Presenter Profile

Walt Jones

Guest Artist, CSU Theatre

Walt Jones, who joined the CSU Theatre program in 2006, is a graduate of the Yale School of Drama. As a teacher of acting, directing, and playwriting, he has served on the faculty at Yale School of Drama, and University of California, San Diego. He has directed twice on Broadway, six plays off-Broadway, including the American premiere of Howard Barker's No End of Blame at Manhattan Theatre Club, and over sixty plays in more than twenty regional theatres from Cambridge to Fairbanks and productions in Soviet Russia and in Tokyo. He directed world premiere productions of plays by Thomas Babe, Lanford Wilson, Naomi Iizuka, Jos Rivera, Arthur Kopit, Jim Yoshimura, Pulitzer Prize-winning playwrights Sam Shepard and David Mamet, John Pielmeier, Derek Walcott and Christopher Durang. Among the many actors Walt has directed are Meryl Streep, Roc Dutton, John Turturro, Tony Shaloub, Nathan Lane, Liev Schreiber, Angie Bassett, Christopher Walken, Jason Alexander, Michael Gross, Lindsey Crouse, Linda Hunt, Sigourney Weaver, Peter MacNicol, Frances Conroy, Ricardo Antonio Chavira, Lewis Black, Mariel Hemingway, John Goodman, Christopher Lloyd, Kevin Kline, Paul Guilfoyle, Bill Sadler, Athol Fugard, Max Wright, William H. Macy, Ed O'Neill, and Tony Award-winning stage actor, Jefferson Mays. Mr. Jones was a staff director at the O’Neill National Playwrights Conference from 1980-1990, and directed regularly for the Yale Rep, Arena Stage, and the American Repertory Theatre. He is the author of The 1940s Radio Hour and A 1940s Radio Christmas Carol, both published by Samuel French, Inc.

Walt's Workshops


    Self-Scripting

    Beginning, Intermediate, Advanced / Acting, , , , ,

    Self-scripting is an approach to devising original material by using
    their own histories, identifying their strengths and weaknesses,
    habits, blocks, quirks, vices, doubts, fears, nightmares,
    preoccupations, and latent talents that they may have pushed aside,
    and then "improving them" with an eye to storytelling. By identifying
    their own history, performers have access to a wide variety of
    "characters" within themselves, each individual and iconic, each
    driven in their own ways, each alive, surprisingly truthful, raw,
    relenting, and emotionally resonant. By using "fictive truth" the
    result is original and crafted, not tethered to the truth of the
    story. The author-performers will craft these characters into short
    performance pieces that are idiosyncratic and sincere, monologues and
    dialogues spoken directly into the eyes of strangers.