10 Steps To Stardom, by Elizabeth Karsell, Colorado School of Acting
So you want to be a star but haven’t the foggiest idea where to begin. Did you know that the entertainment business like any other business has specific steps that you need to take to be successful. Do you know what those steps are? Come find out. Learn about the tools you’ll need: headshot, resume, demo reel, web presence, and yes social media… And the skills: Acting, networking, running your own business. The business of you.
Advanced Musical Theatre, by Bud Coleman, Casper College Guest Artist
This session will focus on learning choreography to an ensemble number from the musical theatre repertoire. Participants should have some dance experience. Please wear appropriate clothing and be prepared to move!
All For One!, by Kerstin Caldwell, Gaining Perspective
Improvisation is centered around what we can do to create something together. In this workshop, we’ll focus on self-awareness and how building off of each other’s ideas is crucial in creating a great scene.
An Actor’s Approach to Shakespeare, by Toni Rae Brotons, Equity Guest Artist
A Shakespeare play sure sounds pretty, but what the heck are they saying? If the actors don’t know, then the audience surely doesn’t! Finding the meaning behind Shakespeare’s words takes a little extra work for the actor, but the payoff is huge when the curtain rises. A professional actor discusses her approach to Shakespeare’s text and gives attendees a chance to try to, as Hamlet advises, “Suit the action to the word, the word to the action.” A cold reading exercise will be part of this workshop.
Ask me About SILV, by Stagecraft Institute of Las Vegas
Come talk to SILV Staff Members as well as SILV Alumni about what we do and the unique way we do it! The Stagecraft Institute of Las Vegas (SILV) provides hands on training in Las Vegas, NV (entertainment capital of the world) and is involved with nearly every aspect of Live Entertainment Technology! Needs some training? Just ask me about SILV!
African Dance for Beginners, by Mama Yeye, Guest Artist
Learn basic dances from the African Diaspora. You will get a taste of history, rhythm and song of the dance and center floor combinations. We will focus on a different dance each session.
African Dance for Everybody, by Mama Yeye, Guest Artist
We will go through dances and moves found throughout West Africa. Bring your energy, your excitement and joy! Sarongs for all of the female dancers!
Afro Caribbean “Moves from the Islands”, by Mama Yeye, Guest Artist
These upbeat movements found in the Caribbean will whine your body and jam rock your soul. Wear loose-fitting clothing and bring your energy and a friend. On the islands, the women wear sarongs!
A Mirror Up to Nature, by Jessica Austgen, Colorado Shakespeare Company
For the experienced high school ‘Shakespeareoid,’ a way to uncover and discover character. Workshop focuses on how space, and audience and rhythm affect the text. Come with memorized scenes and monologues. Stage time dependent on number of participants; observers are welcome.
Improvisation from Hollywood to You! By Mike Rock, Guest Artist
Mike Rock presents a high-energy, fun, intense, fast-moving improvisational workout emphasizing communication, teamwork, cooperation and not taking things too seriously. He provides a challenging, stimulating arena for creating and learning in a non-judgmental way through theatre games and team building in an up-beat, positive atmosphere. Forget your fear, take risks, say yes, “just do it,” and have fun!
Voiceovers: Can You Hear Me Now?, by Mike Rock, Guest Artist
Come explore the opportunity of a career in voiceovers and learn techniques to help you land that voiceover job.
Acting in Film, by Ken Womble, UNC
In this workshop students explore the craft of film acting. Through acting in movie scenes, they experience the unique demands of film. The differences between theatre and film acting are stressed; including film acting’s emphasis on active listening and reactions
Acting: the Active Process, by Tom McNally, UNC
A 20-year thespian tradition: Tom McNally’s hands-on, fast-paced, lively workshop includes demonstrations and participation in learning acting techniques of purpose, obstacle, tactics, circumstances, relationships, character and orchestration. A special segment of the class is devoted to psychological gesture of the character.
Actors Aerobic Workout, by Theresa Collins, Guest Artist
Get your day started right by moving your body and getting your heart pumping, all to the sounds of Broadway! Comfortable clothes suggested. Appropriate for all fitness and experience levels.
Advanced Commedia Technique: Part 2, by Scotty Walsh, Artiste de Cabaret
Building on the previous workshop, we now introduce techniques of tumbling, pratfalls and proper stage combat technique for bare hands, slapstick (batochio) and staff (bastone). Classical comedy bits (lazzi) will be introduced, along with an increased vocabulary of walks and gestures. Choreographed group actions (macchina) will be explored and group scenarios (canovacci) will be performed.
Advanced Clowning Technique, by Scotty Walsh, Artiste de Cabaret
Building on the previous workshop, we now introduce techniques of tumbling, pratfalls, juggling, balancing and partner acrobatics, as well as the theory for justifying the use of these techniques in performance. We will discuss the pros and cons of the famous red nose and its role as the smallest theatrical mask. Here we will continue to develop individual characters and styles, avoiding the techniques used by “unfunny” clowns and focusing specifically on the question, “what makes the audience laugh?”
Alliance for Colorado Theatre and Mentor Meeting, by Jodi Papproth, ACT President
Get and share your best ideas for building your theatre program. Topics include: patron programs, fundraising, communicating with administration, recognizing the value of the sports programs, designing a show for adjudication and travel to state and national thespian events, and where ever the discussion leads us. Come learn about the support that being a member of the Alliance for Colorado theatre can bring to you and your classroom. This quick information meeting will be followed by a meeting for ACT mentors and mentees.
The Art of Play, by Kerstin Caldwell, Guest Artist
At its core, improv is about tapping into the inner child and allowing it to play. This workshop will use various traditional and non-traditional theater games to help the actor warm up, create their character, environment and objects. We’ll have so much fun, it won’t even feel like work!
Basics of Stage Make-up, by Maggie Cochran, Norcostco
Learn how much fun stage Make-up can be! We will discuss Make-up products, the creation of a personal Make-up kit, and there will be a demonstration to introduce special effects and character Make-up.
Barbizon Lighting and Special Effects, by Kelly Van Oosbree, Barbizon
This is a hands-on session with some of the newest theatrical lighting equipment available. Feel free to experiment and play with some of the latest conventional and automated equipment that you will encounter in the professional and university settings. Learn to write a moving light cue on a Hog iPC, mix colors on the newest color-mixing scrollers and dichroics and focus a new Source Four Enhanced Definition Lens Tube!
Auditioning for Theatre and Television, by Ken Womble, UNC
In this workshop students will learn effective techniques for auditioning in theatre and television. Useful skills for monologues and scenes will be taught, as well as the differences between, and expectations for, actors in each medium.
Building and Heightening, Brian McManus, Bovine Metropolis
Knowing how to quickly identify and intensify the essence of an improvised scene can make scene work easy for both you and your scene partner. We’ll work on developing ideas already present in a scene to relieve pressure on the performers and create more space to play.
Create Your Own Play, by Gillian McNally, UNC
Nationally and internationally, many youth theatre companies create original works based on the idea of the youth participants. Come to this workshop to learn how to use improvisation as a tool to create your own original play!
Certified Organic Improv, by Brian McManus, Bovine Theatre
This workshop will explore the art of ‘jumping,’ stepping into the light with absolutely nothing in your mind but readiness. We’ll examine this as a method for edits and moving improv scenes forward organically, without planning or writing out the scene in your head beforehand. You’ll leave with a greater trust in yourself and some techniques to expand this unnerving moment into a comfortable working space. Some long form experience required. Don’t think about it. Jump.
Character SLAM: Inside Out, by Lindsay Price, Theatrefolk
How do you find the character clues a playwright leaves in the script? How do you use them? In this script analysis workshop playwright Lindsay Price gives you tips, exercises, and guidelines on how to examine a play from the inside out. Learn how to build a three-dimensional character in whatever play you’re working on!
How to Make Your College Audition the Best It Can Be! by Kathy Morath, AMDA
This workshop will; broaden the student’s awareness of useful material (songs and monologues); demonstrate the selection process for songs and monologues; teach audition skills that center and relax the student; present reality-based audition dos and don’ts; increase confidence, poise and professionalism in the student’s audition presentation; and workshop the skills in front of the group in a mock audition setting. Workshop will consist of a lecture, group participation and workshop, printed materials for distribution, and a general Q & A session
Design on a Shoestring: Working with Limited Resources, by Casey Kearns, University of Wyoming
This session for students and teachers explores the approach to stage design using limited resources, time, money, facilities, and skills. No single answer is the solution. Limited resources hinder our artistic ability? No, perhaps, expand our creativity! Bring your tricks and tips to share
Designing a Repertory Lighting Plot for the High School, by Brian Hapcic, UNC
This workshop is designed for theatre instructors who would like to develop a repertory lighting plot in their home space. If you face the common challenges of a multiple-use facility, multiple users and types of events in your performance space, or limitations in your ability to move and focus lighting instruments per production, then this workshop is for you. We will discuss the specific needs of your space and the possibilities for a repertory plot that meets the needs of all users. This workshop will also be beneficial for the student or instructor looking for new ways to use the lighting capability of his/her theatre, even if not faced with some of the challenges listed above. Please bring the following items if available: ground plan of the space, with hanging positions and circuit layout; lighting instrument inventory; number of dimmers and capacity; type of lighting desk.
Designing a Repertory Lighting Plot for the High School, by Brian Hapcic, UNC
This workshop is designed for theatre instructors who would like to develop a repertory lighting plot in their home space. If you face the common challenges of a multiple-use facility, multiple users and types of events in your performance space, or limitations in your ability to move and focus lighting instruments per production, then this workshop is for you. We will discuss the specific needs of your space and the possibilities for a repertory plot that meets the needs of all users. This workshop will also be beneficial for the student or instructor looking for new ways to use the lighting capability of his/her theatre, even if not faced with some of the challenges listed above. Please bring the following items if available: ground plan of the space, with hanging positions and circuit layout; lighting instrument inventory; number of dimmers and capacity; type of lighting desk.
Dialect – Scottish, by Tracy Salter
Vary Your Voice! Expand Your Character Choices! Students will learn the Scottish Dialect through the use of the incomparable tool of IPA (International Phonetic Alphabet), audio-visual clips, coaching and practice.
From the Queen’s English to Cockney Slang, by Louise Clark, Dramart Productions
The English accent. The British are coming! And we would love you to join us on a vocal exploration around our fair land, journeying through the many accents and dialects to be found on our small island. Find your inner Cockney (London), Jordy (Newcastle) or Yorkshire man amongst many more and stretch your face, mouth and vocal chords in ways you never have before!
Gay-Straight Alliance Resources and Connections, by Andy Lyons, GLBT Center
This is an informal workshop that will provide for an open discussion on resources and community connections that are available for gay, lesbian, bisexual and transgendered youth. In agreement with the Colorado Thespian vision statement, “We believe in the value of teaching human culture, history, diversity, responsibility, and integrity.”
Hugger Mugger, by Geoffrey Kent & Erin Ramsey, Guest Artists
Shakespeare and contemporary playwrights frequently call for their characters to enter into physical conflict. This workshop introduces the basics of performing staged fights including safeties and how to be a good partner. Techniques include falling down, hair pulls and fisticuffs. This workshop is high energy.
How to Make Your College Audition the Best It Can Be! by Michael Sartor, AMDA
This workshop will; broaden the student’s awareness of useful material (songs and monologues); demonstrate the selection process for songs and monologues; teach audition skills that center and relax the student; present reality-based audition dos and don’ts; increase confidence, poise and professionalism in the student’s audition presentation; and workshop the skills in front of the group in a mock audition setting. Workshop will consist of a lecture, group participation and workshop, printed materials for distribution, and a general Q & A session.
Improvisation for Singers, by Kathy Morath, AMDA
Improvisation exercises ground the singing actor’s sense of time, space and physical life and help to free the imagination. We will spend the class on our feet, working through exercises from a variety of sources and disciplines, including Viewpoints, Del Close, Viola Spolin, and Meisner technique. We will end the class with a mini-performance which will leave the student with a sense of confidence and a new approach to “singing a song”. Wear rehearsal clothes and come prepared with a 16-bar cut of a musical theatre song.
Improvisation as an Acting Tool, by Gillian McNally, UNC
Improvisation can be a powerful tool in the classroom and the rehearsal process. In this workshop students will participate in improvisation exercises which focus on characterization, ensemble building and creating a believable “world of the play.”
In the Palm of Your Hand, by Kerstin Caldwell, Guest Artist
It is often thought that good improvisation comes from strictly being funny. This workshop dismisses that theory entirely by encouraging storytelling skills vs. joke-telling skills. By paying attention to yourself and your scene partner, you already have all you need in the palm of your hand, without having to “make anything up”. Getting out of your head and into your awareness, you’ll notice a huge change in connection and reality while feeling like you’ve just done something brilliant. And you will! This workshop is for students wanting to get past the beginning level of their improvisation work.
Introduction to Clowning, by Scotty Walsh, Artist de Cabaret
An introduction to the theory and application of clowning where we discuss and explore such difficult questions as “What does it mean to be a clown?” and important topics like, “How to avoid being a clown that nobody likes.” We will briefly cover the history of clowning and the classic clown archetypes of whiteface, auguste (rednose), contre-auguste (opposing fool). We will discuss the fundamental theory of clown, and most importantly engage in honest self-exploration, self-expression, and embracing our personal failures and shortcomings, which is sometimes painful for us, but usually very funny to others.
Introduction to Commedia: Part One, by Scotty Walsh, Artist de Cabaret
An introduction course to the Classic Italian Masked Comedy of Improvisation, which greatly influenced everything from Shakespeare to Bugs Bunny and Moliere to Charlie Chaplin and introduced such famous characters as Harlequin, Pierrot and Punch (Arlecchino, Pedrolino and Pulcinella). In this workshop we discuss the history of the Commedia Dell’Arte, its stock characters and their respective stances, walks, and gestures. The theory of mask is introduced, as well as the classical Italian theory of improvisation.
The Journey from Stage to Screen, by Alberto Bonilla and Kathy Koch, School for Film and Television
This interactive workshop focuses upon the often, misunderstood nature of acting in front of a camera. Communication over real space, focus, preparation and an understanding of the action, in all its forms, are discussed and demonstrated. The class will employ the use of the camera and a monitor.
Jump Improvisation, by Harrison Butler, UNC
This technique takes improvisation past comedy sketches and funny games into the realm of truthful acting. As in all improvisation, the goal is to make it up as you go along, and we will do so within a particular structure, which allows the actor to experience the freedom from having to “act”. In the course of this workshop, you will create, write and rehearse your own scene. This workshop is intended for students and educators of all ages.
Jump Starting your Career in Technical Theatre, by Stagecraft Institute of Las Vegas
Plan paths to make yourself more “hire-able.”
Knowing the Score, by Richard Shore, UNC
The information songwriters give us in a score can provide us insight into how to make a song musically and dramatically interesting, and honest to a character and situation. By examining these elements we will work to help participants arrive at well-informed, integrated, engaging performances. Please prepare a cut of a song and bring a properly assembled piano copy as well as several copies, if possible, for other audience members to follow along with.
Making an Entrance, the audition, by Michael Kary
Turning the tables on how we (actors) view the audition process can help us walk away from each interview a success. Simply knowing how to enter the room, where to stand, and when to leave can make the difference between crafting a career of possibility and a lifetime of frustration. The students would have a tutorial on some solid techniques and philosophies regarding the audition process. Then, they would all get a chance to do a mock audition with a cold read to see those techniques in play.
Making Great Improv, by Hilary Blair, Denver Center Theatre Academy
Great improvisation is not about having one clever or funny "star" but about the group working as an artistic whole. The concept of "The Group Mind" is key because all groups can benefit from increased communication, heightened awareness, and melding of the brains. Learn new games and exercises and practice old ones to bring back to your improvisation troupe.
More Matter, Less Art, by Melinda Scott, Colorado Shakespeare Festival
Using script samples from Shakespeare’s plays, this workshop explores how the meter and rhythm of the text gives clues to playing a scene. Through a hands-on approach, workshop participants will discover that Shakespeare (himself an actor) provides "the player" with direction for character choices, blocking fun, challenging and illuminating work and using more-using language, word order and meter.
Musical theatre: the Art Form of Opposites, by Chris Will, Western Wyoming Community College
This fast pace workshop takes a new look in discovering all of the elements found in musical theatre and how they work together. After this workshop, you, the performer will have the tools as a singer, actor, and dancer, to help you perform these equal but opposite elements in this highly stylized art form.
Musical Theatre Dance: All That Jazz and The Wiz, by Bud Coleman, University of Colorado
Come prepared to sweat. We will learn choreography to All That Jazz from Chicago in the Bob Fosse style and Brand New Day from The Wiz in classic Broadway high-energy mode. Wear clothes to move in and appropriate shoes.
Musical Theatre Songs – Emotional Babble or Honest Relationships?! by James Olm, Casper College
Mr. Olm will listen to and work with students on their musical theatre audition pieces and selections, incorporating necessary relationship into their work. Limit audition selections to 16-24 bars, and be prepared to sing it memorized and without piano accompaniment. Group involvement and discussion will be encouraged.
Neutral Mask, by Brett Scott, Denver Center Theatre Academy
The neutral mask is a means to discover, to recognize and to assume the “neutral state” that exists before action; a state of receptivity to all around us; a state of balance from which it will be easier to understand and express imbalances and conflicts of characters; a basic mask; a support to all other masks. A study of the neutral mask is a study of what binds us, what separates us, and how the two flow through the world outside of us. Above all, a study of the Neutral Mask is research into the basics of movement and creation. When wearing the mask, we attempt to enter a state of openness, a forward moving, physically engaged curiosity with the world around us. The mask is a tool through which we learn the elements of movement intentionality and technique. By learning how to respond to the imagined through the observation of the known, students are given the opportunity to radicalize their way of being on stage.
Pimp My Theatre, by Steven MacDonald, University of Colorado
Come armed with whatever questions you might have about production management, sound, sets, lights, and construction. We’ll even discuss computer and sound design and DMX.
Playwriting, Works in Progress, by Stephen Gregg, Playwright & Screenwriter
What is the industry looking for? How can you write that award-winning play script or screenplay? This workshop will focus on what distinguishes playwriting from other forms of writing you might be more familiar with, especially fiction. The best way to learn it is to try it, so bring a pen! We will also have an opportunity for play writers who have something in process to work on their ideas. Bring your scripts in progress and your ideas, and visit with the script doctor to learn how to make your story unfold on the page and develop into a full-fledged script that is marketable.
Physical Theatre Storytelling, by Louise Clark, Dramart Productions
The Brits are coming! Come join with British actor/directors Louise Clark and William Ilkley for a quick burst of physicalized storytelling and exploring the British accents and dialects. Forget the dialogue narrative and tell your story in a creative and inventive way and then add language spoken as if you were in London’s West End! Simply delightful darling!!!
Provoke a Play, by Taylor Pringle, Denver Center Theatre Academy
Explore the creative process of devising original theatre pieces. Learn inventive ways to generate a performance. Pick a topic, create dialogue, choreograph, improvise, and compose. Present an innovative and spontaneous performance by the end of the workshop. Make art while investigating how to take tools back to your own work.
Pursuing a Degree in Theatre Education, by UNC Theatre Education Students
Come share ideas about training to become a theatre educator with teacher candidates in training at UNC.
Real-World Musical Theatre Auditioning, by Mitch Samu, Guest Artist
With over 25,000 auditions under my belt as both a pianist and music director, I have seen almost all of it -the good, the bad, and yes, the ugly. For several years I worked for Bernard Telsey Casting, NYC and most shows on Broadway as a “hired gun” piano player. This workshop will tell you the truth about what it is really like at an NYC audition when you are auditioning for the big fish, for the real kahoona. I will tell what they are saying about you, I will tell you what they are thinking, I will tell you what they will like and don’t like. And I will tell the number-one most important thing to do to prepare for any audition, anywhere, any time! It will be fun and it will be real!
Re-revealing Light, by Don Childs, The Stagecraft Institute of Las Vegas
Don will be leading a discussion about returning to a pure form of lighting design void of unnecessary color and trivial gobos. As a designer his philosophy is centered around simplicity and only doing what is absolutely essential to enhance the show.
The Russian Dialect, by Tracy Salter, UNC
This workshop is designed to introduce the student to the International Phonetic Alphabet (the symbols and sounds of speech). The student will then learn the substitution of sounds in relation to learning dialects.
Sometimes You Gotta Scream—Extreme Voice, by Hilary Blair, DCPA
Work on stage and film carries us well beyond the usual vocal demands. This workshop will play with the techniques for safe and effective screaming.
Search for Sound, William Burns, Stagecraft Institute of Las Vegas.
William will talk about where to look and how to look for the music and sound effects you need to enhance any production. You can find anything if you know where to look!
Shakespeare-ingly Speaking, by Cherity Koepke, Opera Colorado
To be or not to be… If that’s the question, the what’s the answer?! It’s Shakespeare, but do you understand it? Do you ever wonder how Shakespearian actors can rattle off the language like it’s nothing… how they can convincingly convey every emotion…? It’s easier than you think. This workshop will use famous speeches and scenes from Shakespeare’s most popular plays to teach actors how perform using the clues in the language itself.
Stage Movement and Mime Techniques for Actors, by Pamela Jamruszka Mencher, Red Rocks Community College
This workshop introduces acting students to concepts that enhance physical expression used in characterization, and also explores basic mime techniques. This is a workshop that gets you up off your feet and participating in the exciting aspects of combining elements of stage movement with mime.
Straight Talk about entry into the Professional World, by Frank Stewart, Guest Artist
The workshop leader has been both a professional actor and an entertainment attorney, working in the worlds of theatre, film and television for more than 25 years, and representing film, television and theatre actors, directors, writers, designers, casting directors, producers, studios, and others. This workshop provides teachers a chance to ask any and all questions about the professional world. If your students are constantly asking for advice about schools, cities, unions, career options, film vs. stage, and similar mysteries, this might be a good chance to ask some of those questions yourselves.
Tension Release Exercises (TRE), by Andrea Villa, Guest Artist
Stage fright? Premiere jitters? Stress and tension keep you from performing at your best? Tre is a simple and powerful exercise that release of the tension held in deep muscles fascia by tremoring. Benefits include a sense of well being, clarity, diminished anxiety and capacity to focus under pressure.
Theatrical Jazz, by Jennifer Johnson, Dance Art Studio
Broadway jazz has been with us since the turn of the century: it can tell a lyrical story in smooth, modern movement like no other dance form. Come prepared to loosen up those joints and put your body into action. This dance class covers basic jazz turns, jumps, and choreography used in Broadway style jazz.
You Are Thinking Too Small, by Mitch Samu, Guest Artist
No matter what you are thinking about for your theatre career, it is too small. It is not specific enough. Dream bigger. Dream large. Dream now. That is how you start on your path to your career in the business of entertainment, musical theatre, and theatre. Based on the Marianne Williamson poem, come and start to take the first big steps towards your dreams. Our deepest fear is that we are inadequate. Our deepest fear is that we are powerful beyond measure.
You Can’t Stop the Beat! – Hairspray – Dance Workshop, by Jennifer Carrabetta
Learn choreography from the hit show, Hairspray and be prepared to boogie 60s style! Dance a bunch, sing a bit, and have a blast! We will put together the entire production number, so come ready to learn! All levels welcome. Big hair encouraged.
Zumba, by Davida Wright Galvin
ZUMBA (ZOOM-bah) is a fun cardio party where participants work up a sweat doing Latin inspired moves like salsa, merengue and more. It’s easy for everyone to follow and enjoy. Davida Wright Galvin is a Thespian who used her award-winning acting experience to win scholarships for college. She studied journalism and became a television reporter and news anchor in Texas, Nevada and New England. Now a mother of three, she uses her stage and TV experience to make people happy and become fit through Zumba Fitness. Davida also teaches Zumbatomic (Zumba for kids) and was recently chosen as a Zumba Jammer (a Zumba choreography specialist.) Find out more about Davida’s classes at www.zumbawithdavida.com.
