where to study NY/LA
I am currently studying with http://www.margiehaber.com/" target="_blank">Margie Haber Studios It's a cold reading class. We have been working on sitcom, which is great for me as I never expected to love it as much as I do! I am such a goof ball and I am so glad that I can be free with it now. My teacher's name is Annie Grindlay and she is very honest in a gentle way and keeps the work simple but detailed at the same time. The work we (ActTrue) did together totally gave me a base, a structure of which to work off of and without that I wouldn't have the confidence to do this class. The technique is reality based I would say, she doesn't use words or phrases like adjectives or line reads, its just about who, what, where, when, why. Like you!! Then we can really feel what we are supposed to be going through for this situation we may be in.
G. O. - Los Angeles
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I'm dying here because I haven't found a teacher I like...I won't settle...tell them to audit and not just go on someone's recommendation...we are all different...what works for one of us isn't what's best.
P. B. - Los Angeles
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Running with the Big Dogs...New York City…a place to be lost, a place to be found, a place to run with the big dogs. I enrolled myself into Atlantic Theater Company’s Spring Comprehensive Program as a way to satisfy my desire to run with the big dogs and take a bite out of the Big Apple. While I had prepared myself to “run”, I wasn’t prepared to never stop! This is the reality of New York City, and a new found reality within me.
While Atlantic Theater’s acting program offered me opportunity to grow as an actor, it also exposed me to the reality of the business: Four hours of intense training including voice, script analysis and acting technique followed by 8 hours of self motivated repetition, play readings, scene selection, character analysis and rehearsal completed a 12 hour day. This schedule was Monday through Friday...ATC also held a Saturday workshop for us as well as a monologue study one day from 6-10pm. The weekends were basically at least 8 hours of reading, analysis, rehearsal, anything to prepare for your scene with/without your partner. And that was just school; that was the easy part! That is what we live for as actors, right? To spend 12 hours of our day doing what we love…acting or any realm of it. But if you are not there yet (meaning working full time in the theater or on a movie set), then compile all of that time plus a daytime job, auditions, meetings with agents (if your lucky enough to get their attention), family obligations and whatever else you have going on. Because without working on your craft, how are you going to be prepared to run with the big dogs (in Miami, NYC, LA, wherever)?
And don’t give me the good old after college job situation, “How can I get hired if I don’t have any experience and no one will hire me to give me the experience.” It’s up to YOU to go out and get it. It’s up to YOU to make the time to practice the craft, to motive yourself. Because if YOU can’t find the time to gain the experience, why should anyone find the time to give you a shot? And don’t think New York City is the only place with the big dogs. Isn’t there someone right under your nose who is booking all your jobs? Prepare yourself to run with those dogs before you tackle a whole new breed. But my conclusion is not that there are big dogs to run with where ever you are, but that the biggest, baddest, meanest big dog of them all to defeat is YOU. Be your own driving force, your own kick in the ass, your own wake up call, your own motivator…because all the other dogs are too busy doing it for themselves.
J. C. D. - Miami/NY
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I grew so much as an actor and continue to because of the influence at The Barrow Group. Teaching that spontaneous behavior is much more interesting than anything planned and using tools to free the actor I got so much out of this experience. Much of the work there is similar to what I learned in my ActTrue classes. Check out The Barrow Group website, www.barrowgroup.org... I'm continuing to study there and highly encourage any New York acting seeking class to audit their classes. Thanks again, Marc, for all your support. Thank you for your work in Miami, providing South Florida actors the opportunity to grow, and for your encouraging e-mails. I read them all!
D. D. - New York
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I am currently studying with Aquila Theatre Company at NYU's Tisch School of the Arts. While Aquila is the resident theatre company at NYU, and the artistic director, Peter Meineck, holds a chair in the classical studies department, NYU's classes are for degree seeking students. They offer a BFA and a MFA, both of which are prestigious theatre degrees. Most directors and casting directors in New York are so familiar with each students work by graduation (via school presentations) that it's easy to be seen by them, as well as the agents. But, they do offer workshops, like the one I'm taking.
I chose to study with Aquila because I met the Associate Artistic director, Robert Richmond, when he led a mask workshop I attended at SDCF. They are a physical theatre company, emphasizing voice and physicality in the work. This approach leads to the characters emotional life, but that is not their emphasis. This work, however, compliments (beautifully) any work done before in the "American" approach (inside out) as it adds layers of character and color that may not have been found. This work would appeal to anyone wanting or needing an exceptionally visceral approach to the work, as I do.
I have studied at T. Schreiber Studio with Betty Buckley (Broadway star) and Carol Reynolds. Betty teaches several six week workshops a year, and it's by audition only. She's exceptionally intense and sometimes tough. I did learn a lot. However, her way of working via meditation and other relaxation techniques doesn't particularly work for me as it's too abstract. My studies with Carol Reynolds, in Bodydynamics (her trademarked brand of bioenergetic work) have lasted over two years so far, and I can't emphasize enough what this has done for me. Designed to locate and free tension in the body, and become aware of its source, frees the actor to use their body in any number of ways, not just the way we have come to think of as "ours". This work can sometimes be quite emotional as behavior patterns are recognized and unblocked, and that can be a little scary. Carol, however, creates a class environment so nurturing of both body and soul that both she and the class are prepared when things get too scary. Terry Schreiber, for whom the studio is named, is a Broadway director (K2, etc), and is a wonderful person. I've auditioned for him, but have not worked with him in class. Edward Norton is his student, and I do know that Terry works, like most of the teachers at the Studio, in a very holistic way, considering both emotional life and physicality. These are my personal experiences.
D. B. - New York
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I study with Martin Barter at the The Sanford Meisner Center. I took the Meisner 2-year program and am currently taking the Master Class, which is a great scene study class for graduates. Marty knows his stuff, and he doesn't put up with any BS. It's a tough class for serious actors, and I highly recommend it! I know it is the Meisner Technique and not Uta Hagen, but I beleive they compliment each other well. You're students who are making the move, can go to www.themeisnercenter.com for more info.
C. H. - Los Angeles
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I study at the Beverly Hills Playhouse. I would recommend it to anyone who is considering coming out here to live their dream. They teach acting, administration and attitude. Many actors do not even know what is holding them back from being a star. The Playhouse helps them discover what it is and overcome it so that they can achieve their dreams. Read more about it at http://www.katselas.com/index2.html. They can call the Playhouse at (310) 855-1556 and set up an interview.
There is no auditioning to get into the playhouse. Just talk to them about who you are and what your dreams are which is what really matters. Just know a few of the people who still continue to study there: Doris Roberts, John Glover, Jenna Elfman, Giovanni Ribisi, James Cromwell, Larry Pressman, Robert Townsend, Richard Lawson (who is also one of the great teachers there I study with him) and Anne Archer. Past students: George Clooney (who credits MIlton with changing his life), Kirstie Alley, Michelle Pfeiffer, and many other Tony and Oscar winning actors and actresses have studied with Milton Katselas.
You are a wonderful teacher Marc. I enjoy your ActTrue LifeART updates. I hope people wake up and start to study in Florida. It is a different ball game out here.
D. S. - Los Angeles
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I just love being in NYC!
Michael Howard Studios (told by more than one person this is the "hottest" school at the moment) HB Studios (recommended by you and others) T Schreiber Studio (also highly recommended) Acting Studio, Circle in the Square Theatre School, American Academy of Dramatic Arts, Stella Adler Conservatory, Lee Strasberg Institute, School for Film and Television, Weist-Barron (These last two recommended more for on-camera technique, as opposed to purely "acting" classes...hope that makes sense) Anyway, like I said, I just sent for the info about three days ago, so none of this is based on personal experience...but mostly word of mouth from people I trust. I hope that helps, and I'll be sure to keep you posted as things progress. Take care!
T. S. - New York
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Jeff Doucette’s Improv for Actors – Ongoing Workshop. Jeff is a very recognizable face in Los Angeles. He is the winner of The Los Angeles Drama Critics Award for Best Actor. He has appeared in over 200 TV shows and 35 films. He is a graduate of Second City in Chicago, and a founding member of “Over The Edge”, and “Improv at the Improv” in LA. He has been teaching improv to actors for over 15 years, helping to bring out each actor’s unique qualities, and guiding them in their careers. The Workshop consists of acting and improv exercises and games that challenge each actor to discover the process of acting totally in the moment, while learning to trust the uniqueness of their own instinctual voice. The actors learn to “think” improvisationally and develop a method of acting that perfectly suits their personal expression. Judy Kerr, Author of “Acting is Everything” says of Jeff’s workshop, “Jeff’s work with actors helps them to release their inhibitions and fly. I highly recommend his classes to all my students”. Auditing is welcome and encouraged. 818.769.3767
B. B. - Los Angeles
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I've spent four wonderful months in scene study with Dorothy Lyman at ITA (In the Act) in Culver City. - Dorothy's an emmy award winning actor with strong NY stage credits. - She brings forth whatever "tools" help an actor and the scene: Linklater, Meisner, Viola Spolin, Uta Hagen, etc. Her students are all experienced actors, many with extensive credits in television, film, and theatre.
She recommends material, but lets her actors choose what they'll work on at any point in time. Goal oriented - for actors to be able to take any scene and put it up, on their own, with wardrobe and dressed set in two weeks. So I've worked on scenes from Edward Albee, Arthur Mill, Clifford Odets, Henrik Ibsen. All that said, Dorothy is now returning to New York after 15 years in So. Cal. So I'm looking for a new teacher......but my standards for selecting a teacher have been established.
B. H. - Los Angeles
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Hands down, without a doubt the most valuable class I ever took was Sam Christensen's class at Sam Christensen Studios 10440 Burbank Blvd. North Hollywood, CA 91601 (818) 506-0783.
A little foreword: Sam's class focuses on essence & image, not fundamental acting. One of the most valuable lessons about film and TV that I've learned, as much as I hate to admit it, is that type is important. It is crucial in this market to not only have the skills perfectly honed, but to know your product. As Sam says, if they are casting for a pair of brown loafers, and a plaid shirt shows up, of course they'll be angry. It's important to know, not only what article of clothing you are (white sweater) but also what are your "pearl buttons"...how are you singularly different than all the other white sweaters? And there's a whole process involved in identifying one's essence. Almost all of the acting work from then on is monologues.
C. D. - Los Angeles
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I am studying with an Australian acting coach, Paul Parker at the AUSTRALIAN INSTITUTE OF DRAMATIC ARTS. He works on breathing, connecting with your emotions, he also covers all aspects of acting , on camera, the business of acting, improv.
M. C. - Los Angeles
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Beverly Hills Playhouse Besides teaching acting, they encourage administration and help shape attitude. Classes are big, but that, in my opinion, is great, since it allows the actor to work with several different types of actors and does not limit one to only a few other actors to do scene study with. Classes are not for everyone, but do some Google Research. You will find in your search that MANY actors study at BHP - Doris Roberts, George Clooney, Anne Archer and Jenna Helfman... the BHP's method of teaching is encouraging and insightful for me.
V. A. F. - Los Angeles
I do really enjoy studying with Sal Landi, whom I studied with for a few months. He is a working actor himself and mainly introduces the Michael Chekov study. Basically, the use of our minds and imagination, which ties in as well with Uta Hagen's exercises, and what we have studied with you. I like Sal because he has no pretenses about expressing exactly what he feels is not truthful in your performance and will direct you as an actor to achieving that truth of your character. His class is scene study and a separate cold reading class. It is very underground and all students are referred to him by other classmates or industry people he's worked with. He is very down to earth, but encouraging at the same degree.
J. C. - Los Angeles
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Robert D'Avanzo trained under Broadway/TV/Opera director Charles Neslon Reilly on his teaching style and technique. Robert is an actor as well, but teaches scene study and advanced scene study- they put on evenings of one acts as well as cold reading on camera classes. I take that class with him and it is awesome. There are no casting directors in class, or other guests. You work on how you audition and how you tell a story in the camera. My callback rate has improved significantly and I nail most of my auditions. So, he is my #1 vote.
H. G. - Los Angeles
