ACT MFA Bulletin

AM E R ICAN CON S E RVATORY TH E ATE R
TOP - R ANKED PROFESSIONAL ACTOR TR AINING IN THE HEART OF SAN FR ANCISCO
2 01 9 –2 0 M . F. A . P R O G R A M
AC T- S F. O R G / M FA | M A S T E R O F F I N E A R T S P R O G R A M 2
OUR
MISSION
AMERICAN CONSERVATORY THEATER nurtures the
art of live theater through dynamic productions,
intensive actor training in its conservatory, and an
ongoing engagement with its community. A.C.T.
embraces its responsibility to conserve, renew, and
reinvent the rich theatrical traditions and literatures
that are our collective legacy, while exploring new
artistic forms and new communities. A commitment
to the highest standards informs every aspect of
A.C.T.’s creative work.
Charlie O’Rourke, class of ’19,

in The Bacchae of Euripides (photo by Alessandra Mello)
ON THE COVER
Rivka Borek and Leonard A. Thomas, class of ‘18,
in The Last Days of Judas Iscariot (photo by Alessandra Mello)
CONTENTS
FROM THE DIRECTORS THE CITY, THE THEATER THE

TRAINING
EXPERIENCE
THE UNIQUE PERFORMANCE FACULTY

CURRICULUM OPPORTUNITIES
A.C.T.’S ADMISSIONS SUMMER TRAINING

SHINING & APPLICATIONS CONGRESS
STARS
The closing date for materials in this bulletin was August 26, 2018. A.C.T. reserves the right to withdraw or modify the courses of instruction and faculty members at any time.
For complete program information—including application forms, policies, and procedures—please visit act-sf.org/mfa.
THE VISION
Ash Malloy and Avanthika Srinivasan, class of ‘19 in Fuente Ovejuna (photo by Alessandra Mello)
T
he American Conservatory Theater
Master of Fine Arts Program prizes
curiosity, imagination, and initiative in actors;
emphasizes dedication to craft and technique;
encourages the development of original work;
and recognizes the potential of live performance
to effect social change. Through exposure
to professional artists, and engagement with
diverse audiences inside and outside A.C.T.,
M.F.A. Program actors discover how theater
reflects the life of a community and how the life
of a community inspires its theater.
This highly competitive graduate program

is designed to educate and stimulate the
most promising young actors, who are
selected through nationwide auditions.
The rigorous and multifaceted curriculum
produces well-rounded performers.
A.C.T. recognizes that different styles of theater LEFT The cast of Seachange in A.C.T.’s 2018 New
require different styles of training, so M.F.A. Strands Festival (photo by Stefan Cohen)
Program actors study and perform a wide RIGHT Jennifer Apple, class of ‘18, in
variety of theater, including both classical Love and a Bottle (photo by Alessandra Mello)
and contemporary work.
Reaching beyond the stage, the

citizen artist curriculum is a course of
study unique to A.C.T. in which students
create theater for and with San Francisco/
Bay Area communities.
M.F.A. Program actors also have the opportunity

to create and develop their own work with
A.C.T.’s annual Sky Festival, in which students
may take on any role, from director to performer
to writer, and enrich their understanding of how
theater is made.
And, to top it all off, M.F.A. Program actors

will be cast in at least one of A.C.T.’s
mainstage shows, providing student performers
with a professional theater experience.
Justin Genna, class of ‘18, in Begets: Fall of a High

School Ronin (photo by Jay Yamada).
The M.F.A. Program’s place at the center of a

renowned professional theater company, as well
as its urban location in San Francisco, enriches
every aspect of the program, bringing students
of various backgrounds into close contact with
writers, directors, designers, and actors of many
different theatrical traditions.
With this intensive curriculum and prime location,

the A.C.T. M.F.A. Program produces actors who
go on to energize the art of performance and
ensure the future of theater in America.
The Strand Theater on Market Street

(photo by Bruce Damonte).
A.C.T. is accredited by the Accrediting Commission for Senior

Colleges and Universities of the Western Association of Schools and
Colleges (WASC, 985 Atlantic Avenue, Suite 100, Alameda, CA 94501,
510.748.9001), an institutional accrediting body recognized by the Council
on Postsecondary Education and the U.S. Department of Education.
A.C.T. is sponsored in part by the Grants for the Arts/San Francisco Hotel
Tax Fund, National Endowment for the Arts, and California Arts Council,
a state agency. Special support for the M.F.A. Program is provided by
William Randolph Hearst Foundation, The James Irvine Foundation,
and The Bernard Osher Foundation.
FROM THE DIRECTORS
The Geary Theater (photo by Sara Morales)

W
hat is A.C.T.? A.C.T. is a Tony The M.F.A. Program sits in the center of teaching them in the summer and performing theatrical landscape and encounter a panoply of
Award-winning theater located in A.C.T. Acting classes unfold in studios next alongside them in conservatory and mainstage characters: classical and emerging playwrights,
San Francisco, a cultural hub of Northern to rehearsals for mainstage shows. You share productions as well as in the New directors, designers, fellow actors, and all
California and an international destination. the halls with professional veterans and with Strands Festival. manner of audience. You grow as an artist and
A.C.T. is also a multigenerational artistic and children and teenagers, all of whom are excited as a person. The journey is arduous, joyous,
educational community where growth is artistic, to act and make theater for the first or fiftieth When you choose to train at A.C.T., you choose revelatory and transformative. By its end you
individual and lifelong. Everyone here—young time. The professionals are your peers as a place that celebrates self-discovery and possess the skills and experience to succeed in
and old, novice and master—is inspired by well as mentors; you may be in class with an self-exploration through the discovery and virtually any professional performance arena.
and striving to forward the art of storytelling instructor one month and in rehearsal with them exploration of others— other people, places,
through live theater. the next. In turn, you mentor younger actors, cultures, and times. Here, you are in a company The theater is our church, our town hall, our
that values theater for its power to change lives. social act. We aim to change the world with the
We cultivate “citizen artists,” actors who are theater we make—one play, one performer, one
community-minded and socially aware, who audience at a time. Imagine. Empathize. Stretch.
see theater as an art and a service, a means of Transform. Awaken. Grow.
developing empathy and compassion for all
members of society. Join us!
In A.C.T.’s M.F.A. Program, you practice craft

and stretch your creative muscles in ways you
never thought possible, and do so with a whole
community behind you. You free your voice,
hone your body, sharpen your ear, and enrich Melissa Smith Pam MacKinnon
your imagination. You act, sing, clown, and Conservatory Director Artistic Director
dance your way through dramas, comedies, and
experiments in form. You create and collaborate,
and you generate as well as interpret material. LEFT Melissa Smith and Pam MacKinnon
Over three years, you traverse a wide-ranging (illustration by Kimberly Rhee)
THE CITY THE THEATER
Photo by Evgeny Tchebotarev

E
stablished in 1965, American Conservatory innovative interpretations of classical work.
Theater is a Tony Award–winning theater Central to A.C.T.’s vision is the philosophy
and conservatory whose work is energized of lifelong education. A.C.T. is dedicated to
and informed by a profound commitment to enhancing equity, diversity, and inclusion in the
developing the next generation of theater classroom and on the stage. In this dedication,
artists. A.C.T. is the largest theater company in A.C.T. recognizes that students and performers
the San Francisco Bay Area and employs more come from various backgrounds, beliefs, and
than 800 people each season, from teachers experiences. A.C.T. believes embracing those
and artists to technicians and administrative differences elevates craft, art, and our institution.
staff. During the past four decades, more
than 330 A.C.T. productions have been seen THE SCENE Famed for its energetic
by close to seven million theatergoers in The individualism, its sophisticated cultural
Geary Theater—the company’s magnificent landscape, and its breathtaking beauty, San
Beaux Arts–style mainstage theater located Francisco is home to more than 300 resident
in San Francisco’s Union Square theater theater companies, from new-play repertories
district—as well as the 283-seat Strand Theater, to acclaimed Shakespeare festivals to Broadway
reconstructed from the bones of a nearly touring houses. An ideal location for actors
100-year-old cinema. beginning their careers, the Bay Area theater
The Geary Theater (photo by Miranda Ashland) scene is both large enough to be noticed
THE VISION A.C.T. continues to nurture nationally and intimate enough to ensure
its legacy as one of America’s most respected that you’ll soon be a familiar face. Actors in
“A.C.T. has enhanced my perception of what an artist is and what they regional theaters. It is constantly expanding the Bay Area are involved in all levels of the
are capable of. A.C.T. doesn’t just train actors. They train true artists its reach to include new areas of dramatic entertainment industry, from developing
to go out and make this world a better place.” literature, new communities, and new contacts to attending auditions and industry
international collaborations—as well as gatherings, and frequently make the successful
Justin Genna | Class of 2018
transition to thriving theater and film careers.
THE LOCATION Located in the heart of San is The Costume Shop, a versatile black-box
Francisco’s bustling Union Square district, the performance venue and A.C.T.’s dedicated
A.C.T. Conservatory features seven studios home for innovative M.F.A. Program works
and shares its rehearsal spaces with A.C.T.’s and community partnerships. In addition, The
mainstage productions. Classrooms, studios, Garret—tucked into the fifth floor of The Geary—
and administrative offices are fully integrated— provides a warm, intimate space for student
student life is an essential part of A.C.T.’s cabarets and other performances.
culture—and students have the opportunity to
interact daily with associate artists and staff. A Nearby (and easily accessible via public
few blocks away is A.C.T.’s historic and dazzling transportation), students can explore the
mainstage, The Geary Theater—one of San theater district, museums, parks, Chinatown,
Francisco’s cultural landmarks, which celebrated North Beach, and the Embarcadero waterfront.
its 100th anniversary in 2010. On a day off, the City by the Bay offers students
an extraordinary range of activities. Take a hike
Located down the street in San Francisco’s in Muir Woods, go sailing on the Bay,
bustling Central Market arts neighborhood is catch a baseball game, hit a jazz club, bike
A.C.T.’s dynamic and versatile performance across the Golden Gate Bridge, check out a
complex, The Strand Theater. It houses two pop-up restaurant, or soak up paintings in local
performance spaces—The Rembe stage, artists’ open studios. Tucked into the beautiful
a performance space that can house 283 landscape of Northern California, the Bay Area
seats, and The Rueff, a 120-seat event and also offers easy access to other unforgettable
performance space. The Strand offers adventures. Spend a day exploring wine country
unprecedented learning and performance in nearby Napa and Sonoma valleys, head
opportunities to our students, as well as the down Highway 1 to view the dramatic coastal
chance to connect with a new community landscape near Big Sur, or check out the Santa
of theater lovers. Next door to The Strand Cruz Beach Boardwalk. The Strand Theater (photo by Bruce Damonte)
Vincent J. Randazzo and Adrianna Mitchell, class of ‘18 in
THE TRAINING EXPERIENCE
The Last Days of Judas Iscariot (photo by Alessandra Mello)
J
ust a few doors down from the studio relationships with the artists, producers,
classrooms where M.F.A. Program actors literary staff, and other professionals who
learn and rehearse, you’ll find a bustling make theater happen. A.C.T. is unique among
company making professional theater happen. large professional theater companies in that it
During their training at A.C.T., M.F.A. Program employs associate and resident artists—from
actors come to think of themselves as actors who regularly appear on our stages,
apprentices rather than acting students. Indeed, to directors, designers, and playwrights
the A.C.T. community doesn’t recognize a group who continually return to create new work
of “acting students,” but rather student actors; at A.C.T.—who are the M.F.A. Program actors’
the difference is small, but crucial. Outside living link to the professional theater world. In
of training, students are encouraged to sit in turn, M.F.A. Program actors serve as mentors
on professional rehearsals, listen to directors to younger artists in A.C.T.’ s renowned
present production concepts, and see a show Young Conservatory and in the Education &
at the theater more than once just because they Community Programs Department through
love an actor’s performance. teaching opportunities or performing onstage
together in various productions.
360° THEATER: THE M.F. A . ACTOR
EXPERIENCE The essence of A.C.T.’s actor A .C .T. CORNERSTONES At A.C.T., training
training lies in the interplay between our requires immense physical energy, intellectual
professional company and our conservatory. curiosity, emotional honesty, vivid imagination,
Within the A.C.T. artistic community, and willingness to take risks. Central to the
professionals and students are constantly program’s mission is its focus on an actor’s
learning from each other—M.F.A. Program “readiness” to perform at A.C.T.’s Geary Theater,
actors audition for and perform in A.C.T. our demanding, 1,024-seat historic home.
productions and establish valuable mentor Success on a stage of this caliber requires
TOP John Douglas Thompson and Rivka Borek, class of ’18, in Hamlet
(photo by Kevin Berne)
enormous depth and agility and is vital in THE CITIZEN ARTIST Our exciting Citizen
developing the total actor—a performing artist Artist training aids students’ understanding
possessing the skills and experience to succeed of the artist’s role in society as one that has
in any professional arena, from Broadway and the power to engage the wider community.
regional theater to film and television. To extend Citizen Artists are actors dedicated to craft
these powerful skills into the world, actor and committed to social change through
training at A.C.T. also cultivates citizen artists— the practice of their art. Through a variety
socially conscious and community-minded of programs, A.C.T. is able to train socially
theater professionals with the passion and heart aware, transformative theater artists with the
to unleash theater as a force for sociocultural tools to use their art to create change. A.C.T.’s
change wherever they go. Education & Community Programs Department
provides theater-based arts education and
To prepare actors for these challenges, our engagement opportunities for more than 17,000
curriculum focuses on four cornerstones of school students and community members
A.C.T. readiness: instrumental flexibility— each year through three programs: Student
tuning the actor’s instrument (voice, body, Matinee performances, with related pre- and
and mind) to unleash the talent within; postshow workshops; the Will on Wheels tour,
professionalism—understanding and embracing with second-year M.F.A. Program students ABOVE Cast of Twelth Night, during the annual Will on Wheels tour with students from Mission High School
the responsibilities of the professional actor, presenting Shakespeare productions at Bay (photo by Alessandra Mello)
from caring for a costume to expectations when Area schools and community centers; and
hired; transformation—synthesizing all aspects the ACTsmart Intensive Residency Program,
of the craft, fusing technique and imagination which provides in-depth instruction in writing “I’ve learned a lot more about the city through teaching. If I didn’t teach at
to create a character within the world of a play; and performance to socioeconomically Willie Brown [Jr. Middle School], I probably never would have gone to the
and collaboration—working with artists to disadvantaged youth in San Francisco Bayview. It’s given me the chance to meet people who have grown up in San
make a piece of theater, a process requiring the continuation high schools and community- Francisco and have seen the city change. Now I can be an advocate for them.”
courage to make bold choices and the passion based organizations.
to inspire creativity in others. Kadeem Ali Harris | Class of ’18
PERFORMING ON THE STAGE—AND and San Francisco. With A.C.T. alumni working
BEYOND Student actors at A.C.T. perform in theater, film, television, and arts education
frequently within the program, working with across the nation, recent graduates continue
professional directors and designers in a variety to experience a community of support upon
of performance venues. In the first two years of leaving the program.
training, M.F.A. Program actors participate in
productions at The Costume Shop and in The CONSERVATORY HOURS During their training,
Rueff and The Garret, as well as Will on Wheels— students have the opportunity to attend
a Shakespeare play that tours to schools and Conservatory Hours—exclusive Q&A sessions
venues around the Bay Area. In the third year, with successful actors, directors, producers,
student actors begin their transition to the writers, and alumni. Previous speakers have
professional world by stepping into productions included Jason Alexander, Elizabeth Banks,
on the Geary and Strand stages, and earning Annette Bening, Eve Ensler, Harvey Fierstein,
their Actors’ Equity Association membership. Woody Harrelson, Bill Irwin, Cherry Jones, Baz
Throughout their training at A.C.T., student Luhrmann, David Mamet, Frances McDormand,
actors participate in the process of creating new Suzan-Lori Parks, Bill Rauch, Mark Ruffalo, Anna
work for the theater by performing in A.C.T.’s Deavere Smith, Tom Stoppard, David Strathairn,
staged readings, the New Strands Festival, and and John Douglas Thompson.
other presentations of new and upcoming plays.
CAREER TRANSITION At the end of the third

year of training, M.F.A. Program actors launch
their careers with a showcase presented to
industry professionals (agents, casting directors,
and artistic directors) in New York, Los Angeles, Frances McDormand, during a Conservatory Hour (photo by Ryan Montgomery)
THE
CURRICULUM
Peter Fanone and Lilly Narbonne, class of ‘18,

in Begets: Fall of a High School Ronin (photo by Jay Yamada)
C
lasses in acting, text analysis, voice, opportunities to work with professional actors,
speech/dialects, and movement are directors, and playwrights on public readings of
taught by core faculty members, who guide new plays under consideration for development
each student toward achieving their fullest by A.C.T.
potential. Distinguished guest artists, A.C.T.
staff members, and other industry professionals In addition, student actors are also invited
enhance the program with master classes, to apprentice with teaching artists as part of
seminars, and lectures on such subjects as A.C.T.’s growing education and community
dance, stage combat, on-camera acting, the programs. This integral part of the curriculum
business of acting, and what it means to be connects M.F.A. Program actors with
a citizen artist. All curriculum classes are enthusiastic students and community members
compulsory, with no elective subjects. from across the Bay Area—some of whom
will experience theater for the very first time
Performances frequently combine students through their contact with A.C.T.
with actors from all around A.C.T. Throughout
their three years in the program, M.F.A.
Program students may find themselves onstage
alongside faculty, young actors from our Young
Conservatory, professional actors, as well as
fellow students from all years of the program.
Student actors also have opportunities to
generate their own work—as actor, writer,
director, adaptor, and more—in the annual Sky
Festival. Other performance opportunities
include musical cabarets, as well as Lily Narbonne and Justin Genna, class of ‘18
FIRST YEAR
Heightened/elevated language is also
In the first year, students focus on acting as introduced. By the end of the first year, student
storytelling, learning to cultivate authenticity, actors possess a strong, flexible foundation for
flexibility, imagination, and daring in all aspects their artistic journey, and are equipped with
of the craft. skills to interpret—and tools to devise—a variety
of work.
COURSES Acting, voice, speech/dialects,
movement (Alexander Technique, stage combat, PERFORMANCES First-semester work includes
masks, dance), singing, text analysis, theater the performance of a created movement project
history, studies in the San Francisco cultural under the direction of a choreographer, the
landscape, as well as special workshops, presentation of a devised theater piece, and the
new-play development, and citizen performance of a one-act play. At the end of
artist training. the second semester, first-year actors perform
alongside second-year actors in modern plays
PROGRESS First-year actors train individually or classics—enabling them to apply the first
in the context of their development as an year’s practical studies.
ensemble. During extensive course work,
student actors focus on both the interpretation CREDITS
and generation of material. They engage with 603 A&B Acting (5.5 credits)
a range of literature, exploring the dynamics of 613 A&B Physical Theater I (6.5 credits)
classic and modern texts. Particular attention 623 A&B Voice/Text/Dialects I (8 credits)
is paid to identifying and playing the given 643 A&B Theatrical Imagination I (5 credits)
circumstances in a range of realistic plays (e.g., 653 A&B Rehearsal & Performance I (19 credits)
O’Neill, Williams, Chekhov). 673 B Citizen Artist I (1 credit)
45 credits total
Monica Ho, class of ’20, and Göran Norquist, class of ’19, in Sweeney Todd (photo by Jay Yamada)
SECOND YEAR and rehearsal processes. Students perform

The second year focuses primarily on truth for public audiences in a wide variety of
and size in acting, with particular emphasis on spaces, putting their instrumental flexibility,
the demands of dramatic texts with elevated collaboration, and professionalism to the test.
language and heightened emotional and
physical expression (primarily classical and PERFORMANCES Second-year performances
verse plays). include classical plays that demand sustained
and explosive emotion; plays or projects that
COURSES Acting (scene study in Shakespeare, demand physically based characterization; verse
August Wilson, Tennessee Williams), voice, dramas that demand mental agility, rhetorical
speech (including dialects), singing, text dexterity, and imagination; and a musical cabaret.
analysis, and movement (Alexander Technique, Second-year actors perform in our popular Will
mask, and dance), as well as special workshops on Wheels production, a Shakespeare play that
in stage combat, new play development, and tours Bay Area schools and community centers
citizen artist training. in March. They also join first-year actors in the
performance of modern plays or classics in the
PROGRESS With an increased emphasis on spring at The Costume Shop or The Rueff at The
collaboration in rehearsal and performance, Strand Theater.
student actors expand their technical skills and
their capacity to transform and collaborate CREDITS
as they work with a variety of directors in 703 A&B Acting II (4 credits)
the production of plays by such writers as 713 A&B Physical Theater II (6 credits)
Shakespeare, Lope de Vega, Wole Soyinka, 723 A&B Voice/Text/Dialects II (8 credits)
August Wilson, Goldoni, and others. Through 743 A&B Theatrical Imagination II (1.5 credits)
their engagement with poetic texts, nonrealistic 753 A&B Rehearsal & Performance II (24 credits)
Afua Busia and Katherine Romans, class of ’19, during the annual Will on Wheels tour theater, and their own devised work, they gain 773 B Citizen Artist (1 credit)
(photo by Alessandra Mello) confidence in a range of performance styles 44.5 credits total
THIRD YEAR in theatrical spaces vast and intimate, and with

During the final year, students transition toward audiences large and small. Toward the end of
the professional realm as they synthesize skills, the third year, the entire class is presented in
performing on A.C.T.’s Geary and Strand stages a showcase for professional theater and film
while continuing to stretch themselves through directors, agents, and casting directors in New
intensive classroom work and participation in York, Los Angeles, and San Francisco.
the development of commissioned material.
PERFORMANCES Student actors perform on
COURSES Master classes in acting, clown, the A.C.T. mainstage in A Christmas Carol—and
singing, and on-camera work; tutorials in may be cast in a role or as an understudy in
voice, speech/dialects, and movement; and another professional production on the Geary
special workshops on such topics as audition or Rembe stage. In addition, third-year actors
techniques and the business of acting augment perform in The Garret at The Geary Theater, join
the cycle of rehearsal and performance. fellow M.F.A. Program actors in productions at
Interested students may participate in The Costume Shop or The Rueff at The Strand
additional citizen artist opportunities. Theater, and in the spring, present solo recitals
designed for third-year actors to make an
PROGRESS From the performance of devised artistic statement through acting.
pieces to the mastery of the A.C.T. mainstage
in A Christmas Carol, student actors complete CREDITS
their third year having gained professional 803 A&B Acting III (4.5 credits)
experience on an A.C.T. stage and possessing 813 A&B Physical Theater III (1.5 credit)
a wealth of resources that will help launch 823 A&B Voice/Text/Dialects III (0.5 credits)
their careers, including their Actors’ Equity 890 A&B Rehearsal & Performance III (35 credits)
Association membership. They are transparent, 873 B (Optional) Citizen Artist (flexible credits)
Carlos Andrickson and Micah Peoples, class of ’19, in Fuente Ovejuna versatile performers—at home with a wide 41.5 credits total
(photo by Alessandra Mello) range of contemporary and classical material,
UNIQUE PERFORMANCE OPPORTUNITIES
The cast of Clickshare (photo by Stefan Cohen)

THE SK Y FESTIVAL This dynamic annual ON THE MAINSTAGE Every year the third-year
event brings together the A.C.T. community in class auditions for leading and ensemble roles
the creation, rehearsal, and performance of a in A.C.T.’s mainstage productions. In addition
vibrant and eclectic range of work. Students, to the Bay Area favorite A Christmas Carol,
faculty, and artistic staff submit proposals M.F.A. Program actors have appeared in recent
for projects they are personally passionate A.C.T. productions of Hamlet, directed by Carey
about, offering participants an opportunity Perloff; Ah, Wilderness!, directed by Casey
to approach work from multiple angles—from Stangl; The Unfortunates, directed by Shana
directing to devising to performing. Ranging Cooper; Mr. Burns, a post-electric play, directed
from self-written work to movement-based by Mark Rucker; A Little Night Music, directed by
interpretations of printed texts to Mark Lamos; and A Walk on the Moon, directed
unconventional explorations of known classics, by Sheryl Kaller. Each season students also
the chosen projects (16 in 2018) are developed understudy mainstage roles.
over three weeks of intense rehearsal and
discovery, culminating in a festival of NEW WORK M.F.A. Program actors are
in-house presentations. frequently cast in readings and workshops
“I’ve been able to explore hidden talents and aspects of my own personality
with people that I can call family. [The M.F.A. Program has] opened my eyes
to the power of theater and language by deepening my artistic being while
engaging with the community, exploring thought-provoking topics about life
and self, and having great fun at the same time.”
Beatriz Miranda | Class of ‘18
LEFT
Beatriz Miranda and Vincent J. Randazzo, class of ’18, in Danny and the Deep Blue Sea in A.C.T.’s
2018 Skyfest (photo by Jay Yamada)
of new plays, giving student actors a chance

to become involved at every level in the
play development process and to work with
acclaimed actors, directors, and playwrights
in an intimate workshop environment. At the
2018 New Strands Festival, a project involving
new works from playwrights across the country,
A.C.T.’s student actors worked alongside
seasoned artists to create staged readings and
productions for San Francisco audiences in The
Strand Theater. Recent projects have included
new works by Jeremy Cohen, Dipika Guha,
Don Nguyen, Lachlan Philpott; Susan Soon He
Stanton, Mfoniso Udofia, Lauren Yee, Byron Au
Yong, and Casey Lee Hurt, with the participation
of such guest artists as Anne Kaufman, Steven
Anthony Jones, Brian Kulick, and Eric Ting.
Summer Brown, class of ’20, in A.C.T.’s 2018 Skyfest (photo by Jay Yamada)
2017–18 M.F.A. PROGRAM PRODUCTIONS
September 20–23 | First- and Second-Year Actors November 9–18 | Second-Year Actors March 12–23 | Second-Year Actors
KURT & BERT THE CHANGELING TWELFTH NIGHT
The songs of Kurt Weill & Bertolt Brecht. A classic tragedy of passion, betrayal, by William Shakespeare
A story of a collaboration and a time. devotion, and deceit. Directed by Kirsten Brandt
Directed by Giles Havergal by Thomas Middleton and William Rowley Will on Wheels Tour
Music Direction by Carl Pantle Directed by Nancy Benjamin
Performed in The Garret Performed in The Rueff March 23 in The Rueff
March 26–27 in New York City
September 28–30 | Third-Year Actors December 12–14 | First-Year Actors April 2 in Los Angeles | Third-Year Actors
CLICKSHARE EVERYBODY GRADUATE SHOWCASE
A satirical new comedy about one by Branden Jacobs-Jenkins Directed by Domenique Lozano
digital story that’s literally viral. Directed by Michael Paller and Melissa Smith
by Lucas Kavner In-house presentation (by invitation only) April | Third-Year Actors
Directed by Stephen Brackett SOLO RECITALS
Performed in The Costume Shop January | First-, Second-, and Third-Year Actors, In-house performances in the 30 Grant Studios
associate artists, M.F.A. faculty
October 12–13 | First-Year Actors SK Y FESTIVAL
CREATED MOVEMENT PROJECT A festival of work proposed and generated by May 9–12 | First- and Second-Year Actors
Directed by Lisa Townsend M.F.A. faculty, M.F.A. actors, and A.C.T. artists FUENTE OVEJUNA
Performed in The Costume Shop In-house performances in the 30 Grant Studios by Lope de Vega
Translated by Adrian Mitchell
October 19–21 | Third-Year Actors February 22–March 3 | Third-Year Actors Directed by Domenique Lozano
NOW. HERE . US. THE LAST DAYS OF JUDAS ISCARIOT Performed in The Rueff
Personal journeys, moments, and The darkly comedic celebrity trial
truths told through song. of the millennia. May 9–12 | First- and Second-Year Actors
Directed by Milissa Carey by Stephen Adly Guirgis THE BACCHAE OF EURIPIDES
Music Direction by Daniel Feyer Directed by David Mendizábal by Wole Soyinka
Performed in The Garret Performed in The Rueff Directed by Stephen Buescher Katherine Romans, class of ‘19, in The Changeling
Performed in The Costume Shop (photo by Alessandra Mello)
Stacey Printz (photo by Alessandra Mello)

THE FACULTY
T
hese faculty members provide the essential Summer Training Congress (STC) and Studio
instruction for the M.F.A. Program in Acting A.C.T. Prior to assuming leadership of the
during the school year. In addition, adjunct Conservatory, Smith was the director of the
faculty members teach courses within their Program in Theater and Dance at Princeton
areas of specialty. Guest artists, A.C.T. artistic University, where she taught introductory,
staff, and other theater professionals are often intermediate, and advanced acting. She has
engaged on a short-term basis for master taught acting classes to students of all ages in
classes, seminars, and workshops. Core faculty colleges, high schools, and studios around the
members are on staff throughout the school continental United States, at the Mid Pacific
year to provide ongoing instruction in their Institute in Hawaii, New York University’s La
disciplines; A.C.T.’s associate artists divide their Pietra campus in Florence, and the Teatro di
time between A.C.T.’s mainstage productions Pisa in San Miniato, Italy. She is featured in
and teaching in the M.F.A. Program. Acting Teachers of America: A Vital Tradition.
Also a professional actor, she has performed
DIRECTORS regionally at the Hangar Theatre, A.C.T.,

California Shakespeare Theater, and Berkeley
MELISSA SMITH (Conservatory Director, Head Repertory Theatre; in New York at Primary
of Acting) has served as conservatory director Stages and Soho Rep.; and in England at the
and head of acting in the A.C.T. M.F.A. Program Barbican Theatre and Birmingham Repertory
since 1995. During that time, she has overseen Theatre. Smith holds a BA from Yale College and
the expansion of the M.F.A. Program from a two- an MFA in acting from Yale School of Drama.
to a three-year course of study and the further
integration of the M.F.A. Program faculty PAM MACKINNON (Artistic Director) is
and student body with A.C.T.’s artistic wing. celebrating her inaugural season as A.C.T.’s
A primary acting teacher in the M.F.A. fourth artistic director. She is a Tony, Drama
Melissa Smith (photo by Thomas Moore) Program, she has also taught for the A.C.T. Desk, and Obie Award–winning director, having
directed upwards of 70 productions around Buffalo, New York, acted through her teens but
the country, off-Broadway, and on Broadway. majored in economics and political science at
Her Broadway credits include Beau Willimon’s the University of Toronto and briefly pursued a
The Parisian Woman (with Uma Thurman), Ph.D. at UC San Diego, before returning to her
Amelie: A New Musical, David Mamet’s China true passion: theater.
Doll (with Al Pacino), Wendy Wasserstein’s The
Heidi Chronicles (with Elisabeth Moss), Edward DANYON DAVIS (Head of Movement) is
Albee’s A Delicate Balance (with Glenn Close the former head of movement at the Stella
and John Lithgow), Edward Albee’s Who’s Adler Studio of Acting. Davis has performed
Afraid of Virginia Woolf? (Tony Award, Drama in classical, contemporary, and experimental
Desk Award, and Outer Critics Circle Award plays throughout the US and Europe. A former
nomination), and Bruce Norris’s Clybourne Park associate with Bill T. Jones and with the SITI
(Obie Award for Excellence in Direction, Tony Company, he also performed, taught, and
and Lucille Lortel Award nominations). After directed for many years with the Guthrie
five years as board chair of Clubbed Thumb, Theater. A decade ago, Davis was invited to
a downtown New York theater company return to his alma mater, The Juilliard School, by
dedicated to new American plays, she sits on the late Jim Houghton to apprentice under head
its advisory board. She is an artistic associate of movement/physical acting Moni Yakim. Davis
of the Roundabout Theatre Company, a Usual has adapted Yakim’s approach while serving
Suspect of New York Theatre Workshop, and an as a faculty member at the Neighborhood
alumna of the Drama League, Women’s Project, Playhouse, Circle in the Square Theatre
and Lincoln Center Theater’s Directors’ Labs. School, and HB Studio’s one-year Hagen Core
She is also the executive board president of the Training program. He has taught movement in
Stage Directors and Choreographers Society many workshop intensive settings—including
(SDC). She grew up in Toronto, Canada, and community and arts-in-education based work Head of Voice and Dialects Lisa Anne Porter (photo by Ryan Montgomery)
with Stephen DiMenna—as well as with the Bill Barcelona, London, Australia, New Zealand,
Reed Voice Studio, Middlebury College, and and Birmingham, England. Her current area of
The Public Theater. research and writing is transgender voice. She
works with transgender individuals so that they
can modify their voice to more fully express
HEAD FACULTY
their gender identity.
CHRISTINE ADAIRE (Head of Voice) is a
designated master Linklater voice teacher, LISA ANNE PORTER (Head of Voice and
trained by the world renowned voice teacher Dialects) has served on the faculties of UC
Kristin Linklater. She has worked as an actor, Berkeley, UC Davis, Shakespeare & Company,
voice coach, and director in many American The Tepper Center (New York City), Naropa
regional theaters, including the Oregon University, California Shakespeare Theater, and
Shakespeare Festival, The Old Globe, Milwaukee Berkeley Repertory Theatre. She was associate
Repertory Theater, the Guthrie Theater, Chicago professor of voice/acting/text in the BFA
Shakespeare Theater, Goodman Theatre, program at Syracuse University (2001–06),
Lyric Opera of Chicago, Steppenwolf Theatre where in her first year teaching, she was
Company, Court Theatre, American Players awarded the Most Inspirational Faculty Award.
Theatre, Theatre for a New Audience, Santa She has coached voice and dialect in more than
Cruz Shakespeare, and Shakespeare & Company. 60 productions nationwide. As a professional
She has coached the dialects for the Broadway actor, she has performed with numerous
production and first national tour of Mary repertory companies and Shakespeare festivals
Poppins. Adaire has taught at DePaul University, throughout the country. Porter has an M.F.A.
National Theatre School of Canada, University in acting from A.C.T., a BA in theater and
of Massachusetts–Amherst, University American studies from Wesleyan University, and
of Wisconsin–Milwaukee, and Roosevelt is certified in Linklater voice training.
University. She taught workshops in Shanghai, Milissa Carey (photo by Ryan Montgomery)
ASSOCIATE FACULTY A Funny Thing Happened on the Way to the

Forum; Spelling Bee; Almost, Maine; and It’s A
MILISSA CAREY (Singing) is an educator, Wonderful Life: A Radio Play.
director, and actor working throughout the Bay
Area. Her training includes a Bachelor of Music ANDY DONALD (Associate Artistic Director)
in vocal performance from the San Francisco Previously created the position of Producer
Conservatory of Music, Master of Music from of Artistic Development and Community
the University of Southern California, the Programming at the New Jersey Performing
Royal Academy of Dramatic Arts in London, Arts Center. Some of his NJPAC producing/
and Studio A.C.T. She is also on the faculty commissioning highlights include The Hip Hop
of Foothill College in both the music and Nutcracker (with United Palace; international
theater departments, and the San Francisco tour); Carefree: Dancin’ with Fred and Ginger
Conservatory of Music as an acting instructor (national tour); NJPAC Stage Exchange
and stage director in the opera department. (guaranteeing commissioned world premieres
Carey joined the M.F.A. faculty in 2015. Other at New Jersey’s regional theaters); Jimmy
recent teaching engagements include teaching Fallon in Conversation with Stephen Colbert;
theater and musical theater at the University John Leguizamo’s Ghetto Klown (HBO);
of London. A member of Actors’ Equity American Songbook (with Ted Chapin; PBS);
Association, Carey and has performed with Meredith Willson’s The Music Man (all black
many Bay Area companies and toured the US cast, with Two River Theater); Second City
and Canada on the 25th anniversary Broadway Does New Jersey; and Jessie Mueller & Jarrod
national tour of Evita, under the direction of Hal Spector (debut). Prior to NJPAC, he served as
Prince. Recent directing credits include Side artistic director of Naked Angels, where his
Show; Shrek the Musical; She Loves Me; Kiss Me producing credits include Next Fall (Broadway,
Kate; Sunday in the Park with George; Spring Tony Award nomination); This Wide Night
Awakening; Little Shop of Horrors; South Pacific; with Edie Falco and Alison Pill, (five Lucille Christine Adaire, Head of Voice (photo by Alessandra Mello)
Lortel Award nominations); Outside People Group’s Rising Leaders of Color. Recently, he
(Vineyard Theatre); Naked Radio (weekly was the social justice programs coordinator at
podcast), Oh the Horror!; Armed and Naked in The New School, where he founded the NSD:
America; and A Long and Happy Life. He also Affinity Groups program and was involved
started the “3-Step Formula,” a bi-coastal new with several equity, diversity, and inclusion
play development series, and spearheaded initiatives. He taught the class “Acting Beyond
the merger of Naked Angels with The New Marginalization” at HB Studio, and has directed
School for Drama, establishing the company students in productions at the Atlantic Acting
as the resident professional theater inside the School and Redhouse Arts Center. Kuo
university’s graduate program. He also served previously worked as an art administrator at
as producing associate at New York Stage and South Coast Repertory, East West Players,
Film/The Public Theater and Second Stage Soho Rep., and LA STAGE Alliance. He is the
Theater, pilot development assistant at ABC co-founder of Artists at Play, a Los Angeles
and HBO, and artistic director of the Charlie Asian American Theatre Collective. As a
B. Theater Company. Donald has a BFA from director and assistant director, he has worked
New York University’s Tisch School of the Arts at the Williamstown Theatre Festival, The Play
and an M.F.A. from Columbia University. He is Company, the Oregon Shakespeare Festival,
the recipient of the Barbara Whitman Prize for East West Players, South Coast Repertory,
Theatre Management & Producing. Geffen Playhouse, Rattlestick Playwrights
Theater, Leviathan Lab, Ma-Yi Theater Company,
PETER J. KUO (Associate Conservatory and Pan Asian Repertory Theatre, among
Director) is a director, producer, writer, and others. He holds a BA in drama with a minor in
educator focused on raising the visibility of business management from UC Irvine and an
marginalized communities. He just finished a MFA in directing from The New School’s School
First Stage Residency at The Drama League and for Drama.
was named one of Theatre Communications Anthony Fusco, in Ah, Wilderness (photo by Kevin Berne)
JOY MEADS (Director of Dramaturgy & New and dramaturgs working for gender parity on
Work), a native of Oakland, comes to A.C.T. from American stages. Called “the superheroines of
Center Theatre Group, where she served as the theater” by Backstage, The Kilroys recently
literary manager/artistic engagement strategist. published an anthology of monologues from
Her CTG dramaturgy credits include Archduke plays on The Kilroys’ annual List (TCG Books).
by Rajiv Joseph, Good Grief by Ngozi Anyanwu, Meads has warm memories of A.C.T.; the first
Appropriate by Branden Jacobs-Jenkins, play she attended was A Christmas Carol at The
Forever by Dael Orlandersmith, Marjorie Geary and she took several Young Conservatory
Prime by Jordan Harrison (2015 Pulitzer Prize classes as an awkward high-school theater
finalist), A Parallelogram by Bruce Norris, The geek. She is delighted and honored to be joining
Royale by Marco Ramirez, Radiate by Daniel A.C.T.’s exceptional team.
Alexander Jones, and SLEEP by Naomi Iizuka
(a co-commission with Ripe Time, Brooklyn K ARI PRINDL (Alexander Technique) grew
Academy of Music, and Yale Repertory Theatre). up around the world before graduating from
Previously, Meads was literary manager at Oberlin College with a degree in English and
Steppenwolf Theatre Company and associate a concentration in theater. At Oberlin, she
artistic director at California Shakespeare also took cello lessons at the conservatory
Theater. She has also developed plays with and was extensively involved with the dance
the Oregon Shakespeare Festival, New York department. After college, she moved to San
Theatre Workshop, Berkeley Repertory Francisco and trained with Frank Ottiwell at the
Theatre, Denver Center for the Performing Alexander Training Institute of San Francisco.
Arts, the Eugene O’Neill Theater Center, Ojai Since her certification in 1992, Prindl has
Playwrights Conference, Portland Center Stage, maintained a private practice in San Francisco
South Coast Repertory, and Campo Santo, and has taught at various institutions across
among others. Meads is a proud member and the country, including San Francisco State
Seana McKenna (photo by Ryan Montgomery) co-founder of The Kilroys, a gang of playwrights University, San Francisco Conservatory of Music,
the Community Music Center, and Henderson Association and SAG-AFTRA. His credits
State University in Arkansas, as well as in include roles at Michigan Repertory Theater,
A.C.T.’s Young Conservatory, Summer Training Mountainside Theater, the BoarsHead Theatre,
Congress, and M.F.A. Program. Theatre 40, Pioneer Theatre Company, A.C.T.
(studio), numerous media roles, and direction of
ELYSE SHAFARMAN (Alexander Technique) more than 50 plays and musicals. He is author
holds a BA in dance, an MA in physiological of Avery Hopwood: His Life and Plays (UMI);
psychology, and an Alexander Technique editor of Avery Hopwood’s unpublished novel,
teacher certification from Frank Ottiwell. She is The Great Bordello: A Story of the Theatre
also on the faculty of the Berkeley Rep School (Mondial); contributor to the American National
of Theatre and maintains a private Alexander Biography (Oxford) and The Gay and Lesbian
Technique practice in San Francisco and Theatrical Heritage (UMI); coeditor (with Craig
Berkeley. Her approach to teaching is influenced Slaight) of numerous scene and monologue
by her keen interest in the mind-body books for young actors (Smith & Kraus); adapter
connection for both artistic expression and of F. Scott Fitzgerald’s The Debutante and
health. Shafarman is currently completing a Hopwood’s Fair and Warmer (Playscripts); and
200-hour level certification to teach Vinyasa author of an original play, Up in Avery’s Room
Yoga and blogs about Alexander Technique, (Theatre Rhinoceros). His Better Angels, from
Argentine Tango, and psychophysiology. the Civil War writings of Louisa May Alcott and
Walt Whitman, was performed in A.C.T.’s Sky
JACK F. SHARRAR (Director of Academic Festival. He is a graduate of the University of
Affairs/Theater History/Accreditation Liaison Michigan and holds a Ph.D. in theater history
Officer) received A.C.T.’s Managing Director’s and dramatic literature from the University
Award. He has served as a theater panelist for of Utah.
the National Foundation for Advancement of
Carlos O. Andrickson, Belle Akroyd, and Jerrie Johnson, the Arts and is a member of Actors’ Equity
class of ‘19, in class (photo by Ryan Montgomery)
ADJUNCT FACULTY
ANTHONY FUSCO (Acting) has appeared at
A.C.T. in nearly 50 productions including Ah, Juilliard and The Barrow Group School. arts, strength athletics, motion capture, and for Theatre Rhinoceros, Gem of the Ocean for
Wilderness!; Love and Information; Indian Ink; stunts to conceive and communicate her fights. Sacramento Theatre Company, and Spunk for
Napoli!; Arcadia; Dead Metaphor; Elektra; Play; DANIELLE O’DEA (Stage Combat) has over She was recently nominated for a Theatre Bay the Lorraine Hansberry Theatre. In the fall of
Race; The Homecoming; Clybourne Park; Round fifteen years’ experience as a fight director Area Award for Fight Direction for Hand to God 2017, he directed The Royale by Marco Ramirez
and Round the Garden; The Caucasian Chalk and stage combat instructor. Having mentored at Berkeley Repertory Theatre. O’Dea is the first for Aurora Theatre Company. In Washington,
Circle; November; Edward Albee’s At Home under J. David Brimmer, the President of the woman and the youngest fight director ever to DC, he was directing associate at Arena Stage
at the Zoo; War Music; Rock ’n’ Roll; ’Tis Pity Society of American Fight Directors, O’Dea be nominated for this award. and associate producer of PlayQuest. Other DC
She’s a Whore; The Government Inspector; The brings a wide range of skills to the stage and directing credits include The Minneola Twins at
Rainmaker; The Imaginary Invalid; Hedda Gabler; screen, having learned and taught at some of DARRYL JONES (Chair of the Theater and Woolly Mammoth Theatre Company and Spunk
Travesties; The Rivals; The Voysey Inheritance; the most reputable institutions in New York City Dance Department at Cal State East Bay) presented at the Kennedy Center by the African
The Gamester; A Mother; Les Liaisons and the Bay Area. She has had the opportunity has directed several premieres of new plays Continuum Theatre Company. He collaborated
Dangereuses; The Three Sisters; Night and to work with everyone from Academy and including Follow Me To Nellie’s by Dominique with Arthur Miller on a Dominican-American
Day; The Room and Celebration; Enrico IV; The Tony Award-winning actors to students in their Morisseau and Xtigone by Nambi Kelley. Prior production of A View from The Bridge, winning
Misanthrope; Edward II; and A Christmas Carol. first-ever stage combat experience. As a teacher, to his move to the Bay Area, Jones was head the Washington Theatre Lobby Award for
Other Bay Area credits include leading roles in O’Dea places an emphasis on safety, partnering, of the BFA directing concentration at the Outstanding Direction. Jones holds a BM in
Blithe Spirit, Candida, King Lear, The Tempest, and communication, as well as reinforcing the University of Michigan and foundation advisor vocal performance from The Catholic University
The Importance of Being Earnest, Arms and the actor’s rights and responsibilities when required for their BFA acting program. He is an active of America and a MFA in directing from Boston
Man, A Midsummer Night’s Dream, and The Skin to perform choreographed violence. Due to member of Actors’ Equity Association and University. He is teacher certified in The Meisner
of Our Teeth for California Shakespeare Theater; her extensive training as an actor at New York has performed for theater companies such Acting Technique from Larry Silverberg’s True
My Old Lady at Marin Theatre Company; and The University’s Tisch School of the Arts, O’Dea as the Lorraine Hansberry Theatre, Theatre Acting Institute.
Chosen (Traveling Jewish Theatre). On Broadway, takes a holistic approach to choreographing Rhinoceros, Arena Stage, The Old Globe, Ford’s
he was in Tom Stoppard’s The Real Thing (with and teaching stage combat. She collaborates Theatre, and the Kennedy Center. Jones’s PHILIP CHARLES MACKENZIE (On-Camera
Caroline Lagerfelt) and The Real Inspector with the director to work on actors’ intention, professional directing work includes his off- Acting) is an award-winning actor and director.
Hound. Fusco’s many off-Broadway credits diaphragmatic breathing, rhythm, and weight Broadway production of We Are Your Sisters He is on the faculty at the Actors Center in
include The Holy Terror, Cantorial, Danton’s of movements. She pulls from her diverse (AUDELCO Award for Outstanding Production). New York, an adjunct faculty member at
Death, and A Life in the Theatre. He trained at background of physical languages in martial Bay Area productions include The Brothers Size A.C.T., and a visiting professor at UCLA and
Cal State Long Beach. After studying with he directed the feature Attention Shoppers. local universities. Printz graduated cum laude
such luminaries as Kristen Linklater, Olympia In recent years, Mackenzie has also written from UC Irvine with degrees in sociology
Dukakis, Lloyd Richards, Mel Shapiro, and Nora several screenplays. and dance.
Dunphy at New York University’s Tisch School
of the Arts, he graduated with an MFA and STACEY PRINTZ (Dance) artistic director of LISA TOWNSEND (Director, Choreographer)
worked as an actor in regional theater, New Printz Dance Project (PDP), has performed is an American choreographer who specializes
York, and in films such as Dog Day Afternoon. in San Francisco for 16 years, and toured in dance for theater and film. Her work spans
After moving to LA and appearing in many of across the nation and internationally in Russia, many genres of dance including tap, partnering,
the most popular shows on television—Cheers, Lithuania, Ireland, the Virgin Islands, and Mexico. flamenco, jazz, classical, and contemporary
Family Ties, Bosom Buddies, Three’s Company, Printz was nominated for an Isadora Duncan dance. Tenuto’s choreography has been seen in
Remington Steele, Newhart, St. Elsewhere, Dance Award (Izzie) for her 2011 work Hover productions at American Conservatory Theater,
and as a regular cast member in nine pilots Space. Her most recent work GLASSlands West Edge Opera, The Cutting Ball Theater,
and several short-lived series—he landed his premiered at Z Space in May. Printz also Shotgun Players, and Aurora Theatre Company,
most important role of the flamboyantly gay collaborates on multi-genre performing arts as well as in TV commercials (Pepsi Super Bowl,
character Donald Maltby on the groundbreaking pieces, choreographing Aaron Davidman’s SalesForce, NARAL) and in music videos (Lucius,
and critically acclaimed comedy series Brothers Wrestling Jerusalem, Sarah Shourd’s The Box, Magana). She is a resident choreographer for
(Showtime). For his work, he won the Cable California Shakespeare Theater’s “As You Like sketch comedy group Killing My Lobster, and
Ace Award for Best Actor in a Comedy Series. It,” and Marc Bamuthi Joseph’s internationally has also been presented in Comedy in Dance
Brothers afforded Mackenzie the opportunity recognized works, Scourge, The Break/s, the Festival (New York). Her work has won and been
to move into the directing world, receiving a Bessie nominated Red, Black & Green: A Blues, nominated for awards including Theatre Bay
Best Director nomination in the process. From and most recently /peh-LO-tah/. Printz has Area Award for Best Choreography and “Best
there, Mackenzie became a full-time director taught her hybrid contemporary-jazz technique Laugh” by The Stuart Excellence Award in Bay
in the half-hour genre, directing such shows as across the United States and internationally. In Area Theater. She is the first recipient of FACT/
Roseanne; Frasier; According to Jim; Dharma addition to teaching for A.C.T.’s M.F.A. Program, SF’s choreographic commission and was an
and Greg; Suddenly Susan; George Lopez; My Printz teaches at RoCo, Alonzo King’s LINES Artist-In-Residence at CounterPulse.
Wife and Kids; Normal, Ohio; Just Shoot Me; Dance Center where she has been on faculty
Ink; Living in Captivity; and many others. In 1998 for 15 years, and as guest teacher for numerous
SHINING STARS
PROMINENT A.C.T. ALUMNI
Adrianna Mitchell,
class of ’18, in The Last Days of Judas Iscariot
(photo by Allesandra Mello)
C
elebrated alumni of A.C.T.’s training productions and with
programs include Elizabeth Banks, these companies:
Annette Bening, Carlos Bernard, Benjamin Bratt, THEATER
Nicolas Cage, Christopher Fitzgerald, Danny • 42nd Street Moon
Glover, Harry Hamlin, Teri Hatcher, Amy Irving, • An Act of God (Broadway)
Delroy Lindo, Camryn Manheim, Omar Metwally, • Actors Theatre of Louisville
Anika Noni Rose, Winona Ryder, Anna Deavere • Alley Theatre
Smith, Milo Ventimiglia, Denzel Washington, • American Conservatory
PATTI LUPONE and DOUGLAS SILLS and Sharr White. A.C.T. has also trained such Theater
class of ’85, in Broadway’s War Paint
rising talents as Heidi Armbruster (Younger), • Arena Stage
Daniel Beaty (Emergence-SEE! at The Public • Atlantic Theater Company
Theater), Anna Belknap (CSI: NY ), Neil Hopkins • Aurora Theatre Company
(Lost, Big Love), Darren Criss (Hedwig and the • Baltimore Center Stage
Angry Inch on Broadway and American Crime • Berkeley Repertory Theatre
Story), Morgan Spector (Incognito at Manhattan • Blue Man Group
Theatre Club and The Mist), and Darby • Brooklyn Academy of Music
Stanchfield (Scandal). • California Shakespeare
Theater
A.C.T. is a vital talent resource for professional • Center REPertory Company
theaters, theatrical agents, and film and • Clutch Productions
television casting directors—and A.C.T. graduates • Concrete Temple Theatre
grace stages and screens all over the world. • Cymbeline (off Broadway)
Current M.F.A. Program actors also connect • Denver Center for the
with and learn from alumni through A.C.T.’s Performing Arts
annual alumni events in New York and Los • The Dodgers (LA)
Angeles. Recent acting, writing, and directing • Dragon Theatre
credits of A.C.T. alumni include work on these • Edinburgh Festival Fringe
ANNETTE BENING ANIKA NONI ROSE, class of ’98, & DENZEL

class of ’82, in King Lear WASHINGTON, ’78, in A Raisin in the Sun
• Everything You Touch • Joe’s Pub at The Public • Of Mice and Men (Broadway)
(off Broadway) • LaBute New Theater Festival • Oregon Shakespeare Festival
• Father Comes Home from • Laguna Playhouse • Pasadena Playhouse
the Wars (off Broadway) • The Lion King (national tour) • The Pearl Theater
• Frozen: Live at the Hyperion • Machinal (Broadway) • Pericles, Prince of Tyre
• The Glass Menagerie • Magic Theatre (off Broadway)
(off Broadway) • Maples Repertory Theatre • Pioneer Theatre Company
• The Great Divorce • Mark Taper Forum • Playwright’s Realm
(national tour) • Marin Theatre Company • Premiere Stages
• Great Lakes Theater • Marriott Theater • A Raisin in the Sun
LATEEFAH HOLDER, class of ’ 12, with ALEX MORF
• Greek Theatre Festival • McCarter Theatre Center (Broadway) Philip Anthony-Rodriguez in Modern Family class of ’08, in Daredevil
• Guthrie Theater • Measure for Measure • The Reenactors
• Hollywood Fringe Festival (off Broadway) (off Broadway)
• The Humans (Broadway, • Mile Square Theatre • The Repertory Theatre
off Broadway) • Mother Courage and Her of St. Louis
• Idaho Shakespeare Festival Children (off Broadway) • Romance Language
• Incident at Vichy • National Black Theatre (off Broadway)
(off Broadway) • National Music Festival • Roundabout Theatre
• Incognito (off Broadway) • New York Theatre Workshop Company
• Indiana Repertory Theater • newTACTics New Play Festival • The Ruins of Civilization
• Irish Repertory Theatre • A Noise Within (off Broadway)
PREVIOUS PAGE, CLOCKWISE FROM TOP

photo by Joan Marcus; photo by Bridgette Lacombe; photo by Joan Marcus CHRISTINA ELMORE (left)
THIS PAGE, CLOCKWISE FROM TOP LEFT class of ’12, in The Last Ship
photo courtesy ABC; photo courtesy Netflix; photo courtesy TNT
• St. Louis Actors’ Studio • The LEGO Movie

• San Francisco Playhouse • Little Accidents
• Son of Semele Theater • Loserville
• South Coast Repertory • Love & Mercy

• Stalking the Bogeyman • Maggie’s Plan
(off Broadway) • Magic Mike XXL
• Tacoma Opera • A Midsummer Night’s Dream
• Taconic Opera (directed by Julie Taymor)
• Theater For A New Audience • Non-Stop
• Theatre Rhinoceros • Other People

• TheatreWorks • Pitch Perfect 2 ALLEGRA EDWARDS
• Three Day Hangover • The Seagull class of ’ 13, in New Girl
• Triad Stage • The Shells
• Tribeca Film Festival • The Train (Vancouver
• The Unknown Artists International Film Festival,
• Waitress (Broadway) Carmel International Film
• Westport Country Playhouse Festival, Rhode Island
• The Winter’s Tale International Film Festival)
(off Broadway) • Two Night Stand
• Yale Repertory Theatre • Umbrella Man
• Walk of Shame
FILM
• Bridge of Spies TELEVISION
• The Drop • The Affair
STEFANEE MARTIN (right) REBEK AH BROCKMAN (left),
• Every Secret Thing • Allegiance class of ’ 15, in The Get Down class of ’13, in The Burial at Thebes
• Grand Street • Bates Motel
• The Hunger Games Series • The Big Leaf CLOCKWISE FROM TOP LEFT photo by Sara Krulwich; photo by Evgenia Eliseeva/A.R.T.; photo by Carol Rosegg
• Billions • Maybe Sunshine

• Broad City • Modern Family
• Blue Bloods • Moonbeam City
• Chicago Fire • Mozart in the Jungle
• Criminal Minds • The Muppets
• Daredevil • The Mysteries of Laura
• Dig • NCIS
• Divorce • The Normal Heart

• Elementary • No Tomorrow
• The Family • Person of Interest
• Feed the Beast • Phineas and Ferb
• Forever • Power
• Friday Night Tykes • Resident Advisors

• The Get Down • Review
• Getting On • Roots
• The Good Wife • Scandal
• House of Cards • The Slap

• Jessica Jones • Sublets (webseries)
• Justice • Transparent
• Kevin from Work • TURN: Washington’s Spies

• The Knick • Veep
• Law & Order: Special • Wet Hot American Summer:

Victims Unit First Day of Camp
JULIE ADAMO
class of ’17, in A.C.T.’s The Birthday Party • Love • The Yard
• Madame Secretary
FROM LEFT the cast of A.C.T.’s The Birthday Party (photo by Ryan Montgomery) • Masters of Sex
PROGRAM ADMISSION
Kadeem Ali Harris, class of ’18, in Clickshare (photo by Stefan Cohen)
APPLICATION DEADLINE FINANCIAL AID DEADLINE
JANUARY 11, 2019 FEBRUARY 13, 2019
E
nrollment in the M.F.A. Program is by AUDITION DATES CERTIFICATE OF ACTING REQUIREMENTS
audition and interview only. Applicants New York City | Jan 25–27, 2019 The certificate in acting is awarded to students
must be high school graduates or equivalent. Chicago | Feb 5–6, 2019 who do not hold a degree from an accredited
Applicants who hold a bachelor’s degree San Francisco | Feb 9–11, 2019 college, but who successfully complete the
from an accredited college or university are Callbacks in San Francisco | Mar 1–3, 2019 three-year M.F.A. Program. Applicants for the
eligible to receive a master of fine arts degree certificate in acting must have graduated from
in acting upon successful completion of the Applicants must prepare two audition selections high school prior to September 1, 2015. The
three years of training. Applicants who do not that provide a contrast in mood and tone (one admission requirements and training for the
hold an accredited bachelor’s degree receive a from a classical verse play and one from a certificate are identical to those for the M.F.A.
certificate in acting upon successful completion contemporary play). Sonnets, poems, songs, degree. A student who receives a bachelor’s
of the three years of training. and other nondramatic materials are not degree after being awarded the certificate
acceptable. Please limit selections to a total of in acting may have the certificate converted
For the class of 2022, approximately 12 students four minutes to allow time for an interview. into an M.F.A. degree upon submission of
will be selected. Approximately 90% of a certified transcript from the accredited
admitted first-year students receive some form MASTER OF FINE ARTS DEGREE institution awarding the baccalaureate. For
of financial aid. REQUIREMENTS The master of fine arts gainful employment details about the certificate
in acting degree may be conferred upon a program, please visit the M.F.A. Program’s
AUDITIONS A.C.T. holds auditions for the student who holds a bachelor’s degree from “General Information” and “Student Right to
M.F.A. Program each year during January an accredited college and who successfully Know” pages at act-sf.org/conservatory.
and February. Auditions are held in New completes the three consecutive years
York, Chicago, and San Francisco. Final of training.
callback auditions for qualified applicants
are subsequently held in San Francisco. Housing
and travel stipends for the final callback weekend Justin Edward Keim, class of ’18, in Clickshare
will be available to applicants who demonstrate (photo by Stefan Cohen)
need.
APPLICATION PROCEDURES Upon receipt of the above materials, the

Applications may be submitted through our applicant will be emailed an acknowledgment
online application. from the Office of Academic Affairs. The
applicant will be notified at the first opportunity
ONLINE APPLICATION PROCEDURES of their audition date, time, and place.
• A nonrefundable, nonwaivable application
fee, payable by credit card or PayPal REAPPLICATION PROCEDURES
• A current résumé listing previous theater Students who applied to A.C.T. last year but were
training and experience not offered admission or who declined an offer
• One head-and-shoulder, full-face of admission must submit a new application form
photograph (8” x 10” is best, but a 5” x 7” with the application fee, an updated résumé, and
snapshot is acceptable) one current letter of recommendation. Admission
• Contact information for two references, files are maintained for one year, and materials
including name, phone number, and email originally submitted will be reactivated upon
address—these individuals will automatically reapplication. Another audition and interview
receive instructions on how to submit a will be required. Students who applied more
letter of recommendation than one year ago must submit all new materials.
• An up-to-date/current transcript of all A student who withdraws or is dismissed must
college work if the applicant has attended audition again for readmission. Readmission may
college, or proof of high school graduation occur only at the beginning of the school year.
or equivalent if the applicant has not
attended college TUITION AND FEES* Tuition for the 2018–19
• An essay (no longer than one typewritten school year is $29,355. Each Master of Fine
page) describing why the applicant is Arts Program student will be cast in one (1)
Leroy Graham and Dinah Berkeley, class of ’20, pursuing a career in theater. Please include A.C.T. professional production in their third
in Seachange in A.C.T.’s 2018 New Strands Festival (photo by Stefan Cohen) your name at the top of your essay year of the program, either onstage or as
an understudy, for which they will receive M.F.A. Program is intense. It is designed to
compensation in accordance with the then stretch students emotionally, physically, and
effective contract between A.C.T. and Actors’ intellectually. Students who are thinking about
Equity Association (AEA). Such compensation applying for the program should consider their
does not include AEA initiation fees or dues, for preparedness before making a commitment.
which the student will be solely and individually The curriculum includes a wide range of physical
responsible. In addition, students may also activity, and students are expected to enroll
be cast under A.C.T.’s concession agreement in the program in good health. Each entering
with AEA, for which there is no monetary student is required to have had a complete
compensation. Students are responsible for full medical checkup prior to admission and must
tuition for each of their three years. Tuition and submit a recent certificate of good health from
fees are due and payable at the beginning of their physician when returning the enrollment
each semester. A $40 fee will be assessed for agreement.
late payment. Deferred payment plans may be
arranged at A.C.T.’s discretion. Students are Visit ACT-SF.ORG/MFA
required to return a deposit of $500, applicable for all application materials.
to tuition, with the letter of acceptance. Fees
collected in the first year include: a Cultural
Landscape course fee of $350 for tickets to Bay
Area arts programs, and a Stage Makeup course
fee of $125 for materials. A $25 library fee is
collected from all students each semester.
Jerrie R. Johnson, class of ’19,
*The costs of tuition and fees are established in The Bacchae of Euripides
annually and are subject to change. (photo by Alessandra Mello))
A FINAL WORD The work undertaken in the
SUMMER
TRAINING
CONGRESS
Students in class (photo by Ryan Montgomery)

S
UMMER TRAINING CONGRESS PLACEMENT INTERVIEWS Interviews are held FEES $2,750 for the five-week session; $1,150
This competitive program offers during registration week to place each student for the two-week Shakespeare intensive; and
intensive professional actor training to in an appropriate “company” of classmates. both sessions for $3,250.
students ages 18 and older with some prior Applicants who are accepted must prepare
theater training or experience. Every year one monologue from a contemporary play for HOW TO APPLY Applications for the Summer
the STC attracts applicants from throughout the five-week session or one monologue from 2019 session are due May 27, 2019. Students who
the United States and various foreign countries. a classical piece for the two-week intensive. are applying for scholarships must complete
The STC offers both intermediate actors and Sonnets, poems, and other nondramatic their admission and scholarship applications
more seasoned performers an opportunity materials are not acceptable. Please limit by April 12, 2019. Please visit act-sf.org/stc for
to take their training to the next level. selection to no more than complete application information and deadlines.
Many STC students later pursue graduate two minutes.
degree programs in acting or begin their
professional careers. CURRICULUM Upon satisfactory completion of
the STC, students receive undergraduate credit.
Each summer the STC curriculum includes a To receive full credit, students must complete
five-week session focusing on contemporary the entire curriculum of their chosen session,
acting and a two-week Shakespeare intensive. including the final presentation. Go to
The two sessions may be attended together or act-sf.org/stc for complete course listings.
separately. STC sessions generally take place
from 9 a.m. to 6 p.m., Monday through Friday, CREDITS
and culminate in class presentations for fellow 5-Week Curriculum:
students, faculty, and staff. The STC teaching 303 Acting Technique (3 credits)
staff consists of members of our regular 313 Movement (1 credit)
conservatory faculty, A.C.T. staff, and Bay Area 323 Voice and Speech Dynamics (1 credit)
teaching artists, as well as distinguished guests. 5 credits total
All instructors are theater professionals. 2-Week Curriculum: TOP photo by Ryan Montgomery
373 Shakespeare Intensive (2 credits) BOTTOM Director Chris Herold teaching a class (photo by Ryan Montgomery)
2 credits total
THE SAN FRANCISCO SEMESTER

A Professional Theater Experience at A.C.T.
A
re you ready for an artistic, intellectual, coming face to face with some of the boldest
and personal transformation? Embark on productions anywhere. From theater, opera,
a study-away program at one of the country’s dance, and symphony performances to museum
most acclaimed professional theater companies and music club outings, you’ll view and discuss a
in a culturally vibrant and diverse city. broad spectrum of cultural experiences.
THE SAN FRANCISCO SEMESTER Grounded By the end of the semester, you’ll know San
in a rich academic curriculum, this dynamic Francisco like a local insider—not a tourist. As
program brings young theater artists into an you immerse yourself in one of the country’s
active, ongoing engagement with a professional most thrilling cultural centers, you’ll expand
theater and the eclectic and energetic arts your understanding of what theater can be.
community of San Francisco and the Bay Area. Students will also have opportunities to interact
Surrounded by theater students from all over with Master of Fine Arts (M.F.A.) Program actors
the country and the world, you’ll expand your while watching performances at A.C.T. and
understanding of performance as you define across San Francisco, observing rehearsals and
yourself as an artist. In the classroom and at performances, and attending workshops
venues across the Bay Area, you’ll explore and readings.
theater from a multitude of angles—from the
page to the stage, as viewer and performer—and CURRICULUM The 15-week program features a
across a variety of artistic genres. 17-credit core curriculum, including coursework “The San Francisco Semester experience gave me extended exposure to A.C.T.
in acting styles, physical theater, voice/dialects, faculty and an inside look into the M.F.A. Program. The courses are diverse and
Through inspiring, experiential courses and cultural landscapes, and creating original work. geared towards your growth as an actor; you also get to rub shoulders with
wide-ranging artistic encounters, the San The curriculum will be enhanced by numerous M.F.A. students and alumni while seeing some great theater. I now have
Francisco Semester will pull you into thrilling master classes with visiting artists, as well as
a powerful network to call upon, and a new excited energy to pursue my craft.”
conversations about theater as an ever-evolving meetings with professional directors, playwrights,
art form. Study in a professional setting while designers, stage managers, and producers. Sanjar Taromi | SFS Spring 2017
ELIGIBILIT Y Theater majors in their junior

or senior year of college; theater minors
and second-term sophomores with special
recommendations from theater faculty; recent
college graduates (after September 1, 2016)
with a theater major or minor.
FEES $15,000 for tuition; $400 Cultural

Landscape course fee; $50 application fee; $25
non-refundable library fee.
HOW TO APPLY Applications for the Spring

2019 session are due November 1, 2018.
Applications for the Fall 2019 session are due
May 1, 2019. Financial aid is available.
To learn more visit act-sf.org/sfsemester

for course information, deadlines,
and application materials.
PREVIOUS PAGE Students in voice class (photo

by Alessandra Mello)
LEFT Students in acting class (photo by
Alessandra Mello)

ACT MFA Bulletin

Uploaded by

Copyright:

Available Formats

ACT MFA Bulletin

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

ACT MFA Bulletin

Uploaded by

Copyright:

Available Formats

AM E R ICAN CON S E RVATORY TH E ATE R

TOP - R ANKED PROFESSIONAL ACTOR TR AINING IN THE HEART OF SAN FR ANCISCO

Charlie O’Rourke, class of ’19,

FROM THE DIRECTORS THE CITY, THE THEATER THE

THE UNIQUE PERFORMANCE FACULTY

A.C.T.’S ADMISSIONS SUMMER TRAINING

This highly competitive graduate program

Reaching beyond the stage, the

M.F.A. Program actors also have the opportunity

And, to top it all off, M.F.A. Program actors

Justin Genna, class of ‘18, in Begets: Fall of a High

The M.F.A. Program’s place at the center of a

With this intensive curriculum and prime location,

The Strand Theater on Market Street

A.C.T. is accredited by the Accrediting Commission for Senior

FROM THE DIRECTORS

The Geary Theater (photo by Sara Morales)

In A.C.T.’s M.F.A. Program, you practice craft

Photo by Evgeny Tchebotarev

CAREER TRANSITION At the end of the third

Peter Fanone and Lilly Narbonne, class of ‘18,

SECOND YEAR and rehearsal processes. Students perform

THIRD YEAR in theatrical spaces vast and intimate, and with

UNIQUE PERFORMANCE OPPORTUNITIES

The cast of Clickshare (photo by Stefan Cohen)

of new plays, giving student actors a chance

2017–18 M.F.A. PROGRAM PRODUCTIONS

Stacey Printz (photo by Alessandra Mello)

DIRECTORS regionally at the Hangar Theatre, A.C.T.,

ASSOCIATE FACULTY A Funny Thing Happened on the Way to the

PROMINENT A.C.T. ALUMNI

ANNETTE BENING ANIKA NONI ROSE, class of ’98, & DENZEL

PREVIOUS PAGE, CLOCKWISE FROM TOP

• St. Louis Actors’ Studio • The LEGO Movie

• South Coast Repertory • Love & Mercy

• Theatre Rhinoceros • Other People

• Billions • Maybe Sunshine

• Divorce • The Normal Heart

• Friday Night Tykes • Resident Advisors

• The Good Wife • Scandal

• House of Cards • The Slap

• Kevin from Work • TURN: Washington’s Spies

• Law & Order: Special • Wet Hot American Summer:

APPLICATION PROCEDURES Upon receipt of the above materials, the

Students in class (photo by Ryan Montgomery)

THE SAN FRANCISCO SEMESTER

ELIGIBILIT Y Theater majors in their junior

FEES $15,000 for tuition; $400 Cultural

HOW TO APPLY Applications for the Spring

To learn more visit act-sf.org/sfsemester

PREVIOUS PAGE Students in voice class (photo

You might also like