Adult classes

Summer workshops

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Theatre of the Oppressed: Mindfulness, Meditation, & Liberation

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

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

SAT & SUN 12:30–5:30pm · 6/1, 6/2 · $180

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.

Evolving Actor Intensive

This intensive is integrative and inspirational. This intensive will help you develop in three ways: personally, artistically, and professionally—and you will discover the powerful synergy of working on all three together. There will be exercises to deepen a fearless relationship to your true self, so that you can bring yourself more fully to the work. Targeted scene study will help you develop the emotional or technical skills you need to make a leap in your work, and group coaching will help you formulate and refine professional goals and strategies to get your work out of the classroom and into the world. All students will have the ability to correspond with the instructor prior to the course to formulate clear and specific objectives for the workshop. Join us and get a jolt of inspiration and wisdom that will carry you through the second half of 2019 and for a long time to come.

Auditors can attend one or both days. They can watch all the work and participate in all exercises, but will not be assigned a scene to present. $60 per day.

SAT & SUN 10am–5pm (30 minute lunch break) · 6/29, 6/30 · $250

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.

Musical Theatre Audition Technique

A master class with Maria-Christina Oliveras

De-mystify the musical theatre audition process in this master class with Broadway veteran Maria-Christina Oliveras, currently playing the role of Tolima in Berkeley Rep’s Kiss My Aztec! This workshop will include song selection/building your audition repertoire, finding the ideal 16 bars, song interpretation, and refining audition technique. Each student should come prepared with two contrasting 16 bar selections, up-tempo and ballad. An accompanist will be provided. Open to all levels.

SAT 10am–1pm · 7/13 · $85 (accompanist included)

Maria-Christina Oliveras has performed extensively on and off Broadway, regionally, internationally, and in film and television. She returns to Berkeley Rep, where she previously did Amélie. Her Broadway credits include Amélie (cast album), Machinal, and Bloody Bloody Andrew Jackson. Off-Broadway credits include Here Lies Love (The Public Theater; cast album), Pretty Filthy (Civilians; cast album), Taylor Mac’s 24 Decade… (St. Ann’s Warehouse), Reading Under the Influence (DR2), Bloody Bloody Andrew Jackson and Romeo and Juliet (The Public), and Zorba! (Encores!). Regionally, she has performed at Center Theatre Group, Yale Rep, Williamstown, Long Wharf, Huntington, Baltimore Centerstage, Sundance, and O’Neill, among numerous others. Selected film/TV: Manhattan Night, St. VincentNurse Jackie, Law & Order: SVU, The Blacklist, and Madame Secretary. She received her BA from Yale University and MFA from the National Theatre Conservatory. As an educator, she has served on faculty at Yale University, Fordham University Lincoln Center, Primary Stages, Stella Adler Conservatory, among numerous others, and frequently serves as a guest speaker at universities throughout the country. This fall, she will serve as Assistant Professor of Acting at Wesleyan University.

Kenji Higashihama made his Berkeley Rep debut as associate music director and keyboard 2 for Paradise Square earlier this season and is happy to be back for Kiss My Aztec! He is a freelance musician and private teacher recently transplanted to the Bay Area. Some previous credits include working with ‘Ulalena (Maui Theatre Lahaina), Mahi’ai Kekumu (local Hawaiian artist), Afro Criollo Sound (Afro-Caribbean band), Jill Santoriello (A Tale of Two Cities and It Happened in Key West), associate music directing a national tour of The Music Man (Windwood Productions), and more. Locally, he has been seen playing for organizations such as Esses Productions, Broadway by the Bay, Transcendence Theatre Company, Center Rep, The College Preparatory School, TRIS, and Piedmont Children’s Choirs.

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!

SAT 1–4pm · 7/13 · $65

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

Cross-Disciplinary Collaboration in the Professional Theatre

We live in a time of increasing financial and time constraints in the American theatre, and authentic, cross-disciplinary collaboration is hard to achieve. This one-day, highly interactive workshop is designed to bring together professional actors, directors, designers, writers, and devisers to explore the edges, both personally and professionally, of collaborating in the theatre. During the session we’ll explore how to recreate the modes and processes of collaboration based on the pressing questions and challenges of each artistic discipline. By stripping ourselves of the labels of “designer, director, actor, deviser, and writer,” everyone in the room is simply a creator and collaborator. We’ll explore how using non-traditional and design-based exercises can make collaboration both transformative and generative in the interpretation of text or creation of new work. The session will culminate in participants applying their learning to a collaborative project.

SAT 10am–4:30pm (30 minute lunch break) · 7/20 · $135

Paul Cello is an artist and consultant with a passion for collaboration and a cross-disciplinary approach to theatre making. Paul has been teaching, acting, and directing for the last 25 years. Locally, Paul helped facilitate (through theatre collective 2by4) the early development of Christopher Chen’s Obie Award-winning play Caught and has also directed several productions of other Bay Area playwrights. Paul has also had the pleasure of working at Shakespeare and Company, Steppenwolf Theatre, Interlochen Center for the Arts, Chichester Festival Theatre, and Royal Court. In addition to his theatre work, Paul has worked globally in the areas of leadership and organization development for the last 20 years, helping individuals and teams increase their capacity for authentic collaboration and transformational change.

Melpomene Katakalos has been a freelance scenic designer, combining the art of storytelling with a compelling environment, collaborative processes, and the dynamics between collaborators. She has been designing predominately in San Francisco, NYC, and Philadelphia, designing over 100 productions, many of which were world premieres, over the last 20+ years. Her designs have been seen on a variety of stages including La Jolla Playhouse, San Francisco Mime Troupe, California Shakespeare Theater, Cornerstone Theatre, and InterAct Theatre. In NYC, she has designed off Broadway at the Clurman, HERE Arts Center, La Mama, 45th Street Theatre, and the Triad. Her designs and devised works have been performed at the Beijing International Fringe and the Singapore International Fringe. She is the director of the New Play Design Lab at the Bay Area Playwrights Foundation, and is a co-founder of Crowded Fire Theater Company, which has been producing and commissioning new works for over 20 years. She has the honor of having her work chosen to represent the United States at the 2019 Prague Quadrennial of Performance Design and Space, the largest performance design event in the world. Among her many nominations and awards are two San Diego Playbill Awards, two Bay Area Critics Circle nominations, a Barrymore nomination, and the honor of Best Set Designer from The East Bay Express.

Play with Your Food: Cooking and Eating as Theatre

As sensual and aesthetic acts, preparing and eating food have theatrical, ritual, and even musical possibilities. The acts of cooking and eating can be sensual and social, and of course have cultural significances and political implications. Using somatic and physical exercises, writing, talking, and improvising, we’ll delve into all these dimensions of cooking and eating to investigate their theatrical potentials, and begin to craft some of those potentials into performance. In this experimental, experiential workshop, we will use exercises from various disciplines, including Viewpoints, BodyMind Centering, and Contact Improvisation. Each participant is invited to bring a food that has personal meaning or sparks their creative interest. You can literally bring the food, or just the story of what it means to you and how it inspires, confounds, tantalizes, or amuses you.

SAT 1–4pm · 7/20 · $65

Nina Galin is a dance-theatre artist, educator, and a somatic therapist. She grew up doing a range of theatre practices, from Marlowe to The Music Man. Her passion for movement and performance as research led her into modern and postmodern dance and choreography. In recent years her love for text and movement has included experimental productions based on Shakespeare, Melville, and Beckett as well as original autobiographical words, verbatim interviews, and historical research. She did extensive study of dance history, theory, and experimental choreography at UC Riverside and received her MFA in choreography and doctorate in Performance Studies from UC Davis. As a somatic therapist and educator, she draws on Alexander Technique, Feldenkrais, BodyMind Centering, Pilates, yoga, and connective tissue massage. She lives in Santa Rosa with her wife and dogs.

Mining Myths: Adaptation Workshop

Adaptation is an art form that is alive and well in the theatre world. From Sarah Ruhl (Eurydice) to Mary Zimmerman (Metamorphoses), theatre-makers are constantly revisiting classic stories and applying them to our times. Even Shakespeare was an adaptor, picking and choosing from myths of the past. And why not? Myths are myths for a reason: they’re great stories. In this full-day workshop, we will select, adapt, and produce a version of an ancient myth. The day will begin with the selection and exploration of a myth. As an ensemble of adaptors/theatre-makers, we will then create a piece of theatre based on the myth. We will flex our theatrical and dramaturgical muscles, mining the stories for relevance and theatricality. The day will culminate in a performance open to friends and family. Playwrights and performers are welcome to apply to this immersive, interactive, dynamic workshop.

SAT 10am–4pm (30 minute lunch break) · 7/27 · $125

Alex Moggridge is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s mainstage multiple times, including the recent production of Metamorphoses. He has also acted with such companies as American Conservatory Theater, Actors Theatre of Louisville, Yale Rep, Long Wharf Theatre, and many more. Alex’s plays have appeared off Broadway and regionally. His most recent production, The Boatman (an adaptation of a Greek myth, which he wrote for Berkeley Rep School of Theatre’s Summer Intensive), recently opened to critical acclaim at Flint Repertory Theatre. Alex holds an MFA in acting from ACT.

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. Open to all levels.

SAT 1–5pm · 7/27 · $85

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.

Get Your Trip On!

A workshop for actors, improvisers, clowns, comedians, and anyone who is excited to develop their physical funny

In this four-hour course, you’ll learn the basics of physical comedy and knockabout clowning, from solo slapstick to partner acrobatics to building comedic bits. You’ll build essential skills like slipping, tripping, tumbling, falling, and running into walls, and we’ll cover comic violence including partner slaps, hair pulls, foot stomps, head bonks, and other accidentally injurious actions. Finally, we’ll explore comic structure, and you’ll string your skills together to create a short slapstick duet that will serve to develop character and tell a story.

SAT 1–5pm · 8/3 · $85

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Joan Howard is a physical theatre creator, slapstick acrobat, and clown. She is a graduate of Flying Actor Studio’s Physical Theatre Conservatory and a student of red nose clown and pedagogy with master teacher Giovanni Fusetti. Joan is core faculty at SF Circus Center’s Clown Conservatory, is a slapstick choreographer and props designer for Bay Area Children’s Theatre, and works as a hospital clown with the Medical Clown Project. She is co-creator of Idiot String, an ensemble theatre company devoted to inciting delight and activating meaningful human connection through play.

Vocal Presence for Women

Is your voice enhancing or reducing your impact? We speak every day in a variety of situations, and our voice is the most powerful tool to achieve our objectives and navigate the workplace. Yet we rarely focus on how to use it effectively. In this interactive workshop, voice and speech coach Deborah Eubanks will help you explore the range and dynamism of your voice. Through warm-up exercises, breathing techniques, and practice, you’ll develop the skills to unleash your innate, unique vocal power.

This class can also be taken as a follow up to the May workshop, Vocal Presence for Women, and each student from that class is asked to bring in a passion piece along with work-day examples in order to build a deeper understanding of individual communications styles.

SAT 10am–4pm (30 minute lunch break) · 8/3 · $125

Deborah Eubanks was born and raised in London where she combined her knowledge of anatomy as an RN tutor with her theatre training at the Harold Pinter Studios. Deb currently serves on the faculty at SF Academy Art University. She worked with Stephen Hawking’s theatre company Libra. She offers courses at Berkeley Rep and the University of San Francisco (“Voice for Performance”), and coaches for executives from companies such as Sephora, Wells Fargo, Financial Times, Facebook, and Oculus.

Devised Theatre/Collective Creation

Devised Theatre or collective creation is a method of theatre-making in which the script or performance score originates from collaborative, often improvisatory work by a performing ensemble. Together, we will engage in exercises and techniques from improvisation, writing prompts, and yoga, as well as the work of the Frantic Assembly and Viewpoints. This work cultivates physical awareness, a sense of play, and the courage to risk and create new work.

SAT 10am–4pm (30 minute lunch break) · 8/10 · $125

Joshua Waterstone is a director, arts producer/administrator, actor, fight choreographer, educator, and ensemble theatre maker. Bay Area ensemble theatres that Joshua is working with are Ragged Wing Ensemble, recently closing Time Sensitive by Amy Sass, and Fools Fury, acting in the upcoming September/October regional premiere of Dionysus Was Such A Nice Man by Kate Tarker. Joshua serves as Company and Production Manager of Ragged Wing Ensemble. As a director Joshua has created/devised the ensemble works Perspective, which investigates reactions to the overview effect, as well as Under Construction 2017: A Collage of America Today. Joshua is a former company member of Fly-By-Theatre in Atlanta, which devised productions at the intersection of theatre and dance. Joshua holds an MFA in Directing for Stage and Screen from the Johnny Carson School of Theatre and Film at UNL. Joshua is an Associate Member of the Stage Directors and Choreographers Society, an Actor/Combatant and member of the Society of American Fight Directors, and a 200-hour Classical Yoga Teacher.

Feldenkrais Method® Awareness Through Movement

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

SAT 10:30am–1pm · 8/10 · $60

Christine Germain is a movement explorer, dancer, and choreographer. She takes pleasure in discovering new ways to move. She is intrigued by how people move by themselves in relationship to others and space. After traveling and studying various dances around the world, Christine earned her BFA in dance from Concordia University (Montréal, Canada) in 2007. The Feldenkrais Method® helped her to recover from a serious injury and a car accident, which allowed her to get back to dance and even circus. This convinced her to become an instructor and practitioner of the Method. She recently graduated with a Master of Fine Arts in Dramatic Arts with specialization in choreography at UC Davis, where she teaches dance and Awareness Through Movement.

Acting

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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 7–10pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $265

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.

Beginning/Intermediate Acting

Develop a basic understanding of acting fundamentals through Stanislavski-based practice while analyzing and performing contemporary scenes/monologues. Special emphasis is placed on elements of dramatic action, text analysis, and character development, as well as the tools for releasing inhibitions and expanding vocal and physical range. May be repeated.

SAT 10am–12:30pm · 7/13, 7/20, 7/27, 8/3, 8/10, 8/17 · $250

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

Acting Shakespeare’s Comedies: Summer Lovin’ around the Bay Area

The Shakespeare comedies being produced around the Bay Area this summer present a dazzling spectrum of Shakespeare’s various approaches to the form, from the magical and pastoral worlds of A Midsummer Night’s Dream and As You Like It, to the troubled cynicism of Measure for Measure, to the outright farce of The Comedy of Errors. Using these plays as a starting point, we’ll look at how a direct engagement with the text, its sounds and its rhythms, can inform the actor’s approach to a fuller and deeper understanding of Shakespeare’s comic worlds, and his task in bringing the characters to life.

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

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

Intermediate Acting

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

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

WED 7–10pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $265

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

Evolving Actor Intensive

This intensive is integrative and inspirational. This intensive will help you develop in three ways: personally, artistically, and professionally—and you will discover the powerful synergy of working on all three together. There will be exercises to deepen a fearless relationship to your true self, so that you can bring yourself more fully to the work. Targeted scene study will help you develop the emotional or technical skills you need to make a leap in your work, and group coaching will help you formulate and refine professional goals and strategies to get your work out of the classroom and into the world. All students will have the ability to correspond with the instructor prior to the course to formulate clear and specific objectives for the workshop. Join us and get a jolt of inspiration and wisdom that will carry you through the second half of 2019 and for a long time to come.

Auditors can attend one or both days. They can watch all the work and participate in all exercises, but will not be assigned a scene to present. $60 per day.

SAT & SUN 10am–5pm (30 minute lunch break) · 6/29, 6/30 · $250

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.

Inhabiting Shakespeare: Intermediate/Advanced

Inhabiting is a psychophysical technique for actors, utilizing breath, voice, and physicality as a springboard into emotion and intellect. Gain concrete tools for approaching Shakespeare with increased ease, joy, and confidence! In addition to movement and voice modalities, we will improve flexibility of expression by exploring the potential for hexameter within the verse: a fresh look at iambic pentameter. Students will put these techniques into practice through the medium of short scenes. Inhabiting was developed by Susan-Jane Harrison, drawing on The Royal Shakespeare Company’s approach to text (Kristin Linklater and Cicely Berry), and the work of Richard Schechner and Rudolf Laban.

WED 7–10pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $265

Susan-Jane Harrison is a British-American playwright, performer, and teacher. She trained as an actor at the Royal Academy of Dramatic Art, with a MFA from the University of California at Davis. Unusual collaborations in Harrison’s artistic work have allowed her to develop across disciplines (acting, writing, and dance). As performer and playwright, she continues to work internationally (the UK, USA, NZ, and AU). Most notably she has worked with BBC Radio and A&BC Theatre Co in the UK. In the USA, she has worked with Berkeley Rep, Aurora Theatre Company, Woman’s Will, American Conservatory Theater, California Shakespeare Theater, and A Traveling Jewish Theatre. She has performed on Theatre Row in NYC at United Solo Festival, and her work as a playwright has been produced as part of the RADA Festival and in the San Francisco Bay Area. She is currently an actor with the Pop-Up Globe Theatre in NZ/AU for the 2018–19 season.

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.

TUE 7–10pm · 7/16, 7/23, 7/30, 8/6, 8/13 · $240

Kenneth Ransom is a professional actor, teacher, and coach who has worked consistently in the industry for over 30 years. Kenneth began his career 30 years ago in the seminal coming-of-age television drama, Fame. His acting credits include over 35 film and television productions (U.S. and Australia), including Gods of Egypt with Geoffrey Rush, Gerard Butler, and Chadwick Boseman; China Beach with Dana Delaney and Michael Boatman; and Equal Justice with Sarah Jessica Parker and Joe Morton. He recently appeared in Doctor Doctor for Australian Channel 9 and Childhood’s End for the Syfy Channel. In addition to the Mark Taper Forum in LA and Shakespeare & Company in Massachusetts, his stage credits include almost every major performance company in Australia, including Melbourne Theatre Company, Bell Shakespeare, and Belvoir St Theatre (Sydney), Black Swan State Theatre Company (Perth), Queensland Theatre (Brisbane), and Opera Australia. Titles include Glengarry Glen Ross, Angels in America, The Motherfucker with the Hat, Metamorphoses (with Mary Zimmerman), McReele, Take Me Out, Boy Gets Girl, and Stuff Happens. Kenneth has taught acting and screen performance at The Colorado College in Colorado Springs, Melbourne Theatre Company, Victorian College of the Arts (Melbourne), St Martins Youth Arts Centre (Melbourne), Western Australian Academy of the Performing Arts, and Queensland University of Technology (full-time lecturer).

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. Open to all levels.

SAT 1–5pm · 7/27 · $85

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.

On-Camera Acting

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

MON 7–10pm · 7/15, 7/22, 7/29, 8/5, 8/12 · $260

Kenneth Ransom is a professional actor, teacher, and coach who has worked consistently in the industry for over 30 years. Kenneth began his career 30 years ago in the seminal coming-of-age television drama, Fame. His acting credits include over 35 film and television productions (U.S. and Australia), including Gods of Egypt with Geoffrey Rush, Gerard Butler, and Chadwick Boseman; China Beach with Dana Delaney and Michael Boatman; and Equal Justice with Sarah Jessica Parker and Joe Morton. He recently appeared in Doctor Doctor for Australian Channel 9 and Childhood’s End for the Syfy Channel. In addition to the Mark Taper Forum in LA and Shakespeare & Company in Massachusetts, his stage credits include almost every major performance company in Australia, including Melbourne Theatre Company, Bell Shakespeare, and Belvoir St Theatre (Sydney), Black Swan State Theatre Company (Perth), Queensland Theatre (Brisbane), and Opera Australia. Titles include Glengarry Glen Ross, Angels in America, The Motherfucker with the Hat, Metamorphoses (with Mary Zimmerman), McReele, Take Me Out, Boy Gets Girl, and Stuff Happens. Kenneth has taught acting and screen performance at The Colorado College in Colorado Springs, Melbourne Theatre Company, Victorian College of the Arts (Melbourne), St Martins Youth Arts Centre (Melbourne), Western Australian Academy of the Performing Arts, and Queensland University of Technology (full-time lecturer).

Advanced Acting

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

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

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

MON 6:30–9:30pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/22 · $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.

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 work with copy from various areas of voice-over reflecting the current market and trends, and will be required to record assignments outside of class. Students without a home studio can record assignments on their phone or other device that creates MP3s. Class size is limited.

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

MON 7–10pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $350

Jim Edgar has been captivated by voice-over and recording his whole life. As a full-time VO, he has voiced a Star Wars Stormtrooper ornament warning kids to stay away from presents, the Levi’s Stadium Talking Scoreboard campaign, and appeared as an ongoing voice for John Muir Health. He works across all areas of voice-over with commercial, narrative, eLearning clients including Adobe, Exploratorium, Samsung, Visa International, Oracle, Cisco, and Eisenhower Healthcare. You may have heard him as Captain Thorn and the Evil Dr. Houser in the Deadwood Mansion VR Escape Room, Blackfeather the Assassin in VainGlory, Quigley the Robot in Leapfrog’s Letter Machine Rescue Team, The Birdman of Alcatraz in 1954 Alcatraz, or the laconic (and holographic) Bartender in Emerald Theater. Jim also works as an audio consultant to voice actors setting up home studios and is on the faculty at Voicetrax SF.

Play with Your Food: Cooking and Eating as Theatre

As sensual and aesthetic acts, preparing and eating food have theatrical, ritual, and even musical possibilities. The acts of cooking and eating can be sensual and social, and of course have cultural significances and political implications. Using somatic and physical exercises, writing, talking, and improvising, we’ll delve into all these dimensions of cooking and eating to investigate their theatrical potentials, and begin to craft some of those potentials into performance. In this experimental, experiential workshop, we will use exercises from various disciplines, including Viewpoints, BodyMind Centering, and Contact Improvisation. Each participant is invited to bring a food that has personal meaning or sparks their creative interest. You can literally bring the food, or just the story of what it means to you and how it inspires, confounds, tantalizes, or amuses you.

SAT 1–4pm · 7/20 · $65

Nina Galin is a dance-theatre artist, educator, and a somatic therapist. She grew up doing a range of theatre practices, from Marlowe to The Music Man. Her passion for movement and performance as research led her into modern and postmodern dance and choreography. In recent years her love for text and movement has included experimental productions based on Shakespeare, Melville, and Beckett as well as original autobiographical words, verbatim interviews, and historical research. She did extensive study of dance history, theory, and experimental choreography at UC Riverside and received her MFA in choreography and doctorate in Performance Studies from UC Davis. As a somatic therapist and educator, she draws on Alexander Technique, Feldenkrais, BodyMind Centering, Pilates, yoga, and connective tissue massage. She lives in Santa Rosa with her wife and dogs.

Theatre of the Oppressed: Mindfulness, Meditation, & Liberation

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

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

SAT & SUN 12:30–5:30pm · 6/1, 6/2 · $180

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.

One-on-One Audition Coaching

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

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

Private Voice

Learn to sing with ease and confidence, eliminating vocal pain and fatigue while improving your range and breath control. Each session includes breathing and relaxation exercises, vocal exercises and technique, and vocal coaching on songs, including how to act a song and how to prepare a musical theatre audition.

MON between 10am–noon · $80/hour
To schedule a voice session email rcastelli@berkeleyrep.org

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

Improvisation

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Beginning/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.

WED 7–10pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $265

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

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.

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

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

Genre Dialect Work for Improvisers and Actors

Western and Southern Genre

Are you tired of doing a generic southern accent in your improv scenes? Do you want to learn the subtle and not-so-subtle differences between the various southern states? Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for some of the most commonly called for dialects in improvisation. We will study the dialects in a multi-sensorial way, with a focus on the physical changes, the phonetic sound changes, and immersion (listening to primary sources of the dialect). We’ll also get the dialects up on their feet in improv games and scenes placed in the south, including Westerns, Tennessee Williams, and Southern Gothic.

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

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.

Movement Play for Improvisers and Actors

Explore the actor’s most powerful instrument—the body! In this class you will gain confidence, awareness, and freedom of the full physicality of your body on stage. Through the study of movement techniques including partner acrobatics, improvisational dance, contact improv, physical theatre, and beginning ground acrobatics, we will develop a foundation for creative, spontaneous, physical acting choices. We will train our bodies in order to develop fluidity, poise, vulnerability, and presence on stage. We will practice creative tools for improvising and devising movement in service of physical storytelling, learn to quickly create embodied and dynamic characters for the stage, and develop body awareness, endurance, and general fitness through strength and range of motion training. This is a movement-based class open to beginners. It will be highly physical, but we will train and explore in an environment that is safe and empowering for all.

THU 7–10pm · 7/18, 7/25, 8/1, 8/8, 8/15 · $240

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Audition

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Musical Theatre Audition Technique

A master class with Maria-Christina Oliveras

De-mystify the musical theatre audition process in this master class with Broadway veteran Maria-Christina Oliveras, currently playing the role of Tolima in Berkeley Rep’s Kiss My Aztec! This workshop will include song selection/building your audition repertoire, finding the ideal 16 bars, song interpretation, and refining audition technique. Each student should come prepared with two contrasting 16 bar selections, up-tempo and ballad. An accompanist will be provided. Open to all levels.

SAT 10am–1pm · 7/13 · $85 (accompanist included)

Maria-Christina Oliveras has performed extensively on and off Broadway, regionally, internationally, and in film and television. She returns to Berkeley Rep, where she previously did Amélie. Her Broadway credits include Amélie (cast album), Machinal, and Bloody Bloody Andrew Jackson. Off-Broadway credits include Here Lies Love (The Public Theater; cast album), Pretty Filthy (Civilians; cast album), Taylor Mac’s 24 Decade… (St. Ann’s Warehouse), Reading Under the Influence (DR2), Bloody Bloody Andrew Jackson and Romeo and Juliet (The Public), and Zorba! (Encores!). Regionally, she has performed at Center Theatre Group, Yale Rep, Williamstown, Long Wharf, Huntington, Baltimore Centerstage, Sundance, and O’Neill, among numerous others. Selected film/TV: Manhattan Night, St. VincentNurse Jackie, Law & Order: SVU, The Blacklist, and Madame Secretary. She received her BA from Yale University and MFA from the National Theatre Conservatory. As an educator, she has served on faculty at Yale University, Fordham University Lincoln Center, Primary Stages, Stella Adler Conservatory, among numerous others, and frequently serves as a guest speaker at universities throughout the country. This fall, she will serve as Assistant Professor of Acting at Wesleyan University.

Kenji Higashihama made his Berkeley Rep debut as associate music director and keyboard 2 for Paradise Square earlier this season and is happy to be back for Kiss My Aztec! He is a freelance musician and private teacher recently transplanted to the Bay Area. Some previous credits include working with ‘Ulalena (Maui Theatre Lahaina), Mahi’ai Kekumu (local Hawaiian artist), Afro Criollo Sound (Afro-Caribbean band), Jill Santoriello (A Tale of Two Cities and It Happened in Key West), associate music directing a national tour of The Music Man (Windwood Productions), and more. Locally, he has been seen playing for organizations such as Esses Productions, Broadway by the Bay, Transcendence Theatre Company, Center Rep, The College Preparatory School, TRIS, and Piedmont Children’s Choirs.

One-on-One Audition Coaching

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

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

Movement

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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!

SAT 1–4pm · 7/13 · $65

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

Feldenkrais Method® Awareness Through Movement

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

SAT 10:30am–1pm · 8/10 · $60

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.

Get Your Trip On!

A workshop for actors, improvisers, clowns, comedians, and anyone who is excited to develop their physical funny

In this four-hour course, you’ll learn the basics of physical comedy and knockabout clowning, from solo slapstick to partner acrobatics to building comedic bits. You’ll build essential skills like slipping, tripping, tumbling, falling, and running into walls, and we’ll cover comic violence including partner slaps, hair pulls, foot stomps, head bonks, and other accidentally injurious actions. Finally, we’ll explore comic structure, and you’ll string your skills together to create a short slapstick duet that will serve to develop character and tell a story.

SAT 1–5pm · 8/3 · $85

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Joan Howard is a physical theatre creator, slapstick acrobat, and clown. She is a graduate of Flying Actor Studio’s Physical Theatre Conservatory and a student of red nose clown and pedagogy with master teacher Giovanni Fusetti. Joan is core faculty at SF Circus Center’s Clown Conservatory, is a slapstick choreographer and props designer for Bay Area Children’s Theatre, and works as a hospital clown with the Medical Clown Project. She is co-creator of Idiot String, an ensemble theatre company devoted to inciting delight and activating meaningful human connection through play.

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. Open to all levels.

SAT 1–5pm · 7/27 · $85

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.

Movement Play for Improvisers and Actors

Explore the actor’s most powerful instrument—the body! In this class you will gain confidence, awareness, and freedom of the full physicality of your body on stage. Through the study of movement techniques including partner acrobatics, improvisational dance, contact improv, physical theatre, and beginning ground acrobatics, we will develop a foundation for creative, spontaneous, physical acting choices. We will train our bodies in order to develop fluidity, poise, vulnerability, and presence on stage. We will practice creative tools for improvising and devising movement in service of physical storytelling, learn to quickly create embodied and dynamic characters for the stage, and develop body awareness, endurance, and general fitness through strength and range of motion training. This is a movement-based class open to beginners. It will be highly physical, but we will train and explore in an environment that is safe and empowering for all.

THU 7–10pm · 7/18, 7/25, 8/1, 8/8, 8/15 · $240

Hannah Gaff is a movement theatre creator, acrobatic clown, and teaching artist based in San Francisco and a core member of UpLift Physical Theatre. She received a MFA in ensemble-based physical theatre from Dell’Arte International in 2015. Compelled by the transformative power of performance, Hannah seeks to disarm the world through joyful play, physical engagement, and authentic connection. In San Francisco, Hannah works as a hospital clown with the Medical Clown Project, teaches at the Clown Conservatory in San Francisco, manages the youth circus performance program at AcroSports, and performs with Clowns Without Borders, providing entertainment in crisis situations as a means of psychological support to communities who have suffered trauma.

Voice / Dialects

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Voice for Performance: On the Stage and in Daily Life

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

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

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

Voice Feminization for the Trans Woman/Gender Diverse Individual

Find your authentic voice that expresses and is congruent with your gender identity. We will explore exercises to change pitch, resonance, and intonation. The skills learned in the exercises will be reinforced by applying them to specific speaking situations. Christine Adaire is a Designated Linklater Master Teacher, trained by the world-renown voice authority Kristin Linklater. She is Head of Voice at American Conservatory Theater. In addition to working with actors, she specializes in working with Trans/Gender Diverse individuals to help them find a voice that is consistent with their gender identity. She is a contributing writer to the third edition of Voice and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Guide (Plural Publishing).

TUE 7–10pm · 7/9, 7/16, 7/23, 7/30, 8/6, 8/13 · $250

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

Vocal Presence for Women

Is your voice enhancing or reducing your impact? We speak every day in a variety of situations, and our voice is the most powerful tool to achieve our objectives and navigate the workplace. Yet we rarely focus on how to use it effectively. In this interactive workshop, voice and speech coach Deborah Eubanks will help you explore the range and dynamism of your voice. Through warm-up exercises, breathing techniques, and practice, you’ll develop the skills to unleash your innate, unique vocal power.

This class can also be taken as a follow up to the May workshop, Vocal Presence for Women, and each student from that class is asked to bring in a passion piece along with work-day examples in order to build a deeper understanding of individual communications styles.

SAT 10am–4pm (30 minute lunch break) · 8/3 · $125

Deborah Eubanks was born and raised in London where she combined her knowledge of anatomy as an RN tutor with her theatre training at the Harold Pinter Studios. Deb currently serves on the faculty at SF Academy Art University. She worked with Stephen Hawking’s theatre company Libra. She offers courses at Berkeley Rep and the University of San Francisco (“Voice for Performance”), and coaches for executives from companies such as Sephora, Wells Fargo, Financial Times, Facebook, and Oculus.

Musical Theatre Audition Technique

A master class with Maria-Christina Oliveras

De-mystify the musical theatre audition process in this master class with Broadway veteran Maria-Christina Oliveras, currently playing the role of Tolima in Berkeley Rep’s Kiss My Aztec! This workshop will include song selection/building your audition repertoire, finding the ideal 16 bars, song interpretation, and refining audition technique. Each student should come prepared with two contrasting 16 bar selections, up-tempo and ballad. An accompanist will be provided. Open to all levels.

SAT 10am–1pm · 7/13 · $85 (accompanist included)

Maria-Christina Oliveras has performed extensively on and off Broadway, regionally, internationally, and in film and television. She returns to Berkeley Rep, where she previously did Amélie. Her Broadway credits include Amélie (cast album), Machinal, and Bloody Bloody Andrew Jackson. Off-Broadway credits include Here Lies Love (The Public Theater; cast album), Pretty Filthy (Civilians; cast album), Taylor Mac’s 24 Decade… (St. Ann’s Warehouse), Reading Under the Influence (DR2), Bloody Bloody Andrew Jackson and Romeo and Juliet (The Public), and Zorba! (Encores!). Regionally, she has performed at Center Theatre Group, Yale Rep, Williamstown, Long Wharf, Huntington, Baltimore Centerstage, Sundance, and O’Neill, among numerous others. Selected film/TV: Manhattan Night, St. VincentNurse Jackie, Law & Order: SVU, The Blacklist, and Madame Secretary. She received her BA from Yale University and MFA from the National Theatre Conservatory. As an educator, she has served on faculty at Yale University, Fordham University Lincoln Center, Primary Stages, Stella Adler Conservatory, among numerous others, and frequently serves as a guest speaker at universities throughout the country. This fall, she will serve as Assistant Professor of Acting at Wesleyan University.

Kenji Higashihama made his Berkeley Rep debut as associate music director and keyboard 2 for Paradise Square earlier this season and is happy to be back for Kiss My Aztec! He is a freelance musician and private teacher recently transplanted to the Bay Area. Some previous credits include working with ‘Ulalena (Maui Theatre Lahaina), Mahi’ai Kekumu (local Hawaiian artist), Afro Criollo Sound (Afro-Caribbean band), Jill Santoriello (A Tale of Two Cities and It Happened in Key West), associate music directing a national tour of The Music Man (Windwood Productions), and more. Locally, he has been seen playing for organizations such as Esses Productions, Broadway by the Bay, Transcendence Theatre Company, Center Rep, The College Preparatory School, TRIS, and Piedmont Children’s Choirs.

Genre Dialect Work for Improvisers and Actors

Western and Southern Genre

Are you tired of doing a generic southern accent in your improv scenes? Do you want to learn the subtle and not-so-subtle differences between the various southern states? Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for some of the most commonly called for dialects in improvisation. We will study the dialects in a multi-sensorial way, with a focus on the physical changes, the phonetic sound changes, and immersion (listening to primary sources of the dialect). We’ll also get the dialects up on their feet in improv games and scenes placed in the south, including Westerns, Tennessee Williams, and Southern Gothic.

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

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

Advanced Voice-Over Acting

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

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

MON 7–10pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $350

Jim Edgar has been captivated by voice-over and recording his whole life. As a full-time VO, he has voiced a Star Wars Stormtrooper ornament warning kids to stay away from presents, the Levi’s Stadium Talking Scoreboard campaign, and appeared as an ongoing voice for John Muir Health. He works across all areas of voice-over with commercial, narrative, eLearning clients including Adobe, Exploratorium, Samsung, Visa International, Oracle, Cisco, and Eisenhower Healthcare. You may have heard him as Captain Thorn and the Evil Dr. Houser in the Deadwood Mansion VR Escape Room, Blackfeather the Assassin in VainGlory, Quigley the Robot in Leapfrog’s Letter Machine Rescue Team, The Birdman of Alcatraz in 1954 Alcatraz, or the laconic (and holographic) Bartender in Emerald Theater. Jim also works as an audio consultant to voice actors setting up home studios and is on the faculty at Voicetrax SF.

Private Voice

Learn to sing with ease and confidence, eliminating vocal pain and fatigue while improving your range and breath control. Each session includes breathing and relaxation exercises, vocal exercises and technique, and vocal coaching on songs, including how to act a song and how to prepare a musical theatre audition.

MON between 10am–noon · $80/hour
To schedule a voice session email rcastelli@berkeleyrep.org

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

Playwriting

Summer Playwriting Workshop

This program is for playwrights who are interested in an intensive seven-week developmental workshop period, followed by a staged reading of their work in an open workshop setting. This very successful program is an exciting way to take a script to the next stage. The culminating reading series amounts to the presentation of eight new plays in four days. It’s an exhilarating experience, but a demanding one. Writers must be prepared to take the lead in the staging of their own plays, as this workshop includes a hands-on production component. Secondly, writers will participate in the readings of fellow students within the group and are responsible for supporting each other in generating an audience for their readings. Consent of the instructor is required prior to enrollment. Students interested in being in the workshop are requested to submit the following materials to ggraves@berkeleyrep.org: a brief description of the project they want to work on in the class or a PDF draft of the script (partial drafts are acceptable). Submissions are reviewed in the order received. Class enrollment is limited to eight.

Course includes a staged reading showcase of students’ new work presented Thursday, August 15–Sunday, August 18.

SAT 10am–2pm · 6/29, 7/13, 7/20, 7/27, 8/3, 8/10 · $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.

Storytelling / Devising

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Storytelling: Find Your Voice

In this five-week course, we will dive into the art of storytelling and solo performance. Storytelling is an art form as old as human civilization. Personal stories from the heart keep us connected to one another and to our compassion, a vital need in our world today. Whether you have a solo show you are working on or you want to hone your performance skills for professional reasons, this class will help you harness your creativity, trust your instincts, quiet your inner critic, find your unique voice, and develop presence and ease in front of an audience. Through acting, improv, and writing exercises, we will get that story out of your head and onto the stage. The class will culminate in a student performance at the School of Theatre.

THU 7–10pm · 7/18, 7/25, 8/1, 8/8, 8/15 · $240

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.

Devised Theatre/Collective Creation

Devised Theatre or collective creation is a method of theatre-making in which the script or performance score originates from collaborative, often improvisatory work by a performing ensemble. Together, we will engage in exercises and techniques from improvisation, writing prompts, and yoga, as well as the work of the Frantic Assembly and Viewpoints. This work cultivates physical awareness, a sense of play, and the courage to risk and create new work.

SAT 10am–4pm (30 minute lunch break) · 8/10 · $125

Joshua Waterstone is a director, arts producer/administrator, actor, fight choreographer, educator, and ensemble theatre maker. Bay Area ensemble theatres that Joshua is working with are Ragged Wing Ensemble, recently closing Time Sensitive by Amy Sass, and Fools Fury, acting in the upcoming September/October regional premiere of Dionysus Was Such A Nice Man by Kate Tarker. Joshua serves as Company and Production Manager of Ragged Wing Ensemble. As a director Joshua has created/devised the ensemble works Perspective, which investigates reactions to the overview effect, as well as Under Construction 2017: A Collage of America Today. Joshua is a former company member of Fly-By-Theatre in Atlanta, which devised productions at the intersection of theatre and dance. Joshua holds an MFA in Directing for Stage and Screen from the Johnny Carson School of Theatre and Film at UNL. Joshua is an Associate Member of the Stage Directors and Choreographers Society, an Actor/Combatant and member of the Society of American Fight Directors, and a 200-hour Classical Yoga Teacher.

Mining Myths: Adaptation Workshop

Adaptation is an art form that is alive and well in the theatre world. From Sarah Ruhl (Eurydice) to Mary Zimmerman (Metamorphoses), theatre-makers are constantly revisiting classic stories and applying them to our times. Even Shakespeare was an adaptor, picking and choosing from myths of the past. And why not? Myths are myths for a reason: they’re great stories. In this full-day workshop, we will select, adapt, and produce a version of an ancient myth. The day will begin with the selection and exploration of a myth. As an ensemble of adaptors/theatre-makers, we will then create a piece of theatre based on the myth. We will flex our theatrical and dramaturgical muscles, mining the stories for relevance and theatricality. The day will culminate in a performance open to friends and family. Playwrights and performers are welcome to apply to this immersive, interactive, dynamic workshop.

SAT 10am–4pm (30 minute lunch break) · 7/27 · $125

Alex Moggridge is an actor/playwright based in New York City. He has appeared on Berkeley Rep’s mainstage multiple times, including the recent production of Metamorphoses. He has also acted with such companies as American Conservatory Theater, Actors Theatre of Louisville, Yale Rep, Long Wharf Theatre, and many more. Alex’s plays have appeared off Broadway and regionally. His most recent production, The Boatman (an adaptation of a Greek myth, which he wrote for Berkeley Rep School of Theatre’s Summer Intensive), recently opened to critical acclaim at Flint Repertory Theatre. Alex holds an MFA in acting from ACT.

Cross-Disciplinary Collaboration in the Professional Theatre

We live in a time of increasing financial and time constraints in the American theatre, and authentic, cross-disciplinary collaboration is hard to achieve. This one-day, highly interactive workshop is designed to bring together professional actors, directors, designers, writers, and devisers to explore the edges, both personally and professionally, of collaborating in the theatre. During the session we’ll explore how to recreate the modes and processes of collaboration based on the pressing questions and challenges of each artistic discipline. By stripping ourselves of the labels of “designer, director, actor, deviser, and writer,” everyone in the room is simply a creator and collaborator. We’ll explore how using non-traditional and design-based exercises can make collaboration both transformative and generative in the interpretation of text or creation of new work. The session will culminate in participants applying their learning to a collaborative project.

SAT 10am–4:30pm (30 minute lunch break) · 7/20 · $135

Paul Cello is an artist and consultant with a passion for collaboration and a cross-disciplinary approach to theatre making. Paul has been teaching, acting, and directing for the last 25 years. Locally, Paul helped facilitate (through theatre collective 2by4) the early development of Christopher Chen’s Obie Award-winning play Caught and has also directed several productions of other Bay Area playwrights. Paul has also had the pleasure of working at Shakespeare and Company, Steppenwolf Theatre, Interlochen Center for the Arts, Chichester Festival Theatre, and Royal Court. In addition to his theatre work, Paul has worked globally in the areas of leadership and organization development for the last 20 years, helping individuals and teams increase their capacity for authentic collaboration and transformational change.

Melpomene Katakalos has been a freelance scenic designer, combining the art of storytelling with a compelling environment, collaborative processes, and the dynamics between collaborators. She has been designing predominately in San Francisco, NYC, and Philadelphia, designing over 100 productions, many of which were world premieres, over the last 20+ years. Her designs have been seen on a variety of stages including La Jolla Playhouse, San Francisco Mime Troupe, California Shakespeare Theater, Cornerstone Theatre, and InterAct Theatre. In NYC, she has designed off Broadway at the Clurman, HERE Arts Center, La Mama, 45th Street Theatre, and the Triad. Her designs and devised works have been performed at the Beijing International Fringe and the Singapore International Fringe. She is the director of the New Play Design Lab at the Bay Area Playwrights Foundation, and is a co-founder of Crowded Fire Theater Company, which has been producing and commissioning new works for over 20 years. She has the honor of having her work chosen to represent the United States at the 2019 Prague Quadrennial of Performance Design and Space, the largest performance design event in the world. Among her many nominations and awards are two San Diego Playbill Awards, two Bay Area Critics Circle nominations, a Barrymore nomination, and the honor of Best Set Designer from The East Bay Express.

 

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