Company Member Jonathan Lynn’s hit TV show is now a hit in the West End!

We can’t help but brag about Antaeus Company and Board Member Jonathan Lynn.  He has directed the adaptation of the popular BBC series Yes, Prime Minister for the stage (written by Lynn and Antony Jay), now playing at the Gielgud Theatre in London to rave reviews.

Henry Goodman as Sir Humphrey Appleby and David Haig as Prime Minister Jim Hacker

Here is the review by John Lahr from the New Yorker, dated October 11, 2010:

“Brief Encounter” aside, seriousness was no Coward’s ozone; even in his humor, he was no thinker.  The same can’t be said of Jonathan Lynn and Antony Jay, the co-authors of the brilliant nineteen-eighties British TV series “Yes, Minister” and “Yes, Prime Minister,” which, taken together, are the smartest and funniest political-science course anyone has ever attended.  Now, in a new stage version of “Yes, Prime Minister” (expertly directed by Lynn, at the Gielgud, in London), the scornful, lazy, loquacious Sir Humphrey (Henry Goodman) and the hapless, cunning, vainglorious Prime Minister Jim Hacker (David Haig) return to the West End just in time to skewer Britain’s Tory-led coalition government and its instinct for turning a crisis into a catastrophe.  With a plot that juggles all the current political deliriums–energy, the euro, the European Union, illegal immigration, global warming, the BBC, pedophilia, and more–the play bears exhilarating witness to Mark Twain’s droll observation that honesty was the best policy.

The story revolves around a deal being made with the foreign secretary of the oil-rich Kumranistan to run a pipeline through Europe, thus solving Britain’s economic problems and insuring the P.M.’s future.  On the eve of signing the deal, however, the foreign secretary asks for a sexual partner for the night; his sweet tooth turns out to be for schoolgirls.  This request generates an extravaganza of hilarious pettifogging.  When a willing girl is finally found, she turns out to be an illegal immigrant.  “Oh, my God! What do we do? We can’t ignore the facts,” Hacker says in abject terror.  His assistant answers, “If you can’t ignore the facts, you have no business being in government.”  Like Nixon and Kissinger praying together at the White House, Hacker and his pols get down on their knees to ask for guidance, a moment that gives the line “the secret ambush of a specious prayer” a whole new meaning.  “So my question is: which is the greater evil, O Lord? Is it really O.K. for me to authorize procuring some little scrubber for him to have sex with?” Hacker asks, adding, I look forward to hearing from you at your earliest convenience. Amen.”

In the late eighties, after a tenure as a director at the National Theatre, Lynn left England and built a successful career in Hollywood, where he has made a series of star-driven studio comedies that rarely allow him to show the full range of his sharp intelligence.  His return to the West End is something to cheer about.  Lynn, who directed the best production of Joe Orton’s “Loot” I’ve ever seen, is a dab hand at Orton’s game of drawing pure water from poisoned wells.  Almost every paradoxical line of this vivacious play challenges the audience to think against received opinion.  To end with one piquant potshot: “We don’t approve of blackmail as an instrument of government policy,” Sir Humphrey sniffs. “Blackmail is criminal, Prime Minister.  We use leverage.”

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Announcing Moderators for our Fall Shakespeare Workout!

Jonathan Lynn moderates the Hay Fever Intensive

Jonathan Lynn moderates the Hay Fever Intensive with Director Douglas Clayton Photo by Geoffrey Wade

Announcing Guest Moderators
for Fall Session of


Shakespeare Workout!

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

September: Jonathan Lynn

Filmmaker, Screenwriter and novelist, Jonathan Lynn’s prolific career spans nearly four decades and includes directing, writing, producing and acting. He has directed numerous films, including “The Fighting Temptations,” “The Whole Nine Yards,” “My Cousin Vinny,” and “Clue.” From 1977 to 1981 he served as Artistic Director of The Cambridge Theatre Company, where he produced more than forty plays, directing twenty of them himself including a Macbeth with Brian Cox that toured both the UK and India, and played a special performance for the Prime Minister,Mrs Gandhi. The 1980’s phenomena “Yes, Minister” and “Yes, Prime Minister,” which Lynn co-created and co-wrote propelled Lynn to fame in his native Great Britain. Also an accomplished actor, his stage performances range from playing Hitler in The Comedy Of The Changing Years at the Royal Court Theatre to Motel The Tailor in the original London cast of Fiddler On The Roof. With Antaeus, Jonathan serves on the Board of Directors, as Chair of the Artistic Advisory Board, and has directed a variety of readings and workshop productions.

October: Dakin MatthewsMATTHEWS_DAKIN

A founding member of the Antaeus Company and has appeared in its productions of The Wood Demon, Of Mice And Men, The Man Who Had All The Luck, Mercadet, The Liar, The Proof of the Promise, and Chekhov x 4.  He is active in professional theatre in Southern California, and has appeared frequently in film and on TV.  He is also a playwright, director, dramaturge, and Shakespeare scholar. Dakin is an Associate Artist of the Old Globe Theatre, a founding member of John Houseman’s Acting Company, former Artistic Director of California Actors Theatre, Berkeley Shakespeare Festival, and the Antaeus Company, and current Artistic Director of Andak Stage Company. He has performed with ACT in San Francisco, the Old Globe in San Diego, the Mark Taper Forum, South Coast Repertory Theatre, specializing in Shakespearean roles. He has appeared in over twenty films and a hundred and fifty television shows, including regular or recurring roles on twelve different series. His handbook on verse-speaking, Shakespeare Spoken Here, has been used in universities and training programs throughout California; he has given masterclasses in Shakespearean acting across the country and has taught and directed in professional training programs at The Juilliard School, American Conservatory Theatre, Cal Arts, and USD/Old Globe.

November: Brendon Fox

Brendon Fox_053_A#F426small

Brendon Fox is a consultant and former Associate Producer for L.A. Theatre Works, directing   and producing many acclaimed radio plays for NPR as well as numerous national tours. For Antaeus, he directed one-act in Coward’s Tonight at 8:30

and The Rover with the A2 Company. He has worked as Associate Director at the Old Globe Theatre in San Diego for seven years where he directed An Infinite Ache, Sky Girls, and Much Ado About Nothing (with Billy Campbell and Dana

Delany) among others. Regional directing credits include: Playmakers Repertory, The Pasadena Playhouse, The Weston Theatre Company;  The Julliard School and University of San Diego; Two River Theatre Company, Ravinia Music Festival, Writers Theatre Chicago, Merrimack Rep and Diversionary Theatre. Mr. Fox has directed national tours of The Great Tennessee Monkey Trial (with Ed Asner), Private Lives, and The Prisoner of Second Avenue (with Hector Elizondo) with L.A. Theatre Works.  Mr. Fox has taught and / or directed students at numerous prestigious conservatories around the country.  He holds a BS in Performance Studies at Northwestern University and an MFA in Directing at UCLA.

All Moderators are subject to availability

Shakespeare Workout meets on Tuesdays from 2-5pm, beginning September 8th

email academy@antaeus.org for more information

The Antaeus Academy: Origins & Curriculum

“The Academy is a door into a wonderful community of actors who truly, wholeheartedly love what they do, and I am honored to be a part of it.” -Chris Pine

ABOUT THE ACADEMY: By Jeanie Hackett, Artistic and Academy Director

At Antaeus, we believe mastering the acting challenges of great classics takes a lifetime. And we believe that wanting to take on these challenges is what makes for 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, inspiration are not just taught but ‘passed down.’

At Antaeus, you learn through study and by osmosis from some of the most talented and acclaimed actors and directors in the country, as you take part in a program that makes the utmost demands on your instrument: voice, body, intellect and talent. Antaeus is a company of artists who share your passion for great acting, great language, great human stories. The exhilaration of this lifelong collaboration—artist to text, artist to process, artist to artist – is what informs our productions and feeds our hunger for exploration and theatrical truth. It’s why an ongoing ensemble company can make theater that can thrill audiences– and maybe even make a difference in the world.

“Taking classes at Antaeus has been an incredibly illuminating and fruitful experience for me. The unique thing about the Academy that I feel is lacking in other courses in this town, or anywhere for that matter, is the inspirational way we are encouraged to look at the text and our characters. Antaeus does not produce “cookie-cutter” actors but inspires us all to think outside the box and really home in our unique selves, which then creates unique characters and a truly spectacular result, which is captivating theatre.” -Rebecca Mozo


ABOUT THE ACADEMY

Academy training programs are for established professionals and upcoming, early-career actors. Our ability to give students the opportunity to explore complex texts in front of an exciting array of esteemed actors, directors, and instructors makes us unique among Los Angeles acting schools. Created in part so that we could get to know the work of younger actors for company projects, actors in Academy workshops become a part of a community of artists who cultivate and nourish a passion for the greatest (scripted!) hits of all time.

Our astonishing roster of ongoing Academy guest moderators includes some of the finest actors, directors and acting teachers in the country: Annette Bening, Alfred Molina, Daniel Sullivan, Stefan Novinski, Kate Burton, Jonathan Lynn, Tom Moore, Jessica Kubzansky, Dakin Mattews, Brendon Fox, Art Manke, Bart DeLorenzo, Gordon Hunt, Austin Pendleton, Nike Doukas, Olympia Dukakis, Susan Sullivan, Michael Hackett, Barnet Kellman, Sheldon Epps, Andy Robinson, Stephen Wadsworth, Mark Rucker, Simon Levy, Jeanie Hackett, Susan Sullivan, Andrew Barnicle, Jeffrey Nordling, Arye Gross, Armin Shimerman, Jean Louis Rodrigue, Rowena Balos, Stephen Collins, Alan Mandell, Stephanie Shroyer, Blythe Danner and Gregory Itzin among many others are regular guests in our scene study and Shakespeare classes.

We believe that working on great material with a variety of experienced teachers is the best way to create dynamic, flexible actors who can excel, inspire, and amaze, whether working on stage, or in film or television. Actors coming to the classics for the first time have the opportunity to become familiar and comfortable with a wide range of dramatic literature and acting styles. Well-trained actors coming to us from graduate programs have the invaluable experience of testing their technique against real-world scenarios: multiple points-of-view, methods — and directors. Thus, the workshops provide both a safe and supportive atmosphere and one that mirrors the realities of the professional world where actors are called upon to adapt to many different styles and ways of working over the course of a career.

Most Academy workshops culminate in invited presentations of scene work for the company; in doing so we hope to foster a community of artists who share a common artistic language as well as a dedication to a company spirit of working together to create vibrant, moving, entertaining theater.

“The space, the people, the instructors made it so that I dared take my acting to higher levels and push myself to the limit. It made me feel like an actor again – not an auditioner, which is how LA sometimes makes you feel.” — Kristin Proctor Campbell

CLASSES OFFERED

CLASSICAL STYLES
A fourteen-week scene study class for actors from 18 to 35 years old. Each four-week segment focuses on a different aspect of classical theater, including modern classics. In the Fall, each month is divided into Shakespeare, the Greeks, and work on Shaw, Wilde and Coward. The Spring session covers Chekhov, Ibsen and Strindberg, American Classics, and Moliere and Restoration Comedy. Jeanie Hackett (actress, teacher, and author of The Actor’s Chekhov and Towards Mastery) is the principal moderator with a variety of guest moderators leading the class every other week.

Class Details & Requirements
Classical Styles meets Tuesday evenings from 7 -11 pm and culminates in a scene presentation open to Antaeus members and invited guests. Students are eligible for casting in Antaeus Company readings, projects, and productions, and the presentation is the primary way Company members get to know students and their work. 24 – 26 students participate in each session, students do at least three new scenes and two reworks over the three month period. Admission by audition only. We look for strong, classically trained actors, as well as younger actors who show genuine potential for meeting the challenges presented by classical texts.

“One of the best parts of Antaeus is that the class leads to a performance. You get the excitement of moving towards something.” –Ryan Spahn

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, SW features a different guest moderator every month.

Class Details & Requirements
Open to actors of all ages and levels of experience, the workout focuses on text analysis, monologue and scene work. Open to actors in of any age with the discipline and potential skills for classical work. This workshop meets Tuesdays from 2 – 5 pm for twelve (12) weeks. Actors new to the workshop commit to an initial 12-week session; returning actors may join the workshop on by the month. We are looking for actors of any age eager to learn or re-discover the skills required for dealing with Shakespeare’s text.

INTENSIVE IMMERSION

These workshops focus on a single playwright, style, or acting technique, are led by a master teacher and culminate in a presentation for Antaeus Company members and guests. In the past, these workshops have included Dakin Matthews’ Intensive Immersion in Shakespeare and John Achorn’s master class in Commedia dell’Arte. Future Intensive Immersions may include a workshop in myth and mask work led by Andy Robinson, a Russian Theater/Chekhov Immersion led by Jeanie Hackett, and a Language in Shakespeare workshop led by Gregory Itzin and/or Alfred Molina.

Class Details & Requirements
These two-weekend long workshops are open to actors with extensive experience in classical theater, and by audition to actors who have completed Classical Styles. Actors recommended by Company members will be accepted without audition. Workshop fees vary according to program and length.

The Antaeus Academy announces auditions!

Welcome to Another Year at the Antaeus Academy,

The prestigious Antaeus Academy announces auditions for the fall sessions of Shakespeare Workout and Classical Styles.   Become a part of a vibrant theater community as you tackle material that demands the utmost of your talent!Michael Hackett instructs on the Greeks


From A2 (Academy Company) member Chris Pine:

“What I enjoyed about the class was the feeling that good work was demanded of you.  It always felt like a ‘no bullshit’ class.  It wasn’t ‘Hollywood’: didn’t matter how you looked or how many credits you had.  You were being taught great literature, it’s analysis and its performance from people whose credits would make you blush.  And I loved that.  There’s a tremendous respect for the actor as an important artist that’s taught in the academy and reflected in the community as a whole.  I think that’s really it: the academy is a door into a wonderful community of actors who truly, wholeheartedly love what they do, and I am honored to be part of it.”

Our classes open for auditions include…

CLASSICAL STYLES!

An intense excursion in classical scenework, this 14 week workshop focuses on Shakespeare, The Greeks, and Shaw, Coward, or Wilde.

Taught by Artistic Director Jeanie Hackett with Company Member Geoffrey Wade and Artistic Associate Cindy Marie Jenkins, and featuring our usual dazzling array of expert guest moderators! Workshop culminates in a presentation for Antaeus Company members and invited guests.

Meets Tuesdays, 7 – 11pm beginning September 15th
Class fee: $550 for 14 week session
Class size: 24 – 26
Open to actors age 18 – 35

Past Moderators included: Rowena Balos, Annette Bening, Kate Burton, Brian Cox, Olympia Dukakis, Sheldon Epps, Sabin Epstein, Jeanie Hackett, Michael Hackett, Gregory Itzin, Jessica Kubzansky, Jonathan Lynn, Art Manke, Dakin Matthews, Alfred Molina, Tom Moore, Jeffrey Nordling, Stefan Novinski, Austin Pendleton, Andy Robinson, Stephanie Shroyer, Daniel Sullivan, Geoffrey Wade and many others

and 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. Now an ongoing, year-round program, SW features a different guest moderator every month. Actors new to the workshop commit to an initial 12-week session; returning actors may join the workshop on a by-the-month basis. Open to actors of all ages and levels of experience, the workout focuses on text analysis, monologue and scene work.

Meets Tuesdays 2 – 5 pm, beginning September 8th
Class fee, new actors: $550 for initial 12 week session
Class fee, returning actors: $135 per month
Class size: 16 – 20 actors per class
Open to actors of all ages

Please email your picture and resume with audition request to academy@antaeus.org. Or, mail to:

The Antaeus Company
5114 Lankershim Blvd.
North Hollywood, CA 91601
Attn: Cindy Marie Jenkins

Upon review, you will be contacted for an audition appointment.

Please prepare one classical monologue, no longer than two-minutes.

Antaeus Diary: Jonathan Lynn mentors HAY FEVER

One of the wonderful ways we were able to utilize The Noel Coward Foundation’s grant in furthering the mission of The Antaeus Academy was by asking Noel Coward experts to act as mentors to the young directors taking on these readings.

Jonathan Lynn mentored Douglas Clayton’s direction of HAY FEVER, one of Coward’s most beloved plays. We asked Jonathan about Coward and his experience with Antaeus.

The Hay Fever Intensive at Antaeus

The Hay Fever Intensive at Antaeus



1. Where is Hay Fever ‘s place in the Coward canon?
Coward was prolific. However, there are four outstanding plays that are continually revived, stand the test of time and somehow seem to capture definitively both their period and what everyone thinks of as the Noel Coward style. They are Hay Fever, Private Lives, Present Laughter and Blithe Spirit. Many of the other plays are excellent and well crafted, but these four have been consistently and continuously popular with the public.

2. Why would audiences today be interested in the story of Hay Fever?

It’s about a hilariously dysfunctional theatrical family, and their effect on the ‘civilians’ who come into contact with them. The four members of the Bliss family have no manners at all, and behave as many of us might like to but few of us would dare. Drama allows us to live vicariously, saying and doing what we secretly want to do or say. When we laugh we are, in fact, owning up. It’s a recognition that what we see enacted on the stage is true. That’s why we bark with recognition. Like the dogs do, when we come home.

If we don’t recognize some truth about ourselves, truth even if heightened or exaggerated for comic effect, we don’t find the comedy funny. We say it’s silly or stupid. But if we laugh we’re saying “I’ve said that, I’ve done that. I’ve thought that” or, more likely, “I wish I’d said that or done that”.

Four people from the real world go down to the Bliss’s country cottage for a weekend in the country and have an awful time. It’s not happening to us, so we love it.

Apart from that, all the characters are drawn with wit and insight, and the writing is an object lesson in farcical comedy. The most galling thing about the play is that Coward wrote it in three days at the age of 24. He was, of course, a genius.

3. What would younger audiences find interesting or appealing about Noel Coward and his plays?

I think I’ve answered that. Younger audiences are no so unlike older audiences. They’ll like it because its funny.

4. What kind of training or experience do you think emerging actors need before they step into a Coward piece?

All good comedy, and Coward’s plays are no exception, require precision above all else. Ap[art from that, they require things that can’t be taught – immaculate timing and an eye for the ridiculous.

5. How did you work with the director and actors during the Intensive?

We sat around the table and worked meticulously through the play, stopping to consider what Coward might have intended with every moment and looking to find the comic rather than the dramatic choice.

6. Do you have any advice for the actors in this reading before they embark on their own?

The same advice I have for all actors in a comedy: no characters should ever know they are funny.

Jonathan Lynn

Filmmaker, screenwriter and novelist Jonathan Lynn’s prolific career spans nearly four decades and includes directing, writing, producing and acting in motion pictures, television and theatre as well as authoring best-selling books.

Prior to that, Lynn directed the “screwball noir” movie THE WHOLE NINE YARDS (2000), a critical and audience favorite that featured Bruce Willis, Matthew Perry and Amanda Peet, and dominated the US box-office for three weeks. Lynn wrote and directed his first feature film CLUE (1985), a comedy/mystery based on the popular board game with an all-star cast. Lynn solved the complex who-done-it with three different endings, all of which were screened at different theaters and are now on the DVD/video. Lynn then directed his own screenplay NUNS ON THE RUN (1990), which starred Eric Idle and Robbie Coltrane, and the acerbic comedy MY COUSIN VINNY (1992), which launched Marisa Tomei’s career and earned her an Academy Award as Best Supporting Actress. Lynn’s THE DISTINGUISHED GENTLEMAN, starring Eddie Murphy, was released in 1992. He followed with GREEDY (1994) featuring Michael J. Fox and Kirk Douglas; SGT. BILKO (1996) with Steve Martin and Dan Aykroyd; and TRIAL AND ERROR (1997) starring Michael Richards and Charlize Theron.

It was the 1980’s BBC phenomena YES, MINISTER and YES, PRIME MINISTER that initially propelled Lynn to fame in his native Great Britain.

From 1977 to 1981 Lynn served as Artistic Director of The Cambridge Theatre Company, where he produced more than forty plays, twenty of which he directed. The company’s production of Macbeth featuring Brian Cox toured the United Kingdom and India and staged a special performance for then Prime Minister Mrs Ghandi. Lynn went on to direct one of the companies at the National Theatre of Great Britain, which performed his Society of West End Theatres award-winning production of Three Men on a Horse (1987).

Lynn directed numerous plays that appeared throughout London beginning in the mid 1970s. They include: The Glass Menagerie (1977), working with Tennessee Williams; Songbook (1979), which won the Society of West End Theatres Award, the Ivor Novello Award and the Evening Standard Award for Best Musical; Anna Christie (1979-80), at the Royal Shakespeare Company in Stratford and London; A Little Hotel on the Side by Georges Feydeau, adapted by John Mortimer at the National Theatre; Pass the Butler (1982), written by Eric Idle and staged at the Globe Theatre; and Joe Orton’s Loot (1984) starring Leonard Rossiter, staged first at the Ambassadors and Lyric Theatres.

Lynn just completed work on his new film WILD TARGET starring Bill Nighy, Emily Blunt, Rupert Grint and Rupert Everett. His screenplay The Prenup, has recently been optioned by producer Dan Keston.

Jonathan Lynn received an MA in Law from Cambridge University, an Honorary MA from the University of Sheffield and an Honorary PhD from the American Behavioral Studies Institute. He currently lives in Los Angeles.

THE YOUNG IDEA: A Noel Coward Weekend Extravaganze – June 26-28, 2009

What a swell weekend we’re planning for those who love Coward — and who doesn’t?!? Please join us for one or more of these special events!

With the generous support of the The Noël Coward Foundation, Antaeus presents a weekend of events celebrating the master writer in all of his manifestations! Drawing on the title of an early Coward play, dozens of young, upcoming professional actors perform staged readings of some of Coward’s most fascinating, lesser-known work; brought to life by young directors, all mentored by noted, seasoned professionals. Plus, we have workshops on the life and style of Coward. See below for a detailed schedule.

$10.00 suggested donation for each event. Audience members between the ages of 16 – 25 are FREE! 40 seats will be held every night for Young Adult Audiences. Space is VERY limited–make your reservations NOW by emailing events@antaeus.org. All events take place at Antaeus at Deaf West Theatre, 5112 Lankershim Blvd., North Hollywood, CA 91601

xoxo US at Antaeus
~~~~~~~

FRIDAY, JUNE 26

6-7pm
“NOEL COWARD: THE MAN” Roundtable
Who was Noel Coward and why are we drawn to him? Moderated by Kathy Williams,
the West Coast Liason to the Noel Coward Society
Where: Antaeus Library

7:30pm
HAY FEVER Reading
**Reading followed by reception
Director: Douglas Clayton
Mentor: Jonathan Lynn
Cast: Christina Pickles, Robert Pine, Brooke Bastinelli, Etta Divine, Gabe Diani, Drew Doyle, Whitney Hudson, Annie Melchor, Adam Meyer & Adeye Sahran

SATURDAY, JUNE 27

11:30am
AH, SAMOLO Reading
An adaptation of Coward’s novel POMP AND CIRCUMSTANCE
Written By K.M. Williams, Directed By Elizabeth Swain
With Rhonda Aldrich, Antonio Anagaran, Ben Chang, Mark Deklin, Whitney Hudson, Antonio Jaramillo, Lynn Milgrim, Maggie Peach, Ned Schmidtke, Janellen Steininger, Joel Swetow, Kitty Swink, Reba Thomas & Laura Wernette.

3:00 – 6:00pm
“ACTING A NOEL COWARD SONG”
An Interactive Workshop for singers and non-singers to learn how to act a Noel Coward song.
Taught by Harry Groener and Nike Doukas
Reservations required – limited spots available!

6:00pm
Exhibit: “NOEL COWARD: THE SPY”
During WWII, London asked much of its countrymen–how much did Coward give?
Location: Antaeus Library

7:30
PEACE IN OUR TIME Reading
**U.S. Premiere!
Complacency or freedom: Which would you choose?
Noël Coward’s one and only anti-war propaganda play
**Reading followed by reception
Director: Jessica Bard
Mentor: Barry Creyton
Cast: Josh Clark, Lily Knight, Melinda Peterson, Phil Proctor, Janellen Steininger, Josh Ansley, Eric Bloom, Kendra Chell, Brett Colbeth, Etta Devine, Danielle Doyen, Drew Doyle, Karianne Flaathen, Jeff Gardner, Alexandra Goodman, Aaron Lyons, Kellie Matteson, Mark Moore & John O’Brien.

SUNDAY, JUNE 28

3:30 – 4:30pm
Roundtable: “NOEL COWARD: THE PLAYWRIGHT”
Antaeus actors come together for a exchange of ideas on Coward’s themes, world-view, and acting style.

5:00pm
EASY VIRTUE Reading
One woman’s fight against the rigid moralities of her time.
**Reading followed by reception

Director: Kari Hayter
Mentor: Art Manke
Cast: Rhonda Aldrich, Ned Schmidtke, Brett Colbeth, Joe Delafield, Wyatt Fenner, Karianne Flaathen, Amy Hendrickson, Raleigh Holmes, Aaron Lyons, John O’Brien, Jason Thomas, Jocelyn Towne, Rebekah Tripp & Nicol Zanzarella –Giacalone.

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