The Antaeus Academy announces its Spring 2011 Session auditions January 15th and 16th

By appointment only:  please email headshot/resume and cover letter to academy@antaeus.org to schedule your audition.

Joceyln Towne and Antonio Jaramillo

The Antaeus Academy focuses on all aspects of classical theater skills, technique and experience. From basic to advanced levels, classes are taught by an ev er-changing roster of some of the finest actors, directors and acting teachers in the country. Experienced actors reinvigorate and reconnect with their craft. Early-career artists learn from seasoned professionals in classes, readings, workshops and productions.  All are encouraged to audition:  previous classical theater training not required.


Classical Styles

Scene work from the classics, focusing on:
Chekhov/Strindberg/Ibsen, American Classics, and Restoration

A series of master classes in classical scene work moderated by various Antaeus members, as well as other acclaimed professional directors and actors. The workshop culminates in a presentation of scene work for Antaeus Company members and invited guests.

Past moderators include: Annette Bening, Gil Cates, Stephen Collins, Brian Cox, Bart DeLorenzo, Nike Doukas, Olympia Dukakis, Sheldon Epps, Brendon Fox, Arye Gross, Michael Hackett, Gregory Itzin, Jessica Kubzansky, Jonathan Lynn, Dakin Matthews, Alfred Molina, Jeffrey Nordling, Austin Pendleton, Diane Rodriguez, Armin Shimerman, Stephanie Shroyer, French Stewart, Elizabeth Swain, & Stephen Wadsworth.

Tuesdays, 7 – 11pm beginning February 8th
Class fee: $600 for 14 week session, $550 early bird discount.
Class size: 24 – 26 ~ Open to actors age 18 – 35

CS Fundamentals

Scene work from the classics, focusing on:
Shakespeare, The Greeks

Our newest class offering, designed to help upcoming professional actors gain experience and skills in performing the classics.  Through text analysis, monologue and scene work , study will focus intensively on two styles/authors per session, allowing actors intensive exploration in the fundamentals of classical theater.

Tuesdays, 7 – 11pm beginning February 1st
Class fee: $600 for 12 week session, $550 early bird discount.
Class size: 24 – 26 ~ Open to actors age 18 – 35

Shakespeare Workout

Experience the challenges and rewards of playing  Shakespeare in sessions moderated by a rotating group of L.A.’s top actors, directors and acting teachers.

An ongoing, year-round program, Shakespeare Workout features a different guest moderator every month. The workout covers an array of all things Shakespeare: text analysis, poetry and prose, historical study, vocal and physical technique; featuring monologue and scene work throughout. Actors new to the workshop commit to an initial 12-week session.

Tuesdays, 1:30 – 5pm, beginning February 1st
Class fee:  $570 for initial 12 week session, $500 early bird discount.

Class size: 16 – 20 actors per class ~ Open to actors of all ages

For more information, please visit our website:  http://antaeus.org/theacademy.html

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A message from our Summer Intern

This summer, college freshman Sydney Berk came to work with Antaeus.

She was a tremendous asset to our organization, from managing our Box Office and Assistant Directing some of the ClassicsFest workshops, to just being an all around life-saver.

Here are her words about her summer experience:

Dear Jeanie Hackett,

I hope all is well at Antaeus and with you. The summer was such a great success and I’m happy I got to witness it all unfold. I want to say thank you for the wonderful opportunities you gave me this summer. I feel incredibly lucky and so appreciative for all I learned and the experience I gained. I could not have found a better company to work with. Antaeus is truly one of a kind. Every moment I was there I could see how invested every company member and friend was in the success of the mission. There is always a feeling of support; people help each other, listen to each other and grow with one another. Antaeus showed me what it means to be in a company and gave me a model of the kind of company member I want to be in the future. This summer, I learned boundless amounts about acting, directing and managing a theater. Watching the actors prepare, work and perform was a blessing. Observing the way the different directors interacted with their casts was so beneficial. It was one of my first professional theater experiences and I feel that I could not have been luckier.

I also want to personally thank you because I learned so very much about running a theater from watching you. The way you make decisions, the way you take every opportunity and the way you are always efficient. Thank you for constantly communicating with me, for showing me how to properly run a theater but also for explaining to me why each step you took was important. I really appreciate it.

I miss Antaeus already and am really forward to seeing Autumn Garden later this fall. It was a truly inspiring place to work. The actors, directors and crew all welcomed me so lovingly. The way so many made a point to say hello to me daily meant a lot. It is such a wonderful place to work. I feel so grateful that I got to witness and be a part of the success. I hope I will be back in the future. It is definitely something I would love.

Sincerely,
Sydney

The Antaeus Academy Announces Spring Moderators!

CLASSICAL STYLES & SHAKESPEARE WORKOUT are holding auditions. Come study with these world-class Moderators!  More info at academy@antaeus.org

At Antaeus, we believe mastering the acting challenges of great classics takes a lifetime and that the desire to take on these challenges is central to achieving great acting. Here, we’re constantly putting young artists-in-training together with seasoned professionals – in the classroom, in readings, workshops and in full productions – so that skills, work ethics and inspiration are not just taught but ‘passed down.’

********************************************************************************************

JEANIE HACKETT (Chekhov, Ibsen, Strindberg & American Classics) has been part of the Artistic Leadership team of Antaeus for the past 8 years.  She has been a professional actress for over 20 years and has appeared in classical and new plays on Broadway (including Stella in A Streetcar Named Desire with Blythe Danner), as well as many off-Broadway productions.  She trained at the Royal Academy of Dramatic Art in London, at the Circle in the Square Theatre School in New York and is a graduate of NYU’s acting program. She appeared at the Williamstown Theatre Festival with legendary actors Rosemary Harris, Frank Langella, Colleen Dewhurst and Christopher Reeve among many others.  Her television work includes guest stars on “The West Wing”, “The L Word” and “Criminal Minds”; film work includes “King of California” and  “Kids in America” with Topher Grace. In Los Angeles theatre she has played leading roles at the South Coast Repertory Theatre, The Pasadena Playhouse, The Cannon Theatre (The Vagina Monologuesand at The Matrix Theatre (The Seagull, Ovation Award, Best Ensemble). At the Odyssey Theatre she played Clytemnestra in the 8 hour marathon play The Greeks, which she also co-directed with Ron Sossi.  She is the former Artistic Director of LA’s Classical Theatre Lab where she directed Tennessee Williams, A Celebration, a theatre piece which she originally conceived with renowned director Nikos Psacharopoulos for The Williamstown Theatre Festival.  She is the founder and director of the Antaeus Company’s Academy, a classical theatre training program for emerging young actors.  With John Apicella, she creatively oversaw Antaeus’ acclaimed mainstage productions, as well as creating a series of Antaeus events called CLASSICSFEST — a gathering of over 100 actors in the summer for the presentation of readings and workshop productions of classical plays and new plays with classical themes.  Jeanie is the author of two books on acting:  The Actor’s Chekhov, and Toward Mastery, both based on the work of director Nikos Psacharopoulos.

KATE BURTON (Ibsen) appeared on Broadway in The Elephant Man, for which she received a Tony nomination and in the same season as Hedda Gabler, for which she received the Callaway Award, an Outer Critics Circle nomination and another Tony nomination. She made her NYSF debut in Boston Marriage and her London debut in Three Sisters at The Playhouse. Roundabout: The Constant Wife, Give Me Your Answer, Do!, Company, The Playboy of the Western World and Winners. Other Broadway: Present Laughter (Theatre World Award), Alice in Wonderland, Doonesbury, Wild Honey, Some Americans Abroad (Drama Desk nom.), An American Daughter (Lincoln Center Theater), Jake’s Women and The Beauty Queen of Leenane (also UK and Ireland). Television: recurred on “The Practice” and “Law & Order”, Ellis Grey on “Grey’s Anatomy”; Emmy Award for “Notes for My Daughter”, Cindy Whiting in HBO’s “Empire Falls” and Rose on “Rescue Me”. Film: “Big Trouble in Little China”, “Life With Mikey”, “First Wives Club”, “The Ice Storm”, “Celebrity”, “August”, “Unfaithful”, “Swimfan”, Stay”, “Some Kind of Heaven” and “The Night Listener”. Many times at Bay Street and Williamstown. She is a proud member of Actors’ Equity Association and on the Board of Trustees for BC/EFA. Graduate of Brown and Yale.

STEPHEN COLLINS (Chekhov, Ibsen, Strindberg) His Broadway credits include his 2008 role as King Arthur in Spamalot and prior appearances in Moonchildren, The Ritz, The Loves of Anatol, and No Sex Please, We’re British; off-Broadway he appeared opposite Sigourney Weaver Christopher Durang‘s Beyond Therapy, as Macduff to Christopher Walken‘s Macbeth at Lincoln Center, and as husband to Julie Andrews (with whom he shares a birthday) in the Stephen Sondheim revue, Putting It Together at Manhattan Theatre Club in 1993.

Collins, probably, is best known for his role as the Reverend Eric Camden in more than 200 episodes of the television series7th Heaven, though he also notably portrayed Captain/Commander Willard Decker in “Star Trek: The Motion Picture“. Additional television credits include starring roles in “Tales of the Gold Monkey” and “Tattingers, as well as guest appearances in “The Waltons, “Barnaby Jones, “Charlie’s Angels“, and numerous mini-series and made-for-television movies. He was nominated for an Emmy Award for his work opposite Ann-Margret in the minseries” The Two Mrs. Grenvilles and he played John F. Kennedy in the miniseries “A Woman Named Jackie“, which won the Emmy for Best Miniseries.

ROBERT W. GOLDSBY (Moliere) began his professional work in the theater in a touring version of Three Men On a Horse for the troops in the Philippines in 1945 who were sitting in the mud waiting to go home after the war.  Directed 153 Equity and University theater productions (including eleven plays by Moliere, forty-six classical plays from Aristophanes to Shakespeare to Giradoux, and ninety-eight plays from the modern repertory to Ibsen to Innaurato) in New York, Paris, Marseille and San Francisco.  Served on the faculties of UC Berkeley, Columbia, UCLA, Washington, USC and did several master classes on Moliere for Antaeus.  Professor and Chairman Emeritus, UC Berkeley.  He is currently finishing a book called “Moliere on Stage: A Director’s Story.”  He has translated Sardou’s Divorcons for the West End in London (Comedy Theater), three plays by Moliere and one by Feydeau.

ART MANKE (Restoration Movement Master Class & Moliere) is an award-winning director whose work has been seen locally at South Coast Repertory, Pasadena Playhouse, Mark Taper Forum and Laguna Playhouse.  Mr. Manke is a co-founder of A Noise Within, Los Angeles’s acclaimed classical theatre company, where he served as Artistic Director for the first ten seasons (1991-2001).  He is the recipient of numerous L.A. Drama Critics Circle awards, is a frequent guest lecturer at universities and conservatories throughout the country, and frequently directs for television. Originally from Chicago, Mr. Manke holds a B.F.A. from the University of Illinois at Urbana-Champaign, and an M.F.A. from the American Conservatory Theatre.

LARRY BIEDERMAN (Chekhov, Ibsen & Strindberg) At Antaeus: CLASSICSFEST 2008 and the upcoming THE AUTUMN GARDEN.  Acclaimed productions include Eric Overmyer’s Dark Rapture at the Evidence Room, and the World Premiere of Sheila Callaghan’s Crumble at LATC.  Both enjoyed extended runs and wide critical praise, including Critics’ Choice from the L.A. Times.  Other world premieres include Keith Josef Adkin’s Farwell Miss Cotton, The Black Dahlia and David Rock’s Grand Delusion at the Lost Studio.  He’s directed throughout Los Angeles including Theatre of NOTE, Theatre @ Boston Court, The Blank, The Road Theatre and ASK Theater Projects.  His staging of Bryan Davidson’s Death’s Messengers at the MET Theatre earned them two LA Weekly Theater Award nominations for writing and direction.  Biederman spent seven seasons with San Francisco’s ACT, directing and serving in many senior capacities on the artistic staff and as Associate Director of their M.F.A. Program.  Bay Area productions include Peter Barnes’ Red Noses; also a Critic’s Choice and named one of the year’s 10 best productions, as well as the acclaimed West Coast premiere of Constance Congdon’s No Mercy, which he recently directed again for the 24th Street Theatre in Los Angeles.  Biederman teaches both privately and for many reputable training programs throughout the country from the Williamstown Theatre Festival to the Old Globe and locally at Cal State Fullerton where he served three years as their Head of Directing.  Most recently, Biederman brought his innovative staging of Schnitzler’s La Ronde to the New York International Fringe Festival.  He is set to direct THE AUTUMN GARDEN for Antaeus Company and then the Los Angeles premiere of Sarah Ruhl’s A Clean House at The Odyssey Theatre.

TONY AMENDOLA (Monsieur Crevel) Antaeus: PHAEDRA, CHEKHOV X4, and others.  He has worked at theaters across the country, including ten years at Berkeley Rep (actor and director), ACT, Mark Taper Forum, La Jolla Playhouse, The Old Globe, South Coast Rep, Williamstown Theatre Festival, Center Stage, Seattle Rep and Disney Hall. Credits include Cyrano, Uncle Vanya, Iago, Jack Abbot, Leontes, Malvolio, Teach, Lopakhin and Domenico.  FILM: “Blow,” “Mask Of Zorro,” “Legend of Zorro,” “Lone Star.” TV: “Dexter,” “CSI,” “Raising the Bar,” “Sarah Connor Chronicles,” “West Wing,” “Alias,” “Seinfeld,” “26 Miles,” and “Stargate SG1.”   He is a founding member of Antaeus.

WADE_GEOFFREYGEOFFREY WADE (Chekhov, Ibsen, Strindberg, American Classics, Moliere & Restoration Comedy)  Just back from three months playing the title role in the world premier of Lincoln: Upon the Altar of Freedom.  He has performed on and off-Broadway and continues to work extensively in regional theater (a sampling includes several seasons at the Cincinnati Playhouse in the Park and The Rep Theatre of St. Louis, also Pennsylvania Stage, Center Stage, GeVa, The Guthrie, Denver Center, Carbonell nominated performances at the Caldwell and a long association with Vermont’s Weston Playhouse).  His LA theatre credits include Heathen Valley and The Savannah Option as well as award winning productions of The Man Who Had All The Luck, Mercadet and Mother Courage along with numerous other Antaeus shows.  He works in episodic television, in radio and on tour with LA Theatre Works. He trained at The Central School of Speech and Drama in London.  He has taught at the Antaeus Academy since 2001.

 
 
 

Meet the Staff: Cecily Lerner

This installment of Meet the Staff originally appeared in The August Antaean, our quarterly newsletter.  To receive The Antaean, sign up for our mailing list.  With all the great events surrounding our 2010 Season, this way you won’t miss a thing!

Cecily Lerner

Cecily Lerner
Working as a full-time nonprofit professional for the past 11 years, I was contemplating making  a change.  Though I wanted to continue my work in fundraising, I was looking for something more flexible and part-time so I could spend more time with my four year old daughter.  A friend of mine told me about Antaeus and suggested I talk to Jeanie about how we might work together.  At the time, Antaeus was looking for a grant writer.  I was looking to do something a bit broader in scope.  Meeting with Jeanie and Kitty for the first time, in the library, I felt right at home.  Having worked in the arts before, I was inspired by the creative, passionate and dynamic spirit that is typical of many arts organizations, especially Antaeus.  As it turned out, Antaeus was at a turning point in their growth.  Collectively, we decided that adding a fundraising professional into the mix would help Antaeus build the infrastructure and deepen the relationships that it needed to take its fundraising to the next level.  In the four months that I’ve been working with Antaeus, I have come to discover that the people here (from the staff to the company members to the audience to the donors) are warm and interesting, and dedicated to the mission of performing great theater.


15 Minutes a Day by Jeanie Hackett, Artistic Director

Committing to act for 15 minutes a day sounds like the easiest thing in the world.

This is your life, your love, your living.  How could an actor NOT commit to acting for 15 minutes a day? But an ongoing discipline may be the hardest thing in acting to achieve.

First, being given the chance to act seems to be owned by someone else, not you.  And then, everything that hangs around ACTING – “will I have a career, am I any good, do I have what it takes? –are the hardest things in the world to look in the eye on a daily basis.

Every actor knows that work begets work, and this does not just apply to the lucky time you are hired to do a job. Acting everyday increases your confidence in yourself for the times that count, creates a feedback loop on a daily basis that gives you both optimism and cognizance of your own strength and weaknesses, keeps your instrument in tune and at the ready.

Fifteen minutes actually is a long time.   Lots can happen in that time.

The actor who works 15 minutes a day, usually, gradually, allows that fifteen minutes to grow to a half hour or even an hour, but that’s beside the point. Conquering the fear of jumping into the work, daily growing your skills, putting in motion a process that occupies your conscious and unconscious mind throughout the day, is the way to claim the work as YOURS — not as something conferred occasionally from the industry on high. It’s how you own your talent, keep in touch with the sources of your work.

Jeanie moderatingAre you doing a play? Shooting a film? Taking a class? That takes care of your fifteen minutes a day.

Auditioning does not. An audition is conditional; your fifteen minutes a day on the material of your choice is unconditional. Auditioning often is accompanied by a A what do they want mindset; your fifteen minutes put you in a what do I want? mindset.

 

HOW TO DO IT.

Make a list of roles you’d like to work on – they can be your dream roles, they can be the kind of roles you never get cast in, they can be silly things you fell in love with when you were a kid (Scarlett O’Hara or Julie Andrews in The Sound of Music or Capt. Picard from Star Trek). (Yes, you CAN work on these roles! Just writing this is making me want to work on Fanny Brice from Funny Girl, the movie I saw 17 times as a teenager). They can be characters from favorite novels. They can be poems by Matthew Arnold or Mark Strand. They can be scenes from comic books.

Find the scripts if you don’t have them. Buy them at Sam French, transcribe a scene from the DVD, pull a book out of the library. They are any ideas, words or music that you long to   express out loud with your voice and body.

Come up with about 8 or 10 different things. Put them in a special place in your creative workspace. Decide on what time of day works best in your schedule.

For the first month, commit to 15 minutes a day, five days a week. 15 minutes and ONLY fifteen minutes, no matter how much you’re dying to do more. Set an alarm to go off after 15 minutes and then STOP your work. By doing thus, you build an appetite for the work. An eagerness to get back to it the next day.

Make sure when you are working that you read out loud, that you get up out of the chair, that you use your voice and body. Don’t sit and read silently. If you end up wanting to read a full script or a play, make that another part of your day; your fifteen minute commitment must involve your body and your voice. Don’t be dogged, don’t be obligatory, don’t be programmatic, don’t be methodical. Just suss out what you feel like working on, on any particular day, based on what’s up with you.

This is ONLY for you, ONLY for your own fun and inspiration. It is NOT homework. It is not about memorizing — although as you get excited about working on something, you get excited about memorizing. If you’re in a bad mood you may feel like working on Hamlet, or if you’re in a good mood you may feel like working on Hamlet. Or you may feel like singing a Frank Sinatra song. Doesn’t matter what you do. Only matters that you do it.

15 minutes a day. Give it a shot for six weeks. See what happens.

Researching Cousin Bette: Prologue

I admit that I am a research junkie. So when Jeanie asked for help in researching COUSIN BETTE, it was a no-brainer. I had an excuse to go back to the Central Library!

Although all of the information collected will make its way into our Performance Keys (aka Study Guides) as well as a Dramaturgical Guide for our creative teams, we also want to share it with our audience. Track our progress online by viewing http://theantaeuscompany.wikispaces.com/COUSIN+BETTE . Ask your questions on our facebook page or twitter account, and I will find the answers!

Now excuse me as I delve into 1840’s France via downtown Los Angeles……

-Cindy Marie Jenkins
Artistic Associate
cindy@antaeus.org

Moderators Announced for Classical Styles!

CLASSICAL STYLES begins tonight!

A series of master classes in classical scene work moderated by a variety of Antaeus members as well as other acclaimed professional directors and actors.

At Antaeus, we believe mastering the acting challenges of great classics takes a lifetime and that the desire to take on these challenges is central to achieving great acting. Here, we’re constantly putting young artists-in-training together with seasoned professionals – in the classroom, in readings, workshops and in full productions — so that skills, work ethics and inspiration are not just taught but ‘passed down.’

JEANIE HACKETT: Shakespeare, The Greeks, Shaw, Coward & Wilde

Ms. Hackett has been part of the Artistic Leadership team of Antaeus for the past 8 years.  She has been a professional actress for over 20 years, and has appeared in classical and new plays on Broadway (including Stella in A Streetcar

Jeanie Hackett

Jeanie Hackett

Named Desire with Blythe Danner), as well as many off-Broadway productions.  She trained at the Royal Academy of Dramatic Art in London, at the Circle in the Square Theatre School in New York and is a graduate of NYU’s acting program. She appeared at the Williamstown Theatre Festival with legendary actors Rosemary Harris, Frank Langella, Colleen Dewhurst and Christopher Reeve among many others.  Her television work includes guest stars on “The West Wing” “The L Word” “Criminal Minds” and film work includes the recent “King of California” and the upcoming “Kids in America” with Topher Grace. In Los Angeles theatre she has played leading roles at the South Coast Repertory Theatre, The Pasadena Playhouse, The Cannon Theatre (The Vagina Monologues), and at The Matrix Theatre (The Seagull, Ovation Award, Best Ensemble.) At the Odyssey Theatre she played Clytemnestra in the 8 hour marathon play The Greeks, which she also co-directed with Ron Sossi.  She is the former Artistic Director of LA’s Classical Theatre Lab where she directed Tennessee Williams, A Celebration, a theatre piece which she originally conceived with renowned director Nikos Psacharopoulos for The Williamstown Theatre Festival.  She is the founder and director of the Antaeus Company’s Academy, a classical theatre training program for emerging young actors.  With John Apicella, she creatively oversaw Antaeus’ acclaimed mainstage productions, as well as creating a series of Antaeus events called CLASSICSFEST — a gathering of over 100 actors in the summer for the presentation of readings and workshop productions of classical plays and new plays with classical themes.  Jeanie is the author of two books on acting:  The Actor’s Chekhov, and Toward Mastery, both based on the work of director Nikos Psacharopoulos.

GEOFFREY WADE: Shakespeare, The Greeks, Shaw, Coward & Wilde

WADE_GEOFFREYMr. Wade is just back from three months playing the title role in the world premier of Lincoln: Upon the Altar of Freedom.  He has performed on and off-Broadway and continues to work extensively in regional theater (a sampling includes several seasons at the Cincinnati Playhouse in the Park and The Rep Theatre of St. Louis, also Pennsylvania Stage, Center Stage, GeVa, the Guthrie, Denver Center, Carbonell nominated performances at the Caldwell, and a long association with Vermont’s Weston Playhouse).  His LA theatre credits include Heathen Valley and The Savannah Option as well as award winning productions of The Man Who Had All The Luck, Mercadet and Mother Courage along with numerous other Antaeus shows.  He works in episodic television, and in radio and on tour with LA Theatre Works. He trained at The Central School of Speech and Drama in London.  He has taught at the Antaeus Academy since 2001.

GREGORY ITZIN: Shakespeare

Gregory Itzin has been making his living as an actor for quite a while now. At the moment Mr. Itzin is probably best known for his portrayal of “President Charles Logan” on the TV show “24”, a role for which he received an EmmyITZIN_GREG Nomination in 2006.  Mr. Itzin has appeared on 130+ other TV shows including (as a regular or recurring character) “Murder One”, “The Nutt House”, “Boston Legal”, “The Practice”, “Philly”, “Something Wilder”, “L.A. Law”, “Picket Fences”, “Eerie, Indiana”, and can at present be seen as Agent Minelli in the CBS series “The Mentalist”. As a guest star he has appeared on: numerous “Star Trek” episodes on “Deep Space Nine”, “Voyager”, and “Enterprise” ; “NYPD Blue”, “ER”, “Chicago Hope”, “CSI”, “JAG”, “NCIS”, “Profiler”, “The Pretender”, “Firefly”, etc. Movie appearances include: “Fear And Loathing In Las Vegas”, “Original Sin”, “Life Or Something Like It”, “Airplane!”, “Best Little Whorehouse in Texas”, “Adaptation”, “Evolution”, etc. His numerous stage credits include several Dramalogue awards, three L.A. Drama Critics Circle awards, a Drama Desk and Tony Award nomination. Venues include: Broadway, The Kennedy Center, The Mark Taper Forum, South Coast Repertory, Costa Mesa, CA, The Globe Theatre, San Diego, The Intiman Theatre, Seattle, The Public Theatre, NY, The Actor’s Playpen, LA, and his theatrical home, The Matrix Theatre, LA, where he is a company member and award winner for such productions as Endgame, Waiting For Godot, The Homecoming, The Birthday Party, Dealing With Claire, and the World Premiere of Yield Of The Long Bond. Other personal theatrical milestones include: The Kentucky Cycle which he performed in at the Intiman Theatre, The Mark Taper Forum, The Kennedy Center, and Broadway and for which Mr. Itzin received the aforementioned Drama Desk and Tony nominations; ALL Brian Friel plays performed (Translations, Philadelphia, Here I Come!, Faith Healer, Lovers), Mercutio, Benedick, Richard II, The Fool in Stand Up Shakespeare, and the insane Al Sereno in Road To Nirvana. Mr. Itzin resides in Los Angeles with his amazing wife Judie and some dogs and cats and has two children out in the world; Julia and Will, of whom he is very proud.

ELIZABETH SWAINliz swain: Shakespeare

Her recent directing credits include A Midsummer Night’s Dream at Cal State, Long Beach, Medea for the Antaeus Company and Macbeth for NY State Theatre Institute. Other credits include Pam Gems’ Camille, Stoppard’s Arcadia, The Winter’s Tale, an all-female Hamlet, two plays by Aphra Behn: The Rover and The Lucky Chance, Susanna Centlivre’s The Wonder, Timberlake Wertenbaker’s Our Country’s Good and The Love of the Nightingale, Mishima’s Hanjo and the NY premiere of Wendy Kesselman’s The Executioner’s Daughter.  She teaches at the Shakespeare Sedona Institute and at the Michael Howard Studio in Manhattan. She was a participant in the National Endowment for the Humanities 2002 summer institute, Shakespeare’s Staging :Inside and Out at the Blackfriars Theatre in Virginia and at Shakespeare’s Globe in London and holds a doctorate from the City University of NY.

 

MICHAEL HACKETT: The Greeks

Michael Hackett

Michael Hackett

Michael Hackett is a Professor of Theater in the School of Theater, Film and Television at UCLA. He has directed for the Royal Opera, Covent Garden; the Royal Theatre at the Hague; the Centrum Sztuki Studio and Dramatyczny Theatre in Warsaw; the Los Angeles Philharmonic at the Hollywood Bowl; the Los Angeles Opera (children’s series); the L. A. Theatre Works and the Getty Museum. He was the artistic producer for Robert Wilson?s King Lear at Studio One, Metromedia in Hollywood and he was co-producer, with the Museum of Contemporary Art in Los Angeles for two radio plays directed by Peter Sellars.

His presentation on 18th century French children’s costume, Dressing for the Carnival, was commissioned for the opening day of the Getty Center. Recently he has directed and composed fragments from Elektra by Euripides for the Eugene O’Neill Theater Center in Connecticut and he has directed six productions for KCRW and KPCC/National Public Radio including Wilde’s An Ideal Husband with Jacqueline Bisset, Martin Jarvis, and Alfred Molina.

NIKE DOUKAS: Shaw, Coward & Wilde

Nike Doukas
Nike Doukas

Nike Doukas has performed regionally at South Coast Rep (including Barbara in Major Barbara, Beatrice in Much Ado, Raina in Arms and the Man, Eliza in Pygmalion, Elvira in Blithe Spirit and in the world premieres of Richard Greenberg’s Everett Beekin, and Amy Freed’s The Beard of Avon), The Mark Taper Forum (The Wood Demon with Antaeus, and The Affliction of Glory, a joint project with the Getty), The Old Globe (Much Ado), A.C.T., in Seattle (Communicating Doors and the world premiere of Donald Margulies’ God of Vengeance), Berkeley Rep (The Importance of Being Earnest), and the American Conservatory Theatre (including Private Lives and The Majestic Kid), and seasons at Shakespeare Santa Cruz, the Berkeley Shakespeare Festival and Shakespeare Festival LA.  Recent TV credits include guest spots on “Without a Trace”, “Criminal Minds”, “Blind Justice”, “Boston Legal”, “Malcolm in the Middle”, “NYPD Blue”, “Judging Amy” and recurring roles on “Desperate Housewives”, “Almost Perfect”, and “The Guardian”.  She has an MFA from the American Conservatory Theatre.

BARRY CREYTON: Shaw, Coward & Wilde

Barry Creyton  is an Australian actor and playwright.  Creyton began his professional career in radio and revue in Australia. He is probably best known as one of the stars and writers of the satirical comedy television series The Mavis Bramston Show. He also authored two successful plays for Sydney’s Music Hall Theatre: Lady Audley’s Secret, in which he also starred and How The West Was Lost, a satire on the TV western genre.  Creyton moved to England for thumb_Barry Creyton - Duetsnine years, playing in comedy, dramatic roles, and revue in the West End. He played a leading role in the BBC’s popular radio serial Waggoner’s Walk, and was a frequent broadcaster for the BBC World Service. He also wrote a farce for the stage, Follow That Husband, which was produced by Ray Cooney.  In 1977, Creyton returned to Australia. During the next ten years he worked in TV, the movies, and the theatre. He was a lead writer on TV series Carson’s Law and contributed regular episodes to its long run, at the same time writing comedy material for The Mike Walsh Show; he also appeared in some ninety guest spots on this variety show.  In 1987, he directed the musical Nunsense which broke box office records all over Australia. With the author’s permission he revised the dialogue for Australian audiences, an exercise he repeated for Irish audiences in the Dublin production which he directed in June 1988.  His play, Double Act has been produced in over twenty languages. 

In 1988, Creyton was honoured with the Norman Kessel Memorial Award for his contributions to Australian theatre as actor, playwright and director.  Since 1989, he has worked almost exclusively in the United States where he has written movies-of-the-week for TV. He wrote all the sketch material for the off Broadway revue Secrets Every Smart Traveler Should Know which ran for two and a half years in New York.  In 1996, Barry returned to Australia to star in the Queensland State Theatre Company’s production of Coward’s Blithe Spirit. He returned to Sydney to direct and star in his own play Valentine’s Day at Marian Street Theatre where it played to capacity. Valentine’s Day is currently playing in Germany (Valentinstag) and in Holland (Valentijnsdag). Two years later, he wrote, directed and starred in the bitter-sweet comedy Later Than Spring, also for Marian Street and to critical acclaim. In 2007 he again co-starred with Noeline Brown in the play Glorious at the Ensemble, Sydney.  His novels, The Dogs of Pompeii and Nero Goes to Rome, co-authored with American writer Vaughan Edwards, are published by Random House.

 

 

 
 
 
 
 
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