THE THEATRE LAB

INN COURSE CATALOG W ER MAYOR’S WINTER/SPRING 2020 ARTS AWARD INNOVATION

IN THE ARTS

TRANSFORMING LIVES THROUGH THEATRE EDUCATION COURSE SCHEDULE WINTER/SPRING 2020

Non-Member/Member Actions and Objectives Thursdays, Jan 16 – Feb 20 7 – 10pm Naomi Jacobson $360/$324 WINTER Anyone Can Act Saturday, Jan 11 or Feb 8 (one-day class) 1:30 – 3:30pm Theatre Lab Instructor $50/$50 JAN–FEB Auditioning for Musical Theatre Mondays, Jan 13 – Feb 17 7 – 10pm Evan Casey $360/$324 Auditioning for the Camera Saturdays, Jan 18 – Feb 22 10am – 1pm John Judy $360/$324 Auditioning Without Fear Saturdays, Jan 18 – Feb 22 1:30 – 3:30pm Mitchell Hébert $310/$279 Beginning Scene Study Mondays, Jan 13 – Feb 17 7 – 10pm José Carrasquillo $360/$324 Cold Reading Mondays, Jan 13 – Feb 17 7 – 9:30pm Michael Russotto $330/$297 Creating a Role: As You Like It Tuesdays, Thursdays & Saturdays, Jan 14 – Apr 4 Randy Baker and $630/$567 T & Th 7–10pm; Sat 1:30–4:30pm Michael Russotto Tech Fri Mar 27, 7–10pm; Sat Mar 28, 12–6pm; T Mar 31, 6–10pm; W Apr 1, 6–10pm Evening performances Apr 2, 3, 4 Matinee Apr 4 Creating Your Own Cabaret Act Saturdays, Jan 18 – Feb 29 10am – 1pm Marianne Glass Miller $410/$369 Plus performance on the evening of Feb 29; and Jeff Hamlin no class Jan 25 Getting Started in TV and Film Tuesdays, Jan 14 – Feb 18 7 – 9:30pm Brenna McDonough $330/$297 Improv for Teens Saturdays, Jan 18 – Feb 29 1 – 3pm Madeleine Regina $310/$279 no class Jan 25 Intro to Acting, Section A Wednesdays, Jan 15 – Feb 19 7 – 9:30pm Marietta Hedges $330/$297 Intro to Acting, Section B Saturdays, Jan 18 – Feb 22 10am – 12:30pm Dorothy Neumann $330/$297 Intro to Acting for the Camera Saturdays, Jan 18 – Feb 22 1:30 – 4:30pm John Judy $360/$324 Intro to Theatre Tech Wednesdays, Jan 15 – Feb 19 7 – 9:30pm Angelo Merenda $200/$200 Mask Tuesdays, Jan 14 – Feb 18 7 – 9pm Mitchell Hébert $310/$279 Michael Chekhov Technique Saturdays, Jan 18 – Feb 22 1:30 – 4:30pm Joe Martin $330/$297 Stanislavski Method Wednesdays, Jan 15 – Feb 19 7 – 9:30pm Buzz Mauro $330/$297 Theatre Games for Kids Saturdays, Jan 18 – Feb 29 11am – 12:30pm Madeleine Regina $250/$225 no class Jan 25 Voiceovers I Saturdays, Jan 18 – Feb 22 1:30 – 4:30pm Craig Klein $360/$324 Voiceovers II Saturdays, Jan 18 – Feb 22 10am – 1pm Craig Klein $360/$324

Non-Member/Member

Anyone Can Act Saturday, Mar 28 (one-day class) 1:30 – 3:30pm Theatre Lab Instructor $50/$50 EARLY SPRING Auditioning Mondays, Feb 24 – Mar 30 7 – 10pm Michael Russotto $360/$324 LATE FEB–APR Beginning Scene Study Saturdays, Feb 29 – Apr 4 1:30 – 4:30pm MaryBeth Wise $360/$324 Conflict Tuesdays, Feb 25 – Mar 31 7 – 10pm Casey Kaleba $360/$324 Creating a Musical Role: Tuesdays, Thursdays & Saturdays, Feb 11 – May 9 Deb Gottesman and $680/$612 Bonnie & Clyde T 7–10pm; Th 7–10:30pm; Sat 10am–1pm Buzz Mauro Tech W Apr 29, 6–11pm Brush-up W May 6, 7–10pm Evening performances Apr 30, May 1, 2, 7, 8, 9 No class Sat April 11 (Easter) How to Rehearse a Monologue Saturdays, Feb 29 – Apr 4 10am – 1pm Marietta Hedges $360/$324 Intro to Acting, Section A Wednesdays, Feb 26 – Apr 1 7 – 9:30pm Elizabeth Pringle $330/$297 Intro to Acting, Section B Saturdays, Feb 29 – Apr 4 10am – 12:30pm Dorothy Neumann $330/$297 Intro to Acting for the Camera, Tuesdays, Feb 25 – Mar 31 7 – 10pm Brenna McDonough $360/$324 Section A REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449

Non-Member/Member EARLY SPRING Intro to Acting for the Camera, Thursdays, Feb 27 – Apr 2 7 – 10pm John Judy $360/$324 LATE FEB–APR (CONTINUED) Section B Meisner Technique I: Foundations Tuesdays, Feb 25 – Mar 31 7 – 10pm Carol Cadby $360/$324 On-Camera Acting for Kids Saturdays, Feb 29 – Apr 4 10 – 11:30am John Judy $280/$252 On-Camera Acting for Teens Saturdays, Feb 29 – Apr 4 12 – 2pm John Judy $310/$279 Playwriting Tuesdays, Feb 25 – Mar 31 7 – 9:30pm Elizabeth Pringle $330/$297 Scene Study for Teens Saturdays, Feb 29 – Apr 4 2:30 – 4:30pm Madeleine Regina $310/$279 Scenes in Performance Wednesdays, Mar 5 – Apr 8 7 – 10pm Christopher Henley $360/$324 Singing Better Tuesdays, Feb 18 – Mar 24 6 – 7pm Charles Williams $180/$144 (Register at levinemusic.org)

Theatre Games for Kids Saturdays, Feb 29 – Apr 4 12 – 1:30pm Madeleine Regina $250/$225 Viewpoints Wednesdays, Feb 26 – Apr 1 7 – 10pm Marietta Hedges $360/$324 Voice and Speech Mondays, Feb 24 – Apr 6 7 – 9pm Tonya Beckman $310/$279 No class Mar 16

Non-Member/Member Advanced Acting for the Camera Thursdays, Apr 16 – May 28 7 – 10pm John Judy $390/$351 LATE SPRING Seven weeks LATE APR–MAY Anyone Can Act Saturday, Apr 25 or May 16 or Jun 6 (one-day 1:30 – 3:30pm Theatre Lab Instructor $50/$50 class) Auditioning on Video Wednesdays, Apr 15 – May 20 7 – 10pm Tonya Beckman and $360/$324 John Judy Beginning Scene Study Mondays, Apr 13 – May 18 7 – 10pm José Carrasquillo $360/$324 Belters Workshop Wednesdays, Apr 15 – May 20 7 – 9pm Tracy Lynn Olivera $310/$279 Cold Reading Tuesdays, Apr 14 – May 19 7 – 9:30pm Michael Russotto $330/$297 Creating a One-Person Show Tuesdays, Apr 14 – May 19 7 – 10pm Elizabeth Pringle $360/$324 Drama Workshop Saturdays, Apr 18 – May 30 1:30 – 4:30pm MaryBeth Wise $360/$324 No class May 23 (Memorial Day) Intensive Scene Study Saturdays, Apr 18 – May 30 10am – 1pm José Carrasquillo $360/$324 with José Carrasquillo No class May 23 (Memorial Day) Intro to Acting, Section A Mondays, Apr 13 – May 18 7 – 9:30pm Marietta Hedges $330/$297 Intro to Acting, Section B Wednesdays, Apr 15 – May 20 7 – 9:30pm Marietta Hedges $330/$297 Intro to Acting at Levine Mondays, Apr 13 – May 18 6:30 – 9pm Elizabeth Pringle $330/$297 Sessions taught at Levine Music, 2801 Upton St, NW Intro to Acting for the Camera, Saturdays, Apr 18 – May 30 10am – 1pm John Judy $360/$324 Section A No class May 23 (Memorial Day) Intro to Acting for the Camera, Saturdays, Apr 18 – May 30 1:30 – 4:30pm John Judy $360/$324 Section B No class May 23 (Memorial Day) Meisner Technique II: Scene Work Tuesdays, Apr 14 – May 19 7 – 10pm Carol Cadby $360/$324 Uta Hagen Technique Saturdays, Apr 18 – May 30 10am – 1pm Marietta Hedges $360/$324 No class May 23 (Memorial Day) Voiceovers I Saturdays, Apr 18 – May 30 10am – 1pm Craig Klein $360/$324 No class May 23 (Memorial Day) Voiceovers II Saturdays, Apr 18 – May 30 1:30 – 4:30pm Craig Klein $360/$324 No class May 23 (Memorial Day) FROM THE THEATRE LAB DIRECTORS ClintonBPhotography

AT THE THEATRE LAB, WE’VE ALWAYS BELIEVED IN TEACHING, NOT JUDGING.

We’re inclusive, not exclusive. We believe in building Some students use our classes to develop the real-life up, not tearing down. We believe in lofty goals, but not benefits of theatre training — improved public speaking standards that are impossible to reach. We believe the arts skills, increased self-confidence, heightened imagination, are vital to a thriving society, and shouldn’t be available and the chance to connect with others who want to have only to a privileged few. And we believe way more in heart, fun doing something creative. Because we believe that drive, openness, and hard work than in anything as vague the challenges and rewards of that training should be and questionable as “talent.” Whether you’re a seasoned accessible to everyone, and not only those who can afford professional or an absolute beginner, if you want to develop to pay, this year we will continue to expand our award- your theatrical craft, we want to help. winning scholarship and outreach programs that serve financially disadvantaged youth and adults, incarcerated Since founding the organization in June 1992, we’ve and at-risk youth, homeless women, wounded veterans, focused on bringing the artistic and real-life benefits of and other groups for whom the arts are often out of reach. high-quality theatre training to as many people as we can For an exciting, in-depth, and entertaining look at the reach. Small classes and individualized attention from the transformational impact of one of our programs, see the area’s most accomplished and dedicated theatre artists feature documentary How I Got Over, available on Amazon. have always been hallmarks of Theatre Lab training. With an enrollment of more than 2,800 students each year, Some students who train here go on to professional acting classes in acting, directing, film and TV, musical theatre, careers, and we are proud that our graduates appear and even theatre history and criticism, as well as terrific frequently at Arena Stage, The Shakespeare Theatre, shows to see and volunteer opportunities galore, we’d like Ford’s Theatre, Theater J, and many more of DC’s best to believe there’s something for everyone at The Theatre professional venues. Lab. We hope to see you around our halls soon. Please feel free to call if you have questions!

DEB GOTTESMAN AND BUZZ MAURO FOUNDERS AND DIRECTORS

2 “THE ATMOSPHERE WAS TABLE OF VERY WELCOMING AND CONTENTS NON-JUDGMENTAL.”

— RECENT STUDENT EVALUATION CHOOSING THE CLASS THAT’S RIGHT FOR YOU

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THE HONORS ACTING CONSERVATORY

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FACULTY

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COURSES

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COURSE BUNDLES

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YOUTH PROGRAMS

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SERVING OUR COMMUNITY

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POLICIES

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MEMBERSHIP

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MENTORSHIP

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3 CHOOSING THE CLASS THAT’S RIGHT FOR YOU

With classes in acting for the stage and These recommendations are suggestions screen, musical theatre, playwriting, only, but might help you shape the unique directing, and applied acting, training program that is right for you. The Theatre Lab is proud to offer the Some courses require an audition area’s most comprehensive theatre and/or permission of the instructor. arts curriculum. Most courses do not See course descriptions for details. have prerequisites, which means many directions are open to students at every level of training.

WHAT CLASS SHOULD YOU TAKE?

If you want to try If you’re interested If you currently act If you’re interested If you’re interested If you’re interested acting because it in acting for its or would like to act in acting in musical in acting in film in other aspects sounds like fun personal and professionally or in theatre and TV of theatre and professional community theatre performance benefits

Anyone Can Act Intro to Acting INTRODUCTORY INTRODUCTORY INTRODUCTORY Playwriting Intro to Acting Drama Workshop Intro to Acting Intro to Acting Intro to Acting Voice and Speech Drama Workshop Beginning Scene Study Drama Workshop Drama Workshop Drama Workshop The Stanislavski Method Beginning Scene Study Voice and Speech Beginning Scene Study Beginning Scene Study Beginning Scene Study Creating a One-Person Show Theatre Games for Kids Viewpoints Improv for Teens On-Camera Acting for Kids or Teens Viewpoints Improv for Teens Creating a One-Person Scene Study for Teens NEXT STEPS Scene Study for Teens Show Mask Singing Better On-Camera Acting Conflict Belters Workshop NEXT STEPS for Kids and Teens NEXT STEPS Intro to Theatre Tech Actions and Objectives Auditioning for Getting Started in TV and Film Voice and Speech Musical Theatre Creating a Musical Role Intro to Acting for the Viewpoints Camera How to Rehearse a Creating Your Own Cabaret Act Advanced Acting for the Monologue Camera Auditioning Auditioning for the Auditioning Without Fear Camera Auditioning on Video Voiceovers I and II Cold Reading Scenes in Performance Intensive Scene Study with José Carrasquillo The Stanislavski Method Creating a Role Michael Chekhov Technique Uta Hagen Technique Meisner Technique I and II Mask Conflict Playwriting The Honors Conservatory 4 THE HONORS ACTING CONSERVATORY

“IN SHORT: LIFE-CHANGING. I WAS CHALLENGED, INSPIRED, ENCOURAGED, AND PUSHED TO MY LIMITS. ALSO, I KNEW NOTHING ABOUT THE DC THEATRE SCENE WHEN I STARTED AND NOW I FEEL LIKE PART OF THE FAMILY.”

— A RECENT HONORS GRADUATE

ISN’T IT TIME YOU TOOK CHARGE • A year to focus intensively on your acting, OF YOUR ACTING CAREER? without quitting your day job — yet • A truly comprehensive course of study, THE HONORS ACTING CONSERVATORY AT THE THEATRE LAB is a structured including theatre history professional training program for those serious about entering the acting profession. • Advanced training in process Each year ten students pursue a comprehensive curriculum with Washington’s best and technique acting teachers, under the supervision of Theatre Lab Directors Deb Gottesman and • Fellow students as dedicated as you are Buzz Mauro and popular instructor Kim Schraf. All Honors students meet as a group every Monday night for a full year of scene study and improvisation, exploring a wide • Extensive access to The Theatre Lab’s acclaimed faculty and curriculum variety of theatrical styles important for professional work. Students take additional Theatre Lab classes throughout the year to build specific skills outside the focus of the • Special workshops with top professionals core Monday night work. All classes and rehearsals take place on weekday evenings and from Washington and beyond during the day on weekends. Students are continually advised and evaluated on their • Personal and professional guidance progress, and the program culminates in public performances of small-cast plays and a throughout the year showcase for an invited audience of top area artistic and casting directors. • Regular progress evaluations In 2019 alone, our Honors alums acted in professional productions with: • A wide variety of performance Arena Stage, Avant Bard Theatre, Baltimore Shakespeare Factory, Capital Fringe opportunities Festival, Constellation Theatre, Infinity Theatre Company, Keegan Theatre, Mosaic • A final showcase for the area’s most Theatre, Round House Theatre, Rorschach Theatre, Studio Theatre, and more. influential directors and casting directors

Admission is by application and audition. Applications for calendar year 2021 are due in October 2020. For complete information, visit www.theatrelab.org 5 OUR DISTINGUISHED FACULTY

Deb Gottesman Randy Baker Center, as a teaching artist for Stage in Reston, Virginia and Honors Acting Creating a Role a variety of theatre companies, Rhinoceros at Tantrum Theatre and is on the faculty at George in Athens, Ohio. Favorite Creating a Musical Role Randy Baker Washington University. local credits include Nat Turner Deb Gottesman is a founder and is a playwright, Local dialect coaching credits in Jerusalem, The Body of an Co-Director of The Theatre director and include productions for Woolly American, El Paso Blue, After the Lab. She is also a professional actress who has co-Artistic Director of performed frequently at Woolly Mammoth Rorschach Theatre. Recent Mammoth Theatre Company, Fall and Happy Days. He has Theatre as well as at Arena Stage, Signature shows he has directed with Round House Theatre, Theater taught/lectured or directed Theatre, Keegan Theatre, Theater Alliance, Rorschach include Very Still J, Rep Stage, Lean and Hungry at The Theatre Lab, Juilliard and with the Washington Shakespeare and Hard to See (Five Helen Theatre, Longacre Lea, The School of Drama, UMD Company, among many others. She has Nominations including Best Theatre Lab, and Constellation at College Park, Catholic directed more than thirty productions at The Director), The Electric Baby, She Theatre. She is a company University, the University of Theatre Lab, including Ragtime, Les Misérables, Kills Monsters, The Minotaur member at Taffety Punk Washington (Seattle), Cornish West Side Story, The Laramie Project, and My and After the Quake. Recent Theatre Company. College for the Arts, Ohio Soul Look Back and Wonder (which premiered shows he has directed outside University at Athens, and at Kennedy Center’s Terrace Theater of Rorschach include the Carol Cadby the National Conservatory and is now the subject of a feature length seven-room living installation of Dramatic Arts. Jose serves Meisner Technique as the Director of Artistic documentary by Academy Award-nominated piece, Hello, My Name Is… at I and II Producer and Director Nicole Boxer), as Programming at Ford’s The Welders (Three Helen Carol Cadby, well as productions for Catholic University’s Theatre. Nominations including Best a 30+ year Musical Theatre Department and National Director), a shadow puppet theatre educator, teaches at Geographic. Deb received her M.F.A. from gamelan-inspired A Midsummer George Mason University, Catholic University and has taught drama Evan Casey Night’s Dream at WSC Avant Signature Theatre, Synetic at the Round House Theatre, Woolly Auditioning for Bard, Big Love at Catholic Theatre and Arlington Public Musical Theatre Mammoth and American University. She is University, Anon/ymous at a 2003 recipient of the prestigious Linowes Schools. She earned her B.A. Evan Casey has Georgetown University and his from Grinnell College and worked as an Leadership Award for her contributions own adaptation of Rashomon at to arts education. Along with Buzz Mauro, M.A.I.S. from George Mason actor, singer, director and American University. Recent University; studied with Uta teacher for over fifteen years. she has co-authored three books on applied playwriting projects include acting, all published by Penguin Putnam. Hagen and Herbert Bergof; His acting work has been seen Forgotten Kingdoms and Truth trained in Viewpoints, Laban, locally at The Kennedy Center, & Beauty Bombs at Rorschach Linklater and Meisner; and Ford’s, Shakespeare Theatre, Theatre and workshops and acted professionally. Her Signature, Round House, and Buzz Mauro educational productions Honors Acting teaching and directing awards Olney, regionally at Everyman of The Burning Road (Arena include the F. Loren Winship Theatre, New London Barn, Stanislavski Method Stage), Monastery (Theater J), Secondary Teacher Award North Carolina Theatre, and Creating a Musical Role Rashōmon (American University from the American Alliance Off-Broadway at the TBG Buzz Mauro is a founder and Spooky Action Theatre), for Theatre and Education Theatre, York Theatre, and the and Co-Director of The Theatre Lab and Circus of Fallen Angels (NCDA for long-term outstanding New Victory. He is a multiple a Helen Hayes Award nominee who has and American University) contribution to the mission of Helen Hayes Award nominee performed with Signature Theatre, Ford’s, and wild42hold (George secondary school theatre; two for his work in both musicals Studio, The Shakespeare Theatre, Woolly Washington University). Outstanding Theatre Program and plays. He has toured the Mammoth, and many other companies. Awards from the Educational country—and recorded multiple He received his B.A. from Yale University Theatre Association; two albums and radio specials— and has an M.F.A. in Acting from Catholic Tonya Beckman Elizabeth Campbell Awards with the political satire group University. In 2003 he received the Linowes Voice and Speech for Excellence in the Arts; The Capitol Steps. TV and Leadership Award for his contributions to Honors Voice representing Virginia at South film work includes the award- arts education in Washington. Along with Auditioning on Video Eastern Theatre Conference; winning western web series Deb Gottesman he is the founder of Center Tonya Beckman twenty-three Virginia Governor Thurston, and his voice can Stage Communications, a consulting firm has appeared as an actor at School Presidential Citations be heard on numerous audio specializing in the application of acting Shakespeare Theatre Company, for Outstanding Educator and books. He has taught acting for techniques to the business world. Together Ford’s Theatre, Folger Theatre, four Arts Teacher Recognition Howard Community College, they are the authors of three books on Round House Theatre, Awards from the Educational Signature Theatre, and NCDA, applied acting: The Interview Rehearsal Book, Arena Stage, Studio Theatre, Theatre Association and among others. Recent directing Taking Center Stage, and The Best Answer, all Theater J, Taffety Punk, Olney National Foundation for credits include Spamalot and published by Berkley Books, a division of Theatre, Mosaic Theatre Co., Advancement of the Arts. She Seven Brides for Seven Brothers Penguin Putnam. Buzz is also composer and Constellation Theatre Co is also an Executive Coach with at Montgomery College, and co-lyricist of The Kids’ Table, and composer (Helen Hayes Lead Actress Ola Consulting specializing in assistant directing The Crucible and lyricist of Alix in Wonderland. nomination), the Kennedy leadership presence. at Olney. Center, Cleveland Play House, Cincinnati Playhouse in the Park, Center Stage, Fulton José Jeff Hamlin Theatre, and Totem Pole Carrasquillo Creating Your Own Playhouse. She has taught at Beginning Scene Study Cabaret Act American University, Shepherd Intensive Scene Study Jeff Hamlin is University, Baldwin-Wallace José Carrasquillo an accomplished College, Duke Ellington is a theatre director and musician and music director. School for the Arts, The educator. Recent credits Since earning his Bachelor of Theatre Lab, The Actors’ include The Brothers Size at 1st Music degree, he has worked

6 as a producer, writer, arranger, Catholic University and Head Naomi Lovely Molly, a supernatural and Metro Stage, and has and musician, primarily in of the MFA Acting Program. Jacobson thriller from the creators of The performed in Theatre Lab Nashville and the DC metro She has worked as an actress Actions and Objectives Blair Witch Project, and the on- productions of Ragtime and area. As a past member of in theatre, film and television Naomi Jacobson going role of the Detective in Ghetto. the Gay Men’s Chorus of in London, China, New has acted at Murder Mystery USA’s touring Washington, Jeff performed York, San Francisco, and the most of the DC area theatres company. Joe Martin as a soloist in several cabaret Baltimore/Washington D.C. for the last 25 years. She is an shows, including Love Songs area. Marietta played the role Michael Chekhov Affiliated Artist at Shakespeare Casey Kaleba Technique and Other Fairy Tales, Stops of Karen in the HBO award- Theatre Company and a Conflict Joe Martin has Along the Way, and Let Me Be winning film Money Matters. 20-year company member at Casey Kaleba is directed over 50 the Music: the Songs of David She originated the roles of Woolly Mammoth. DC credits an award-winning professional productions, as Friedman. More recently, he has slain civil rights worker Viola include Kennedy Center, fight director well as student productions at served as the music director Liuzzo and KKK infiltrator and Ford’s, Arena Stage, Studio, who has staged movement and universities in the DC area. and pianist for performances FBI informant Gary Thomas Round House, Theatre J, violence for more than five He is a four-time recipient by the D.C. Cabaret Network, Rowe in the solo show Selma Signature, Olney, Center hundred productions of opera of Fulbrights in Theatre Maggie’s Cabaret, and local ’65 which premiered at La Stage, and Wolf Trap Opera. and theatre. He has taught for his international work, artists. Training: Southwest MaMa, Etc., in NYC in 2014, She’s traveled regionally to the acting, stage combat, and and a two-time recipient Baptist University, Georgetown and subsequently toured the Guthrie Theatre, the Goodman other courses at George Mason of Rockefeller Foundation University Law Center, and country in 2015. In summer Theatre, Milwaukee Rep, University, Catholic University, grants for original theatrical Studio Acting Conservatory. 2018 Marietta worked with the Cincinnati Playhouse, Arizona Shepherd University, and the creations. His credits include Living Theater in NYC and Theatre Company, Delaware University of Maryland. As a major works by Strindberg, performed her own written Theatre Company, and the Mitchell Hébert choreographer he has worked Tennessee Williams, his own work in Roundstone, Ireland. Berkshire Theatre Festival. Mask at the Washington National stage adaptation of Rumi’s Naomi has received 3 Helen Auditioning Without Opera, Spoleto Festival, MATHNAVI, Buchner, Dario Hayes Awards, 15 nominations, Fear Christopher Guthrie Theatre, Folger Fo, Shakespeare, Brecht, Sam the Lunt-Fontanne Fellowship, Acting: Mary Henley Theatre, Signature Theatre, Shepard, Chekhov, Ibsen, the Anderson-Hopkins Award Stuart, Cabaret, and The Scenes in Performance Round House Theatre, among many others, including for Excellence in Theatre, Humans (upcoming) at Olney Christopher Shakespeare Theatre Company, his own original works. He has and a DC Arts Commission Theatre Center, The Book of Henley began and Olney Theatre Center; been a regular instructor in Individual Artist grant. She has Will, and Roy Cohn in Angels acting (1979) and directing he is a company member Viewpoints at the El Haddawi independent film and network in America, a co-production (1980) around DC with Source and resident fight director Winter School for performance TV credits. Voiceover work with Round House Theatre Theatre Company. He was a with Rorschach Theatre near Munich, and at summer includes NPR, PBS, Discovery and Olney Theatre Center, Hir founding Ensemble Member at and Brave Spirits Theatre. institutes at American Channel, the Smithsonian, at Woolly Mammoth Theatre. Avant Bard Theatre (originally His work at Keegan Theatre University and Catholic as well as narrating recorded Directing: Cat on a Hot Tin Washington Shakespeare and Constellation Theatre University in Washington books. She teaches acting and Roof and Glengarry Glen Ross Company); was its Artistic Company has been nominated DC. He is the author of public speaking at professional at Round House Theatre, The Director for more than 16 for Helen Hayes Awards, several dozen original plays, theatres and at various Illusion at Forum Theatre, years; and continues as its and he spent two years as an adaptations and translations. universities and corporations. Rabbit Hole at Olney Theatre Artistic Director Emeritus audition choreographer for Since 2009 he has been part Center, Judy Moody and Stink and as a member of the Marvel Universe Live. Casey is of the faculty team building at Adventure Theatre, Illyria at Acting Company. Under his John Judy a proud member of the Society the Theatre Arts and Studies Avant Bard Theatre. Teaching: leadership, WSC was a vital On-Camera Acting for of American Fight Directors Program at Johns Hopkins At the University of Maryland part of the developing small Kids and Teens and the Stage Directors and University, where he is a full- where he is on the faculty, he professional theatre scene. Intro to Acting for the Choreographers Society (SDC). time lecturer. has directed Eurydice, The Amish As a producer, director, and Camera Project, The Distance from Here, actor, he shepherded dozens Advanced Acting for the Camera Craig Klein Brenna and co-directed A Midsummer of productions, many of which Auditioning for the Camera McDonough Night’s Dream, which was were critically acclaimed and Voiceovers I and II Auditioning on Video Getting Started in TV performed at both UMD and award-winning, and provided Craig Klein is a John Judy is a DC area and Film in Beijing. He has received high-profile opportunities multiple award- actor-writer-director who has Intro to Acting for the Helen Hayes Awards for both to scores of emerging actors, winning voice performed on stages here as Camera acting (After the Fall, Theatre directors, and designers. actor with credits including well as in Los Angeles and Brenna McDonough, actor J) & directing (Glengarry Other theaters at which he Toyota, GEICO, ABC’s Jimmy Chicago. His more notable and author, has 35 years’ Glen Ross at Round House has worked include SCENA Kimmel Live!, Walmart, credits include House of Cards, experience as a successful actor Theatre) in addition to several Theatre (founding company Verizon, CBS, Go Daddy, Homicide: Life on the Street and in commercials and corporate nominations as an actor and member), Longacre Lea Maryland Lottery, Colorado writing and performing in videos. She founded her own director. Productions, Folger Theatre, Lottery, The Weather Channel, over 150 original sketch shows studio, On-Camera Training, in Quotidian Theatre Company, Animal Planet, Discovery, at the IO West Theatre in 1995. Brenna began her career and Ambassador Theatre, in Investigation Discovery, Turner Hollywood. In DC John has in her hometown of Chicago Marietta addition to several companies Sports, Smithsonian Channel, taught at Imagination Stage where she studied with Paul Hedges no longer functioning, such Golf Channel, Food Network, (formerly BAPA), the Rockville Sills at Second City. She then Intro to Acting as Cherry Red Productions, Cartoon Network, Encore, The Jewish Community Center and worked in Los Angeles and Uta Hagen Technique Spheres Theatre Company, The NFL, Penguin Audio, WETA- the Smithsonian Associates New York before settling in the Viewpoints American Century Theater, TV and Fox5DC. He has also Summer Program. John’s most Washington, DC area. Brenna How to Rehearse a Monologue and Moving Target Theatre. been seen on Washington recent projects include HBO’s continues to work in voiceovers Marietta Hedges is an actress, area stages including The Veep, National Geographic as well as on-camera, including director and teacher. She is Shakespeare Theatre Company, Channel’s Killing Kennedy, associate professor of acting at Constellation Theatre, MORE FACULTY >> 7 OUR DISTINGUISHED FACULTY CONTINUED

various feature films shot in in the Cabaret Conference Rorschach Theatre Company J, Olney Theatre Center, Los Angeles City College. He the DC area. She has taught at Yale University. Marianne and has taught at Catholic Signature Theatre, Theatre studied privately with Professor her on-camera acting class at serves on the Board of the University, Signature Theatre Alliance, The Folger Theatre, Ernst Garay (Berlin), Fredrick New York University and the fabulous DC Cabaret Network. for Stage One and Overtures, MetroStage, Rep Stage, and Wilkerson (NY), and Patricia University of Maryland. She Adventure Theatre/MTC, and Studio Theatre. Regionally he Sage (NY). Charles has won and her husband are co-authors Imagination Stage. has worked at Cleveland Play international acclaim since of the book You Can Work Dorothy House and Franklin Stage his opera debut at the Festival On-Camera, which has been Neumann Company. Recent roles include of Two Worlds in Spoleto, used in several universities. Intro to Acting Elizabeth Murray in Junk at Arena Stage, Italy. He has acted and sung They often work together with Dorothy Pringle and holdout Juror # 3 in Twelve in theaters and opera houses corporate media clients, team Neumann Intro to Acting Angry Men at Ford’s. Michael and on radio and television teaching and private coaching. is a pioneer in the small Playwriting has received several Helen in Munich, Berlin, Hamburg, Brenna is a proud member of professional theatre circuit, Creating a One-Person Hayes Award Nominations Zurich and Vienna. He made SAG-AFTRA and the Actors having directed in the Show each in the categories of his Metropolitan Opera debut Center. Washington area for over Elizabeth Pringle is a Outstanding Lead Actor and as Sportin’ Life in Porgy and 37 years. She received three playwright, director, actor, Outstanding Ensemble. He has Bess, and has performed at Helen Hayes nominations for and arts & media producer/ directed at The Actors’ Theatre Carnegie Hall, The Barns at Angelo Outstanding Direction—for educator. She has written and of Washington (cofounder), Wolf Trap, and the Kennedy Merenda Top Girls, Johnny Bull (both directed plays, musicals, opera MetroStage, Source Theatre, Center. Charles served as vocal Intro to Theatre Tech Horizons productions) and and zarzuela adaptations, The Washington Shakespeare consultant for Sweet Honey Angelo Merenda, Unidentified Human Remains… operettas, articles, poems, Company, Studio Theatre, in the Rock, and was vocal The Theatre at Signature—and served as websites, grants, a film and The Theatre Lab, and The panelist for the NEA. He has Lab’s IT/Technical Director, artistic director for D.C. Stage more. She loves working National Academy of Dramatic taught workshops in Austria has worked freelance as an and Goosebump Theatre. An with language and image to Arts. He is an Associate Artist and Germany, and travels the audio technician, lighting artistic associate at Source discover meaning and make at Olney Theatre Center, U. S. to conduct master classes, director, and production Theatre, Horizons and art. She has taught emerging and a member of the Woolly vocal workshops, and summer manager for over 20 years Signature in past years, Dot playwrights and actors in DC Mammoth Theatre Company. programs. on the East Coast. New York has taught at The Theatre Lab (Theatre Lab, Kennedy Center, In addition, Michael narrates credits include Manhattan almost since its inception and Duke Ellington School of the recorded books for the Library School of Music, Webster Hall particularly enjoys teaching Arts, Young Playwrights) and of Congress. MaryBeth Wise Quarterly Arts Soiree and the Intro to Acting. She joined the beyond. Elizabeth is also the Drama Workshop Moving Beauty Dance Series. seasonal staff at Clear Space creator/director of The Shortie Beginning Scene Study In the DC area, he has worked Theatre Company in Rehoboth Awards: International Film and Kim Schraf MaryBeth Wise is productions at The Studio where she has directed Cabaret; News Festival, celebrating and Honors Acting an actor, teacher Theatre, Shakespeare Theatre, Shirley Valentine; La Cage Aux promoting original media. Kim Schraf has and narrator of audio books. and Constellation Theatre, Folles; On Golden Pond; Love, performed at Her acting credits include How while serving as Production Loss and What I Wore; and The Arena Stage, to Write a New Book for the Bible Manager for Rainbow Theatre Vagina Monologues. She recently Madeleine The Kennedy Center, Studio at Round House Theatre, Body Project. Prior to joining The was part of the artistic team at Regina Theatre, Ford’s, Round Awareness at Theater J, Frozen Theatre Lab, he managed local Clear Space for ‘Night, Mother. Theatre Games for House, Signature, Woolly at Studio Secondstage, The Kids crews for touring rock and roll In addition to her directing, Mammoth, Everyman, Importance of Being Earnest at and Broadway shows for the Dot published Truth Serum, a Improv for Teens Theater J, The Theatre of the Arena Stage, The Mineola Twins Modlin Center for the Arts in book of poetry available on Scene Study for Teens First Amendment, and the at Woolly Mammoth Theatre, Richmond, VA. Amazon. Madeleine Regina is a director, Edinburgh Festival in Scotland. Midwives with Roundhouse performer and educator in the Credits include starring roles Theatre, Perfect Pie and DC area. Most recently she was Tracy Lynn in Death of a Salesman, The Piaf with Potomac Theatre an assistant director for Crystal Laramie Project and Our Town Project, Vita and Virginia at Marianne Glass Olivera Creek Motel with Flying V. Miller at Ford’s Theatre; Angels in Rep Stage, and numerous Belters Workshop Recently she also directed Body America at Signature; Skylight, productions at Olney Theatre Creating Your Own A classically for the Capital City Fringe Fest Frozen, and The Apple Family including Annie Sullivan in Cabaret Act trained singer, and WUNDERKAMMER for Plays at Studio; Measure for The Miracle Worker (Helen Marianne Glass Tracy Olivera has appeared the Charm City Fringe Festival. Pleasure, Freedomland and The Hayes Award nomination). Miller is a cabaret performer in many musicals and plays, Madeleine is also a director Gene Pool at Woolly Mammoth; She has performed with The and director who has worked including the Broadway run of with ArtStream Theatre and Proof and Light Up the Sky Shakespeare Theatre, Ford’s in the Washington, DC and Ragtime. At Signature Theatre Company, where she devises at Everyman. A graduate of St. Theatre, The Kennedy Center, Baltimore areas for over 20 she has been seen in Company, theatre with people of all John’s College in Annapolis, and The Folger Theatre. years. She has performed Gypsy, Les Misérables (Helen backgrounds and abilities. She she has been teaching since MaryBeth has toured nationally in solo and group cabaret Hayes nomination), ACE, teaches at Imagination Stage 1984, most recently at the with the Kennedy Center shows at the Arts Club of Merrily We Roll Along (Helen and The Theatre Lab, and loves Parkmont School. She is also and the National Players, and Washington, Capitol Hill Arts Hayes nomination), Follies, sharing the theatre experience a successful narrator of audio internationally with Music Workshop, Maggie’s Cabaret, and Sweeney Todd. She has also with many age groups. books and a speech coach. Kim Tours, Inc. and USIA. She is a The Black Squirrel, The Black performed at the Kennedy helped launch the Honors narrator of audio books for the Fox, Adventure Theater, and Center in Sunday in the Park Conservatory for The Theatre Library of Congress, received Germano’s in Baltimore. Her Michael with George, Passion, Merrily Lab in 2006 and continues to her BA from Barry University, recent directing credits include Russotto We Roll Along, and Ragtime; serve as one of its directors. and holds an MFA in Acting Christy Trapp’s cabaret “The Cold Reading at Ford’s in Hello Dolly and from Catholic University. Voice of a Woman,” performed Liberty Smith; at Studio Theatre Auditioning in Baltimore and Washington, in Bachelorette; at Olney Creating a Role Charles DC. She has studied with Theatre Center in Cinderella Michael Russotto is a Williams cabaret artists Sally Mayes, and The Sound of Music; at professional actor and Singing Better Lina Koutrakos, Rick Jensen, MetroStage in The Last Five director who has appeared Charles Williams Andrea Marcovicci, Amanda Years; and in Candide at the on many Washington-area studied Voice McBroom and Michele Shakespeare Theatre and at the stages, including Arena Stage, and Opera at the University Brourman. In 2007, she was Goodman Theatre in Chicago. Woolly Mammoth Theatre, of the Arts in Berlin, and one of 36 invited participants Tracy is also a member of The Kennedy Center, Theater Music and Theater Arts at

8 The Theatre Lab offers a variety of intensive theatre courses designed to meet the needs of students at all levels of experience. COURSES Classes meet once a week for six weeks unless otherwise indicated. REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449

“INVITING, INSPIRING, EDUCATIONAL.” COURSE SECTIONS

— RECENT STUDENT EVALUATION COURSE BUNDLES PAGE 10

BEGINNING ACTING PAGE 11

SCENE STUDY PAGE 11

AUDITION SKILLS PAGE 12

FILM AND TV PAGE 13

MUSICAL THEATRE PAGE 14

PERFORMANCE CLASSES PAGE 15

SEMINARS PAGE 16

SPECIALIZED TRAINING PAGE 16

YOUTH CLASSES PAGE 17

9 COURSES CONTINUED

COURSE BUNDLES GIVE DIRECTION TO YOUR STUDY OF ACTING IN THE FIRST HALF OF 2020 WITH ONE OF THESE DISCOUNTED COURSE BUNDLES! Please note that no substitutions or refunds are possible, and all bundle classes must be taken by a single student.

Intro Bundle Film and TV Bundle Fast-Track Intensive • Michael Chekhov $890 (a $1100 value) $910 (a $1,110 value) Technique Actor Training Bundle (Winter Sat) $ $ ALL of these classes: Any 3 of these classes: 960 (a 1,230 value) • Uta Hagen Technique • Anyone Can Act • Getting Started in TV Three half-hour mentoring/ (Late Spring Sat) (Selected Saturdays) and Film coaching sessions plus any 3 • Scenes in Performance (Winter Tues) • Intro to Acting of these classes: (Early Spring Wed) (Winter Wed or Sat, or • Intro to Acting • Beginning Scene Study Early Spring Wed or Sat, or • Viewpoints for the Camera (Winter Mon, or Early Spring Sat, or Late Spring Mon or Wed) (Early Spring Wed) (Winter Sat, or Early Spring Tues or Late Spring Mon) • The Drama Workshop Thurs, or Late Spring Sat) • How to Rehearse a • Auditioning (Late Spring Sat) • Advanced Acting Monologue (Early Spring Mon) (Early Spring Sat) • Beginning Scene Study for the Camera • Auditioning Without (Winter Mon, or Early Spring Sat, or (Late Spring Thurs) • Actions and Objectives Late Spring Mon) Fear (Winter Thurs) • Auditioning (Winter Sat) for the Camera • Conflict (Winter Sat) • Auditioning on Video (Early Spring Tues) (Late Spring Wed) Musical Theatre • Voiceovers I • Mask (Winter Sat or Late Spring Sat) • Cold Reading (Winter Tues) Bundle (Winter Mon or Late Spring Tues) $590 (a $770 value) • Voiceovers II • Voice and Speech (Winter Sat or Late Spring Sat) • Intensive Scene Study (Early Spring Mon) Any 2 of these classes: with José Carrasquillo (Late Spring Sat) • Creating a One-Person • Auditioning for Musical Show Theatre • The Stanislavski Method (Late Spring Tues) (Winter Mon) (Winter Wed) • Creating Your Own • Meisner Technique I Mentoring/coaching Cabaret Act (Early Spring Tues) sessions are with Theatre Lab Director (Winter Sat) • Meisner Technique II • Belters Workshop (Late Spring Tues) Deb Gottesman (two by phone and one in person). (Late Spring Wed) CONTINUED >

Call us at 202-824-0449 for personal guidance on bundle purchases, and to make sure space is available in all the classes you are interested in. No substitutions are possible, and all bundled courses must be completed by the end of the Late Spring Session of 2020.

10 BEGINNING ACTING range. Requires approximately 3–5 hours of rehearsal with an assigned partner outside of class each week. Taken together or in succession, this course and the Drama Workshop constitute Intro to Acting essential training in the basics of the actor’s craft. “This class was not only fun, but I feel like I developed as not only n Mondays, Jan 13 – Feb 17, 7 – 10pm an actor but as an individual. The lessons learned I can apply to my Instructor: José Carrasquillo everyday life.” n Saturdays, Feb 29 – Apr 4, 1:30 – 4:30pm A fun and fast-paced introduction to what acting is all about, Instructor: MaryBeth Wise with plenty of practice in improvisation, scene study and theatre n Mondays, Apr 13 – May 18, 7 – 10pm games. For anyone who’s ever wanted to give acting a try—or Instructor: José Carrasquillo Tuition: Non-Members $360/Members $324 those who haven’t done it since that one time in high school. n Wednesdays, Jan 15 – Feb 19, 7 – 9:30pm Instructor: Marietta Hedges n Saturdays, Jan 18 – Feb 22, 10am – 12:30pm SCENE STUDY Instructor: Dorothy Neumann n Wednesdays, Feb 26 – Apr 1, 7 – 9:30pm Note: All Scene Study courses require approximately 3–5 hours of rehearsal with a partner Instructor: Elizabeth Pringle outside of class each week unless otherwise noted. Partners are generally assigned on the n Saturdays, Feb 29 – Apr 4, 10am – 12:30pm first day of class. Instructor: Dorothy Neumann n Mondays, Apr 13 – May 18, 7 – 9:30pm Instructor: Marietta Hedges Actions and Objectives n Wednesdays, Apr 15 – May 20, 7 – 9:30pm “The instructor gave us many opportunities to explore different Instructor: Marietta Hedges approaches. It was incredibly useful! $ $ Tuition: Non-Members 330/Members 297 A practical course for the actor. Using improv and excerpts from plays, this class will explore the power of actions and objectives as Drama Workshop tools to spark creativity, believability and growth. For actors with “One of the biggest benefits was learning how to get out of your head and some scene study experience. being present, connected and in the moment. I’m excited to learn more!” n Thursdays, Jan 16 – Feb 20, 7 – 10pm A good follow-up to Intro to Acting, a first course for those Instructor: Naomi Jacobson looking for a more intensive introduction, or a refresher for Tuition: Non-Members $360/Members $324 those with previous experience—this course uses a wide variety of improvisational techniques to explore the actor’s process, from Intensive Scene Study with José Carrasquillo activating needs to developing a complex character. Great for “I learned a lot in this course and was able to pick up new techniques loosening up your body and voice, building self–confidence, and in practice.” unleashing your creative spirit. Taken together or in succession, Rehearsal and presentation of two-person scenes from this course and Beginning Scene Study constitute essential contemporary plays under the instruction of master actor, training in the basics of the actor’s craft. director, and teacher José Carrasquillo. Prerequisite: At least n Saturdays, Apr 18 – May 30, 1:30 – 4:30pm one prior scene study course at The Theatre Lab, or permission No class May 23 (Memorial Day) of the instructor. Email [email protected] to request Instructor: MaryBeth Wise permission. Tuition: Non-Members $360/Members $324 n Saturdays, Apr 18 – May 30, 10am – 1pm No class May 23 (Memorial Day) Beginning Scene Study Instructor: José Carrasquillo “This course greatly improved how I approach new scenes and connect Tuition: Non-Members $360/Members $324 with my character.” An intensive introduction to scripted work through preparation and performance of scenes and monologues. Emphasis on MORE COURSES >> learning effective rehearsal techniques and expanding the actor’s

All quotes are from recent course evaluations in the students’ own words. 11 COURSES CONTINUED

Meisner Technique II: Scene Work and this reliance on technology comes with special challenges. ‘’The class completely changed the way I view acting and the skills First of all, how do you even do it? (Is recording on a cellphone I learned helped me to get accepted into The School at Steppenwolf okay? How close should the camera be? Do you need special in Chicago!” lighting?) And maybe more important, what makes a self-taped This course applies the concepts of Meisner Technique I to a audition really good? This course is taught by two specialists: one variety of scripted scenes. Students will learn how to approach to help you master the production issues, and one to help with a text, make active choices, and live (engage) truthfully in the your acting and make sure your videos are showing it off to best imaginary circumstances. Prerequisite: Meisner Technique I, advantage. or other Meisner experience and permission of the instructor. n Wednesdays, Apr 15 – May 20, 7 – 10pm Email [email protected] to request permission. Instructors: Tonya Beckman and John Judy Tuition: Non-Members $360/Members $324 n Tuesdays, Apr 14 – May 19, 7 – 10pm Instructor: Carol Cadby Tuition: Non-Members $360/Members $324 How to Rehearse a Monologue ‘’I got a new monologue and am confident about it for my next audition. See also Beginning Scene Study under BEGINNING ACTING, Creating a Role and That rarely happens for me.” Scenes in Performance under PERFORMANCE COURSES, Conflictunder SPECIALIZED Professional techniques for making the most of solo rehearsal TRAINING, and Scene Study for Teens under YOUTH CLASSES time, from first getting the words off the page, through developing character, arc, and connection to an imaginary other, to polishing your piece for auditions or performance. For actors AUDITION SKILLS at all levels. n Saturdays, Feb 29 – Apr 4, 10am – 1pm Instructor: Marietta Hedges Auditioning Tuition: Non-Members $360/Members $324 “A great way to get more comfortable performing monologues, with lots of feedback.” Cold Reading An intensive course in audition preparation. Course will ‘’I gained knowledge and tools that I will be able to put to immediate use.” focus on developing monologue material, mastering both the Students will learn how to connect quickly and powerfully with technical and the artistic aspects of a professional audition, and unfamiliar scripts and scene partners, improving cold reading learning to experience each audition as a welcome performance skills for general auditions, call backs, staged readings, early opportunity. rehearsals, and film and television work. n Mondays, Feb 24 – Mar 30, 7 – 10pm n Mondays, Jan 13 – Feb 17, 7 – 9:30pm Instructor: Michael Russotto Instructor: Michael Russotto Tuition: Non-Members $360/Members $324 n Tuesdays, Apr 14 – May 19, 7 – 9:30pm Instructor: Michael Russotto NEW! Auditioning Without Fear Tuition: Non-Members $330/Members $297 Everything you always wanted to know about stage auditions but were afraid to ask. This class will demystify the process, and See also Auditioning for the Camera under FILM AND TV and Auditioning for provide guided practice in the skills that auditors are looking for, Musical Theatre under MUSICAL THEATRE using both monologues and cold readings. n Saturdays, Jan 18 – Feb 22, 1:30 – 3:30pm Instructor: Mitchell Hébert Tuition: Non-Members $310/Members $279 “THE CLASS COMPLETELY CHANGED THE WAY NEW! Auditioning on Video How to do a professional self-taped audition for stage roles. More I VIEW ACTING.” and more, directors and casting directors require actors to send videos of their monologues rather than auditioning in person,

12 All quotes are from recent course evaluations in the students’ own words. FILM AND TV work will be filmed and scrutinized. For actors who are serious about working in film, television, industrials and commercials. Prerequisite: One on-camera class or permission of instructor. Getting Started in TV and Film n Thursdays, Apr 16 – May 28, 7 – 10pm “I love that it is a safe space to be expressive and learn.” (Seven weeks.) This class will cover the ins and outs of all aspects of the film Instructor: John Judy industry in our area, including commercials, corporate videos, Tuition: Non-Members $390/Members $351 indie and feature films, and where to look for auditions, jobs and performance opportunities. Class will include mastering the Auditioning for the Camera mystery of the self-tape audition. Students will work on-camera “This class simulated many auditioning scenarios which I appreciated!” for weeks 5 and 6 for playback and evaluation. An exploration of the numerous elements that go into n Tuesdays, Jan 14 – Feb 18, 7 – 9:30pm a successful audition for the screen. Topics will include Instructor: Brenna McDonough preparation, appropriate dress, demeanor, techniques for quick Tuition: Non-Members $330/Members $297 character analysis, cold readings, call backs, and screen tests. All students will work toward a final cold read and screen test. Intro to Acting for the Camera n Saturdays, Jan 18 – Feb 22, 10am – 1pm “The instructor was very attentive and gave great “real world” and Instructor: John Judy actionable feedback. I greatly appreciated watching our video playbacks!” Tuition: Non-Members $360/Members $324 An intensive course devoted to acting for film and television. The class will include audition techniques, the role of commercial Voiceovers I spokesperson, specifics of industrial film work, and techniques “The instructor’s attitude greatly encouraged students to explore, create, for approaching film and television scripts. All class work will be and learn.” filmed as it might be on a real set and then critiqued. A first course in the art of voiceovers, including commercials, n Saturdays, Jan 18 – Feb 22, 1:30 – 4:30pm narration, and promos. Introduction to all skill areas, including Instructor: John Judy copy interpretation, the physical use of the voice, the business of n Tuesdays, Feb 25 – Mar 31, 7 – 10pm the VO biz, and home studios. All students will receive intensive Instructor: Brenna McDonough recorded practice with critique. n Thursdays, Feb 27 – Apr 2, 7 – 10pm n Saturdays, Jan 18 – Feb 22, 1:30 – 4:30pm Instructor: John Judy Instructor: Craig Klein n Saturdays, Apr 18 – May 30, 10am – 1pm n Saturdays, Apr 18 – May 30, 10am – 1pm No class May 23 (Memorial Day) No class May 23 (Memorial Day) Instructor: John Judy Instructor: Craig Klein n Saturdays, Apr 18 – May 30, 1:30 – 4:30pm Tuition: Non-Members $360/Members $324 No class May 23 (Memorial Day) Instructor: John Judy MORE COURSES >> Tuition: Non-Members $360/Members $324 Advanced Acting for the Camera “I liked the class size and the individual attention we were able to get. “THE INSTRUCTOR WAS It helped me discover my strengths.” VERY ATTENTIVE AND GAVE This class is different each time it’s offered, because it is designed each time for the specific students in the class. The class begins GREAT ‘REAL WORLD’ AND with a review of basic on-camera technique, followed by attention ACTIONABLE FEEDBACK. to advanced audition techniques. The rest of the course will focus on areas of special interest to the students. Past topics I GREATLY APPRECIATED have included: Advanced Audition Techniques, Auditioning for WATCHING OUR VIDEO Stonehenge, Memorization Techniques, Acting with One or No Eyes, Two- and Three-Character Scenes, and many others. All class PLAYBACKS!”

13 COURSES CONTINUED

Voiceovers II Auditioning for Musical Theatre “This class answered so many of my questions and built on the strong “I appreciated the great practicality of this class. I learned the real life foundation of Voiceovers I.” experience of doing a musical audition.” Students will receive more time recording in class, honing This class focuses on preparing the actor for musical theatre methods introduced in The Theatre Lab’s Voiceovers I class. audition and performance, through careful attention to each New voiceover genres will be introduced, as well as advanced actor/singer’s strengths and weaknesses. Emphasis will be techniques. Students will also explore more advanced real– on music and text interpretation, singing and performance world scenarios such as cold reads, timing, tags, and doubles. techniques, relaxing and unleashing the voice, and selection of Successful completion of Voiceovers I or permission of instructor strong material. Students bring at least one memorized musical required. Email [email protected] to request permission. theatre song to the first class, along with the piano sheet music n Saturdays, Jan 18 – Feb 22, 10am – 1pm in the appropriate key, and will work on several songs over the Instructor: Craig Klein six weeks of the course. n Saturdays, Apr 18 – May 30, 1:30 – 4:30pm n Mondays, Jan 13 – Feb 17, 7 – 10pm No class May 23 (Memorial Day) Instructor: Evan Casey Instructor: Craig Klein Tuition: Non-Members $360/Members $324 Tuition: Non-Members $360/Members $324 Creating Your Own Cabaret Act See also On-Camera Acting for Kids and Teens under YOUTH CLASSES “A great introduction to the art of cabaret. Supportive and creative atmosphere.” MUSICAL THEATRE A hands-on course exploring all the elements of creating a successful cabaret act. The grand finale is a showcase featuring individual mini-sets developed over the course of the class. Singing Better Topics include: choosing material that’s right for you, song performance, designing your cabaret, microphone technique, A basic singing course for people who can carry a tune but do and marketing your act. Prerequisite: Previous experience as a not have much (or any) solo performance experience. Issues solo vocalist. Come to the first class with three prepared songs explored will include vocal production, lyric interpretation, and with piano music. harmony. The emphasis will be on having fun with music and making swift progress in the development of singing skill. n Saturdays, Jan 18 – Feb 29, 10am – 1pm Plus performance on the evening of Feb 29; no class Jan 25 n Tuesdays, Feb 18 – Mar 24, 6 – 7pm Instructors: Marianne Glass Miller and Jeff Hamlin Instructor: Charles Williams Tuition: Non-Members $410/Members $369 Tuition: Non-Members $180/Members $144 Register at levinemusic.org or email [email protected] for assistance. See also Creating a Musical Role under PERFORMANCE CLASSES Belters Workshop “This class helped me expand my belting range in a safe and fun way.” Developed by one of the area’s foremost belters, this class is “I APPRECIATED THE GREAT specially designed to help altos and sopranos sing in a powerful “mix-belt” and improve their belting range through a systematic PRACTICALITY OF THIS CLASS. gradual process, with a special emphasis on contemporary I LEARNED THE REAL LIFE musical theatre and pop styles. For any any alto or soprano working or hoping to work in musical theatre. EXPERIENCE OF DOING n Wednesdays, Apr 15 – May 20, 7 – 9pm A MUSICAL AUDITION.” Instructor: Tracy Lynn Olivera Tuition: Non-Members $310/Members $279

14 All quotes are from recent course evaluations in the students’ own words. PERFORMANCE CLASSES casting many roles with actors who might not think of themselves as the traditional right “type.” Even if you think your days of playing ingenues are over, or if you don’t identify as a woman, Scenes in Performance in this production you can still be considered for the role of “The instructor was so helpful, supportive, and provided so much young Rosalind. We’re throwing traditional preconceptions individualized support and mentoring.” about character types — race/ethnicity/gender/age — out the Some performance issues can only be explored when an window altogether as we cast lots of fun and challenging roles audience is involved. This course adds that crucial element to the for students of all levels. No Shakespeare experience necessary. traditional scene study mix. Students will rehearse scenes under An added instructor will be on hand to help with interpreting the guidance of the instructor, with attention paid to all aspects the text. Auditions are low-key — no monologue required. Email of the acting. The course includes a performance for an invited [email protected] to schedule an audition. audience and discussion of performance issues that may have n Tuesdays, Thursdays & Saturdays, Jan 14 – Apr 4 arisen, such as nervousness, the give and take of energy between T & Th 7–10pm; Sat 1:30–4:30pm audience and performers, and when and how to incorporate Tech Fri Mar 27, 7–10pm; Sat Mar 28, 12–6pm; T Mar 31, 6–10pm; W Apr 1, 6–10pm feedback. Evening performances Apr 2, 3, 4 Matinee Apr 4 n Wednesdays, Mar 5 – Apr 8, 7 – 10pm Instructors: Randy Baker and Michael Russotto Instructor: Christopher Henley Tuition: Non-Members $630/Members $567 Tuition: Non-Members $360/Members $324 Creating a One-Person Show Creating a Musical Role: Bonnie & Clyde “This program is a fantastic opportunity for growth and learning for “The instructor pushed us in a guiding way where the class was in performers of all levels of experience.” charge of the final product. The instructor was very supportive.” This double-session course takes students through the entire Learn the ins and outs of creating a one-person show, including process of rehearsing and performing a major musical. The how to use personal stories, imagery, dreams, and myths as course replicates a typical professional production experience, fabric for constructing original performance pieces. All students from learning the notes through taking the bow. Issues explored will create, stage, and perform a solo piece by the course’s end. include vocal production, how to act a song, how to sing a scene, This class is recommended for playwrights, actors, and anyone defining the arc of a character, and all other aspects of singing interested in exploring artistic self-expression. and acting a musical role. No experience is necessary, but major n Tuesdays, Apr 14 – May 19, 7 – 10pm roles will be assigned by audition. Chorus roles will not require Instructor: Elizabeth Pringle auditions, but prospective students will have to demonstrate Tuition: Non-Members $360/Members $324 that they can carry a tune. This year the course culminates Creating a Role: As You Like It in six public performances of the Tony-nominated Bonnie & Clyde, from the legendary Frank Wildhorn (Jekyll & Hyde). “The instructor helped us to work together as a group which in turn This Tony-nominated show is an electrifying story of love and helped us to develop really unique quality artistic pieces that transitioned crime, and the shocking consequences of both. Many roles for uniquely into our show’s production.” actors and singers of all types, at all levels of experience. Email This double-session course is designed to give students the [email protected] to schedule an audition or interview. experience of preparing a complex role from the beginning of a n Tuesdays, Thursdays & Saturdays, Feb 11 – May 9 rehearsal process through the moment of performance. Working T 7–10pm; Th 7–10:30pm; Sat 10am–1pm with both a professional director and a professional actor, Tech W Apr 29, 6–11pm students explore all the elements of acting in a full production, Brush–up W May 6, 7–10pm including text analysis, dramaturgy, character development, Evening performances Apr 30, May 1, 2, 7, 8, 9 blocking, giving focus, taking direction, connecting to other No class Sat April 11 (Easter) actors, and dealing with the audience. This offering of the course Instructors: Deb Gottesman and Buzz Mauro culminates in four public performances of As You Like It, one of Tuition: Non-Members $680/Members $612 Shakespeare’s most accessible and enjoyable comedies. Casting MORE COURSES >> will be even more open than usual — in fact, we’ll be intentionally

15 COURSES CONTINUED

SEMINARS Michael Chekhov Technique “Greatly enjoyed it. The instructor made it easy to understand and The Stanislavski Method engage with the exercises.” An introduction to the acting techniques of one of the major “Fascinating introduction to a figure who looms large. I’m so grateful to acting theorists and teachers of the 20th century—techniques have had a teacher break down the intimidation factor.” used by Jack Nicholson, Clint Eastwood, Marilyn Monroe and An intensive exploration of the seminal ideas of Constantin many others. Actors learn to employ psychological gesture to Stanislavski, some of whose teachings came to form the basis of find the core of the character, through experiential approaches Method Acting. The class will read An Actor Prepares in a seminar employing physical action that in turn creates a unique and format, explore the applications of Stanislavski’s use of actions, personal foundation for any role. beats and objectives, and work toward an understanding of some of the major acting techniques based on his writing. Required for n Saturdays, Jan 18 – Feb 22, 1:30 – 4:30pm Instructor: Joe Martin Honors students; open to all. Tuition: Non-Members $330/Members $297 n Wednesdays, Jan 15 – Feb 19, 7 – 9:30pm Instructor: Buzz Mauro Meisner Technique I: Foundations Tuition: Non-Members $330/Members $297 “This course really opened my mind and completely changed my idea of what acting is.” Through a step-by-step progression of acting exercises developed SPECIALIZED TRAINING by the famous acting teacher Sanford Meisner, including his iconic “Repetition,” students will develop their ability to work organically and to create truthful and expressive behavior. The Uta Hagen Technique exercises are designed to promote active listening, concentration, “The class was just the deep dive I needed into acting technique and imagination, authentic reactions, and emotional preparation. practice.” n Tuesdays, Feb 25 – Mar 31, 7 – 10pm Students work through the 10 acting exercises created by famed Instructor: Carol Cadby actress and teacher Uta Hagen, whose students included such Tuition: Non-Members $360/Members $324 diverse actors as Al Pacino, Whoopi Goldberg, and Matthew Broderick. No experience with Hagen’s approach is required, NEW! Conflict but students who have already encountered Hagen’s ideas are A scene study class with an emphasis on that all–important welcome and will be challenged to go deeper. These exercises aspect of any theatrical event: conflict. How to find it in a are beneficial for actors at any level, as they help establish a firm scene on the page, how to use it to drive your performances, foundation of acting as well as serve as a valuable “workout” for and how to ratchet it up. What drives a character to use force, more advanced actors. what is their tipping point, and how does aggression change n Saturdays, Apr 18 – May 30, 10am – 1pm the character and the story? Because engaging physically can be No class May 23 (Memorial Day) a great catalyst to engaging psychologically, some stage combat Instructor: Marietta Hedges will even be employed! Nothing overly strenuous, and safety Tuition: Non-Members $360/Members $324 will always come first, but you’ll learn how an exploration of (simulated) violence can unlock the conflict inherent in a scene. For students with some scene study experience. “THIS COURSE REALLY OPENED n Tuesdays, Feb 25 – Mar 31, 7 – 10pm Instructor: Casey Kaleba MY MIND AND COMPLETELY Tuition: Non-Members $360/Members $324 CHANGED MY IDEA OF WHAT ACTING IS.”

16 All quotes are from recent course evaluations in the students’ own words. NEW! Mask Intro to Theatre Tech Many actors rely on their face and voice as their main means of “I learned at least one new idea or skill every class.” communication. Mask work teaches the actor to use their whole Essentially a free course plus a tech internship—invaluable self in the creation of a character. Students will receive classic training in the technical aspects of theatre at zero net cost! The training in both neutral and character mask, with an emphasis full tuition will be refunded after completion of approximately on applications to maskless scripted work. 30 hours of hands-on tech experience on one of The Theatre n Tuesdays, Jan 14 – Feb 18, 7 – 9pm Lab’s spring or summer productions. This course and practicum Instructor: Mitchell Hébert will give actors and aspiring technicians a complete survey of the Tuition: Non-Members $310/Members $279 fundamentals, including Lights, Sound, Costumes, Stagecraft, and Stage Management. The course provides insight into all Viewpoints elements of design and production, as well as an opportunity to “It gave me a whole new way to think about exploring a character.” gain practical experience behind the scenes on full productions. For both newcomers and people with some experience in Details of the practicum schedule to be arranged with the Viewpoints. This popular and powerful technique takes a instructor before the class begins. physical and vocal approach to creating theatre and also serves n Wednesdays, Jan 15 – Feb 19, 7 – 9:30pm as an actor training methodology that fosters listening, focus, Instructor: Angelo Merenda $ $ and collaboration. In this workshop students will work primarily Tuition: Non-Members 200/Members 200 but tuition refunded in full on completion of practicum with the physical Viewpoints (Spatial Relationship, Kinesthetic Response, Shape, Gesture, Repetition, Architecture, Tempo, Duration, and Topography), but will delve into some vocal Playwriting Viewpoint work (Pitch, Dynamic, Acceleration/Deceleration, “This was a great class. I truly learned a lot and it boosted my Silence, and Timbre) as well. Students will apply the work to confidence as a writer.” short monologues and scenes. Come dressed to move. An exploration of the many aspects of playwriting including characterization, dialogue, the unspoken word, stage directions, n Wednesdays, Feb 26 – Apr 1, 7 – 10pm Instructor: Marietta Hedges plot, the playwright-director relationship, script formats, and Tuition: Non-Members $360/Members $324 marketing. All students develop a ten-minute play which receives a reading from professional actors. Recommended for acting as Voice and Speech well as playwriting students. “I learned a lot of amazing techniques in this class that helped me n Tuesdays, Feb 25 – Mar 31, 7 – 9:30pm discover what my body could do.” Instructor: Elizabeth Pringle Tuition: Non-Members $330/Members $297 Fundamental skills of body awareness, vocal production, and stress reduction. Particular attention will be paid to posture, breathing, basic ideas for healthful vocal production, and the mind-body connection. Great for public speakers, performers, YOUTH CLASSES and anyone who wants to learn to communicate with poise and confidence. n Mondays, Feb 24 – Apr 6, 7 – 9pm Theatre Games for Kids No class Mar 16 A fun way to spend time on a Saturday for any kid with the drama Instructor: Tonya Beckman bug. A constantly changing set of games and exercises designed Tuition: Non-Members $310/Members $279 to get kids expressing themselves, learning something about what actors do, and having a great time. For kids in grades 3–6. n Saturdays, Jan 18 – Feb 29, 11am – 12:30pm “IT GAVE ME A WHOLE NEW No class Jan 25 Instructor: Madeleine Regina WAY TO THINK ABOUT n Saturdays, Feb 29 – Apr 4, 12 – 1:30pm Instructor: Madeleine Regina EXPLORING A CHARACTER.” Tuition: Non-Members $250/Members $225 MORE COURSES >> 17 COURSES CONTINUED

On-Camera Acting for Kids Scene Study for Teens “I love the experience of this acting class for kids. It was wonderful. “We were given good information in a healthy and accepting I loved it!” environment.” For students in grades 3–6. A fun course in acting for the This course guides teenagers through all aspects of scripted work, camera, encompassing lots of substantive training. All kids will including how to analyze and interpret text, connect with other be videotaped and get to watch themselves in playback. No actors, make strong physical and vocal choices, develop fully experience required. May profitably be taken more than once. realized characters, and make the most of rehearsal time. For Saturdays, Feb 29 – Apr 4, 10am – 11:30am students in grades 7–12. Instructor: John Judy n Saturdays, Feb 29 – Apr 4, 2:30 – 4:30pm Tuition: Non-Members $280/Members $252 Instructor: Madeleine Regina Tuition: Non-Members $310/Members $279 Improv for Teens “I developed an understanding of myself and learned to be selfless. The On-Camera Acting for Teens instructor is great and I have learned a lot from her direction.” “It built in me a certain confidence about myself.” Improv games and exercises to increase spontaneity on stage, For students in grades 7–12. All aspects of performing on camera. loosen up the body and voice, and spark creativity. For students Student work will be videotaped, followed by playback and in grades 7–12. critique, with an eye toward developing the specific skills required n Saturdays, Jan 18 – Feb 29, 1 – 3pm for TV and film. May profitably be taken more than once. No class Jan 25 n Saturdays, Feb 29 – Apr 4, 12 – 2pm Instructor: Madeleine Regina Instructor: John Judy Tuition: Non-Members $310/Members $279 Tuition: Non-Members $310/Members $279

REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449

18 YOUTH PROGRAMS

FOR A LEARNING EXPERIENCE Theatre Lab’s programs with abandon. And we hear a similar YOU’LL NEVER FORGET, refrain at the end of every session: students tell us they’ve grown — both as artists and as people. GET IN ON THE ACT! The President’s Committee on the Arts and Humanities Theatre Lab youth programs are open to anyone who is has recognized The Theatre Lab as one of the 50 “top interested in learning about the craft. Students at all levels of arts- and humanities-based programs in the country experience are welcomed. Enrollment is limited, however, and serving youth beyond school hours.” kids (grades 1–8) are accepted on a first-come, first-served basis for our summer acting camp. Admission to teen programs Each year, more than 450 young people from all over the is by application and audition. metropolitan area take part in The Theatre Lab’s summer acting For more information about our year-round Saturday classes for kids camps and theatre institutes, our popular school holiday camps, and teens in Scene Study and Acting for the Camera, see page 17. and our year-round 6-week Saturday classes. The secret to the success of our programs? We offer serious theatre training, taught To learn more about our summer camps and school holiday by experienced teachers and theatre professionals, in a unique programs, read on! environment that’s friendly, supportive, and incredibly fun. MORE YOUTH PROGRAMS >>

Whether exploring Shakespeare and comedy in the kids program, delving into contemporary scene work and improvisation in the teen acting institute, or performing in a full production as part of the musical theatre institute, participants throw themselves into The

See www.theatrelab.org for more information about youth programs 19 YOUTH PROGRAMS CONTINUED

FOR KIDS FOR TEENS

The Summer Acting Camp for Kids The Summer Acting Institute for Teens The Theatre Lab’s Summer Acting Camp for Kids is a fun, high- The Theatre Lab’s Summer Acting Institute for Teens, energy program that allows young people to fully engage their for students ages 13–19, is designed to immerse young adults imagination as they experience the thrill of creating live theatre. in the art of acting, from mastering the essential principles From learning the basic techniques of acting for the stage, to of the craft to participating in a fully-produced, public developing improvisation and circus skills, to putting it all performance of a contemporary play directed by one of DC’s together in a public performance, it’s a summer your child will finest professional directors. never forget. Serves grades 1–6. n Offered in one four-week session: July 27 – August 1 n Offered in two-week sessions throughout the summer: June 29 – August 21 Application at www.theatrelab.org n One-week sessions: June 22–26 and August 24–28 The Musical Theatre Institute for Teens Musical Theatre and Acting Camps for Tweens The Musical Theatre Institute for Teens, for students ages 13–19, The Theatre Lab has created special programs just for kids in is an intensive four-week training program in which participants grades 7 and 8! Each camp will culminate in a full production to rehearse and perform a full musical production under the guidance be performed for friends, family and our younger camp groups. of seasoned directors and performers. The idea behind the institute Tween Theatre Camp is open to experienced performers as well is to enable young artists to explore challenging, socially relevant as first-timers. There are many wonderful roles for all types. As material from the contemporary musical theatre world as they receive with all Theatre Lab camps, there will be training in improv, the intensive voice, movement and acting training essential for scene study and movement along with show rehearsal and professional level performance. Past productions have included Jesus performance. Participants will make their own costumes and Christ Superstar, Cabaret, Parade, and The Hunchback of Notre Dame. scenery and there will even be “techie” opportunities for kids Offered in two four-week sessions: who prefer to work behind the scenes. n June 29 – July 24: (musical TBA) n Musical Theatre Camp: June 29 – July 24 (play TBA) n July 27 – August 21: (musical TBA) n Acting Camp: July 27 – August 21: Shakespeare Full Production Application at www.theatrelab.org n One-week Improv Camps: June 22–26 and July 27 – August 21 The Performance Institute “School’s Out” Holiday Camps of Levine Music and The Theatre Lab The Theatre Lab offers fun and exciting drama camps for kids in We’ve teamed up with Washington’s premier music school to offer grades 1–6 during DCPS Spring Breaks. Modeled on our award- a school-year conservatory program for teens seriously interested winning Summer Acting Camp for Kids, our “days of drama” in musical theatre. Taught by Helen Hayes Award-winning theatre feature exercises in improvisation, storytelling, movement, arts and professionals, The Performance Institute meets three times each crafts and even an end-of-the-day “mini-performance.” week for classes, rehearsals and training in singing, acting, and n Come for a day or stay for the week. dance, culminating in productions of full musicals at Arena Stage n Next up: Spring Break Camp 2020: February 17–21 and April 13–17 and other professional theatres in Washington. n Auditions scheduled several times/year. For more info, visit levinemusic.org or contact Caroline Agan at [email protected].

20 See page 17 for YOUTH CLASSES that meet once a week. SERVING OUR COMMUNITY

TRANSFORMING LIVES THROUGH LIFE STORIES THEATRE EDUCATION Everyone has a story to tell and a voice that deserves to be heard. Our philosophy is simple, practical and egalitarian: everyone can perform and performance enhances everyone. The Theatre Lab’s Life Stories program brings the artistic That’s why we make theatre training with the area’s top and real-life benefits of dramatic expression to traditionally professionals accessible to everyone — not only to those underserved populations. Through free training in acting, who can afford it or choose to seek it out. The Theatre film and storytelling, students ages 5–102 have learned Lab’s groundbreaking arts education, scholarship and to use their real-life experiences as a springboard for outreach programs serving economically and educationally creating original dramatic works for the stage and screen. disadvantaged youth and adults have earned its Directors By discovering their unique voices and sharing their the prestigious Linowes Leadership Award, recognizing experiences, Life Stories participants build their skills in D.C.’s “unsung heroes working to improve communities,” creative thinking, communication, and teamwork as well as and the Mayor’s Arts Award for Innovation in the Arts. becoming reconnected to peers, family, and community. Since launching this program in 2000, we have offered life- changing creative opportunities to more than 5,000 adults and YOUTH SCHOLARSHIP FUND youth. Populations served include seniors in assisted living The Theatre Lab works with area public schools and many of facilities; homeless women and families; adolescents attending DC’s most respected grassroots organizations to identify youth school in the area’s most distressed communities; youth who to receive full or partial need-based scholarships. The Theatre are sexual minorities; incarcerated teens; children undergoing Lab awarded more than $130,000 in need-based scholarships treatment at NIH; and wounded veterans and families who in 2019 to enable financially disadvantaged children and have survived the loss of a military loved one. How I Got Over, teens to attend our acting and musical theatre camps, and will an award-winning feature documentary about one of our Life do even more in 2020. (To learn more about these programs, Stories programs, is now streaming on Amazon. see page 20.) Current Life Stories partners include Bright Beginnings; The Children’s Inn at NIH; Columbia Heights Education Campus; Free Minds; Friendship Collegiate Academy; Hardy Middle School; MacFarland Middle School; McKinley Technical High School; N Street Village FINANCIAL AID Recovery Housing Unit; The National Center for Children and Families; New Beginnings The Theatre Lab offers a limited number of need-based Youth Correctional Facility; Paso Nuevo Afterschool Program; Potomac Job Corps Center; Reach, Inc.; Sasha Bruce Youthwork; St. Ann’s Center for Children, Youth and Families; financial aid and work/study awards for adult students. Stoddart Baptist Global Care Aging Services; TAPS (Tragedy Assistance Program for To apply, please visit our website at www.theatrelab.org and fill Survivors); Whitman Walker Health; and the Wounded Warriors Project. out the online application forms, or call us at 202-824-0449.

A four-day intensive learning experience for educators, THE LIFE social service providers, theatre artists and others STORIES interested in connecting individuals in their communities to the transformative power of the dramatic arts. INSTITUTE Become a certified instructor of the award-winning (Thursday – Sunday, Life Stories curriculum. Enrollment limited. October 1 – 4) More info: www.theatrelab.org

21 POLICIES

The Theatre Lab is a non-profit educational institution dedicated and Theatre Lab members. Early bird discounts are available for to providing the artistic and real-life benefits of quality dramatic early registration, and sometimes we send special offers to our arts education to a broad spectrum of adults and youth in the newsletter subscribers. Discounts are not valid in combination metropolitan Washington region. with other discounts.

Accessibility: The Theatre Lab is committed to creating an Guests/Auditing Classes: In order to provide a safe environment environment where all students can thrive. Located within the for students, guests are not permitted in classes. Exception: some Calvary Baptist Church building, the front entrance to The Theatre classes culminate in public performances by students, and in these Lab is accessible via a ramp and the building contains two elevators instances guests are permitted at the discretion of the instructor. for access to classrooms. Large format programs and course catalogs Auditing of classes is not allowed. If you’d like to try a short class are available by request. When purchasing tickets for a performance, before signing up for a six-week course, we recommend exploring please email [email protected] should you require seating with Anyone Can Act, a single two-hour acting class. a service animal or other assistance; we’re happy to work together to meet your needs. Likewise, if you’re a student and need class Liability Waiver: I understand that The Theatre Lab makes every materials in a specific format, please let us know as soon as possible. effort to provide a safe, enjoyable atmosphere in which to explore both the art and craft of acting. I recognize and acknowledge, Age Requirements: Adult classes are intended for adults of all however, that there are always risks of accident or injury and ages. It’s not unusual to take a Theatre Lab class with both twenty- knowingly and voluntarily assume all risk of such injury. I release somethings and retirees. Mature teens ages 15 and over may register The Theatre Lab from any and all liability and/or claims or damages for adult classes with instructor permission. arising out of personal injury of any kind. I agree to be responsible for any medical bills incurred resulting from illness or injury during Behavior: The Theatre Lab expects students to value the my participation at The Theatre Lab. (Signature required on student contributions of others and to treat fellow students and instructors info form at first day of class). with respect, dignity, and honesty. We reserve the right to dismiss, without refund, any student whose behavior is inappropriate and Non-Discrimination Policy: The Theatre Lab does not disruptive to the successful functioning of the class. Disruptive discriminate on the basis of race, color, religion, gender, gender behaviors include, but are not limited to, verbal, psychological, expression, age, national origin, disability, marital status, sexual or physical threats; harassment; physical violence; repeated orientation, or military status, and complies with all applicable laws interruptions of class content; and intimidation of any kind. governing discrimination.

Class Cancellations: Classes may occasionally be cancelled due Photography and Videography: The Theatre Lab reserves to under-enrollment. Students will be notified of cancellations in the right to use photos and videos taken in our programs for advance and will have the option for a full refund or credit toward a promotional purposes only. future Theatre Lab class. Refunds: If you withdraw from a class more than 48 hours before Coaching and Mentorship: Cancellation of scheduled coaching it begins, you will receive a full refund minus a $40 processing fee. and mentorship sessions requires at least 48 hours’ notice from a As of 48 hours before the class begins, tuition is non-refundable and student. Sessions cancelled by the student after that point cannot non-transferable. be rescheduled or refunded. Frequent cancellation of scheduled sessions, even with notice, may be cause for termination of Registration: Tuition must be paid in advance. A student is mentorship or coaching agreements without refund. registered only upon receipt of payment in full. Full tuition must be paid before the first class meeting. If you require a payment Course Bundles: Bundles offer deep savings for registering for plan, please call us at 202-824-0449. Note that we can only arrange several classes at one time. No substitution is possible in class payment plans that result in full payment before the class begins. bundles, and bundles must be completed by the end of the specified session. Bundles that have been partially used are ineligible for Returned Checks: A $25 fee will be charged for any returned/ partial refunds. bounced check.

Discounts: The Theatre Lab offers a 10 percent discount on Staffing: The Theatre Lab reserves the right to make faculty most classes to veterans, seniors over 60, Actors’ Center members, substitutions in any of our programs. 22 MEMBERSHIP AND MENTORSHIP

THEATRE LAB MEMBERSHIP is a great way to get connected to Washington’s thriving theatre scene and support the work of The Theatre Lab at the same time.

The benefits of membership include a 10% discount on all Theatre Lab classes, as well as substantial discounts at some of the Washington area’s most prestigious theatres, including The Shakespeare Theatre, Round House, and Theater J. Members also enjoy a 10% discount at Teaism, the official restaurant of The Theatre Lab!

MEMBERSHIPS ARE FREE TO VETERANS AND SENIORS OVER AGE 60.

PLEASE JOIN US! JUST $60/YEAR CALL 202-824-0449 OR SIGN UP ONLINE AT WWW.THEATRELAB.ORG

THEATRE LAB MENTORSHIP GET COACHING, ACTING TIPS, CAREER ADVICE, AND OTHER GUIDANCE FROM A MEMBER OF OUR STELLAR FACULTY— PERSONALLY TAILORED TO YOUR NEEDS AND INTERESTS.

Call us at 202-824-0449 and we’ll pair you up with a simpatico mentor or coach. $100/hour 23 MAJOR DONORS

The Theatre Lab School of the Tracy Gray Lee Casey Andrew Goldsmith Dramatic Arts received generous Barbara and Skip Halpern Bruce Cohen and Gabriel Catone Cari Gordon support from individuals, Denise Hanna Valerie Colimon David Greeley corporations, foundations, Dr. Roberto and Gisele Ifill Paul Cunningham and Peter Kazon Guzzetta Manville Giving Fund and government sources Mickey MacIntyre Ned Ertel Peter Haas in the past year, including: George Preston Marshall Foundation Mary Ester Sarah Haft Nelson Mullins Riley Scarborough, LLP Richard and Helen Fiske Amy Jackson SUSTAINING FUNDERS Ellen Perry and Robert Stein Marshall Hackett Ben Jealous $100,000+ Pizzeria Paradiso Gina and CJ Hall Ibby Jeppson Bloomberg Philanthropies Michael Rodgers and Alan Roth Holly Hassett Carol and Michael Joseph DC Commission on the Arts and Humanities Rotary Club of Washington DC John Iwaniec Robert Kline and Elaine Mills Hattie M. Strong Foundation Rebecca Jenkins Gary Kohlman and Lesley Zork LIFE STORIES CHAMPION Roger and Rae Vann Niki and Gary Kohn Areta Kupchyk and JoAnn Kane $50,000+ Venable Foundation Julie Lloyd DJ LaVoy The Share Fund Diane Willkens Sheila Lueke Harv Lester and Don McMinn Brian Smith and Lisa Ziehmann Shawn McCullough Deborah Lodge GOLD SPONSORS Miller and Chevalier Foundation Tim and Beth Lovain PREMIER SPONSORS $3,500+ Mary Mitchelson Robert MacKichan $20,000+ Crowell & Moring Foundation Marc Ness Steve Malone Paul M. Angell Family Foundation Dan Felton and David James Pitcairn Rebecca Manicone Beech Street Foundation Ford’s Theatre Society Irma Poretsky Edgar McClellan Morris and Gwendolyn Cafritz Monique Fortenberry Karen Robinson Melamed Foundation Foundation Harry Knight Ana Rodriguez-Ortiz Jeff Nelson Clark-Winchcole Foundation Tim and Shana O’Toole Gail Ross Heidi Pasichow Harman Family Foundation Craig Pascal and Victor Shargai Eugene and Iris Rotberg Jane Petkofsky and Kevin Adams Lillian Kamen Fund Bill and Marcia Rock Evelyn Sandground and Bill Perkins Robert Pierce National Endowment for the Arts—Art The Sanford and Doris Slavin Kim Schraf and Craig Wallace Judy Pomeranz Works Foundation Andrea Sharrin Neil Robinson The Osprey Fund Megan Smith Michael Shea Richard and Joanne Rome Paul R. Tetreault and John Jeter Ted Spero Michael and Alexis Ronickher PLATINUM SPONSORS Buzz Ward $10,000+ Shar Taylor Michael Rupert Rob Weinzimer Sally Brice and Kathleen Shank William and Karen Tell Foundation Agatha Schmaedick and Erwin Tan Elizabeth Merrill Brown David Tetreault Andrew Schwartz and Lisa Krim SILVER SPONSORS George and Phyllis Cohen $2,000+ United Way of the National Capital Edward and Deanna Schwartzberg Area Congressional Sports for Charity Buchly Charity Fund of Federal Lodge Joel Singer and Mindy Weinstein Carla and Tom Crawford No. 1 Stephen and Liz Whisnant David Sislen Melissa Feinberg and Kenneth Capitol Hill Community Foundation Paul and Margot Zimmerman Fund Jack Stein and Peter Meccariello Gottesman Rachel Liba Cardozo Foundation Alex Tang and Bob Bagnall Bill and Melinda Gates Foundation Lisa Dickey and Randi Barnes DIRECTORS Keith Taylor Employee Matching Gift Program $500+ Dimick Foundation Jesse Wadeson Greater Washington Community Lawrence Allen The Enchanted Garden, LLC Brad Weaber Foundation Kris Aulenbach John Feist Robert Weinberg The Dena Kohn Memorial Scholarship Amy Austin and Deidre Joy Fund Betsy Hague Frederick Weisberg and Barbara Tanya Barbosa William J. and Dorothy K. O’Neill Liz Jewell Stevenson Foundation Amanda Bassow Amy Kossoff and Rob Enelow Marshall Willner Wells Fargo Foundation Gary Bogle James Pearson and Laurie Marichak Alex Wilson The Louise P. Zanar Fund of the CFNCR Jean Cantrell Frank Petramalo, Jr. and Louie Domres Pixie Windsor Susan and Andy Cohen Kyle Glen Roberts Barbara Winnik DIAMOND SPONSORS Cheryl and Jim Councill Nancy Sainburg and Roderick Carroll John and Susan Wodatch $5,000+ David Crowley United Therapeutics Wendee Wolfson Richard and Sue Bloch Elizabeth Dean and Henry C. Shelley, Jr. Kim and Matthew Zablud Brown Brothers Harriman Norman Dong BRONZE SPONSORS The Max and Victoria Dreyfus $1,000+ Chai Feldblum and Nan Hunter Funded in part by the DC Commission Foundation Mary Alexandre Ernesto Flores on the Arts & Humanities, an agency Laura Einstein and Helene Blair Natalie Korytnyk Forrester supported in part by the National Madonick Manuel Alonso Endowment for the Arts. Julie and Matt Francis Events DC Derek Anderson Michael and Susan Friedman John Edward Fowler Memorial Julia Bailey And special thanks to the hundreds of Foundation Dana Baughns Jeffrey Gabardi other individual donors who support our work. Aaron and Cecile Goldman Family The John Bickford Foundation Joanne Gallos Foundation Shelley Brown Charlene and Thomas Giannetti Mary Goldsmith Gary Ginstling

24 REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449

BOARD OF DIRECTORS STAFF

Bert Ifill, Chair Deb Gottesman Richard Bloch Director George Cohen Buzz Mauro Elizabeth Dean Director Laura Einstein Bryce Sulecki Monique Fortenberry Program Administrator Mary Goldsmith Kara Turner Deb Gottesman Marketing and Events Manager Betsy Hague Harry Knight Terah Herman-Saldaña Youth Program Director Amy Kossoff Development and Outreach Manager Buzz Mauro Tim O’Toole Elizabeth Houvener Finance and Human Resources Manager Kyle Roberts Nancy Sainburg Angelo Merenda Roger Vann IT and Technical Director

ADVISORY BOARD CONTACT US TH William S. Cohen 733 8 Street, NW Eric D. Schaeffer Washington, DC 20001 PHONE: 202-824-0449 TRUSTEES EMERITI FAX: 202-824-0458 Jeffrey Bauman [email protected] Roberta Gottesman www.theatrelab.org Eugene H. Rotberg Shar Taylor

Funded in part by the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts.

United Way of the National Capital Area

PHOTOGRAPHS BY Clinton Brandhagen and Ryan Maxwell DESIGN BY Alice Lewis The Theatre Lab • 733 8th Street NW, Washington, DC 20001 NON-PROFIT ORG. U.S. POSTAGE PAID WASHINGTON, DC PERMIT #6481

The Theatre Lab School of the Dramatic Arts is 733 8TH STREET NW easily accessible by Metro: About one block from the Gallery Place/Chinatown Metro station (BETWEEN G & H STREETS) on the Red, Yellow and Green Lines.

“THE THEATRE LAB HELPED ME DISCOVER MYSELF IN A WHOLE NEW WAY.”

— RECENT STUDENT EVALUATION