Freehold Sisu Scholarship Awarded to Klementina Mellin

Freehold is delighted to announce that Klementina Mellin (pictured left) is the recipient of the 2013 Sisu Scholarship. The scholarship is a merit based ward that provides a full tuition waiver for our advanced training series the Meisner Progression to one student per year who demonstrates the passion, the potential, and the drive to move theater forward and to make a lasting contribution to the community that we serve.

It is funded by generous donors in the name of two of Freehold's most beloved and respected teachers, Jessica Goldstein and Althea Hukari, who both passed away from cancer in 2012. Jessica and Althea devoted their lives to the pursuit of the truth through acting, writing, directing and teaching theater. We honor this devotion with a scholarship that promotes their vision and goals.

Our Scholarship panelists for 2013 included: Faculty members Dan Tierney and Robin Lynn Smith, Board Member Scott Maddock, former Staff member Daniel Morris, and Alumni Chelsea Binta. We will announce auditions for next year’s scholarship in the spring of 2014.

Almost Magical by Archana Srikanta

I had my eye on this one for awhile and I did my homework well ahead of time. Even before Freehold’s Rehearsal and Performance class opened for registration this summer, I had rummaged through the internet picking fragments of information from blog posts by previous students, previous class schedules, previous performance invitations, anything to piece together a mental picture of what it might be like. Potential instructors included. It didn’t take a genius to guess who it was going to be. And when I heard that Darragh Kennan was performing in NCTC’s The Trial, I had to see it. And I did. I’ll save my opinion for a little bit later.

Registration for the class opened and I came very close to running away from it all. As someone who has only been dabbling in theater, I was daunted by the prospect of taking a play from page to stage in just 6 weeks. Lines, characters, blocking, props, costume, music, lights all included. It seemed especially impossible beside a full time day job that often demands more than the typical 40 hour work week. Not to mention, I was somewhat intimidated by Darragh after witnessing his powerful portrayal of the protagonist in The Trial. He and his company of actors seemed way too stellar for tiny little me. But I pulled the trigger anyway.

On the first day, I brought my uncertain self into class and was introduced to a room full of mostly strangers (thank God for the few familiar faces), who I’m sure were all feeling equally uncomfortable. We spent most of that evening trying to break the ice and running through a first read of the play that was to be in 6 weeks. Almost, Maine. I spent a lot of time with these strangers over the next few weeks building quirky characters within a mythical town named Almost in the remote outlands of northern Maine. 10 hours a week to be precise. The strangers went from being strangers to co-actors to friends to family. A family whose warmth quickly melted away my fears. A family that made 6 hour long rehearsal sessions seem not just effortless, but thoroughly enjoyable. A family that epitomized teamwork and cooperation in a way I have seldom experienced before. 

As for Darragh, he radiated discipline and dedication. His humility showed me that there’s nothing glamorous or far-fetched about theater and acting. It takes hard work and a willingness to achieve, no different from my non-glamorous day job as a software engineer.

And before I knew it, nine beautiful little vignettes had blossomed out of the process. The feeling of fulfillment and togetherness I felt with the ensemble the night of the performances is hard to put down in words. It’s secondary that the performances themselves were almost magical (no pun intended) and received great feedback from family and friends.

In retrospect, the magic realism depicted in the play seems oddly befitting of the short-lived yet strongly inspiring experience I had through this process. I only hope I gave back to this family a tenth of what I received from it.

Photo from Almost, Maine

Pictured: Steve Lien and Archana Srikanta

Photo by Scott Maddock

"So You Want to be Zorro" by Geof Alm

This is a reprise of an article Geof Alm wrote for Freehold's e-newsletter. Great to revisit it!

*********************************************************

"So you want to be Zorro!"

Actually I did, and I think I still do!

I think I came by my love of stage fighting very legitimately. I have pictures of me standing by the Christmas tree in my Zorro costume, complete with hat, cape, and sword with a piece of chalk on the end. (My mom loved that!) In fact, much of my childhood consisted of role-playing, in one way or another. Although I grew up in what is now Shoreline, we were fortunate to have eighty acres of woods behind my house. Those woods were perfect for playing army, superheroes, sword fighting-with the dreaded ferns as our enemies, so what I am doing now seems like a natural progression.

My formal training began when I attended the Drama Studio London In the late 70's. Stage Combat was a required part of the curriculum, and I was very excited. The day my teacher walked in, a dashing man with a red goatee and moustache, I was hooked! For the people who know me, at least I have the whiskers part! OK, maybe a little greyer. His name was John Waller, and he was an armourer, falconer, bowman, and choreographer of the Black Knight fight in "Monty Python and the Holy Grail." A gracious man who was very supportive of his students.

My main memory of that experience was failing my fight test. We both touched each other with our blades at the same time, and that was a disqualification. I was crushed, I was going home in a week, and I had worked so hard. John was able to scramble and arrange another test, so we trooped in, and who was behind the table, one William Hobbs, choreographer of The Three Musketeers (Michael York version), and the preeminent fight director of that time. I knew who he was, and now I was really nervous. We went through with no flubs this time, and afterward were told that he couldn't pass any of us, we looked too tense and dangerous, and not in a stage combat way. He put us through some drills and ended up passing me and another guy. It was a hard, but great lesson. You must have a solid basis for your technique to be successful. I heard this great musician say that it's 80 per cent technique, and 20 per cent art, and I believe this to be true. Something that looks effortless very rarely is.

My association with The Society Of American Fight Directors began when I returned home, and began to seek work as an actor. When people found out that I had some stage fighting experience, they would ask me to choreograph, and I knew I wasn't qualified to do that. I needed more training, and soon met David Boushey who was teaching some weekend workshops. David had founded the SAFD and was the top fight director in the US. He had such a love for what he was doing, which was infectious. He recommended that I participate in the National Stage Combat workshop being held that year in Memphis. I saved my pennies and went, and had a fabulous time. I couldn't believe that there was a bunch of people that did this kind of thing, and were so generous with their time and knowledge. The workshop was three weeks, and at the end I had earned my basic actor-combatant status.

The next year they were offering the first teacher training workshop, which I applied for and was accepted, and became a Certified Teacher. This was 1987. Consequently I received my status as a Certified Fight Director, and soon after that, I was awarded the rank of Fight Master.

Stage fighting, for me, has been my way into physical theatre. It has taught me to act with my whole body, given me a focus career wise, and connected me to so many good people. I am grateful to the teachers who mentored me, and continue to do so, the students whom I have had the pleasure to teach, and an art form that continues to nourish and excite me.

I strive to be a student, teacher, and as they say in Martial arts - a white belt - one who embraces the wonder of "I don't know" And as for Zorro . . . Maybe I'm closer to Anthony Hopkins than Antonio Banderas, but it's all good!

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Geof Alm teaches Stage Combat at Freehold. Geof is a certified fight director and teacher for the Society of American Fight Directors. he has worked at the Seattle Repertory Theatre, INTIMAN Theatre, Seattle Children's Theatre, ACT, Seattle Opera, Seattle Shakespeare Company, The Group Theatre and many more. Geof teaches nationally and in the Northwest including at the University of Washington's Professional Actor Training Program.

For more information on Geof's upcoming fall Stage Combat class at Freehold starting October 12th:
https://www.freeholdtheatre.org/civicrm/event/info?id=228&reset=1

Exceptional Beginning Acting Classes in Seattle at Freehold Theatre

Freehold has been offering acting classes in Seattle since the summer of 1991. We offer introductory courses for the absolute beginner as well as master classes for working professionals. 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.

Step I: Intro to Acting with Sarah Harlett and Meg McLynn

At Freehold, we believe that acting is a process that can be learned and practiced by anyone at any age. In the Intro class, you develop fundamental acting tools: playing an action, living truthfully in imaginary circumstances, and working with a partner. No matter your experience, you learn acting in an exciting and safe environment. This is the first class in our three-step acting progression, introducing you to a vocabulary and approach that will be the basis of Step II: Acting with Text and Step III: Basic Scene Study.

Section I: Sarah Harlett, Instructor
October 3 - November 21
Thursdays, 6:00 pm- 10:00 pm
$390 Discounted
$470 Full Price
Tuition based on household income

Section II: Meg McLynn, Instructor
October 12 - November 30
Saturdays, 11:00 am – 3:00 pm
$390 Discounted Price
$470 Full Price

To register for either of these classes or for any of our other great classes, go to:
http://www.freeholdtheatre.org/fall-quarter-acting-classes-seattle-are-now-open-registration

Sarah Harlett has been an active member of the Seattle Theater community for many years. Locally, Sarah has been seen at Seattle Children's Theater, Intiman, New City Theater, Seattle Shakespeare Company, The Empty Space and On the Boards. Local credits include: All's Well That Ends Well, Night of the Living Dead, 100 Dresses, Bunnicula, The Winter's Tale, Far Away and Valley of the Dolls and Othello (as part of Freehold's Engaged Theatre production). Internationally, she performed at the Centre de Danse in Paris, France with the Megan Murphy Company, staying to create a new performance piece with European artists. Sarah is a founding member of the Compound Collective, an acclaimed performance group in Seattle that focused on original works.

Meg McLynn is an actor and singer who has travelled to all 50 states and performed in many of them. New York credits include Classic Stage Company, HERE Arts Center, The Ohio, The Mint, Theatre for a New City, Saltbox Theatre Workshop and others. Locally, Meg has been seen at Book-It, ArtsWest, On the Boards, Centerstage, New City Theatre, Tacoma Actor's Guild, Consolidated Works, Theater Schmeater, Theatre Off Jackson and The Bathhouse. Meg studied voice and speech for 7 years under Kristin Linklater, and she also studied at Columbia University with Anne Bogart and members of SITI Company, Andrei Serban, Niky and Ulla Wolzc, and Larry Singer.

If you are looking for exceptional classes in a supportive atmosphere, Freehold is the place.

Explore the You You Don’t Know
act.move.write.direct.improvise.

Freehold Theatre Lab/Studio
2222 2nd Avenue, Suite 200
Seattle, WA 98121
(206) 323-7499
http://www.freeholdtheatre.org

Freehold Faculty Upcoming Work

 



Elizabeth Heffron's play Bonita will be at the Seattle Repertory Theatre in October and will be directed by Freehold Faculty member Paul Budraitis.

 


Gin Hammond is currently the dialect coach for the world premiere of Alan Ayckbourn's play Sugar Daddies (directed by Sir Alan Ayckbourn himself), and which features Freehold alum, Elinor Gunn in the role of Chloe! In September, Gin will be appearing in Episode 6 of the hilarious webisode, So Much For Talent, premiering IM/MIGRANT a short solo play by Yussef el Guindi in October, performing in Ed:Downloaded at Washington Ensemble Theater (WET) in February 2014, and reprising the role of Bebe in Returning the Bones at Key City Public Theater in October 2014. 

Marya Sea Kaminski will be doing a Writing on Location workshop in Barcelona, Spain from October 28th through November 2nd.  

 

Darragh Kennan will be acting in New Century Theatre Company’s production of The Walworth Farce, October 3-27.  

Meg McLynn has several projects coming up: Fifth of July with Theatre22 at West of Lenin, Oct 4--26 .  I Could Go On Singing: The Judy GarlandSongbook with Purple Phoenix Productions at Centerstage, Nov. 3.   and Beyond the Score: The Tristan Effect with Seattle Symphony at Benaroya Hall, Nov 10.

Annette Toutonghi will be in the Sandbox Radio Show: Howl on October 21st.

Exceptional Acting Classes in Seattle at Freehold Theatre this Fall

Freehold’s highly acclaimed Fall Acting, Improv, Voice classes (and more!) are now open for registration at Freehold Theatre in Seattle.  Freehold Theatre is a Seattle acting studio and theatre that for 20 years has been providing extraordinary theatre and fantastic classes taught by exceptional faculty.  Be sure and sign up now as our classes fill quickly!

  

We are privileged to have highly acclaimed artists as faculty. We offer classes for the absolute beginner and the advanced trained student.  There is truly something for everyone!

Here is our complete list of our great Fall 2013 class offerings:

  

Fall Quarter Classes

Step I: Intro to Acting, Section 1 with Sarah Harlett
Step I: Intro to Acting, Section 2 with Meg McLynn
Accelerated Intro to Acting with Christine Marie Brown                                        
Auditioning with Christine Marie Brown     
Auditioning for the Camera with John Jacobsen
Directing and Acting for the Camera with John Jacobsen
Improvisation with Gary Schwartz
Playwriting I with Rebecca Tourino             
Public Speaking with Gin Hammond
Solo Performance with Marc Kenison                      
Stage Combat with Geof Alm
Voice with Gin Hammond
Voice Over with Gin Hammond

For more information or to register:

 http://www.freeholdtheatre.org/fall-quarter-acting-classes-seattle-are-now-open-registration

  

Explore the YOU You Don't Know

act.move.write.direct.improvise.

Freehold Theatre Lab/Studio

2222 2nd Avenue, Suite 200

Seattle, WA  98121

(206) 323-7499

Freehold Meisner Progression Testimonials

Meisner Testimonials:

Bob Rousseau:
"I'm someone who started training as an actor later in life than many Freehold students (I had a stellar career at my high school but then I didn't do anything more about acting for a couple of decades). Because of that late start and because I've always had to juggle classes with working full time, I've always had to be very picky about what classes I take because my free time is so precious to me, and my funds aren't always stable. As I got to know more experienced actors in the Seattle community, I discovered that many of the ones who had studied at Freehold took the Meisner progression. But when I did some reading up on Meisner's philosophy and techniques, while they were somewhat interesting, the books out there didn't draw me in enough to make me feel I'd be missing much if I didn't take the class. (I'll talk more about the books later). Since the progression at Freehold is a three semester commitment, I wanted to be really sure that it was worth it.

What tipped the scales for me was when I started asking people about working with Robin specifically. You know how sometimes you ask someone about a treasured memory and a warm glow comes over them and they seem to enjoy the memory privately for a couple of seconds before answering? Time and again, that kept happening when I talked to Robin's former students about her. All of them - and I mean every single one of them - told me that working with Robin and being able to experience her passion for this craft had a profound effect on their growth as artists, and - some added - to their growth as human beings as well. It became more obvious to me that if I finished taking classes at Freehold without working with Robin, there'd be a hell of a lot I was going to miss out on.

So what was my over - all experience actually taking the class? Let me put it this way: how often has something come highly recommended to you and you found out it actually was much better than you'd heard? For all the good I'd heard about the "Robin experience", it still fell short of the real thing.

I should say that I think calling the class "The Meisner Progression" isn't quite accurate: it really should be called "Meisner and A Whole Bunch of Other Cool Shit Robin Knows". You work through a lot of the exercises and learn the techniques that you would learn in a typical Meisner program, but Robin also brings to the table a whole host of other tools and exercises in areas like movement, meditation, text examination, and preparation, so that you end up with a much meatier experience.

I liken working with Robin to working at a gym with a personal trainer: rarely does anyone push themselves as much as a personal trainer will push them. The trainer's going to make you do those extra sets of push-ups and sit-ups that you might give yourself a pass on, and while you may grouse at times, inside you know that your muscles are getting stronger month by month. Robin pushes you to work your imaginary muscles farther than you ever have - farther than you probably have thought possible - and when it's over, you realize how much stronger those muscles have become, and how much better prepared you are to face the challenges that come your way.

It was through working with Robin that I acquired one of the most important things any actor can get - an actual process on how to bring a role alive. While I've taken other classes from some extremely talented instructors that included some discussion of methods for examining text, the bulk of what I typically got was notes by the instructor as though they were directing me in a play. That is very valuable stuff, but it doesn't really give you much of a process for starting work on a role on your own, nor do you get much of a glimpse of the variety of techniques that have come to light in the theatrical world. Robin gave us tools we could use to bring the character to life in ways that went beyond what was on the printed page, and thereby make those scripted words come even more alive. And I think a huge part of that came from her making us push the limits of our imaginations for nine months.

And about those books about Meisner's techniques - while I now think part of the reason they didn't grab me is that they aren't very well written, to pick up the sports analogy again, you can read a book about playing golf, but actually having someone guide you who really knows what they're doing is going to make you much better at the game and a whole lot quicker. (Now that I've been through the progression at Freehold, I actually recommend you not read the books). And on top of all of that you get from Robin, if you're lucky like I was, you'll go through the progression with a group of actors that also work hard at it so that you feel challenged and inspired to keep up. You inevitably feel closer to those who took the journey with you. There are other talented folks teaching at Freehold who I also look forward to working with in time to focus on areas we didn't have time to cover during the progression with Robin, but I know that my ability to present truthful work grew by leaps and bounds during the past nine months.

To sum up, if you're not sure whether taking the Meisner progression at Freehold is worth your time, let me help you decide: YES! Absolutely! Be grateful that the gods have aligned the planets so that you have this opportunity and grab it!" - Bob Rousseau

"Meisner for me was really transformational and not just for the acting but really just for the rest of my everyday life.  Meisner really strives you to live in the moment and to react to things as if it is the first time, being genuine and authentic.  I do some commercial work on the side and I’ve been told that there is a new quality to my acting and that is 100% related to the work from the class.  There is another piece that I got out of Meisner which was unexpected which is that it actually changed the quality of my day to day life … it allowed me to be more present in my life … it makes life much more interesting."  - E.J. Gong

"When I was gearing up to take Meisner, everyone kept saying the same thing to me: 'It will change your life.' I was skeptical. I knew I would learn more about acting technique and would most likely improve my craft, but life changing? Silly me. Not only does it open you up in a way that allows you to act more freely and with more depth, but it opens you up in your "real" life as well. You explore parts of yourself that you didn't even know existed or had long forgotten. You go to places that are scary and uncomfortable and frustrating, but they allow you to do things you never thought you could do and in the end you come out exhilerated. It makes you more brave." - Jeff Woodbridge

"Robin is a wonderful teacher and I would work with her again in a heart beat. She is giving and encouraging, yet brutally honest at the same time. She does not let you get away with anything which is wonderful! No matter how hard you try to fight it, Robin will find a way to crack you open and bring you to new levels."- Colin Featherson