company, and TheatreWorks, among others. In farther locales, she has appeared with Key West Theater (Florida), Elephant Theatre Company (Los Angeles), and Theatre 167 (New York City). As a teaching artist she has taught throughout the Bay Area for American Conservatory Theater, San Francisco Shakespeare Festival, and California Shakespeare Theater. She also serves as adjunct faculty with UC Davis’ Department of Theatre and Dance, as well as the Cañada College’s Theatre Arts Department. Michele is a Resident Artist with the San Francisco-based ensemble company Crowded Fire Theater and a core member of Bay Area Latino Theatre Artists Network (BALTAN).

Melissa Hillman is the former Artistic Director of Impact Theatre in Berkeley, which specialized in new plays by emerging playwrights and reimagined classics. She holds a PhD in Dramatic Art from UC Berkeley and has taught theatre at Cal, at CSU East Bay, De Anza, and the Berkeley Digital Film Institute in addition to the Berkeley Rep School of Theatre. She’s a contributor to Theatre Bay Area Magazine and blogs as Bitter Gertrude at bittergertrude.com.

Inhabiting Shakespeare

Have you longed to approach Shakespeare with greater ease, with a sense of joy and dynamism? How do we make the bridge from page to stage? Without the body, “heart,” and mind of the actor to bring the words to life, Shakespeare is little more than words in a book. In a culture that values achievement and intellect over emotional connection, actors frequently experience inhibition relating to their own physicality. How do we get from reading the words to feeling the words, from feeling to emotive communication? Inhabiting is a psychophysical technique specifically designed to address these concerns. From the perspective of inhabiting, the body is the starting place. Physical sensation and emotive expression form an infinite loop. Performers are awakened to their potential to create visceral, playful, and dynamic theatrical experiences. Conceived by Susan-Jane Harrison, Inhabiting has developed out of investigative psychophysical theatre practice. Drawing on the work of Laban, Linklater, Cicely Berry, Stanislavsky (Active Analysis), Grotowski, and Richard Schechner, Inhabiting is taught in actor labs and stresses exploration over “getting it right” and frames discovery as a starting place for potential mastery.

THU 7–10pm · 7/12, 7/26, 8/2, 8/9, 8/16 · $230

Susan-Jane Harrison trained as an actor at The Royal Academy of Dramatic Art in London and received an MFA in Dramatic Art from UC Davis. As an actor, Susan-Jane has performed throughout the UK. Locally, she has worked with Berkeley Rep, American Conservatory Theater, Aurora Theatre, Woman’s Will, Center Rep, California Shakespeare Theater, and A Traveling Jewish Theatre, among others. She was the recipient of a First Bite Award from Radio 4 where her first play, Alaska, was subsequently produced. A second radio play, The Quetzal, has been aired on the PBS Satellite Network. Her first stage play, Today I Live, has been workshopped through RADA in London and premiered in 2016 with a subsequent play, Hunting Love, produced in the Bay Area. Susan-Jane has taught Laban Movement, Voice into Text, and acting in numerous acting programs throughout the Bay Area including The Actor’s Centre, Columbina’s Workshop, UC Davis, Jeffrey Bihr Studio, and Woman’s Will. She is a teaching artist with California Shakespeare Theater.

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. Students will create a new work to be performed on the final evening. A spirit of rebellion required.

TUE 7–10pm · 7/10, 7/17, 7/24, 7/31 · $200

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

Actor/Poet/Clown

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

SAT & SUN 1–4:30pm · 7/21, 7/22 · $125

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

Auditioning: A New Roadmap

Want to improve your auditioning? Want to reduce the pressure? This is an opportunity to hone your skills, transform your approach, and expand your repertoire. We will dissect auditions from A to Z, toss out preconceptions, offer fresh perspectives, and lay out a method for developing new pieces. We will learn the key do’s and don’ts and explore strategies for cold readings and callbacks. We will explore comic and dramatic monologues, and work with a variety of texts for cold readings. Participants should prepare two contrasting monologues and at least one more they’d like to develop. Open to all levels.

TUE & THU 7–10pm, SAT & SUN 1–5pm · 7/10, 7/12, 7/14, 7/15 · $240

Edward Morgan has directed at various regional theatres including Shakespeare Santa Cruz, Utah Shakespeare Festival, Lake Tahoe Shakespeare Festival, Virginia Stage Company, Next Act Theatre, Great Lakes Theater, Idaho Shakespeare Festival, Merrimack Rep, the Kennedy Center, Clarence Brown Theatre, Round House Theatre, the Studio, and Milwaukee Rep where he was associate artistic director for six years and directed nearly 30 plays. He and his works have been honored with Helen Hayes Awards and nominations, and he was a Drama League of New York Directors Project Fellow. He has written adaptations and plays that have been produced at regional theatres, universities, and filmed for Public TV including Way Downriver: William Faulkner’s “Old Man,” which was recently produced at North Coast Rep; A Rising Wind co-written with John Kishline; A Christmas Carol co-written with Joe Hanreddy; Sounding River; Appalachian Voices; An Irish Reunion; and The Last Ride of the Bold Calhouns. Edward has worked as a teacher and guest artist at numerous graduate and undergraduate programs and frequently conducts master classes. Internationally, he toured India as an actor and director through the U.S. State Department and has directed and taught in Costa Rica and the Dominican Republic. He is a member of SD&C and AEA, a casting partner for Cirque du Soleil, and is on the roster of Fulbright Specialists.

The Creative Spark

Creativity starts with a spark. It comes to life through questions and dialogue, through digging in our dreams and stories. But sometimes the business and study of art can cut off the flow and leave us feeling uninspired. This is a three-day workshop for blowing on the coals and stirring up some heat. We’ll draw on exercises from Cirque du Soleil, Kenneth Maue, Liz Lerman, and others: physical, collaborative, theatrical, exploratory, visual, playful, imaginative, and empowering. We’ll try different methods of inspiration. We’ll also look at models to develop and even “critically” engage our work without discouraging the flame. This workshop is designed for actors, dancers, directors, writers, and designers at any level.

MON, WED, FRI 7–10pm · 7/9, 7/11, 7/13 · $170

Edward Morgan has directed at various regional theatres including Shakespeare Santa Cruz, Utah Shakespeare Festival, Lake Tahoe Shakespeare Festival, Virginia Stage Company, Next Act Theatre, Great Lakes Theater, Idaho Shakespeare Festival, Merrimack Rep, the Kennedy Center, Clarence Brown Theatre, Round House Theatre, the Studio, and Milwaukee Rep where he was associate artistic director for six years and directed nearly 30 plays. He and his works have been honored with Helen Hayes Awards and nominations, and he was a Drama League of New York Directors Project Fellow. He has written adaptations and plays that have been produced at regional theatres, universities, and filmed for Public TV including Way Downriver: William Faulkner’s “Old Man,” which was recently produced at North Coast Rep; A Rising Wind co-written with John Kishline; A Christmas Carol co-written with Joe Hanreddy; Sounding River; Appalachian Voices; An Irish Reunion; and The Last Ride of the Bold Calhouns. Edward has worked as a teacher and guest artist at numerous graduate and undergraduate programs and frequently conducts master classes. Internationally, he toured India as an actor and director through the U.S. State Department and has directed and taught in Costa Rica and the Dominican Republic. He is a member of SD&C and AEA, a casting partner for Cirque du Soleil, and is on the roster of Fulbright Specialists.

Angels in America: Text Analysis Through Monologue & Scene Work

In the quarter-century since Angels in America premiered at San Francisco’s Eureka Theatre, it has come to be acknowledged as among the greatest of American plays. Now a new Broadway production, imported from London, and Tony Taccone’s production at Berkeley Rep have encouraged a rediscovery of the play and its deserved place in the theatrical canon. There is no better way to understand any great dramatic work than to approach it through a direct encounter with the script. In this class, we’ll take a deep dive into the play and its themes, and explore it through detailed engagement with the text, in monologue and scene work. All levels welcome.

Students will also receive half-price tickets to both parts of Angels in America.

MON 7–10pm · 7/9, 7/16, 7/23, 7/30, 8/6, 8/13 · $265

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

Intermediate Acting

Students analyze and perform scenes from contemporary 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 School of Theatre or other reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

WED 7–10pm · 7/11, 7/18, 7/25, 8/1, 8/8, 8/15 · $265

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.

Acting Intensive: Intermediate/Advanced

Students analyze and perform scenes from contemporary 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. The goal of the class will be to provide students with a deeper understanding of how to bring a scene to vibrant life. Each student will work on at least one scene. Some rehearsal outside class will be expected, and rehearsal space will be available. May be repeated.

Prerequisite: Previous acting classes at the intermediate level at the School of Theatre or other reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

MON–THU 6:30–9:30pm · 8/6, 8/7, 8/8, 8/9 · $200

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

Intermediate/Advanced Acting

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

THU 6:30–9:30pm · 7/12, 7/19, 8/9, 8/16 · $200

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

Advanced Acting

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

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

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

MON 6:30–9:30pm · 7/9, 7/23, 7/30, 8/6, 8/13 · $250

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

Advanced Voice-Over Acting

This voice-over class focuses on establishing the student’s home studio for recordings and auditions, as well as shaping, refining, and individualizing each student’s singular voice. Students will be allowed to focus on their preferred type of copy, and will be required to record assignments outside of class. Students without a home studio can record assignments on their phone or other device that creates MP3s. Class size is limited.

Prerequisite: Intermediate skills, or permission from the instructor, are required to take this class.

MON 7–10pm · 7/9, 7/16, 7/23, 7/30, 8/6, 8/13 · $340

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

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 · 7/11, 7/18, 7/25, 8/1, 8/8, 8/15 · $340

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

On-Camera Acting

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.

SAT 10:30am–1pm · 7/14, 7/21, 7/28, 8/4, 8/11, 8/18 · $250
SOLD OUT—Please call 510 647–2996 for wait list

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

One-on-One Audition Coaching

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

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

Audition

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Auditioning: A New Roadmap

Want to improve your auditioning? Want to reduce the pressure? This is an opportunity to hone your skills, transform your approach, and expand your repertoire. We will dissect auditions from A to Z, toss out preconceptions, offer fresh perspectives, and lay out a method for developing new pieces. We will learn the key do’s and don’ts and explore strategies for cold readings and callbacks. We will explore comic and dramatic monologues, and work with a variety of texts for cold readings. Participants should prepare two contrasting monologues and at least one more they’d like to develop. Open to all levels.

TUE & THU 7–10pm, SAT & SUN 1–5pm · 7/10, 7/12, 7/14, 7/15 · $240

Edward Morgan has directed at various regional theatres including Shakespeare Santa Cruz, Utah Shakespeare Festival, Lake Tahoe Shakespeare Festival, Virginia Stage Company, Next Act Theatre, Great Lakes Theater, Idaho Shakespeare Festival, Merrimack Rep, the Kennedy Center, Clarence Brown Theatre, Round House Theatre, the Studio, and Milwaukee Rep where he was associate artistic director for six years and directed nearly 30 plays. He and his works have been honored with Helen Hayes Awards and nominations, and he was a Drama League of New York Directors Project Fellow. He has written adaptations and plays that have been produced at regional theatres, universities, and filmed for Public TV including Way Downriver: William Faulkner’s “Old Man,” which was recently produced at North Coast Rep; A Rising Wind co-written with John Kishline; A Christmas Carol co-written with Joe Hanreddy; Sounding River; Appalachian Voices; An Irish Reunion; and The Last Ride of the Bold Calhouns. Edward has worked as a teacher and guest artist at numerous graduate and undergraduate programs and frequently conducts master classes. Internationally, he toured India as an actor and director through the U.S. State Department and has directed and taught in Costa Rica and the Dominican Republic. He is a member of SD&C and AEA, a casting partner for Cirque du Soleil, and is on the roster of Fulbright Specialists.

One-on-One Audition Coaching

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

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

Improvisation

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Beginning/Intermediate Improvisation

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

TUE 7–10pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $265
SOLD OUT—Please call 510 647–2996 for wait list

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

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.

WED 7–10pm · 7/11, 7/18, 7/25, 8/1, 8/8, 8/15 · $265

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.

Directing

Directing with Precision: Intermediate Level Lab

For intermediate level directors, this laboratory offers a chance to deeply explore a single play through many different lenses, and prepare a play for full production. Directors will analyze the play, identify the “spine” of their production, create a design concept, and choose a single scene of the play to direct for their final presentations. Directors will use the other directors in the class as their acting pool, and will meet on Thursday “lab” nights to complete assignments with their fellows.

MON 7–10pm · 7/9, 7/16, 7/23, 7/30, 8/6, 8/9 (final presentations) · $300
Lab space for directors on THU evenings · 7/12, 7/19, 7/26, 8/2

M. Graham Smith is a San Francisco-based director, educator, and producer. He is an O’Neill National Directing Fellow and an Oregon Shakespeare Festival FAIR Fellow. He’s directed at HERE in New York City and venues in San Francisco, including American Conservatory Theater, Aurora Theatre, Crowded Fire, Central Works, EXIT Theatre, PlayGround, Brava, The Playwright’s Foundation, Cutting Ball Theater, Ray of Light, Berkeley Playhouse, Golden Thread, San Francisco Opera, New Conservatory, and The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. He directed the West Coast premiere of Jerry Springer: The Opera in San Francisco and Truffaldino Says No at Shotgun Players, winning a Best Director award from the Bay Area Critic’s Circle. Recent credits include The Lady Onstage at Profile Theatre in Portland, Oregon; The Liar, adapted by David Ives at Occidental College in Los Angeles as an Edgerton Foundation Fellow; and Deal with the Dragon at Edinburgh Fringe Festival.

Movement

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Alexander Technique: Balance Your Left and Right Sides

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

TUE 7–9:30pm · 7/10, 7/17, 7/24, 7/31 · $175

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

Feldenkrais Method®: Awareness Through Movement

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

SAT & SUN 10:30am–1pm · 8/4, 8/5 · $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.

Physical Theatre: The Funny Bone Series

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

SAT 12:30–2:30pm · 7/7, 7/14, 7/28, 8/4, 8/11 · $155

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

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 & SUN 12:30–5:30pm · 8/18, 8/19 · $175

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.

Voice

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Voice for Performance

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

TUE–FRI 7–10pm · 8/14, 8/15, 8/16, 8/17 · $200

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

Singing for Improvisers and Actors

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

THU 7–10pm · 7/12, 7/19, 7/26, 8/2, 8/9 · $230

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

Advanced Voice-Over Acting

This voice-over class focuses on establishing the student’s home studio for recordings and auditions, as well as shaping, refining, and individualizing each student’s singular voice. Students will be allowed to focus on their preferred type of copy, and will be required to record assignments outside of class. Students without a home studio can record assignments on their phone or other device that creates MP3s. Class size is limited.

Prerequisite: Intermediate skills, or permission from the instructor, are required to take this class.

MON 7–10pm · 7/9, 7/16, 7/23, 7/30, 8/6, 8/13 · $340

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

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 · 7/11, 7/18, 7/25, 8/1, 8/8, 8/15 · $340

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

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.

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

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

Writing

Summer Playwriting Workshop

This program is for playwrights who are interested in an intensive six-week developmental workshop period, followed by a staged reading of their work in an open workshop setting. This very successful program is an exciting way to take a script to the next stage. The culminating reading series amounts to the presentation of eight new plays in four days. It’s an exhilarating experience, but a demanding one. Writers must be prepared to take the lead in the staging of their own plays, as this workshop includes a hands-on production component. Secondly, writers will participate in the readings of fellow students within the group and are responsible for supporting each other in generating an audience for their readings. Consent of the instructor is required prior to enrollment.

Students interested in being in the workshop are requested to submit the following materials to ggraves@berkeleyrep.org: a brief description of the project they want to work on in the class or a PDF draft of the script (partial drafts are acceptable). Submissions are reviewed in the order received. Class enrollment is limited to 8.

Course includes a staged reading showcase of students’ new work presented Thursday, August 16–Sunday, August 19.

SAT 10am–2pm · 7/7, 7/14, 7/21, 7/28, 8/4, 8/11 · $525
SOLD OUT—Please call 510 647–2996 for wait list

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.

Summer workshop

Evolving Actor Intensive

This intensive is integrative and inspirational. This intensive will help you develop in three ways: personally, artistically, and professionally—and you will discover the powerful synergy of working on all three together. There will be exercises to deepen a fearless relationship to your true self, so that you can bring yourself more fully to the work. Targeted scene study will help you develop the emotional or technical skills you need to make a leap in your work, and group coaching will help you formulate and refine professional goals and strategies to get your work out of the classroom and into the world. All students will have the ability to correspond with the instructor prior to the course to formulate clear and specific objectives for the workshop. Join us and get a jolt of inspiration and wisdom that will carry you through the second half of 2018 and for a long time to come.

THU & FRI 7–10pm, SAT & SUN 10am–4pm · 7/5, 7/6, 7/7, 7/8 · $280
SOLD OUT—Please call 510 647–2996 for wait list

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.

 

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