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Classes will be held online through Zoom meetings. Zoom links will be emailed to students the day before class starts. If you do not receive your link, please email school@berkeleyrep.org.

In order to ensure that we send you information on how to access your class, we will be closing registration two hours prior to the start of class. If you are interested in joining a class that has already started, please email school@berkeleyrep.org.

 

Youth and teen classes

MON–FRI 1–4pm · 7/26–8/6 · $470

(via Zoom and guided individual activities)

Evening screening 8/6 (virtual)

 

Unlock your inner filmmaker while exploring your smartphone’s camera, or your family camcorder or DLR camera’s full filmmaking potential! This do-it-yourself filmmaking class will focus on building acting for the camera skills, screenwriting, filming, and how to put it all together with editing software. This filmmaking and acting intensive will cover pre- and post-production, and concludes with a final screening for family and friends. Students will be immersed in on-camera acting theory and practice. Students will perform for the camera multiple times to develop and demonstrate their understanding of acting for film. The intensive will shift gears, taking students behind the camera to learn film theory from all major disciplines, including screenwriting, directing, and editing/post-production.

 

Register

Financial aid

Our financial situation, like many art organizations, has dramatically shifted. We will still be able to offer a limited number of partial financial aid scholarships for students enrolling in our youth and teen classes.

Families applying for financial aid must submit a minimum $25 deposit per student at the time of registration. This amount secures the student’s place in the program while their financial aid application is under consideration.

Complete our application form or email school@berkeleyrep.org.

Adult classes

VIRTUAL UNLESS OTHERWISE NOTED

SAT 1–5pm · 7/31 · $80

 

“Theatre is a weapon, and it is the people who must wield it”—Augusto Boal

 

Anti-Asian attacks, assaults, and hate crimes are on the rise. According to a Pew Research Poll, 45% of Asian American adults have recently experienced some kind of slur, threat, insult, or other hate-related incident. Many Asians are afraid to leave their homes, as the incidents become more frequent, more violent, and more deadly. Theatre of the Oppressed is a form of popular theatre that was developed in Latin America under conditions of ethnic cleansing and mass atrocity. It seeks to empower oppressed communities to resist, challenge, and transform oppression and systemic violence using theatre as a tool/language to envision and rehearse change. It is, as the founder Augusto Boal called it, “Theatre as a Martial Art.” This workshop/teach-in will explore ways of resisting, defusing, and transforming racism with a focus on anti-Asian hatred, aggression, and violence. Theatre of the Oppressed does not prescribe a predetermined method or canned formula for defusing an assault or aggression. Instead, it uses the charged energy of the theatrical space as a laboratory to explore all possible solutions. This allows the group to pool their collective, creative wisdom and ingenuity, while developing fluid, dynamic, in-the-moment responses. This is done while sharpening critical analysis of structural factors enabling oppression, allowing intelligent intervention as well as upstream engagement and advocacy. It also empowers allies and bystanders to take action rather than to remain passive witnesses to violence, injustice, and horror, building an enduring sense of solidarity and allyship. If you’ve felt helpless, dismayed, outraged, or fearful at the attacks on your family, community, friends or neighbors, this is the workshop for you. This approach is designed to give participants concrete tools and insights, empowering you to be an active agent—an actor—in any situation, rather than a victim or a spectator to violence. This allows the insight, healing, and true empowerment that comes from awareness, preparedness, and genuine solidarity in justice. No theatre experience required. Please dress to move.

 

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.

 

Register

SAT 1–4pm · 8/14 · $65

 

“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.

 

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.

 

Register

Special offers

Sign up for two $200 adult classes and pay $360—save 10%!

Current Berkeley Rep season subscribers receive 10% off classes.

Blue Star families receive 15% off classes. Please email school@berkeleyrep.org to register.

Discounts may not be applied to certain classes.

 

Payment plans available

Email school@berkeleyrep.org to set up a payment plan for classes.

Classes in progress

If you are interested in joining a class that has already started, please email school@berkeleyrep.org.

MON–FRI 10:30am–4pm · 7/12–23 · $550

(with a lunch break, via Zoom and guided individual activities)

Evening performance 7/23 (virtual)

 

Collaborate with a professional playwright/director and form an artistic company in order to create and present an original performance piece! Text, movement, sound, and multi-faceted backgrounds will be incorporated in order to create a dynamic and kinetic online environment. Students will also immerse themselves in acting, voice, and movement classes.

 

Admittance into High School Summer Company will require an interview for selection. Please email school@berkeleyrep.org. All experience levels are welcome to apply! We are looking for students that will commit to working rigorously in class and outside of class. The company will meet mostly online and some sessions will be in person outside in the Berkeley Rep courtyard while adhering to all CDC and City of Berkeley health guidelines.

 

William Thomas Hodgson’s regional credits include Romeo (Oregon Shakespeare Festival), It Can’t Happen Here (Berkeley Rep), Calligraphy (TheatreWorks), Disney’s The Hunchback of Notre Dame (La Jolla Playhouse), An Octoroon (Mixed Blood Theatre), Trufaldino Says No (Shotgun Players), Seussical the Musical (Berkeley Playhouse), and I Am My Own Wife (Oakland Theater Project). He received his MFA from UC San Diego, and he is co-artistic director of the Oakland Theater Project. He has taught for Berkeley Rep School of Theatre, Berkeley Playhouse, ACT, UCSD, OSF, Park Day Middle School, Chatauqua Center, Roads Scholars, and more.

TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

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.

 

Safiya Fredericks has been a working actor navigating this business for several years. After studying at the London Academy of Music and Dramatic Art and bumbling around New York, she found her way to a steady career in regional theatre, most recently onstage as a company member at the Oregon Shakespeare Festival. She has previously worked at ACT, SF Playhouse, South Coast Rep, Yale Rep, Berkeley Rep, and others. She was the recipient of the Bay Area Theatre Critics Circle Award for Best Featured Actress for her work in black odyssey at Cal Shakes after being nominated once before for her role as the Witch in Into the Woods. You can see her in the film Bitter Melon now streaming on all platforms, and the upcoming I’m Charlie Walker with Mike Colter.

TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

Build a strong portfolio of audition pieces for both film and theatre! Your monologue is your handshake. It’s your way of reaching out and introducing yourself to a director, casting director, or agent. Monologues are an important tool to help you thrive in the audition process. And they are a tool that many actors overlook. This is an ideal time to invest in yourself and be ready for the flurry of live and online auditions that will no doubt proliferate as we emerge from the current crisis. In this class we’ll look at types of monologues and situations that call for different kinds of pieces. We’ll examine in depth how to take a monologue apart, rehearse it, and set it on its feet. We will discuss the kinds of monologues that every auditioning actor should have in their portfolio. Along the way you will be asked to make an honest appraisal of your “type” and what kinds of monologues are best suited particularly for you. Lastly, we’ll experiment with the difference between using monologues for theatre and for film. The etiquette for each type of audition will be discussed and practiced. How to film your own auditions will also be emphasized as self-submissions are becoming more common and necessary. This class is a wonderful opportunity to really make use of this time of isolation in preparation for jump-starting your career.

 

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.

SAT 10:30am–12:30pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $200

 

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.

 

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.

TUE 7–9pm · 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

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 be also discussed relating to the business side of show business, including audition technique, agents, union membership, photographs, and websites.

 

Students must be fully vaccinated and provide proof of vaccination to attend. Class will be held at the School of Theatre (2071 Addison Street, Berkeley) with a maximum of 10 participants.

 

Rolf Saxon (AEA, BAE, SAG/AFTRA) trained with ACT’s first Young Conservatory class and the Guildhall School of Music and Drama in London. Working extensively in film, television, and theatre, including the Royal Shakespeare Company and Theatre Complicte as well as West End and regional productions, his film and television credits include over 25 films and being a regular on three television series. Among others, he has worked with Tom Cruise, Brian De Palma, Vin Diesel, Tom Hanks, Daryl Hannah, Helen Mirren, Trevor Nunn, Ryan Reynolds, and Steven Spielberg. A director in both theatre and film, he has also been a private tutor and coach for over 20 years teaching including the Drama Lab (London) and the Guildhall School of Music and Drama (London). Currently, he is an Adjunct Professor of Drama at Ohlone College, teaches at the Berkeley Rep School of Theatre, SFAA, and the Royal Central School of Speech and Drama in London.

MON 6:30–9:30pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $350

 

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.

 

Sally Clawson is the owner of Voice One Training, the premiere voice acting school in San Francisco, and has over 20 years of experience as a voice actor, teacher, and performer. Her many voice over clients include Yoplait, Clorox, Toyota, Old Navy, McDonalds, Pixar, Apple, Google, Microsoft, EA Games, Telltale Games, and Lucas Arts, among others. Sally began developing the voice over curriculum at the Berkeley Rep School of Theatre in 2010, and is thrilled to be teaching for her ninth consecutive year at the school. She has also taught at Cal Shakes, Google Arts, and is a certified executive coach with the UC Berkeley Haas School of Business. In addition, Sally has a master’s degree in Performance from Mills College.

 

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

TUE 7–9pm · 7/6, 7/13, 7/20, 7/27, 8/3, 8/10 · $200

 

Discover the transformational powers of Shakespeare by embodying the heroes and sheroes you most admire. Using monologues from Shakespeare, you will explore the characters whose qualities you wish to emulate through dramaturgy, breath work, physical embodiment, and deep imaginative work regarding your chosen characters’ inner monologues and your personal power. Walk in Hermione’s shoes as you tackle questions of ethics and self-defense. Prepare for a fractious meeting using the motivating clarion call of Portia’s brilliant monologue. Learn how to walk like your character, talk like your character, and walk in their shoes. This is a class for those who aspire to take the next step in leadership, practice personal power, and inspire yourself and others.

 

Kate Cherry is an internationally acclaimed artistic director and director of theatre and opera. As artistic director of both Australia’s Black Swan State Theatre Company and NIDA, and associate director at Melbourne Theatre Company, Kate has directed over 50 professional productions for various notable performance institutions, including Seattle Opera, New Zealand Opera, Melbourne Theatre Company, Sydney’s Belvoir Street Theatre, and many other theatre and opera companies throughout Australia. She has commissioned over 30 new works, and created labs to explore new ways of creating work. Kate has an MFA from UCLA where she assisted Oskar Eustis and Tony Taccone and studied with Martha Clarke and Peter Sellars. She is a Drama League Alumnae and has received numerous awards for her directing. She has listened to over 1000 pitches, and advocated for work like The Sapphires, by Tony Briggs, ensuring the story skyrocketed from a conversation in a Melbourne pub to an acclaimed Hollywood movie. Kate has directed numerous screen and theatre luminaries, including multi-award winners Ben Mendelssohn (Emmy Award), Guy Pearce (Golden Globes and SAG Award), and Greta Scaachi (Emmy Award). She has also produced work by Judy Davis (BAFTAs, Golden Globes, Emmys) as a director, and studied with Oskar Eustis (artistic director of New York’s Public Theater, dramaturg of Angels in America, and producer of Hamilton).

MON 7–9pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $200

 

Improv will bring play and laughter into your life during these times of uncertainty! Play helps us stay connected and laughter is the shortest distance between two people! This class is designed to introduce you to the thrills and chills of improv and to develop your acting and narrative skills to boot…all from the comfort of your own home. Tap into your sense of joy, connection, and creativity all while learning how to take your improv acting from the stage to the screen.

 

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.

SAT 10am–1pm · 7/10, 7/17, 7/24, 7/31, 8/7, 8/14 · $275

 

If you have “the idea” that you believe will make the next great film or TV series, it’s time to learn the ins and outs of screenwriting! Spend six weeks learning structure, dialogue, form, and how to make your characters believable and leap off the page. As an amazing bonus, the skills you learn in this class are applicable to other media as well: TV, VR, games, short form content, theatre, immersive entertainments.

 

Christopher Morrison has written and produced projects in the fields of feature films, short films, VR 360 filmmaking, video games, and theatre magazine writing. His work has been screened/experienced on three continents and has active projects in Paris, Los Angeles, Belgium, and Australia. He is a member of the WGA West Videogame Writers Caucus.

WED noon–2pm · 6/23, 6/30, 7/7, 7/14, 7/21, 7/28, 8/4, 8/11, 8/18 · $275

 

Ever wanted to write a play? Got a little time on your hands? Push that dream forward a little bit in a nine-week playwriting workshop online. We’ll meet weekly, discuss the basics of playwriting, and share excerpts of developing scripts. If you’ve never written a play before, this is a good way to get started. If you’ve got a script in the works, but no one to share it with, here’s a writer’s group ready to listen and respond supportively. Do you find (like most playwrights) that nothing motivates you like a deadline? I can provide that, too. Join us, and start working on that play you’ve always wanted to write.

 

Gary Graves is a playwright and director living in the San Francisco Bay Area. Since 1998, he has been a company co-director of Central Works “The New Play Theater” in Berkeley, California, where he has overseen the development of over 65 world premiere productions. He received a PhD in dramatic art at UC Berkeley in 1994, and he teaches playwriting at the Berkeley Rep School of Theatre throughout the year.

THU 7–9pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $200

 

Learn physical triggers that will help you quickly find the placement, melody, and general sound changes for the Estuary dialects of London and surrounding areas. We will study the dialects in a multi-sensorial way, with a focus on the physical changes, phonetic sound changes, and immersion (listening to primary sources of the dialects). In the final two weeks of the class, each student will pick a specific sound source of the London area to research and will present the sound changes of this specific region’s dialect to the class, as well as perform a monologue from a play or film, utilizing that specific region’s dialect.

 

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.

MON 7–9pm · 7/12, 7/19, 7/26, 8/2, 8/9, 8/16 · $200

 

We will investigate how to approach better clarity in voice and speech when your voice is your primary tool, how to combat “Zoom fatigue,” how to stay grounded and feel your voice when talking to a screen, and how to maintain connection and eye contact even digitally. This class will enable students to gradually and safely build vocal strength while amplifying their vocal presence and intentions to have the clearest impact on their listener. 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.

 

William Thomas Hodgson’s regional credits include Romeo (Oregon Shakespeare Festival), It Can’t Happen Here (Berkeley Rep), Calligraphy (TheatreWorks), Disney’s The Hunchback of Notre Dame (La Jolla Playhouse), An Octoroon (Mixed Blood Theatre), Trufaldino Says No (Shotgun Players), Seussical the Musical (Berkeley Playhouse), and I Am My Own Wife (Oakland Theater Project). He received his MFA from UC San Diego, and he is co-artistic director of the Oakland Theater Project. He has taught for Berkeley Rep School of Theatre, Berkeley Playhouse, ACT, UCSD, OSF, Park Day Middle School, Chatauqua Center, Roads Scholars, and more.

THU noon–1:30pm · 7/8, 7/15, 7/22, 7/29, 8/5, 8/12 · $150

 

Tap classes are great for spirit, mind, and body, a terrific way to get in tiptop shape, and enjoy yourself. Learn how to tap in the tradition of the old masters and break ground with some of the new contemporary styles. Ear training, weight transfer, balance, stamina, style, and a chance to experiment with choreography are just a few benefits of the tap class. Whether you are a professional dancer or just starting out, come study with a world-renowned tapper who has danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance! Open to all levels.

 

Joe Orrach is an actor, choreographer, dancer, and story-teller in live theatre and film. Joe started as a boxer, Welterweight Champion of the US Air Force, before turning his athleticism to dance, especially tap. Joe has performed with the Smothers Brothers, Lilianne Montevecchi, Melissa Manchester, Michael Davis, Bill Irwin, Joan Baez, and others; tap-danced with Gregory Hines, Savion Glover, Nicholas Brothers, and Michelle Dorrance; and has been directed by Woody Allen, James Mangold, Tim Boxell, Jeremiah Chechik, Stefan Haves, and David Shiner. During 2013–18, Joe conceived, directed, choreographed, and performed his original works 147, In My Corner, The Boxer, Roughing It Up, and STReeT/FeaT in US and European theatres. Joe choreographed and was guest artist and boxing consultant in Terrence Blanchard’s opera Champion at SFJazz and reprised his featured role in 2017 at the Kennedy Center in DC. He recently choreographed The Royale at Aurora Theatre, Berkeley. Joe has an MFA from USC’s School of Dramatic Arts. When not on stage, Joe can be found in the classroom, community center, or boxing gym. Through Joe Orrach Performance Project, he reaches hundreds of students with programs that help them tell their own stories through rhythm, movement, and voice. He is the recipient of Dance Studio Life’s Generous Heart Award for his teaching.

School of Theatre major sponsors

Jonathan Logan Family FoundationWells Fargo

Gisele & Kenneth F. Miller

The Woodlawn Foundation

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