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Home , Bruce Greenwood, Cleavon Little, Currie Graham, David Eigenberg, Ed Asner, Eric Morris (actor)

2O13-2O14 COURSE CATALOG CECIL B. DEMILLE • WILLIAM DEMILLE • MARION LORNE • • DALE CARNEGIE

• WILLIAM POWELL • EDWARD G. ROBINSON • JOSEPH SCHILDKRAUT • PHILLIP LOEB •

WALTER ABEL • THELMA RITTER • STERLING HOLLOWAY • SPENCER TRACY • SAMM LEVINE

• FRANCES FULLER • AGNES MOOREHEAD • • GARSON KANIN • JIM BACKUS •

HUME CRONYN • PAT O’BRIEN • RICK POLIZZI • BETTY FIELD • MARC DANIELS • EZRA STONE •

LEE BOWMAN • ROBERT WALKER • JENNIFER JONES • DIANA DILL DOUGLAS •

• TERESE HAYDEN • • NINA FOCH • • COLLEEN DEWHURST •

DON RICKLES • • DON MURRAY • NICHOLAS COLASANTO • •

GARY TOMLIN • CONRAD BAIN • • GRACE KELLY • • JOE REGALBUTO

• MARY JO SLATER • • JOHN CASSAVETES • GENA ROWLANDS • RENEE TAYLOR

• FLORENCE HENDERSON • • • WILLIAM BLINN •

ROBERT REDFORD • DEBORAH WALLEY • M. EMMET WALSH • WILLIAM DEVANE •

• GARY SANDY • ELIZABETH FRANZ • DANNY DEVITO • • MICHAEL BRANDON

• ANITA MORRIS • CAROLINE LAGERFELT • ARMAND ASSANTE • BRAD DAVIS • KATE JACKSON •

JULIA DUFFY • GRAHAM BECKEL • PETER WELLER • MELANIE MAYRON • KIM CATTRALL • LUCILLE 96 Oscars® 241 Emmys® 85 Tonys® WATSON • DORY PREVIN • • RON HALE • PETER BERGMAN • • ONE LEGENDARY SCHOOL DONNA PESCOW • DIANA SCARWID • MICHAEL COUNTRYMAN • BETH BRODERICK • ERIC ROBERTS

• • LINWOOD BOOMER • KIM BROCKINGTON • NICK CASSAVETES • DOUGLAS

CARTER BEANE • JENNIFER GRANHOLM • ANNABELLE SCIORRA • WILLIAM FICHTNER • DEBORRA-

LEE FURNESS • BRUCE GREENWOOD • JENNIFER COOLIDGE • ILLEANA DOUGLAS • EILIAS KOTEAS

• ENRICO COLANTONI • JOHANNA DAY • JAMES LUISI • JOANNA GOING • TIMOTHY D. STICKNEY

• • CURRIE GRAHAM • DAVID EIGENBERG • JONATHAN DOKUCHITZ • KEITH

RANDOLPH SMITH • MAX CASSELLA • LONNIE QUINN • GIL BELLOWS • MISTY COTTON • MISSY

YAGER • • SUSAN HASKELL • LEISHA HAILEY • LISA BRESCIA • • SALLY

KIRKLAND • FRANK MORGAN • ADAM SCOTT • CLAIRE TREVOR • TROY GARITY • ERIC SZMANDA

• ZULEIKHA ROBINSON • DAVID SNELGROVE • KATHERINE MOENNING • DAVID HUDDLESTON

• KELLY OVERTON • NELSON LEE • MICHAEL MOSLEY • JAY WILKISON • JOHANNES BRUN More than1 1282 years of8 excellence

Training the Next Generation of Award-Winning A FEW OF OUR PAST STUDENTS

Paul Rudd ANNE HATHAWAY As the first conservatory for actors in the English- The core of The Academy’s training is based on Beloved for his role in Clueless, he Winner of the Critics’ Choice Award, speaking world, The American Academy of Dramatic the opportunity to perform. Academy students was in Romeo + Juliet with Leonardo Best Actress for Rachel Getting DiCaprio and starred in a string of Married and nominated for numerous Arts has consistently focused on a single mission: participate in more performances than just about Judd Apatow comedies including other awards, she is recognizable training the best and brightest students from around any other acting school in the country, with each The 40-Year-Old Virgin and Knocked by all generations for The Princess Up. Recently he starred in the film Diaries, , Alice in the globe to become highly skilled, confident, well- campus conducting a total of 54 plays and full-scale This Is 40 and returned to Broadway Wonderland and The Dark Knight rounded actors. The Academy’s innovative training productions every year. And when you consider our in Grace with . Rises. Recently she starred in aims to inspire creativity and imagination while diverse international student body, small class sizes Les Misérables. exploring respected techniques under the guidance of and intensive, well-balanced curriculum, you’ll soon our esteemed faculty, directors and industry experts. realize that The Academy is simply unrivaled among DANNY DeVITO acting schools. From the classic filmOne Flew Over Founder of Sundance Film Festival, the Cuckoo’s Nest to the recent he is the recipient of two Oscars and hit The Lorax, his career spans six Golden Globes, including the Cecil 40+ years. He also starred in L.A. B. DeMille Award. His prolific career Confidential, Returns and includes lead roles in Barefoot in the the TV series Taxi. DeVito’s recent Park, The Sting and Out of Africa— projects include It’s Always Sunny in and directing films such as Philadelphia and a stage production . of The Sunshine Boys.

For more Academy alumni see pages 10, 21, 27 and visit aada.edu. THE ACADEMY 5 Preparing you FOR Table of Contents THE PROFESSIONAL WORLD Campus...... 6 OF ACTING Campus...... 8 The Academy’s Proud Heritage...... 10 Industry Insight Series...... 11 First Year Courses...... 12 Second Year Courses...... 14 The Academy Company...... 16 Degree Program...... 18 Academy Accreditation...... 20 Academic Calendar...... 21 Courses & Credits...... 22 Admissions...... 24 Tuition & Expenses...... 26 Student Housing...... 27 Financial Aid...... 28 Scholarships...... 28 International Students...... 31 Summer Programs 2013...... 32 Summer Program Options...... 36 Academy Faculty: New York...... 38 Academy Faculty: Los Angeles...... 41 Administration...... 45 Board of Trustees...... 45 Staff...... 46 Satisfactory Academic Progress...... 47 Alumni Spotlights...... 3, 10, 21, 27

The Academy offers unique instruction for , A solid plan to usher you film and television that promotes a high degree of into your career discipline and self-discovery. Our proven training process builds an essential foundation that The Academy helps you develop a solid career prepares each student to take the next step toward plan to work on stage and screen. Our instructors, a successful future as a professional . alumni and other respected professionals equip you with essential skills and knowledge of the In order to meet the demands of our program, entertainment industry through seminars, career The Academy accepts only the most promising development workshops, classes and our highly students to train with our distinguished instructors, regarded Industry Weeks. Additionally, as a who passionately guide each student toward regionally and nationally accredited institution, deeply felt, psychologically true and physically our degree options open up a multitude of career Scene from The American Clock Scene from The Curious Savage realized performances. The Academy’s instructors and educational opportunities that will serve as a are completely dedicated to working with you springboard to a rewarding future. to achieve more from yourself than you’ve ever imagined possible. THE ACADEMY 7

The Academy: New York Train IN THE CENTER OF AMERICAN THEATRE

The moment you arrive at our NEW YORK CAMPUS campus the excitement and energy will inspire your Set in Madison Avenue’s landmark Colony Club passion to perform. With Broadway, , building in Midtown , our campus Times Square, Central Park, countless galleries, encompasses six full stories of classrooms, museums, and a vibrant multicultural arts and rehearsal halls, dance studios, dressing rooms, entertainment scene all at your doorstep, costume and prop departments, a production The Academy’s historic location puts you right in workshop, a student lounge, and an expansive the middle of everything there is to love about the library designed to serve the specific needs of Big Apple. acting students. Plus, our media studios are equipped with the latest video, lighting and editing Feature film and television crews dot the streets by systems—everything you need for exceptional on- day and each night the biggest names on Broadway camera training. light up the stage. Around the clock, you will be surrounded with the best the city has to offer. Another notable feature is our collection of impressive that offer a variety of training and performance opportunities. Our 169-seat proscenium theatre, 164-seat thrust theatre and 103-seat arena-style theatre are all used for classes, rehearsals and full-scale productions.

From top to bottom, our New York campus is ideally outfitted for you to grow and succeed as a working actor.

For student housing information, see page 27 or visit aada.edu. THE ACADEMY 9

The Academy: los Angeles Train IN THE HEART OF Film and Television

Just beyond the sunshine and palm trees of Sunset LOS ANGELES CAMPUS Boulevard, our Los Angeles campus is certain to Built on what was once the south lot of Charlie inspire you. Steps from world-famous film and Chaplin Studios, our Hollywood campus features television studios, Hollywood red carpet premieres acting and camera studios, along with a costume and a dynamic theatre scene, you will see firsthand and prop shop. In our Movement and Vocal why Los Angeles is home to the stars. Production Building you will find generous rehearsal and dance spaces, a vocal production studio As soon as you arrive, you will be surrounded by and a scene shop. Also, the campus is home to entertainment history—and history in the making. an impressive 150-seat theatre that is used for Our campus is adjacent to Hollywood’s first movie numerous full-scale productions throughout the year. studio backlot, where legendary actors, producers and directors still produce hit TV shows and films Our library is located in one of the historic on a daily basis. Walk around the block and you Chaplin Studio bungalows. It houses a computer will find Hollywood’s Walk of Fame, Grauman’s lab, a screening room, and a comprehensive Chinese Theatre, Hollywood & Highland Center with collection of reference materials on every aspect of The Dolby Theatre and numerous museums, stage theatre and on-screen acting and production. venues, cafés and iconic attractions. The collection includes published scripts, musical scores and recordings. Plus, our media studios are outfitted with all the technology you will need for on- camera training, including advanced video, lighting and editing systems.

Our Los Angeles campus creates the perfect environment for you to grow and learn to succeed as a working actor in today’s thriving entertainment industry.

For student housing information, see page 27 or visit aada.edu. THE ACADEMY 11 LEGENDS AND STARS: The Academy’s Proud Heritage INDUSTRY INDUSTRY GRACE KELLY KIRK DOUGLAS An icon of the , Grace Kelly Kirk Douglas earned AFI’s Lifetime INSIGHT INSIGHT was featured in 11 films, including Achievement Award, the Cecil B. , Dial M for Murder and DeMille Award, and is one of the SERIES SERIES To Catch a Thief, and more than 60 greatest male American screen television productions. She won an legends of all time. In addition to Oscar, three Golden Globes, and is acting on stage and in 90 films #13 on the during his seven-decade career, he is (AFI) list of Top Female Legends. a film producer, director and author. INDUSTRY INDUSTRY INSIGHT INSIGHT SPENCER TRACY LAUREN BACALL Spencer Tracy, listed in the Top 10 of Lauren Bacall’s illustrious film and stage Guest Speakers WSERIESorth Talking AbouSERIESt AFI’s Male Legends, has acted in 78 career has spanned eight decades to films includingBoys Town, Captains date, including Oscar, Golden Globe and summer summer Courageous and Guess Who’s . In 1993 she was honored Get a rare glimpse into the inner workings of the entertainment industry at our Industry Insight Series. On select dates Coming to Dinner. He was nominated with the Cecil B. DeMille Award for for for Best outstanding contributions to the world throughout the year, this series features panel discussions and Q&A sessions with guest speakers ranging from celebrity Actor, winning consecutively in of entertainment. alumni to casting directors, producers, agents, managers and directors. 1937 and 1938.

A FEW OF OUR RECENT NOTABLE SPEAKERS

From the earliest American stage and screen legends building. By 1974, the decision had been made to to today’s international award-winning actors, you can expand westward and the first LA campus was opened see why The American Academy of Dramatic Arts has in Pasadena, , before finally moving to its earned its unrivaled reputation. current Hollywood location in 2000, on the south lot of the former Charlie Chaplin Studios. Ellen Burstyn Susan Sarandon Danny Glover Founded in 1884 by former Harvard speech professor Franklin Haven Sargent, The American Academy of To this day, The Academy’s reputation for setting Dramatic Arts opened its doors in New York as the standards of excellence in actor training continues to Lyceum Theatre School of Acting. Not long after its attract innovative instructors at the forefront of their founding, the school was renamed The New York craft. The faculty consists of theatrical visionaries who School of Acting and moved into Carnegie Hall. are supported by a dedicated administration that is Kyra Sedgwick Gena Rowlands committed to upholding the standard of excellence Early on, The Academy benefited from the influence established more than 128 years ago. of notable theatre luminaries, including director David Other guest speakers have included: Belasco and playwright Henry DeMille (father of Other Legendary Alumni*: Roberto Benigni Dennis Haysbert William H. Macy Adam Scott moviemaker Cecil B. DeMille). In fact, it was Henry Cecil B. DeMille Charles Durning Peter Bergman Joe Montegna Fiona Shaw DeMille who is credited with giving The Academy Dale Carnegie Jason Robards Kim Cattrall Phylicia Rashad French Stewart its current name in 1889. Edward G. Robinson Don Rickles James Cromwell Lynn Redgrave William Powell Anne Bancroft Matthew Lillard Paul Rudd and many more By the mid 20th century, The Academy became Rosalind Russell John Cassavetes affectionately known to industry insiders as Jim Backus Florence Henderson “The Cradle to the Stars” due to its impressive array Elizabeth Montgomery of notable alumni. In 1963, the school moved into Colleen Dewhurst Judd Hirsch its present location on Madison Avenue in Midtown Tom Poston Manhattan, at the site of the historic Colony Club *This is a partial list of The Academy’s legendary alumni. Visit aada.edu for a more comprehensive listing. THE ACADEMY 13

Voice & Speech I & II These courses develop an open, Los Angeles COURSES well-placed, well-supported speaking voice and General American articulation as multiple objectives. The physiology Styles I The purpose of this course is to develop the of speech and voice production is studied. To facilitate student’s awareness of the history and traditional techniques of hearing perception and speech production, students learn the the Commedia dell’Arte and the theatre of . International Phonetic Alphabet. In the second term, fundamental Through practical use, students then relate these techniques principles of breath control, vocal placement, and articulation to that of the modern actor. Truthful, spontaneous response to are reinforced; and the use of the voice as an instrument of internal and external stimuli, breaking down and interpreting interpretation is explored. unfamiliar language and broad presentational material, use of scansion, and comprehension of the text in terms of historical Vocal Production The primary of this training is to contexts, themes, conflicts, and character relationships are all reinforce and supplement the work in Voice & Speech, focusing on aspects of this exciting course. building the actor’s vocal instrument by using singing as a tool. Academy Courses Improvisation / Physical Acting NEW YORK COURSES In this course students gain an experiential understanding of improvisational acting and develop a strong moment-to-moment Theatre Dance This course is intended as an introduction to perspective, essential to looseness and creativity in scripted THE CONSERVATORY PROGRAM and instruction in dance/movement styles and social deportment in work. Through theatre games and improvising scenes, they The Academy’s Conservatory Program offers full-time training for First and Second Year students, which focuses on a wide European societies since the 16th century. develop tools to make them more trusting of their own impulses, more generous with their fellow actors and more creative in array of techniques for stage and screen. Consisting of classes and workshops ranging from acting styles to improvisation­ Styles I Basic acting principles are applied to dramatic developing roles. The course covers the importance of saying techniques, to and everything in between, this may end up being the most rewarding two years of your life. material from various periods of theatre history—the Renaissance, “yes” in scenes, to go for the most “active choices,” to play Ancient Greece and the Restoration. While maintaining and those “at the top of their intelligence,” and how to be at the reinforcing the basic virtues of motivated, truthful behavior, service of the scene while listening and responding honestly. Styles I training develops the student’s ability to exist comfortably FIRST Year Courses in dramatic settings that are removed in time and place from the Camera Technique: Fundamentals familiar. The focus is on training and encouraging the use of voice, Students prepare to work on a professional film and television set. speech and movement beyond what is needed for contemporary Exercises focus on understanding technical adjustments required material. This exploration of the freedom of movement, language for working in front of the camera and working in a relaxed and and behavior has a profound effect on the development of the truthful way. Students learn the jargon of the industry and various NEW YORK & LoS ANGELES COURSES actor’s instrument. roles played by everyone on set. Students work behind the scenes, as well as on camera, and each student is trained to run Acting The acting sequence is divided into two twelve-week Six weeks in the First Year are devoted to the study, rehearsal Voice & Speech Practicum This course is devoted the camera and the sound equipment. studio courses and six weeks of rehearsal and production. and performance of “Examination Plays” chosen from a variety of to the further development of the actor’s voice and speech playwrights. Students are cast to give them every opportunity to skills, using materials taught in Voice & Speech I. Every actor Stage Management Each student serves as stage The first studio course, Acting I, concentrates on the achievement display what they have learned, while permitting the faculty and has a unique instrument and each student is trained in how to manager or co-stage manager for an examination or one-act of relaxed, free, truthful use of self in imaginary circumstances. administration to observe the growth and progress of each student. integrate a good speaking voice with good speech while staying play, learning blocking notation and coordination of production Beginning with exercises for relaxation, concentration, and true to his or her own identity. Emphasis is placed on deepening elements. Serving as the assistant to the play director, students sensitivity to other actors and to internal and external stimuli, the Theatre History This is a survey course in the historical the connection between voice, body and mind through drills, gain an important perspective on the rehearsal process that semester proceeds to improvisation and then to scene study in background of drama, tracing its growth and development from exercises, warm-ups and conversational as well as contextual serves them as actors. Students are required to take 1 credit, contemporary drama. Students are taught to analyze dramatic the dawn of theatre in ancient Greece. Each of the major periods work with heightened language and contemporary text. but may repeat the course for up to 2 credits. situations in terms of objectives and to develop trust in a sense is examined as a context in which dramatic literature is developed. of truth and spontaneous, moment-to-moment reaction. Plays representative of each period are read and discussed, and The work of the Mask class is designed to free the Script Analysis This course examines the way authors additional reading and specific research are assigned. student from self-consciousness. Improvisation on themes, construct their material and the means by which actors can The second studio course, Acting II, is devoted to the study including mythology and poetic texts, is used to help students convey these thoughts and emotions to the audience. Using of comedy. Emphasis is placed on the exploration through Movement I & II The purpose of these two courses is release their imaginations and lead to a more uninhibited specific exercises, students discover their own ranges of speech scene work of the techniques needed. With the capacity for to develop the student’s awareness of the body in terms of physical expression and economy of gesture. Mask work is as well as techniques that produce effective storytelling. relaxed, truthful involvement in pursuit of specific objectives alignment, flexibility, strength and stamina, and as an expressive incorporated into Movement II in Los Angeles. as a foundation, more sophisticated aspects are explored. instrument. Various physical disciplines and basic dance These include emotional preparation, the heightening of energy techniques are introduced to build strength and coordination, required for comedy, and the choice of actions as an approach and to develop imaginative use of the body in both contemporary to characterization as well as a means of illuminating the and stylized forms. playwright’s intent.

There may be changes to courses after the catalog has been published. Consult aada.edu for the latest information. THE ACADEMY 15

Movement III Acting IV: Camera Technique / Scene Study SECOND Year Courses This course is designed to strengthen the actor’s physical and emotional connection using ensemble Building on the work of Camera Technique: Fundamentals, composition and character development. students work on television and film scenes on camera, honing their text analysis and acting skills for media performance. Professional Internships The Academy offers a Through rehearsal, taping scene work and viewing final edited Work in the Second Year reinforces and builds upon the learning experiences of the First Year. Advanced acting, voice limited number of unpaid internships and volunteer positions scenes, students develop crucial skills for working in front of and movement training are combined with rehearsal and performance of both projects and full-length plays. Admission for qualified Second Year students and Academy Company the camera. Material from the class becomes the basis for to the Second Year is by invitation. Selection is made on the basis of progress, potential and readiness to benefit from members in entertainment-related fields. They provide excellent developing each student’s show reel. opportunities to actively participate in the profession while advanced training, as evidenced by classwork and examination plays from the First Year. making valuable contacts. The positions, which may last for a Stage Management Each student serves as a semester and may or may not provide academic credit, require a stage manager or co-stage manager for one-acts, workshop recommendation from the Director of Instruction, a résumé with performances or Academy Company productions. Serving as an NEW YORK & LoS ANGELES COURSES NEW YORK COURSES cover letter and an interview. For-credit positions also require assistant to the director, students notate blocking and coordinate regular reports and meetings with an advisor. Students may production elements, which helps them gain an important Advanced Acting In the Second Year, advanced Styles II: Shakespeare This is an intense study of also arrange their own intern positions with the approval of the perspective on the rehearsal process. Students may not receive scene study is undertaken using the principles of relaxation, performing in Shakespeare’s plays, in which students develop Director of Instruction. For-credit positions offer more than 2 credits combined for First and Second Year in the concentration, objectives, actions and moment-to-moment a solid foundation for the appreciation and use of heightened, 1 credit, Pass/Fail only. area of Stage Management. spontaneity as a base. Roles assigned require more imaginative poetic language. Major focus is given to researching the period, Voice & Speech III: Dialects extensions of technique, greater stretch, specificity, personalization learning meter and understanding its importance to a character Los Angeles COURSES Students apply advanced and justification, along with more intensive background research. and a play. principles of voice and speech production to the acquisition Advanced Vocal Production / Vocal Power Scenes assigned include the works of Ibsen, Chekhov, Strindberg and performance of the major dialects of English. Using the This course focuses on advanced development of the and Shaw, as well as contemporary playwrights. Voice & Speech III Students study Standard Stage speech International Phonetic Alphabet, students study British Received speaking voice. Students enhance core support, flexibility, by applying the fundamentals of speech and voice production Pronunciation, Cockney, Southern Irish, New York and two range, resonance, stamina, variety and vocal power. Students Rehearsal & Performance Students continue the as a base and advanced use of the International Phonetic types of American Southern. Students apply these to performed apply advanced vocalization to individual and group pieces in study and application of basic and advanced acting techniques Alphabet. With attention toward performance, variations in pitch, monologues in preparation for theatrical auditions. In addition, preparation for the vocal demands of the professional theatre. through rehearsal and performance of roles that may be in rhythm, resonance and pronunciation are explored, and learning students research and present other dialects and various foreign projects, one-act or full-length productions. techniques are developed to acquire other dialects and accents. accents, which may include Australian, French, German, Italian, Make-up Basic materials of stage make-up are introduced Russian, Scottish, South African, Spanish and others. and students are trained to use them effectively. Individual facial Career Preparation A number of industry professionals Stage Combat The purpose of this course is to train structure is studied, as well as the principles of characterization, Professional Internships and guest speakers are scheduled for seminars and workshops students in the basic skills of stage combat, focusing on unarmed Students are required to creating realistic scars and wounds, the effect of lighting and toward of the Second Year to familiarize students with combat and emphasizing safety, dynamics and believability. work off-campus for a minimum of 12 hours in a professional specific practices of historic periods. basic procedures of professional employment. Guidance is The exercises and practices are also intended to increase mental setting. Internships may be arranged through The Academy, or offered concerning résumés, photographs, auditions, agents, and physical strength, flexibility and coordination. may be designed by the student and approved by the Director Movement III: Stage Combat & Fencing casting directors, unions and other issues related to the of Instruction. Internships available include working as actors Students develop the skills needed for unarmed and single development of a career in film, television and theatre. Stage Management This is a non-credit, optional at professional film training schools for classes and projects, sword theatrical combat and apply each to theatrical and internship in which students serve as assistants/production volunteering for community arts outreach programs, and working cinematic use. While gaining strength, stamina, coordination, A series of audition preparation workshops is also offered on coordinators for Academy play directors. in a professional setting in an agent or casting director’s office or balance and flexibility, students develop and integrate the selection and preparation of audition monologues from both a professional theatre. Internships may be repeated for a total of imaginative characters into choreographed stage fights, learning classical and contemporary theatre. These career counseling Camera Technique This course is designed to give 1 credit, Pass/Fail only. strategies, technique and safety. courses help provide students with the knowledge and skills students complete freedom and confidence when auditioning needed to develop personal business strategies and to sustain in front of a camera. It begins with on-camera interviews so LA Casting Collaborations Styles II (including shakespeare) This course a professional career. students may view their screen images in playback and observe begins with a review of Shakespeare and moves forward with any facial or physical tensions that need correction. Students The Academy Los Angeles and scene study of 17th and 18th century French and English Los Angeles Film Schools Stage Dialects This course gives the actor knowledge learn to relax and to project energetic and positive images playwrights, concluding with 19th century comic and romantic and practice in researching and preparing dialects for the stage. rooted in truth. It continues with the exploration of different The Academy collaborates with film schools in the Los European drama. Particular attention is paid to the linguistic and Students study the International Phonetic Alphabet and a variety types of audition techniques for film, television, commercials Angeles area to provide acting talent to classroom projects physical complexity each era presents. of commonly used dialects, including, but not limited to, English and industrials in which cue cards and actual scripts are used. under the supervision of the film school faculty. These (both Received Pronunciation and working class Cockney), Irish Students work behind the scenes, as well as on camera, and are opportunities provide additional experience and learning Workshop Rehearsal & Performance and others such as French, German, Russian, Scottish, New York trained to operate cameras, sound equipment and the recording opportunities for Academy students in fully equipped film In the second semester of the Second Year, students are placed (Brooklyn) and American Southern. computer. studios. Participation is optional and subject to student in Advanced Shakespeare, Musical Theatre or One-Person Show availability. Past and current collaborations include Los to further explore heightened styles of acting. These workshops Advanced Vocal Production / Singing Fencing Basic fencing movements are taught. Angeles Film School, USC School of Cinematic Arts and lead to evening performances for the public on The Academy’s This course continues the work of Vocal Production in the First Once mastered, a scene from a film or play with a Columbia College Hollywood. main stage. Year with a greater emphasis on the development of the voice choreographed fight scene is assigned. This class will give for the demands of musical theatre. Students begin to look at grounding and focus and help center the actor. Period Movement and Dance This course is intended repertoire and develop several audition pieces over the course as an introduction to and instruction in dance/movement styles and of the semester. In order to best serve its students, The Academy reserves the right to alter social deportment in European societies since the 16th century. course content and offerings at its sole discretion.

There may be changes to courses in the curriculum after the catalog has been published. Consult aada.edu for the latest information. THE ACADEMY 17

The ACADEMY Company Scene from Escape from Happiness Scene from Arcadia Third Year Program

At the conclusion of the Conservatory Program, students are given the opportunity to audition for The Academy Company. This advanced training offers unrivaled performance experience with intense, focused training to a small number of Third Year students, serving as an important vehicle to usher graduates into the professional world of performing arts.

The Pinnacle Year of Performance The emphasis of the program is the practical development of the The Company performs a wide number of plays ranging actor through study, rehearsal and performance. In addition, a from classic to contemporary before an invited audience of variety of advanced training opportunities are offered, which Academy guests, agents, casting directors and other industry may include: professionals. Students are cast in challenging roles that showcase their talents while providing further opportunity for Advanced workshops in acting, speech and movement, as growth and development. This training provides a platform well as training in audition monologues and camera technique for Company members to let their talent truly shine and gain Individual career counseling to advise Company members on recognition for their work. all matters related to career management

Seminars with working professionals such as talent agents (legitimate, film and commercial), managers and regional theatre/independent film directors Scene from The American Clock Scene from Anna and The Tropics

Academy Company members are awarded a Certificate of Advanced Actor Training upon the successful completion of the Company season.

Selection is made on the basis of individual potential and the overall concept of a balanced acting company.

For Academy Company courses, hours and credits, visit The Academy’s website, aada.edu. 2012-2013 New York Academy Theatre Company

Scene from Rumors THE ACADEMY 19

ST. JOHN’S UNIVERSITY NEW YORK CITY Articulation Agreement: In addition to our Joint Degree with St. John’s University for a BS in Dramatic Arts, Film and Television, Joint Degree Program with St. John’s University Academy students may transfer their credits to other majors The American Academy of Dramatic Arts and St. John’s University within St. John’s College of Professional Studies, depending have created a one-of-a-kind program for talented students with upon the number of credits earned and the major chosen. Our a passion for the dramatic arts who may also wish to expand articulation agreement applies to Academy students who receive their knowledge, skills and career opportunities in new paths their associate degree and those who complete one year at with a BS in Dramatic Arts, Film and Television. Students in the either campus. Academy alumni from 1974 and onward are also program have the best of both worlds: The Academy’s intensive eligible to transfer credits toward a bachelor’s degree. conservatory training in acting and St. John’s extensive training in directing, writing and producing for film and television. ANTIOCH UNIVERSITY LOS ANGELES The American Academy of Dramatic Arts has entered into an The curriculum is both broad and practical, and provides students articulation agreement with Antioch University Los Angeles that with discipline and skills to pursue many professions, such as allows Academy students to complete a Bachelor of Arts with filmmaking, screenwriting and producing for television. This allows a concentration in Acting and Dramatic Arts. This agreement students to expand on their creative and critical thinking abilities clarifies the transfer process and ensures that the maximum DEGREE PROGRAM through composition, philosophy and literature courses from a number of credits earned at The Academy will be counted global perspective. Graduates of the program will bring depth and toward an Antioch BA degree. innovation to any area in which they work. Academy students can enter Antioch with as much as half of As one of the nation’s only regionally and nationally accredited two-year acting conservatories, The Academy offers The program conforms to the admission policies of The Academy their coursework toward their BA degree completion. and St. John’s. Students will be required to audition to meet associate degrees at its two campuses—and bachelor’s degree options at colleges and universities across the United standards, and they must be invited to continue into the Second Students who successfully complete one year at The Academy States. Our degree program opens up more career and educational opportunities than any other two-year acting Year at The Academy. Students who are not invited to continue may also transfer their coursework credits of C- or better. conservatory in the nation and advances you on your path as a professional in the craft. at The Academy may transfer their First Year credits to other programs within St. John’s College of Professional Studies, or Academy alumni are also eligible to participate. Antioch’s to any college or university, depending upon their choice of innovative curriculum, variety of course offerings and flexible college, entry requirements and the desired degree. Students time schedules make it a perfect match for Academy students Associate Degree Bachelor’s Degree Options who declare their intent to enter this program at The Academy who wish to obtain a BA degree. by noting their interest in the space provided on The Academy’s NEW YORK AND LOS ANGELES Students choosing to further their academic education with application form will receive a special orientation after they arrive For further information, current Academy students and alumni Associate of Occupational Studies more advanced degrees may transfer their Academy credits to on campus to begin their First Year. may contact the Registrar or the Antioch University Los Angeles Students graduating from the two-year Conservatory Program most colleges and universities throughout the . Admissions Office (AntiochLA.edu). at the New York and Los Angeles campuses are awarded the The number of credits successfully transferred depends upon the Students may enter the program at The Academy or academic degree of Associate of Occupational Studies (AOS). amount earned, choice of college, entry requirements and the St. John’s (stjohns.edu). Students who enter the program at CITY UNIVERSITY OKLAHOMA CITY desired degree. The Academy will complete the two-year Conservatory Program The American Academy of Dramatic Arts and Oklahoma City at The Academy in New York or Los Angeles, earn a degree and University (OCU) have created an extraordinary opportunity for To support our students in their academic pursuits, The Academy receive 65-70 credits of intense training in acting, acting styles, Academy students to earn a Bachelor of Fine Arts in Acting has agreements with the following distinguished universities to theatre history, movement and voice production. There is a slight (BFAA) at two of the nation’s leading training programs. Students provide them with the opportunity to pursue conservatory training variation in the courses offered on the New York and Los Angeles complete the full-time Conservatory Program at The Academy that culminates in a bachelor’s degree. If you are interested in campuses. In years three and four, Academy students transfer to in New York City or Los Angeles, and transfer to OCU in obtaining more information, please contact our Admissions Office. St. John’s to fulfill 69 credits in performing arts, film, television Oklahoma City for their last two years. Named in US News and and liberal arts. Only those Academy students who have a GPA World Report’s “America’s Best Colleges” as a top tier master’s New York Campus Los Angeles Campus of 2.0 or better and meet all of SJU’s entrance requirements program and university in the West Region, OCU offers advanced 800.463.8990 800.222.2867 may transfer to SJU. While at St. John’s, students must maintain studios and a distinguished faculty. Celebrated OCU alumni in [email protected] [email protected] a GPA of at least 2.5 in major area courses and successfully the field of arts and entertainment include , complete the stated degree requirements to be awarded the Kelli O’Hara and Hall of Famer Leona Mitchell. Bachelor of Science in Dramatic Arts, Film and Television. Students who enter the program at The Academy may enter as The core mission of OCU is to prepare well-trained actors and to First Year students in the Fall or Winter Term. provide students with a broad-based liberal arts education. Our collaboration enriches our programs by providing expanded opportunities for students and optimal use of our faculties and facilities. THE ACADEMY 21 ACADEMIC Calendar 2013-2014 Bachelor’s Degree Options continued

Academy students must complete the two-year Associate in HUNTER COLLEGE (CUNY) NEW YORK CITY NEW YORK CAMPUS Occupational Studies degree and have an overall grade point Since 2004, The Academy has had an articulation agreement average of 2.5 to be eligible for transfer. Audition requirements for with Hunter College (CUNY) for a BA in Theatre. Academy Fall First Year September 18, 2013 – June 3, 2014 the BFAA degree are waived for Academy students, who will be graduates from anytime during 1974 and going forward from this automatically awarded an Academy Partnership Scholarship in date may apply to Hunter College pursuant to this agreement. Winter First Year January 7, 2014 – August 14, 2014 the amount of $2,000 per semester, renewable for a total of four Its provisions are specified in the Transfer Guide and Course (4) semesters. Academy students are also eligible for Academic Equivalencies. Students entering Hunter with an AOS degree Second Year August 19, 2013 – April 21, 2014 Transfer Scholarships according to current OCU policy and from The Academy will receive 27 credits toward a Bachelor of Academy Company July 15, 2013 – February 26, 2014 additional talent awards through the university’s regular Arts degree in Theatre at Hunter College, and these credits are audition process. distributed according to the Transfer Guide. The student will have Graduation Day April 21, 2014 to take 93 credits at Hunter, with 21 of these being in the major. Sixty-two Academy credits are accepted for transfer toward the Those students who have completed or will complete a third year BFAA degree. The remaining courses to be completed at OCU of training at The Academy may be eligible for additional credits, (66 credits) include general education requirements, Acting Core subject to review by Hunter College. Credits earned by Academy LOS ANGELES CAMPUS and Music Theatre Core. Interested students will be provided students from other colleges will be reviewed by Hunter College with a list of OCU courses required for the degree. For more for credit toward the baccalaureate degree. Academy students Fall First Year August 28, 2013 – April 24, 2014 information, please contact The Academy’s Admissions Office are required to pass the CUNY Skills Assessment Test taken by at 800.463.8990. all students entering Hunter College with fewer than 45 credits, Winter First Year January 13, 2014 – August 21, 2014 and have a minimum grade point average (GPA) of 2.3. Credits Second Year September 23, 2013 – May 18, 2014 carrying a course grade of “D” or below will not transfer. Academy Company July 22, 2013 – March 17, 2014

Graduation Day May 18, 2014

Dates may be subject to change. ACADEMY ACCREDITATION Alumni Spotlight MIDDLE STATES Commission NAST The Middle States Commission on Higher Education (MSCHE) The National Association of Schools of Theatre (NAST), accredits The Academy in New York and The Academy in Los an institutional accrediting agency recognized by the US ADRIEN BRODY KIM CATTRALL Angeles as a branch campus. The Commission on Higher Secretary of Education, accredits both campuses of After starring in the critically Winner of a Golden Globe, she is Education is an institutional accrediting agency recognized by the The American Academy of Dramatic Arts. 11230 Roger Bacon acclaimed filmsThe Thin Red Line best known for her role as Samantha US Secretary of Education and the Commission on Recognition of Drive, Suite 21, Reston, VA 20190, Telephone: 703.437.0700 and Summer of Sam, he won the on the TV and film series. Her other work includes the Postsecondary Accreditation. 3624 Market Street, Philadelphia, PA Academy Award for Best Actor in The Pianist. He followed with classic comedy Police Academy, as 19104, Telephone: 215.284.5000 the blockbusters King Kong and well as The Writer, a Roman Predators. Recently he starred in Polanski film with Ewan McGregor, New York State Board of Regents ’s Midnight in Paris in and the recent Broadway production the role of Salvador Dalí. of Private Lives. The American Academy of Dramatic Arts is a non-profit educational institution chartered by the Board of Regents of the University of the State of New York. The New York campus Casey LaBow DENNIS HAYSBERT is accredited by the New York State Board of Regents and Featured in the blockbuster films Known for playing pivotal characters Twilight: Breaking Dawn - Part 1 and on the TV series The Unit and 24, Commissioner of Education. 89 Washington Avenue, Albany, NY Part 2 playing the role of Kate, she he also lent his voice talent to the 12234, Telephone: 518.474.1551 was also in Hide Away with Josh animated filmsKung Fu Panda 2 Lucas and Skateland with Ashley and Wreck-It Ralph. Currently, he is Greene. Her TV credits include the the commercial spokesperson for recurring role of Ella McBride Allstate Insurance. on CSI: NY.

For more Academy alumni see pages 3, 10, 27 and visit aada.edu. THE ACADEMY 23

THE ACADEMY NEW YORK COURSES & CREDITS The ACADEMY LOS ANGELES COURSES & CREDITS

FIRST YEAR FIRST YEAR

First Semester FIRST TERM (12 WEEKS) Hours / Week Term Total Credits First Semester FIRST TERM (12 WEEKS) Hours / Week Term Total Credits Acting I 9 108 5 Acting I 8 96 4 Voice & Speech I 4 48 2 Voice & Speech I 4 48 2 Movement I 4 48 2 Movement I: Theatre Movement and Dance 4 48 2 Vocal Production I 2 24 1 Vocal Production I 4 48 2 Theatre History 2 24 1 Physical Acting 2 24 1 Voice & Speech Practicum 2 24 1 Camera Technique: Fundamentals 4 48 2 Mask 2 24 1 Second Term (3 Weeks) SECOND Semester Second Term (12 Weeks) Rehearsal & Performance I (Drama) 20 60 3 Acting II 7 84 4 Vocal/Movement Coaching (concurrent) Voice & Speech II 4 48 2 Stage Management* 20 60 1 Movement II 4 48 2 SECOND Semester Third Term (12 Weeks) Vocal Production II 2 24 1 Acting II 8 96 4 Styles I 5 60 3 Voice & Speech II 4 48 2 Theatre Dance 2 24 1 Movement II 4 48 2 Voice & Speech Practicum 2 24 1 Theatre History 2 24 1 Third Term (6 Weeks) Styles I 4 48 2 Acting III 20 120 6 Script Analysis and Improvisation 2 24 1 First Year Subtotal Hours & Credits (30 Weeks) 732 33 Fourth Term (3 Weeks) Rehearsal & Performance II (Comedy) 20 60 3

Vocal/Movement Coaching (concurrent) First Year Subtotal Hours & Credits (30 Weeks) 780 32

SECOND YEAR SECOND YEAR

First Semester First Term (12 Weeks) Hours / Week Term Total Credits First Semester First Term (12 Weeks) Hours / Week Term Total Credits Acting IV 9 108 5 Acting III 9 108 5 Styles II (Shakespeare) 5 60 3 Voice & Speech III: Dialects 4 48 2 Voice & Speech III 4 48 2 Styles II (including Shakespeare) 4 48 2 Movement III 4 48 2 Movement III: Fencing/Stage Combat 4 48 2 Camera Technique 2 24 1 Period Movement and Dance 2 24 1 Fencing (5 Weeks) 2 10 0.5 Advanced Vocal Production/Singing 2 24 1 Theatre Dance (7 Weeks) 2 14 0.5 or Advanced Vocal Production/Vocal Power Second Term (4 Weeks) Professional Internship 1 12 0.5 Acting V 8 32 2 Second Term (3 Weeks) Dialects 4 16 1 Rehearsal & Performance III 20 60 3 Camera Technique 4 16 1 Vocal/Movement Coaching (concurrent) Career Preparation 2 8 0.5 SECOND Semester Third Term (8 Weeks) Vocal Production/Singing 2 8 0.5 Acting IV: Camera Technique: Scene Study 6 48 2 Stage Combat 4 16 0.5 Intensives: Individual Correction & Development 4 32 2 SECOND Semester Third Term (7 Weeks) Make-Up 2 16 1 Rehearsal & Performance, including: 20 140 7 Audition Technique 4 32 2 Career Preparation Seminars & Acting Professionally 2 16 1 Industry Panels Workshop Rehearsal & Performance (includes 8hrs. Professional Development) 7 56 3.5 Audition Technique (6 Weeks) 2 12 0.5 Musical Theatre Fourth Term (7 Weeks) Advanced Shakespeare One-Person Show Rehearsal & Performance, including: 20 140 7 Career Preparation Seminars Fourth Term (7 Weeks) Audition Technique (6 Weeks) 2 12 0.5 Acting V: Career Development/Rehearsal & Performance 20 120 7 Musical Audition Technique 2 12 0.5 Vocal/Movement Coaching (concurrent) Second Year Subtotal Hours & Credits (30 Weeks) 724 35 Career Development Workshops (1 week) 20 20 1 Second Year Subtotal Hours & Credits (30 Weeks) 712 36 TOTAL HOURS & CREDITS 1,456 68 TOTAL HOURS & CREDITS 1,492 68

Courses and hours are subject to change at the sole discretion of The Academy. *May be taken in any semester prior to Final Semester Semesters may vary Courses and hours are subject to change at the sole discretion of The Academy. THE ACADEMY 25

Audition Information Notification of Admission All applicants to the full-time program are required to audition. The Admissions Committee considers application materials Applicants may choose from the following options: along with the audition report. Notification of the decision is made within four weeks. Accepted students are asked to return 1. On-campus audition - Audition appointments are scheduled a signed enrollment agreement along with a $750 deposit to on a weekly basis at both the New York and Los Angeles indicate their intention to enroll. This commitment will reserve a campuses. An appointment will be scheduled only after all space for the accepted student in the desired term. required materials have been received. The Academy strongly encourages applicants to audition at the campus they plan to Deferment attend, if possible. A full-time admitted student may request to defer enrollment ADMISSIONS one time for a maximum of one year from the original application 2. Touring auditions - Applicants unable to travel to New term. Deferred students are asked to return a signed enrollment York or Los Angeles may arrange for an audition by Academy agreement along with a $750 deposit to indicate their intention administrators at annually conducted sessions in major cities to enroll. This commitment will reserve a space for the deferred throughout the world. Visit our website (aada.edu) for a listing of student in their new desired term. Deferment beyond one year Eligibility The Office of Admissions must receive the following application touring audition locations. requires resubmission of the admissions materials, re-auditioning Education at The Academy is specialized. Serious, responsible materials before an audition can be scheduled: and a new deposit. and highly motivated applicants are sought for admission. Auditions must be scheduled and approved in advance by All entering students must have received a high school diploma Exceptions may be made for touring auditions. the Admissions Office and will only be considered after all Campus Visit or have completed a GED program. A minimum grade point appropriate documents have been received. Although The Academy does not permit auditing classes, average (GPA) of 2.0 or above is required. 1. A completed application form and application fee ($50). prospective students are welcome to visit the school by The fee is non-refundable and must accompany the application. Audition Requirements appointment to view the facilities and to gain a sense of the Each candidate is evaluated individually; consideration is based Payments can be made by check, money order or credit card. The audition consists of a personal interview and the atmosphere and environment. Visits may be scheduled through on dramatic ability or potential, academic qualifications, and Checks should be made payable to The American Academy of presentation of two memorized monologues of contrasting the Office of Admissions. readiness in terms of maturity and motivation to benefit from Dramatic Arts. (International applicants must send the fee by bank values (one comedic and one dramatic) from published plays. the program. check, money order or charge card authorization in US dollars.) Each piece should be approximately two minutes in length. Transfer Policy between Academy Campuses Both pieces should be performed within a five-minute time limit. All candidates for admission to The Academy must declare their Candidates may pursue admission for the First Year class in the 2. Official transcripts. Transcripts must be in a sealed envelope The material should be something that you can easily relate to choice of campus for First Year training at the time of their audition. Fall or Winter Term. The courses in Fall and Winter are identical from the institution and unopened by the applicant. and best shows your range of ability. Be certain to read the entire Upon request, Academy students who are invited back for the in curriculum and format. Students from both groups, if invited to High school transcript verifying graduation. (High school play. Please note that you may not use original texts for your Second Year may apply to transfer between the New York and return, join the same Second Year class the following fall. seniors may submit their most recent transcript with the monologue. In addition, you may be asked to do a cold reading Los Angeles campuses. Approval for transfer is made by the application and should request a final transcript to be sent of provided material. Director of Instruction at the campus to which the student is Please contact the Admissions Office for additional application following graduation.) applying and may be subject to the availability of class space. deadlines and information: Avoid choosing monologues from monologue books or the College transcript(s), if attended. Internet unless you can obtain a complete copy of the play. Due to the repertory nature of The Academy Company, transfers New York Campus Los Angeles Campus 3. One letter of personal reference. A list of suggested plays is available online at The Academy’s between campuses are not permitted for Third Year students. 800.463.8990 800.222.2867 A theatre person need not write this letter. An employer, teacher, counselor, clergy or website, aada.edu. Selections are not limited to this list. anyone who has known the prospective student for a period of Bring two passport size photos (2”x 2”) to the audition years may write the letter, but not a family member. The letter with your name printed on the reverse side. The photographs SECOND YEAR How to Apply to The Academy’s should be written on letterhead stationery and should mention the are for identification only. Admission to the Second Year is by invitation only. Full-Time Program relationship of the writer to the applicant. After the conclusion of the First Year, invitations are Apply online at aada.edu and access your personal web portal International Students extended to those students who are considered by the to manage and track the entire application process. This portal 4. One letter concerning dramatic ability. This letter may In addition to the requirements listed above, international students faculty and administration to be ready for the advanced allows application fee payment and provides all the required be written by a member of a high school or college theatre whose native language is other than English must demonstrate work of the Second Year. forms for download, including financial aid, transcript request department, or by a director, producer, or other professional sufficient competence with speaking, writing and reading English and reference request forms, plus online audition scheduling. theatre person who has had an opportunity to appraise the in order to avoid communication problems between faculty and The portal also displays real-time information regarding your applicant’s potential. Applicants who have had no dramatic students that might impede learning and development. application status, forms and references received and can send training or experience should substitute a second letter of email or SMS reminders. personal reference. Academic records from foreign schools must be submitted in certified English translations. A Form I-20 will be issued only Alternatively, there is a mail-in application available in the back after the applicant has been accepted for enrollment and has of this catalog or for download at aada.edu. met all standards set forth by the United States Citizenship and Immigration Services and The Department of Homeland Security. To apply to The Academy’s Summer Programs please see page 32. We encourage early application/audition for all international students and recommend sufficient time allotment for visa processing (4-5 months prior to enrollment). THE ACADEMY 27

Tuition & Expenses 2013-2014 AUDITION AND DEPOSIT DEADLINES Student HOUSING OPPORTUNITIES Fall 2013* New York Audition Deadline (US Students): July 25, 2013 The Academy House is a 12-story fully restored loft-style student Audition Deadline (International Students): June 25, 2013 housing building located at 118 Madison Avenue, directly Deposit Deadline: August 1, 2013 adjacent to The Academy’s main campus building. It provides Tuition per academic year $29,900 If you receive federal funds while attending The Academy, be furnished housing with options for single, double or three-person advised that if you terminate your enrollment prior to completing * See page 37 for Summer Program deadlines. shared rooms along with rehearsal space, a large kitchen and Application Fee First Year only 50 the course of study of your choice, federal regulations may 24-hour doorman security. For more information, visit Winter 2014 General Fee 750 require that all or a portion of the funds received be returned to aada.edu or contact the New York Director of Student Housing Student health and accident insurance, library fees, the original aid programs as unearned aid. Unpaid institutional Audition Deadline (US Students): November 25, 2013 at [email protected]. exam play scripts, Academy-sponsored social charges will be the sole responsibility of the student. Audition Deadline (International Students): October 25, 2013 and professional activities, student ID card Deposit Deadline: December 1, 2013 Los Angeles For more information, request a copy of the form titled The Academy provides student housing within easy traveling Books estimate 325 “Treatment of Title IV Funds When a Student Withdraws” from distance of our Los Angeles campus through our ongoing Movement Class Attire estimate 100 the Financial Aid Office. For complete information about relationship with Collegiate Housing Services, Inc. (CHS). The Academy’s refund policy, contact the Business Office. This organization partners with colleges of all sizes throughout Make-up Kit estimate 45 America to offer student housing in nearby apartments during Attendance / Outside their academic year. For more information, visit aada.edu or Recording Equipment estimate 75 Professional Work Policies contact the Los Angeles Admissions Office. The nature of the work in classes requires full attendance and Rehearsal Attire estimate 85 participation. Attendance at all Academy classes is mandatory and excessive absences will lead to dismissal. Auditioning and NOTE: Figures above are subject to change. outside professional work are not permitted during the academic year while attending The Academy. Tuition Deposit Payment Plans Upon acceptance, students are sent an Enrollment Agreement by The Academy. The signed agreement and a non-refundable, The Academy has established two methods of payment for Alumni Spotlight non-transferable tuition deposit of $750 are due immediately tuition, the Pre-Payment Plan and the Extended Payment Plan. to secure class placement. The tuition deposit is due by Pre-Payment Plan August 1 (Fall) and December 1 (Winter), but early deposits are ADAM SCOTT encouraged in order to secure your place. If the deposit is not This plan, with a variety of options, offers the opportunity to have tuition paid prior to registration. Inquire with the Financial Aid Known for his role of Ben Wyatt on Best known for playing major roles on paid by the designated time, the applicant will be assumed to the NBC series Parks and Recreation, three of the most successful television Office for details. have withdrawn the application. he was also in The Aviator and Step dramas in history, ER, Brothers with . His recent and CSI: Crime Scene Investigation, Refund Policy Extended Payment Plan films includeBachelorette with she also starred in the Oscar- To withdraw officially, enrolled students must meet with For those students able to establish need and financial Kirsten Dunst, A.C.O.D. with Jessica nominated filmMemento with fellow Alba, The Guilt Trip with Seth Rogen Academy alum Carrie-Anne Moss. the Director of Instruction and present to the Office of the responsibility (by means of an Academy Family Income Form), and The Secret Life of Walter Mitty. Registrar written notification of withdrawal. The effective date an extended payment schedule may be arranged with the of withdrawal will be the date of receipt by The Academy of the Financial Aid Director. application for withdrawal, not the last date of attendance. CHRISTINE EBERSOLE The two-time Tony Award-winning Winner of four Primetime Emmys, he performer won the Best Actress in is a principal voice on . a Musical Award in both 2001 and He has starred on numerous TV 2007 for her part in 42nd Street, series and feature films. His recent and for her dual role of “Little” Edie films includeLovelace and Smurfs 2. Beale and Edith Bouvier Beale in His major Broadway credits include Grey Gardens. She is currently on Spamalot, for which he was nominated the TBS series Sullivan & Son and on for a Tony Award. USA’s Royal Pains.

For more Academy alumni see pages 3, 10, 21 and visit aada.edu. THE ACADEMY 29

US Federal and State Grants Types of US Federal and State Grants and Scholarships Grants: Grants do not have to be repaid. For more information Qualifications for Application:These financial aid awards are available online, please view the Guide to Federal Student Aid limited to US citizens and permanent residents who qualify and from the US Department of Education. who have completed all of the required financial aid paperwork. Federal Pell Grants: Federal Pell Grants are awarded to The Academy requires that all US citizens and permanent undergraduate students who demonstrate exceptional need. residents complete the FAFSA (Free Application for Federal The maximum award for 2012–2013 is $5,550. Student Aid) to be considered for financial aid. In addition to filing a FAFSA, we ask students and their families to provide us Federal Supplemental Educational Opportunity Grants with whatever supplemental information they feel is important (FSEOG): The Federal Supplemental Educational Opportunity to provide a complete financial picture and help us accurately Grant (FSEOG) is awarded to undergraduates with exceptional assess a family’s or individual’s financial condition. financial need, who are also eligible for the Federal Pell Grant program. File the FAFSA online at fafsa.ed.gov and enter The Academy’s School Code: 007465 Tuition Assistance Program (TAP): New York State residents only. First year students should apply immediately upon The FAFSA4caster provides students with an early estimate of acceptance to The Academy. Awards range from $200–$5,000 their eligibility for federal student financial assistance. per academic year.

Financial aid eligibility is determined by using a needs analysis Veterans Benefits:The Academy participates in the Veterans formula provided by the federal government. In this formula, Educational Assistance Program. Veterans and dependents Financial Aid the student and/or family’s income and assets are weighed should contact the Financial Aid Office for details. against allowances for basic living costs, number in the household, and resources for retirement to calculate an Expected Work-Study More than 90% of admitted students receive some type of financial assistance. Family Contribution (EFC). A cost of attendance budget is then constructed by The Academy that represents educational costs The Academy participates in the Federal Work-Study (FWS) The Academy is committed to preparing talented students for acting careers and helping them achieve their highest including tuition, fees, books and living expenses. The difference program. The program at The Academy is federally and potential. For that reason, we try to make it possible for all admitted students to attend the school. In addition to between the estimated budget and the EFC is the financial need institutionally funded. It provides part-time, on-campus jobs for of the student. The Academy will not award financial aid above students with financial need, allowing them to earn money to funding provided by The Academy, the school participates in various federal and state financial aid programs and the cost of tuition and living expenses. help pay education expenses. offers a choice of payment plans. All prospective students are encouraged to apply for financial aid during the application process. Financial aid packages may consist of a combination of grants, loans, scholarships and campus Early application is strongly advised for all financial aid. employment. It is to the student’s advantage to submit early applications to determine eligibility. Credit of State and Federal Awards: All funds are credited to the student’s account in two installments: the first installment at the beginning of the academic year, the second at the midpoint Academy Scholarships HOW AWARDS ARE DETERMINED of the academic year. Second disbursements of financial aid will Academy Scholarships are a form of aid that does not need to First Year: All students who have applied and been accepted by not be made to students failing to attain a minimum 2.0 grade be repaid. The Academy will create a package for students with The Academy are considered for scholarships. Merit scholarships point average. Failure to raise a GPA within five weeks will result both Academy-funded scholarships and federal/state grants up to $8,000, determined by an applicant’s audition, may be in the return of funds to federal and state agencies and banks. and loans for which a student may be eligible. If you have been awarded. Need-based awards up to $6,000 may be awarded and The student is solely responsible for any outstanding balances accepted to The Academy and want to be considered for a these are assessed through the financial aid process. All students due to agencies, banks and The Academy. scholarship, you should apply immediately after being notified. must re-apply for financial aid every year. You will receive a response from The Academy within two Application Procedure: Upon submission of a completed weeks of receipt of your scholarship application. In addition, Second Year and Academy Company: Apply for scholarships application for admission, the applicant is encouraged to file the prospective students should apply to their local community for by submitting an application to The Academy’s Scholarship FAFSA as soon as possible in order to apply for federal student privately funded scholarships during their junior and senior years Committee. aid. To apply for financial aid from The Academy, the FAFSA of high school. High school guidance counselors can provide and the Financial Aid Worksheet must be completed. Both are information regarding application procedures. While it is our priority to provide financial assistance to as many included on the FAFSA website. Complete details are available students as possible, funding is based upon availability. through the Financial Aid Office at each of our campuses:

New York Campus 800.463.8990 ext. 342 The information on the following page is for US citizens and or email the New York Director of Financial Aid permanent residents. For information about additional financial at [email protected] assistance for International Students please refer to page 31. Los Angeles Campus 800.222.2867 ext. 105 or email the Los Angeles Director of Financial Aid at [email protected] THE ACADEMY 31 Loans International Students Student loans must be repaid and fall into two categories: Unsubsidized Federal Direct Stafford Loans Unsubsidized Federal Direct Stafford Loans are not need-based 1. Need-Based (Subsidized Federal Stafford Loans) loans. Dependent financial aid applicants may borrow an annual You will be in good company as an international student at The Academy. International students typically comprise 30% maximum of $2,000 per award year. Independent financial aid 2. Non-Need-Based (Unsubsidized Federal Stafford Loan, of enrollment at The Academy, and more than 40 countries have been represented in our student body. As our diverse Federal Parent Loans for Undergraduate Students and applicants may borrow annual maximums listed below: alternative loans for students or parents) community includes students from various backgrounds and from all around the world, we believe that exposure to many $6,000 for First and Second Year Students cultures enriches the depth of each actor’s work. Subsidized Federal Direct Stafford Loans $7,000 for Academy Company Students Subsidized Federal Direct Stafford Loans are need-based loans. Dependent students (except students whose parents cannot Interest does not accrue while a student is in school, during a Applying to The Academy as an Financial Aid for International Students grace period or during certain types of deferment. The annual borrow a PLUS Loan) can apply for up to $2,000 in unsubsidized loans. International Student All international applicants are eligible to apply for financial maximum amounts by class level are: General admission requirements are the same for all applicants aid. The Academy offers a variety of scholarships, assistance Federal Direct Parent Loans for regardless of citizenship, but immigration regulations, financial opportunities and a choice of payment plans. We also $3,500 for First Year Students Undergraduate Students matters and a variety of educational credentials require added participate with foreign government aid programs if available. $4,500 for Second Year Students Federal Direct Parent Loans for Undergraduate Students (PLUS) procedures for international students. Our Admissions and All prospective students are encouraged to apply for financial $5,500 for Academy Company Students allow parents of dependent financial aid applicants to borrow Financial Aid offices will assist with all issues regarding these aid at the time of their audition. Financial aid packages may money for the purpose of meeting the cost of education. policies and procedures: consist of a combination of loans, scholarships and campus Parents may borrow up to the cost of attendance minus all employment. All prospective students must submit the required other student aid. Student Visa documents by the appropriate deadlines for consideration of After the audition, applicants who are admitted to The Academy financial assistance. These documents will be sent to you from Alternative Loans will be sent important international information along with their the Financial Aid Office. Alternative Loans (private loans) usually carry a higher interest rate acceptance letter from the Admissions Office to obtain an F-1 than federal loans. Students are advised to consider them only after student visa. Important visa guidelines are enclosed, including Work-Study all federal loan programs have been secured. US citizens, eligible the I-20 application, which you must complete and return to There are a limited number of campus jobs funded by permanent residents and international students who have a US the Admissions Office. A Form I-20 will be issued only after The Academy, which are open to international students. credit-worthy co-signer may be able to obtain lower interest rates. the applicant has been accepted for enrollment and has met Following registration, international students may apply International students must have a US credit-worthy co-signer. all standards set forth by the United States Citizenship and to a variety of Academy departments such as Admissions, Immigration Services and The Department of Homeland Security. The Academy Library, Production, Costumes and the President’s Office for college work-study positions. We strongly encourage early application and audition for all international students; we also recommend sufficient time Alternative Loans allotment for visa processing (4-5 months prior to enrollment). Sallie Mae and Wells Fargo offer alternative loans to international students. If you meet the requirements and are approved, you Endowed Scholarships English Language can re-apply for these loans each year that you attend International students whose native language is other than The Academy. See page 30 for more on alternative loans. Visit The following Academy scholarships were established through benefits, memorial gifts, bequests and foundation grants: English must demonstrate sufficient competence with speaking, the links below to review information provided by these lenders. writing and reading English to avoid communication problems salliemae.com - wellsfargo.com The Alumni Scholarship Fund The Scholarship between faculty and students that might impede learning and The III Arts Scholarship The Kirk Douglas Scholarship development. This proficiency is determined through the Other Resources The Barbara Moore Jordan Scholarship The Legend’s Scholarship application and audition process. The following are additional loan resources known to The Brenda Forbes Scholarship The Madelin Thayer Gilpatric Scholarship Academic Records / Official Transcripts The Academy, but applicants are encouraged to seek others The California Consolidated Fund The Neil Simon Scholarship Academic records and official transcripts from foreign schools online and through their respective governments: The Charles Jehlinger Scholarship The Patricia Grube Scholarship must be submitted in certified English translations. These The Cleavon Little Scholarship The Philip Loeb Scholarship documents must be in a sealed envelope from the institution Canada: Ontario Student Assistance Program The Dina Merrill Scholarship The Princess Grace Scholarship and unopened by the applicant. Services available for official The Frances Fuller Scholarship The Samuel Freeman Scholarship United Kingdom: Career Development Loans (New York only) translation of transcripts include World Education Services (WES) The Franklin Haven Sargent Scholarship The Spencer Tracy Scholarship Sweden: CSN (csn.se) at www.wes.org and Foreign Credential and Degree (Diploma) The Garson Kanin Scholarship The Suzanne Powers Scholarship Evaluation Services at www.thedegreepeople.com. eduPASS: edupass.org The George Nichols III Scholarship The Thelma Carter Memorial Scholarship The Gordon A. Rust Scholarship The William Randolph Hearst Scholarship (These companies are not affiliated nor endorsed by The Academy) The Greta Nissen Scholarship The Harryetta Peterka Scholarship Annual Scholarship Support: The Henrietta Alice Metcalf Memorial Scholarship American Theatre Wing The Hume Cronyn Scholarship Episcopal Actors’ Guild The Jack Melanos and Bill MacDougall Scholarship Estate of Maxine Little Collier (Alumna) The John Peck Memorial Scholarship

For details on each scholarship, visit aada.edu. THE ACADEMY 33

Five-week Summer Program Summer Programs 2013 New York Campus + Los Angeles CAMPUS

Imagine spending your summer immersed in training right in the heart of where entertainment lives and breathes. The Five-Week Summer Program is highly regarded by industry professionals as one of the finest summer acting programs in the Open-air concerts, films and plays abound, as you will be a part of a dynamic community of fellow actors learning United States. It includes coursework in Acting, Voice & Speech, Vocal Production and Movement. This is a standalone program and may not be taken concurrently with other programs offered by The Academy. together and inspired by some of the most respected instructors in the industry. You are destined to return home with skills and friendships you will appreciate for a lifetime.

June 24 – July 26, 2013 VOICE & SPEECH Training: Add strength and emotional range to the natural voice; Academy Summer Programs The Right Program for You: PROGRAM HOURS: develop voice as an instrument of communication on Monday – Friday Specialized summer programs offer you the ideal opportunity Small class sizes for one-on-one instruction or off stage to experience The Academy’s legendary conservatory training 9 am to 1 pm or 2 pm to 6 pm Training offered for stage, film and television during our Five-Week Program, or you can choose to focus on Coursework: Basic principles of voice production applied one aspect of your craft by enrolling in one of several Two-Week Diverse international student body Placement in the morning or the afternoon session is announced through structured exercises for placement and breath control, 1-2 weeks before the program begins. Selection is at the Intensives, including camera techniques, audition techniques Performance opportunities with emphasis on articulation, intonation, stress and phrasing and musical theatre. In addition, The Academy offers added discretion of the Director of Instruction.* value for those wishing to receive a more comprehensive training Academy Certificate of Training awarded VOCAL PRODUCTION experience by combining two or more summer programs. These Scholarship opportunities for Full-Time Conservatory Program Training: Four-Week and Seven-Week Programs include The Academy’s ACTING Build the vocal instrument through music; identify and Summer Industry Insight Series and Full-Time Conservatory Training: Discover and expand relaxed, free, truthful use of correct vocal problems scholarship opportunities. self in imaginary circumstances; develop trust in spontaneous, Coursework: moment-to-moment reactions Scales and songs; unlocking the character’s All programs are ideally suited for advanced actors, educators emotions and expression through both lyrics and music and beginning actors alike. Whether you choose to study in Coursework: Exercises for relaxation, concentration and New York or Los Angeles you will find instructors who share sensitivity to fellow actors, as well as internal and external stimuli MOVEMENT FOR ACTORS your passion and are committed to helping you prepare for a to achieve focus and involvement, which leads to dramatic Training: Develop the body as an instrument for the actor meaningful career. analysis, improvisation and scene study

Coursework: Basic dance techniques; general movement exercises to develop imagination, muscular coordination and control

ELECTIVES

LOS ANGELES NEW YORK Electives are available to Five-Week Musical Theatre Musical Theatre and Seven-Week Program students. Stage Combat Stage Combat The availability of each Elective is Fencing Fencing subject to demand. Improvisation Improvisation Auditioning for the Camera Auditioning for the Camera Alexander Technique Dance for the Actor Audition Monologues

*The Academy’s Director of Instruction works with course instructors to create ideal class balance. Programs are assigned to accommodate preference, background similarities, acting maturity and objectives. THE ACADEMY 35

New York TWO-Week Summer Intensives Los Angeles TWO-Week summer Intensives

June 10 – June 21, 2013 Camera Acting & Audition Technique July 15 – July 26, 2013 Advanced Camera Acting* Two intensives offered: Musical Theatre and Camera Acting & This intensive is designed for the beginning to intermediate Two intensives offered: Camera Acting for Film & Television Designed for students who have already completed Camera I or the Audition Technique actor who wants a deeper understanding of working in film and and Advanced Camera Acting First Year of The Academy full-time Conservatory, these courses television. The courses are designed to bring a professional and provide a deeper understanding of the on-camera process and July 8 – July 19, 2013 thorough understanding of the on-camera process and alleviate July 29 – August 9, 2013 enhance the actor’s comfort level with working on camera. Three intensives offered: Musical Theatre, Camera Acting & the anxiety of working on camera. Courses will also explore the Three intensives offered: Camera Acting for Film & Television, Courses explore the various genres within film and television. Audition Technique and Audition Intensive various genres within film and television, including the television Advanced Camera Acting and Audition Intensive , commercial acting, film and live television, along with the On-camera acting courses are limited in size to 12 students. July 29 – August 9, 2013 “business of the business.” PROGRAM HOURS: Intensive offered: Audition Intensive Monday – Friday Course of study: Course of study: 9 am to 4 pm Acting Technique II 7.5 hours per week PROGRAM HOURS: Camera Acting Technique 6 hours per week Audition Technique II 5.5 hours per week Monday – Friday Monologue Technique 6 hours per week Working in Film II 4.5 hours per week Dance / Movement 4 hours per week Camera Acting for Film & Television* Sitcom Acting II 4.5 hours per week Depending on the chosen Two-Week Intensive, students should Voice Production 4 hours per week For the beginning to intermediate actor who wants a deeper Commercial Technique II 1.5 hours per week be prepared to be in class between the hours of 9 am to 6 pm Acting Exercises 4 hours per week understanding of working in film and television, including the on certain days. “business of the business,” this intensive is designed to provide *Each class has a special optional critique period of 30 minutes a professional and thorough understanding of the on-camera Audition Intensive process and alleviate the anxiety of working on camera. Courses Musical Theatre Auditions, whether for schools or roles in plays, film or television, explore the various genres within film and television, including the Audition Intensive This intensive is designed for the beginning to intermediate are a fact of life for all actors. This two-week intensive is designed television sitcom, commercial acting, film and live television. Auditions, whether for schools or roles in plays, film or television, actor in musical theatre who wants to broaden his or her to prepare individuals who have an understanding of acting and are a fact of life for all actors. This two-week intensive is designed understanding of the craftsmanship involved for the performer. singing basics for a successful audition. Topics include finding On-camera acting courses are limited in size to 12 students. to prepare individuals who have an understanding of acting and It is comprised of daily coursework in dance, vocal production, your type, picking strong material, preparing for and performing singing basics for a successful audition. Topics include finding song interpretation, acting and individual coaching. The intensive your audition, and cold readings. This intensive is designed for Course of study: your type, picking strong material, preparing for and performing will culminate with a presentation of work for evaluation by both actors auditioning for schools/festivals and working actors Acting Technique 7.5 hours per week your audition, and cold readings. This intensive is designed for industry professionals. who want to improve their skills. Students should arrive with at Audition Technique for Film & Television 5.5 hours per week both actors auditioning for schools/festivals and working actors least two monologues of contrasting value that can be Working in Film 4.5 hours per week who want to improve their skills. Students should arrive with at Bring a prepared song with sheet music in your key. presented in class. Sitcom Acting 4.5 hours per week Assessments and song assignments are given on the least two monologues of contrasting value that can be first day of class. Commercial Technique 1.5 hours per week presented in class. Course of study: Monologue Technique Bring appropriate dance attire and tap shoes. 6 hours per week *Each class has a special optional critique period of 30 minutes Course of study: Acting Exercises 4 hours per week Your Type and Material 4 hours per week Song Interpretation 4 hours per week Course of study: Preparing and Performing 6 hours per week Singing Workshop 6 hours per week Choreography / Movement 4 hours per week Cold Readings 2 hours per week Jazz / Tap 6 hours per week Seminars 2 hours per week Voice Technique 4 hours per week Song Interpretation 6 hours per week Song Interpretation 4 hours per week Acting Exercises / Sensory Work 6 hours per week Performance Master Class 4 hours per week

Summer Housing

The Academy offers a variety of off-campus student housing options near both campuses, and limited space at The Academy House in New York. Options are listed at aada.edu and on page 27. Students under 18 years of age must secure housing with friends or relatives as most housing services do not accept persons less than 18 years of age. THE ACADEMY 37

Summer Program Options

Seven-week Complete Studio Program – Price: $3,750 What’s Included: Five-Week Program Electives – Up to 4 included of your choice 1 Two-Week Intensive (choose 1) $1,000 Fall Scholarship offer for enrollment in the Full-Time Conservatory Program 2 Industry Insight Series

Five-Week Program – Price $3,000 What’s included: Five-Week Program Electives - Up to 2 included of your choice Industry Insight Series (included with early enrollment)

Four-week Industry Prep Intensive Program – Price $2,750 What’s included: Two-Week Intensives (choose 2) $500 Fall Scholarship offer for enrollment in the Full-Time Conservatory Program 2 Industry Insight Series

Two-Week Intensives – Price $1,500 each What’s included: Two-Week Intensive (choose 1) Industry Insight Series (included with early enrollment)

Two-Week Conservatory Student & Alumni Intensive Program – Price starting at $1,200 Only for current Academy Two-Year Conservatory students and alumni

What’s included: Two-Week Intensives (1 or more) discounted 20% Industry Insight Series INDUSTRY INDUSTRY INSIGHT INSIGHT Summer Industry Insight SeriesSERIES – Price $500 SERIES Five-Session Series (June 24 - July 26) What’s Included: INDUSTRY INDUSTRY Industry Guest Speakers INSIGHT INSIGHT Professional Training Lectures SERIES SERIES summer summer Q&As Panel Discussions

Additional Information

Summer Program Assessment Auditions The Academy’s Summer Programs do not require the applicant to audition prior to acceptance. Application Fee non-refundable $20 However, the application information provided by applicants is subject to verification, and Electives each 250 admitted Five-Week and Seven-Week Summer Program students are required to conduct an assessment audition on the first day of class to determine proper placement in the program. Enrollment is limited and space is reserved only upon full tuition payment. Summer Program Refund Policy Tuition deadline for Five-Week Program is May 28. Tuition deadline for Requests for refunds must be addressed to the Director of Admissions and received no later Two-Week Intensives is 30 days prior to each Intensive’s start date. than seven days prior to the start date of each Summer Program. Requests for refunds made less than seven days prior to the program start date will not be granted.

1 Consult with Admissions to avoid taking duplicate courses For more details on The Academy’s Summer Programs, visit aada.edu. 2 Upon acceptance and enrollment THE ACADEMY 39

LARRY K. COLLIS Camera Technique ERIN MOON Movement, Mask BS, University of ; 45 years’ professional acting experience; Studied at Red Deer College Theatre Studies & University of Broad background in film, television and theatre as actor, and Alberta Professional Theatre Training Program; Yoga Alliance as spokesperson in industrials and voice-overs in national and Registered Yoga Teacher; Movement and Shakespeare instructor regional commercials for several festivals and companies; Professional actor and prolific narrator of audio books CHRIS DOLMAN Acting, Directing MFA, Florida State University, Asolo Conservatory of Professional LIZ ORTIZ-MACKES Career Counseling Actor Training; Studied acting with Kathryn Gately, , BFA, Theatre, Fordham University; Studied acting/directing with Neal Kenyon & John Ulmer, directing with Luca Ronconi, Ping Joseph Chaiken, B. Rodney Marriott & Debra Monk; Owner of Chong & Ruth Maleczech; Member of Lincoln Center Directors Casting Solutions & I Ain’t Playin’ Films; Credited on projects Lab; Extensive theatre, TV & radio experience; Founder/ screened at hundreds of US and International film festivals; Producing Artistic Director of Edgartown Theatre Company Author of Ace Your Acting Audition Academy Faculty: NEW YORK GEORGE HESLIN Guest Director NURIT MONACELLI Movement for the Actor Studied with at HB Studio; Graduate of Samuel MFA, Moscow Theater School/ART at Harvard University; BA, Beckett Centre Trinity College Dublin and Abbey Theatre Dublin Brown University; Trained with Scott Zigler, Marcus Stern, Andrei Directors Program; Extensive acting and directing career in EU Droznin, Margaret Eginton, Caymichael Patten, Extended faculty biographies, academic credentials and photographs can be found on The Academy’s website, aada.edu. & US; Artistic Director for Origin Theatre Company and 1st Irish The Barrow Group, The Magnet Theater and Anne Bogart’s Theatre Festival Directors’ Ensemble at ; Extensive acting credits include theatre, film & TV CONSTANTINE SCOPAS Director of Instruction STEPHEN HOLLIS Guest Director Studied at The American Academy of Dramatic Arts, Pasadena BA, French Literature, University of Grenoble, France; Trained BURKE PEARSON Acting, Directing Playhouse School of Theatre; Studied with Peter Gordon, John DEREK AHONEN Guest Director with Royal Shakespeare Company; Former Artistic Director at BA, Portland State University; Studied acting with Katharine Rust, Frank Bolger, Max Fischer, Harry Mastrogeorge, Francis AOS, The American Academy of Dramatic Arts; Founder, Watford Palace Theatre, UK & New Arts Theater, Dallas; Sergava, Uta Hagen, Marshall Mason, Rob Thirkield, William Letton, Hugh Whitfield, Dennis Moore and Thelma Carter Resident Playwright and Associate Artistic Director of Amoralists Directed for numerous US companies, including three world Esper, James Tuttle & ; directing with Marshall Theatre Company; Author & original director of nine full-length premiers in ’s West End Mason; voice with Clyde Vinson, Robert Neff Williams; Long-time JACKIE BARTONE Assistant Director of Instruction— plays, regularly on New York theatre Top Ten lists; Profiled in member of Circle Repertory Co.; Award-winning actor, credits Acting , The Wall Street Journal, WILLIAM KOCH Guest Director include theatre, film & TV BA, Art & Theatre, Syracuse University; Education studies, and other publications MDiv, Practical Theology (Theology & the Arts), Union Hunter College; Psychology studies, NYU; Studied acting Theological Seminary; BA, Theatre & German, St. Olaf College, TODD PETERS Academic Assessment Coordinator— with Sanford Meisner & ; directing with Wynn SHEILA BANDYOPADHYAY Movement, Mask MN; Studied acting with Uta Hagen & Ralph Haugen; voice with Acting, Directing, Shakespeare, Theatre History Handman & Gene Frankel, Shakespeare & speech with Robert MA, NYU; BA, Theater Arts, Brandeis University; Physical Jim Cummings; ballet with Igor Youskevitch, Yeichi Nimura & MFA, Professional Directing Program, Southern Methodist Neff Williams; dance with Martha Graham, among others; Career theater studies, Dell’Arte International; AmSAT Certified Teacher, Don Farnsworth University; MA, Indiana University, Theatre History & Dramatic spans decades with hundreds of acting & directing credits Alexander Technique; Advanced study in Movement for the Actor Theory with Oscar G. Brockett; Advanced Scene Study with with Merry Conway & Susan Dibble; Teaching credits include ZENON KRUSZELNICKI Guest Director—Acting, Mark Zeller & Dana Zeller-Alexis; Former Artistic Director at 78th JIM DEMONIC Head of Voice & Speech Department, The Linklater Center, Shakespeare & Company, NYU-Gallatin & Movement Street Theatre Lab; Directed dozens of plays; Worked for critic Academic Coordinator—Voice & Speech Alexander Technique, NYC’s Teacher Certification Program MFA, Directing, The New School for Drama; MFA, Acting, Judith Crist and AFI AOS, The American Academy of Dramatic Arts; Studied with National Academy of Drama, Poland; Worked with Rena Mirecka Bob Kelly, B.H. Barry, Michael Howard, Dr. David Fairchild, JOHN BAYLIS Vocal Production and Zygmunt Molik from Grotowski’s Laboratory Theater on SUSAN PILAR Acting, Directing, Audition Technique Barbara McClosky, Peter Brook, Cicely Berry, Patsy Rodenburg Royal Conservatory of Music, University of improv, physical motion & vocal production; Fluent in Polish, MFA, American Conservatory Theatre; BFA, University of and Andrew Wade Southern California; Fellowship at The Shakespeare Theatre HEATHER BENTON Head of Movement Department— English, Russian, German & Italian – The Folger; Performance credits include Lincoln Center – JONATHAN BOLT Director of New York Academy Acting, Movement LISA MILINAZZO Guest Director Broadway, Manhattan Theatre Club, The Public NY SF, Company—Acting, Directing MFA, Moscow Art Theater School/ART at Harvard University; BA, BFA & MA, Tisch School of Arts, New York University; Studied The Guthrie & Ensemble Studio Theatre; Co-founder of FUSE Studied with Sanford Meisner; Appeared in TV series, films, English & Theatre, University of Minnesota; Studied acting with with Michael Kahn & Nikos Psacharopoulos; Film credits include and Reel-Intentions; Core faculty at T. Schreiber Studio and played leading roles in 100+ theatre productions—directing Robert Woodruff, Scott Zigler, Marcus Stern, Janos Szasz, The Query featured at Cannes Film Festival; Theatre credits 30+; Author of two full-length musicals & six plays; Recipient of Yuri Yeremin & Roman Kozak; movement with Andrei Droznin, include two LA Weekly Award nominations, premieres for Eve playwriting grants from New York Creative Artist Program, Berilla Meg Egington, Andrey Schupkin, Robert Walsh & SITI Co.; Ensler, Alexandra Gersten and George F. Walker at Rattlestick, Kerr Foundation & The Drama League voice with Nancy Houfek, Jeff Morrison & Paul Backer Capital Repertory & Edinburgh w/Alec Baldwin, Marin Ireland, & DEBORAH PICONE Librarian, English Composition Tutor MFA, Adelphi University; MLS, University/C.W. Post; Certificate of Archival Management; New York State Public Librarian’s Professional Certificate; BA, Lehigh University THE ACADEMY 41

Andrew Polk Guest Director—Audition Technique LESTER THOMAS SHANE Voice & Speech BA, Tufts University (Fulbright Scholar); Studied acting at Studied at Carnegie Mellon University; Trained in speech with London’s Webber Douglas Academy of Dramatic Art, Wynn Edith Skinner; voice with Robert Parks & Fran Bennett; directing Handman Acting Studio; Member of ; with Lawrence Carra; acting with Jewel Walker & Mordecai 22+ years as professional actor; Nominated for 2007 Drama Lawner; Workshops with John Barton, Patsy Rodenburg, Cicely Desk Award; Former faculty at ACT, Rice & Emory Universities; Berry, among others; Directed 50+ productions in EU & US Founder of The Cape Cod Theatre Project JENNIFER SMOLOS Vocal Production, JANIS POWELL Acting, Directing, Drama Education Musical Theatre Performance BFA, Theatre, University of Texas; Trained at Hollins University; PhD candidate in Vocal Pedagogy, MM & BM, Vocal Studied acting with William Esper, , Gene Frankel Performance, NYU-Steinhardt; Studied voice with Dianna & Circle in the Square; Directed and coached hundreds of actors, Heldman, Michael Ricciardone & Edith Rice; acting with Arthur directors, writers and producers in theatre, film & TV; Founder Storch, William Wesbrooks, Diane Ciesla & The ; and Artistic Director of Spiral, Inc. and Janis Powell Studio Voted one of Backstage Magazine’s Best Vocal Coaches, NYC (2009) DAN RENKIN Stage Combat BA, Drama/Film, University of California, Irvine; Trained at JACQUELINE SOLOTAR Acting Grotowski Workshop & Circle in the Square; Studied with Robert Master classes with Harold Clurman, Uta Hagen, Peter Brook, Cohen, Moni Yakim, Jonah Emsig, Terese Hayden, Jacqueline , Galina Volchek, Oleg Tabakov, Bobby Brookes, among others; and combat with B.H. Barry; Extensive Lewis, Paul Mann, Sanford Meisner & ; Worked with Academy Faculty: LOS Angeles experience includes stunt coordinator for TV series and fight George Balanchine, , , among others; coach at Metropolitan Opera Accomplished actor, director & choreographer in regional and national companies and film Extended faculty biographies, academic credentials and photographs can be found on The Academy’s website, aada.edu. BARBARA RUBIN Directing, Shakespeare, Voice & Speech BA, Dramatic Art (cum laude), University of The Witwatersrand, ROBERT TUNSTALL Movement AOS, The American Musical and Dramatic Academy; Studied South Africa; Associate Teaching Diploma, Speech & Drama, THERESA HAYES Director of Instruction Trinity College, UK; Studied with Uta Hagen, Carol Rosenberg, Acting with Larry Singer, Randolf Pearson & Dana Carvey; dance BA, Theatre Arts (cum laude), UCLA; Studied with Darryl Patsy Rodenberg, Kristen Linklater & David Harryman; Seasoned with Mark Espisito, Cacey Colgan, Phil Black & Paula Abdul; Hickman and Lenore DeKoven; with at Royal JULES AARON Guest Director—Dramaturgy, international stage director; Dialect coach for theater & film; voice with Meg Bussert & Camille Wierdon; Extensive experience Shakespeare Company Workshop; and Robert Carnegie at Theatre History Member of Lincoln Center Directors’ Lab includes world tours with (Bobby), 42nd Street & Playhouse West. Studied dance with Michael Bennett, Joe PhD, New York University; Directed the Philadelphia Theatre The Wizard of Oz (Scarecrow) Tremaine and Lester Wilson. Company and 250+ plays; Recipient of Ovation, LA Weekly, PAMELA SCOTT / COULISH Guest Director—Acting LA Drama Critics, Bay Area Theatre Awards & MARY WORKMAN Guest Director—Acting, BS, Eastern Michigan University; AOS, The American Academy DIANE CAMBIO Administrative Assistant to 23 Drama-Logue Awards of Dramatic Arts; Studied with Sandra Seacat; Playwright, actor, Improvisation, Voice & Speech Director of Instruction teacher and working director for 15+ years, including 50+ plays; MFA, Drama, University of California (Full Fellowship Award); BFA in Theatre, University of the Arts, Philadelphia DARIN ANTHONY Guest Director—Acting BA, Pomona College;Advanced training at Pacific Conservatory Producing Artistic Director for Aching Dogs Theatre; Member of BFA, DePaul University; Member of A Noise Within Theatre of the Performing Arts; Studied with Robert Cohen, Jerzy the Actors’ Studio Playwriting Director’s Process Unit JUDITH BOHANNON First Year Coordinator, Company, Actor’s Gang; Freelance director at multiple theatres, Grotowski, Carla Meyer, Dudley Knight, Edward Villella, Stephen Director—Acting and feature film and web series director Porter & Keith Fowler, among others; Award-winning international MA, Northwestern University; BA, Georgetown College; actor, educator & director Studied acting with Uta Hagen, Michael Shurtleff, John Lehne, CAROLINA BARCOS Scene Study, Acting, A.J. Antoon and Jose Ferrer One-Person Shows BA, Skidmore College; MFA, UCLA School of Theatre, Film BETTY KARLEN Director of Academy Company—Acting & Television; Co-founder of Big Dog Little Dog Productions; Studied at University of California, Los Angeles and City College Performed in 40+ plays in LA & NYC, produced and directed of New York; Professional training with Herbert Berghoff, Lee 60+ one-person shows and 14 plays Strasberg, Curt Conway and Eric Morris CHERYL BAXTER Movement SALLY LAPORTE Librarian, 30+ years’ experience in theatre, film & television; Studied at Academic Assessment Coordinator University of and Northwestern University; Assistant MLS, UCLA; BS, Theatre, Northwestern University Choreographer to and Kenny Ortega; Studied acting with Beverly Sanders THE ACADEMY 43

BRENDA B. BECK Events Coordinator—Voice & Speech, DIANA DEMAYO-BROWN Acting, Director PERRY HART Head of Vocal Production—Vocal MARK KNOWLES Movement & Dance for the Actor, Dialects, Director BFA, University of North Carolina School of the Arts; Production, Musical Theatre, Rehearsal & Performance, Period Dance, Musical Theatre, Director MFA, Acting, University of Southern California; BA (with honors), Studied acting with Eric Morris; dance with Ernestine Stodelle; Acting, Director MA, Visual & Performing Arts, Antioch University; BA, Theatre/ University of Nevada; Coached 100+ theatrical productions; Performed, directed and produced theater for 25+ years; Music Major, Voice, UCLA—Men’s Glee Club; 20 years’ Dance, Wesleyan University; Dance training with Roland Dupree, Studied with Tad Danielewski and others; Studied voice & Founding member of Mojo Ensemble experience teaching at The Academy; Vocal coach/arranger for , Jaime Rogers & Louis DaPron; Directed and/ speech with Patsy Rodenburg, Catherine Fitzmaurice, Holland America with directors John Charron, Patti Colombo and or choreographed 300+ productions worldwide; Author of four Kristen Linklater & Rocco Dal Vera ANNA FERRARO Piano & Organ Accompaniment, ; Recipient of LA Drama Critics’ Circle Award, books and recipient of American Library Association’s 2004 Musical Theater, Vocal Production a Drama-Logue Award and NAACP’s nomination for Choice Award LAUREN MARIE BERTONI Sitcom Acting BM, California State University; Studied piano with Leigh James Best Musical Direction BS, Education & Communication, Monmouth University; Certified Unger; voice with John Peck & William Hanrahan; Self-produced AMIR KORANGY Guest Director—Acting Studio Teacher in California; Specialized in coaching child and CDs and concerts featuring her and other artists original music; KAREN HENSEL Acting Styles, Director MA (merit), Middlesex University; BA, young adult actors; Studied with Penny Templeton, Hank Shobe Organist and Music Director for local churches and temples AA, Mime & Moliere, The American University in Paris; Diploma, University; Seasoned educator, director & actor; Directed 50+ and Jane Seaman; Experienced in script supervising and stand- American Conservatory Theatre; Acting Internship, Old Globe plays from classic to modern; As Director of Acting at Mountview up comedy YAZMINE FLEMING-PETERSON Vocal Production Shakespeare Theatre; Award-winning actor, director and writer; Academy London, received the Michael Elliot Award for MM, Piano, Kent State University; BFA, Keyboard, California Actor at South Coast Repertory Theatre for 28 years and Head of Outstanding Contribution to British Drama Training; worked for MARY BLEIER Acting, Director Institute of the Arts; Certified Teacher, Music Teachers Adult Theatre School BBC, HBO, Warner Brothers, including lead in BAFTA-nominated BA, Antioch University; AA, The American Academy of Dramatic Association of CA; Earned accolades from LA Journal and Breath of Life; Visiting Professor in US & UK Arts; Studied acting with Betty Karlen, Maria Gobetti and Craig Marin County Register; Current Musical Director for the CHRISTINA JOY HOWARD Physical Acting Ng; Studied mind/body connection at Institute of Psycho- jazz-opera Embers BA, Theatre, UCLA; Viewpoints training, Steppenwolf West; TIM LANDFIELD Internship Coordinator, Structural Balancing Seasoned actor, accomplished choreographer and director; Cast ACYA Coordinator—Acting, Advanced Shakespeare, JOE J. GARCIA Guest Director—Acting in dozens of plays from modern day to Shakespeare; President Theatre History, Director DAVID DEAN BOTRELL Guest Director—Acting AA, The American Academy of Dramatic Arts; 30+ years’ of LOFT ensemble BA (with honors), Hampshire College; Studied at The Studied Meisner Technique with William Esper; Experienced acting experience for film, television & theatres across the US; Neighborhood Playhouse; Studied with Larry Moss; Member, performer and playwright; TV guest star roles include Boston Recipient of multiple Drama-Logue, Backstage West & Ovation VALORIE HUBBARD Acting Professionally, Audition The Shakespeare Workshop, New York; Professional actor, Legal, and True Blood; Screenwriter for 20th Awards BFA, Goodman School of Drama, DePaul University; Worked director and veteran of seven Broadway shows with numerous Century Fox, Fox Searchlight, MTV Films, Paramount Pictures on Broadway, Off-Broadway and in many regional US theatres; regional theatre appearances; Guest starred in 30+ TV shows and Disney RACHEL GOLDBERG Acting for the Camera Former member of Lab Theatre’s Company in Poland; TV guest and several feature films MFA, Theater, Video & Film Direction, California Institute of the star roles include Glee, True Blood, Lopez Tonight and Kickin’ It, LINDA BRENNAN Voice & Speech Department Chair, Arts; BA, Theater & Psychology (magna cum laude), Phi Beta and multiple feature films BEN MARTIN Acting, Director Student Advisor—Voice & Speech, Dialects, Director Kappa, University of Pennsylvania; Seasoned director and actor MFA, Stage Directing, Carnegie Mellon University; BA, CUNY, PhD, Psychology, Pacifica Graduate Institute; MFA, Acting, for film, television & theatre; Recipient of multiple film festival SUZANNE HUNT Michael Chekhov Acting Technique, Queens College; Studied with Lewis Palter, Charles Werner Brandeis University; MA, Psychology, Antioch University; BA, awards Audition Techniques, Acting Professionally, Theatre History Moore & Edith Skinner; Member of Open Fist Theater Company; Theatre, California State University; AA, The American Academy MFA, Acting/Directing, MFA, Theater Arts, California State Credited with 200+ stage productions, 150 recorded books of Dramatic Arts; Alba Emoting certified; Studied with Rocco MICHELE MARTIN GOSSETT Acting, Director University; BA in Theater/Acting, UCLA; Certified teacher, and several film and TV movies; Served as Dialogue Coach for Dal Vera, Catherine Fitzmaurice, Kristin Linklater and others; Studied with Uta Hagen (HB Studio), Warren Robertson, Wynn Michael Chekhov Acting Technique; Studied at The Actor’s Warner Brothers Extensive coaching credits Handman and Eric Morris; Founding member of four theatre Studio, Meisner Technique with Robert X. Modica; comedy companies including Mojo Ensemble, where she was Artistic & with & Michael Lembeck; Trained in Viewpoints, Suzuki SANDY MARTIN Guest Director—Acting, Scene Study BRIAN DANNER Director of Stage Combat—Acting, Co-Managing Director Method and Fitzmaurice AOS, The American Academy of Dramatic Arts; Scene study with Movement, Stage Combat Uta Hagen; Former President of Edward J. Olmos Productions/ BFA, University of Texas at Austin; Expert in all edged weapons; ROB HAHN Voice & Speech, Dialects, LAURA JAMES Guest Director—Acting ABC; Acting career spans 40 years; Co-founded Hothouse Owner and Head Fight Choreographer of Sword Fights, Inc.; Accent Reduction, Improvisation AOS, The American Academy of Dramatic Arts; Studied Stage Co.; Recurring roles on Big Love and It’s Always Sunny Fight choreography awards include 2011 LA Stage Alliance MFA, California State University; BFA, Acting, Conservatory of at Theatre Wing, Georges Bigot, Le Theatre du Soleil and in Philadelphia and numerous TV and films including Napoleon Ovation Award and 2010 Garland Award for Excellence Theatre Arts, Webster University; Coached and provided dialect Shakespeare & Co.; 35+ years’ experience as actor, teacher Dynamite coaching for hundreds of actors for film and television and 50+ and director; Extensive work on TV in soaps, series and stage; DEBRA DE LISO Acting, Movement, Solo Performance, theatrical productions in 25+ dialects; Writes and performs Directs and teaches at Theatre West and SAG Conservatory SANDRA MASSIE Voice & Speech, Dialects, Director comedy Theatre History, Acting MFA, Acting, UCLA (Fellowship & Best Actress Award); MA, BA, BRENT JENNINGS Guest Director—Acting, Director MA, Theatre & MFA, Acting/Directing, California State University; Theatre, California State University (Best Actress Award); Royal BS, Dramatic Arts & Mass Communications, Emerson College; MA, Antioch University; Drama Therapy, British American Drama National Theatre, London; Theatre artist for 30+ years; Member Graduate, Teacher Development Program, The Actor’s Center, Academy; London Academy of Music & Dramatic Art; Studied of Classical Theatre Lab & Artistic Director of SAIPRO; Hatha NY; Actor in 24+ films and guest star in 65+ TV movies and with Uta Hagen & Tim Phillips; Teacher training in Michael Yoga instructor series; Recipient of Emerson’s Alumni Association’s Achievement Chekhov Technique; Studied Fitzmaurice, Linklater & Rodenburg Award, two Drama-Logue Awards and New England Theatre voice techniques Award for Outstanding Direction THE ACADEMY 45

MICHAEL MATTHYS , Period Styles SCOTT RAMP Make-up, Acting, Director MFA, University of Minnesota; BA, Buffalo State College; BA, University of Oregon; AA, The American Academy of Studied acting with Howard Fine, Playhouse West & Steppenwolf Dramatic Arts; Studied make-up with Dick Smith; Acted in West; Studied voice at Shakespeare & Company and with Adele stage productions from Shakespeare to musical theatre, and as Administration Cabot; Studied Viewpoints with SITI, Anne Bogart & Alexandra actor and make-up artist for dozens of commercials and films; Billings; Professional actor for 20+ years; An artistic coordinator Designed and ran large-scale productions at Universal Studios of Classical Theatre Lab and 20+ years at Six Flags Magic Mountain Susan Zech President John Polsky Chief Financial Officer BA, Communication Management, BS, Accounting, Fairleigh Dickinson University; JAMIE NICHOLS Movement & Dance for the Actor, CARL REGGIARDO Guest Director—Voice & Speech, University of Dayton, Dayton, Ohio Professional Certificates in Software Development Period Dance Theatre History, Audition, One-Person Show, Styles I & II and Financial Planning, New York University; Producer of numerous professional dance companies; Studied BA, Theatre, San Francisco State University; Certificate, CPA, New York State registered CPA with Jaime Rogers, Eugene Loring, Stefan Wenta, Sally Whalen, American Conservatory Theatre (Awarded Scholarship); Recipient William Farmer Managing Director, Los Angeles Campus Elle Johnson and others; Recipient of six Lester Horton Dance of three BackStage West directing awards and seven BackStage BA (magna cum laude) in Speech and Theater, Elizabeth Lawson Director, External Relations, Awards for Outstanding Achievement and Dance Resource acting awards; Background includes acting & directing at Orange Political Science, Georgetown College, Accreditation Liaison Officer Center’s Furthering the Visibility of Dance Award County Shakespeare Festival, plus film & TV guest star roles MA, English, Speech and Theater, Bradley University MPA, Public Affairs and Administration, Baruch College, CUNY; Beta Gamma Sigma; Pi Alpha Alpha; IAN OGILVY Guest Director SCOTT REINIGER Director, Acting for the Camera BA, Political Science and History, University of North Lance Sticksel Director of Marketing Carolina; Marketing, New York University Graduate, Eaton College & Royal Academy of Dramatic Art; BA, Theatre, Rollins College; Advanced training at Circle BA (cum laude) in Film and Television Production, Studied Audition Technique with Denys Blakelock; Appeared Repertory, American Conservatory Theatre, The Actor’s Studio & New York University in 75+ TV lead roles both sides of the Atlantic, and on stage in American Stanislavski Theatre/Sonia Moore; Studied film & TV at Chip Killingsworth Director of Student Recruitment London’s West End; Recipient of TV Times Award, three Los UCLA & AFI; playwriting/screenwriting at Truby’s Writers Studio; MA, Educational Counseling and Guidance & BA, Management and Organizational Communications, Angeles Drama-Logue Awards, Critics’ Circle Guided development of 50 stage works and 20 productions; Steven Hong Director of Admissions, BS, Business Administration, University of Point Loma Nazarene University, San Diego, CA Award and Ovation Award nomination Director credits include 200 TV episodes California, Riverside

FELIX PIRE Solo Performance, Improvisation, ANNETTE ROMANO Guest Director—Acting Acting in Film, Television Puppetry BA, Drama, University of Washington; BFA training, University BFA, Southern Methodist University; Comedy training at of North Carolina School of the Arts; Studied directing with Jon Groundlings Improvisation Comedy Theatre & The Comedy Jory, Leslie Swackhamer & Robin Lynn Smith; acting with Eric Store; Television puppetry training at Jim Henson Company; Morris & Peter Flood; Shakespeare with Tony Pasqualini & Lou Recipient of numerous awards including New York Outer Circle Hetler; Suzuki with Robyn Hunt & Peter Kyle; auditioning with Critic’s Award for Outstanding Solo Performance & National Michael Shurtleff; Founding member of Book-it Theatre Company Board of Trustees Latino Playwriting Award

Michael Gardner Peter C. Allan Chairman Sailesh C. Barchha

Roger S. Berlind* Sam Gores Vice-Chairman Gianluca Cicogna George Cuttingham* Jolyon F. Stern Claudia Faris Vice-Chairman Alan A. Fischer James W. Fuller Susan Zech President Felix Grossman Jane Heffner E. Robert Goodkind Brian Henson Secretary Frank Langella* Robert Redford* Dana K. Pancrazi Treasurer Sam Robards Donald Rosenfeld Robert E. Wankel *Honorary Trustees Chairman Emeritus THE ACADEMY 47

Satisfactory Academic Progress STAFF

Effective July 1, 2011 Federal regulations require schools to monitor student academic progress for financial aid purposes. Section 132 of the Educational Amendments of 1976 states that a student shall be entitled to receive Federal Student Assistance Benefits only if “that student is maintaining satisfactory progress in NEW YORK LOS ANGELES the course of study he is pursuing according to the standards of the institution.” Federal regulations require students to maintain Satisfactory Academic Progress (SAP) in three areas. Students must have a Cumulative Grade Point Average (GPA) of 2.0 at the end of each semester. Students must have ADMISSIONS Assistant to Managing Director / HR Coordinator a minimum 67% pass rate (PACE), including grades of withdrawal (W), incomplete (I), and course failure (F) at the end of each semester. Finally, Barry Zucker, Assistant Director of Admissions Hope Parker students must not exceed the 150% maximum time frame of their published program for financial aid eligibility. It is the student’s responsibility to stay Jon-Michael Hernandez, Auditions & Events Coordinator informed of The Academy’s Satisfactory Academic Progress (SAP) standards and to monitor his/her own progress. Dana Prieto, Admissions Counselor Admissions Jacqueline Canales, Admissions Counselor Grade Point Average (GPA) Costumes Linda Nguyen, Admissions Counselor Students must maintain a cumulative GPA of 2.0 or higher to be eligible to receive assistance. If a student’s GPA falls below the required minimum, a Steven Daniel, Supervisor Alex Negron, Admissions Data Manager one semester warning period will be granted to allow the student the opportunity to meet the Satisfactory Academic Progress standards. Students who Niiamar Felder, Assistant achieve the minimum standards by the end of the warning period may have their financial aid reinstated. If the student fails to bring the GPA up to the Alumni Affairs Development / Alumni Relations minimum standards by the end of the semester, financial aid may be suspended. The calculation of GPA includes all semesters from the beginning date Casey Vandeventer Kathleen Germann, Development and Alumni Coordinator of student enrollment at The Academy. This applies whether or not the student received financial aid. Costumes Finance Pass Rate (PACE) Linda Viala, Controller Randon Pool, Manager Students must show sufficient progress toward completion of their program in a timely manner to continue financial aid eligibility. Financial Aid Peggy Sylla, Assistant recipients must pass a minimum of 67% of the credit hours attempted on their academic transcript. For example, a student who has attempted 33 credit Finance Shenera Peerbacchus, Payroll and Accounts Receivable Manager hours over the course of his/her enrollment must pass at least 22 hours to be considered making satisfactory academic progress (33 x 67% = 22.11). Yohanna Rezkallah, Senior Accountant A student who fails to meet the minimum pass rate at the end of a semester will be granted a one semester warning period to allow the student the Financial Aid Estelle Chau, Assistant Accountant opportunity to meet the Satisfactory Academic Progress standards. Students who achieve the minimum standards by the end of the warning period Roberto Lopez, Director may have their financial aid reinstated. If the student fails to achieve a 67% pass rate by the end of the semester, their financial aid may be suspended. Financial Aid Only grades of A, B, C, D, or P will be considered passed. Course withdrawals (W), incompletes (I), and course failures (F) will be counted as hours Student Housing Kyle Roumillat, Associate Director attempted but not completed. The calculation of PACE includes all semesters from the beginning date of student enrollment at The Academy. Repeated Nicholas Severson, Director courses and credits transferred from another institution will be counted in the total attempted hours. This applies whether or not the student received Facilities / Maintenance financial aid. Operations Gary Rice, Facilities Manager Peter Tufel, Director of Operations Maximum Time Frame Oliver Sullivan, Maintenance Supervisor Production / Technical Financial Aid recipients will have a maximum time frame in which they are to complete their program requirements. Federal regulations state that the Dr. James Perch, Operations Manager Chris Hulen, Manager maximum time cannot exceed 150% of the published length of the educational program. This time frame is measured in credit hours. Jonathan Arias, Maintenance Assistant Alex Ojeda, Assistant Example: The Academy’s Full-Time Conservatory Program Requirements = 69 credit hours; 69 x 150% = 103.5. The student may be eligible to Kateri Garrido, Props Manager Production / Technical receive financial aid until he/she has attempted 103.5 credit hours. If a degree has not been earned in this time frame, financial aid may be suspended resulting in the student completing the degree at his/her own expense. Course withdrawals, incompletes, course failures, repeated courses and credits David Zipperer, Production Director Registrar transferred from another institution will be counted in the attempted hours regardless of whether the student received financial aid. Chris Jones Howard, Technical Director / Resident Set Designer Irma Roa Registrar Financial Aid Warning Gary Glaser A student who fails to make satisfactory academic progress due to the GPA and/or PACE requirements may be placed on Financial Aid Warning for one semester. During the warning period, the student may be eligible to receive financial aid. Academic progress for financial aid purposes will be SECURITY re-evaluated at the end of each semester. Students who achieve the minimum requirements may have their financial aid reinstated. Students who fail Janeica Dudley to attain the minimum SAP requirements by the end of the semester may become ineligible for aid. Once Satisfactory Academic Progress for financial Marlene McIntosh aid purposes has been achieved, financial aid eligibility may be reinstated. Transfer Students: Students who transfer to The Academy from another institution will be considered as making satisfactory academic progress at the time of enrollment. However, all credits transferred from another school will be counted as attempted hours and will be applied toward the maximum time frame.

Appeal Procedure All applicants and financial aid recipients should be aware of their right to appeal their case if they feel that aid has been unjustly refused or suspended or that special circumstances warrant further consideration of their case. A student who has become ineligible for financial aid due to unsatisfactory academic progress has the opportunity to appeal if mitigating circumstances exist. Examples of mitigating circumstances may include, but are not limited to, an extended illness or accident of the student; an extended illness or death of an immediate family member; and undue hardship or extensive personal problems that were beyond the student’s control. The procedure for submitting an appeal is as follows: 1. The student must complete the Satisfactory Academic Appeal Request. The student must explain, in detail, why he/she is requesting the appeal (i.e. What circumstances occurred to prevent the successful completion of previous semesters at The Academy.) This request must be submitted to the Office of Financial Aid and must be accompanied by supporting documentation. An incomplete application WILL NOT be considered. 2. The student will be notified by mail of the decision regarding the approval or denial of the appeal. 3. The student is responsible for all semester tuition expenses while the Satisfactory Academic Appeal Request is being reviewed.

If you do not understand any of the above policies and/or procedures, it is your responsibility to ask for clarification from the Financial Aid Director. CECIL B. DEMILLE • WILLIAM DEMILLE • MARION LORNE • HOWARD LINDSAY • DALE CARNEGIE

• WILLIAM POWELL • EDWARD G. ROBINSON • JOSEPH SCHILDKRAUT • PHILLIP LOEB •

WALTER ABEL • THELMA RITTER • STERLING HOLLOWAY • SPENCER TRACY • SAMM LEVINE Apply Online At aada.edu • FRANCES FULLER • AGNES MOOREHEAD • ROSALIND RUSSELL • GARSON KANIN • JIM BACKUS •

The Academy encourages applicants to apply online at aada.edu. Once you apply, you will have a personal application account HUME CRONYN • PAT O’BRIEN • RICK POLIZZI • BETTY FIELD • MARC DANIELS • EZRA STONE • customized just for you. When you log in, you’ll find useful tools and information designed to ensure that your entire admissions process runs smoothly and efficiently. Your account page is also where you will schedule your audition once an official transcript has been LEE BOWMAN • ROBERT WALKER • JENNIFER JONES • DIANA DILL DOUGLAS • KIRK DOUGLAS received. In addition to our online application, there is a mail-in (paper) application available in the back pocket of this catalog or for download at The Academy’s website. • TERESE HAYDEN • LAUREN BACALL • NINA FOCH • JASON ROBARDS • COLLEEN DEWHURST • Enrollment Checklist DON RICKLES • CHARLES DURNING • DON MURRAY • NICHOLAS COLASANTO • JOHN KARLEN • The Following items are needed to complete your application: Completed application GARY TOMLIN • CONRAD BAIN • TOM POSTON • GRACE KELLY • RUTH GORDON • JOE REGALBUTO $50 application fee 1 letter of dramatic reference 1 letter of personal reference • MARY JO SLATER • ANNE BANCROFT • JOHN CASSAVETES • GENA ROWLANDS • RENEE TAYLOR High school transcript College transcript(s) (if applicable) • FLORENCE HENDERSON • ELIZABETH MONTGOMERY • EILEEN BRENNAN • WILLIAM BLINN • Audition (can be scheduled after submission of official transcript)

If not completing the application online, mail your application and application fee to the Admissions Department at the ROBERT REDFORD • DEBORAH WALLEY • M. EMMET WALSH • WILLIAM DEVANE • JUDD HIRSCH campus you wish to attend. • GARY SANDY • ELIZABETH FRANZ • DANNY DEVITO • CLEAVON LITTLE • MICHAEL BRANDON NEW YORK CAMPUS LOS ANGELES CAMPUS The American Academy of Dramatic Arts The American Academy of Dramatic Arts Admissions Department Admissions Department • ANITA MORRIS • CAROLINE LAGERFELT • ARMAND ASSANTE • BRAD DAVIS • KATE JACKSON • 120 Madison Avenue 1336 N. La Brea Avenue New York, NY 10016 Los Angeles, CA 90028 JULIA DUFFY • GRAHAM BECKEL • PETER WELLER • MELANIE MAYRON • KIM CATTRALL • LUCILLE

Audition Checklist WATSON • DORY PREVIN • CHRISTINE EBERSOLE • RON HALE • PETER BERGMAN • LORETTA SWIT •

Schedule and confirm audition after you submit your official transcript DONNA PESCOW • DIANA SCARWID • MICHAEL COUNTRYMAN • BETH BRODERICK • ERIC ROBERTS Prepare 2 memorized monologues from published plays that do not exceed a total of 5 minutes (be certain to read the entire play) • 1 monologue must be from a comedy ACTING FOR STAGE, FILM & TELEVISION • 1 monologue must be from a drama • DENNIS HAYSBERT • LINWOOD BOOMER • KIM BROCKINGTON • NICK CASSAVETES • DOUGLAS Bring 2 passport-size photographs to your audition (2” x 2”) CARTER BEANE • JENNIFER GRANHOLM • ANNABELLE SCIORRA • WILLIAM FICHTNER • DEBORRA-

OUR MISSION STATEMENT The American Academy of Dramatic Arts is an equal opportunity institution. Decisions made by The Academy concerning admission, enrollment status, financial aid, employment and every LEE FURNESS • BRUCE GREENWOOD • JENNIFER COOLIDGE • ILLEANA DOUGLAS • EILIAS KOTEAS aspect of the individual’s relationship with The Academy are based on talent and qualifications without regard to race, religion, gender, age, sexual orientation, nationality or ethnic origin, Founded in 1884, The American Academy of Dramatic Arts Our training program is unique, based upon the long disability and/or other categories. • ENRICO COLANTONIis the first conservatory • JOHANNA for actors inDAY the English-speaking • JAMES LUISI tradition • JOANNA of The Academy GOING and • embracing TIMOTHY modern D. methodsSTICKNEY The American Academy of Dramatic Arts is an accredited institution of Middle States Commission on Higher Education (MSCHE) and the National Association of Schools of Theatre (NAST). world. Since then, its purpose has remained constant: to that promote discipline and self-discovery, along with The Academy is a non-profit educational institution incorporated by the States of New York. provide students with the tools needed to make acting the development of technique. Our faculty consists of The Academy is in compliance with the requirements of New York Education Laws with regards to: • FRENCH STEWARTtheir profession. • CURRIE GRAHAM • DAVID EIGENBERGworking professionals • JONATHAN and master teachers.DOKUCHITZ They lead • KEITH 1. An advisory committee on campus security appointed by the president students to deeply felt, psychologically true and physically 2. Sexual assault prevention We select our students from varied backgrounds and from realized performances. To support this process, students 3. Campus crime prevention RANDOLPH SMITH • MAX CASSELLA • LONNIE QUINN • GIL BELLOWS • MISTY COTTON • MISSY 4. Violent felony investigation all around the globe. Diversity, which gives our students receive constant feedback from faculty who consult 5. Bias-related (hate) crime prevention collaboratively on their progress. YAGER • JEREMYexposure DAVIES to many cultures,• SUSAN enriches HASKELL the depth of• LEISHAthe HAILEY • LISA BRESCIA • PAUL RUDD • SALLY Detailed copies of The Academy’s policy and procedures, with respect to the above, may be obtained from the Office of the President in New York. actor’s work. Selectivity, which continues throughout our program, yields a pool of students who nourish each The goal of The Academy is to prepare students for This catalog represents the most accurate information for The American Academy of Dramatic Arts available at the time of its printing. The nature of some of the material makes it subject to change. Please consult our website, aada.edu, for the latest information. Inquiries may be directed to the Admissions Office. KIRKLAND • other’sFRANK growth. MORGAN • ADAM SCOTT • CLAIREacting TREVOR careers in • theatre, TROY television GARITY and film.• ERIC Our purpose SZMANDA is to provide a practical, post-secondary education that © 2013 / 2014 The American Academy of Dramatic Arts emphasizes the skills needed by an actor in today’s • ZULEIKHA ROBINSON • DAVID SNELGROVE • KATHERINE MOENNING • DAVID HUDDLESTON competitive environment.

• KELLY OVERTON • NELSON LEE • MICHAEL MOSLEY • JAY WILKISON • JOHANNES BRUN NEW YORK CAMPUS The American Academy of Dramatic Arts 120 Madison Avenue New York, NY 10016 800.463.8990

LOS ANGELES CAMPUS The American Academy of Dramatic Arts 1336 N. La Brea Avenue Los Angeles, CA 90028 800.222.2867

aada.edu

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