I have decided to give up the space, but I plan to continue teaching in Chicago. My lease on it extends into August, but we put the rental sign up because we are more likely to find a new tenant during the summer months. Considering the current national economic and political tensions, however, I am frankly doubtful that anybody will rent it before August. I am planning therefore to keep teaching in the studio until the fall, unless the space is rented before then. If it is rented before August, I will make decisions about where to migrate. I may move into another less-expensive studio space of my own, or perhaps I will associate myself with one of the other acting conservatories in town.

As you may recall, when I moved from San Francisco to Chicago in 2001, the move was the first part of a two-step plan. My goal was to ultimately divide my time between Europe and the U.S., and I still intend to do that. I anticipated, however, that the Chicago studio would be built on both scene study and film classes. As it evolved, scene study has been a grand success, but film classes have not. I could share many theories about why this is the case, but it basically boils down to Chicago being a stage town, not a film town. The bottom line is that I am mainly teaching scene study, and it makes no sense to pay for such an expensive studio space based on scene study tuition alone. The financial model just doesn't work, and it is making more difficult the execution of my U.S/Europe plans.

If you have been thinking of studying with me in Chicago, I would recommend that you do it sooner rather than later given that future developments are sort of up in the air. Classes are on going right now in the same lovely Broadway studio and are open for new students.

BOOK RECOMMENDATION
PAUL EKMAN's new book, "Emotions Revealed" is now available. Ekman ( http://www.paulekman.com/ ) is a sociologist/psychologist genius who has made his life's work the study of the expression of emotion in the human face. Here is the world's longest link to the book at Amazon.com. http://www.amazon.com/exec/obidos/ASIN/0805072756/qid%3D1047936548/sr%3D11-1/ref%3Dsr%5F11%5F1/103-5019389-8717449

IT'S TIME...
... to mention my good friend ERIC MAISEL again. Eric is a Bay Area psychologist, creative coach and author (he's written over twenty books!). I've known him for many years and am steadily impressed with his insights into and energy on matters creative. Good man. And he has a cool (free) newsletter. Check out his web site. http://www.ericmaisel.com

PEAR AVENUE THEATRE in Mountain View is running Show and Tell" by Anthony Clarvoe, with Jenn Erdmann (s.stdy & f/tv -'00) and Pat Tyler (s.stdy '00) opens March 28 and closes April 20. Tickets: 650-254-1148

HOOKS ACTORS WORKING
REBECCA MICHAELS (s.stdy '01/commercial acting '01) appears in "The Future of the Female", a new play by Michelle Lien, part of the Fringe in Marin @ Dominican College in April. Rebecca has also landed the principal role of the businesswoman in "The Last One", a short silent film by Westland Armitage of Blue Aragon Productions, shooting in April '03. DONNA DAVIS (s.stdy '01) appears in "Game of Sides", a new play by Terry Lamb, at Many Rivers Theater Project

CHICAGO CLASS SCHEDULE
ONGOING SCENE STUDY
We have two classes of scene study, which is where we work on acting as an art form. Monday night or Wednesday night, 7-10:30. On-going, start at any time, free audit, 16-week commitment. $135 per month.

COMMERCIALS WORKSHOP APRIL 26-27
Excellent and fun on-camera class for anybody that wants to get into commercials or to improve their batting averages. 9-4 Saturday and 10-5 Sunday. $250 ($175 for current scene study students)

FILM DEMO WORKSHOP STARTS MAY 20TH
Tuesday nights, 7-10:30, four-week session, work on your own demo scene. Limited to four students. Shoot and edit digital video. Intended for experienced actors. $250 (Note: This may very well be the final film class I offer in Chicago. As I said in my opening notes, the film classes have not taken root here. This may be your only remaining opportunity.)

PRIVATE COACHING
$75 per hour

CRAFT NOTES
"Surprising Acting"
One of the most valuable gifts you can give your fellow actor on stage is not to be predictable. Even though she may know what is coming up because the two of you have rehearsed it forever, you still should not be predictable. Don't let her know precisely where you are going.

I have never had the privilege of acting with Robert DeNiro, but I have friends who have, and they tell me that this is one of his strongest qualities. You'll be doing a scene with him and even though he's saying the words in the script, you have the feeling that he is just about to go off someplace else. What this does is it keeps you riveted, and it makes you look good! It is an old and reliable maxim that it is always better to act with strong actors because they automatically cause your performance to strengthen.

Please do not misunderstand me. I'm not suggesting that you play games with the script or with your intent. Nor am I suggesting that you not do what you rehearsed. The point is that, in life, we continually have choices. As I write these words, I could very easily switch and start writing a "No War, Please" letter to Bush or an entry in my diary. But I don't do that because I am committed to what I am saying to you. The possibility exists, and that is the important thing. A new actor tends to learn the lines, commit them firmly to memory, work out the actions and objectives -- and that is the end of it. As he plays his scene, he forgets that the character continually has options. In his mind, there are no options on account of he has memorized the scene like it is supposed to unfold. You see?

Shakespeare advised that an actor "hold the mirror up to nature". In nature, we have choices all of our waking life. And so, too, should it be with your characters. To play it that way is to give a gift to your scene partner. 

Return to Top