American Comedy Institute One Year Program in Comedy Performing & Writing Catalog Volume I September 1, 2018

Home , Barry Katz, Ben Rosenfield, Gotham Comedy Club, Greg Giraldo

Table of Contents

1. Identifying Data – name of school, volume and date of publication ...... 1 2. Approved Catalog ...... 3 3. Purpose ...... 3 4. Goals and Objectives ...... 3-6 5. Welcome ...... 6 6. The One Year Program in Comedy Performing & Writing: Size and Scope ...... 6 7. Administration, Staff, Board of Directors & Faculty Biographies ...... 6-11 8. Calendar ...... 11 9. Enrollment Dates & Policies & Entrance Requirements ...... 11-15 10. Policy for Granting Credit for Previous Education & Training ...... 15 11. College Credit Disclaimer Statement ...... 15 12. Retention Policies ...... 15-16 13. Standards of Progress Including Grading System ...... 16-17 14. Rules and Regulations for Conduct ...... 17-18 15. Cost of the Program ...... 18 16. Refund Policy ...... 18 17. Office Location & Hours of Operation ...... 19 18. Classroom and Performance Locations and Facilities ...... 19-20 19. Curriculum ...... 20-23 20. Time Requirements for the One Year Program ...... 23 21. Financial Aid Information ...... 24 22. Statement of Student Rights ...... 24-26 23. Pass Rate of School’s Graduates for License of any Certificate Exam Required by State or City for Employment ...... 26 24. Associations, Agencies and Governmental Bodies which Accredit, Approve or License the School ...... 27 25. Grievance Procedures ...... 27-28 26. Disclosure Statement ...... 28 27. State Authorization ...... 28

2 APPROVED CATALOG The contents of this catalog have been approved by the Director and Board of Directors of American Comedy Institute. We encourage you to read this catalog to learn more about the training and performing opportunities offered by American Comedy Institute.

PURPOSE American Comedy Institute’s purpose is to provide an education to its students in comedy writing and performing that will enable them to pursue careers in acting, stand-up, improvisation, and writing.

The course offerings and performance opportunities offered by ACI are designed to further the mastery of the comedic crafts for students ranging from beginners to established professionals. ACI’s relationships with the top comedy clubs and cabarets in New York City, nationwide and around the world enable our students to perform in venues that promote the creation of quality comedy.

American Comedy Institute’s curriculum and performance opportunities provide its students with the education, experience, and exposure to pursue comedy in all of its venues.

ACI’s curriculum is constantly being reevaluated and improved by the Director, the administrative staff, the faculty, and its students. The criteria that teachers are both gifted in the classroom and working professionals helps ensure the relevancy and efficacy of the ACI education.

American Comedy Institute’s location in New York City allows our students to view some of the finest comedy in the world as part of their coursework. ACI has arrangements with top comedy clubs that permit our students to attend shows for free. Our location also contributes to the excellence of our faculty. Since New York City headquarters much of the comedy industry, it is an invaluable location for our students to begin and further the networking that leads to professional careers.

GOALS & OBJECTIVES a. Philosophy ACI’s fundamental goals have been articulated by its founding director, Stephen Rosenfield:

“Our philosophy at American Comedy Institute is that the best comedy training does three things. One, it helps you find your own comic voice – what is original and different and wonderful about your sense of humor. Two, it teaches you how to communicate your unique comedy skillfully, fearlessly and entertainingly to the largest possible audience. And three, it instills love and respect for comedy and its capacity to help us survive by showing us that we can face the truth – and laugh!

It is our belief that by offering our students training, performing opportunities, and information, and by introducing their work to the entertainment industry, we are significantly enhancing their capability to pursue comedy as a career.” b. Methodology The courses offered by American Comedy Institute deconstruct the fundamentals of comedy performing and writing as a means of initiating students to the comedic arts and refining and furthering the work of established professionals.

3 1. ACI course offerings include: Stand Up Comedy Performing and Writing; Sketch Comedy Performing and Writing; Late-Night Talk Show Performing and Writing; Webisode Performing, Writing, and Producing; Sitcom Writing; Acting for the Stage; On-Camera Acting; Commercial Audition Technique; Improvisation. 2. As part of ACI’s coursework, students perform stand-up comedy, sketch comedy, improvisation, monologues, and scene nights on stages throughout New York City. These performances in front of live audiences are fundamental to the process of finding your own original comic voice and developing consistently funny material. c. Instruction The output of professional comedians, actors, and writers that have come from ACI is ongoing testimony to the effectiveness of its instruction. Master teachers who are also working professionals utilize instruction that is a fusion of classical comedy training with the innovative teaching techniques created by ACI’s Director and its core and guest faculty.

1. All of our courses unfold based on a curriculum that is created by the faculty and the Director. 2. Courses are added based on significant new developments within the comedy and entertainment industry. 3. Courses are refined and improved based on systematic input from our student population. 4. Courses are designed to accommodate the individual learning curve of each individual student. 5. It is ACI policy that mentoring of our students is ongoing and continues on beyond students’ enrollment. d. Research A pedagogical tenant of American Comedy Institute is that knowledge of the accomplishments of the great comedians and comedy writers of the past, as well as those who are currently in the forefront, is an essential component in the education of the entire ACI community, including faculty, students, and staff.

1. Viewing and analysis of former and current grandmasters of comedy is a component of the coursework at ACI. 2. ACI has made arrangements with comedy clubs so that its students may attend shows for free or at a significantly reduced rate. 3. Instruction in the writing courses includes study of both scripts and videos created by renowned comedy writers. 4. When appropriate, required reading is part of the curriculum. 5. Students are assigned to view exemplary sketch comedy and stand-up on YouTube and other Internet sources. 6. Students are encouraged to utilize resources available at:

The Paley Center for Media 25 West 52nd Street New York, NY 10019-6129 (212) 621-6600 http://www.paleycenter.org

4 The New York Public Library for the Performing Arts at Lincoln Center 10 Lincoln Center Plaza, Avery Fisher Hall at Lincoln Center New York, NY 10023-7503 (212) 874-2931 http://www.nypl.org/locations/lpa e. Curriculum Performances & Productions There is an element of objectivity in evaluating the effectiveness of a performance that is unique to comedy. Audiences laugh or they don’t laugh. When they laugh, the laughs are big, medium, or small. This provides creators of comedy the opportunity to refine and edit their work in response to audience reactions. To take full advantage of this, public performances are an integral part of ACI’s course offerings. ACI provides these performance opportunities on an ongoing basis in comedy clubs, theatres, and cabarets throughout New York City to both our current students and alumni. Performing in these first-class venues provides our students with an opportunity that is extremely hard to come by for new comic talent.

1. All stand-up writing and performing classes involve performances at Gotham Comedy Club and the Broadway Comedy Club, two of NYC’s finest stand-up venues. 2. The Sketch Comedy course and Improvisation course include performances at the renowned Peoples Improv Theater (the PIT). 3. Acting classes include monologue and scene nights performed at various cabarets and theatres throughout NYC. 4. The Late-Night Talk Show Performing and Writing class culminates in the production of a Late Night Talk Show recorded in front of a live audience. 5. The Webisode Performing, Writing, & Producing class involves the production and posting of student-produced webisodes. f. Industry Exposure ACI has earned a worldwide reputation as a center for learning to perform and write comedy. ACI utilizes its reputation to gain industry exposure to the work of our current students and alumni.

1. Since ACI faculty is required to be working professionals, our students gain industry exposure the moment they walk into one of our classrooms. 2. Guest speakers who are on the forefront of the comedy and entertainment industries regularly meet with ACI students and have the opportunity to see their work. 3. The One Year Program industry showcase at Gotham Comedy Club is viewed by casting directors from CBS, ABC, NBC, MTV, Paramount, WB, and Nickelodeon, along with leading agents, managers, and bookers. 4. Because working professionals are part of the student population and alumni of ACI, professional opportunities arise for our students from other students and alumni. 5. When ACI students achieve a consistent professional level of work, the Director arranges for these students to be auditioned at comedy clubs in NYC and throughout North America. g. Community Since its founding in 1989, ACI has provided a community for both aspiring comedians and comedy writers as well as established professionals. Such a community in the world of comedy, where often performers and writers are on their own, is hard to come by. Providing this community is viewed by ACI as one of its essential functions.

1. ACI students are encouraged to produce their own shows and use ACI-trained students as their performers. Such shows are being performed in NYC and throughout the entire Tri-state area. The faculty and staff provide these student producers with the expertise and industry contacts necessary to produce a quality show. 2. ACI’s coursework and performances involve the collaboration of its students, faculty and staff. 3. In addition to performances that are tied into course curricula, ACI produces ongoing comedy shows that are open to all its students and alumni. Often alumni who are professionals appear in these shows using the shows as opportunities to work on new material. These shows provide an ongoing ACI community experience for our students, alumni, faculty, and staff. 4. Students, faculty and staff are offered free admission to all ACI performances and productions. This provides another opportunity for ACI’s community to be together. 5. ACI’s social network presence functions to reach out to lovers of comedy and aspiring and established comedy practitioners. ACI is committed to expanding its virtual community throughout the world.

WELCOME All people who love comedy and want to learn more about how to create it; all people who want to make creating comedy their avocation; all people who wish to make comedy their profession; and all professionals who wish to elevate their craft, welcome to the American Comedy Institute.

THE ONE YEAR PROGRAM IN COMEDY PERFORMING & WRITING: SIZE AND SCOPE American Comedy Institute’s One Year Program in Comedy Performing & Writing was established in 2000. The One Year Program is designed to capitalize on comedy’s unique position within the entertainment industry. People skilled in comedy typically breach the traditional walls that separate entertainment professions. Stand-ups write movies, plays, television series, and best-selling books. Writers become television talk show hosts and movie and television stars. The optimum goal of a professional in comedy is to become the hyphenated comedian-writer-actor-producer. The scope of the One Year Program is designed to enable students to achieve this goal.

The One Year Program in Comedy Performing and Writing is for people who know they want careers in comedy. Each year the program accepts eighteen (18) to twenty-two (22) students.

ADMINISTRATION AND STAFF Stephen Rosenfield, Director and Agent Stephen Rosenfield is the Director and corporate owner of American Comedy Institute. He coaches and directs performers ranging from beginners to Emmy and Tony Award-winning and Oscar- nominated star talent. The accomplishments of Stephen Rosenfield’s students include starring roles in movies, network and premium cable television series, commercials, Broadway and off-Broadway productions, and hosting their own radio programs. His students have made development deals with CBS, ABC, Fox, HBO, Paramount, the Henson Co. and Tribune Entertainment. They have made appearances on Letterman, Leno, Conan O’Brien, The Daily Show, SNL, Last Comic Standing, and Comedy Central Shows including Comedy Central Presents, one hour specials, and Comedy Central’s Premium Blend. They have appeared in the Montreal, Aspen, and Las Vegas Comedy Festivals. They have appeared in both the Edinburgh and New York International Fringe Festivals, and in every comedy club in N.Y. and L.A., and in clubs throughout the U.S. and around the world. They have

6 written for Saturday Night Live, the Late Show with David Letterman, The Chris Rock Show and have written and starred in their own one-person shows off-Broadway, and at Caroline’s on Broadway, the Gotham Comedy Club and the New York International Fringe Festival. Stephen Rosenfield has produced, written and directed comedy shows at Caroline's on Broadway, Gotham Comedy Club, PSNBC, Stand-Up New York, The Comic Strip, Don't Tell Mama and The Improv. For three years he produced, directed and wrote for Rubber Feet, the sketch comedy group that appeared regularly at The Comic Strip. He directed and co-authored the Obie Award-winning musical comedy review, The Present Tense. He has directed plays at the Roundabout Theater, The Ensemble Studio Theater, The Actor's Studio, Manhattan Class Company and the Intiman Theatre. He received the Los Angeles Drama-Logue Award and a Robby nomination for his direction of the musical, Charlie and Algernon.

Stephen has been a guest artist and lecturer in comedy at Brigham Young University, Virginia Commonwealth University, Barnard College, University of Washington, The New School, New York University, and the Union Theological Seminary. He was the founding Artistic Director of Humber College’s Program in Comedy, a former Professor of Theatre and Comedy and the former Director of the Comedy Program at William Patterson University. He is currently a member of the Board of Directors of the National Association of Schools of Theatre (NAST). Stephen has a BA in Theatre and Drama cum laude from Lawrence University and a MFA in Theatre Direction from Stanford University.

BOARD OF DIRECTORS Beth Farber, Board Chairperson Beth Farber is an attorney who has dedicated her career to the rights of the criminally accused. She has represented clients in hundreds of federal trial court cases and in scores of cases before the federal courts of appeal, including the Supreme Court. Prior to opening her own practice in her native New York, Ms. Farber was an attorney with the Office of the Federal Public Defender for the District of Maryland. Beth taught appellate litigation at the Columbus School of Law of the Catholic University of America in Washington DC for four years and has been on the faculty of numerous professional seminars in appellate litigation and has lectured on a variety of topics in federal criminal law. She is a member of the New York Council of Defense Lawyers and the National Association of Criminal Defense Lawyers.

Rick Dorfman, Board Member Rick began his career in comedy management with Barry Katz Management helping develop the talent of future stars such as Dave Chapelle, Jeff Ross, Dane Cook, Wanda Sykes, Jay Mohr and Darrell Hammond. In 1998 he founded his own company, Rick Dorfman Entertainment. He discovered and developed some of the best young comedians in the city including Greg Giraldo, Ed Helms, Demetri Martin, Amy Schumer and John Mullaney. He's developed and created TV deals for a multitude of comedy stars such as Mike Birbiglia, Richard Jeni and Mario Cantone. He has served as an Executive Producer for a number of network sitcoms and cable television shows including the ABC show Common Law, with longtime client Greg Giraldo, Sidney Percy with client JB Smoove and Life with David J with client DJ Nash who is now a celebrated Hollywood television writer. After 8 years of running his own company, Rick joined forces with Jonathan Baruch to form Rain Management Group, a bicoastal management and production company. He continues to find and develop comedic talent with the support of a New York and Los Angeles office. Rick is an adjunct Professor at Drexel University where he teaches his new approach to management.

7 Donovon Lytle, Board Member In addition to his role on the ACI Board of Directors, Donovan Lytle is Vice President of Business Development at the university academic software company, Wimba. Lytle joined Wimba in 2001, and developed the US higher education, K-12 and publishing markets, helping establish Wimba as a major player in the US education space. In 2010, Wimba was bought by Blackboard, an online classroom database. Prior to joining Wimba, Lytle was Director of Development at the English Language Institute at the University of Montana where he taught English as a Second Language and directed the institute's growth within the Linguistics program. Lytle holds an MA in Linguistics from the University of Montana.

Ben Rosenfield, Board Member Ben Rosenfield is an actor. Ben played Willie Thompson in HBO’s Boardwalk Empire. He recently costarred with Academy Award winner Anne Hathaway in the film Song One, which premiered at the 2014 Sundance Film Festival. He costarred with Carrie Mulligan in the Atlantic Theater production of Through a Glass Darkly directed by David Leveaux. He played Tim Buckley in the motion picture Greetings From Tim Buckley which premiered at the Toronto Film Festival. Ben's other films include Jamesy Boy with James Woods and Affluenza directed by Kevin Asch.

Nelson Braff, Board Member Nelson Braff, Esq., co-founder and President of Perrin, Holden & Davenport Capital Corp. ("PHD Capital") is an attorney with an extensive background in the world of finance. After graduating from Brooklyn College in 1980 with a B.A. in Economics, he entered Emory University School of Law in Atlanta, Georgia, where he earned his J.D. in 1982. Nelson practiced law for the next 15 years at several firms, including Certilman, Balin, Adler & Hyman; Jacobs, Zinns, Schneyer, & Braff, PC, and Braff & Michael, PC. His areas of expertise encompass real estate, entertainment and corporate law. A consummate public speaker, Nelson's hobby for years was stand-up comedy, and he performed at such high profile comedy clubs as Don't Tell Mama, The Improv and Caroline's. He and his longtime friend Jody Eisenman formed PHD Capital, a Wall Street brokerage and investment-banking firm, in 1995. Active in numerous philanthropies, Mr. Braff co-founded the nonprofit "American Friends of Gifted Young Musicians," to help nurture the musical gifts of talented but financially needy children internationally. Several of these youngsters are now on their way to becoming renowned musicians. He serves as board member of Surprise Lake Summer Camp (where he was once a camper), and was recently honored by Chai Lifeline/Camp Simcha, an organization which serves and supports extremely sick children and their families. Nelson is also active in the Jaffa Institute, the Boy Scouts of America, and was a volunteer Assistant Fencing Coach at the Millennium High School in Manhattan.

John O’Boyle, Board Member John O'Boyle is a Broadway producer. He is a Tony nominee for Matilda the Musical and a Tony winner for Best Play for Vanya and Sonia and Masha and Spike. His productions include: Simon Bent's Elling at the Barrymore, November 2010; Jerry Herman and Harvey Fierstein's La Cage Aux Folles (winner of three Tony's including Best Musical Revival) at the Longacre, April 2010; Nick Blaemire and James Gardiner's musical, Glory Days at Circle in the Square, May 2008; Harvey Fierstein and John Bucchino's musical, A Catered Affair (three Tony nominations) at the Walter Kerr, April 2008; Mark Twain's play, Is He Dead? (one Tony nomination) at the Lyceum, November 2007; and August Wilson's final play, Radio Golf (four Tony nominations) at the Cort in May, 2007. In London he produced Legrand, Schonberg, Boublil, and Kretzmer's musical Marguerite at the Haymarket in May, 2008. Also he associate produced My Name Is Rachel Corrie off-Broadway at the Minetta Lane in October, 2006. A graduate of the 14-

8 week CTI Producing Seminars, John has a BA in Theater Arts from Lawrence University and an MFA in directing from Catholic University. He worked at Arena Stage as a House Manager from 1976 to 1980. He has written three musicals, the last, Playing God, had a reading at Roundhouse Theatre. He is a member of Dramatist Guild and ASCAP. In his non-theater career he was President of InterCare, Inc., a developer/operator of nursing homes, assisted living, and medical office facilities for 25 years.

John Morrison, Board Member John Morrison has thirty years experience as a creative director in New York, Los Angeles and Chicago with such advertising agencies as BBDO, Della Femina, McNamee WCRS, J. Walter Thompson, Leo Burnett and Saatchi & Saatchi. The clients he has worked with include Anderson Consulting, Apple, AT&T, Bank of America and British Airways. John also performs comedy professionally. As a stand-up, John has served as host/producer in clubs including the Broadway Comedy Club, the Greenwich Village Comedy Club, Comix and the Cornelia Street Café. John was a New York City finalist for the US Comedy Arts Festival at Aspen.

FACULTY Deb Rabbai, Teacher Deb Rabbai has been performing professionally for the last twenty years. She's a producer, co-creator and performer in the critically acclaimed improvised musical comedy, "Broadway’s Next Hit Musical!" www.broadwaysnexthitmusical.com and performs with the National touring company of Chicago City Limits. She is an experienced teacher of improvisation who has taught at New York University, Marymount Manhattan, Humber Comedy Center, New York Improv Festival, Funny Women Festival, Orlando Fringe Festival, Improv etc. & Weist Barron. She has led workshops on "Teamwork and Creativity" to corporate executives with Revlon, Oxygen Network, Merck, Pfizer, AAA, Bristol Myers Squibb, Credit Suisse and Genentech among others. She has created programs which teach curriculum through improvisation and has taught improvisation through Arts Connection, Arts Horizons, Young Audiences and Theatre for a New Audience in the New York, New Jersey & Connecticut public schools. She's appeared on Late Night with Conan O'Brien and in a commercial for Mastercard. She's done voiceovers for television and radio for products you love and created the voice for "Shenfa" in the SEGA Dreamcast game "Shenmue." She is well known as a voice actress among anime fans having voiced over 40 anime films. She is a graduate of the American Academy of Dramatic Arts. www.misspeep.blogspot.com

Joannie Mackenzie, Teacher Joannie Mackenzie teaches acting. On Broadway, her students have been featured in Cabaret, Fosse, Love, Valour and Comission, The Pajama Game, and on television in The Guiding Light and One Life to Live. Her acting process provides students the opportunity to investigate their individuality as a performer. It gives them the chance to explore their own uniqueness as an actor. Ms. Mackenzie is also a working actress. Most recently she appeared in Twelfth Night in the role of Sir Andrew Aguecheek at the Hudson Guild Theatre and as The Servant in Howard Barker’s Judith at the Kraine Theater in Manhattan. She has also performed at the Manhattan Theater Club, Seattle Repertory Company, Asolo Repertory Company and in summer stock, television and independent films. Ms. Mackenzie’s directing credits include sketch comedy performances at Caroline’s and The Gotham Comedy Club as well as staged readings of Suzanne Mernyk’s Fortune Cookies at the Neighborhood Playhouse and Edna O’Brien’s Virginia for the Shakespeare’s Sister Company. Joannie received her BFA in Acting from Stephens College and her MFA at Florida State University.

9 Joe Schiappa, Teacher Joe Schiappa teaches comedy writing. He is a writer/performer based in New York City. Joe recently directed Steve Buschemi and New York City Mayor Bill de Blasio in a video for New York’s Inner Circle revue. He is a winner of the Sierra Mist Creative Lab. He most recently wrote for MTV's Silent Library and Money From Strangers. He has worked as a theatre director specializing in developing shows that have gone Off Broadway, to the HBO Comedy Festival in Aspen in 2003 and 2007 and the Strip in the Las Vegas. Joe trained with the Second City Training Center and Shira Piven of The Piven Theatre. He currently performs and teaches sketch and improv at The People's Improv Theatre in New York City. Joe received his BA in Writing from Emerson College.

Lexi Cullen-Baker, Teacher Lexi Cullen-Baker teaches stand-up. She has had the privilege of working alongside of Terrence Mann and Christopher d’Amboise at the Minetta Lane Theatre as well as worked with Lewis Black at the Williamstown Theatre Festival. She regularly performs at clubs and colleges all over the country. She has been featured in Stamford Advocate and Next Magazine. She has been seen on Bravo TV and Comedy Time TV. Lexi has a BA in Theatre and Dance from Washington University in St. Louis and is also a graduate of the American Comedy Institute’s One Year Program. She is a professor in the Theatre and Comedy Department at William Paterson University in New Jersey.

Ted Greenberg, Guest Lecturer Ted Greenberg teaches late night talk show writing. He is an Emmy Award winning comedy writer formally a staff writer for Late Night with David Letterman. He also was an editor for the Harvard Lampoon humor magazine. Mr. Greenberg is a stand-up comic and the star of the hit off-Broadway show, THE COMPLETE PERFORMER. It has played weekly at the Soho Playhouse since August of 2008 and is co-written and directed by Stephen Rosenfield.

Stan Zimmerman, Guest Lecturer Stan Zimmerman teaches Sitcom Audition Technique. Stan's extraordinary television comedy credits include: Writer/Producer: Gilmore Girls (WB), Roseanne (ABD) WGA Nomination- Best Comedy Episode for the infamous "Kiss Episode." The Golden Girls (NBC) WGA Nomination-Best Comedy Episode and Writer: Annie (ABC-Movie of the Week). His film credits include: Writer: The Brady Bunch Movie and A Very Brady Sequel.

Rick Dorfman, Guest Lecturer Rick Dorfman teaches Career Planning. As a talent manager, he has discovered and managed the careers of some of the best comedians in New York City. Over the years he is responsible for discovering and managing the careers of Greg Giraldo, Ed Helms, Demetri Martin, Amy Schumer and John Mullaney just to name a few. He has developed and created TV deals for a multitude of comedy stars such as Mike Birbiglia, Richard Jeni, Mario Cantone and many other clients. Dorfman's management and production companies continue to push the entertainment boundaries, and as a result he became an adjunct professor at Drexel University teaching his new approach to management.

10 CALENDAR Thanksgiving Break– SCHOOL CLOSED Christmas Day- SCHOOL CLOSED New Years Day- SCHOOL CLOSED MLK Day – SCHOOL CLOSED Good Friday- SCHOOL CLOSED

ENROLLMENT DATES & POLICIES & ENTRANCE REQUIREMENTS FOR THE ONE YEAR PROGRAM

1. Students are required to fulfill all of the procedures outlined in the Admissions Policy for the One Year Program in Comedy Writing & Performing. (See below). 2. Accepted students’ placement in the program is not secure until $100 non-refundable registration fee towards tuition is received. 3. Accepted students agree that they will be held financially responsible for the full cost of tuition once the program commences. 4. Accepted students who decide not to do the program are entitled to a refund of monies paid toward tuition, less the $100 non-refundable registration fee. Notice must be given in writing and received by ACI one week prior to the commencement of the program. For refund for matriculated students please see the refund policy. 5. Students must be on time to class and must stay for the duration of the class. Exceptions must be approved by the instructor prior to the beginning of the class. 6. Students must agree to adhere to the Rules and Regulations of Conduct, which are outlined in detail in this catalog. 7. Students who successfully meet the enrollment policies perform in the Industry Showcase and are granted a certificate of completion.

ADMISSIONS The One Year Program has a rolling admission policy. Within three weeks of completion of the application process students will be informed whether they are accepted into the program, on the wait-list, or declined admission to the program. Applications are accepted until the time that the program is full. Each year ACI accepts 18 to 22 students into the program. a. How to Apply Complete the following application: ______

American Comedy Institute One Year Program in Comedy Performing and Writing Application for Admission

To Apply:

1. Print and fill out this application form for admission to the One Year Program. A high school diploma or its recognized equivalent is required for admission into the One Year Program.

2. Write a one to two page letter conveying your interest in comedy and explaining why you wish to enroll in the One Year Program.

3. Schedule an interview and audition by calling 212-279-6980. For the audition applicants should prepare to perform two minutes of a comedic or dramatic monologue from a play or film. The character you choose to perform should be your own gender and close to you in age. In addition, please prepare to perform two minutes of your own original comedy material.

Applicants may submit up to ten pages of their comedy writing (scripts, sketches, monologues, essays, etc.) with their application. This, however, is not a requirement of admission.

If circumstances prohibit a live audition, applicants may submit the monologue and stand-up material on video - DVD format or an Internet link - and arrange for an interview over the phone.

If you are planning to submit separate materials (writing samples, DVDs, etc.), please include these with your application. Do not send originals because they will not be returned.

4. Two letters of recommendation are required to apply. Each letter should include an appraisal of the applicant on the basis of his or her past performance in a professional and/or academic setting, perception of the applicant's talent and experience, potential for a career in comedy, and commitment to his or her work. The letter should also describe how the applicant could benefit from the training offered at ACI.

5. Send all materials to: American Comedy Institute 481 8th Avenue, Suite 548 New York, NY 10001

Tel: 212-279-6980 Fax: 212-279-6981

Last Name:

First Name:

Address:

City:

State and Zip Code:

Country (if outside the US):

Home Phone:

Business Phone:

Cell Phone:

Fax:

Email:

Fees

The tuition for the program is $8,700. Upon acceptance into the program, a $100 non-refundable registration fee is due to hold your place. This registration fee will be counted toward payment of your tuition.

The balance of tuition is due on September 1, 2018.

Time requirements

The program is comprised of 27 instructional weeks commencing in mid-September and concluding the end of April. Exact dates to be announced. There are, on average, 13 hours of classroom work per week.

Please note: Instructors may be added or substituted, but not without The Bureau of Proprietary School Supervision (BPSS) approval. Please check catalog for most current faculty listing.

If you have any questions, please email us at: [email protected] or call (212)279-6980.

13 b. High School Diploma Requirement Applicants under the age of 18 must submit a copy of their high school diploma or its recognized equivalent to be considered for admission into the One Year Program. c. Audition & Interview There will be an audition and an interview to assess whether the student has the capabilities to work professionally. The audition requires an applicant to perform approximately two minutes of original comedy material and approximately two minutes of a monologue from a play or a movie. In addition, applicants have the option to submit up to 10 pages of their comedy writing.

During the interview with the Director, an applicant’s maturity and commitment to the field is evaluated and the applicant has the opportunity to explain why he or she wishes to enroll in the One Year Program.

The time requirements for the admission interview and audition vary from student to student. On average, five hours of time is needed. ACI application process is on a rolling admissions policy. Once an application is complete, the applicant will be informed within three weeks of the status of their application: accepted, rejected, wait listed. d. Statement of Purpose Essay Applicants are required to submit a typewritten essay describing their personal objectives and aspirations for attending ACI’s One Year Program. This may include feelings about comedy, enumerating the applicant’s experience in comedy, the reasons why the applicant wishes to attend ACI’s One Year Program, and the professional aspirations the applicant wishes to pursue post- graduation. The essay should not exceed 500 words. e. Resume A current resume detailing prior training and experience is requested. Applicants with no prior training and/or experience may include previous employment and/or education, regardless of field. f. Recommendation Letters Two letters of recommendation are required to apply. Each letter should include an appraisal of the applicant on the basis of his or her past performance in a professional and/or academic setting, perception of the applicant’s talent and experience, potential for a career in comedy, and commitment to his or her work. The letter should also describe how the applicant could benefit from the training offered at ACI. g. International Students American Comedy Institute is proud of its diverse student body. Students come to study at the American Comedy Institute from all over the world. On average, international students comprise 20% of the student body. h. Transfer of Credit Policies ACI arranges on a case-by-case basis for its students to receive credit at universities in which they are enrolled for coursework completed at ACI. Licensed private career schools offer curricula measured in clock hours, not credit hours. Certificates of completion, i.e., school diplomas, are issued to students who meet clock hour requirements. The granting of any college credit to students who participated in and/or completed a program at a licensed private career school is solely at the

14 discretion of the institution of higher education that the student may opt to subsequently attend. ACI does not accept credit from other institutions. i. Reapplication Policy Acceptance to ACI is valid only for the year that the applicant has applied for. Accepted students unable to attend the program for which they applied should immediately notify the administration office. Accepted students who wish to attend in future years must reapply.

ACI does not discriminate in its admissions on the basis of national origin, ethnic background, race, gender, sexual orientation, disability, age, or religion.

RETENTION POLICIES a. Attendance The classroom teacher maintains the attendance roster. The attendance roster is kept at the school at all times. In the event that a substitute teacher is used, the substitute must initial the days attendance.

Attendance will be taken in the following manner:

1. Approximately ten minutes after class begins 2. Approximately ten minutes before class ends

In order for students to receive a passing grade, they must attend a minimum of 85% of their classes.

If a student is absent from two classes, the student will be contacted by telephone and in writing and will be advised of possible consequences. A copy of the same letter will be given to the student the next time the student comes to class, at which time the student must sign the Absence/Drop Record Form acknowledging receipt of the letter.

Measures Taken When a Student Drops

If absent three times consecutively without notifying the school, the student will be considered dropped. The school will contact the student by telephone and in writing and formally advise the student of this status. Results will be recorded on the Absent/Drop Form. If appropriate, the student will be informed that a leave of absence status is available. The student will also be informed that the tuition paid will remain valid, unless there has been a significant financial or educational change to the program, in which case, extra tuition will be charged. The school will then request that the student respond in writing and provide reasons for withdrawal. The results will be recorded in the Absent/Drop Record Form.

Retention policy requires that students attend all classes. If a student is sick or has some other reason that they need to either be absent from class or leave class early or come late, they are required to email the staff prior to the class and receive permission to do so. If a student is ill, or has another pressing reason to be absent, he or she must notify his or her teacher at the earliest opportunity. In the event that a faculty member feels a student’s absences are undermining the faculty member’s ability to impart the coursework to the student, the faculty member notifies the student and the Director. The Director will call the student in for a meeting. At this meeting the student is put on notice that they are required to attend classes in order to graduate from the program, appear in the

15 Industry Showcase, and receive their certificate of completion. If the student does not comply, they do not perform or graduate. b. Leaves of Absence Leaves of absences are granted that meets certain conditions. They need to be brief enough to allow the student to make up the work missed during the leave of absence. Generally speaking, this means that leaves of absences are limited to 4 weeks or less. Acceptable reasons for a leave of absence are:

1) Dealing with legal requirements for our international students 2) Meeting contractual obligations that were in place prior to the beginning of the program 3) Medical emergencies 4) Family emergencies c. Behavior Students are required to comport themselves in a professional manner which accords respect to their instructors and peers. This is good practice for the world of comedy, a world where collaborative work is one of the keys to success. Please see Rules and Regulations for Conduct. In the case of infractions of the Rules and Regulations for Conduct, students will initially receive a verbal warning from faculty or staff. A second incident will result in a meeting with faculty and the Director to discuss the issue. At this point the student will be put on written notice that their behavior is disruptive and unacceptable. The student will be given a chance to modify their behavior. A third incident will result in the student being expelled from the program. There will be no refund of tuition in cases of expulsion.

STANDARDS OF PROGRESS INCLUDING GRADING SYSTEM Students receive their grade and evaluations twice during the program. Their first progress report takes place in December and their second progress report takes place in April. Students are graded on a Pass/Fail basis. The categories for grades are based on attendance, classroom participation, fulfillment of weekly writing assignments and demonstrating in performance a grasp of the techniques and materials that have been covered in class.

GRADING CRITERIA Classroom Participation (50%) Weekly Assignments (35%) Performance (15%)

INTERNAL GRADING SYSTEM FOR OUR FACULTY a. Classroom Participation Consistently active and constructive participation = 50 points Occasional class participation = 25 points No class participation = 0 points b. Weekly Assignments Completion of all assignments = 35 points 1 missed assignment = 30 points 2 missed assignments = 25 points 3 missed assignments = 20 points 4 missed assignments = 15 points

16 c. Performance Complete grasp of techniques and materials covered in class = 15 points Demonstrates fundamental ability with a few identifiable lapses = 10 points Grasp of a few of the techniques and materials are evident in performance but not enough to demonstrate a fundamental understanding of the work that has been covered = 5 points Inability to apply the covered techniques and materials in performance = 0 points

In order to receive a grade of pass, the total points must be 70 or out of 100. Below that amount a failed grade will be issued.

RULES AND REGULATIONS FOR CONDUCT a. Academic Conduct Students are required to conduct themselves in a way that furthers the goals of the curriculum of the One Year Program.

Such conduct includes but is not limited to: 1. Whole-hearted and good-natured participation in all classroom activities. 2. Respectful critique of peers’ work. Students shall refrain from using humor as a weapon against their peers or instructors, or from using degrading, belittling or hurtful comments while speaking to or about students and faculty 3. Class assignments must be turned in on the due date. 4. Students’ writing must be original. Students shall not attempt to claim credit for the work of others. 5. Commonsense respect and courtesy must be extended to ACI’s instructors, student body, and staff. b. Prohibited Conduct Instances of prohibited conduct may result in verbal or written warnings, suspension, and, in extreme cases, expulsion.

Prohibited conduct includes but is not limited to: Physical abuse: Any attempt to cause injury or inflict pain; or causing injury or inflicting pain. Also causing physical contact with another when the person knows or should reasonably believe that the other will regard the contact as offensive or provocative. It is not a defense that the person (or group) against whom the physical abuse was directed consented to, or acquiesced to, the physical abuse. Harassment: Conduct (physical, verbal, graphic, written, or electronic) that is sufficiently severe, pervasive or persistent so as to threaten an individual or limit the ability of an individual to work, study or participate in the activities of the program. Illegal drugs and controlled substances: Manufacturing, possessing, having under control, selling, transmitting, using or being party thereto any dangerous drug, controlled substance or drug paraphernalia on ACI premises or at ACI-sponsored activities. Alcohol: Drinking or having in possession any alcoholic beverage in public areas of ACI premises not approved for such activity. Theft: Unauthorized removal or stealing of property on ACI premises or at ACI-sponsored activities. This includes knowingly possessing such stolen property. Destroying, damaging or littering of any property: Behavior that destroys, damages, or litters any

17 property of ACI, or of another person, on ACI premises or at ACI sponsored activities. Disorderly conduct: Conduct that is disorderly, lewd, indecent or a breach of peace on ACI premises or at ACI sponsored activities. Disruptive activity: Participation in disruptive activity that interferes with teaching, administration, performances, disciplinary proceedings, or other ACI activities.

COST OF THE PROGRAM Annual Tuition for the One Year Program is $8,700. The non-refundable registration fee for the One Year Program is $100.

Payment Policies: A non-refundable registration fee of $100 is due within a month of a student receiving an acceptance letter in order to secure his or her spot in the program.

The balance of tuition is due September 1st.

Students may opt for a payment plan. The cost of the plan is $150.00 in addition to the tuition. Students on payment plans must abide by the schedule of payments outlined in the payment plan. Any change in the payment plan schedule must be mutually agreed upon by ACI and the student and put into writing. Arrangements for a payment are made through ACI’s administrative office.

There are no additional fees of any kind required.

American Comedy Institute accepts Visa and MasterCard, checks, money orders, and cash.

REFUND POLICY A. A student who cancels within 7 days of signing the enrollment agreement receives all monies returned with the exception of the non-refundable registration fee.

B. There after, a student will be liable for

1. the non-refundable registration fee plus

2. the cost of any textbook or supplies accepted plus

3. tuition liability as of the student’s last date of physical attendance.

Tuition liability is divided by the number of quarters in the program. Total tuition liability is limited to the quarter during which the student withdrew or was terminated and any previous quarters completed.

(a) First Quarter If termination occurs School may keep Student refund Prior to or during first week 0% $4,350 During the second week 25% $3262.50 During the third week 50% $2,175 During the fourth week 75% 1087.50 After the fourth week 100% 0

(b) Second Quarter If termination occurs School may keep Student refund During the first week 25% $3262.50 During the second week 50% $2,175 During the third week 75% 1087.50 After the third week 100% 0

C. The student refund may be more than that stated above if the accrediting agency refund policy results in a greater refund.

The failure to notify the director in writing of withdrawal may delay refund of tuition due pursuant Section 5002 of the Education Law.

OFFICE LOCATION & HOURS OF OPERATION American Comedy Institute is located 481 8th Avenue, Suite 548, New York, NY. Its Administrative Office is open from 12pm to 9:30pm Monday through Friday. ACI’s classes meet weekday evenings between the hours of 6pm and 9:30pm at the ACI office.

CLASSROOM LOCATIONS Classes are held at ACI’s suite in the New Yorker Hotel.

The New Yorker Hotel 481 8th Ave. New York, NY 10001 Built in 1929 and opening its doors on January 2nd, 1930, The New Yorker Hotel was a marvel of its day. It was the largest hotel in New York City, with 2,500 rooms, several grand ballrooms, ten private dining "salons," and five restaurants employing 35 master cooks. With the arrival of the Big Bands, the stage was set for the "heyday" of the New Yorker Hotel. The famous bands of the day played at the New Yorker, including Benny Goodman, both of the Dorsey's and Woody Herman. This atmosphere not only drew in business travelers and tourists, but also attracted the elite of society as well as political figures and business leaders. Joe DiMaggio lived here when the Yankees were in town.

The New Yorker Hotel was renovated in 2007 to create the beautiful modern building we see today, comprised of commercial enterprises and hotel rooms, shops and restaurants.

PERFORMANCE LOCATIONS Performances are held at three premier performance venues in New York City.

Gotham Comedy Club 208 West 23rd Street New York, NY 10011 Gotham Comedy Club opened its new 10,000 square foot flagship location providing New York with live performances from today's elite comedians, and since its inception has appealed to the city's distinguished tastes. Located on 23rd St., in a 1929 building next door to the historic Chelsea Hotel, the new Gotham Comedy Club draws upon the charm and ambiance of the 1920s to capture the spirit of an upscale theater environment. Gotham Comedy Club is a premier comedy club in New York City. Comedians that have appeared on its stages include Dave Chappelle, Jerry Seinfeld, Lewis Black,

19 Roseanne Barr, Larry David, Colin Quinn, Jackie Mason, Robert Klein, Dane Cook, among many others.

Nola Rehearsal Studios 244 W. 54th St. New York, NY 10019 Established in 1969, Nola Rehearsal Studios is a performance venue located in the heart of the Theater District of Manhattan.

The Broadway Comedy Club 318 West 53rd Street New York, NY 10019 The Broadway Comedy Club in New York City is located in the heart of Times Square and around the corner from The Ed Sullivan Theatre – home of the Late Show. The club features stand-up comics from Comedy Central’s Premium Blend, The Late Show with David Letterman, The Jimmy Kimmel Show, NBC’s Last Comic Standing, HBO Comedy Arts Festival, Sirius Radio, BET Comic View, ICaramba! Latino Laugh Festival, The Montreal Just For Laughs Comedy Festival, Conan, Late Night with Jimmy Fallon, Showtime at The Apollo, and The Daily Show with Jon Stewart.

All of are facilities are equipped for handicapped access.

CURRICULUM ACI prepares students for working professionally by immersing each student in multiple performance and writing units. The goal is to turn out the hyphenated actor-comedian-writer-producer. To this end, each student is required to complete each of the following courses. a. STAND-UP COMEDY PERFORMING & WRITING This course is comprised of lectures, students presenting their material and receiving feedback from their instructors, writers’ room, performances, and private writing sessions with the instructor. Students learn the art and crafts of stand-up comedy performing and writing. The course begins with a lecture by the instructor on the following:

1. The goals of the course 2. The forms of stand-up comedy 3. The process of creating stand-up comedy material 4. The process of creating a comic persona 5. The fundamental techniques of performing stand-up comedy

Following this lecture, students begin the process of creating material and performing it in class. Initially they receive feedback on both their writing and performing only from the instructor. As the course progresses, the instructor communicates to the students an aesthetic grid that is used to evaluate stand-up comedy performing, writing, and clarity of persona. This aesthetic is taught during the initial class meetings. Following the performance of the class’s first stand-up show, which occurs seven weeks into the course, students under the guidance of the instructor begin to provide their fellow students with feedback. From this point forward, student feedback is a part of each class. This procedure accomplishes several important pedagogical goals.

1. It embeds a vital aesthetic into students that will enable them in a healthy and objective fashion to evaluate their own work and the work of other comedians.

20 2. It will enable each student to draw on the reservoir of the entire class, students and teachers, for insight into improving and expanding their work. 3. Students are provided with a listing of performance opportunities and are encouraged to perform as much as possible and attend each other’s performances. 4. All class shows are recorded, and classes following performances are devoted to in-depth analysis of each student’s performance. 5. Several times during the course the instructor organizes the class into a writers’ room modeled on late night talk show writers’ rooms. In these writers’ room classes, each student has everyone in class available to work on his or her set. The pedagogical goals of the writers’ room are as follows:

• To provide students with both the instruction and the experience that will enable them to write stand-up comedy material in a voice other than their own. • To strengthen the writing of each individual student’s act. • To provide students with another opportunity to employ the course’s aesthetic grid.

Prior to each class performance, students meet individually with the instructor to work on tightening, clarifying, and punching up their material.

Students are encouraged to use New York’s comedy clubs to perform as often as possible. In addition, there are regularly scheduled stand-up performances for the One Year students at Gotham Comedy Club and the Broadway Comedy Club.

Class meets for a total of 90 hours over 27 weeks. b. SKETCH COMEDY PERFORMING & WRITING This course begins with a lecture from the instructor that identifies the essential components present in every successful sketch. The instructor utilizes videos of outstanding sketch comedy groups and Saturday Night Live scripts to illustrate these components. The lecture describes the basic writing structures that are the foundation of comedy sketches. The instructor goes over a list of the salient subjects and styles of sketch comedy writing. At the conclusion of this class, students are given an assignment to write a specific kind of sketch, i.e. commercial parody, movie parody, first date sketch.

Throughout the course, students are assigned to write sketches that embody all of the major structures, forms, and subjects of sketch comedy. They write individually as well as in teams.

Subsequent classes are conducted like the writers’ room of a television sketch comedy show, with the instructor functioning as head writer and show runner, and the students functioning as writers and performers. Students learn how to pitch ideas, how to render those ideas into first drafts, and how to rewrite sketches based on direction from the instructor. Students’ sketches are given a table read by their fellow students. They receive feedback from their fellow students and final direction from the instructor on what rewriting is required. This process continues until an instructor feels a script is ready to go into rehearsal.

There is one live sketch comedy show produced during the program. The show is recorded and there are post-production notes from the instructor.

Class meets for a total of 70 hours over 27 weeks.

21 c. WEBISODE WRITING, PERFORMING & PRODUCING This course builds on the concepts covered in the Sketch Comedy Performing & Writing course. Added to those concepts are these new elements: 1. Developing a premise that can be the basis of a large number of episodes. 2. Developing compelling core characters who will appear recurrently throughout episodes. 3. The third new element involves the fact that webisodes are not performed live onstage but are viewed as video on computer screens. This necessitates learning how to tell a story via a camera. Fundamental techniques of cinematography, editing, and acting to the camera are covered in this section. Student written, acted, and produced webisodes are posted on the Internet as well as screened for a live audience.

Class meets for a total of 22 hours over the course of 11 weeks. d. LATE NIGHT TALK SHOW PERFORMING & WRITING Students learn to conceive, write, perform, and produce a late night comedy talk show. In the first class, the instructors deconstruct the late night talk show into its component writing parts: 1. Monologue 2. The desk piece 3. The desk sketch 4. The remote 5. Interaction with the audience

The instructor utilizes videos of current late night talk shows to illustrate each of these components. The class is then divided into writing teams for each of these components.

The course is modeled to simulate the late night talk show writers’ room. A host is selected and the instructors function as show runners. The writers pitch their ideas to the room. The accepted ideas are refined and executed. This course culminates into the production of an episode that is taped in front of a live audience. After the performance, the instructors review the video with the students and give them their notes and feedback.

The course meets for a total of 12 hours over the course of 4 weeks. e. IMPROVISATION The improvisation course teaches students the basics of short-form improvisation. Students learn to perform the classic short-form games. The philosophy underlying the games is that it is not necessary to act funny or say funny things in order to create improv comedy. The philosophy of the games is that through teamwork and adherence to the rules of the games spontaneous comedy can be created around audience suggestions. The course also teaches the fundamental techniques of creating a narrative on stage. This course includes winter and spring improv shows.

Class meets for a total of 70 hours over the course of 23 weeks.

22 f. ACTING FOR THE STAGE Students learn the foundation techniques of acting. They learn how to create believable and exciting emotions, behaviors, and characters for the stage. Through structured exercises students learn to achieve a state of relaxation on stage. This state enables them to gain access to their own emotions. Students learn to expand the emotional range that they are capable of “calling out”, i.e. performing. This capacity to perform a range of emotions on stage becomes the foundation for acting technique. This technique is then applied to monologue and scene work. This course includes a monologue recital and a scene night.

Class meets for a total of 60 hours over the course of 20 weeks. g. ON-CAMERA ACTING TECHNIQUE This on-camera course teaches students to adapt what they have learned in Acting for the Stage to the spatial realities of the screen. Students learn how, as actors, to occupy a frame as opposed to occupying a stage. They learn how to adjust their physical life, movement, and the way in which they express emotions so that it reads as truthful on screen.

Class meets for a total of 9 hours over the course of 3 weeks. h. COMMERCIAL AUDITION TECHNIQUE This on-camera course is taught by the head of the commercial department of a prominent bi-coastal talent agency. The course covers both the business and craft elements of auditioning for a commercial. The craft elements include audition technique for improvised and scripted commercials. Students are encouraged to use their sense of humor as a way of enhancing both the commercial message and their impact on screen. Specifically, students learn how to handle, taste, smell and talk about products. Students work with actual commercial scripts and premises. The business elements focus on the reality that an audition begins with the agent’s phone call or email and does not end until the commercial is finished shooting.

Class meets for a total of 9 hours over the course of 3 weeks. i. SITCOM AUDITION TECHNIQUE In this class, television Producer/Writer, Stan Zimmerman guides students through key aspects of the TV comedy business such as: general interviews, cold readings and under five guest spots. Stan offers a unique perspective since he is the only Executive Producer/Show Runner teaching this type of acting class. This course meets for a total of 4 hours. j. INDUSTRY SHOWCASE The One Year Program culminates in an Industry Showcase at Gotham Comedy Club. Casting directors from CBS, ABC, NBC, HBO, MTV, Paramount, WB, and Nickelodeon, along with leading agents, managers, and bookers have seen the work of The One Year Program's graduating students.

TIME REQUIREMENTS FOR THE ONE YEAR PROGRAM The One Year Program begins the third week of September and ends by mid to late April. There are breaks for Thanksgiving and the winter holidays.

23 FINANCIAL AID At this time American Comedy Institute does not offer financial aid. We do, however, offer partial scholarships to students who demonstrate financial need. These scholarships range from $250-1500. In order to determine eligibility and scholarship amount, scholarship applicants are required to submit the previous year's tax return of whoever is paying their tuition.

STATEMENT OF STUDENTS RIGHTS Information for Students Student Rights Schools are required to give this disclosure pamphlet to individuals interested in enrolling in their school.

What is the purpose of this pamphlet? All prospective and enrolled students in a non-degree granting proprietary school are required to receive this pamphlet. This pamphlet provides an overview of students’ rights with regard to filing a complaint against a school and accessing the tuition reimbursement fund if they are a victim of a certain violations by the school. Licensed private career schools which are licensed by the New York State Education Department are required to meet very specific standards under the Education Law and Commissioner's Regulations. These standards are designed to help insure the educational appropriateness of the programs, which schools offer. It is important for you to realize that the New York State Education Department's Bureau of Proprietary School Supervision closely monitors and regulates all non-degree granting proprietary schools. The schools are required to have their teachers meet standards in order to be licensed by the Department. Schools are also required to have their curriculum approved by the New York State Education Department, at minimum, every four years, thereby helping to insure that all curriculum offered in the schools are educationally sound. In addition, staff members of the Bureau of Proprietary School Supervision are often in the school buildings monitoring the educational programs being offered. The interest of the New York State Education Department is to ensure that the educational program being offered meets your needs and that your financial investment is protected.

The New York State Education Department's Bureau of Proprietary School Supervision wishes you success in your continued efforts to obtain the necessary skill training in order to secure meaningful employment. In addition, Bureau staff will continue to work with all the schools to help insure that a quality educational program is provided to you.

Who can file a complaint? If you are or were a student or an employee of a Licensed Private Career School in the State of New York and you believe that the school or anyone representing the school has acted unlawfully, you have the right to file a complaint with the New York State Education Department. What can a student or employee complain about? You may make complaints about the conduct of the school, advertising, standards and methods of instruction, equipment, facilities, qualifications of teaching and management personnel, enrollment agreement, methods of collecting tuition and other charges, school license or registration, school and student records, and private school agents.

24 How can a complaint be filed by a student or employee? You should try to resolve your complaint directly with the school unless you believe that the school would penalize you for your complaint. Use the school's internal grievance procedure or discuss your problems with teachers or the school Director, Stephen Rosenfield. We suggest that you do so in writing and that you keep copies of all correspondence to the school. However, the school cannot require you to do this before you file a complaint with the New York State Education Department. If you do file a complaint with the Department, please advise the Bureau of any action that you have taken to attempt to resolve your complaint. The steps you must take to file a complaint with the New York State Education Department are: 1. Write to the New York State Education Department at 116 West 32nd Street, 5th Floor, New York, New York 10001, or telephone the Department at (212) 643-4760, requesting an interview for the purpose of filing a written complaint. Bring all relevant documents with you to the interview, including an enrollment agreement, financial aid application, transcripts, etc. An investigator from the Department will meet with you and go through your complaint in detail. 2. If you cannot come for an interview, send a letter or call the office to request a complaint form. You must complete and sign this form and mail it to the office. Please include with it copies of all relevant documents. You should keep the originals. You must file a complaint within two years after the alleged illegal conduct took place. The Bureau cannot investigate any complaint made more than two years after the date of the occurrence. 3. The investigator will attempt to resolve the complaint as quickly as possible and may contact you in the future with follow-up questions. You should provide all information requested as quickly as possible; delay may affect the investigation of your complaint. When appropriate, the investigator will try to negotiate with the school informally. If the Department determines that violations of law have been committed and the school fails to take satisfactory and appropriate action then the Department may proceed with formal disciplinary charges. What is the Tuition Reimbursement Fund? The Tuition Reimbursement Fund is designed to protect the financial interest of students attending non-degree proprietary schools. If a school closes while you are in attendance, prior to the completion of your educational program, then you may be eligible for a refund of all tuition expenses, which you have paid. If you drop out of school prior to completion and you file a complaint against the school with the State Education Department, you may be eligible to receive a tuition refund if the State Education Department is able to provide factual support that your complaint is valid and to determine that there was a violation of Education Law or the Commissioner's Regulations as specified in Section 126.17 of the Commissioner's Regulations. To file a claim to the Tuition Reimbursement Fund, you must first file a complaint with the State Education Department at the address included in this pamphlet. The staff of the State Education Department will assist you in the preparation of a tuition reimbursement form (a sample of this form should have been provided to you upon enrollment). What is the tuition refund and cancellation policy? All schools must have a tuition refund and cancellation policy for each program included in the catalog and in the student enrollment agreement. Read and understand the school's policy regarding tuition refund and cancellation before you sign the enrollment agreement. If you do not understand it, or are confused by the school's explanation, get help before you sign. You may ask for assistance from the Department at the address included in this pamphlet.

25 What should students know about "private school agents?" Private School Agents are employed by schools for the purpose of recruiting or enrolling students in the school; they are not school counselors. Private school agents cannot require a student to pay a placement or referral fee. Each school agent must be licensed by the New York State Education Department, must have an Agent identification card and must be a salaried employee of the school. School agents who cannot show an Agent Identification Card are breaking the law if they try to interest students in enrolling in a particular school or group of schools. The name(s) of the agent(s) who enrolled a student must appear on that student's enrollment agreement. Therefore, you should write down the name of the agent who talked to you. Each student will be required to confirm the name(s) of the agent(s) when signing the enrollment agreement. A full refund shall be made to any student recruited by an unlicensed private school agent or even by a licensed agent if there is evidence that the agent made fraudulent or improper claims. To find out if you are eligible to receive a refund, you must follow the complaint procedures included in this page. What should students know about "grants and guaranteed student loans"? A grant is awarded to a student based on income eligibility, and it does not need to be repaid (for example, New York State Tuition Assistance Program (TAP) grants or Pell grants provided by the federal government). Guaranteed student loans are low interest loans provided under the Federal Guaranteed Student Loan Program. The decision to apply for such a loan is yours--the school cannot require that you apply for a loan. You should understand that if you pay school tuition with money loaned to you from a lender you are responsible for repaying the loan in full, with interest, in accordance with the terms of the loan agreement. A failure to repay the loan can hurt your credit rating and result in legal action against you. Even if you fail to complete your educational program, you are still responsible for repaying all of the money loaned to you. It is your right to select a lender for a guaranteed student loan. The school cannot require you to apply to a particular lender or lending institution. However, the school can recommend a lender, but if it does, the school must also provide you with a statement about your right and ability to obtain a loan from another lender and the insurance premiums charged on these loans. Read and understand all the information and applications for financial aid grants and loans before signing. Where can students file a complaint, file a claim to the tuition reimbursement fund, or get additional information? Contact the New York State Education Department at: New York State Education Department 116 West 32nd Street, 5th Floor New York, New York 10001 Attention: Bureau of Proprietary School Supervision (212) 643-4760 This pamphlet is provided to you by the New York State Education Department (NYSED). The NYSED regulates the operation of Licensed Private Career Schools. c. Students interested in receiving financial aid should contact the American Comedy Institute’s office manager for information and assistance.

PASS RATE OF SCHOOL’S GRADUATES FOR LICENSE OF ANY CERTIFICATE EXAM = N/A

26 ASSOCIATIONS, AGENGIES AND GOVERNMENTAL BODIES THAT ACCREDIT ACI 1. The American Comedy Institute has been accredited by the National Association of Schools of Theatre (NAST). 2. ACI’s One Year Program is a for credit option for undergraduates at Lawrence University. 3. The University of Rhode Island has given full junior year credit for a student taking ACI’s One Year Program. 4. Past and current faculty in William Paterson University’s Department of Theatre and Comedy is comprised of ACI faculty.

GRIEVANCE PROCEDURES a. Informal Resolution Prior to invoking the procedures described below, the student is strongly encouraged, but is not required, to discuss his or her grievance with the person alleged to have caused the grievance. The discussion should be held as soon as the student first becomes aware of the act or condition that is the basis of the grievance. Additionally or in the alternative, the student may wish to present his or her grievance in writing to the person alleged to have caused the grievance. In either case, the person alleged to have caused the grievance must respond to the student promptly, either orally or in writing. b. Initial Review If a student decides not to present his or her grievance to the person alleged to have caused the grievance or if the student is not satisfied with the response, he or she may present the grievance in writing to the Director. Any such written grievance must be received by the Director not later than thirty calendar days after the student first became aware of the facts that gave rise to the grievance. (If the grievance is against the Director, the student should address his or her grievance to the Board of Directors.) The Director should conduct an informal investigation as warranted to resolve any factual disputes. Upon the student’s request, the Director shall appoint an impartial fact-finding panel of no more than three persons to conduct an investigation. The Director must state the terms and conditions of the investigation in a memorandum appointing the fact-finding panel. A fact-finding panel appointed hereunder shall have no authority to make recommendations or impose final action. The panel’s conclusions shall be limited to determining and presenting facts to the Director in a written report.

Based upon the report of the fact-finding panel if any, the Director shall make a determination and submit his decision in writing to the student and to the person alleged to have caused the grievance within ten calendar days of receipt of the panel’s report. The written determination shall include the reasons for the decision, shall indicate the remedial action to be taken if any, and shall inform the student of the right to seek review by the Board of Directors. c. Appeal Procedures Within ten calendar days of receipt of the Director’s decision, a student who is not satisfied with the response of the Director after the initial review may seek further review by submitting the written grievance, together with the Director’s written decision, to the Board of Directors. The Board of Directors’ actions will be limited to a review of the basis for the Director’s decision and need not involve a de novo factual investigation. The Board of Directors may, but are not required to, direct that further facts be gathered or that additional remedial action be taken. Within 15 calendar days of receipt of the request for review, the Board of Director’s shall submit their decision in writing to the

27 student and to the person alleged to have caused the grievance. The written disposition shall include the reasons for the decision, and it shall direct a remedy for the aggrieved student if any.

DISCLOSURE STATEMENT The student should be aware that some information in the catalog may change. It is recommended that students considering enrollment check with the school director to determine if there is any change from the information provided in the catalog. In addition, a catalog will contain information on the school’s teaching personnel and course/curricula offered. Please be advised that the State Education Department separately licenses all teaching personnel and independently approves all courses and curricula offered. Therefore, it is possible that courses/curricula listed in the school’s catalog may not be approved at the time that a student enrolls in the school or the teaching personnel listed in the catalog may have changed. It is again recommended that the student check with the school director to determine if there are any changes in the courses/curricula offered or the teaching personnel listed in the catalog.

STATE AUTHORIZATION American Comedy Institute is licensed by the New York State Education Department and accredited by the National Association of Schools of Theatre.