Monday, May 4, 2015

May news & updates

It's already May, which means we've got a lot going on here at Freehold.

First of all, our summer classes are now open for registration! We've got the return of our classic hits, such as Acting for the Camera with John Jacobsen, Personal Clown with George Lewis and the Shakespeare Intensive with Amy Thone. We're also welcoming new faculty members Andre Nelson and G Valmont Thomas, who will be teaching Step I and Voice Over, respectively. Register by May 26th to receive a 5% early bird discount.

Also, INCUBATOR Studio Series applications are due on Thursday, May 7th! A vital part of Freehold’s educational mission is to encourage those who study with us to experiment in a performance situation with the processes and tools developed in the classroom. INCUBATOR gives participants the opportunity to take a critical next step with their work by bringing it into an investigative setting with a director, and then into the public arena with an audience.

Tomorrow, GiveBIG to Freehold and have your donation go further! Every donation we receive on our online donation page on May 5th will be "stretched" (i.e. partially matched). Want to support radical accessibility in the arts? Donate to Freehold on May 5th!

Finally, we've been busy getting ready for our annual dinner and auction at the Palace Ballroom. We've got a wide selection of fabulous prizes to bid on, music will be provided by the talented D'Vonne Lewis trio and wine will be provided by Chateau Ste Michelle. Matt Smith will officiate the auction, and we'll be honoring two special guests: Sharon Nyree Williams and John Jacobsen. If you haven't bought your tickets yet, do so now! Ticket sales end this weekend.

Can't make it on May 18th? Check out our online auction, open from May 7th to 14th!

Monday, April 13, 2015

An interview with ETI alum Kiki Yeung

Happy Monday, friends of Freehold! Have you ever wondered what former Ensemble Training Intensive (ETI) students have gone on to accomplish? Over the weekend the multitalented actress, model, producer (and ETI alum!) Kiki Yeung was kind enough to answer some questions for us about her life since ETI.

FREEHOLD: What first made you interested in acting and theatre?

Kiki Yeung: Since I was a kid, I wanted to be an actor. When I lived in Hong Kong, my dream was to become a pop singer, then my family immigrated to Bothell, WA when I was twelve. Growing up, my dad played a lot of Hollywood movies such as Die Hard, Jaws, Star Wars and Indiana Jones at home. I wanted to be like Julia Roberts after watching Pretty Woman. When I went to UW, I wanted to major in film acting, but there was only theater major. Theater and monologues were such foreign concepts to me. Luckily, there was no audition necessary to enter the Drama program, and I'm so glad I majored in Drama and learned the production side of things.

Since graduating from ETI, what are some of the projects you've been involved with?

I continued to develop my one woman show "Second Chances For Grace" from the ETI solo class. I met an amazing actress and teacher, DeAnna Driscoll in San Diego. She directed the show and it won an award at the San Diego Fringe Festival in 2013. It was a challenging and exciting process to play eight characters based on my life. I am a producer and actress at Titan Sky Entertainment. We are in development for GodMachine, a sci-fi film featuring some alums from TV series Star Trek and Earth Final Conflict. Our latest feature Star Leaf is premiering at Seattle Northwest and making an appearance at Hempfest and Hempapalooza in June 2015. I worked in Hong Kong recently and traveled to London for filming with some of my favorite actors from Hong Kong. I got to work with Thailand superstar Tony Jaa on a big budget action film and booked a feature role in another feature film.

You've been involved in several different types of projects (acting, modeling, producing), often simultaneously--how do you manage it? And how do you feel that your different areas of work influence each other?

I never thought about how I manage it. Good question. I pray and go with my instincts on projects I feel passionate about and work with people who inspire me and complete their projects. Timing is very important. I learned to be more patient while waiting for things to fall into place. I get to act in the film or play I produce, and modeling just comes when I get a call from my agents. Everything is interconnected and the experience contribute to my growth as a human being and an artist.

How has your participation in ETI impacted the work you are doing currently?

ETI changed my life. I'm still absorbing things I learned from voice and movement. I still practice the warm ups and vocal progression very often. I swear by them. The yoga practice helped me tremendously to tune into my body and mind. I learned to be open and have a child's mind at any stage of production. I definitely am confident about my process and am constantly refining it as time goes by. Suddenly, something I learned from ETI clicks. Being part of an ensemble taught me how to communicate with and manage people when I am acting and producing.

How has being an actor of color affected your career?

It's been a roller coaster ride. As a woman of color, an immigrant and an actress, I have to create opportunities for my peers and myself. In San Diego, colorblind casting is almost non-existent. It gets frustrating playing the same characters that have a few lines. I'm good at it but it no longer challenges me anymore. I feel I have to be 200% better, faster, prettier, more well spoken, useful and prepared as an actor of color. I cannot just be an actor, I have to learn how to produce, writer, direct, edit and market my own projects. All this is good because it made me a stronger more multifaceted actor. I learned to accept my strengths and weaknesses.

Can you tell us a little bit about the organization you founded, the San Diego Asian Artists Ensemble (SDAAE)?

It was out of frustration and passion to connect with other Asian artists in San Diego and create opportunities to share our talents with the community. We are rehearsing for our inaugural production San DiAsians! The show is written by the cast and is a dynamic presentation of sketch comedy and monologues. The monologue brings each actor's story to life with a splash of music, dance, martial art and some soy sauce on the side. We are launching an Indiegogo campaign to raise funds for the production. The cast, writers and musicians have all pulled together to create a promo trailer. I'm impressed by the amount of talent in San Diego and feel so blessed I get to be a part of this. Like us on Facebook!

What were some of your favorite or memorable moments from your time during ETI?

Voice class when my teacher, Kimberly pressed the spot on my tummy and I started crying as if a door has unlocked. She told me it's ok. You are enough. I never felt enough for myself, my parents, my acting. That moment woke me up. Being in George's class doing crazy movement and handstands. Just playing and trying new things. Testing my limits. Being in voice class and seeing my classmates open up and be vulnerable. Making friends that I still contact now. Getting suffocated with a pillow by Lance McQueen for our Othello scene. Running after Tony and getting dragged by his leg as Helena in Midsummer Night's Dream. Playing Fate #3 in Pericles. I loved the process and being on the stage, anchoring the fake boat. Imagining the waves coming in, laughing and smiling to myself, thinking how much fun I was having and the audience can feel that energy. Breakdancing with a stick in Pericles. Spraining my right ankle then my left ankle during stage combat and rehearsal. Falling back on my head with a mild concussion during rehearsal. Graduation day, the look in my friends' eyes, the hugs we shared and how proud Robin and the teachers were of us. The look in Robin's eyes when she's saying something that means something to her...she tears up.

What advice do you have for those considering applying for ETI?

Just go for it. I didn't think I would get in let alone receive a scholarship since I applied six or seven years post graduation from UW and was rejected. Timing and not giving up is key. Get a coach and work on some new material. Be prepared to play and collaborate in a group setting. Breathe, stay in the moment and connect with the group during the audition. Just have fun! Not everything or everyone will be fun, but those things will test your character and stamina, and that's what a truly great actor is made of.

To learn more about Kiki, visit her website: 
Or find her on Facebook:

Interested in learning more about the ETI program? We've got an info session tonight at Freehold at 6pm. Applications for ETI's 2015-2016 season are due on April 20th.

Tuesday, March 17, 2015

An interview with Jennifer Jasper

We were lucky to have Jennifer Jasper, one of our newest faculty members, answer a few questions about herself and her work for our blog. Jennifer is a storyteller, performer and director whose most recent solo show, Bullygirl, premiered in January as part of the Radial Theater Project's Locally Grown festival. Her short play et•y•mo•lo•gy was a winner of the Samuel French Off Off Broadway Short Play Festival in NYC and is set to be published in a forthcoming anthology. She also runs a monthly cabaret series, Family Affair, at the JewelBox Theatre in Belltown. Jennifer is teaching the class Telling Your Story this spring, and we're so thrilled to have her on board.

Freehold: Can you tell us a little bit about your background as a performer and storyteller? What drew you to this type of performance?

Jennifer Jasper: I began performing in Albuquerque, NM while I was working on my BA in Directing. I fell in love with improvisation and worked with a group, Phantasmagoria, which later evolved into Kings’ Elephant Theatre. We were together for a total of 10 years. I also performed with my other production company Pulp Vixens for another 10 years. I did some stand up comedy for awhile and hosted burlesque, but in the last five years my performance moved into solo work as a monologuist/storyteller. It seemed like a natural evolution.

What brought you to Seattle? How did you first hear about Freehold?

JJ: I moved here in 1986 with Kings’ Elephant Theatre. We had decided to move the company and Seattle, for many reasons won the vote. Most of us are still here and active in the theater or other performing arts and on occasion find ourselves in collaborations. I love the Seattle theater scene and feel passionate about the original work that is developed here.

I have always known about Freehold. I remember when it was in the Oddfellow’s Building on Capitol Hill. I have a lot of colleagues who have taken classes and taught over the years. Ironically, the new home of Freehold is the old Aha! and Kings’ Elephant Theatre space. I spent A LOT of hours helping to build it out into a theater space in the early 90’s. Don’t ask me how many times I’ve painted and cleaned the bathrooms! I’m excited to return to the space as a guest faculty member of the esteemed Freehold School!

How does your directing background influence your work in other aspects of theatre?

JJ: I think all disciplines work together. I can’t keep them separate if I try. As an improviser you are constantly answering the basic questions for the scene: Who? What? Where? Why? As a director you do the same, but on a larger scale. As a storyteller you are answering those same questions, but on a personal level. When I’m telling a story or creating a solo work I can’t help but see the larger picture even though most of the time I’m working on a magnified aspect of the whole. But the arc, whether as a simple story or a larger collaborative work is still essential for the piece to move the audience. It’s like a telescope that you move closer and further away depending on your role. But you always have it in your hand.

Can you share some of your favorite or most memorable onstage (or backstage) anecdotes?

JJ: Ooohh. That is a tough one. Let’s see. Well, I’d have to say audience members should always think twice about breaking the cell phone rules when I’m on stage. There have been three incidents, and folks, you never know when one of the actors is also a very quick improviser.

I was doing stand-up and a woman’s cell phone rang. I asked for her phone and answered it. I asked her daughter (who had called) if it was a 911 emergency and went on to berate her for interrupting her mother’s one night out.

I played a character who had a drinking problem in a play set in the 1940’s and during a very serious monologue a phone rang – they didn’t want to answer it. I made them and added a bit to my monologue.

In one Pulp Vixen show as I was doing the opening monologue that was important exposition I heard a man (under the influence) speaking loudly into his phone, “I’m at show! Yeah, it’s happening right now!” At which point I stopped the show, waited for him to finish, instructed the stage manager to take his phone and hold onto it and proceeded to start the entire show over from house lights and house music playing. In all cases the audiences appreciated it. That is live theater.

What inspired you to start Family Affair?

JJ: Around 2 ½ years ago, a dear friend and former Kings’ Elephant performer, Heather Hughes, lost her battle with lung cancer. She was 44. Earlier that year another friend and performer, Matthew Scott Olsen, passed away. He was 45. And then, that fall, the theater community lost Andrea Allen, 45, to breast cancer. It was a tough year for all of us who had been down in the trenches in our early years making theater happen. We pitched in when we could with meals and such, but you couldn’t help but feel helpless. Then Nancy Guppy suggested Jane Kaplan of the Jewel Box Theater and I get together. She was looking for a monthly cabaret and I was starting to get more and more into storytelling. When Jane and I met, we both cried about Heather (she had worked at the Rendezvous). Jane and I have known each other for many years. I knew I wanted to do something different and by the end of the meeting we had conceived the idea of Family Affair. A night to celebrate family through performance and help someone in our “artistic family” out during rough patches. It’s been an amazing two years now and my favorite day of the month is the 3rd Thursday, the day AFTER the event because you just FEEL good. Every month is an amazing night of sharing. Come see it.

Can you tell us a little about your most recent solo show, Bullygirl? What was your experience like developing and performing the show?

JJ: There are stories that I LOVE to tell, mainly about my family.

Then there are the stories that I NEED to tell. That’s Bullygirl. My stories revolved around my decisions during my pre-adolescent years in regards to peer pressure. I was both victim and bully during different times. I think that is a common postion teens find themselves in. It is rarely black and white. It was a hard show to do for various reasons, but the hardest emotion to overcome was my shame about some of my actions.

I wasn’t sure how it would be received. It was not hilarious. It was pretty raw. The development was harder than the other shows because I shied away from telling the story and tended to describe it. I was finally able to let myself relive it and that’s when the material really started to form. I had young people, parents and teachers approach me to tell me how much this kind of show would be helpful in schools. I recently applied to 4Culture for a project grant to collaborate with Shawn Belyea as my director to work the show into a 35 minute piece that could tour middle schools. I’m really excited about the prospect. I also finally feel freer now that I told those stories.

What are you looking forward to teaching in your storytelling class this quarter?

JJ: I am really looking forward to helping people discover their stories. I always find that the story I thought I wanted to tell is rarely the story that ends up being told.

There is such a wonderful feeling of connection that comes with sharing your experiences with an audience. You are part of a bigger picture. I think that’s what theater is at its core for me. Connection.

To learn more about Jennifer Jasper, visit her website: You can also find her on Twitter: @JennJasper

To learn more about Jennifer's Freehold class, TELLING YOUR STORY, click here.

Tuesday, March 3, 2015

Spring Quarter Classes are Now Open for Registration!

Check it out, friends of Freehold! Click here for our full lineup for spring quarter theatre classes.


To register, visit our website or call us during office hours (Monday through Thursday, 10am to 6pm) at (206) 323-7499. More detailed course descriptions, as well as course prerequisites and tuition rates, can be found on our website.

STEP I: INTRO TO ACTING with Sarah Harlett and Peter Dylan O'Connor
Section 1 with Sarah Harlett: April 14 - June 2 // Tuesdays 6pm - 10pm
Section 2 with Peter Dylan O'Connor: April 25 - June 20 // Saturdays 12pm - 4pm

STEP II: ACTING WITH TEXT with Stefan Enriquez
April 15 - June 17 // Wednesdays 6:30pm - 10:30pm

STEP III: BASIC SCENE STUDY with Christine Marie Brown
 May 9 - July 18 // Saturdays 10:30am - 2:30pm

MEISNER: TEXT with Robin Lynn Smith
March 31 - June 16 // Tuesdays & Sundays 5:30pm - 10:30pm*
* See website for exceptions

ADVANCED SCENE STUDY with Darragh Kennan
May 13 - June 14 // Wednesdays 6pm - 10pm

April 19 - June 14 // Sundays 10am - 1pm

April 19 - June 28 // Sundays 6pm - 9pm

AUDITIONING with Darragh Kennan
May 30 - June 27 // Saturdays 1pm -5pm

MOVEMENT FOR ACTORS with Elizabeth Klob and Lyam White
May 4 - June 29 // Mondays and Wednesdays 6:30pm - 8:30pm

IMPROV with Matt Smith
April 6 - June 1 // Mondays 6:30pm - 9:30pm

STAGE COMBAT with Geof Alm
April 18 - June 20 // Saturdays 10am - 1pm

TELLING YOUR STORY with Jennifer Jasper
April 27 - June 8 // Mondays 6pm - 10pm

VOICE with Gin Hammond
May 10 - June 14 // Sundays 5:30pm - 9:30pm

VOICE-OVER with Susanna Burney
June 1 - June 23 // Mondays 6pm - 10pm

Tuesday, November 18, 2014

Freehold's Winter Quarter Acting Classes in Seattle are Now Open for Registration

Freehold Theatre's Winter Quarter Classes are now open for registration.

Freehold offers beginning acting classes for the absolute beginner as well as master classes for working professionals. Freehold has been offering acting classes in Seattle since the summer of 1991. All Freehold faculty are working professional actors, playwrights and directors whose credentials include recognized work on and off Broadway, in major motion pictures, on television, and in regional and international theatre venues. Our Winter Class Roster is listed below.  TO REGISTER for a class or to read more about the individual classes and their dates and times, click on the highlighted class below or call us at (206) 323-7499.

Here are our Winter Class offerings:
Step I: Intro to Acting with Annette Toutonghi
Step II: Acting with Text with Meg McLynn (weekend)
Step II: Acting with Text with Stefan Enriquez (week day)
Step III: Basic Scene Study with Dan Tierney
Meisner: Instrument with Robin Lynn Smith
Auditioning with Darragh Kennan
Crafting the Audition Song with Meg McLynn
Improvisation with Matt Smith
Introduction to Shakespeare with Sarah Harlett
Beginning Clown Workshop with George Lewis
Playwriting I with Rebecca Tourino
Ready for TPS Generals? with Christine Marie Brown
Solo Performance and Presentation with Marc Kenison
The Directing Workshop: Process and Practice for Stage and Film - ACTORS here with John Jacobsen and Robin Lynn Smith
The Directing Workshop: Process and Practice for Stage and Film - DIRECTORS here with John Jacobsen and Robin Lynn Smith
The Unsuccessful Clown Workshop: A Joyful Exploration of Failure and Frustration with George Lewis
Voice with Gin Hammond

Reserve a space in one of our classes by registering for a class by December 5th and receive a 5% early bird discount (registration requires paying at least the minimum class deposit for the class).

Join us for our free Winter Quarter Class Sample event on Friday, December 5th at 6:00 pm at Freehold and sample several of our classes including Intro to Acting, Improv, Playwriting and The Directing Workshop. RSVP for a space in one of our class samples here:

Monday, November 10, 2014

Top Seven Reasons to Study Voice by Gin Hammond

You may have heard the adage “nobody needs a lawyer…until they need a lawyer.”  It can be the same with vocal coaching.  We get called in to help people who are losing their voices, to fix off-kilter accents, or to enable people to simply be heard.  These sessions can be highly emotional at first, fraught with frustration and a fear of being branded as a “problem actor,” vocally speaking.  With a little vocal training, however, you don’t have to find yourself battling vocal nightmares such as:

1.       PAIN - why would you want to act if it hurts?  Some actors, (and even some directors), falsely believe it is just a part of the job.  In fact, union actors who have to scream in video games are supposed to be provided an extra fee because it is anticipated that the actor will be unable to use his/her voice the following day.  The extra money is lovely, but never risk cannibalizing your voice for one project.  With proper training, you don’t have to.

2.       DAMAGE – If you’re already experiencing acute pain, put yourself on vocal rest immediately and contact an otolaryngologist to rule out the possibility of nodes, polyps, lesions, or other conditions which could permanently damage your voice, lead to chronic pain, or force you to turn down work.

3.       INABILITY TO TAKE DIRECTION – Whether for creative purposes, bottom line issues, or both, theaters often cast actors in multiple roles.  If all your characters sound exactly the same and you are inflexible in your ability to help create the world the director is trying to populate, it may limit your casting.

4.       FEAR OF ACCENTS/DIALECTS –  If I asked you to name your favorite bad accent in a play or movie, which one would you name?  For most people, especially actors, this is easy to do.  Unfortunately, that is one reason the joy of being cast in a show requiring accents can be tempered by stomach-churning self-doubt about convincingly portraying the role(s).  In our increasingly connected world, it is difficult to get away with manufacturing a “general” accent.   But the vast majority of humans have teeth, lips, jaws, tongues, soft palates, and glottises, so it’s really just a matter of playing around with these articulators, and knowing your equipment, so to speak.  One voice class can go a long way towards conquering this kind of fear.  (My favorite bad accent is the “Scottish” one in The Highlander, by the way.  I’m giggling just thinking about it.).

5.       CAN’T BE HEARD – Drawbacks to being inaudible require little explanation, though it bears mentioning  that knowing how to be more relaxed and resonant is the best substitute for straining to achieve more volume.  That, and knowing how to use your transverses abdominus.  Do you?

6.       LIMITED EMOTIONAL RANGE – You may have heard that breath and emotion are connected, but what does that mean?  To quote Saul Kotzubei, master teacher of Fitzmaurice Voicework ™, “We can control our breathing to reduce the impact of difficult feelings and experiences. That’s not a bad thing. It’s an important ability we have.   For performers, a problem arises when our ability to manage our difficult experience by controlling our breathing becomes an instant, habitual, and largely unconscious response… It is very hard to express vocally what you cannot experience, and performers often push the voice to compensate. In addition to causing the voice to be disassociated from the truth of the moment, this can also cause vocal strain or fatigue.”  For more on this, go HERE.

7. COST OF MEDICAL TREATMENT – This requires no explanation.  Unless you’re sitting on a big pile of money and have all the time in the world. 

Studying voice can not only address all these concerns, but it can be a liberating way to open up your imagination and have even more fun acting than you ever thought possible.  It can be joyful, it can be challenging, and it can require you to enhance how you synthesize your body, heart, and mind.  It can improve life both on and off the stage.  And it just feels good.

So, which path do you prefer to choose?


Gin Hammond will be teaching a Voice class at Freehold Theatre  in Seattle this coming Winter Quarter. Stay tuned. Winter Quarter registration opens on November 17th!

Directing Class Testimonials from Freehold Alums

Freehold is excited to be offering our "The Directing Workshop: Process and Practice for Stage and Film" with John Jacobsen and Robin Lynn Smith again this Winter Quarter. This hands-on directing workshop, designed for directors at all levels, is a unique opportunity to work with two master teachers from two different worlds. For more information on this class and how directors and actors can apply, go here. To see the testimonials from past students, see below.

"The Film Director's Lab is nothing short of a graduate program. The lab's structure empowers fellow directors to go deeper into the subtext of written material alongside writing one's own short screenplay and to understand the nuances of working with actors among other things. The most enriching aspect of the lab is the ongoing feedback, mentoring and coaching from the faculty - John Jacobsen and Robin Lynn Smith. Their love for the art and craft of directing is evident from their commitment to the field. To experience them collectively is a gift that will keep on giving. Finally, the best part of the lab for me is the strong community and friendships I have formed with fellow directors and actors. I feel blessed to have been given the opportunity to be in this lab. It delivers so much more than it promises to. I would do it again!"- Monish Gangwani

"This class is undoubtedly invaluable because Robin and John, respected and admired masters in the art of acting and filmmaking in our region are teaching it.  Together they have created a unique opportunity to learn how to direct films in a manner that is practical that considers all the important elements needed to complete a film project successfully.  By working on three projects in class I learned to write a screenplay,  to let go and trust in the abilities of other members of my team,  the rules of translating word to image and shooting effective scenes, the importance of storyboarding and the shot list to arrive well prepared before the day of filming and the important and often overlooked main role of a director. Knowing how to work with actors to help them bring on the best performance on set.  The technical and the artistic parts of cinema, the science and art interlaced intimately as they are especially in the world of film.  In a personally meaningful way and as an alumna of Freehold who started taking acting 101 5 years ago, Freehold made this program accessible to me.  Something that felt impossible to achieve in the 80s as a teenager walking into Columbia College in Chicago and dreaming of becoming a filmmaker.   Robin and John gave me an incredible gift, the opportunity to make that shelved 30 year old dream a reality - to not only study it but be a filmmaker from day 1.   And for that I’m grateful." -Maristela Diaz

"This was probably the best class I've ever taken. John and Robin are both brilliant, challenging voices who bring total commitment and passion to every minute they are in class. I took some big drinks from the humility firehose, but feel vastly more prepared to continue the journey thanks to their lazer critiques and guidance." - Devin Hermanson

"This class brought me to life.  For the first time I wasn’t overcome with worry about how I was doing or whether I was good enough.  I just wanted to learn ... to experience ... to grow.  John and Robin live that approach to their craft and they create a safe place for their students to live it as well.  There was so much to learn, even though the 8 director-students knew a fair amount about film making already.  I felt both excited and nearly overwhelmed.  But Robin and John adjusted the course to fit our needs as we went along, making sure we got what we needed in order to build a foundation of competence and move progressively forward in developing our craft." - Leslie Asplund. To read more about Leslie's experience in the class, go here.

“I got into the filmmaking game almost 15 years ago. In that time I've done just about every job you can imagine and wound up making my living as an editor. Though I'd done some writing and directing here and there, my experience in these disciplines was, well, less than disciplined. When the opportunity came about to apply for the Freehold film directing course with John Jacobsen and Robin Lynn Smith, I jumped at it. The small class size and very direct interaction with John and Robin was a very real plus for me as having direct access to the experience and wisdom of these two was invaluable. The class itself was rigorous and demanded a lot of time and energy on my part. It required me to push myself into uncomfortable territories that ultimately increased my confidence in my ability to work with actors, get to the heart of a story and coax the best performance possible out of the cast. Coupling the director's track with an actors track is a stroke of genius as there was never a shortage of talented, up-and-coming talent that were similarly motivated to enhance their craft. This class has given me the skills and confidence to not only direct narrative films, but it has also made me a better, more disciplined editor and writer.” – Kirk Nordstenstrom

“I’ve studied with some of the most highly respected names in the business, schools and working film and TV professionals on both coasts. John’s and Robin’s Film Directing Course is unique and extraordinary in my experience. Their focus, intensity, and commitment to making you a better artist is unparalleled. Their course is a crucible from which you will emerge a leap ahead in your chosen craft, whether it’s directing, writing, or acting. You may meet your community of creative collaborators, as I did. Given the opportunity as an emerging director to take a course like this, from two instructors of this caliber, there’s only one answer...yes!” –Jeff Barber


Freehold will be offering our Directing class again this coming Winter Quarter entitled "The Directing Workshop: Process and Practice for Stage and Film" with John Jacobsen and Robin Lynn Smith. Applications are now available. Deadline for directors to apply is December 8th and deadline for actors to apply is November 24th.
More information on the class and how to apply: