The new Ed Hooks Studio at 70 Oak Street in San Francisco is ready for occupancy -- sort of. We'll be feeding the classes into the space slowly, while door frames are still being painted and locks are installed. My regular Tuesday night Exellent Film Class will meet there February 16th, as will the March 6-7 commercials workshop. A decision is yet to be made about when the San Francisco scene study workshop will move in. For the time being, that class will remain at the New Conservatory Theatre, 25 Van Ness.

UPCOMING WORKSHOPS
Commercials Workshop (SF) -- March 6-7 (Saturday 9-4 and Sunday 10-5)
Acting for Animators -- Coming soon. Dates TBA.
< Scene Study (SF) -- On-going, Mon-Wed 7-10pm
Scene Study (Palo Alto) -- On-going, Thur 6:30-10pm
Exellent Film Class (SF)-- On-going, Tue 7-10:30pm

HOOKS ACTORS WORKING
Congrats to HOWARD KLAUSNER, former LA acting student and long-time friend, for co-writing (with Ken Kaufman) "Space Cowboys", Clint Eastwood's next movie. MING LO (scene study - Oct '91) guested on the television show "Charmed" last month. He is also producing Shakespeare's "Measure for Measure" (and playing the role of Angelo) at the Morgan-Wixson Theater 2627 Pico Blvd, Santa Monica, CA. The show runs through March 8th. JAXY BOYD (all classes - '94 - '96) and JANET JOHNSTON (scene study - current) are both in "To Kill A Mockingbird" at the Live Oak Theater in Berkeley, through Feb. 20th. KANDICE CLINE (scene study - '95-'96) is opening Feb. 24th in "Carry the Tiger" at East West Playhouse in downtown LA. ANNAN PATERSON (comml - '97) is in A.R.Gurney's play "Silvia" at Ross Valley Players, running through Feb. 13th. CHARSELLE HOOPER (f/tv - '94) is in an independent film entitled "Chimera House", being entered into the SF film festival. LEN SHAFFER (scene study - '98) is in "The Merry Wives of Windsor" at Calavaveras Repertory Theatre, through Feb. 14th. DIANE TASCA (scene study - '95-'98) is portraying Sarah Bernhardt in the Palo Alto Players production of "The Ladies of the Camellias", through Feb. 7th. DEEANN WEIR (f/tv - '98) is in "Call Me Crazy" at New York's Sage Theatre, through Feb. 20th. PHIL SHERIDAN (comml & f/tv - '97) recorded a radio commercial for Mission Federal Credit Union. KURT KROESCHE (scene study - '96-'98) is portraying Hamlet at Exit Stage Left in SF, through Feb. 27th. PHIL MAYALL (f/tv - '97) is in an independent film entitled "Family Values in the Goddess Years". LAURIE YOUNG (all classes '96 - present) has been cast in the California Travel Troupe, a group of 20 actors that go to Edinburgh, Scotland for the annual Fringe Festival. She begins rehearsal in May and heads over to Scotland with the Troupe on August 5th.

Let's hear it for the new Heroes Theatre Company in SF, largely comprised of current and former actors from the SF scene study workshop. Heroes will present a showcase of scenes on Feb. 5-6, 12,13, 14 in SF. Admission is free, seats limited. Call (415)921-3360. The enterprising actors are SHANE NESTOR, JOCELYN THOMAS, TIFFANY SCHROTH, EMIKO PARISE, OSCAR SALABERT, RAFAEL DALY, JEFF DELUCIO-BROCK, LACHLAN OTTLEM, MIA PASCHAL, JAMIE CAVENAUGH, DARA RICHTER AND GEORGETTE PAN (director).

CRAFT NOTES

Twenty-five years ago, I saw Nichol Williamson portray Hamlet on Broadway. In Act I, scene two, while Claudius was talking to his assembled subjects, Williamson made his first entrance, quietly, unobtrusively. He simply entered and merged into the faceless crowd. No one stepped aside for him or extended any deference. Yet, this actor's presence was such that the lights on stage seemed to intensify. The effect was electrifying.

I experienced the same jolt of theatrical power when watching Julie Harris in "The Last Days of Mrs. Lincoln" and Irene Worth in "Sweet Bird of Youth." Some actors come alive when they walk onto a stage or step in front of a camera. Others seem to fade into the scenery. The variable, I contend, is not in the role being played or in the acting choices, but in the actor himself. Stage presence -- charisma -- has to do with self-confidence and the actor's belief that he belongs in front of an audience, that what he has to say as an artist matters, that he is worthy of the attention.

I'm not suggesting that actors should be arrogant in their work, only that the stage is a symbolically powerful place with deep historic roots, and some actors seem to understand this better than others. French philosopher Denis Diderot pointed out in the mid 18th century that the stage is a pulpit, a perspective that is probably essential if an actor wants to develop true stage presence.

Often I have seen in my workshops actors who are doing commendable work, making strong choices, applying themselves fully to their roles. If I press them after the presentation of a scene or monologue, they can provide a thorough character and scene analysis, can justify their acting choices. The work is strong, and yet......and yet.....something -- some elusive important element -- is still missing. Despite the hard and efficient work being done on stage, the audience is only paying polite attention. The theatrical contract between actor and audience is shaky. This is where theatrical purpose comes in, the intent of the artist, the reason for acting and being on stage in the first place.

In the theatre, where the theatrical contract is clearest, the actor and audience get together at the same place, at the same time, for a common purpose. The actor, as an individual, has a function to fulfill, not merely a role to play. The audience expects him to lead, to take them on a trip, to call the plays, to take the wheel. The manner and spirit in which the actor assumes the job profoundly affects the dynamic of the production. This is true also of the movie actor, who must bring with her to the sound stage a sense of theatrical purpose. Even in movies and television, you act for an audience.

Acting, finally, is about communicating. Too few actors think what they have to say is important; these days, most seem content simply to hear the sound of their own voices, to see themselves on screen. If I could instill a single most-important lesson for the new actor, it would not be about playing actions or pursuing objectives or behaving believably or analyzing a role. It would be this perspective: Actors are artists, the same as musicians, novelists, sculptors and painters; the stage is a place of honor and extraordinary power. It is a privilege to be there, to have the opportunity to be heard -- and to lead.

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