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, 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 · 4/2, 4/9, 4/16, 4/23, 4/30, 5/7, 5/14, 5/21, 6/4, 6/11 · $325 (Nicolaus)
SAT 12:30–2:30pm · 4/7, 4/14, 4/21, 4/28, 5/5, 5/12, 5/19, 6/2, 6/9, 6/16 · $290 (August)

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

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

Acting Intensive with Stephen Spinella

This workshop is for students with previous acting training and/or relevant experience and focuses on approaching the text with economic clarity and a rigorous use of actions, objectives, and given circumstances. Students will choose their own scenes with suggestions from Stephen Spinella.

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

MON & THU 7–9:30pm · 3/5, 3/8, 3/12, 3/15, 3/19, 3/22, 3/26, 3/29 · $280

Stephen Spinella won two Tony Awards and two Drama Desk Awards for the original Broadway productions of Tony Kushner’s epic Angels in America plays, which marked his Broadway debut. He has since starred on Broadway in the Tony Award-winning musical Spring Awakening; revivals of A View from the Bridge, Electra, and Our Town (with Paul Newman); and James Joyce’s The Dead, for which he won a third Drama Desk Award, as well as an Outer Critics Circle Award, and was again a Tony nominee. His most recent Broadway credit is The Velocity of Autumn, co-starring Estelle Parsons. Off Broadway Stephen won an Obie for Love! Valour! Compassion! He also appeared in An Iliad (Lucille Lortel and Obie Awards), alongside Meryl Streep in The Seagull directed by Mike Nichols, and in Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Among his feature film credits: Alfonso Cuarón’s Great Expectations, Tim Robbins’ The Cradle Will Rock, Gus Van Sant’s award-winning Milk, Quentin Dupieux’s cult hit Rubber, and Steven Spielberg’s Lincoln. He will appear this fall in Can you ever forgive me? starring Melissa McCarthy. Stephen has guest-starred on Will and Grace, Frasier, Heroes, Grey’s Anatomy, Nip/Tuck, and Alias. He’s had recurring roles on The Education of Max Bickford, 24, Desperate Housewives, Royal Pains, and Steven Soderbergh’s The Knick.

Acting Shakespeare

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

MON 7–10pm · 4/2, 4/9, 4/16, 4/23, 4/30 · $230

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

Beginning/Intermediate Acting

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

TUE 1:30–3:30pm · 4/17, 4/24, 5/1, 5/8, 5/15, 5/22 · $140

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

Intermediate Acting

Students will analyze and perform scenes straight from dramatic literature. Special emphasis is placed on encouraging students to make dramatically effective choices by playing provocative actions, discovering the event within the scene, and finding creative obstacles. May be repeated.

Prerequisite: Prior acting experience or previous acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

TUE 7–9:30pm · 4/17, 4/24, 5/1, 5/8, 5/15, 5/22 · $230 (Rutter)
SAT 1–3:30pm · 4/7, 4/14, 4/21, 4/28, 5/5, 5/12, 5/19, 6/2, 6/9, 6/16 · $325 (Nicolaus)

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

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

Intermediate/Advanced Acting

Students will analyze and perform two- and three-person scenes that vary in style and period and that focus on honesty of interpretation and also the intentions of the playwright. 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 intermediate acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio that stressed the fundamentals of text analysis, beat breakdown, and character objectives.

WED 7–10pm · 4/4, 4/11, 4/18, 4/25, 5/2, 5/9, 5/16, 5/23, 5/30, 6/6 · $350

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

Intermediate/Advanced Acting: Shakespeare

In this class we will utilize concrete physical tools to access and express the fullest range of emotions through the medium of short Shakespearean scenes. We will address Shakespearen scenes from within the psycho-physical framework, culminating in performances of these scenes during the final class. We will also touch on the Royal Shakespeare Company’s approach to text, including the work of Kristin Linklater and Cicely Berry: decoding the structure of iambic pentameter, discovering the potential “clues” in broken metre/verse structural changes, following breath and rhythm, lifting words, and exploring emphasis.

THU 7–10pm · 5/10, 5/17, 5/24, 5/31, 6/7 · $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.

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.

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

MON 6:30–9:30pm · 4/30, 5/7, 5/14, 5/21, 6/4, 6/11 · $275

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

On-Camera Acting: Level 1 & 2

Students will focus on creating character by thoroughly understanding the relationship between the text, situation, and the technical aspects of camera work. When these fundamental tools are genuinely understood and used correctly, only then can actors be free to work to the best of their ability in front of a camera. Areas of study will include script analysis, scene study, and character development, as well as camera technique, set discipline, and set etiquette. All scenes will be rehearsed with direction from the instructor, and copies will be given to students for their reference (please bring a 16GB SD card). A variety of other subjects will also be discussed relating to the business side of show business, including audition technique, agents, union membership, photographs, and websites. May be repeated.

Prerequisite for Level 2: Prior on-camera acting experience or previous acting classes at the Berkeley Rep School of Theatre or another reputable theatre studio.

MON 7–10pm · 4/2, 4/9, 4/16, 4/23, 4/30, 5/7, 5/14, 5/21, 6/4, 6/11 · $350 (Level 2)
SAT 10:30am–1pm · 4/14, 4/21, 4/28, 5/5, 5/12, 5/19, 6/2, 6/9, 6/16, 6/23 · $325 (Level 1)
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).

Intermediate Voice-Over Acting

This voice-over class studies and practices multiple styles of voice acting through technical and creative exercises. Students will learn to make original acting choices and sharpen their confidence at the microphone. In addition, the class will cover the business side of launching a voice-over career. This class requires beginning voice over skill. Can be repeated.

MON 7–10pm · 4/2, 4/9, 4/16, 4/23, 4/30, 5/7, 5/14, 5/21 · $385

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

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. Intermediate skills, or permission from the instructor, are required to take this class. Class size is limited.

WED 7–10pm · 4/4, 4/11, 4/18, 5/2, 5/9, 5/16, 5/23, 5/30 · $385

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

Voice-Over for Podcasters

Up the subscriptions to your podcast by learning simple voice-over skills to bring energy, dynamic, and game to your stories, interviews, or person-on-the-street adventures. This class will not turn you into a radio personality. Instead, it will enhance your natural talent and help you sound relaxed, engaged, and authentic. You will also get hands-on experience with recording equipment and feedback from a professional sound engineer. We will produce one 10-minute podcast at the end of the workshop to be able to take home and be proud of as a leading point for everyone. Class size is limited.

SAT & SUN noon–5pm · 6/2, 6/3 · $180

Reid McCann is an RF engineer by day and a sound engineer by night who enjoys the ins and outs of all technology. He consistently worked in sound engineering for a solid 12 years and continues to partake in the arts even though he no longer sits behind a sound board. His interest in podcasting is to help teach/produce the next level of podcasters with the quality that may be missing in the world.

Rhythm Training for Performance

Maximize your creativity by discovering the uniqueness and power of your physical presence, which is critical to the actor, speaker, writer, athlete, director, musician, and performance artist. Students will investigate the potential of rhythm and its effect on voice, physical expression, thought, and emotion. Students will also learn a few classical tap routines combined with spoken word as foundation for ear and rhythm training.

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

Joe Orrach is an actor, singer, dancer, and story-teller who has worked in theatres worldwide, in television, and on screen. Joe’s performing career started as a boxer. He was Welterweight Champion of the US Air Force before turning to dance. He started his dance career as a tap dancer on the streets of NYC where Gregory Hines discovered him and gave him his first inside job. On stage, Joe has performed with Joan Baez, Bob Hope, the Smothers Brothers, Michael Davis, Liliane Montevecchi, Bill Irwin, David Shiner, Melissa Manchester, and the Cookie Monster, among others. He has tap danced with such greats as Gregory Hines, Jimmy Slyde, and Savion Glover, and old masters including the Nicholas Brothers, Honi Coles, Charles “Cookie” Cook, Chuck Green, and Lon Cheney. He has been directed by Woody Allen (Everyone Says I Love You), James Mangold (Copland), Tim Boxell (Valley of the Heart’s Delight), Stefan Haves (Punch Drunk), and David Shiner (Nacht Mund). CNN International profiled Joe on People in the Arts. Joe received his MFA from University of Southern California’s School of Dramatic Arts in Acting. In March 2016 Joe choreographed and was a guest artist in Terence Blanchard’s opera Champion for the SF Jazz Center. Joe reprised this featured role in 2017 at the Kennedy Center. When not on the stage, Joe can be found in the classroom, community center, or boxing gym. Each year, through the 501(c)(3) Joe Orrach Performance Project (JOPP), he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

Theatre of the Oppressed

Theatre of the Oppressed, conceived by Augusto Boal, is a collection of games, techniques, and exercises for using theatre as a vehicle for personal and social transformation. It uses the dynamized human body and the charged theatrical space as laboratories for exploring power, transforming oppression, and finding solutions to the fundamental problems of conflict, inequality, injustice, and human suffering. This workshop will introduce basic techniques (demechanization, dynamization, image theatre, forum theatre) from the Theatre of the Oppressed, with an end to understanding their application as practical and essential tools for artistic development, creative expression, social engagement, and personal transformation. This class is open to both experienced and beginning performers, as well as anyone interested in exploring art as a method for social and personal change, while developing spontaneity, fluidity, presence, creativity, and critical intelligence.

THU 7–10pm · 4/5, 4/12, 4/19, 4/26, 5/3, 5/10, 5/24, 5/31, 6/7 · $320

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

Theatre of the Oppressed: Mindfulness, Meditation, & Liberation

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

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

SAT 12:30–5:30pm · 4/21 · $90

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

Stage Combat/Acting Violence: Unarmed

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

MON 7–10pm · 4/30, 5/7, 5/14, 5/21, 6/4, 6/11 · $265

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

One-on-One Audition Coaching

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

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

Audition

One-on-One Audition Coaching

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

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

Improvisation

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Beginning/Intermediate Improvisation

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

TUE 7–10pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8, 5/15, 5/22, 5/29, 6/5 · $350 (Rachel)
SAT 2:30–4:30pm · 4/7, 4/14, 4/21, 4/28, 5/5, 5/12, 5/19, 6/2, 6/9, 6/16 · $280 (August)

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

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 · 4/4, 4/11, 4/18, 4/25, 5/2, 5/9, 5/16, 5/23, 5/30, 6/6 · $350

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

Improvisation Performance Lab

One of the joys of improvisation is sharing the creativity and spontaneity with an audience. This class introduces the skill of performing improvisational games and stories in a light and generous atmosphere. Students explore the philosophy of “giving” rather than “shining,” and practice interaction techniques that demystify the perceived barriers between performers and an audience. There will be two scheduled performances during class time.

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

WED 7–10pm · 4/4, 4/11, 4/18, 4/25, 5/2 (performance), 5/9, 5/16, 5/23, 5/30, 6/1 (performance) · $330

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

The Art of Business Improv

We’ve all heard the buzz: Improv is no longer just for actors. Theatre artists possess many of the skills regularly sought after in today’s economy—creativity, resiliency, agility, courage, collaborative awareness, and high levels of emotional intelligence. This class is specifically designed for professionals from any field, at any level, who want to reap the benefits of this training and develop their leadership skills. In this playful and unpretentious atmosphere, even the most reserved student will learn to harness their creativity, enhance their public speaking, trust their instincts, deepen their listening skills, read nonverbal body language, master their emotions, quiet their inner critic, and gain confidence in front of an audience.

“The Master of Fine Arts is the new MBA,” so argued author Daniel Pink in his seminal New York Times story about the new creative economy. While this is an extreme statement, its implications are powerful: you cannot excel in business without creativity. It is clear that a paradigm shift is taking place and more of a premium is being placed on right-brain behavior, as evidenced by the rising popularity of improv theatre training within top MBA programs such as Duke, UCLA, MIT, and Stanford. In our competitive and evolving economy, being logical and analytical is no longer enough; the modern executive must be nimble and inventive to face the constant change. Because we live in an exciting time of cross pollination, improv theatre training has proven itself to be a highly effective method for teaching 21st-century soft skills to the modern executive.

THU 7–9pm · 4/19, 4/26, 5/3, 5/10, 5/17 · $210

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

Directing / Devising

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Directing

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

WED 7–10pm · 4/25, 5/2, 5/9, 5/16, 5/23, 5/30 · $275

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.

Devising New Work: Fusing Art Forms for Solo Creation

Got an idea for a nonconventional theatrical performance that you want to develop? Want exercises that will help shape and explore that idea? Want to build a community of creators just like you? Devising New Work is a five-week class where students will start with an idea and begin to develop the shape, structure, through line, characters, technical, and musical aspects. The class will culminate in an invited public showing for friends and family.

TUE 7–10pm · 5/8, 5/15, 5/22, 5/29, 6/12 · $230

Dan Wolf is an actor, rapper, playwright, director, producer, and educator. His work crosses artistic and cultural borders to combine conventional theatre styles with the themes, language, music, history, politics, and aesthetics of the Hip-Hop generation. Dan is a founding member of the critically acclaimed Hip-Hop music and theatre collective Felonious. Dan is currently developing Curren$y, an all female Hip-Hop adaptation of Shakespeare’s Merchant of Venice. His play Daylighting was produced by Shotgun Players in 2014. His play Stateless, a Hip-Hop and beatbox-infused theatrical collaboration with Tommy Shepherd, balancing German and Jewish history with the problems of racism and the African American experience, has been produced in San Francisco, Hamburg, and New York. His play Angry Black White Boy, based on the novel by Adam Mansbach, premiered at Intersection for the Arts in October 2008, ran for 12 sold-out weeks, and was named Top Ten Best Theater Plays by the San Francisco Chronicle and San Francisco Examiner. His play Beatbox: A Raparetta (co-authored with Tommy Shepherd) has been produced in San Francisco, Oakland, Petaluma, Germany, and at the New York Hip-Hop Theater Festival.

Monomyth: Devising from Mythology for Ensemble Creation

“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.”—Joseph Campbell

This class is inspired by Joseph Campbell’s work in comparative mythology and Jung’s work in collective conscious, dreams, and symbolism. We will create a story that follows the Monomyth cycle by entering into the unknown. Using both ancient epics and personal stories, we will create our own adventures that take us out of this reality. We will cast ourselves into archetypal roles of heroes, gods and goddesses, sirens, monsters, wise fools, and other mystical beings that all myths hold in common. Structured improvisation, movement, playwriting, and music will be our tools for devising an original performance to present to friends and family.

THU 7–10pm · 4/12, 4/19, 4/26, 5/3, 5/10 · $230

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.

Movement

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Monomyth: Devising from Mythology for Ensemble Creation

“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.”—Joseph Campbell

This class is inspired by Joseph Campbell’s work in comparative mythology and Jung’s work in collective conscious, dreams, and symbolism. We will create a story that follows the Monomyth cycle by entering into the unknown. Using both ancient epics and personal stories, we will create our own adventures that take us out of this reality. We will cast ourselves into archetypal roles of heroes, gods and goddesses, sirens, monsters, wise fools, and other mystical beings that all myths hold in common. Structured improvisation, movement, playwriting, and music will be our tools for devising an original performance to present to friends and family.

THU 7–10pm · 4/12, 4/19, 4/26, 5/3, 5/10 · $230

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.

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 new found perspective. You will find your stupid silly side, win…or fail…magnificently, and always continue to move on!

THU 1–3pm · 4/12, 4/19, 4/26, 5/3, 5/10 · $140

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.

Alexander Technique for Mind/Body Balance

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

TUE 7–9:30pm · 4/3, 4/10, 4/17, 4/24, 5/1 · $185

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

Rhythm Training for Performance

Maximize your creativity by discovering the uniqueness and power of your physical presence, which is critical to the actor, speaker, writer, athlete, director, musician, and performance artist. Students will investigate the potential of rhythm and its effect on voice, physical expression, thought, and emotion. Students will also learn a few classical tap routines combined with spoken word as foundation for ear and rhythm training.

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

Joe Orrach is an actor, singer, dancer, and story-teller who has worked in theatres worldwide, in television, and on screen. Joe’s performing career started as a boxer. He was Welterweight Champion of the US Air Force before turning to dance. He started his dance career as a tap dancer on the streets of NYC where Gregory Hines discovered him and gave him his first inside job. On stage, Joe has performed with Joan Baez, Bob Hope, the Smothers Brothers, Michael Davis, Liliane Montevecchi, Bill Irwin, David Shiner, Melissa Manchester, and the Cookie Monster, among others. He has tap danced with such greats as Gregory Hines, Jimmy Slyde, and Savion Glover, and old masters including the Nicholas Brothers, Honi Coles, Charles “Cookie” Cook, Chuck Green, and Lon Cheney. He has been directed by Woody Allen (Everyone Says I Love You), James Mangold (Copland), Tim Boxell (Valley of the Heart’s Delight), Stefan Haves (Punch Drunk), and David Shiner (Nacht Mund). CNN International profiled Joe on People in the Arts. Joe received his MFA from University of Southern California’s School of Dramatic Arts in Acting. In March 2016 Joe choreographed and was a guest artist in Terence Blanchard’s opera Champion for the SF Jazz Center. Joe reprised this featured role in 2017 at the Kennedy Center. When not on the stage, Joe can be found in the classroom, community center, or boxing gym. Each year, through the 501(c)(3) Joe Orrach Performance Project (JOPP), 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.

Stage Combat/Acting Violence: Unarmed

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

MON 7–10pm · 4/30, 5/7, 5/14, 5/21, 6/4, 6/11 · $265

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

Voice / Dialects

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Voice for Performance

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.

THU 7–10pm · 5/10, 5/17, 5/24, 5/31, 6/7 · $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.

Dialects and Accents for Improvisers and Actors

Learn how to use physical triggers to help you quickly find the placement, melody, and general sound changes for various dialects. We will study these dialects 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). We’ll also get the dialects up on their feet in improv games and scenes. We will explore a British Isle dialect, an American dialect, and a foreign accent. Dialects to be studied this semester are Scottish, Boston, and Russian.

THU 7–10pm · 4/5, 4/12, 4/19, 4/26, 5/3 · $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.

Intermediate Voice-Over Acting

This voice-over class studies and practices multiple styles of voice acting through technical and creative exercises. Students will learn to make original acting choices and sharpen their confidence at the microphone. In addition, the class will cover the business side of launching a voice-over career. This class requires beginning voice over skill. Can be repeated.

MON 7–10pm · 4/2, 4/9, 4/16, 4/23, 4/30, 5/7, 5/14, 5/21 · $385

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

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. Intermediate skills, or permission from the instructor, are required to take this class. Class size is limited.

WED 7–10pm · 4/4, 4/11, 4/18, 5/2, 5/9, 5/16, 5/23, 5/30 · $385

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

Voice-Over for Podcasters

Up the subscriptions to your podcast by learning simple voice-over skills to bring energy, dynamic, and game to your stories, interviews, or person-on-the-street adventures. This class will not turn you into a radio personality. Instead, it will enhance your natural talent and help you sound relaxed, engaged, and authentic. You will also get hands-on experience with recording equipment and feedback from a professional sound engineer. We will produce one 10-minute podcast at the end of the workshop to be able to take home and be proud of as a leading point for everyone. Class size is limited.

SAT & SUN noon–5pm · 6/2, 6/3 · $180

Reid McCann is an RF engineer by day and a sound engineer by night who enjoys the ins and outs of all technology. He consistently worked in sound engineering for a solid 12 years and continues to partake in the arts even though he no longer sits behind a sound board. His interest in podcasting is to help teach/produce the next level of podcasters with the quality that may be missing in the world.

Private Voice

Learn to sing with ease and confidence, eliminating vocal pain and fatigue while improving your range and breathing 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/hour
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

Playwriting

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

TUE 7–10pm · 4/3, 4/10, 4/17, 4/24, 5/1, 5/8, 5/15, 5/22, 5/29, 6/5 · $350

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

Spring workshop

Acting Intensive with Stephen Spinella

This workshop is for students with previous acting training and/or relevant experience and focuses on approaching the text with economic clarity and a rigorous use of actions, objectives, and given circumstances. Students will choose their own scenes with suggestions from Stephen Spinella.

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

MON & THU 7–9:30pm · 3/5, 3/8, 3/12, 3/15, 3/19, 3/22, 3/26, 3/29 · $280

Stephen Spinella won two Tony Awards and two Drama Desk Awards for the original Broadway productions of Tony Kushner’s epic Angels in America plays, which marked his Broadway debut. He has since starred on Broadway in the Tony Award-winning musical Spring Awakening; revivals of A View from the Bridge, Electra, and Our Town (with Paul Newman); and James Joyce’s The Dead, for which he won a third Drama Desk Award, as well as an Outer Critics Circle Award, and was again a Tony nominee. His most recent Broadway credit is The Velocity of Autumn, co-starring Estelle Parsons. Off Broadway Stephen won an Obie for Love! Valour! Compassion! He also appeared in An Iliad (Lucille Lortel and Obie Awards), alongside Meryl Streep in The Seagull directed by Mike Nichols, and in Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Among his feature film credits: Alfonso Cuarón’s Great Expectations, Tim Robbins’ The Cradle Will Rock, Gus Van Sant’s award-winning Milk, Quentin Dupieux’s cult hit Rubber, and Steven Spielberg’s Lincoln. He will appear this fall in Can you ever forgive me? starring Melissa McCarthy. Stephen has guest-starred on Will and Grace, Frasier, Heroes, Grey’s Anatomy, Nip/Tuck, and Alias. He’s had recurring roles on The Education of Max Bickford, 24, Desperate Housewives, Royal Pains, and Steven Soderbergh’s The Knick.