THE THEATRE LAB

INN COURSE CATALOG W ER MAYOR’S WINTER/SPRING 2018 ARTS AWARD INNOVATION

IN THE ARTS

TRANSFORMING LIVES THROUGH THEATRE EDUCATION COURSE SCHEDULE WINTER/SPRING 2018

Non-Member/Member Anyone Can Act Jan 6 or Feb 24 (one-day class) 1:30 – 3:30pm TBA $50/$50 WINTER Auditioning Tuesdays, Jan 9 – Feb 13 7 – 10pm Michael Russotto $340/$306 JAN–FEB Beginning Scene Study Mondays, Jan 8 – Feb 12 7 – 10pm Jose Carrasquillo $340/$306 Comedy Mondays, Jan 8 – Feb 12 7 – 10pm Michael Russotto $340/$306 Creating a Musical Role: If/Then Tuesdays, Thursdays, and Saturdays, T 7–10pm; Deb Gottesman and $660/$594 Jan 16 – Apr 28 Th 7–10:30pm; Buzz Mauro Tech: W Apr 18, 6–11pm Sat 10am–1pm Brush-up: W Apr 25, 7–10pm Performances: Apr 19, 20, 21, 26, 27, 28 No class Mar 31 (Easter) Improv for Teens Saturdays, Jan 13 – Feb 17 10am – 12pm Terah Herman-Saldaña $290/$261 Intro to Acting Wednesdays, Jan 10 – Feb 14 7 – 9:30pm George Grant $310/$279 Intro to Acting Saturdays, Jan 13 – Feb 17 10am – 12:30pm Dorothy Neumann $310/$279 Intro to Acting for the Camera Tuesdays, Jan 9 – Feb 13 7 – 10pm John Judy $340/$306 Intro to Theatre Tech Wednesdays, Jan 10 – Feb 14 7 – 9:30pm Angelo Merenda $200/$200 but tuition refunded in full on completion of practicum Michael Chekhov Technique Tuesdays, Jan 9 – Feb 13 7 – 9:30pm Joe Martin $310/$279 Playwriting II Wednesdays, Jan 10 – Feb 14 7 – 9:30pm Elizabeth Pringle $310/$279 Singing for Actors Mondays, Jan 8 – Feb 12 7 – 10pm Tracy Lynn Olivera $340/$306 Stanislavski Method Wednesdays, Jan 10 – Feb 14 7 – 9:30pm Buzz Mauro $310/$279 Voiceovers Saturdays, Jan 13 – Feb 17 10am – 1pm Craig Klein $340/$306

Non-Member/Member

Anyone Can Act Mar 24 or Apr 14 (one-day class) 1:30 – 3:30pm TBA $50/$50 EARLY Auditioning Saturdays, Mar 3 – Apr 14 1:30 – 4:30pm George Grant $340/$306 SPRING No class Mar 31 (Easter) MAR–APR Beginning Scene Study Saturdays, Mar 3 – Apr 14 10am – 1pm George Grant $340/$306 No class Mar 31 (Easter) Creating a Role: The Skin of Our Teeth Tuesdays, Thursdays & Saturdays, T & Th 7–10pm; Randy Baker and $610/$549 Mar 22 – Jun 16 Sat 1:30–4:30pm Tonya Beckman Tech: Sat Jun 9, 10am–4pm; T Jun 12, 6–10pm; W Jun 13, 6–10pm Evening performances: Jun 14, 15, 16 Matinee: Jun 16 No class Mar 31 (Easter) Drama Workshop Wednesdays, Feb 28 – Apr 4 7 – 10pm George Grant $340/$306 Getting Started in TV and Film Tuesdays, Feb 27 – Apr 3 7 – 9:30pm Brenna McDonough $310/$279 Intro to Acting Saturdays, Mar 3 – Apr 14 10am – 12:30pm Dorothy Neumann $310/$279 No class Mar 31 (Easter) Intro to Acting for the Camera Thursdays, Mar 1 – Apr 5 7 – 10pm John Judy $340/$306 Musical Theatre Workshop Mondays, Feb 26 – Apr 9 7 – 10pm Tracy Lynn Olivera $340/$306 No class Mar 12 Non-Member/Member EARLY SPRING On-Camera Acting for Kids Saturdays, Mar 3 – Apr 14 10 – 11:30am John Judy $260/$234 MAR–APR (CONTINUED) No class Mar 31 (Easter) On-Camera Acting for Teens Saturdays, Mar 3 – Apr 14 12 – 2pm John Judy $290/$261 No class Mar 31 (Easter) Playwriting from the Gut Tuesdays, Feb 27 – Apr 3 7 – 9:30pm Renee Calarco $310/$279 Scene Study for Teens Saturdays, Mar 3 – Apr 14 2 – 4pm Terah Herman-Saldaña $290/$261 No class Mar 31 (Easter) Script Analysis for Scene Work Saturdays, Mar 3 – Apr 14 1:30 – 4pm Joe Martin $310/$279 No class Mar 31 (Easter)

Acting in Commercials and Industrials Tuesdays, Apr 17 – May 22 7 – 10pm John Judy $340/$306 LATE SPRING Actions and Objectives Mondays, Apr 16 – May 21 7 – 10pm Michael Russotto $340/$306 APR–MAY Anyone Can Act May 12 or Jun 2 (one-day class) 1:30 – 3:30pm TBA $50/$50 Auditioning Tuesdays, Apr 17 – May 22 7 – 10pm George Grant $340/$306 Auditioning for Musical Theatre Tuesdays, Apr 17 – May 22 7 – 10pm Kate Fisher $340/$306 Beginning Scene Study Wednesdays, Apr 18 – May 23 7 – 10pm George Grant $340/$306 Creating a One-Person Show Mondays, Apr 16 – May 21 7 – 10pm Elizabeth Pringle $340/$306 Intro to Acting Saturdays, Apr 21 – Jun 2 10am – 12:30pm George Grant $310/$279 No class May 26 (Memorial Day) Intro to Acting Saturdays, Apr 21 – Jun 2 1:30 – 4:00pm George Grant $310/$279 No class May 26 (Memorial Day) Public Speaking the Actor’s Way Wednesdays, May 9 – May 30 12 – 2pm Buzz Mauro $260/$234 (4 weeks) Scenes in Performance Thursdays, Apr 19 – May 24 7 – 10pm Jose Carrasquillo $340/$306 Street Theatre Mondays, Apr 16 – May 21 7 – 10pm Quique Aviles $340/$306 Voice and Speech Saturdays, Apr 21 – Jun 2 10am – 12pm Tonya Beckman $290/$261 No class May 26 (Memorial Day) Voiceovers Saturdays, Apr 21 – Jun 2 10am – 1pm Craig Klein $340/$306 No class May 26 (Memorial Day)

REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449 FROM THE THEATRE LAB DIRECTORS ClintonBPhotography

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

We’re inclusive, not exclusive. We believe in building Some students use their training to develop the real-life up, not tearing down. We believe in lofty goals, but not benefits of theatre training — improved public speaking standards that are impossible to reach. We believe the arts skills, increased self-confidence, heightened imagination, are vital to a thriving society, and shouldn’t be available and the chance to connect with others who want to have only to a privileged few. And we believe way more in heart, fun doing something creative. Because we believe that drive, openness, and hard work than in anything as vague the challenges and rewards of that training should be and questionable as “talent.” Whether you’re a seasoned accessible to everyone, and not only those who can afford professional or an absolute beginner, if you want to develop to pay, this year we will continue to expand our award- your theatrical craft, we want to help. winning scholarship and outreach programs that serve financially disadvantaged youth and adults, incarcerated Since founding the organization in June 1992, we’ve and at-risk youth, homeless women, wounded veterans, focused on bringing the artistic and real-life benefits of and other groups for whom the arts are often out of reach. high-quality theatre training to as many people as we can For an exciting, in-depth, and entertaining look at the reach. Small classes and individualized attention from the transformational impact of one of our programs, see the area’s most accomplished and dedicated theatre artists feature documentary How I Got Over, available on Amazon. have always been hallmarks of Theatre Lab training. With an enrollment of more than 2,300 students each year, Some students who train here go on to professional acting classes in acting, directing, film and TV, musical theatre, careers, and we are proud that our graduates appear and even theatre history and criticism, as well as terrific frequently at Arena Stage, The Shakespeare Theatre, shows to see and volunteer opportunities galore, we’d like Ford’s Theatre, Theater J, and many more of DC’s best to believe there’s something for everyone at The Theatre professional venues. Lab. We hope to see you around our halls soon. Please feel free to call if you have questions!

DEB GOTTESMAN AND BUZZ MAURO FOUNDERS AND DIRECTORS

2 TABLE OF CONTENTS

CHOOSING THE CLASS THAT’S RIGHT FOR YOU

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THE HONORS ACTING CONSERVATORY

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FACULTY

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COURSES

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“DON’T MISS THIS COURSE BUNDLES OPPORTUNITY TO PAGE 10 LEARN, HAVE FUN AND BOND WITH SOME MENTORSHIP PAGE 18 REALLY NICE PEOPLE.”

— RECENT STUDENT EVALUATION YOUTH PROGRAMS

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SERVING OUR COMMUNITY

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POLICIES/REFERRALS

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MEMBERSHIP

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3 CHOOSING THE CLASS THAT’S RIGHT FOR YOU

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

WHAT CLASS SHOULD YOU TAKE?

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

Anyone Can Act Intro to Acting INTRODUCTORY INTRODUCTORY INTRODUCTORY Comedy Intro to Acting Drama Workshop Intro to Acting Intro to Acting Intro to Acting Playwriting from the Gut Drama Workshop Beginning Scene Study Drama Workshop Drama Workshop Drama Workshop Playwriting II Beginning Scene Study Voice and Speech Beginning Scene Study Beginning Scene Study Beginning Scene Study Voice and Speech Improv for Teens Public Speaking the Improv for Teens On-Camera Acting for Public Speaking Actor’s Way NEXT STEPS the Actor’s Way Scene Study for Teens Scene Study for Teens Kids or Teens Singing for Actors On-Camera Acting for Creating a One-Person Kids and Teens NEXT STEPS Musical Theatre NEXT STEPS Show Comedy Workshop Getting Started Street Theatre in TV and Film Voice and Speech Auditioning for Musical Intro to Theatre Tech Theatre Intro to Acting for Michael Chekhov the Camera Technique Creating a Musical Role: If/Then Script Analysis for Singing for Actors Scene Work Script Analysis Acting in Commercials for Scene Work and Industrials The Stanislavski Method Voiceovers Actions and Objectives Auditioning Scenes in Performance Creating a Role: The Skin of Our Teeth Creating a One-Person Show The Honors Conservatory

4 THE HONORS ACTING CONSERVATORY

“THE HONORS ACTING CONSERVATORY TRANSFORMED ME FROM A SCARED DREAMER INTO AN ACTIVE PRIMARY ARTIST, WITH THE ACTUAL SKILLS NECESSARY TO GET WORK.”

— A RECENT HONORS GRADUATE

ISN’T IT TIME YOU TOOK CHARGE • A year to focus intensively on your acting, without quitting your day job — yet OF YOUR ACTING CAREER? • A truly comprehensive course of study, including theatre history THE HONORS ACTING CONSERVATORY AT THE THEATRE LAB is a structured professional training program for those serious about entering the acting profession. • Advanced training in process Each year ten students pursue a comprehensive curriculum with Washington’s best and technique acting teachers, under the supervision of Theatre Lab Directors Deb Gottesman and • Fellow students as dedicated as you are Buzz Mauro and popular instructor Kim Schraf. All Honors students meet as a group • Extensive access to The Theatre Lab’s every Monday night for a full year of scene study and improvisation, exploring a wide acclaimed faculty and curriculum variety of theatrical styles important for professional work. Students take additional Theatre Lab classes throughout the year to build specific skills outside the focus of the • Special workshops with top professionals from Washington and beyond core Monday night work. All classes and rehearsals take place on weekday evenings and during the day on weekends. Students are continually advised and evaluated on their • Personal and professional guidance throughout the year progress, and the program culminates in public performances of small-cast plays and a showcase for an invited audience of top area artistic and casting directors. • Regular progress evaluations • A wide variety of performance Approximately 85% of Honors Conservatory alumni have performed professionally opportunities since graduation, many in prestigious venues such as The Shakespeare Theatre, Olney Theatre Center, Ford’s Theatre, Arena Stage and Theater J. • A final showcase for the area’s most influential directors and casting directors Admission is by application and audition. Applications for calendar year 2019 are due in October 2018. For complete information, visit www.theatrelab.org 5 OUR DISTINGUISHED FACULTY

productions of The Burning University; studied with Uta Road (Arena Stage), Monastery Hagen and Herbert Bergof; (Theater J), Rashomon (American trained in Viewpoints, Laban, University and Spooky Action Linklater and Meisner; and Theatre), Circus of Fallen acted professionally. Her Angels (NCDA and American teaching and directing awards University) and wild42hold include the F. Loren Winship (George Washington University). Secondary Teacher Award Deb Gottesman Buzz Mauro from the American Alliance Honors Acting Honors Acting for Theatre and Education Creating a Musical Role The Stanislavski Method for long-term outstanding Deb Gottesman is a founder and Co- Creating a Musical Role contribution to the mission of Director of The Theatre Lab. She is also Public Speaking the Actor’s Way secondary school theatre; two a professional actress who has performed Buzz Mauro is a founder and Co-Director Outstanding Theatre Program frequently at Woolly Mammoth Theatre as of The Theatre Lab and a Helen Hayes Awards from the Educational well as at Arena Stage, Signature Theatre, Award nominee who has performed with Tonya Beckman Theatre Association; two Keegan Theatre, Theater Alliance, and with Signature Theatre, Ford’s, Studio, The Creating a Role Elizabeth Campbell Awards the Washington Shakespeare Company, Shakespeare Theatre, Woolly Mammoth, Voice and Speech for Excellence in the Arts; among many others. She has directed more and many other companies. He received Tonya Beckman has appeared as representing Virginia at South than twenty productions at The Theatre his B.A. from Yale University and has an an actor at Shakespeare Theatre Eastern Theatre Conference; Lab, including Ragtime, Les Misérables, West M.F.A. in Acting from Catholic University. Company, Ford’s Theatre, Folger twenty-three Virginia Governor Side Story, The Laramie Project, and My Soul In 2003 he received the Linowes Leadership Theatre, Round House Theatre, School Presidential Citations Look Back and Wonder (which premiered Award for his contributions to arts Arena Stage, Studio Theatre, for Outstanding Educator and at Kennedy Center’s Terrace Theater education in Washington. Along with Deb Theater J, Taffety Punk, Olney four Arts Teacher Recognition and is now the subject of a feature length Gottesman he is the founder of Center Theatre, Forum Theatre, and Awards from the Educational documentary by Academy Award-nominated Stage Communications, a unique consulting the Kennedy Center. Regional Theatre Association and Producer and Director Nicole Boxer), as firm specializing in the application of acting credits include Cleveland Play National Foundation for well as productions for Catholic University’s techniques to the business world. Together House, Cincinnati Playhouse in Advancement of the Arts. She Musical Theatre Department and National they are the authors of three books on the Park, Center Stage, Fulton is also an Executive Coach with Geographic. Deb received her M.F.A. from applied acting: The Interview Rehearsal Book, Theatre, Purple Rose Theatre Ola Consulting specializing in Catholic University and has taught drama Taking Center Stage, and The Best Answer, all Company, Human Race Theatre leadership presence. at the Round House Theatre, Woolly published by Berkley Books, a division of Co, Totem Pole Playhouse, Mammoth and American University. She is Penguin Putnam. and Door Shakespeare, among a 2003 recipient of the prestigious Linowes others. She has taught at Leadership Award for her contributions American University, George to arts education. Along with Buzz Mauro, Washington University, she has co-authored three books on applied Shepherd University, Baldwin- acting, all published by Penguin Putnam. Wallace College, Duke Ellington School for the Arts, The Theatre Renee Calarco Lab, The Actors’ Center, Playwriting from the Gut and as a teaching artist for a Renee Calarco is a playwright variety of theatre companies. and teacher. Her plays Local dialect coaching credits include Our National Museum of include productions for Woolly the Unforeseen Tragedy, G-d’s have been featured on NPR, Rorschach include Very Still Mammoth Theatre Company, Honest Truth, The Religion local public radio, and in (Five Helen and Hard to See Round House Theatre, Theater Thing (2013 nominee for the several anthologies. He has Nominations including Best J, Lean and Hungry Theatre, Charles MacArthur Award for written and performed 11 one- Director), The Electric Baby, She Longacre Lea, The Theatre Lab, Outstanding New Play), Short man shows dealing with issues Kills Monsters, The Minotaur and Constellation Theatre. She Order Stories (2007 recipient of race and identity. In addition and After the Quake. Recent is a company member at Taffety of the Charles MacArthur Quique Aviles to his solo work, Quique was shows he has directed outside Street Theatre Punk Theatre Company. Award), The Mating of a founder and is the current of Rorschach include the Quique Aviles, originally from Angela Weiss,Bleed, First Stop: director of Paso Nuevo, GALA seven-room living installation El Salvador, has been writing, Niagara Falls, The 12 Days of Hispanic Theatre’s award- piece, Hello, My Name Is… at performing, and leading Christmas, and others. Her plays winning youth theatre program. The Welders, a shadow puppet community arts projects for have been produced, developed, gamelan-inspired A Midsummer more than 35 years. After and commissioned by The Night’s Dream at WSC Avant graduating from the Duke Welders, Theater J, Charter Bard, Big Love at Catholic Ellington School of the Arts Theater, Geva Theatre, Project University, Anon/ymous at in 1985, he co-founded the Carol Cadby Y, Adventure Theatre, Pinky Georgetown University and his LatiNegro Theater Collective, Honors Movement Swear Productions, Doorway own adaptation of Rashomon which brought its socially Carol Cadby, a 30+ year Arts Ensemble, The Jewish Plays at American University. conscious theatre to schools, theatre educator, teaches at Project, and the Source Theatre Randy Baker Recent playwriting projects jails, and community centers. George Mason University, Festival. Renee teaches both Creating a Role include the world premieres of In 1999 he co-founded Sol Signature Theatre, Synetic playwriting and comedy improv Randy Baker is a playwright, Forgotten Kingdoms and Truth & Soul, an arts and activist Theatre and Arlington Public at The Theatre Lab. She’s director and co-Artistic Director & Beauty Bombs: A Softer World organization, where he directed Schools. She earned her B.A. a founding member of The of Rorschach Theatre. Recent at Rorschach Theatre and a summer street theater project. from Grinnell College and Welders and a proud member shows he has directed with workshops and educational His poetry and commentary M.A.I.S. from George Mason of The Dramatists Guild.

6 Discovery, OWN and National Mosher. Locally he has as well as in Los Angeles He is a four-time recipient Geographic Channel. Vince appeared at The Shakespeare and Chicago. His more of Fulbrights in Theatre teaches theatre classes Theatre Company (with notable credits include House for his international work, at various venues throughout Patrick Stewart), Washington of Cards, Homicide: Life on and a two-time recipient the Metro region. Shakespeare Company, Catalyst the Street and writing and of Rockefeller Foundation Theater Company, and many performing in over 150 original grants for original theatrical José Carrasquillo others. His recent forays into sketch shows at the IO West creations. His credits include Beginning Scene Study directing include the wildly Theatre in Hollywood. In DC major works by Strindberg, Scenes in Performance successful Am I Black Enough John has taught at Imagination Tennessee Williams, his own José Carrasquillo is a stage Yet?, originally mounted in Stage (formerly BAPA), the stage adaptation of Rumi’s director with over two decades 2008 and remounted in 2009, Rockville Jewish Community MATHNAVI, Buchner, Dario of experience directing theatre for Charter Theatre Company, Center and the Smithsonian Fo, Shakespeare, Brecht, Sam across the United States. Most Kate Fisher Bulletins from Fatland for Associates Summer Program. Shepard, Chekhov, Ibsen, recently he directed El Auditioning for Musical Theatre Horizons Theatre Company, John’s most recent projects among many others, including Paso Blue at Gala Hispanic Kate Fisher is a singing actress his own adaptation of Antigone include HBO’s Veep, National his own original works. He has Theatre and The Body of an whose career spans Broadway, for Actor’s Repertory Theatre Geographic Channel’s Killing been a regular instructor in American at Theater J. Other National Tours, symphony at The National Conservatory Kennedy, Lovely Molly, a Viewpoints at the El Haddawi recent credits include La orchestras, commercials, of Dramatic Arts, where he is supernatural thriller from the Winter School for performance Señorita de Tacna, Anna in voiceovers, and teaching master a Senior Faculty Member, and creators of The Blair Witch near Munich, and at summer the Tropics, After the Fall and classes. Kate has been seen as Leader of the Pack for Totem Pole Project, and the on-going role of institutes at American Samuel Beckett’s Happy Cosette in Les Misérables both Playhouse in Fayetteville, PA. the Detective in Murder Mystery University and Catholic Days. Locally he has directed on Broadway and with its USA’s touring company. University in Washington at The Kennedy Center, The national tour. She originated DC. He is the author of Clarice Smith Performing Arts the role of Jo March in the First several dozen original plays, Center, Arena Stage, Olney National Tour of the musical adaptations and translations. Theatre, WSC-Avant Bard, Little Women. Favorite roles Since 2009 he has been part Round House Theatre, Studio include Anna Leonowens, The of the faculty team building Theatre, Signature Theatre, King and I (North Shore Music the Theatre Arts and Studies Woolly Mammoth, Freedom Theatre—IRNE nomination); Terah Herman-Saldaña Program at Johns Hopkins Stage, Le Neon, Teatro de Abigail Adams, 1776 (Ford’s); Improv for Teens Craig Klein University, where he is a full- la Luna and the In-Series. Eliza Doolittle, My Fair Lady Scene Study for Teens Voiceovers time lecturer. Over the years, José has (Arizona Theatre Co.—AriZoni Before joining the staff of The Craig Klein is a multiple served in both artistic and/or nomination); Marian Paroo, Theatre Lab as program and award-winning voice actor administrative capacities at a The Music Man (Kansas City development manager, Terah with credits including Toyota, number of theatres and not-for- Starlight); Maria Von Trapp, was the Education Associate GEICO, ABC’s Jimmy Kimmel profit organizations including The Sound of Music (North and Summer Camp Director Live!, Walmart, Verizon, CBS, The Cultural Alliance of Carolina Theatre Co.); Emma at Cincinnati Playhouse in Go Daddy, Maryland Lottery, Greater Washington, Freedom Carew, Jekyll and Hyde (Arvada the Park. Previously she has Colorado Lottery, The Stage, The Group Theatre in Center—Ovation nomination) taught at Imagination Stage, Weather Channel, Animal Brenna McDonough Seattle, and Arena Stage. As and Bathsheba Everdene, West Chester Academy of Planet, Discovery, Investigation Getting Started in TV and Film an educator, he has taught/ Far From the Madding Crowd Music, Cincinnati Playhouse Discovery, Turner Sports, Brenna McDonough is a lectured or directed at The (NYMF). She has been a soloist in the Park, The University Smithsonian Channel, Golf full-time professional actor Theater Lab, Juilliard, UMD with the Baltimore Symphony of Kentucky, Explorium of Channel, Food Network, and author. Her work includes College Park, Catholic Orchestra, The Kennedy Lexington and The Center of Cartoon Network, Encore, The commercials, corporate videos, University, UW (Seattle, Center, Lincoln Center, Science and Industry. She is NFL, Penguin Audio, WETA- indie, feature films and voice Washington), Cornish College Ravinia, Birdland, & Joe’s the recipient of the National TV and Fox5DC. He has also over work. She founded her own for the Arts, and the National Pub. Kate has done numerous Theatre Conference Emerging been seen on Washington studio, On-Camera Training, Conservatory of Dramatic Arts. national commercials & Artist Award. She holds a area stages including The in 1995 in Silver Spring, MD. For the 2017-18 season Jose leading voice work in animated bachelor’s degree in Theatre Shakespeare Theatre Brenna began her career in her will be directing Sotto Voce at film. She is a Northwestern Performance and Religious Company, Constellation hometown of Chicago where Theater J and Don Juan Tenorio University graduate. Studies from Capital University Theatre, and Metro Stage, she was a student of Paul Sills at at GALA. and a master’s degree in and has performed in Second City. She then studied Theatre Arts from The Theatre Lab productions and worked in New York and University of Kentucky. of Ragtime and Ghetto. Los Angeles before settling in the Washington, DC area. She has taught her on-camera acting class at New York University and the University of Maryland George Grant as well as Shakespeare Theatre. Vince Eisenson Intro to Acting She and her actor husband are Anyone Can Act Drama Workshop the co-authors of You Can Work Vince Eisenson has performed Beginning Scene Study John Judy Joe Martin On-Camera. This book is used in with Synetic Theatre, Auditioning On-Camera Acting for Kids and Teens Script Analysis for Scene Work several universities and schools. Shakespeare Theatre Company, George Grant made his Intro to Acting for the Camera Michael Chekhov Technique She is a proud member of SAG/ Chesapeake Shakespeare professional theatre debut Acting in Commercials and Industrials Joe Martin has directed over AFTRA and the Actors’ Center. Company, WSC Avant Bard, in 1979 at The Goodman John Judy is a DC area 50 professional productions, and PlayMakers Rep. TV Theatre in An Enemy of the actor-writer-director who has as well as student productions credits include several shows on People directed by Gregory performed on stages here at universities in the DC area. MORE FACULTY >> 7 OUR DISTINGUISHED FACULTY CONTINUED

staff at Clear Space Theatre MetroStage, Source Theatre, Company, Theatre J, Cincinnati Company in Rehoboth where The Washington Shakespeare Playhouse, The Hub, Olney she has directed Cabaret, Shirley Company, Studio Theatre, The Theatre, Theatre Alliance, Gala Valentine, La Cage Aux Folles, Theatre Lab, and The National Theatre, Constellation Theatre, On Golden Pond and Love, Academy of Dramatic Arts. He The Welders Playwrights Loss and What I Wore. Her is an Associate Artist at Olney Collective, Consuming The Angelo Merenda next project is The Vagina Elizabeth Pringle Theatre Center, and a member Arts Theatre Project, Spooky Intro to Theatre Tech Playwriting II Monologues in June at Clear of the Woolly Mammoth Action, The Inkwell, and Angelo Merenda, The Theatre Creating a One-Person Show Space and at the Schwartz and Theatre Company. In addition, The Kennedy Center for the Lab’s IT/Technical Director Elizabeth Pringle is a Milton Theatres in Delaware. Michael is a narrator of recorded Performing Arts. Carlos is a has worked freelance as an playwright, director, actor, Dot recently published a book books for the Library of certified Associate Teacher of audio technician, lighting and arts & media producer/ of poetry,Truth Serum. Congress. Fitzmaurice Voicework. He has director, and production educator. She has written and also trained in the Alexander manager for over 15 years directed plays, musicals, opera Technique, Feldenkrais on the East Coast. New York and zarzuela adaptations, Method, Stanislavski Method, credits include Manhattan operettas, articles, poems, and studied with master School of Music, Webster websites, grants, a film and teachers including Catherine Hall Quarterly Arts Soiree more. She loves working with Fitzmaurice, Kristen Linklater, and the Moving Beauty Dance language and image to discover Arthur Lessac, and Patsy Series. In the DC area, he has meaning and hopefully make Tracy Lynn Olivera Amal Saade Rodenberg. Carlos earned worked productions at The art. She has taught emerging Singing for Actors Anyone Can Act his Master of Fine Arts in Studio Theater, Shakespeare playwrights and actors in DC Musical Theatre Workshop Amal Saade has been teaching Performance from California Theatre, and Constellation (Theatre Lab, Kennedy Center, A classically trained on the Theatre Lab youth State University Fullerton and Theatre, while currently serving Duke Ellington School of the singer, Tracy Olivera has faculty since 2007, and the his Bachelor of Arts in Theatre as Production Manager for Arts, Young Playwrights) and appeared in many musicals Life Stories faculty since 2010. from the University of Texas Rainbow Theatre Project. beyond. Elizabeth is also the and plays, including the She is currently on the theatre El Paso. Prior to joining The Theatre Broadway run of Ragtime. creator/director of The Shortie faculty at the Lab School of Lab, he managed local crews At Signature Theatre she Awards: International Film and Washington, and has also taught for touring rock and roll has been seen in Company, News Festival, celebrating and at ArtStream, Inc., Imagination and Broadway shows for the Gypsy, Les Misérables (Helen promoting youth-made media. Stage, and Jamestown Modlin Center for the Arts in Hayes nomination), ACE, Elementary School. She is a Richmond, VA. Merrily We Roll Along (Helen graduate of The Theatre Lab’s Hayes nomination), Follies, Honors Acting Conservatory, and Sweeney Todd. She has also and has performed at theatres Kim Schraf performed at the Kennedy including Theater J, Olney Honors Acting Center in Sunday in the Park Theatre, 1st Stage, Rorschach Kim Schraf has performed at with George, Passion, Merrily Theatre, Taffety Punk, Young Arena Stage, The Kennedy We Roll Along, and Ragtime; at Michael Russotto Playwright’s Theatre, and The Center, Studio Theatre, Ford’s, Actions and Objectives Ford’s in Hello Dolly and Liberty Source Theatre Festival. She Round House, Signature, Auditioning Dorothy Neumann Smith; at Studio Theatre holds a Masters in Theatre Woolly Mammoth, Everyman, Anyone Can Act Comedy in Bachelorette; at Olney Education from Catholic Theater J, The Theatre of the Intro to Acting Michael Russotto is a Theatre Center in Cinderella University. First Amendment, and the Dorothy Neumann is professional actor and director, and The Sound of Music; at Edinburgh Festival in Scotland. a pioneer in the small who has appeared in shows on MetroStage in The Last Five Credits include starring roles professional theatre many Washington-area stages, Years; and in Candide at the in The Laramie Project and The circuit, having directed in including Arena Stage, Woolly Shakespeare Theatre and Widow Lincoln at Ford’s Theatre; the Washington area for over Mammoth Theatre Company, at the Goodman Theatre Angels in America at Signature; 37 years. She received three The Kennedy Center, Theater in Chicago. Tracy is also a Skylight, Frozen, and The Apple Helen Hayes nominations J, Olney Theatre Center, member of Rorschach Theatre Family Plays at Studio; Measure for Outstanding Direction— Signature Theatre, Theatre Company and has taught at Carlos Saldaña for Pleasure, Freedomland and The for Top Girls, Johnny Bull (both Alliance, The Folger Theatre, Catholic University, Signature Anyone Can Act Gene Pool at Woolly Mammoth; Horizons productions) MetroStage, Rep Stage and Theatre for Stage One and Carlos Saldaña is an actor, and Proof and Light Up the Sky and Unidentified Human Studio Theatre. Recent roles Overtures, Adventure Theatre/ teacher, director, and voice at Everyman. A graduate of St. Remains… at Signature—and include Dave Caro in Between MTC, and Imagination Stage. coach. He has taught acting, John’s College in Annapolis, served as artistic director for Riverside and Crazy at Cleveland Her new self-titled CD will voice, movement, directing, she has been teaching since D.C. Stage and Goosebump Play House, and Pastor Paul be available in February. and stage dialects at several 1984, most recently at the Theatre. An artistic associate at in The Christians at Theater J. www.tracylynnolivera.com universities and has led Parkmont School. She is also Source Theatre, Horizons and Over the years, Michael has been performance and corporate a successful narrator of audio Signature in past years, Dot nominated for several Helen workshops for actors, teachers, books and a speech coach. Kim has taught at The Theatre Lab Hayes Awards in the categories and business professionals. helped launch the Honors almost since its inception and of Outstanding Lead Actor and Some of his professional acting Conservatory for The Theatre particularly enjoys teaching Outstanding Ensemble. He has credits include productions Lab in 2006 and continues to Intro to Acting. Most recently directed at The Actors’ Theatre with Shakespeare Theatre serve as one of its directors. she has joined the seasonal of Washington (cofounder), 8 The Theatre Lab offers a variety of intensive theatre courses designed to meet the needs of students at all levels of experience. COURSES Classes meet once a week for six weeks unless otherwise indicated. REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202-824-0449

“TAKING THIS CLASS WAS THE BEST COURSE SECTIONS CHOICE I COULD HAVE MADE FOR MY GROWTH AS AN ACTOR.” COURSE BUNDLES PAGE 10 — RECENT STUDENT EVALUATION BEGINNING ACTING PAGE 11

IMPROVISATIONAL APPROACHES PAGE 12

SCENE STUDY PAGE 12

AUDITION SKILLS PAGE 13

FILM AND TV PAGE 13

MUSICAL THEATRE PAGE 14

PERFORMANCE CLASSES PAGE 15

PLAYWRITING PAGE 16

SEMINARS PAGE 16

TECHNIQUE PAGE 16

APPLIED ACTING PAGE 17

YOUTH CLASSES PAGE 17

9 COURSES CONTINUED

COURSE BUNDLES GIVE DIRECTION TO YOUR STUDY OF ACTING IN THE FIRST HALF OF 2018 WITH ONE OF THESE DISCOUNTED COURSE BUNDLES!

Intro Bundle Fast-Track Intensive Actor Training Bundle $800 (a $1040 value) $850 (a $1,170 value) • Anyone Can Act Any 3 of these classes: (Selected Saturdays) • Beginning Scene Study • Intro to Acting (Winter Mon, or Early Spring Sat, or Late Spring Wed) (Winter Wed or Sat, or Early Spring Sat, or Late Spring Sat) • Comedy • The Drama Workshop (Winter Mon) (Early Spring Wed) • Voice and Speech • Beginning Scene Study (Late Spring Sat) (Winter Mon, or Early Spring Sat, or Late Spring Wed) • Auditioning (Winter Tues, or Early Spring Sat, or Late Spring Tues) Musical Theatre Bundle • Script Analysis for Scene Work $550 (a $680 value) (Early Spring Sat) • Musical Theatre Workshop • Actions and Objectives (Early Spring Mon) (Late Spring Mon) • Auditioning for Musical Theatre • The Stanislavski Method (Late Spring Tues) (Winter Wed) • Michael Chekhov Technique Film and TV Bundle (Winter Tues) $800 (a $1,020 value) • Scenes in Performance Any 3 of these classes: (Late Spring Thurs) • Intro to Acting for the Camera Plus 3 half-hour mentoring/coaching sessions (Winter Tues, or Early Spring Thurs) with Theatre Lab Director Deb Gottesman • Getting Started in TV and Film (two by phone and one in person) (Early Spring Tues) • Acting in Commercials and Industrials (Late Spring Tues) • Voiceovers (Winter Sat, or Late Spring Sat)

Call us at 202-824-0449 for personal guidance on bundle purchases, and to make sure space is available in all the classes you are interested in. All bundled courses must be completed by the end of the Late Spring Session of 2018.

10 BEGINNING ACTING

Anyone Can Act Drama Workshop “I had an amazing time. I did not have expectations, because this was “A variety of exercises every week allowed for thorough growth inside my first experience, but I will most definitely do it again” and out. The teacher’s direction and personalized advice helped me find Myth: Acting is about talent and talent is something you’re areas of strengths and weaknesses.” born with. Reality: Acting is a craft that anyone can learn — at A good follow-up to Intro to Acting, a first course for those any age. Acting is also a fun and deeply satisfying activity, and looking for a more intensive introduction, or a refresher for Washington has more opportunities for doing it than practically those with previous experience — this course uses a wide variety anywhere else. Take two hours on a Saturday and learn some of improvisational techniques to explore the actor’s process, from fundamentals while having a great time with other people who activating needs to developing a complex character. Great for want to explore different sides of themselves. Get in on the act! loosening up your body and voice, building self-confidence, and n Saturday, January 6, 1:30 – 3:30pm unleashing your creative spirit. Taken together or in succession, n Saturday, February 24, 1:30 – 3:30pm this course and Beginning Scene Study constitute essential n Saturday, March 24, 1:30 – 3:30pm training in the basics of the actor’s craft. n Saturday, April 14, 1:30 – 3:30pm n Wednesdays, Feb 28 – Apr 4, 7 – 10pm n Saturday, May 12, 1:30 – 3:30pm Instructor: George Grant Saturday, June 2, 1:30 – 3:30pm n Tuition: Non-Members $340/Members $306 Instructor: Vince Eisenson or Dorothy Neumann or Amal Saade or Carlos Saldaña $ Tuition: 50 Beginning Scene Study Intro to Acting “This course is a great opportunity to learn more about the physical aspects of acting and how both body and mind become the character. “I’m ready to take more acting courses! Really appreciated the wisdom The instructor was excellent in explaining and helping demonstrate this.” and advice from the instructor. Very important in making the students An intensive introduction to scripted work through preparation feel comfortable.” and performance of scenes and monologues. Emphasis on A fun and fast-paced introduction to what acting is all about, learning effective rehearsal techniques and expanding the actor’s with plenty of practice in improvisation, scene study and theatre range. Requires approximately 3 to 5 hours of rehearsal with an games. For anyone who’s ever wanted to give acting a try — or assigned partner outside of class each week. Taken together or those who haven’t done it since that one time in high school. in succession, this course and the Drama Workshop constitute Students also learn the basics of auditioning and the business of essential training in the basics of the actor’s craft. acting. This class is designed to prepare students for either the Drama Workshop or Beginning Scene Study as the next step. n Mondays, Jan 8 – Feb 12, 7 – 10pm Instructor: Jose Carrasquillo n Wednesdays, Jan 10 – Feb 14, 7 – 9:30pm n Saturdays, Mar 3 – Apr 14, 10am – 1pm Instructor: George Grant No class Mar 31 (Easter) n Saturdays, Jan 13 – Feb 17, 10am – 12:30pm Instructor: George Grant Instructor: Dorothy Neumann n Wednesdays, Apr 18 – May 23, 7 – 10pm n Saturdays, Mar 3 – Apr 14, 10am – 12:30pm Instructor: George Grant No class Mar 31 (Easter) Tuition: Non-Members $340/Members $306 Instructor: Dorothy Neumann n Saturdays, Apr 21 – Jun 2, 10am – 12:30pm No class May 26 (Memorial Day) See also YOUTH CLASSES. Instructor: George Grant n Saturdays, Apr 21 – Jun 2, 1:30 – 4pm MORE COURSES >> No class May 26 (Memorial Day) Instructor: George Grant Tuition: Non-Members $310/Members $279 “THANKS FOR FOSTERING A WELCOMING ATMOSPHERE.”

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

IMPROVISATIONAL APPROACHES SCENE STUDY

Note: All Scene Study courses require approximately 3–5 hours of rehearsal with a partner NEW Michael Chekhov Technique outside of class each week unless otherwise noted. Partners are generally assigned on the An introduction to the acting techniques of one of the major first day of class. acting theorists and teachers of the 20th century — techniques used by Jack Nicholson, Clint Eastwood, Marilyn Monroe and NEW Script Analysis for Scene Work many others. Actors learn to employ psychological gesture to This course will focus on bringing dramatic texts to life by find the core of the character, through experiential approaches uncovering the dynamics of the given circumstances and employing physical action that in turn creates a unique and objectives embodied in the script. Techniques for reading a script personal foundation for any role. like a seasoned professional, with practical application in the n Tuesdays, Jan 9 – Feb 13, 7 – 9:30pm rehearsal and presentation of scenes. Instructor: Joe Martin n Saturdays, Mar 3 – Apr 14, 1:30 – 4pm Tuition: Non-Members $310/Members $279 No class Mar 31 (Easter) Instructor: Joe Martin NEW Street Theatre Tuition: Non-Members $310/Members $279 An introduction to techniques of socially conscious street theatre from one of Washington’s primary practitioners of the art. Actions and Objectives Students will study the history of activist performance in public “This class is gold. The instructor has given me new eyes when analyzing spaces and learn how to design and perform pieces of their own. scripts and the techniques have given depth to my work.” n Mondays, Apr 16 – May 21, 7 – 10pm A practical course for the actor. Using improv and excerpts from Instructor: Quique Aviles plays, this class will explore the power of actions and objectives as Tuition: Non-Members $340/Members $306 tools to spark creativity, believability and growth. For actors with some scene study experience. n Mondays, Apr 16 – May 21, 7 – 10pm “THIS CLASS IS GOLD. Instructor: Michael Russotto Tuition: Non-Members $340/Members $306 THE INSTRUCTOR HAS GIVEN ME NEW EYES WHEN Comedy “The instructor is a gifted teacher who knows how to really get at what ANALYZING SCRIPTS AND THE an actor needs in the moment without being critical.” TECHNIQUES HAVE GIVEN What makes comedy work? This class will explore principles of comedy through intensive work on scenes and monologues, with DEPTH TO MY WORK.” some attention to comic theory and great comedic performances preserved on film. For students with scene study experience. n Mondays, Jan 8 – Feb 12, 7 – 10pm Instructor: Michael Russotto “THE INSTRUCTOR IS A GIFTED Tuition: Non-Members $340/Members $306 TEACHER WHO KNOWS HOW TO REALLY GET AT WHAT AN See also Creating a Role and Scenes in Performance under PERFORMANCE CLASSES. ACTOR NEEDS IN THE MOMENT WITHOUT BEING CRITICAL.”

12 All quotes are from recent course evaluations in the students’ own words. AUDITION SKILLS FILM AND TV

Auditioning Getting Started in TV and Film “The instructor is amazing not only at coaching us while performing, “The instructor is energetic, inspiring, and encouraging. You really learn but making observing other actors a learning opportunity. I actually look the ‘ins and outs’ of the business in this class.” forward to auditioning now!” This class will cover the ins and outs of all aspects of the film An intensive course in audition preparation. Course will industry in our area. All aspects of the industry will be covered focus on developing monologue material, mastering both the including commercials, corporate videos, indie and feature technical and the artistic aspects of a professional audition, and films, and where to look for auditions, jobs and performance learning to experience each audition as a welcome performance opportunities. Class will include mastering the mystery of the opportunity. self-tape audition. Students will work on-camera for weeks 5 and n Tuesdays, Jan 9 – Feb 13, 7 – 10pm 6 for playback and evaluation. Instructor: Michael Russotto n Tuesdays, Feb 27 – Apr 3, 7 – 9:30pm n Saturdays, Mar 3 – Apr 14, 1:30 – 4:30pm Instructor: Brenna McDonough No class Mar 31 (Easter) Tuition: Non-Members $310/Members $279 Instructor: George Grant n Tuesdays, Apr 17 – May 22, 7 – 10pm Intro to Acting for the Camera Instructor: George Grant Tuition: Non-Members $340/Members $306 “It’s clear the instructor knows the business, and draws from personal experience and uses examples to give students the best possible feedback.” An intensive course devoted to acting for film and television. See also Auditioning for Musical Theatre under MUSICAL THEATRE. The class will include audition techniques, the role of commercial spokesperson, specifics of industrial film work, and techniques for approaching film and television scripts. All class work will be filmed as it might be on a real set and then critiqued. n Tuesdays, Jan 9 – Feb 13, 7 – 10pm Instructor: John Judy PRIVATE COACHING n Thursdays, Mar 1 – Apr 5, 7 – 10pm The Theatre Lab’s faculty comprises some of the area’s top Instructor: John Judy acting talent. Give us a call and we’ll connect you with a Tuition: Non-Members $340/Members $306 great coach whose schedule works with yours. MORE COURSES >>

ONE-NIGHT CLASSES The Theatre Lab offers an ongoing series of one-night classes focusing on special topics in acting, musical theatre, film and television, the business of the business, and more. One-night classes offer both hands-on training and learn-by- CLASSES NOT OFFERED THIS TIME AROUND watching opportunities for novices and professionals alike. The Theatre Lab offers the most comprehensive theatre Classes and presentations have been offered by Emmy curriculum in the metropolitan area with more than 50 courses Award winner Holland Taylor, Academy Award nominee each year in acting, directing, playwriting, screenwriting, Bruce Dern, Woolly Mammoth Artistic Director Howard musical theatre, theatre history, and public speaking. Shalwitz, and Signature Theatre Artistic Director Not all courses are currently offered, but many will Eric Schaeffer. Call or visit us on the web for info on return soon. Be sure to check online (www.theatrelab.org) upcoming classes. for continuations of your favorite courses, classes in special aspects of musical theatre and screen acting, courses that culminate in performance, and more. 13 COURSES CONTINUED

FILM AND TV (CONTINUED) MUSICAL THEATRE

Acting in Commercials and Industrials Singing for Actors “It made me much more comfortable in front of the camera and included A class for people who are not yet musical theatre stars. If information on the industry and how to find work. Great atmosphere!” you’re an actor who would like more skills and confidence If you’ve ever seen a corporate training video (think of the pre- in the musical theatre realm, whether you have some musical flight instructions you see on passenger planes) then you’ve seen experience already or are just getting started, this is the class for an industrial film. You may not know the actors’ names, but you. It’s taught by one of Washington’s hottest musical theatre they’re making a living with their talent. In this class students performers, but geared toward people who think of themselves will learn to apply the same tools one brings to a three-act play more as actors than as singers. to a 30-second commercial or a three-minute instructional video. n Mondays, Jan 8 – Feb 12, 7 – 10pm Students will go through the process of cold-reading scripts for Instructor: Tracy Lynn Olivera auditions as well as shooting their performances and reviewing Tuition: Non-Members $340/Members $306 them on TV afterwards. The goal of this class is to get students proficient at the types of material that provide a substantial Musical Theatre Workshop amount of the paid acting work in the DC-Baltimore market. “The instructor has so much experience and is an invaluable resource. n Tuesdays, Apr 17 – May 22, 7 – 10pm It’s like working with a Broadway coach.” Instructor: John Judy Intensive training in musical theatre skills. Primary focus will be $ $ Tuition: Non-Members 340/Members 306 on what it means to act a song and sing a scene. Attention will be paid to all aspects of musical performance and auditioning, Voiceovers including enhancing musical phrasing, improving vocal “The instructor is encouraging and inspiring and makes you feel like production, deepening interpretation of lyrics, optimizing the there’s a place for your voice in the field.” use of physical movement, and expanding repertoire. A first course in the art of voiceovers, including commercials, n Mondays, Feb 26 – Apr 9, 7 – 10pm narration, and promos. Introduction to all skill areas, including No class Mar 12 copy interpretation, the physical use of the voice, the business of Instructor: Tracy Lynn Olivera the VO biz, and home studios. All students will receive intensive Tuition: Non-Members $340/Members $306 recorded practice with critique. n Saturdays, Jan 13 – Feb 17, 10am – 1pm Auditioning for Musical Theatre Instructor: Craig Klein “The emphasis on acting the song is really what I needed to help my n Saturdays, Apr 21 – Jun 2, 10am – 1pm audition. The instructor was very approachable and helped all of us to No class May 26 (Memorial Day) break out of our shells.” Instructor: Craig Klein This class focuses on preparing the actor for musical theatre Tuition: Non-Members $340/Members $306 audition and performance, through careful attention to each actor/singer’s strengths and weaknesses. Emphasis will be See also On-Camera Acting for Kids and Teens under YOUTH CLASSES. on music and text interpretation, singing and performance techniques, relaxing and unleashing the voice, and selection of strong material. Students bring at least one memorized musical theatre song to the first class, along with the piano sheet music “THE INSTRUCTOR IS in the appropriate key, and will work on several songs over the ENCOURAGING AND INSPIRING six weeks of the course. n Tuesdays, Apr 17 – May 22, 7 – 10pm AND MAKES YOU FEEL LIKE Instructor: Kate Fisher THERE’S A PLACE FOR YOUR Tuition: Non-Members $340/Members $306 VOICE IN THE FIELD.” See also Creating a Musical Role under PERFORMANCE CLASSES.

14 PERFORMANCE CLASSES

Creating a Role: The Skin of Our Teeth Creating a Musical Role: If/Then “Honestly, the class never felt like a class. With this class from day one it “Kudos to The Theatre Lab for keeping the actor’s growth at the center always felt like a true production. The teaching was put into action and of the process, and making a quality product at the same time.” it made the whole experience much more real.” This double-session course takes students through the entire Creating a Role is designed to give students the experience of process of rehearsing and performing a major musical. The preparing a complex role from the beginning of a rehearsal course replicates a typical professional production experience, process through the moment of performance. Working with from learning the notes through taking the bow. Issues explored both a professional director and a professional actor, students include vocal production, how to act a song, how to sing a scene, explore all the elements of acting in a full production, including defining the arc of a character, and all other aspects of singing text analysis, dramaturgy, character development, blocking, and acting a musical role. No experience is necessary, but major giving focus, taking direction, connecting to other actors, and roles will be assigned by audition. Chorus roles will not require dealing with the audience. This offering of the course culminates auditions, but prospective students will have to demonstrate in four public performances of The Skin of Our Teeth, Thornton that they can carry a tune. This year the course culminates in six Wilder’s hilarious classic about, well … everything. It’s the public performances of the recent hit If/Then, which features history of the world told through the adventures of a single a complex and beautiful story and a Tony-nominated score by family, with many fun and challenging roles for an ethnically the creators of Next to Normal. Many roles for actors and singers diverse cast of students at all levels of experience. Auditions are of all types, at all levels of experience. Call early to schedule an low-key and consist of readings from the script – no monologue audition or interview. required. Call early to schedule an audition. n Tuesdays, Thursdays, and Saturdays, Jan 16 – Apr 28, T 7–10pm; Th 7–10:30pm; Sat 10am–1pm n Tuesdays, Thursdays & Saturdays, Mar 22 – Jun 16, T & Th 7–10pm; Sat 1:30–4:30pm Tech: W Apr 18, 6–11pm Tech: Sat Jun 9, 10am–4pm; T Jun 12, 6–10pm; W Jun 13, 6–10pm Brush-up: W Apr 25, 7–10pm Evening performances: Jun 14, 15, 16 Performances: Apr 19, 20, 21, 26, 27, 28 Matinee: Jun 16 No class Mar 31 (Easter) No class Mar 31 (Easter) Instructors: Deb Gottesman and Buzz Mauro $ $ Instructors: Randy Baker and Tonya Beckman Tuition: Non-Members 660/Members 594 Tuition: Non-Members $610/Members $549 Creating a One-Person Show Scenes in Performance “The course was an exceptional laboratory to develop a performance.” “This course respects the actor as a primary artist and really meets Learn the ins and outs of creating a one-person show, including everyone where they are. The instructor has a great way of asking how to use personal stories, imagery, dreams, and myths as questions that appropriately guide the actor and the scene. “ fabric for constructing original performance pieces. All students Some performance issues can only be explored when an audience will create, stage, and perform a solo piece by the course’s end. is involved. This course adds that crucial element to the traditional This class is recommended for playwrights, actors, and anyone scene study mix. Students will rehearse scenes under the guidance interested in exploring artistic self-expression. of the instructor, with attention paid to all aspects of the acting. n Mondays, Apr 16 – May 21, 7 – 10pm The course includes a performance for an invited audience and Instructor: Elizabeth Pringle discussion of performance issues that may have arisen, such as Tuition: Non-Members $340/Members $306 nervousness, the give and take of energy between audience and performers, and when and how to incorporate feedback. See also Street Theatre under IMPROVISATIONAL APPROACHES. n Thursdays, Apr 19 – May 24, 7 – 10pm MORE COURSES >> Instructor: Jose Carrasquillo Tuition: Non-Members $340/Members $306

All quotes are from recent course evaluations in the students’ own words. 15 COURSES CONTINUED

PLAYWRITING TECHNIQUE

Playwriting from the Gut Voice and Speech “I learned that inspiration is everywhere, and completing a play by the “I always felt guided and coached from an individual standpoint. The last class made me feel like an accomplished writer.” teacher was willing to flow through different exercises depending on the An interactive workshop that covers many aspects of playwriting, needs and preferences of the students.” including characterization, dialogue, stage directions, plot, script Basic skills in body awareness, vocal production, and stress formats, and marketing. Using improvisation, theater games, and reduction. Particular attention will be paid to posture, breathing, speed-writing, students will find new ways to write and revise basic ideas for healthful vocal production, and the mind-body their scripts. By the final class, all students will have written a connection. Great for public speakers, performers, and anyone 10-minute play, which receives a reading by professional actors. who wants to learn to communicate with poise and confidence. n Tuesdays, Feb 27 – Apr 3, 7 – 9:30pm n Saturdays, Apr 21 – Jun 2, 10am – 12pm Instructor: Renee Calarco No class May 26 (Memorial Day) Tuition: Non-Members $310/Members $279 Instructor: Tonya Beckman Tuition: Non-Members $290/Members $261 NEW Playwriting II For anyone who has taken a playwriting class, either at The NEW Intro to Theatre Tech Theatre Lab or elsewhere, and has a 10-minute play or other Essentially a free course plus a tech internship — invaluable material they would be interested in developing into a full one- training in the technical aspects of theatre at zero net cost! The act. Further work in characterization and structure, with special full tuition will be refunded after completion of approximately attention to the challenges of sustaining a longer piece. 30 hours of hands-on tech experience on one of The Theatre n Wednesdays, Jan 10 – Feb 14, 7 – 9:30pm Lab’s spring productions. This course and practicum will Instructor: Elizabeth Pringle give actors and aspiring technicians a complete survey of the Tuition: Non-Members $310/Members $279 fundamentals, including Lights, Sound, Costumes, Stagecraft, and Stage Management. The course provides insight into all elements of design and production, as well as an opportunity to gain practical experience behind the scenes on our adult class performances. Details of the practicum schedule to be arranged SEMINARS with the instructor before the class begins. n Wednesdays, Jan 10 – Feb 14, 7 – 9:30pm The Stanislavski Method Instructor: Angelo Merenda Tuition: Non-Members $200/Members $200 “I loved the ‘book club’ aspect of this course – the discussion and but tuition refunded in full on completion of practicum exchange of ideas. A great and informative class.” An intensive exploration of the seminal ideas of Constantin Stanislavski, some of whose teachings came to form the basis of Method Acting. The class will read An Actor Prepares in a seminar “I ALWAYS FELT GUIDED AND format, explore the applications of Stanislavski’s use of actions, COACHED FROM AN INDIVIDUAL beats and objectives, and work toward an understanding of some of the major acting techniques based on his writing. Required for STANDPOINT. THE TEACHER Honors students; open to all. WAS WILLING TO FLOW n Wednesdays, Jan 10 – Feb 14, 7 – 9:30pm Instructor: Buzz Mauro THROUGH DIFFERENT EXERCISES Tuition: Non-Members $310/Members $279 DEPENDING ON THE NEEDS AND PREFERENCES OF THE STUDENTS.” 16 APPLIED ACTING YOUTH CLASSES

Public Speaking the Actor’s Way NEW Improv for Teens “I have been doing public speaking for 40 years, yet I learned so much Improv games and exercises to increase spontaneity on stage, from this course. So many new things to think about. I only wish I had loosen up the body and voice, and spark creativity. For students taken this course 30 years ago!” in grades 7–12. Four lunchtime classes. An innovative approach to powerful n Saturdays, Jan 13 – Feb 17, 10am – 12pm public speaking, taught by a pioneer in the field of applied Instructor: Terah Herman-Saldaña acting. This course leads participants through a series of acting- Tuition: Non-Members $290/Members $261 based physical, vocal and psychological exercises designed to promote spoken communication that leaves a lasting impact on Scene Study for Teens an audience. From writing a dramatic speech to defining strong “I enjoyed the scenes that we did and the games we played. The objectives to building confidence through a reliable rehearsal instructor was attentive to my needs and taught me a lot about acting.” process, this course is for anyone who wants to know what This course guides teenagers through all aspects of scripted work, it takes to please a crowd. Required text: Taking Center Stage: including how to analyze and interpret text, connect with other Masterful Public Speaking Using Acting Skills You Never Knew You actors, make strong physical and vocal choices, develop fully Had by Deb Gottesman and Buzz Mauro realized characters, and make the most of rehearsal time. For n Wednesdays, May 9 – May 30, 12 – 2pm students in grades 7–12. Instructor: Buzz Mauro n Saturdays, Mar 3 – Apr 14, 2 – 4pm $ $ Tuition: Non-Members 260/Members 234 No class Mar 31 (Easter) Instructor: Terah Herman-Saldaña See also Street Theatre under IMPROVISATIONAL APPROACHES. Tuition: Non-Members $290/Members $261 On-Camera Acting for Teens “The instructor was very knowledgeable on acting with different “I HAVE BEEN DOING PUBLIC techniques. The little tips and tricks combined with the overall critiques SPEAKING FOR 40 YEARS, YET taught me a lot.” For students in grades 7–12. All aspects of performing on camera. I LEARNED SO MUCH FROM Student work will be videotaped, followed by playback and THIS COURSE. SO MANY NEW critique, with an eye toward developing the specific skills required for TV and film. May profitably be taken more than once. THINGS TO THINK ABOUT. I n Saturdays, Mar 3 – Apr 14, 12 – 2pm ONLY WISH I HAD TAKEN THIS No class Mar 31 (Easter) Instructor: John Judy COURSE 30 YEARS AGO!” Tuition: Non-Members $290/Members $261 On-Camera Acting for Kids “THE INSTRUCTOR WAS VERY “I like that I could actually express myself by acting.” For students in grades 3–6. A fun course in acting for the KNOWLEDGEABLE ON ACTING camera, encompassing lots of substantive training. All kids will be videotaped and get to watch themselves in playback. No WITH DIFFERENT TECHNIQUES. experience required. May profitably be taken more than once. THE LITTLE TIPS AND TRICKS n Saturdays, Mar 3 – Apr 14, 10 – 11:30am No class Mar 31 (Easter) COMBINED WITH THE OVERALL Instructor: John Judy CRITIQUES TAUGHT ME A LOT.” Tuition: Non-Members $260/Members $234

17 MENTORSHIP OPPORTUNITY!

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

Call us at 202-824-0449 and we’ll pair you up with a simpatico mentor. $100/hour 18 YOUTH PROGRAMS

FOR A LEARNING EXPERIENCE Whether exploring mime and comedy in the kids program, YOU’LL NEVER FORGET, delving into contemporary scene work and improvisation in the teen acting institute, or performing in a full production as part GET IN ON THE ACT! of the musical theatre institute, participants throw themselves The President’s Committee on the Arts and Humanities into The Theatre Lab’s programs with abandon. And we hear a has recognized The Theatre Lab as one of the 50 “top similar refrain at the end of every session: students tell us they’ve arts- and humanities-based programs in the country grown — both as artists and as people. serving youth beyond school hours.” Theatre Lab youth programs are open to anyone who is Each year, more than 400 young people from all over the interested in learning about the craft. Students at all levels of metropolitan area take part in The Theatre Lab’s summer acting experience are welcomed. Enrollment is limited, however, and camps and theatre institutes, our popular school holiday camps, kids (grades 1–8) are accepted on a first-come, first-served and our year-round 6-week Saturday classes. The secret to the basis for our summer acting camp. Admission to teen programs success of our programs? We offer serious theatre training, taught is by application and audition. by experienced teachers and theatre professionals, in a unique For more information about our year-round Saturday classes for environment that’s friendly, supportive, and incredibly fun. kids and teens in Scene Study and Acting for the Camera, see page 17.

To learn more about our summer camps and school holiday programs, read on!

MORE YOUTH PROGRAMS >>

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

FOR KIDS FOR TEENS

The Summer Acting Camp for Kids The Summer Acting Institute for Teens The Theatre Lab’s Summer Acting Camp for Kids is a fun, high- The Theatre Lab’s Summer Acting Institute for Teens, energy program that allows young people to fully engage their for students ages 13–19, is designed to immerse young adults imagination as they experience the thrill of creating live theatre. in the art of acting, from mastering the essential principles From learning the basic techniques of acting for the stage, to of the craft to participating in a fully-produced, public developing improvisation and circus skills, to putting it all performance of a contemporary play directed by one of DC’s together in a public performance, it’s a summer your child will finest professional directors. never forget. Serves grades 1–5. n Offered in one four-week session: July 23 – August 17 n Offered in two-week sessions throughout the summer: June 25 – August 17 Application at www.theatrelab.org n One-week sessions: June 18–22 and August 20–24 The Musical Theatre Institute for Teens Musical Theatre and Acting Camps for Tweens The Musical Theatre Institute for Teens, for students ages 13–19, The Theatre Lab has created special programs just for kids in is an intensive four-week training program in which participants grades 6–8! Each camp will culminate in a full production to rehearse and perform a full musical production under the guidance be performed for friends, family and our younger camp groups. of seasoned directors and performers. The idea behind the institute Tween Theatre Camp is open to experienced performers as well is to enable young artists to explore challenging, socially relevant as first-timers. There are many wonderful roles for all types. As material from the contemporary musical theatre world as they with all Theatre Lab camps, there will be training in improv, receive the intensive voice, movement and acting training essential scene study and movement along with show rehearsal and for professional level performance. Past productions have included performance. Participants will make their own costumes and Jesus Christ Superstar, Cabaret, Parade, and Bat Boy. scenery and there will even be “techie” opportunities for kids Offered in two four-week sessions: who prefer to work behind the scenes. n June 25 – July 21 n Musical Theatre Camp: June 25 – July 20 n July 23 – August 18 n Acting Camp: July 23 – August 17 Application at www.theatrelab.org n One-week Improv Camps: June 18–22 and August 20–24

See page 17 for YOUTH CLASSES that meet once a week. “School’s Out” Holiday Camps The Theatre Lab offers a series of fun and exciting drama camps for kids in grades 1–6 during winter and spring break. Modeled on our award-winning Summer Acting Camp for Kids, our “days of drama” feature exercises in improvisation, storytelling, movement, arts and crafts and even an end-of-the-day “mini-performance.” n Come for a day or stay for the week. n Next up: Spring Break Camp: March 26–30

20 SERVING OUR COMMUNITY

TRANSFORMING LIVES THROUGH LIFE STORIES THEATRE EDUCATION Everyone has a story to tell and a voice that deserves to be heard. Our philosophy is simple, practical and egalitarian: everyone can perform and performance enhances everyone. The Theatre Lab’s Life Stories program brings the artistic That’s why we make theatre training with the area’s top and real-life benefits of dramatic expression to traditionally professionals accessible to everyone — not only to those underserved populations. Through free training in acting, who can afford it or choose to seek it out. The Theatre film and storytelling, students ages 6–102 have learned Lab’s groundbreaking arts education, scholarship and to use their real-life experiences as a springboard for outreach programs serving economically and educationally creating original dramatic works for the stage and screen. disadvantaged youth and adults have earned its Directors By discovering their unique voices and sharing their the prestigious Linowes Leadership Award, recognizing experiences, Life Stories participants build their skills in D.C.’s “unsung heroes working to improve communities,” creative thinking, communication, and teamwork as well as and the Mayor’s Arts Award for Innovation in the Arts. becoming reconnected to peers, family, and community. Since launching this program in 2000, we have offered life-changing creative opportunities to more than 4,600 YOUTH SCHOLARSHIP FUND adults and youth. Populations served include seniors in The Theatre Lab works with area public schools and many of assisted living facilities; homeless women and teens in DC’s most respected grassroots organizations to identify youth substance abuse recovery; adolescents attending school to receive full or partial need-based scholarships. The Theatre in the area’s most distressed communities; youth who are Lab awarded more than $110,000 in need-based scholarships sexual minorities; incarcerated teens; children undergoing in 2017 to enable financially disadvantaged children and teens treatment at NIH; and wounded veterans. How I Got Over, to attend our acting and musical theatre camps, and will do an award-winning feature documentary about one of our even more in 2018. (To learn more see page 20.) Life Stories programs, is now on Amazon. Current Life Stories partners include The Children’s Inn at NIH; Columbia Heights Education Campus; Free Minds; Friendship Collegiate Academy; N Street Village Recovery Housing FINANCIAL AID Unit; The National Center for Children and Families; New Beginnings Youth Correctional The Theatre Lab offers a limited number of need-based Facility; Paso Nuevo Afterschool Program; Phoenix House; Potomac Job Corps Center; financial aid and work/study awards for adult students. St. Ann’s Center for Women, Children and Families; Stoddart Baptist Global Care Aging Services; Whitman Walker Health; and the Wounded Warriors Project. To apply, please visit our website at www.theatrelab.org and fill out the online application forms, or call us at 202.824.0449.

A four-day intensive learning experience for educators, THE LIFE social service providers, theatre artists and others STORIES interested in connecting individuals in their communities to the transformative power of the dramatic arts. INSTITUTE Become a certified instructor of the award-winning October 11-14 Life Stories curriculum. Enrollment limited. (Thursday–Sunday) More info: www.theatrelab.org

21 POLICIES AND REFERRAL DISCOUNTS

CLASS POLICIES • Full tuition must be paid before the first class meeting. If • Auditing of classes is not allowed. you require a payment plan, please call us at 202-824-0449. • Classes may occasionally be cancelled due to under- Note that we can only arrange payment plans that result in enrollment. Students will be notified of cancellations in full payment before the class begins. advance and offered either a full refund or credit toward a • If you withdraw from a class more than 48 hours before it future Theatre Lab class. begins, you will receive a full refund minus a $40 processing • Classes cancelled due to inclement weather or other reasons fee. As of 48 hours before the class begins, tuition is non- will be rescheduled if students, instructor, and space are refundable. available, but sometimes rescheduling will not be possible. • A $25 fee will be charged for returned checks. Tuition is non-refundable. Weather cancellations will be posted on our Facebook page. If you have questions about a • The Theatre Lab offers a 10% discount on tuition for possible weather cancellation, call us at 202-824-0449. seniors over 60, Actors’ Center members, and Theatre Lab members. Please call our office (202-824-0449) if you would • The Theatre Lab reserves the right to use photos and videos like to register with the Actors’ Center discount or the taken in our classes for promotional purposes only. senior discount. We also offer an Early Bird discount for • The Theatre Lab reserves the right to make faculty early registrations; see website for details. Discounts are not substitutions in any of our classes. valid in combination with other discounts. • The Theatre Lab complies with all applicable laws governing • Mature teens 15 and older may register for adult classes discrimination. with instructor permission.

BRING A FRIEND… AND GET A DISCOUNT!

Through The Theatre Lab’s referral program, any student who has completed at least one class and refers a new student gets a $25 credit toward a future class!

And the new student gets $25 off their first class! Both credits take effect as soon as the referred student signs up, and they’re good for a full year from that date. So tell a friend!

22 MEMBERSHIP

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

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

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

23 MAJOR DONORS

The Theatre Lab School of the Mickey MacIntyre Paul Cunningham and Peter Kazon Halina Karachuk Dramatic Arts received generous Nancy Peery Marriott Foundation Lisa Dickey and Randi Barnes Anna Laszlo support from individuals, George Preston Marshall Foundation Priya Doshi Michael Ledford corporations, foundations, and Mary Mitchelson Karen Duca Pete Leon and David Hall government sources in the past National Endowment for the Arts—Art Mary Ester Beth and Tim Lovain year, including: Works Richard and Helen Fiske Elizabeth Manson Nelson Mullins Riley Scarborough LLP Margaret Flinner Francis and Donna Mauro SUSTAINING FUNDERS Timothy and Shana O’Toole Monique Fortenberry Ysabel and Charles McAleer $100,000+ Craig Pascal and Victor Shargai Marta Goldsmith and Gary Rosenthal Madeleine McDonough DC Commission on the Arts and Frank Petramalo Humanities Betsy Hague Melahed Foundation Pizzeria Paradiso Amy Jackson Pete Miller Michael Rodgers and Alan Roth LIFE STORIES CHAMPION Areta Kupchyk and JoAnn Kane Brittany Mosman $50,000+ Gene and Iris Rotberg Niki and Gary Kohn Arne and Sara Paulson Brian Smith and Lisa Ziehmann Sanford and Doris Slavin Foundation Michael Mercier Kris Perry United Therapeutics Robert Muse Jane Petkofsky and Kevin Adams $20,000+ UPIC Health, LLC Glen and Nora Petitt Robert Pierce Beech Street Foundation Diane Willkens Irma Poretsky Neil Robinson Morris and Gwendolyn Cafritz Jerry Rehm Kathleen and Kevin Rohan $ Foundation 3,500+ Ruth Robbins Carmen Romero The City Fund of The Community Daniel Felton and David James Kyle Glen Roberts Alexis and Michael Ronickher Foundation of the National Capital Roberto Ifill Region Karin Rosnizeck Deborah Rutter Richard and Joanne Rome George and Phyllis Cohen Andrew Schwartz and Lisa Krim Edward and Deanna Schwartzberg United Way of the National Capital Elizabeth Siegel Andrea Sharrin and Mary Tucker Melissa Feinberg and Kenneth Area Gottesman David Sims Joel Singer and Mindy Weinstein Buzz Ward Harman Family Foundation Patricia Smith Krista Stark Brad Weaber Lillian Kamen Fund Jack Stein and Peter Meccariello Chris Svoboda Rob Weinzimer The Osprey Fund Stephen Whisnant Alex Tang and Bob Bagnall Paul and Margot Zimmerman Rotary Foundation of Washington DC Todd Williams David Taylor and Lisa Smith Covey Willkens Matt Van Melikian $2,000+ $10,000+ Jane Vanneman Capitol Hill Community Foundation Anonymous $500+ Bob Weinberg Rachel Liba Cardozo Foundation Bill and Melinda Gates Foundation Kris Aulenbach Joan Wessel Employee Matching Gift Program Lee Casey Amy Austin and Deidre Joy Darrell West The Dena Kohn Memorial Scholarship Dimick Foundation Bank of America Charitable Foundation Fund The Enchanted Garden, LLC Matthew Bassow Funded in part by the DC Commission The Deborah Rose Foundation ExxonMobil Foundation Educational Jennifer Baxter on the Arts & Humanities, an agency The Share Fund Matching Gift Program Michael Bowers supported in part by the National Hattie M. Strong Foundation Lynn Hackney and Kim Hoover Endowment for the Arts. Lynne Halbrooks Anne Burns Louise P. Zanar Fund of the CFNCR Amy Kossoff and Rob Enelow Sally Burrell and David Sorensen Vicki Burt And special thanks to the hundreds of $5,000+ Harv Lester and Don McMinn other individual donors who support Susan Butler Courtney and Doug Baldridge Maximus Foundation our work. Stephen Daigler Richard and Sue Bloch Marc Ness Elizabeth Dean Elizabeth Brown Caroline and John Osborne Barbara and Dwight Donesky Bruce Cohen and Gabriel Catone James Pearson Susan Friedman Julie Cohen and Paul Barrett Nancy Sainburg and Roderick Carroll Mark Friese Carla Crawford Evelyn Sandground and Bill Perkins Joanne Gallos Crowell & Moring Foundation Scrivner Leon Group, LLC Deborah Gandy Laura Einstein and Helen Blair Chip Walgren and Lee Allen Madonick Wells Fargo Foundation Jean Goldberg Events DC Robert and Judith Goldberg-Strassler Mathew and Shirley Fitch $1000+ Francis Guzzetta and Paul Manville John Edward Fowler Memorial Swati Agrawal Sarah Haft Foundation Michael Beriss Rachel Halterman Aaron and Cecile Goldman Family Cathy Bernard Larry Hefter Foundation The John Bickford Foundation Molly Holt Gray Graphics Lisa Binner Sabina and Josh Javits Barbara and Skip Halpern Sally Brice and Kathleen Shank Barbara Johnson and Ruth Gresser Ashley Jeffers Don Canada Kim Kaufman Tom Lee

24 REGISTER ONLINE AT WWW.THEATRELAB.ORG OR CALL 202.824.0449

BOARD OF DIRECTORS STAFF

Mary Mitchelson, Chair Deb Gottesman Courtney Baldridge Director George Cohen Buzz Mauro Elizabeth Dean Director Victoria Fortune Bryce Sulecki Deb Gottesman Program Administrator Abrahem Helal Kara Turner Bert Ifill Marketing and Events Manager Amy Kossoff Tom Lee Terah Herman-Saldaña Program and Development Manager Buzz Mauro Tim O’Toole Elizabeth Houvener Michael Rodgers Finance and Human Resources Manager Nancy Sainburg Angelo Merenda Andrea Sharrin IT and Technical Director

ADVISORY BOARD CONTACT US William S. Cohen 733 8TH Street, NW Eric D. Schaeffer Washington, DC 20001

PHONE: 202.824.0449 TRUSTEES EMERITI FAX: 202.824.0458 Jeffrey Bauman [email protected] Laura Einstein www.theatrelab.org Roberta Gottesman Eugene H. Rotberg Shar Taylor

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

United Way of the National Capital Area

PHOTOGRAPHS BY Clinton Brandhagen, Teresa Castracane, Liza Harbison, Colin Hovde, Gary Kohn, Ryan Maxwell, John Milewski, Emily Mills, Paul Oberle, Lauren Oleskie, and Jonathan Timmes DESIGN BY Alice Lewis The Theatre Lab • 733 8th Street NW, Washington, DC 20001 NON-PROFIT ORG. U.S. POSTAGE PAID WASHINGTON, DC PERMIT #6481

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

“I’M WALKING AWAY WITH ONE GREAT BIG WONDERFUL EXPERIENCE.” — RECENT STUDENT EVALUATION