We’ve found this blog is the perfect forum to make market information, ticket sales, photographer specials available to not just our talent but anyone who might be interested. Thanks for your continued support -
In 2012 we want to use the blog to serve actors in a different way–getting feedback from producers, directors and casting directors on various topics. This way the people who make hiring decisions can tell you in their own words what they really think. We’ll cover one topic each month and post client comments/opinions. We hope you will use this insight to take control where you can.
PART ONE IN THE 2012 SERIES, PRODUCER/DIRECTOR/CASTING FEEDBACK
Making “Reel” Choices…
This from a producer who was hiring but no time to see talent in person:
“I’ve looked at every reel available for the group you sent over. There are some great choices. Also, some not great representation on the “reel” sections of what I know some of them can do. They really need to put their best videos on there – hounding the producers if necessary to get some footage. The ones that didn’t have any reels, I’m not even considering for this one because delivery is very important for this.”
From a second producer, two part note on A)getting your video footage and B)making sure it’s quality.
Although it can be a big pain, an actor should have access to footage of himself or herself for promotional purposes. Personally, I prefer to give them a copy of the entire spot if it’s a commercial, but that’s not always possible as some projects are shot 6 months before airtime. On a feature, expect delivery to take time as well. The actors reels are important to us, but not the top priority. If you want something that looks good, wait til the final edit, the sound design and color correction are done…yup, that could be awhile. Be patient, but persistent. Oh, and be NICE about your request. Don’t demand, get an attitude or get angry about it. We like to do things for those we love, not those that annoy us. :)
Regardless, many of the actor reels I find on any site look like they were recorded off the TV with their cellphones or are in the wrong aspect ratio. If your reel looks like crap – low quality, grainy, poorly lit, bad sound, wrong aspect ratio, 2nd or 3rd generation video – it makes you look like a hack no matter how good your performance. It’s a bias, granted, but a real one. Just a 1-2 minute piece is all you need – whether you put up 2-3 spots or a few scenes, make sure the production value and your performance are at their best. If you don’t have good material, don’t put it up there. A bad reel will do more damage than no reel. I won’t hire someone off a reel, but it certainly helps me find new talent!
This from a casting director:
It is your responsibility to get copies of your work. Your agent may be able to assist when you encounter roadblocks but ultimately it is your job to follow up with production. I know it can often be difficult and may take multiple tries. Here is what I suggest. When you are on the set, ask who you should contact and when you should contact them to get a copy of the piece. Get the contact info then. It can be much harder after the fact. Also, make sure you have permission first before you post the work on your FB or YouTube. Most clients will not want that work to be seen until they start airing it themselves. And finally, some production companies charge a fee if they have to burn a disc and mail it out. If a quicktime will serve your purpose, that can often be more easily assessable.
We’ve found this blog is the perfect forum to make market information, ticket sales, photographer specials available to not just our talent but anyone who might be interested. Thanks for your continued support -
In 2012 we want to use the blog to serve actors in a different way–getting feedback from producers, directors and casting directors on various topics. This way the people who make hiring decisions can tell you in their own words what they really think. We’ll cover one topic each month and post client comments/opinions. We hope you will use this insight to take control where you can.
PART TWO IN THE 2012 SERIES, PRODUCER/DIRECTOR/CASTING FEEDBACK
DON’T BE TARDY TO THE PARTY!!!
From a Casting Director
You are talking about my major pet peeve. Tardiness! I know people run late sometimes, but it’s all about courtesy. Yesterday, for example, I had a casting and we saw 148 people. We had everyone tightly scheduled. We had a lunch break built into the day and we wanted to be finished by 5PM so that we could compress, upload and email all of the videos.
Most people didn’t wait more than 15-20 minutes. Most waited less. The last time given out before lunch was 1:15, yet people were showing up at 1:30 and 1:50. They didn’t understand when I explained that we were on our lunch break, as if showing up 15-35 minutes late was no big deal.
I must say that if you had a lunch date with a friend at 12 Noon and you weren’t there by 12:30 and you hadn’t called or communicated in some way that you were running late, how long would you expect your lunch date to wait?
In our business, time is money. When I was casting a movie, we arranged a paid read-through with all of the actors. It was to begin promptly at 10AM. Everyone, including Demi Moore and three other name stars, was in their seat ready to go at 10AM. Everyone except one local actor. I had stressed to this actor that he must be on time. He assured me he would be. The producer waited a few extra minutes past 10AM and then told me to lock the door, fire him, and replace him!!!! DONE! Those few minutes cost him upwards of $5000, not to mention his reputation.
The movie business is just that, a business. It is not a game where you can show when you feel, how you feel, and unprepared. If you take this business seriously and expect to make your living at it, then you MUST treat it as seriously as possible.
From a Producer:
Since you asked, I will offer my thoughts, for what they’re worth. Just remember that I’m a aging fogy stuck in a 20th (maybe even a 19th) century mindset and have thought deeply and extensively about the effects of emerging technologies on our interactions, lifestyles and particularly our etiquette. At the dawn of the mobile age, I discovered very quickly that appointments had become much more guidelines than deadlines where, in the minds of far too many, as long as you could call from the road to alert your appointment you were “in transit” in advance of a designated time, you were “technically” in compliance with that appointment. Fortunately, with times so tough and competition so fierce, I rarely see this in your talent pool. However, whenever you discover this pathology re-occurring with someone within your stable, you should take immediate steps to correct it with the underlying threat of terminating the relationship. I can tell you that, on the receiving end of this, the message comes through loud and clear: “my time is more important than yours”. What many actors try to do is leverage the mystery and aura of their profession to procure greater latitude and more leniency when it comes to traditional work ethics. After all, they are “artists”. But, as you can imagine, this doesn’t work with me and I’ll address tardiness with an actor on site while making a mental note to carry forward. In other words, it will not be tolerated with my productions and the violating player is “on notice”. To give you some perspective, with my technical crews, if they’re on time, they’re already five minutes late. As I’ve told you in the past, bottom line, “if your actors look bad, you look bad”, and they need to understand that they are tactical assets to fill holes within a broader strategic framework and, as your vendors, they’re job is to make you look as good as possible with your clients.
From a Casting Director:
If you’re late, and there’s no really good reason, then you are not perceived as a professional. If you’re 15 mins late for a Dr’s appointment, what happens?
From a Producer
Actors – or any crew member – who is late should be making plans to file unemployment. Either that, or they better be so damn good that they stun audiences.
From a client who personally auditions and hires talent:
As a commercial production studio we do not have time for “Late Talent”. Talent who are late for auditions and callbacks are generally put at the bottom of the list. I personally believe that punctuality is a reflection of someones work ethic. If talent shows up late for one of my projects I take it as they do not take me, my project or my company seriously. I understand that things happen and will generally give someone the benefit of the doubt the first time they are late to a project (depending on how late they are). If talent continues to show up late for a shoot we will not work with them on future projects, period! I believe that being on time involves showing up 15 minutes early. I always plan on showing up 15-30 minutes early to any meeting, audition or shoot.
From a Producer:
Actors who are late are like the plague. They kill everything in sight – momentum, morale, the director’s vision, the producer’s hairline, the budget, the schedule, the client’s belief in the production company, their agent’s reputation, and most of all their own reputation as an actor. Why would I give that actor another chance to make me look bad? Never gonna hire them again, and if anyone asks me about them, I’ll mention the late thing. I am human, and understand shit happens. Sometimes you can’t be prepared for a flat tire, last minute child care issues, pet problems, etc., but this is a business and when you’re late you cost us money and time we can’t afford to lose. Whether it’s a high end national commercial, feature film, TV show, or freebie, it doesn’t matter. Be professional and be prompt.
If an actor is late to an audition it’s not a big deal to me. We can usually make up the time and often someone is early.
If an actor is late to a shoot it can be a disaster. Shoot days run on very tight schedules. We are usually spending between $5,000 – $10,000 an hour on a shoot day so if an actor adds 15 minutes to my day by being late they may have just cost me as much as $2,000 personally. Obviously not a good thing.
From a Casting Director:
An actor is given an audition time for a reason, actually many reasons: It helps the casting director as they have set up the audition so they are seeing select characters during a certain window of time. They have paired actors together to read so if some are late or does not show it throws a wrench in the whole process. They must have the casting completed by an appointed so they post the audition the client wants to meet you but must leave if you do not show up on time. When you do not show up on time it creates a problem. To me it does not show respect for the casting director and their time. It makes me question will they be late on the set if they are hired? Everything you say and do reflects on you and me. If it is between two actors and I know one is dependable and can act too, who do you think I would feel lead to select? Remember that being late could be why you did not get the part, not your acting ability. I want to look good to my client because I want them to come back.You would do the same thing.
From a Casting Director
In this business where the statement “time is money” is truly applicable all the time for everything, it is hard to find an actor trait more unacceptable than being late. It is followed by “arriving unprepared.” The schedule is made for you to be at a certain place at a certain time for lots of reasons. Don’t try to beat the system because “you know best” … and “you know that you are gonna have to wait.” Welcome to our world of hurry-up and sometimes wait. But you don’t set the schedule, and you are paid to be there on time and prepared! Nothing less. Believe me, directors and AD staff remember “late and unprepared” and it will be factored into their decision to use you again. And, oh yeah… they talk to others and share this trait of yours. Just don’t do it!
From a Producer:
Actors who are late can throw an entire production into a tailspin. Most delays on set are caused by unavoidable situations: problems with a piece of equipment, an unforeseen difficult in lighting a shot, etc. Crews work very hard to reduce and eliminate these variables so that things flow smoothly on set; to have one person upset that balance by not being mindful of the time, is not only maddening, it’s disrespectful to everyone else on set, and it costs money. Even a fifteen minute delay waiting on someone to get out of wardrobe and make-up can cost hundreds, or even thousands, of dollars in overtime at the the other end of the day. It’s instructive that if someone is late to set, it is invariably talent, not a crew person.
From a client who personally auditions and hires talent:
If it is an audition… I’m not that critical… as long as the talent isn’t in a hurry and doesn’t mind losing their place in line (if others auditioning arrived before them). On shoot day (especially when a client is present) being on-time or better yet, a few minutes early is expected. But nothing is worse than an actor who was given a script several days in advance and has not rehearsed their lines!
From a Producer:
Being late is never good not just for talent but any crew or cast member. Talent may be worse if the tardiness slows down the production schedule or causes production to flip things around. Any inefficieny in the shoot usaully hurts the bottom line because it can create overtime which is expensive. I would suggest talent leave extra time to reach locations they are not familar with and being 10 minutes early never hurts. As far as reputation if someone has a legitimate excuse like an auto accident or unavoidable problem then you can find forgiveness but if the person is habitually late it will be a problem unless their talent is so unique they simply can’t be replaced.
From a client who personally auditions and hires talent:
Perhaps nothing is more annoying and more preventable than being late. On a shoot, we’re all dealing with limited time. Everything is planned to fit into the allotted hours we have, with crew starting before and ending after the talent have done their work. If you’re late, you risk sending everyone else into overtime and that bill goes to my client. I may not have the budget room to bill for overtime, so I may have to eat that even thought I was prepared. Know that you’re not the only one who is on the clock. It’s a team.
Next, being late puts you in a hole from the moment you show your face on set. You have no choice but to start you day with an apology and work your way up from there. And if you’re not on the ball with your lines, if your wardrobe selection isn’t quite right, if you’re having a bad hair day, whatever other small thing is going wrong, it’s magnified. . . because you were late. You have to be at your very best performance-wise, which is even more difficult under these circumstances.
If you are late, here are the steps to follow:
1. Call the on-set contact (if you have that number) or call your agent. Let someone know where you are and what’s up. If you’re late, we’re all generally curious as to why, but really all we care about is when you’re going to be on set so we can get our work done.
2. Give a realistic prediction of your ETA. If you’re going to be 25 minutes late, it doesn’t help if you say you’ll be there in 15 minutes. We just get mad at you when twice then, because now you’re late twice.
3. Apologize once, sincerely; then let it go. Apologizing over and over again reminds everyone that you screwed up earlier in the day. You can’t relieve the tension by continuing to bring it up. Allow me to forgive you and get on with the shoot. Something like, “I’m so sorry I’m late. It will never happen again, “ will suffice.
4. Never let it happen again.
Remember, because lots of people want you job, that you are the most replaceable person on set – even at short notice. Don’t abuse the privilege of being a WORKING actor by not respecting everyone else’s time.
Thanks to cable television, the internet, and the rise of independent films, there has never been a better time to be an actor. In Acting for a Living, Roy McCrerey shows why acting is now a viable choice for a career – no different than sales, law, medicine, or any other profession. You need to know the rules of entry, and you need to know how the game is played – but you certainly don’t need Hollywood. Today, you can make a living as an actor almost anywhere. If you speak and read well, have a good imagination, and are in search of a career that you can truly get excited about…you need to read this book.
Voice Production: You will learn how the voice works, how to begin developing your full, free, flexible sound,
strengthen your breath support, crisp up your articulation, project and modify your volume for different sized spaces.
5 sessions, Sundays, March 5 – April 1
3:00 – 5:00pm
$150.00
Non-Regional Speech for the Southern Actor: Learn how to modify your southern sound for auditions and roles
in Theatre, Film and TV productions and/or regular life.
5 sessions, Sundays April 15 – May 13
3:00 – 5:00pm
$200.00
Foundations of Fitzmaurice Voicework®: Destructuring/Restructuring
Stretch your range, gain flexibility, strengthen your support, develop your resonance, find more ease and connectedness in your sound.
Limited to 6 students.
5 sessions, Sundays, March 5 – April 1
7:00 – 9:00pm
$200
Fitzmaurice Voicework® On-going class: For students who have completed the foundations class
or have studied the technique with Cynthia or another certified Fitzmaurice teacher.
A weekly drop-in class that will continue the development of the voice utilizing Fitzmaurice Voicework.
Monday’s beginning March 12
7:00 – 9:00pm
Limited to 6 students.
$15 per class
Moving past just knowing the script
Determining what is unique about you as an actor
Advanced audition techniques
Scene work with commercial and film, movie scripts
Improvisation and how it relates to owning the audition
How casting directors and actors communicate in the audition
Evaluations
Regina Moore is, without a doubt, the busiest casting director in this region. She casts feature films, TV pilots, commercials, music videos and all other areas of on-camera performance. This is a rare opportunity to be one of a small group to study and audition for this very in-demand talent specialist in an intimate and informal atmosphere.
This will not be a workshop offered monthly and is generally only offered once or twice per year.
Actors that have inquired about the class will be considered first. Please fill out the form below to sign up or contact Regina Moore.
Please fill go to web site (www.moorecasting.com) go to Workshops (click on) then look for Advanced Workshop (Fill out online registration [form at bottom of Advanced Workshop] and submit).
Come meet with Michelle Danner & learn about all the acting classes that we offer. Wednesday February 29th 10:30am to 12:30pm
RSVP 310-392-0815 or email info@edgemar.org In the year 2000 Larry Moss and Michelle Danner founded Edgemar Center for the Arts, a two theatre and art gallery complex. The Larry Moss Studio has been housed at Edgemar since the cutting of the ribbon in 2002 and has flourished and grown into what is now The Acting Studio at Edgemar.Michelle Danner coaches many A-List Actors privately and on set including Gerad Butler, James Franco, Penelope Cruz, Zooey Deschanel, Michelle Rodriguez, Salma Hayek, Chris Rock, Jamie Lynn Sigler, Michael Pena, Isla Fisher, Common, Brian McKnight, Marcia Cross, Christian Slater, Catherine Bell, Gabrielle Union, Justine Wadell, Rob Estes, and Rick Fox among many others.
Below are the list of classes we offer.
Emmy Award Winner Brad Garrett Sitcom Intensive:
learn the ins & out of situational comedy
Tuesday March 6th & Wednesday March 7th 6-11pm
Tuition:
$300 to work
The Golden Box with Michelle Danner a 2 Day Acting Technique Analysis
*Discover the answers to the following questions
*Why are some choices more powerful than others? *How does one deliver a raw unforgettable performance? *What specific tools can be applied to film, television, & stage work?*How does one develop a personal story from scratch?Monday, March 19th, 6pm-11pm & Tuesday, March 20th, 6pm-11pm
Saturday April 21st, 11am-5:30pm & Sunday April 22nd, 10am-3pm
Tuition is $215
Breaking into the Industry
Wednesday March 14th 7pm to 10pm
Tuition: $125
Auditioning for the Camera:
Improve your auditioning skills
Mondays 7pm to 11pm
Tuesdays 11am to 3pm
Wednesdays 11am to 3pm
Sunday 11am to 3pm
Tuition: $455 for 8 weeks
Script Analysis with Michelle Danner:
Analyse & breakdown scenes from different genres of screenplays, television, & plays.
Ongoing Tuesdays 3pm to 6pm
Tuition:$360 for Six Weeks new session starts March 6th
2 Day Master Scene Study Class with Michelle Danner
Monday March 26, 7-11pm Wednesday March 28, 7 to 11pmTuition: $275On Going Scene Study:Work on modern or classic scenes & monologues
Tuesdays 6:30pm-11pm
Saturdays 12-3:30pm
Tuition $355 for 6 weeks
Improv 2 month session includes a comedy showcase
Mondays & Fridays 10am to 12pm
Tuition: $300 per month
Voice & Speech Class
Tier I: Beginner/Intermediate
Thursday March 22nd 7-10pm
Tier II: Advanced
Thursday March 22nd 11-2pm
Tuition: $455 Eight Week Session
Award Winning Casting Director Lisa Beach
Teaching one day intensives
Horrible Bosses, The Change-Up, Night and Day, Walk the Line, Wedding Crashers, 3:10 to Yuma, & Scream
Let your international actor friends know that we sponsor students with the M1 Visa if they are accepted into our 6 or 12-month well rounded program. They are able to study and work in the United States.
Michelle Danner coaches many A-List Actors privately and on set including Gerad Butler, James Franco, Penelope Cruz, Zooey Deschanel, Michelle Rodriguez, Salma Hayek, Chris Rock, Jamie Lynn Sigler, Michael Pena, Isla Fisher, Common, Brian McKnight, Marcia Cross, Christian Slater, Catherine Bell, Gabrielle Union, Justine Wadell, Rob Estes, and Rick Fox among many others. She was the comedy acting coach expert on the WB show “The Starlet” and was voted favorite acting coach by Backstage readers. Michelle trained with Stella Adler, Uta Hagen, and Bill Esper. She was featured coaching Andy Richter on The Tonight Show with Conan O’Brien in July 2009.
Michelle is the founder and Artistic Director of Edgemar Center for the Arts and The Edgemar Theatre Group. She raised 1.3 million in Capital campaign which went to the construction of the two theatres and the art gallery. Her highlights at Edgemar include producing “The Night of the Black Cat”, winner of the 2005 Best Musical of the Year at the Los Angeles Music Awards. She directed the world premiere of “Mental the Musical”, winner of several 17th Annual Ticket Holder awards for acting and musical score. Her production company, All In Films, is in development for several film projects: “You’re on the Air”, “The Will To…” and just completed principal photography on the feature film “Hello Herman”. Once a year Michelle directs for the industry the multi media event Scene Bites.
“The Golden Box”
Two Day Advanced Technique Analysis
Discover the answers to the following questions
Why are some choices more powerful than others?
How does one deliver a raw unforgettable performance?
What specific tools can be applied to film, television, and stage work?
How does one develop a personal story from scratch?
Monday, March 19th, 7pm-11pm & Tuesday, March 20th, 7pm-11pm
Tuition: $215
Please call 310-392-0815 to Register
___________________________________________
Script Analysis Class
with Michelle Danner
Students learn the mechanics of breaking down story. characters, conflicts,characters, conflicts, and language from a variety of genres including screenplays, television, and theater using both dramatic and comedic scripts.
The class explores all the tools an actor can apply to create memorable performance and acquire the discipline to make powerful choices for auditioning, projects or parts you have booked.
Actors are encouraged to explore and work on great writing in a safe environment where risks can be taken and their instrument stretched.
Material and partners will be assigned ahead of time. Actors, writers, directors, and producers will work and watch fully prepared scenes from fellow artists. Both working and audit spots are available.
Payment information will be sent with your acceptance letter. Please do not send any payments until you have been accepted.The workshops fill up very quickly. Don’t wait to apply!
Monday March 26, 7-11pm Wednesday March 28, 7 to 11pm
Tuition: $275
Please call 310-392-0815 to Register
___________________________________________
2 Day Auditioning for Film & Television
with Michelle Danner
Actors practice in front of the camera with sides from movies ranging from comedy, sitcom, romantic comedy, slapstick, black comedy, and all genres of dramatic writing.
Playback is watched on the big screen. Students learn to stamp their signatures on a character with unique choices.
This class aims to exercise an ease working in front of the camera and the confidence to perform and to shine in every audition.
Please call 310-392-0815 to Register
Tuition $285
Sitcom Comedy Class
with Emmy Award Winner
Brad Garrett
Learn the ins & outs of situational comedy
Setting up, delivering, and landing a joke
The rhythm of a scene
Transitions and beats
Character development
Cold reading
Two day Intensive
Tuesday March 6th & Wednesday March 7th from 6pm-11pm
22 Working Spots
Tuition $300
Call to sign up 310-392-0815
Improv Workout Come as often as you want once or twice a week its up to you how often you want to come and workout your instrumentThe current industry demand is for skilled improv actorsto be quick on their feet naturally & with confidence.
This class focuses on:
Improving your comedic skills for auditions
Taking risks to overcome mental blocks
Strengthening your impulses
Heightening your passion and emotions through voice & actions
Develop your creativity
Learn to trust your instincts through improvised scenes
Choose and build characters
Break through self-imposed restrictions in a safe supportive space.
Mondays & Fridays 10:00 am to 12:00 pm
Tuition $300 per month
Call to sign up 310-392-0815
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Breaking Into the Industry
The Must-Know BUSINESS aspects of launching your Acting Career & Marketing YOURSELF!
This interactive, jam-packed workshop covers:
How casting selects actors to bring in & how to make your headshot stand out (What type do they see me as? Exercise)
Casting: Demystifying the process
Not many credits? NOT A PROBLEM! RESUMES and how to make them work for you
Unions & how to easily become SAG eligible within 2 weeks!
Do’s & Don’ts for Getting an Agent
BONUS:
Participate in a goal planting exercise powered by NLP technology that will bring your goals closer to you almost automatically
*Includes headshot critique
Wednesday March 14th 7:00pm to 10:00 pm
1 day intensive $125
Call to sign up 310-392-0815
The Acting Studio at Edgemar
FKA
The Larry Moss Studio*
*We provide a customized Conservatory
Program for each individual actor. Beginner, Intermediate & Advanced Students can map out a 3, 6 or 12 month program. 12 Month Program :
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
-Auditioning for the Camera
-Ongoing Scene Study
-Twelve Months of Improv Workout
-Casting Director Workshops
-Voice Class Intensives
6 Month Program:
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
-Auditioning for the Camera
-Ongoing Scene Study
-Six Months of Improv Workout
-Casting Director Workshops
-Voice Class Intensives
3 Month Program:
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
Walk The Line, The Change Up, Wedding Crashers, 3:10 To Yuma, Scream, Hawaii Five-O, Hannah Montana: The Movie, Knight & Day, Terminator: The Sarah Connor Chronicles, and more.
Discover Lisa Beach’s unique take on the audition process. Find out what works and what does not work from her knowledgeable perspective.
Lisa has spent 25 years in the business and has worked with some of the top Producers and Directors in Hollywood. She will provide valuable insights into the casting process based on her in-depth expertise.
The class will consist of a brief overview, a Q&A session, then each student will read sides. Lisa will critique each reading as well as give advice on headshots. Be prepared, she is very honest and open.
Class size is small so call as soon as possible if you want to be considered
310-392-0815.
Tuition $150 Working
$50 Dollars Auditing
Please be ON TIME. Class will start promptly at 9am
Upcoming ClassesKIDS & TEENS VOICE-OVER
Saturdays, March 10 thru April 14
Introduce your child or teen to the tools and techniques of voice-over.
BUSINESS OF ACTING SEMINAR
Saturday, April 7
Parents stay during class time to learn how they can best support their child or teen in the pursuit of their dream while keeping it grounded in reality. Headshots & resume’s, agents, auditions, how to avoid scams, more… Bob or Della will be in the lobby to present the material and answer your questions.
AGENT VISIT!!
Saturday, April 28
Parents come to the theatre to watch and listen as our visiting agent gives feedback to the students on their performance and progress.
For the kids, we are hosting Agent Brian Bremer of People Store/Hot Shot Kids who is going to be with us looking at our young talent.
Agent Sarah Carpenter of Atlanta Models & Talent will be coming to see the Teens and give them the benefit of her expertise and experience.
Our Gwinnett Branch students taught by Miss Nicky will be making the trek to our Decatur location to perform in the theatre for Agent Barbara Garvey of East Coast Talent. SUMMER 4-MONTH SESSION
Saturdays, May 5 thru August 25
Parents join the class on the final Saturday of the 4-month session, as our visiting agent views the teens’ on-camera work and gives them feedback and critique.
KIDS & TEENS VOICE-OVER WORKSHOP
We’ve all heard the voice behind the TV commercial, or the radio spot that compels us to buy that product! It sounds so easy when we hear it, but the fact is… it takes practice. This comprehensive Voice-Over workshop is led by Grammy winning producer and engineer, Matt Still.In this 6-week class, Kids or Teens will learn:
• Microphone technique • Enunciation and delivery (bring it off the page-deliver in ideas) • Reading with inflection to sound natural and conversational • Pacing and how to approach the different styles of commercials
Schedule
6 Weeks – Saturdays, March 10 – April 14 Grades 2-6: 10am-Noon | Grades 7-12: 1pm – 3pm
SUMMER 4-MONTH SESSION BEGINS MAY 5!!
Get all the details on KIDS CLASSES or TEEN CLASSES on our newly redesigned website. Take some time to surf around, especially our updated RESOURCES page!!
YOUR RESPONSES TO OUR SURVEY!
We appreciate your comments on the yourACT survey emailed to you recently. The response was overwhelming! We are truly humbled, grateful, and amazed by the wonderful things that were said.We only had room for a fraction of the responses we received to our survey of students and parents. READ THEM ONLINE. You can also check out what the INDUSTRY PROS have to say about yourACT Acting Studios.
Check back on our site periodically as we will be updating and replacing the quotes – you may see yours!!
SURVEY RESPONSE!
“Both of my daughters have participated in yourACT classes over the last five years. Every class has been beneficial and reasonably priced, but the outstanding thing about yourACT is the feeling of ‘family’ you sense when you walk in the door. Bob, Della and the staff all really care about their students, both personally and professionally. At yourACT, you get the tools to get started and to grow as an actor, plus caring instructors to cheer you along! You just don’t get that everywhere.” Angela, Meagan and Given Sharp
“I have been working with Bob and Della for many years now. When I sign actors from yourACT, I know they will be well trained, professional, bookable actors. yourACT has very knowledgeable, caring instructors that teach each actor individually. They give personal attention to their actors, which is very important. My actors tell me all the time how much they love going to classes there! From the beginner to the seasoned actor, I highly recommend yourACT as a part of the actor’s journey.” [On a personal note: Bob and Della are the coolest couple I know! They are well known and respected in this industry, that includes respect from me!]Gerra Avery, Co-Owner, Avery Sisters Entertainment
As the founder and president of Grace Hill Media, I can count on one hand the number of times I’ve chosen to write a personal letter to our entire database on behalf of a film. And while many of the movies we work on are great entertainment, rarely does a film fall into the category of “life-changing.” THE WAY is one of those films.
Starring Martin Sheen and directed by his son, Emilio Estevez, THE WAY tells the story of Tom, an irascible American doctor who comes to France to collect the remains of his adult son (played by Emilio), killed in the Pyrenees in a storm while walking The Camino.
Rather than return home, Tom decides embark on the historical pilgrimage to honor his son’s desire to finish the journey. What Tom doesn’t plan on, is the profound impact the journey will have on him and his entitled California life. Through this journey, Tom discovers the difference between “the life we live and the life we choose.”
Emilio was inspired to write this screenplay after a life-changing walk of his own across the north of Spain on the Camino de Santiago, also known as the Way of St. James. Martin and Emilio, along with the producer David Alexanian, have put extraordinary heart into this film, and their hard work is paying off. Already THE WAY is one of the top ten downloads on iTunes, which speaks to the quality of this transformational film. These men are great filmmakers, and they’re great friends too.
On February 21, THE WAY will be available on DVD in stores nationwide. I can’t encourage you enough to pick up this film and share it with others. But in the meantime, click here to watch the trailer to see for yourself why I’ve taken the time to point you to THE WAY.
Wherever the road takes you, it’s my prayer that God will share your journey.
Buen Camino!
Jonathan Bock President Grace Hill Media
12211 Huston Street Valley Village, CA 91607
Phone 818.762.0000 Fax 818.743.7619
Welcome to Kristen Shaw Acting Studio! THE Studio for the Working Actor in Atlanta. We are delighted to present to you…
ADAM STONER’S PROFESSIONAL SCREENWRITING WORKSHOP!
INTENSIVE SCREENWRITER’S WORKSHOP!
Adam Stoner’s filmmaking career spans over 20 years. Adam began his training at NYU Graduate Film School, where he received a Merit Scholarship. He has also been an Instructor at NYU, in the Film Department.
Adam was an original member of the prestigious New York Film Academy, and was instrumental in developing the hands-on film instructional workshops that are now found throughout the world. He also ran the Film Academys’ Film and Acting programs, housed on the Universal Studios Lot.
Adam has excelled as both a Filmmaker, and a Film Instructor. His directorial debut, “Joey”, garnished an award from the National Academy of Arts and Sciences. He is currently in Post Production on his latest theatrical film, “A Day to Live”.
Many of Hollywood’s brightest young stars are amongst his students, including Ben Foster (310 to Yuma, X-Men), Joshua Leonard (Blair Witch Project), and many more.
Currently, Adam is training professional writers and directors at Turner Broadcasting Studios, as well as teaching Professional Screenwriting and Directing privately. We are delighted to have him!
THIS IS A CAN’T MISS CLASS! ADAM IS RARELY AVAILABLE FOR SUCH AN EXTENSIVE WORKSHOP.
CLASS SIZE STRICTLY LIMITED TO 10. *MUST REGISTER IN ADVANCE.
This is structured as a 2 part class, 8 weeks total
Part 1, Classroom Intensive:
Mastering the Elements
SAT MARCH 10, 10am-5pm AND
SUN MARCH 11, 10am- 5pm
Part 2, Writing Workshop:
Developing YOUR Script
Thursdays March 15 – April 26, 7-9pm
PLEASE NOTE: Classes are likely to run over. Adam takes his time with you very seriously and will continue the class until the natural stopping point. Please be prepared.
You may bring material you are currently working on, or you can start fresh. This class provides individual coaching for each writer’s work. Be prepared to read, and be read by, other writers in the class.
Please commit fully, and enjoy the journey! This experience will change the way you see the process of moviemaking, forever.
If you want to receive this monthly newsletter, you MUST click on the “add to email” link above.
I promise not to SPAM, or ever give out or sell your information. Your privacy is always honored here.
PRIVATE COACHING ALSO AVAILABLE (including taping)
FOR AUDITIONS, CAREER CONSULTATIONS AND HEADSHOT PROCESS
(getting the right photos, choosing, and specific details to make your headshot pop!)
CALL OR EMAIL OFFICE TO SCHEDULE
DO YOU HAVE A STORY TO TELL?!?
Professional Screenwriter’s Workshop is here!
Internationally
known ADAM STONER (Previous Director of New York Film Academy) will be leading you through everything you need, to get that IDEA onto the PAPER.
If you are a NEW writer, a SEASONED Screenwriter, or an actor who really wants to understand storytelling from the Director’s perspective – this is an opportunity you don’t want to miss!
It is time for your DREAM to become your REALITY!!!
8 Week Professional Screenwriter’s Workshop with ADAM STONER
Dates: Sat March 10, 10a-5p
& Sun March 11 10a-5p
& every Thursday, March 15- Ap 26, 7-9p
Adam Stoner has over 20 yrs in the business as a Film Instructor and Filmmaker. He founded the prestigious NewYork Film Academy, and is currently training Professional Writers and Directors at Turner Studios.
This is a rare opportunity to train with Adam, and will change the way you see screenwriting forever!
Everyone at Village Theatre is beyond excited for you to check out our new home. There is more seating, a cool cafe, covered parking, MARTA accessibility, and restaurants right next door to grab a bite before the funny begins!
Stay tuned for the date of our Grand Opening which will happen soon as well.
Our next LEVEL 1 IMPROV CLASS begins March 6th!
Here are the details:
Date: Tue. 3/6 7:30-9:30 pm
Course Cost: $100 per month ($200 total)
Limit: 12 students
Class meets for 8 weeks and ends with grad show!
If you aren’t able to make this class, check online for the entire 2012 schedule!
If you’re not already, become our fan on Facebook or follow us on Twitter. We are so excited for you to check out a show at our brand spanking new location!
Pencil Factory Lofts 349 Decatur Street Suite L Atlanta, GA 30312
404.688.8858
The Village Theatre performs shows Thur, Fri and Sat at 8:30 pm. Thur shows are $5 and weekend shows are $10.
STUDENTS THAT TAKE THIS WORKSHOP WILL HAVE FIRST OPPORTUNITY TO AUDITION FOR THE 11ELEVEN11 PROJECT. WWW.STUDIO11FILMS.COM!!!!
About the Workshop:
Actors will learn and work through:
· character development
· beats
· actions
· emotional sense memory
· personalization substitution
· sensorial
· scene analysis
· script breakdown
· exploration of need
· scene exploration with partner
· Improvisation exercise, time allowed
About the Master Teacher:
Marishka S. Phillips is a native New Yorker, Brooklyn born. She started performing at the age of 8. At age 13, she appeared in a European tour of Raisin and further developed her talents at Alvin Ailey’s School of Dance, Broadway Dance Center (scholarship) and Fordham University. By the age of 19, she landed a featured role and understudy to the star on Broadway, in the musical Uptown: It’s So Hot, directed by Maurice Hines She went on to perform in such musicals as Bubblin’ Brown Sugar, Fame: The Musical, The Wiz and The Me Nobody Knows. Phillips has also done character work on A Different World, the spin-off of The Cosby Show.
Phillips takes a very organic and spiritual approach to the craft of acting similar to her mentor Ms. Batson’s Exer-Actor classes. She has worked as the on-set coach for Kerry Washington (Ray, The Last King of Scotland) and Tasha Smith (Tyler Perry’s For Better or Worse, Why Did I Get Married). Other notable clients include Bre Scullark (America’s Next Top Model) Deborah Cox, Raphael Saadiq, Kevin Phillips, and Nafessa Williams (One Life to Live).
Introducing Marishka Phillips
Workshop Policies and Procedures:
To apply for this workshop, send an email to blueprintactingstudios@gmail.com or contact the Studios at (770) 649-5663. You will receive a reply noting that your email has been received. Our reply does not constituent an acceptance. If you do not receive a reply within 24 hours please send a follow up email. If you are accepted into this workshop, you will receive an Acceptance Letter with further instructions and class details. All new students: Please EMAIL us your Headshot and Resume, including your phone number and email address.
Information regarding payment will be sent with your acceptance letter. No payments will be accepted until you have been accepted into the workshop.
Please do not show up at the workshop / theatre unless you have been accepted.
We do not accept “walk-ins”.
This workshop will fill up very quickly. Don’t wait to apply!
If you have questions please give us a call at (770) 649-5663
Sincerely,
Sharon Tomlinson
Blueprint 4 Hollywood
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‘Level UP!: How to take your career to the next level Industry Panel at the next Get Connected is from 7:30-8:30 pm in the screening room we have folks from Turner,Gospel Music Channel,Liquid Soul Media, People Store,Wealth Management company and Bennett Thrasher, Folks will be speaking about Business & Entertainment from the background of Music Clearance & Licensing,Marketing Indie film projects,GA Tax Credits,Wealth Management,Hiring Film Agents and Hiring in the Entertainment world get ready to learn and be educated by the industry best. P.S SEEKING VENDORS & SPONSORS FOR NEXT MONTH CASINO THEME MIXER MARCH 29TH EMAIL US!!
Autumn Bailey Entertainment • FILMAtlanta • Blank Stage Productions Presents
Back To Business
Where the Industry Meets Business
Execute your vision for 2012 and there is no better place to do this then at Get Connected.
Hosted by the Cinema Dolls
WEDNESDAY February 22, 2012
6 pm – 11pm
The Foundry at Puritan Mill
916 Joseph E. Lowery Boulevard, Atlanta, Georgia 30318.
The Foundry does not have ATM or accept credit cards – CASH ONLY
$10 Admission
$5.00 Valet Parking
Free Food & Desserts
ATTN Actors please bring your head shots for agencies casting for independent shorts & features
In the spirit of back to business we are hosting a powerhouse panel with local industry people from the field of Marketing, Music licensing, Financial that will focus on business in the industry. Panel starts at 7:30-8:30 in the screening room at the foundry., also we can’t forget about the $1500 production plan contest, great short films, industry specific vendor tables, Free food and amazing desserts,light music and the most important aspect to all this… you!
TITLE SPONSOR
Maverick Entertainment Group, now in its 13th year, has secured its place as a leader in the acquisition and distribution of independent fare to the domestic and global markets. Our mission is to be a vertically integrated entertainment company that creates, distributes, licenses, and markets all forms of entertainment and their related business platforms. http://www.maverickentertainment.cc/index.php
Media Sponsors
How are new clients finding you?
ProductionHUB connects the film, television, video, live event and digital media production industry with those seeking production products, equipment, services and professionals. Attracting more than 4 million searches last year alone, ProductionHUB is one of the fastest growing B2B sites of its kind. Your profile is the first step in getting found by new clients.
Joy105.com is your #1 source for gospel and inspirational news! This community has been designed for the Kingdom! We are your one stop .com for the latest in gospel news and happenings! Promote your CD’s, release parties,ministry and concerts!
A minister of a local church finds himself at a crossroad, he has converted to atheism. He wants his good friend and mentor Deacon Walker to accept him. His problems increase when he is confronted by a church member who wants him to pray for her sick son.
Shooting Dates (best guess): February 24th, 25th, 26th
Areas of Atlanta region you’re shooting in : Midtown and Buckhead
Principal Characters:
Terrance Hall: mid-30s is very neurotic, smart and is an avid reader. He loves to help people but feels like he’s living a lie by preaching to his church about God because he’s become an atheist.
Phillip Walker: mid-40s loves God and Christianity even though he doesn’t follow all of the teachings, especially the one about being faithful to his wife. He is older than Terrance and has been his mentor and friend. He is very headstrong and has a temper.
Sharon Buckner: late 20s – early 30s is a single mother, her husband died while working the beat as a police officer. She is very strong but often looks for other people to help her when she is in need. She has a sick son so she’s been going through a rough part of her life. She wants her son to get better but she knows deep down nothing can be done for him.
Tabitha Willis: 30’s – 40’s, God-fearing Christian. She’s a waitress that doesn’t mind giving her two cents.
Synopsis: Katrina is a struggling TV writer trying to come up with a spec script for a children’s program. Despite his best efforts, her laid-off husband Benjamin can’t calm her down so she can write. Only the memories of an old childhood toy are able to get her out of her funk and so she can continue writing once more.
Shooting Dates (best guess): February 23, February 24, February 25, February 26
Areas of Atlanta region you’re shooting in: Kennesaw, Marietta
Principal Characters:
Katrina Dalton: African-American woman age 45-53. Katrina is a semi-professional Scriptwriter for the local TV station but she hasn’t had a really well paying assignment for months. Her husband Benjamin has just lost his job due to his employer’s downsizing. Katrina fears that she won’t be able to carry her weight financially and that she and Bill won’t be able to retire. She also worries that they will have to depend on the support of their daughter Candice, a recent college graduate, and this could prevent Candice from having a fully independent life on her own.
Benjamin Dalton: African-American man age 50-55. A Network Engineer, Bill was recently laid off. Whenever Katrina loses her grip and begins to stress out, Benjamin does his best to take the pressure off of his wife and put it all on his back, even at the risk of breaking down himself. He is the provider and protector of the two most important women in his life (Katrina and Candice) and will do whatever is necessary to keep them safe and sane. Sometimes he becomes too chivalrous, but Benjamin is a true family man with his heart in the right place.
Synopsis: The story is about Joel who is tricked to get a pair of shoes for his sick brother. Joel meets an abundance of characters throughout the story that try getting the shoes from him since he received the last pair. Joel goes through many trials to get the shoes to his brother whom he later finds out is faking his illness, so Joel keeps the shoes for himself.
Principal Characters:
Joel: A young man who is charming and charismatic and still has a youthful innocence about himself. Age 15-16 no taller than 6 feet. A carefree, individual, innocent high school student, he’s very loyal to his big brother.
Bill: A skinny old teenager dirt bag, age 17-19, who is selfish, conniving and thinks only about himself. He has bad posture.
A deceptive individual, Bill uses others to get what he wants and doesn’t care about them. He gets what he wants by any means necessary
Melissa: A pretty young high school seductress, age 17-19, who will do whatever it takes to get the shoes for one of her boyfriends. She uses what she has to get whatever she wants or needs.
Taught by Della Cole
This Intensive course is designed for trained actors who have some audition experience.
As professional actors, we often audition and work on projects that don’t necessarily challenge the full spectrum of our talents. You may be comfortable with industrials, commercials, and voice-over but fall apart when you audition for a film. With the increase of film and television coming to Georgia, now more than ever, Atlanta talent needs to be ready for Hollywood auditions.
In this Intensive, using the “Haber Audition Technique”, actors work with film and television scripts, learning how to nail the audition in a limited amount of time. The focus is on the nuts and bolts of breaking down a scene, including relationship, intention, history, opening and closing beats, core and masking. Using the skills you learn will greatly improve your audition skills. This valuable cold-reading technique works.
of Houghton Talent Sally Neal, voiceover agent of Houghton Talent has this to say: “A voice is just a voice until you add personality and a true understanding of what you are saying and why… It’s the reason producers will choose one voice over another.”
Break down the copy you are given. Look at it from the producer’s and writer’s point of view. Figure out who the target audience is. Determine why your style/voice has been asked to audition the copy. Then deliver the script in the most effective way to promote interest in the product. If you do it, you will book the jobs!
Come and learn this important information!
ONE DAY ONLY, 1-3pm, Saturday, February 11 - Only $99!
I will appear in a Superbowl commercial which is a promo for “America’s Got Talent” with Howard Stern. I play an NBC Executive.
Also, I recently appeared on the new daytime show, “The Revolution” as myself, representing women in their fifties speaking on breast health dated January 18th.
[Editor's note: And that's not all!]
I was also upgraded from an extra to a prinipal in the latest “Bourne” film entitled “Bourne Legacy”? to be releasesd later this year. I play a TSA agent beside Rachel Weitz and Ed Norton.
All of this is possible beacuse of the jump start in my acting training that I received from Della Cole and Bob Harter at yourACT Acting Studios. I moved back to NY and within a year I became SAG and AFTRA. Thanks for the love, hard knocks and most of all, “The Truth” about acting.
Love you guys!
Faye Yvette McQueen
Actress, Dancer and Model
AFTRA / SAG
Many, many thanks to Stephen Caudill who worked tirelessly to produce the all-NEW yourACT website!!
Take some time to surf the new site and check it out. There is a section called “The Buzz” where you will find quotes from Talent (maybe even YOU if you answered our recent survey) and from Industry Pros about their experiences at yourACT.
Missed the Survey? That’s OK. There is a link there to send us an email with your quote and headshot. We’ll be rotating out the quotes from time, so if you sent one in for the survey and don’t see it there, don’t despair. Eventually we’ll get around to you.
One example:
On par with my New York and California training. And with so much laughter! I highly recommend yourACT – 100% professional- they know what they’re doing. Mary K Shaw
We were absolutely blown away by the tremendous response and the wonderful things you had to say. It makes what we do here all worthwhile. A heartfelt thank you to ALL of you!
During this 6 week course, you will learn how to strengthen your auditions and further your career as an actor. You will work on TV and film sides from past and presently shooting productions as well as cold reads. Working Casting professional, Shira Sandler, will give you personal feedback and answer all of your questions on auditioning, the business of acting, and what Casting Directors really think. Each class will be broken into two segments: working on your feet and questions/discussion.
Shira Sandler has amassed many professional credits in theatre, film and TV casting over the past seven years. This was a natural progression from her total immersion in acting and the performing arts since she was a small child. A graduate of Bard College, Shira received her B.A. in Theatre.
While living in New York City, she worked with such casting offices as: The Manhattan Theatre Club (on and off Broadway productions), ABC Primetime Television, Nickelodeon, Grant Wilfley Casting and Ellen Chenoweth. She has also assisted and led the casting on numerous independent films and shorts.
Beyond casting, Shira has managed high profile talent on both the East and West Coasts.
Upon moving to Atlanta over a year ago, Ms. Sandler joined Fincannon and Associates as a Casting Associate. Her many projects have included Joyful Noise, Drop Dead Diva, Necessary Roughness, The Goats, and GI JOE 2. She looks forward to her upcoming seasons work on Drop Dead Diva and Necessary Roughness, as well as the many other projects that will soon begin production in Atlanta.
VOICE-OVER DEMO WORKSHOP
This 6-week workshop is dedicated to producing a professionally edited 60 second Voice-Over demo, suitable to upload to your agent’s website, mail to production companies, or to submit by email as an MP3.
This comprehensive Voice-Over workshop is led by Grammy winning producer and engineer, Matt Still.
Matt is a Grammy winning producer & engineer with over 20 years of experience. He is a life-long musician who started studying classical piano at the age of four and could read music before he could read a book.
Along with working in the music industry, Matt also lends his talents to the world of post-production. He has recorded and mixed over a thousand radio and TV commercials throughout his career. Clients like Coca Cola, Nike, Mercedes, Cartoon Network, and The Georgia Lottery have all raved about Matt’s work.
He’s even been known to step behind the microphone as a voiceover talent.
DISCOUNT FOR YOURACT NEWSLETTER SUBSCRIBERS!
ENTER THE PROMO CODE YA FOR $10 TIX ONLINE – THAT’S $5 OFF!!
yourACT Acting Studios // 3041 N Decatur Rd, Scottdale, GA 30079
“We are lucky to have this nonprofit company of players in Athens.” – Eddie dePeterse, Athens Banner Herald
Greetings!
Seagulls, Sharks, Juggling on a Giant Peach!?!
What do you do when your parents are eaten by a Rhinoceros? A little boy, lonely and abandoned, finds some gigantic buggy friends and saves the day! For anyone who has ever felt isolated, this timeless tale will restore hope and cure your winter blues. This magical journey was Roald Dahl’s first children’s book!
School field trip performances and public performances are February 29-March 10 at Seney-Stovall Chapel.
Public Shows: March 2 at 7:00 PM, March 3 at 2:00 PM & 7:00 PM, March 9 at 7:00 PM, March 10 at 2:00 PM & 7:00 PM. For more info contact booking@roseofathens.org or call 706-340-9181.
“Rose of Athens is AWESOME. My children have seen many of their shows and have taken their theatre classes. They are top notch!” – comment in Athens Banner Herald
Sustain Rose of Athens Theatre “Life Skills Through Stage Skills” education programming, by bidding on one of Emily Hogan’s seven fabulous Shakespeare Dawgs OR simply donate.
RoA is the first and only 501c3 nonprofit professional theatre in our region, and that means a donation to RoA is tax exempt!
Click here to make a BIG difference in the life of a child or a local artist.
“Believe me, love, it was the nightingale” R & J, 3.5
Randy Cohlmia & Wendy Melkonian in Becky’s New Car. Photo by Bill DeLoach.
Bradley Bergeron, Kelly Chapin Schmidt & Jimi Kocina in The 25th Annual Putnam County Spelling Bee. Photo by Bill DeLoach.
**********
THE FOREIGNER
A Comedy by Larry Shue
Directed by James Donadio
February 23-March 11, 2012
The Foreigner may be one of the funniest plays ever written using every device in the comedy storehouse to make you laugh yourself silly! Charlie’s shyness renders him helpless in conversation – so when a friend covers for him by telling the other guests in a rural Georgia mountain lodge that he is an exotic foreigner and speaks no English, Charlie ends up hearing more – MUCH more – than he should – and the hilarity begins.
We want to help you celebrate that special someone in your life with a terrific discount offer available only on February 14th.
Choose from two different offers:
A $10 off voucher to use toward tickets to either of our next two mainstage shows,
AND/OR
Take %10 off a class through our Conservatory (including Spring session or Summer Camp)! (See restrictions on coupons below.)
Simply call 770-641-1260 on Tuesday, February 14, 2012 to redeem this offer.
HAPPY VALENTINE’S DAY, and thank you for being a part of the success of Georgia Ensemble Theatre.
The Staff of GET
***********
The Johnny Cash Musical ShowRING OF FIRECreated by Richard Maltby, Jr.
Conceived by William Meade
Directed by Robert J. Farley
April 12-29, 2012
We’re gonna raise the roof with this barn-burner of a musical that celebrates the songs of an American legend, The Man in Black himself, Johnny Cash. This thrilling show will feature an ensemble of many of your favorite GET singers and musicians who will make Ring of Fire an extraordinary theatrical event to add to our rich history of high energy, sold-out, foot-stomping musicals!
Sponsored by Bank of North Georgia.
Take 10% Off Classes – February 14th Only
Choose from our Popular Spring Saturday Workshop Series or the Fabulously Fun Summer Camp Series.
(see restrictions on coupon below) Visit our Conservatory Page HERE for more information and these and other great theatre education programs.
Georgia Ensemble Theatre at the Roswell Cultural Arts Center 950 Forrest Street Roswell, Georgia 30075 770-641-1260 www.get.org
Save $10 on Tickets
Happy Valentine’s Day! Get $10 off your ticket order to either of GET’s next two shows: THE FOREIGNER or RING OF FIRE. Simply call 770-641-1260 and mention the special “Valentine’s Discount Offer.” Available only with phone orders on February 14, 2012. Only one discount per patron. Cannot be combined with any other discount. Not applicable to “Recession Buster” perimeter seating.
Offer Expires: Tuesday, February 14, 2012 at 6pm.
Save 10% on Spring/Summer Classes
Happy Valentine’s Day to the young person in your life! Get 10% off Spring Classes or Summer Camp. Simply call 770-641-1260 and mention the special “Valentine’s Class Discount Offer.” Available only with phone orders through February 14, 2012. Cannot be combined with any other discount. Not applicable to “Characters of the Watershed.”
Dear Tiffany
2 new intensives: Michelle Danner teaching auditioning for the camera & Brad Garrett from Everybody Loves Raymond teaching comedy intensive.
CALL Alexandra at: 310-392-0815 to find out the availability for a class or to make an appointment to meet us for an informational session.
*Our next informational session, to learn about classes, will be held Tuesday February 14th 10:30am to 12:30pm. You will be meeting with Michelle Danner and to learn more about classes.
RSVP 310-392-0815 or email info@edgemar.org
Emmy Award Winner Brad Garrett Sitcom Intensive
Wednesday March 6th & Thursday March 7th 6-11pm
Tuition: $300
Improv 2 month session includes a comedy showcase
Mondays & Fridays 10am to 12pm
Tuition: $300 per month or 2 months for $500
New session begins February 20th
2 Day Master Scene Study Intensive with Michelle Danner
Monday March 12th, 7pm-11pm Wednesday March 14th, 7pm to 11pm
Tuition: $275
Script Analysis with Michelle Danner
Ongoing Tuesdays 3pm to 6pm
Tuition:$360 for Six Weeks new session starts Feb 21st
Auditioning for the Camera
Mondays 7pm to 11pm
Tuesdays 11am to 3pm
Wednesdays 11am to 3pm
Sunday 11am to 3pm
Tuition: $455 for 8 weeks
On Going Scene Study
Tuesday: 6:30pm-11pm new session begins Feb 21st
Saturday:12 to 3:30pm new session begins Feb 25th
Tuition $355 for 6 weeks
Breaking into the Industry
Wednesday March 7th 7pm to 10pm
Tuition: $125
Voice & Speech Class
Tier I: Beginner/Intermediate
Thursday March 22nd 7-10pm
Tier II: Advanced
Thursday March 22nd 11-2pm
Tuition: $455 Eight Week Session
The Golden Box 2 Day Technique Analysis
with Michelle Danner
Saturday February 18, 11am-5:30pm & Sunday February 19, 10am-3pmSaturday March 17th, 11am-5:30pm & Sunday March 18th, 10am-3pm Tuition: $215
*Click below to watch Michelle Danner’s latest film.
“Hello Herman” explores the desensitizing of America’s youth, and our need for a human connection. Check out
Tuition: $150 to work - $50 dollars to audit
New session:DTBD: 9am to 12pm
Let your international actor friends know that we sponsor students with the M1 Visa if they are accepted into our 6 or 12-month well rounded program. They are able to study and work in the United States.
Our next informational session to meet with Michelle Danner and to learn more about classes is going to be
Wednesday Feb 8th from 10:30am to 12:30pm
RSVP 310-392-0815 or email info@edgemar.org
Michelle Danner coaches many A-List Actors privately and on set including Gerad Butler, James Franco, Penelope Cruz, Zooey Deschanel, Michelle Rodriguez, Salma Hayek, Chris Rock, Jamie Lynn Sigler, Michael Pena, Isla Fisher, Common, Brian McKnight, Marcia Cross, Christian Slater, Catherine Bell, Gabrielle Union, Justine Wadell, Rob Estes, and Rick Fox among many others. She was the comedy acting coach expert on the WB show “The Starlet” and was voted favorite acting coach by Backstage readers. Michelle trained with Stella Adler, Uta Hagen, and Bill Esper. She was featured coaching Andy Richter on The Tonight Show with Conan O’Brien in July 2009.
Michelle is the founder and Artistic Director of Edgemar Center for the Arts and The Edgemar Theatre Group. She raised 1.3 million in Capital campaign which went to the construction of the two theatres and the art gallery. Her highlights at Edgemar include producing “The Night of the Black Cat”, winner of the 2005 Best Musical of the Year at the Los Angeles Music Awards. She directed the world premiere of “Mental the Musical”, winner of several 17th Annual Ticket Holder awards for acting and musical score. Her production company, All In Films, is in development for several film projects: “You’re on the Air”, “The Will To…” and just completed principal photography on the feature film “Hello Herman”. Once a year Michelle directs for the industry the multi media event Scene Bites.
“The Golden Box”
Two Day Advanced Technique Analysis
Discover the answers to the following questions
Why are some choices more powerful than others?
How does one deliver a raw unforgettable performance?
What specific tools can be applied to film, television, and stage work?
How does one develop a personal story from scratch?
Saturday February 18, 11am-5:30pm & Sunday February 19, 10am-3pm Saturday March 17th, 11am-5:30pm & Sunday March 18th, 10am-3pm
Tuition: $215
Please call 310-392-0815 to Register
___________________________________________
Script Analysis Class
with Michelle Danner
Students learn the mechanics of breaking down story. characters, conflicts,characters, conflicts, and language from a variety of genres including screenplays, television, and theater using both dramatic and comedic scripts.
The class explores all the tools an actor can apply to create memorable performance and acquire the discipline to make powerful choices for auditioning, projects or parts you have booked.
Actors are encouraged to explore and work on great writing in a safe environment where risks can be taken and their instrument stretched.
Material and partners will be assigned ahead of time. Actors, writers, directors, and producers will work and watch fully prepared scenes from fellow artists. Both working and audit spots are available.
Payment information will be sent with your acceptance letter. Please do not send any payments until you have been accepted.The workshops fill up very quickly. Don’t wait to apply! 310-392-0815
Monday March 12th, 7pm-11pm Wednesday March 14th, 7pm to 11pm
Tuition: $275
___________________________________________
2 Day Auditioning for Film & Television
with Michelle Danner
Actors practice in front of the camera with sides from movies ranging from comedy, sitcom, romantic comedy, slapstick, black comedy, and all genres of dramatic writing.
Playback is watched on the big screen. Students learn to stamp their signatures on a character with unique choices.
This class aims to exercise an ease working in front of the camera and the confidence to perform and to shine in every audition.
call for next session
Tuition $285
Sitcom Comedy Class
with Emmy Award Winner
Brad Garrett
Final Week of class culminates in an Industry Showcase
Learn the ins & outs of situational comedy
Setting up, delivering, and landing a joke
The rhythm of a scene
Transitions and beats
Character development
Cold reading
Two day Intensive
Wednesday March 6th & Thursday March 7th from 6pm-11pm
22 Working Spots
Tuition $300
Award Winning Casting Director
Lisa Beach
Casting Credits Include
Walk The Line, The Change Up, Wedding Crashers, 3:10 To Yuma, Scream, Hawaii Five-O, Hannah Montana: The Movie, Knight & Day, Terminator: The Sarah Connor Chronicles, and more.
Discover Lisa Beach’s unique take on the audition process. Find out what works and what does not work from her knowledgeable perspective.
Lisa has spent 25 years in the business and has worked with some of the top Producers and Directors in Hollywood. She will provide valuable insights into the casting process based on her in-depth expertise.
The class will consist of a brief overview, a Q&A session, then each student will read sides. Lisa will critique each reading as well as give advice on headshots. Be prepared, she is very honest and open.
Class size is small so call as soon as possible if you want to be considered
310-392-0815.
DTBD 9am-12pm
Tuition $150 Working
$50 Dollars Auditing
Improv Workout Come as often as you want once or twice a week its up to you how often you want to come and workout your instrument
The current industry demand is for skilled improv actors
to be quick on their feet naturally & with confidence.
This class focuses on:
Improving your comedic skills for auditions
Taking risks to overcome mental blocks
Strengthening your impulses
Heightening your passion and emotions through voice & actions
Develop your creativity
Learn to trust your instincts through improvised scenes
Choose and build characters
Break through self-imposed restrictions in a safe supportive space.
Mondays & Fridays 10:00 am to 12:00 pm
Tuition $300 per month
_____________________________________________
Breaking Into the Industry
The Must-Know Business aspects of launching your Acting Career & Marketing Yourself
The class includes the following:
Casting: Demystifying the process
How to create a great reel and why is a reel so important
The nuts & bolts of head shots & resumes
How to save money but still get great shots
Auditioning for the TV/Film roles that only AGENTS have
Why auditioning too early could do serious damage to your career
Networking Tips
Expenses you may not have to pay
Flexible jobs that can support acting career
Four year plan: keeping yourself on the tract to success
Resume critique
Wednesday March 7th
7:00pm to 10:00 pm
1 day intensive $125
The Acting Studio at Edgemar
FKA
The Larry Moss Studio*
*We provide a customized Conservatory
Program for each individual actor. Beginner, Intermediate & Advanced Students can map out a 3, 6 or 12 month program. 12 Month Program :
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
-Auditioning for the Camera
-Ongoing Scene Study
-Twelve Months of Improv Workout
-Casting Director Workshops
-Voice Class Intensives
6 Month Program:
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
-Auditioning for the Camera
-Ongoing Scene Study
-Six Months of Improv Workout
-Casting Director Workshops
-Voice Class Intensives
3 Month Program:
-The Actor’s Golden Box: Two Day Advanced Technique Analysis
Let the City of Roswell know how important the arts are to you!
Dear Mystie,
The Mayor & City Council of Roswell are considering a new bond referendum and want your input. Whether you live in Roswell or not, you travel to Roswell to visit Georgia Ensemble Theatre, and your opinion matters!
There are a series of public open house meetings scheduled where you will learn about the list of possible projects. You will have the opportunity to express your opinion about priorities.
One of the possible projects would be funding for performing arts enhancements at a cost ranging from $2M-$9M.
This project will enhance the cultural choices for Roswell residents and visitors to our community. The City may expand the current Cultural Arts Center facility or expand into a commercial center in Roswell. The new facility will allow for more live performances and a variety of entertainment choices.
Project Details Could Include:
* Intimate theater space for up to 275 seats
* A rehearsal hall, gallery and a green room
* Space for costume storage, scene shop and loading dock
* Offices
There are two more public open houses listed below that you can attend to voice your opinion, or you can rank your projects here.
Wednesday, February 8, 2 p.m.-4 p.m., Adult Recreation Center, 830 Grimes Bridge Road
Thursday, February 16, 6:30-8:30 p.m., East Roswell Park Community Activity Building, 9000 Fouts Road
Please give the City of Roswell your input regarding this bond referendum.
Just a few places open in both sessions…the morning session from 10 AM to 1 PM…and the afternoon session from 2 to 5 PM. Space is very limited, so please act quickly. We will be closing out the workshop soon in order to give Phyllis enough lead time to properly prepare for each talent…!
The workshop details follow:
Phyllis Katz, a co-creator of the prestigious LA acting school, The Groundlings, will teach a two-day acting workshop for actors, ages 18 and older, February 18th and 19th.
In addition to co-founding The Groundlings School in LA, Phyllis is a pioneer member and current board member of LA’s prestigious theater troupe, The Groundlings. She has enjoyed working in television, film, and stage as an actor, writer, and director. Her one-woman show, Katz: Music and Characters, won a Drama-Logue award for best performance; her play, Codependently Yours, was an LA Weekly award nominee; and her first film short, Shoedini, ran on I-film for a year with a 10 rating. She most recently appeared on Reno 911, Strong Medicine, and the film Taking the Plunge; she was the female lead on Showtime’s cult comedy Sherman Oaks.
Some of the actors Phyllis has trained include Lisa Kudrow, Will Ferrell, Mindy Sterling, Phil Hartman, Jordan Black, J.J. Abrams, Julie Sweeney, Kathy Griffin, and Ashley Bell, who has a recurring role on Community.
In this two day workshop, Connecting with the Script, Phyllis will walk actors through three very important steps to successfully make a connection with the printed words on the page. Improv will be incorporated into this connection process as it fits into the overall preparation and presentation of a character.
Casting director Shay Griffin will be on hand with Phyllis throughout the weekend.
There will be a morning session both days from 10 AM to 1 PM…and an afternoon session both days from 2 to 5 PM. All participants will attend the same session both days.
The location of the two day workshop is the Residence Inn by Marriott Atlanta/Buckhead at 2960 Piedmont Road, Atlanta, 30305. The phone number is 404-239-0677 if anyone should need to book a room. Please be sure to ask for the special Chez Group rate of $99 per night.
The cost of this two day workshop is $265. We offer PayPal for your convenience. Please follow this link to the training page of our website, where you will find the PayPal button, http://www.chezgroup.com/training.html .
If you have any questions, please feel free to email me at chezmaryann@aol.com.
We look forward to seeing you soon!
Sincerely,
Mary Ann
The Chez Group
2221 Peachtree Rd NE
Suite D, Box 335
Atlanta, GA 30309
Technique – The Journey Begins Robert Conner, Instructor $280 – Saturday’s 10 am – 1 pm 8 Week Class Introduction to the masters of the craft – Stanislavski, Meisner, Strasberg, Adler and Grotowski; understanding the different techniques Scene 1… Read More
IMPROV for ACTORS: Focusing on Auditions and Performance
One-on-one with a Casting Director
LOCATION: Moore Casting (Driving Directions on Web Site)
DATE:Saturday, February 18th, 2012
TIME: 10:00 am to 2:00 pm (now extended to 3pm)
COST: $125.00
Improv is not always about being funny. Its actually about thinking quickly on your feet and being able to react to any situation you may be placed in at an audition or performance.
Regina Moore and Barry McAlister have designed a workshop around improv skills that will, 1) give you simple but powerful tools to use, and 2) allow you to experience an audition through the eyes of the casting director.
Fun and eye opening sessions using improv games and exercises are used to explore basic elements that will put you miles ahead of the competition. Then commercials and scripts will be used to literally place the actor in the audition room, connecting with the casting director one on one.
It can be difficult to relax when the actor walks through the casting door, and this workshop helps each actor shed their fears and get comfortable as the casting room process is revealed. The basic fear is not knowing what to expect in an audition, and that can make it difficult to focus. Come see it from the Casting Directors perspective.
This workshop gives the actor useful, dynamic tools to work with, then provides one on one direction- all in a fun atmosphere that allows them to relax and learn.
The class is taught by improv performer and actor Barry McAlister. He has long been an on-camera actor and entertainer in the region. He is currently with the acclaimed troupe Improv Nashville, and has trained at the Second City in Chicago in improv and sketch comedy. He was also a Wolf Trap Teaching Artist in Metro Nashville Schools. Roles he’s created include “the dead guy” in country artist Joe Diffie’s “Prop Me Up Beside the Juke Box”, and the ice skating $100 bill for First Tennessean and the Predators. He also had the regions longest running children’s stage show “Juniper Junction”.
Casting Director, Regina Moore has been in the entertainment industry for over 30 years. Regina, first an actress, works currently as a casting director in the areas of Film, Television, Commercials, print, music videos and live performance. As an instructor, she relates to actors through casting and teaching. She is known for her ability to recognize potential and encouraging the growing actor with her straight forward, no nonsense approach. Her workshops deal with the audition process and she relates to the actor regardless of wither they are a beginner or a pro. She is accomplished in the field of casting, developing projects for production companies, and network television as a consultant in relationship to T.V. Hosts, actors, live performers, and audience related programming.
Hello, Regina!
The “improv” side of the class is the hook that got me interested in attending. The teaching presents a great beginning in an area I have heard about and seen but never actually tried out. It reminds me of stuff we did in college which I have, unfortunately, lost touch with. Taking your class tells me I must pursue that avenue further.
The “meet the casting director” side of the class is a very helpful bonus because it allows me to see behind the casting camera, presenting insights into how you do what you do, some whys, and some of how these things reflect what your clients are looking for. De-mystifying that experience promises me more peace of mind next time.
I was delighted with it all. Thanks for your efforts on my behalf.
Jordan
TO SIGN UP –
You can go to www.moorecasting.com and click on workshops, then click on
IMPROV for ACTORS: Focusing on Auditions and Performance, the registration form is below the description, then submit.
A lot of folks ask us where to begin. We tell them what the veterans already know; begin with study. The Craft is a discipline that evolves over the entire life of an Actor, and the more you know about every angle of it the better an Actor (or more informed Filmmaker) you’ll be.With all of that in mind, here are our picks for the ten best books about Acting, ever.
Sanford Meisner has been called “the theater’s best-kept secret,” and Sanford Meisner on Acting by Dennis Longwell gives some insight into what techniques the hugely influential drama teacher used in his 50-plus years of work. One of the founding members of the Actors Studio (with Lee Strasberg, Stella Adler, and Harold Clurman), Meisner developed his own special lessons based upon his understandings of the great Russian teacher Stanislavsky. Turning away from the sense-memory exercises common among his colleagues, his training focused instead on a realistic approach to imagination and creativity. Unlike many other educators associated with “the Method,” Meisner had little tolerance for self-absorption or striving after strong emotional effect, instead preaching that clarity of purpose and efficient use of the psyche are the actor’s greatest tools. Longwell’s book follows a class of eight men and eight women through one of Meisner’s 15-month courses at New York’s Neighborhood Playhouse, with extensive transcripts taken directly from Meisner’s notes to the students on the basis of their exercises. With an introduction by director Sydney Pollack, one of the many influential artists who studied with Meisner (the book includes accolades from Maureen Stapleton, Arthur Miller, Gregory Peck, and Eli Wallach), this is an excellent introduction that helps to demystify the work of a great theatrical teacher.
To Adler acting is a labor of intelligence and will and love, a “profession that is over 2000 years old” and one that requires boundless energy and a sort of selfish (but not narcissistic) ambition first, and then “critical seeing, self-awareness, discipline, and self-control” – for starters. She talks about the importance to an actor of the use of one’s imagination, the disciplined willingness to actually do the research -in order to care deeply and conscientiously about the play. She asserts, “A great disservice was done to American actors when they were persuaded that they had to experience *themselves* on the stage instead of experiencing the play. Your experience is not the same as Hamlet’s – unless you too are a royal prince of Denmark. The truth of the character isn’t found in you but in the circumstances of the royal position… [to play the role] your past indecision on who to take to the prom won’t suffice.”
In her introduction to Respect for Acting, actress and teacher Uta Hagen talks about a time when she herself had no respect for the art of acting. “I used to accept opinions such as: ‘You’re just born to be an actor’; ‘Actors don’t really know what they’re doing on stage’; ‘Acting is just instinct–it can’t be taught.’” But this attitude of “you got it or you don’t” is fundamentally one that denigrates the craft, as she points out. Great actors do not perform effortlessly, or merely through learning the appropriate tricks and cheats to manipulate an audience. Great acting is about the difficult fusion of intellect and action–about sincerely and truthfully connecting to the moment, your fellow actors, and the audience–and Hagen’s thoughtful and profound book contains a series of observations and exercises to help an actor do just that. Her prose style is admirably clear and filled with examples from her own lengthy career both as a performer and in the classroom. While her exercises in sense memory and basic objects skirt close to the sort of self-absorption that followers of “the Method” are routinely accused of, they are presented clearly and with a focus on practical results. And in such places as her chapter “Practical Problems,” which includes discussions of stage nerves and how to stay fresh in a long run, her straightforward advice is invaluable.
If you like movies, this book is a great read. If you’re interested in acting in movies, it’s an essential read. If you’re interested in moviemaking (behind the camera), it’s still an essential read: buy extra copies to pass around on the set, especially if you’re a struggling filmmaker and you have a cast of friends who’ve never acted before. As a teacher, Caine is as straightforward as he is as an actor. You watch his performances and you’re seeing an actor who understands that less is more. You read this book and you’re listening to an instructor who understands the same thing. Every anecdote he tells about films he’s been in and stars he’s worked with is not just namedropping, it’s ALWAYS relevant to whatever helpful point he’s making about the craft of film acting. And to him it is very much a craft, not an art. The art takes care of itself; it happens mysteriously, but it can only happen if you nail the craft first. No arty-flighty book about acting theory or the Method, this is a working-class, meat-and-potatoes manual that anyone can relate to, much like its author.
Michael Chekhov, nephew to the Russian playwright and student of Stanislavski, left Russia and his mentor behind to pursue a career as an actor, director, and teacher in Europe and America. While he was an early advocate of Stanislavski, Chekhov differed from the great teacher in important respects, particularly in his insistence on the use of imagination as opposed to memory in creating a role. (In a famous anecdote, Chekhov once performed a “sense memory” exercise in which he broke down over the tragic death of his aunt. When complimented on the truthfulness of his emotion, he admitted that his “aunt” was entirely imaginary.) One of Chekhov’s innovations of technique is the “psychological gesture,” in which a repeated external action leads to an internal revelation. Due to his insistence on the importance of the physical rather than the simply intellectual, Chekhov’s book is as focused on following its series of exercises as it is in study; acting, he would remind us, is always fundamentally a verb. For actors who feel “hemmed in” by an overinsistence on “feeling” a part or in drawing from their own experiences to feed a role, Chekhov’s focus on the primal and limitless nature of imagination is tremendously liberating.
So much mystery and veneration surrounds the writings of the great Russian teacher and director Stanislavski that perhaps the greatest surprise awaiting a first-time reader of An Actor Prepares is how conversational, commonsensical, and even at times funny this legendary book is. After many productions with the Moscow Arts Company, Stanislavski sought a way to introduce his new style of acting to the world outside of his rehearsal hall. The resulting book is a “mock diary” of an actor describing a series of exercises and rehearsals in which he participates. He details his own emotional and intellectual reactions to each effort, and how his superficial tricks and mannerisms begin to disappear as he increasingly gives over his conscious ego to a faith in the creative power of his subconscious. Rarely has any writer on the theater achieved the sort of lucid and inspired analysis of the acting process as Stanislavski does here, and his introduction of such now-standard concepts as “the unbroken line,” “the magic if,” and the idea of emotional memory has laid the groundwork for much of the great acting of the 20th century. While much excess and nonsense was to follow in the steps of Stanislavski’s writings, his original texts remain invaluable, and surprisingly accessible, to any actor or student of drama.
There is more to the acting business than just the acting. It’s understanding and applying the “business” side of acting that makes it possible for the actor to succeed. Bonnie Gillespie is right on target with her enjoyable nuts and bolts wisdom in “Self-Management for Actors: Getting Down to (Show) Business.” She takes the guess work out of the process of managing your career as an actor with clear guidance and a wonderful sense of humor. Precious time and money will be saved when knowing how to market yourself by doing it right the first time. Owning this book is one of the best investments any actor can make.
Actors who want to get inside the script and make it come alive now have a step-by-step guide from a Broadway director and renowned acting teacher. Honed by the author’s 35 years of teaching, this advanced book offers different warm-up exercises concentrating on the actor’s sense of smell, sound, sight, and touch; sensory tools for conveying the climate and environment of the text; tips for suggesting a character’s physical conditions; and much more. Individual exercises will help actors to free the voice and body, create a character, find the action and condition of scenes, and explore the subconscious for effective emotional recall. Readers will also find meticulous guidelines for best using rehearsal time and preparing for in-class scene work. The foreword is written by two-time Academy Award nominee Edward Norton. Those who act, direct, or teach will not want to miss the acting lessons that have made T. Schreiber Studio a premier actor training program.
What is good acting? How does one create believable characters? In “The Science of Acting“, Sam Kogan applies his theories and teaching to answering these questions. It represents a comprehensive and complete technique applying neuroscience and psychology to the role of acting. At its heart lies a unique and groundbreaking understanding of the subconscious, as well as an unparalleled insight into, and expansion of, Stanislavskis original Russian teaching.The book includes chapters on Awareness, Purposes, Events, Actions, Imagination, Free Body, Tempo-Rhythm, and Laws of Thinking, culminating in the Ten Steps to Creating a Character. In addition to providing practical exercises to develop skill and definitions to clarify difficult terminology, it is a simple and original step-by-step guide to creating a character and to developing an actors ability. In examining life and its recreation on stage, “The Science of Acting” is a study of human behavior and its application to acting which no actor or student of acting should be without.
A Dream of Passion by Lee Strasberg is a necessary read for any actor, teacher, director. It’s fascinating to read about his journey. Some of the stereotypes of his method are crushed in this book. Even if you don’t agree with his ideas or techniques it is an extremely interesting read on the evolution of theater in this country.
SING LIKE A STAR
GLEE CLASS STARTS
SUNDAY FEB 5!
1-2 PM
ALPHARETTA STUDIO
348 SOUTH MAIN STREET, 30009
If you love the TV show GLEE and would like to sing in a fun class, come join us! Glee is for all ages and levels of experience. It includes some vocal technique and stage technique, along with singing your favorite GLEE songs in a class environment. The class meets every Sunday from 1-2 pm at the Alpharetta Studio, (348 South Main Street). Bring an accompaniment track on CD or IPOD. Registrations are online only, by clicking this link:
KIDS & TEENS eNEWS MARCH/APRIL 2012- – -
www.STGplays.com” href=”http://www.stgplays.com/” rel=”nofollow” target=”_blank”>www.STGplays.com
yourACT alum 
Taught by Della Cole
yourACT Superstar
I will appear in a Superbowl commercial which is a promo for “America’s Got Talent” with Howard Stern. I play an NBC Executive.
On par with my New York and California training. And with so much laughter! I highly recommend yourACT – 100% professional- they know what they’re doing.
VOICE-OVER DEMO WORKSHOP
Dear Mystie,
