Adult classes

Workshops

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The Second City Improv 101

The Second City’s improv for beginners focuses on teaching the building blocks of improvisation with our touring company members.

FRI 5–7pm · 12/8 · $40

The Second City Advanced/Professional Improv

This class is perfect for experienced improvisers or actors who want to use improvisational techniques to support their text work. The Second City’s improv classes focus on teaching students scenic improvisation with an emphasis on connection, relationship, and character development.

SAT 10am–noon · 12/9 · $40

Actor’s Retreat: Farewell to Sam Shepard

The window between Christmas and New Year’s is a short respite; you probably want to use it to rest, rejuvenate, and envision a wonderful year to come. This retreat is intended to help you do all three. You will renew your craft, nurture your creative spirit, and envision your 2018 artistic goals. We will start each day with a variety of practical spiritual techniques adapted especially for actors and drawn from master acting teachers. We will work physically, vocally, emotionally, and interpersonally. Once we feel free and rooted in our authentic selves, then we will move on to scene work. This year we will focus on famous and excellent (but lesser-known) scenes from Sam Shepard plays, to honor his passing and to deeply explore his towering contribution to the American Theatre. Finally, each day will finish with a writing process that culminates in your having a step-by-step plan for how to achieve specific professional and artistic goals in 2018. Class will also include an exploration of scenes, plays, and playwrights influenced by Shepard’s writing.

Note: Due to the holiday season, the class is designed to be a self-contained experience, so pre-class prep and rehearsal is encouraged but optional.

THU, FRI, SAT 10am–5pm (1-hour lunch break) · 12/28, 12/29, 12/30 · $290

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.

Acting

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Beginning Acting

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

MON 7–9:30pm · 1/8, 1/22, 1/29, 2/5, 2/12, 2/26, 3/5, 3/12, 3/19, 3/26 · $325 (Nicolaus)
SAT 1–3:30pm · 1/20, 1/27, 2/3, 2/10, 2/24, 3/3, 3/10, 3/17, 3/24, 3/31 · $325 (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 Shakespeare

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

TUE 7–10pm · 1/9, 1/16, 1/23, 1/30, 2/6 · $230

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

Intermediate Acting

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 7–10pm · 1/9, 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6, 3/13 · $350
SAT 1–3:30pm · 2/24, 3/3, 3/10, 3/17, 3/24, 3/31 · $230

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.

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 · 1/10, 1/17, 1/24, 1/31, 2/7, 2/14, 2/21, 2/28, 3/7, 3/14 · $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.

Prerequisite: This class is for students who have taken at least one Intermediate class from the instructor in the past or have a strong physical theatre background.

THU 7–10pm · 2/15, 2/22, 3/1, 3/8, 3/15 · $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

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 · 2/12, 2/26, 3/5, 3/12, 3/19, 3/26 · $265

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.

Script Analysis

This class is for actors, directors, producers, or anyone interested in diving deeper into text. Students will be shown how to look for information regarding character, situation, story, and theme. There is no prerequisite for this class in the way of experience. A copy of Ariel Dorfman’s Death and the Maiden should be obtained and read before the first class. Please bring a notebook to class, as well as a pencil, in order to mark up your script. Open to all levels.

MON 7–9pm · 1/8, 1/22, 1/29, 2/5 · $145

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).

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 thumb drive). 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.

WED 7–10pm · 1/10, 1/17, 1/24, 1/31, 2/7, 2/14, 2/21, 2/28, 3/7, 3/14 · $350 (Level 2)
SAT 10am–12:30pm · 1/20, 1/27, 2/3, 2/10, 2/24, 3/3, 3/10, 3/17, 3/24, 3/31 · $325 (Level 1)

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).

Beginning Voice-Over Acting

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

MON 7–10pm · 1/8, 1/22, 1/29, 2/5, 2/12, 2/26, 3/5, 3/12, 3/19, 3/26 · $395

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

Intermediate Voice-Over Acting

In this voice-over class, students will study and practice multiple styles of voice acting, be introduced to more advanced techniques, and deepen their choices and confidence on the microphone. In addition, students will learn about recording equipment and how to set up a home studio.

Prerequisite: Beginning Voice-Over Acting class.

WED 7–10pm · 1/10, 1/17, 1/24, 1/31, 2/7, 2/14 · $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.

Voice-Over for Podcasters

Up the fan base of your podcast by learning simple voice-over skills to bring dynamic energy 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, authenticity, and on-air confidence. We will discuss the best equipment and recording spaces. Best of all, we will record a short podcast in each class! Class size is limited to 12.

SAT & SUN noon–5pm · 3/3, 3/4 · $200

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.

Mask Performance

Explore the core work of mask performance, using masks and styles from traditions including Commedia dell’arte and Balinese theatre. We will create character from the outside in, through performances that introduce heightened physical aesthetics and theatricality. Delving into the realms of character archetype, stereotype, and the grotesque, we will stretch ourselves in characterizations that span the spectrum from animal nature to the sublime.

MON 7–10pm · 1/22, 1/29, 2/5, 2/12, 2/26 · $230

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.

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.

THU 7–10pm · 2/15, 2/22, 3/1, 3/8, 3/15 · $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 · 1/18, 1/25, 2/1, 2/8, 2/15, 2/22, 3/1, 3/8, 3/15, 3/22 · $350

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 · 2/10 · $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: Small Sword

Ages 16 and up · Small sword is the most elegant and deadly of the personal combat weapons. Students will explore this juxtaposition of grace and violence by studying period movement in conjunction with swordplay. This course will cover the basic skills of theatrical small sword, stressing safety and partnership. Participants will also learn footwork, parries, thrusts, deceptions, wounds, kills, and many other skills allowing them to create the illusion of violence. It will be fast-paced, fun, and a good workout, too! All students will have the opportunity to rehearse and perform scenes that include stage combat and take a skills proficiency test for recognition as an Actor Combatant with Dueling Arts International. Class size is limited to 12. Full-fingered gloves are required. Open to all levels.

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

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

One-on-One Audition Coaching

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

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

Audition

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The Art of Auditioning

This class covers all aspects of the audition process but focuses on the commitment to strong, imaginatively chosen actions. Actors should prepare either a classical or a contemporary monologue for the first day of the workshop, and on the second day the focus will shift to working with sides and a reader. Learn how to show your full range as an actor and to bring any scene to dramatic life, ready to make any adjustments that the director might give you. Each actor will receive individual attention on their monologue, and we will recreate the audition situation with a reader or a scene partner, a director, and several sides from one or two plays. Sides will be distributed on Saturday so actors can prepare.

SAT & SUN noon–5pm · 2/24, 2/25 · $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.

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 · 1/9, 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6, 3/13 · $350

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 · 1/10, 1/17, 1/24, 1/31, 2/7, 2/14, 2/21, 2/28, 3/7, 3/14 · $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 · 1/10, 1/17, 1/24, 1/31, 2/7 (performance), 2/14, 2/21, 2/28, 3/7, 3/9 (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. “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. This class is specifically designed for professionals from any field who want to reap the benefits of this training and develop their leadership skills. In this playful and unpretentious atmosphere, you will learn to harness your creativity, enhance your public speaking, trust your instincts, deepen your listening skills, read nonverbal body language, master your emotions, quiet your inner critic, and gain confidence in front of an audience.

THU 7–9pm · 2/15, 2/22, 3/1, 3/8, 3/15 · $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 with Precision

Are you the kind of artist who wants to control everything? 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 clear and compelling story. We’ll cover three major topics throughout the course: a director’s script analysis, the basics of stagecraft and mise-en-scène, and strategies for communicating with actors to draw out their best performances. The course builds toward the presentation of a directed scene. Students should come to the class with an idea of a two-character, 10-minute scene that they’d like to direct. Casting resources of Berkeley Rep’s acting students as well as professional actor contacts will be available for the directors who request it. Students will leave the class with a clear process for preparing and rehearsing a scene from start to finish.

TUE 7–10pm · 1/9, 1/16, 2/6, 2/13, 2/20, 2/27 · $275

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.

Devising New Work: Fusing Art Forms

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.

WED 7–10pm · 2/21, 2/28, 3/7, 3/14, 3/21 (showing) · $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.

Movement

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Feldenkrais Method®: Access Your Creativity

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, health, reduce pain, increase sensitivity, vitality, and expand your movement repertoire. Moving becomes more pleasurable, more graceful, and effortless. Open to all levels.

SAT 10:30am–1pm · 3/31 · $50

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.

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 · 2/13, 2/20, 2/27, 3/6, 3/13 · $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.

THU 7–10pm · 2/15, 2/22, 3/1, 3/8, 3/15 · $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.

Mask Performance

Explore the core work of mask performance, using masks and styles from traditions including Commedia dell’arte and Balinese theatre. We will create character from the outside in, through performances that introduce heightened physical aesthetics and theatricality. Delving into the realms of character archetype, stereotype, and the grotesque, we will stretch ourselves in characterizations that span the spectrum from animal nature to the sublime.

MON 7–10pm · 1/22, 1/29, 2/5, 2/12, 2/26 · $230

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.

Stage Combat: Small Sword

Ages 16 and up · Small sword is the most elegant and deadly of the personal combat weapons. Students will explore this juxtaposition of grace and violence by studying period movement in conjunction with swordplay. This course will cover the basic skills of theatrical small sword, stressing safety and partnership. Participants will also learn footwork, parries, thrusts, deceptions, wounds, kills, and many other skills allowing them to create the illusion of violence. It will be fast-paced, fun, and a good workout, too! All students will have the opportunity to rehearse and perform scenes that include stage combat and take a skills proficiency test for recognition as an Actor Combatant with Dueling Arts International. Class size is limited to 12. Full-fingered gloves are required. Open to all levels.

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

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

Voice / Dialects

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Voice for Performance

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 · 1/11, 1/18, 1/25, 2/1, 2/8 · $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.

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 · 2/15, 2/22, 3/1, 3/8, 3/15 · $230

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

Beginning Voice-Over Acting

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

MON 7–10pm · 1/8, 1/22, 1/29, 2/5, 2/12, 2/26, 3/5, 3/12, 3/19, 3/26 · $395

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

Intermediate Voice-Over Acting

In this voice-over class, students will study and practice multiple styles of voice acting, be introduced to more advanced techniques, and deepen their choices and confidence on the microphone. In addition, students will learn about recording equipment and how to set up a home studio.

Prerequisite: Beginning Voice-Over Acting class.

WED 7–10pm · 1/10, 1/17, 1/24, 1/31, 2/7, 2/14 · $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.

Voice-Over for Podcasters

Up the fan base of your podcast by learning simple voice-over skills to bring dynamic energy 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, authenticity, and on-air confidence. We will discuss the best equipment and recording spaces. Best of all, we will record a short podcast in each class! Class size is limited to 12.

SAT & SUN noon–5pm · 3/3, 3/4 · $200

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 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

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Winter Playwriting Workshop

This program is for playwrights who are interested in an intensive eight-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’ work 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 eight.

Course includes a staged reading showcase of students’ new work presented Wednesday, March 14–Sunday, March 18.

TUE 7–10pm · 1/16, 1/23, 1/30, 2/6, 2/13, 2/20, 2/27, 3/6 · $525

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.

Devising New Work: Fusing Art Forms

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.

WED 7–10pm · 2/21, 2/28, 3/7, 3/14, 3/21 (showing) · $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.