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Jason Leyva Hair: Black THE CLUTTS AGENCY Eyes: Brown 1807 Ross Avenue, #167 Height: 5’ 6” Dallas, TX 75201 Weight: 155 lbs 214.761.1400 fax 214.761.1402 Management by: Joseph Chavez, Adult Broadcast De Long Talent Services [email protected] 405.474.3193 / [email protected] 214.761.1400 Film Texas Tango Lead Moondancer Entertainment Dirty Red Supporting Poor Child Films Murder By Mistake Lead Moondancer Entertainment The Ecstasy of Gold Lead A.V.A. Farm Twister Featured Warner Bros. The Lost Mine Lead Silvertree Productions Sprit of the Lost Messengers Featured Performer Independent Productions, Inc Rain Man Featured MGM/UA Commercial / Industrial Your Personal Flight Principal Multimedia Division, FAA Cable Theft Principal Cox Communications Directions in Furniture Principal Sloan Communications Engine Express Principal Sizzlin' Brains Creative Theatre True West Austin (Lead) Maryland Ensemble Theatre Orphans Treat (Lead) Jewel Box Theatre Burn This Pale (Lead) I.A.O. Gallery Who’s Afraid of Virginia Woolf George (Lead) Double JJ Ranch Hamlet Hamlet (Title Role) Univ. of Central Okla. Anansi the Spider Nayame (Lead) OKC Children’s Theatre Training Film Ryan Glorioso Film Audition Technique and Cold Reading Actors Casting & Talent Services, Private Coaching Commercial ACTS Commercial Workshop Series Stage University of Central OK, Theater School Special Skills A/V recording/editing, lifeguard instructor, pyrotechnics, rodeo-barrel clown, special effects, stage combat training, stunt choreography, theatrical make-up, Archery, Badminton, Baseball, Basketball, Billiards/Pool Player, Bowling, Canoeing, Cycling, Diving, Equestrian, Fencing, Fishing, Frisbee, Golf, Hackey Sack, Jet Skier, Jump Rope, Motorcycle Riding - General, Mountain Biking, Ping Pong, Pogo Stick, Racquetball, Rappelling, Roller Hockey, Roller Skating, Rollerblading, Running - General, Shooting - Revolver/Automatic, Shooting - Rifle, Snowmobile, Soccer, Softball, Stage Combat, Swimming - ability - general, Swimming - backstroke, Swimming - breast stroke, Swimming - freestyle, Tennis, Volleyball, Water Skiing, Wrestling, Disc Jockey, Firearms, Guitar, Host, Improvisation, Medical Equip., Motorcyclist, Stunts, Vocal Style: Legit, Voiceover, Australian Accent, British - BBC British Accent, British - Scouse/Liverpool Accent, British - Yorkshire Accent, Cockney Accent, East Indian Accent, French Accent, German Accent, Irish Accent, Italian Accent, Jamaican Accent, Midwest Accent, New England Accent, New York Accent, Puerto Rican Accent, Scottish Accent, Southern Accent, Spanish Accent .

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Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training.
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