As immigrant actors, we are not only from somewhere else. We also come to this industry with different cultural sensibilities, languages, accents, physical behavior, human experiences, blindspots, and expectations. We also often find ourselves having to deal with way more than the craft. There are artistic, legal, and financial pressures that are particular to immigrants. What do we need to build our careers in theater, film, and TV? And how can we ‘own’ who we are at every step of the way? This class is designed for aspiring and early career actors in the U.S. It covers the 1) artistic aspect of acting and audition technique for theater, film, and TV, 2) 2) the business aspect and how the acting industry works, and 3) the legal aspect of employment authorization that is a kind of difficulty exclusive to international actors. The class is deeply rooted in practice across a wide range of material from film, TV, and theater.

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• Prerequisite: Open to all

Body Intelligence focuses on developing the physical and emotional intelligence of the actor. Class utilizes Allan Wayne Work exercises to build physical and mental stamina. These repetitive, circular exercises condition the muscles and break up fascial adhesions while unveiling emotional availability, eroding habitual tension and preventing injury. There are guided creative movement explorations, ensemble, partner and solo work that allow the actor to fully experience moving from their body’s impulses as opposed to being ‘in their head’ to make choices. The focus on embodiment work leads the actor to greater emotional access and safety. Class references concepts from Alexander Technique, Fitzmaurice vocal technique, integral anatomy, Lucid Body, meditation and modern dance.

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• Prerequisite: Open to all.

Many of the greatest works in the theater and film take place in the American South, from the Carolinas to Georgia to Louisiana. While each area has a distinct culture and dialect, it is an important skill for most actors to be able to confidently inhabit at least one particular accent, and be able to modify from there according to the needs of the story being told. This workshop will approach accents of the American South by focusing in detail on one specific accent, and then exploring varieties found in the neighboring regions.

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• Registration Prerequisite: Open to all.

Monologues are strange. On paper, they look like big chunks of words. On stage, they should be the furthest thing from that. They are part of the backbone of some classical plays. They are common in many contemporary plays. They are nonexistent in others. They can be a character's fantasy, an admission to an audience, or just a long speech as part of a dialogue. Irrespective of what shape or form they take, monologues always seem to find their way into an actors' life: beginning actors almost always need them as audition tools and working actors always stumble upon them in one project or another. But how can one believably speak for so long? How does an actor thread their thoughts in a long speech? How do we as actors honor our given circumstances while staying engaged and driven? How can we keep them fresh? And most importantly, how can we reveal ourselves through them? This class is dedicated to help you throughout the whole monologue process, from choosing the right piece, to navigating its technical and emotional requirements, to creating maximum impact in the room.

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• Prerequisite: Open to all

In this workshop, we will explore the fundamental tools and concepts necessary for rehearsing and performing a Shakespeare play. We will begin with two assumptions. First, even if you don’t realize it, you already have everything you need to perform Shakespeare. And second, the best way to understand Shakespeare’s work is to engage with the text actively. His work is meant to be spoken out loud, shared, and performed. His language cries out to exist in the here and now, and an actor’s job is to bring these words out into this moment and time. We will explore a series of speeches and scenes as a group, utilizing the tools that allow an actor to unlock the text and take ownership over the language. Each actor will also be invited to bring in a speech of their own to work on individually in front of the group. Finally, we will spend some time exploring how these tools can be applied to any text, classical or contemporary. By the end of this workshop you will have gained practical experience working on heightened language, a basic understanding of an actor’s main tools for rehearsing Shakespeare’s plays, including use of iambic pentameter, scansion, melody, rhythm, antithesis, pitch, and operative words, and begun the foundational work on a new classical monologue to add to your repertoire. An exciting speech coming from a place of personal truth. For the First Day of Class: Bring a speech that you want to work on from any Shakespeare play. Please be sure to read the full play.

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• Prerequisite: Open to all levels, but prior acting training or experience is required.

The extremely practical acting exercises found in Uta Hagen’s world-famous books, Respect for Acting and A Challenge for the Actor, probe the depths and heights of human behavior. They offer the actor a structure for lifelong practice exploring the dynamic interaction between sensory/emotional experience and the creative imagination. Uta Hagen’s approach to acting works. She challenges the actor to develop skills continually. She offers avenues of creativity that, with an open imagination and expanding sense of self, are unlimited. Her ongoing process of self-observation and self-discovery fortifies your ability to respond truthfully, dynamically, and vividly with fellow actors, releasing unpremeditated truthful behavior in performance. Over time, you find yourself creatively alive and present in the process. Held at HB Studio, the birthplace of the Hagen exercises.

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• Required reading: A Challenge for the Actor by Uta Hagen.
• Prerequisite: Open to all. 

Explore the powerful world of two-time Pulitzer Prize-winning playwright Lynn Nottage through scene work drawn from SWEAT and CLYDE'S. Led by actor Reza Salazar, who performed in both original productions, this class gives actors firsthand insight into Nottage’s richly textured language, complex characters, and social urgency. The work emphasizes authenticity, emotional truth, and deeply grounded contemporary performance.

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• Prerequisite: Open to all. 

A hands-on course that teaches performers how to create high-quality headshots, self-tapes, and promotional images using only their smartphones. In today’s industry, actors constantly need updated photos and self-tape material—for auditions, casting calls, social media presence, and personal branding. This class is designed to give you practical tools you can apply immediately, without needing professional equipment. You will learn: how to use your phone’s camera like a pro; lighting techniques for indoor and outdoor shoots; how to take strong, flattering headshots; self-tape setup, framing, background & sound; editing tips for clean, polished photos; and how to create promotional & social media content that stands out. You will experience live demos and hands-on practice with small props and lighting tools, and you'll receive a downloadable guide with key takeaways.

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• Prerequisite: Open to all.