The right acting class is about a balance of challenge & support. It's where we build the comfort of intimacy along with the creative discomfort inherent to artistic / self growth. Where we connect with a community of people with the same values & vocabulary. Where the artist-teacher & artist-actor trust enough to reveal all of who we are via the work. It's where we learn secrets about craft & about ourselves through the perceptions of others. It's where we uncover our authentic self, embrace our contradictions, whet our appetite for greatness.
Class in The Workroom ≈ expanding your propensity for breakthroughs, power, mastery. I want class to be the window onto the vista of your full potential as an artist: a weekly experience infused with exactly the right people & atmosphere & insight to exponentially grow craft, confidence & authority. I want the The Workroom to be the essential foundation for the career you dream of having & the artist you dream of becoming.
&, of course, it's a gym, a place to stay stay seriously & playfully engaged in a committed relationship with yourself & your craft. The Workroom's innovative, ongoing structure helps build the discipline, commitment & stamina that this relationship demands.
In Workroom PRACTICE we suss out together what you need to work on next to grow your talent & hone your craft. You choose your own material, or come to us for suggestions. You work on scenes, monologues, audition technique & prep, back & forth between the nuts & bolts & your dream roles. We're not just working toward success — which, in a career, comprises a series of stand-alone events) — we are working toward mastery — which is the life-long journey of all artists.
Why does one actor's emotional world move us & another's leave us cold? Why do some voices compel us to listen & others tune us out? Why is one actor's inner life mesmerizing in stillness & another's boring in histrionics? What makes for the difference between good, serviceable acting & great acting? At the core, the artist's propensity for greatness — as the way the work feels within & the way it is perceived without — is what we're working for.
The courage to give yourself permission to use all of yourself + the skill to know what the text demands of you = an actor whose inner life is bold, authentic & arresting to watch. Not everyone will achieve great acting. But I believe all good actors can learn how to attempt it. It's an ability both innate and acquired.
Like my mentor, Nikos Psacharopoulos, I don't teach from one method or defined school of thought. Using Stanislavski as a foundation, I draw on a range of techniques to respond specifically to every actor's unique needs. I approach teaching as an actor-doctor: I've learned that being great diagnostician means knowing that not everyone responds to the same "cure."
What I love most: Art-intimacy: the special rewards that emerge when artists work together over time. The more I know you, your work, the better I "see" you / challenge you / speak to your needs. I've kept class fees extremely reasonable, because I want us to share this space on an ongoing basis. The more you commit, the more perks you get & the less you pay.
We invite industry guests on a regular basis to co-moderate the class with me — because I want to make sure that what we do in class isn't isolated from "the real world." We also invite master teachers from various disciplines to bring us back to the mainstays of craft: Alexander Technique, Method / exercises, Meisner & MIchael Chekhov work / Voice & Movement. By exposure to all of it, you get to load your toolbox with exactly what works for you.
A successful actor-artist needs to know, simply, how to work hard, how to compete & how to win. Like an Olympic athlete, or a dancer or musician, the mantra is practice, practice, practice. Then will you gain access to all of your unique individuality, the thing you have that no one else does, the thing that gets you hired. Because, really, that's all you've got. And all you need.
C R E A T E
The Readiness is all.
scene study / audition technique
This is the core, the gym, the ongoing discipline of craft, the quest toward mastery. 16 to 18 actors per class. Open to intermediate to advanced actors with training &/or experience, of all ages. Everyone works in 3 out of 4 classes per month: on audition sides / monologues / & scenes from plays, film, tv. You choose what you want to work on & or we'll help you pick the material you need to grow your talent.
Class fees vary, see below.
A D V A N C E
Industry Special Guests ongoing, occasionally
We frequently have an industry guest join us in The Workroom, co-moderating a class with me.: casting director, agent, etc. Q&A + Kibitzing + Scene Work. Members of both classes invited to attend & work that is ready gets up. recent industry guests = CD's Billy DaMota (film) / Dan Shaner (film, tv) / Joanna Colbert (film) / Marci Liroff (film, tv) Anna Lyse Erikson (LA Theatre Works), Mark Simon (CTG) / Phyllis Schuringa (Geffen Playhouse) / Michael Donovan (theatre, film) / David Melville (Independant Shakespeare) / Cathy Reinking (film, tv) / Beth Holmes (commercial, film,tv) / Mitchell Gossett (CESD) / & more
N U R T U R E
Master Teachers ongoing, often on the first Saturday
of every month.
To counter the Industry forcefield, we invite guests who inspire us to let loose in pure play, voice & technique work. Clowning / Alexander Technique / Method work / Voice & Breath. recent = Method work with me / David Bridel ~ The Clown School / Rowena Balos ~ Master Voice Teacher / Marjo-Riikka Makela ~ Chekhov Studio International / many more
C O N N E C T: Finding Our Tribe
Various dates & times occasionally
Field trips to theater, film screenings, etc. (highly discounted or free tickets) Poetry salons at my house. Or yours. Readings of something we work on in class for an invited audience. You name it, it's possible.
B O N U S
Office Hours ~ Privates with Jeanie
If you miss a class — for a job, audition, etc. — you get a chance to sign up for a 1/2 hour private coaching session. Work / talk / strategize = I'm all yours. Other Coaching Discounts also available.
T H E F I N E P R I N T
If you miss a class, you make it up in an “office hours” time slot with Jeanie — essentially a private 1/2 session (sometimes longer) to work on monologues or scenes / / / If you can't attend Office Hours & miss class, alternatively, you can chose to receive $25 off a private coaching session, to be used within three months / / / Multiple discounts cannot be used in one coaching session / / / If you are discontinuing class, we ask that you let us know 2 weeks before the start of the next month: essential as we usually have a wait list / / / The 3 month package is for 3 consecutive months ~ exceptions sometimes made if requested at least 2 weeks in advance / / / Contact both the class assistant & post on the class facebook page if you will be missing class / / / No refunds except in truly extreme circumstances. There is always an opportunity to make-up a class you miss.