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Program options for International Students

International students have different options for participating in classes at HB Studio. While many choose to design their own program from the variety of classes taught at the Studio, others prefer the intensive, full-time training programs that the Uta Hagen Institute has to offer. All programs at HB Studio require international students to obtain an F-1 visa to participate. Our International Student Advisors assist students with this process.

International Studio Class Program

The Studio offers an International Studio Class Program that can be shaped to achieve the individual’s goals. The full-time program requires students to attend a minimum of seven Studio classes per week, consisting of a mix of required and elective classes.

Mandatory classes include:

Two Acting classes (Acting The Song and Improvisation are not considered acting classes)
One Speech class
One Speaking Voice class
One Movement class
Two electives

Upon assessment, students who are not native English speakers may also be advised to take Acting in English in order to ensure adequate language support. They may also be required to supplement their Studio program with outside English as a Second Language (ESL) courses.

Students may begin studying at the Studio in the Fall, Winter, Spring or Summer terms. The International Studio Class Program allows students to study for a maximum of two years and minimum of one term (10 weeks). Please see F-1 Visas & Program Policies for more information and a breakdown of tuition and fees.

After completing two years in the International Studio Class Program, students may choose to participate in Optional Practical Training (OPT), where students may receive up to 12 months of authorization to pursue employment directly related to their field of study.

The International Studio Class Program requires an application and audition for admission. For more information, contact our International Student Advisor Snezhana Chernova at international@hbstudio.org or 212-675-2370 extension 28.

Hagen Core Training

The Uta Hagen Institute at HB Studio offers full-time immersion in the practical approach to acting craft that characterized Uta Hagen’s legendary master classes and classic acting texts. Its Hagen Core Training is an intensive one-year training program taught by world-class faculty/practitioners. This program offers an integrated progressive curriculum of essential classes: Acting Technique, Scene Study, Script Analysis, Movement, Alexander Technique, Voice and Speech.

The Hagen Core Training is a three-term program (Fall, Winter, Spring) that requires an application, audition and interview for admission. For more information, visit Hagen Core Training or contact Uta Hagen Institute Administrator Jim Boerlin at jboerlin@hbstudio.org or 212-675-2370 extension 38.

Hagen Summer Intensive

The Hagen Summer Intensive is a rigorous, six-week workshop with the Uta Hagen Institute that probes the practical applications of Uta Hagen’s technique as discussed in her book A CHALLENGE FOR THE ACTOR. Through acting technique, scene study, script analysis, and technical exercises, “The Six Steps” will become an integral part of the actor’s craft. When you have strong technique and more confidence in how to find yourself in the role, acting will be joyful. Classes include: Acting Technique, Scene Study, Alexander Technique, Movement and Voice.

The Hagen Summer Intensive program requires an application and online audition for admission. For more information, visit Hagen Summer Intensive or contact Uta Hagen Institute Administrator Jim Boerlin at jboerlin@hbstudio.org or 212-675-2370 extension 38.

Options for Short-Term Students

International students wishing to study at HB Studio for a shorter amount of time under an F-1 visa may apply for a minimum of one term (10 weeks). Students would be required to attend a minimum of seven Studio classes per week, consisting of a mix of required and elective classes. Please see the course breakdown under the International Studio Class Program above.

We also welcome international visitors spending a shorter amount of time in the U.S. to audit classes at HB Studio. Auditing provides a great introduction to the wide variety of classes that the Studio has to offer. It can also help prospective international students to decide if they want to apply for a full-time program in the future. One audit is allowed per class and there is a $20.00 fee. You must come in person to the Studio office on the day of the class you wish to audit and arrive at least 30 minutes before class begins.

FOR MORE INFORMATION
Please contact International Student Advisors Snezhana Chernova at international@hbstudio.org or 212-675-2370 extension 28 with any questions you may have about the programs available for international students at HB Studio.

Student & Alumni News

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2025

Erich Rausch hosts and performs in Concerts in Motion, a city-wide concert for pre-professional youth performers with songs in Russian, Spanish, French, Yiddish, and English, online on October 22.

Kevin Cheng’s Sunset Diner, starring Cheng, Jennifer Analise Roberts, and Jemma Giberson, runs at Secret Theatre as part of the Queens Short Play Festival with performances on October 15, 19, 24 and November 1.

Ken Habarta performs in Take This to Your Grave at The Rat NYC on October 19.

Erich Rausch performs in the film Sotto Voce, screening at Regal Union Square as part of the SoHo Film Fest on October 9.

Ginger Grace appears in Rob Asaro’s Lost Again, screening at Cinema Village as part of the New York Shorts International Film Festival on October 14.

Chris Jaymes stars in the short film Pixelworld, screening at Roxy Hotel Theater as part of the Downtown Festival on October 14.

Burak Tatar directs First Date, starring Michael Tyrell, screening at The Secret Theatre as part of Queens Short Play Festival on October 16, 22, 25, and 31.

Chris Jaymes stars in short films Gramercy and Veiled, both screening at Cinema Village as part of the New York Shorts International Film Festival through October 18.

Burak Tatar directs Prime Real Estate, starring Pat Clune and James Fordyce, screening at Utopia Film Festival in Maryland on October 18, NYLIFF in Long Island on October 25, Bernardsville Film Festival in New Jersey on October 26, and AMT Film Festival in Manhattan on October 30.

Ginger Grace appears in a new version of The First Ladies Coalition, her one-woman show directed by Austin Pendleton, presented by the Greenhouse Ensemble inside St. Michael’s Church on November 8, 9, and 11.

Neeraja Ramjee performs in Broken Images at Paradise Factory Theater from November 6-23; use discount code BISTUDENT25 for $25 tickets.

Franco Pistritto plays the role of R.M. Renfield in Bram Stoker’s Dracula at Southampton Arts Center from October 17-26.

Basement Theatrics presents Lysistrata, directed by Moshe Henderson with Associate Director Eve Bianco, featuring HB artists Lluvia Almanza*, Guillermo Arias, Coretta Bradley, Jyan (Janelle Jung), Drew Limon, Juan José Mojica, Elenore Nebot, Maria Politano, Hana Roh, Scott Rogers, and Sean Simmons at HB Playwrights Theatre from October 16-19; use code HBFRIEND for $15 off tickets. *Equity Member appearing with permission of Actors’ Equity Association without benefit of an Equity contract in this Off-Off Broadway production. This is an Equity Approved Showcase.

Maite Martin‘s short film The Unprofessional screens at the 11th Annual Digital Sketch-fest at The PIT on October 15.

Andrew Heinze‘s new play The Bliss Option runs at The Chain Theatre (3rd Floor) through October 12.

Kevin Cheng performs in The Attic, co-created and performed by Camilla Nigro, Sara Velasco, and Cheng, with assistant director Juanita Santafe Sabogal, at Brooklyn Art Haus on October 7.

Albert Insinjnia leads the Creative Drama Workshop at the Jersey City Free Public Library Creative Arts Center each Tuesday through October 14.

JNK Enzo‘s new play S.C.U.M., starring Enzo, Merlin McCormick, GG Generally, and Janey Biss, plays at The Tank NYC October 1, 3, 5, and 10.

Maja Wampuszyc directs and performs in Zagłada, starring Len Cariou, at American Theatre of Actors from October 16 – November 2; use code FF20 for HB student and faculty discount.

Dayna Richardson performs Disco Daze at Bloom Botanical Bistro on October 1.

Nancy Redman performs in BUM BUM (or, this farce has Autism) at HERE Arts Center from December 4-14.

Chris Hahn makes his off-Broadway debut in André De Shields is Tartuffe at House of the Redeemer through November 23.

Lynda Crawford is the winner of the 2025 Women in Arts & Media Collaboration Award for her play with dance DUSK!, along with choreographer Kat Files.

Erich Rausch performs in The Last Musician at the Toronto International Nollywood Film Festival through September 13.

Burak Tatar directs Stay Calm by Randy McHaney, starring Michael Donaldson, Erdem Ülker, Olivia Hardin, John Payne, and Connor Chase Stewart, at Theater for the New City from September 19-28; use discount code HBFRIEND for $15 off tickets.

Chia Kwa performs in Psychomagic 9 at The Classics Department October 16-19.

Ayaka Yamamoto performs her play In Search of “True Love” at Theater for the New City from September 2-14.

Chris Jaymes stars as Nobel Prize-winning physicist Dr. Richard Feynman in One in Twenty Five as part of the Dream Up Festival at Theater for a New City from August 23 – September 10.

Chris Jaymes performs in the upcoming Bruce Springsteen film, Springsteen: Deliver Me From Nowhere, which premieres as the New York Film Festival’s 2025 Gala Spotlight film on September 28 before opening in theaters nationwide October 23.

Ginger Grace performs in Rob Asaro’s Lost Again at Chain NYC Film Festival 2025 (part of their “Shorts Block” called Remembrance) on Saturday, August 16.

Home Testing, developed by Andrew Matthews in Playwriting class at HB Studio, runs at Foothills Performing Arts Center from September 19-21.

Krit McClean stars in the world premiere of Achilles in Arcadia at Skylight Theatre in Los Angeles from August 9 to September 21.

Moshe Henderson directs Off the Shelf Series: Reading #3, with Jack Mallett, Luke Kissick, and Katie Van Riper, at Helen Gallagher Studio Theatre on August 9.

Lluvia Almanza performs in Bargaining Chip at New Perspectives Theatre Company, as part of ARTIFICIAL INTELLIGENCE, the 2025 Meganne George Women’s Work Short Play Festival, from August 4-9.

Noa Worsek Rosenberg performs in Indoor Kids at The Players Theatre on August 8.

Charly Wenzel performs in Sweet & Lucky: Echo at Denver Center for the Performing Arts from August 13 to October 5.

Catch the film premiere of A Little Jaded by Kelley Lord, with Nikki Montano and Tim O’Reilly, at The Local NY on August 26.

Kathleen Files performs in Barren Landscape at Elmwood Playhouse on July 25-27.

Sandra Weldon performs in the cabaret show Don’t Tell Mama at 92NY on July 22.

Matthew Cade directs and performs in his play The Celestial Field, alongside Yule Donald and Anna Kaliuzhnaia, at New York Theater Festival on July 24, July 26, and July 27.

Basement Theatrics presents a staged reading of Lysistrata, directed by Moshe Henderson, at HB Playwrights Theatre on July 19 at 2pm & 7pm (pay-what-you-wish).

Philip Cioffari‘s play Questions I Keep Asking Myself, starring Deirdre Hering and Supreet Mahanti, will be presented at Chain Theatre, as part of the Summer One-Act Fest, on July 18 and July 19; use code ASK25 for ticket discount.

An additional performance of Philip Cioffari‘s play Questions I Keep Asking Myself, starring Deirdre Hering and Supreet Mahanti, has been added at Chain Theatre, as part of the Summer One-Act Fest, on July 31.

Dafna Rosenblum plays Robin in The Merry Wives of Windsor with Bird-on-a-Cliff Theater Company in Woodstock at their Shakespeare Festival from July 25 – August 31.

Kevin Cheng performs in his play Uptown Express at Chain Theatre, as part of the Summer One-Act Fest, on July 12, July 17, and July 23; use code UPTOWN25 for 25% off tickets.

Craig Perkins stars in his play Christine or Dark Phantom Sex Goddess (Depending on Time of Day) at Hudson Guild Theater, as part of New York Theater Festival, on July 15 and July 18-19.

Anya Zhang stars in her play Dissolving Boundaries at Chain Theatre on July 16, July 26, and July 31; use code BOUND25 for 20% online ticket discount.

Elise Hansen performs in The Golden Ibburs, part of New York Theater Festival, at Hudson Guild Theater from June 26-29.

Ginger Grace appears in Frank Tangredi’s The Innocence of Eli Druce, part of the Greenhouse Ensemble Summer Reading Series, at St. Michael’s Church on June 28 at 3pm.

Moshe Henderson directs his play Velvet Rage: A Queer-Ass Play at HB Playwrights Theatre from June 19-22; use discount code YASSHB for $15 off.

Tatiana Korinfsky directs Shostakovich in New York, adapted by Korinfsky, at Polaris North Studio from June 27-29.

Gabriel Robinson performs in Once On This Island at Schneider Theater at the Bloomington Center for the Arts from October 2-26.

Kevin Cheng stars with Elizabeth McBryde in Cheng’s play Dear Diary at The Players Theatre from June 12-15 as part of the 14th Annual Short Play Festival – use code CAST for ticket discount.

Raymond Turturro‘s film The Swan Way runs at the Cinema Village Theatre on June 16 as part of the Manhattan Film Festival.

Riven, an eco-theatre play associate produced by Covi Loveridge Brannan, runs at the site-specific location Sure We Can from June 13-27.

Sandra Weldon performs at the Don’t Tell Mama’s cabaret show on June 24.

Pat Dwyer performs his play THURBER: Not Unmeaningless, presented by The Shakespeare Forum, at El Barrio’s Artspace PS109 through June 7.

Lorna Courtney stars in the return of Heathers the Musical at New World Stages from June 22 – September 28.

Youlim Nam directs the return of her play Just a Yellow Cab in New York City, starring Delil Baran and Han Na Shin, at Theatre Row from June 18-22.

Aarti Tiwari performs in Madhuri Sheka’s House of Joy at Seattle Public Theatre through June 8.

Arezu Riaz performs in Kisses and Bullets, one of five short films included at Shorts: Hopes and Dreams at the Shorts Theater at Spring Studios for the Tribeca Film Festival from June 8-15.

Deedee Woche stars in Dolores by Edward Allan Baker at Stephanie Feury Theatre for Hollywood Fringe Festival from June 8-29.

Chris Jaymes is a recurring character on Season 5 of Law & Order: Organized Crime, out now on NBC and Peacock.

Wynn McClenahan performs in Doughboys at The Vino Theatre from April 24-30.

A table reading of Velvet Rage: A Queer-Ass Play, written by Moshe Henderson and performed by Henderson, Seann Gallagher, Royce Johnson, and Zaq Latino, will take place at HB Playwrights Theatre on April 12.

Shyla Idris performs in Adam Driver at Chain Theatre as part of New York City Fringe from April 5-19.

Lynda Crawford has three plays in performance – The Audit at Urban Stages (performances through March 16) and both The Wonderer and Artificial Light at the Chain Theatre’s Spark Theatre Festival (single performance March 16).

Praying for Shakespeare, written and performed by Eric Weiner, plays at The Barrow Group Solo Show Festival on April 6 at 3:30pm.

Kathleen Files performs in An Ideal Husband at Lyndhurst Mansion in Tarrytown, NY, through March 30.

Ginger Grace appears in her interactive performance piece The First Ladies Coalition for Women’s History Month at the Moving Forward Together: Women Inspiring Generations Festival in Queens, NY from March 8-22, as well as Dave Brubeck Hall in Wilton, CT, on March 23.

Michelle Park stars in Truth Be Told at The Gene Frankel Theatre through March 9.

Mio Nakanishi performs in Avenue Q at Cultural Arts Playhouse on March 9 at 7pm and March 15 at 8pm.

John L. Payne performs in an upcoming production of The Taming of the Shrew with Frog and Peach Theater Company at American Theatre of Actors through March 23.

Chad Kaydo‘s play I’m Repeating Myself finishes its run at The Brick from March 4-6 at 8pm.

Techno Diva (UK link), directed by and starring Mare Costello, begins streaming on Amazon Prime.

Andrew R. Heinze has been awarded a New Jersey State Council for the Arts Individual Artist Fellowship, a $17,000 award to be used for further artistic exploration.

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Upcoming Half-Term Classes for Fall 2017

Join us for the second half of Fall Term with one of these 5-week classes or workshops:

Singing for the Musical Theater – Studio Practice – with Helen Gallagher
3:15 PM – 5:45 PM | Tuesdays | 10/17/2017 – 11/14/2017 | $230
By submission.

Art of Transformation – Part 2 – with Janice Orlandi
6:30 PM – 8:30 PM | Wednesdays | 10/18/2017 – 11/15/2017 | $180

Actuar en Español / Acting in Spanish – with Pablo Andrade & Maria Fontanals
1:00 PM – 3:30 PM | Mondays | 10/23/2017 – 11/20/2017 | $230

Acting in Accent: Cockney – with Amanda Quaid
10:00 AM – 12:00 PM | Fridays | 10/20/2017 – 11/17/2017 | $205.00
Application required. Apply online by October 6, 2017

Amy Herzog Scene Study – with Austin Pendleton
11:30 AM – 2:30 PM | Mondays | 10/16/2017 – 11/13/2017 | $275.00
Open to Studio Practice Level students or by application. Apply online by October 2.

María Irene Fornés Scene Study – with George Bartenieff & Paul Pryce
3:30 PM – 6:30 PM | Fridays | 10/20/2017 – 11/17/2017 | $270.00

Acting Through the Method of Etudes 1 – Monologues – with Snezhana Chernova
12:00 PM – 3:00 PM | Sundays | 10/22/2017 – 11/19/2017 | $270.00

The Actor and the Business – with Vincent Pastore
6:00 PM – 9:00 PM | Tuesdays | 11/7/2017 – 12/5/2017 (4 weeks) | $250.00

Intro to Stage Combat – with Christian Kelly-Sordelet
1:15 PM – 3:15 PM | Tuesdays | 11/7/2017 – 12/12/2017 | $180.00

Advanced Acting with the Camera – with Mark Blum
10:00 AM – 1:00 PM | Saturdays | 11/11/2017 – 12/16/2017 | $325.00
Open to Level 2 & Up or by a submission or audition

Faculty News

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2025

Dael Orlandersmith’s Spiritus, a solo play featuring a different actor at each performance (including Celia Keenan-Bolger, Edie Falco, John Douglas Thompson, and Orlandersmith) runs at Vineyard Theatre from October 20 – November 17.

Francesca Ferrara and Justo Hierro perform in The Odets Project, conceived and directed by Richard Hoehler, at HB Playwrights Theatre from November 7-16.

Marlene Mancini plays Nonna in Plainclothes, starring Tom Blyth and Russell Tovey, in theaters now.

Chris Georgetti performs his new musical Silent Strength, starring Giorgetti, Nicole Pascaretta, James Park, David Odukoya, and Scott Rogers, at Teatro LATEA, as part of New York Theater Festival, December 9, 12, and 13.

Magaly Colimon-Christopher is the producing artistic director of CSIFF Community Screenings celebrating Caribbean heritage filmmakers (September 18) and Bluelight Reading Series’ Sons of an Unknown Father by Reynaldo Piniella (September 25), both at Queens Public Library in Forest Hills.

Eve Bianco directs Love Story in 3 Phases by Emily Adler, starring Tess Goldwyn and Prakhar Dhimole, at HB Playwrights Theatre on September 6 and 7; use code PHASE3 for $15 off tickets.

Reza Salazar‘s The Zora Project, a series of community workshops in collaboration with Tanya Birl-Torres that honors the legacy of Zora Neale Hurston, continues at The Shed with “The Fire Dance: Exploring Zora Neale Hurston’s Lost Choreographic Works” on June 21 and “Glitter in the Dust: Exploring the Work-Song Tradition” on July 19.

Janice Orlandi will serve as Movement Director for The Other Mozart at Edinburgh’s Fringe Festival from August 1-25.

Jessica Hecht was nominated for a 2025 Tony Award in the Best Featured Actress in a Play category for her role as Suzanne in Eureka Day.

Peter Francis James directs, and Charlotte Bydwell assistant directs, All’s Well That End’s Well at the Old Globe in San Diego from June 8 – July 6.

Mercedes Ruehl directs two HB alums, Michael S. Horowitz and T.M. Rawlins, in Heisenberg at the Chain Theatre from May 1-11.

Lisa Pelikan performs in Cracked Open at Theatre Row from May 6 – June 28.

Daniel Pearce performs as Brabantio in Othello on Broadway (starring Denzel Washington and Jake Gyllenhaal) at the Barrymore Theatre through June 8.

Jessica Hecht stars in A Mother, co-conceived by Hecht and Neena Beber, at Baryshnikov Arts from March 29 – April 13.

David Deblinger‘s Implicit Memory Systems: A Jungian Farce opens at LAByrinth Theater Company’s 59e59 Theater as part of their Barn Series 2025 on Feb 20 at 7:15pm.

The film The Nana Project, starring Mercedes Ruehl, begins streaming on major platforms.

Maria Fontanals stars in El Espacio Entremedias (The Space in Between) at Teatro Círculo for eight performances between Feb 14-23 (performed in Spanish with Overtitles in English).

Jessica Hecht stars in Eureka Day on Broadway at Samuel J. Friedman Theatre with shows running until Feb 16.

Christopher Abbott stars in the feature Wolf Man, a reimagined take on the 1941 classic gothic horror film, in theaters now.

Jack Vincent Moran performs in Zero Day, a TV Mini Series streaming on Netflix starting Feb 20.

Faculty News Archive

Rachel Christopher join the cast of Harry Potter and the Cursed Child on Broadway, playing Hermione Granger.

Jermaine Rowe will be live-streaming his solo performance Transitions on Nov 8 at 7:00pm.

Jean-Marc Berne won the Earphones Award for the audiobook narration of House of Bone And Rain, written by Gabino Iglesias.

Christopher Abbott stars in the feature Wolf Man, a reimagined take on the 1941 classic gothic horror film. Expected to release in 2025.

Mark Nelson performs The Lehman Trilogy at Guthrie Theater in Minnesota. Runs Sept 14–Oct 13.

Fred Weller performs in the upcoming Amazon Prime series, Better Sisters with Elizabeth Banks and Jessica Biel.

Snezhana Chernova plays Olga Knipper- Chekhova in the play Dear Anton, Dear Olga! written by Tatyana Korinfsky at Polaris North Studio 245 West 29th Street, 4th floor, NYC. Friday, Aug 16 & Saturday, Aug 17 at 7:30pm; Sunday, August 18 at 5:30pm.

Snezhana Chernova is the cultural consultant for The Meeting The Interpreter at Theatre at St. Clement’s, featuring HB Faculty alum, Frank Wood and Kelly Curran. Performances run July 29–Aug 25.

Julie McKee‘s play Will Sacrifice is playing at Chester Theatre Company. Performances run July 25–Aug 8.

Fred Weller performs in the upcoming Amazon Prime series, Better Sisters with Elizabeth Banks and Jessica Biel.

Jessica Hecht will be back on Broadway at Manhattan Theatre Club in Eureka Day by Jonathan Spector, directed by Anna D. Shapiro. Coming Fall 2024.

Magaly Colimon-Christopher directs Searching for Abuelo, written/performed by Gretchen Suarez-Pena will be performed at Theatre Row on June 13 at 8 pm as part of the 2024 Downtown Urban Arts Festival. Use discount code: halfDUAF for 50% off tickets.

Jack Vincent Moran performs in Zero Day, streaming soon on Netflix.

Laila Robins and Mark Nelson perform in a one-night performance of Bernard Shaw’s Heartbreak House with Gingold Group. Performance is on May 20 at 7:00pm.

Magaly Colimon-Christopher‘s company Conch Shell Productions’ is now distributing short films previously screened at Conch Shell International Film Fest via www.Hoopladigital.com on their new channel – CSIFF CHANNEL. Hoopladigital is a FREE digital library service that offers movies & more to public library patrons. HooplaBingepass is available to library card holders in the U.S., Canada, New Zealand, and Australia.

Paul Pryce is invited as a special guest to attend the inaugural Cross Continental Co-Production Forum (CFF) in Barbados and Trinidad. This forum brings together media executives and high level producers from Canada, UK, South Africa, and several Caribbean countries, aiming to encourage collaboration, business development, and co-productions. This year’s focus will be ‘Decolonizing the co-production process for the benefit of the Global South.’

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Half-Term Classes Starting Feb 13! With Austin Pendleton, Laura Esterman, and More.

Join us at HB for the second half of Winter Term with one of these 5-week classes or short- term workshops!

Scene Study – Studio Practice – with Austin Pendleton
11:30 AM – 2:30 PM | Mondays | 2/13/2017 – 3/13/2017 | $280.00
Open to Studio Practice Level Students or by Audition or Submission

Introduction to Dramatic Writing – with Ed Napier
3:00 PM – 6:00 PM | Mondays | 2/13/2017 – 3/13/2017 | $255.00

Henrik Ibsen Scene Study – with Austin Pendleton
6:30 PM – 9:30 PM | Mondays | 2/13/2017 – 3/13/2017 | $275.00
Open to Studio Practice Level Students or by Application Continue reading →

Daniela Dakich

2003 – 2006

I studied with a lot of different teachers at HB.
My first teacher at HB was Edward Morehouse. I took his classes for nine months. I adored Ed and did everything he asked me to. He was strict, but fair. Ed always insisted we see and read as many plays as possible. He loved when actors worked hard and had fun on stage. Funny thing was that if Ed liked my work, he would brag about it, and when he didn’t like my work, he would scorn me in front of the class. I didn’t mind, I just worked harder. At the end of the ninth month, I’ve performed scene from “I’m My Own Wife”. I played transgender man with German accent. I had a lot of fun preparing for that role. Ed was thrilled, he was beyond words of praise. At the end of the class, he suggested that he taught me everything he possibly could and I should go out and work as an actor. He also suggested, if I wanted to study more, I should find female teacher.

I went on to study with Carol Rosenfeld and Austin Pendleton. They were incredible teachers. I’ve got to work with some wonderful actors in their classes, particularly Luca Rodriguez, Liz Grey, Catherine Siracusa and Marcy Occhino.
Carol taught me to read plays constantly, even if there’s no part in it for me. She insisted we always read and analyze the text. She was generous and kind teacher. She’s also wonderful performer. Watching Carol perform, I learned that it’s important to have fun on stage, with your character.

I auditioned for Austin’s class with monologue from “I’m My Own Wife”, and a little bit towards end, I forgot my lines, and this never happened to me, but I stopped, and excused myself. Austin was kind to let me know, that was fine and he saw what he needed to see. I’ve got in his Tuesday morning class. Austin is incredible communicator. He is gentle, kind and generous with his comments. He gives suggestions, and tells stories that inspire an actor to go and research more, and work more on ones craft. He’s generous teacher, actor and director. He also taught me, there are no small roles for an actor to play. Austin is one of the hardest working people in the business, and I always had him as example of an actor who always works. I would see Austin on the late night train, going home after rehearsal, and then again next morning, on an early train, going to HB to teach. Austin loves actors and that’s comforting to know.

While I was in the school, I would wake up every morning at 4am. I would go to Equity call; sign as non union member at 6am; wait until 9am to see if we were going to be seen that day, and wait around, studying for my classes, or if I had class that day, I would go to class, and come back to Equity call after class, to audition. Sometimes I would wait at the audition for eight hours and be seen at the end of the day, sometimes I would wait and not be seen. But I kept coming back every day for three years, rain or shine. I would often be the first person in the line, all alone on the street, with construction workers passing by Equity building at 6am.

In 2005 or 2006 (I’m not sure), I got into HB Ensemble. New Ensemble was putting on their first festival in June 2005 (2006), and it had happened that I’ve got triple cast in the festival. I’ve got cast in three very different and challenging roles: as Young Woman in Mountain Language, Florence in The Daughter’s of Edward D. Boit, both directed by Rasa Allan-Kazlas, and in Picnic on the Battlefield, directed by Aleksey Burago. I kept auditioning in the morning, taking classes, rehearsing. It was a lot of work, and I enjoy work and challenge. I had great time in the shows, and made some fantastic friends with my cast mates and fellow Ensemble members.

Year later, I think, Laura Esterman was directing play “New York” at HB Playwrights Theatre and she cast me in. Laura is strong director, who knows what she wants and is not afraid to direct you. I enjoyed working with her immensely. I’m flexible actor, I adapt easily. If director wants me to do specific things, I go for it, I totally trust my director. And if director let me figure things on my own, I again go for it, because I love to play. I love my job, I love being an actor, I love these characters who are getting their life and message to the audience through me. I feel like messenger. And it’s incredible honor. At the same time it’s humbling, because for me, everything is in the text, so you have to collaborate with writer, director and your fellow actors, to bring project to life.

I was directed by Aleksey Burago again in “Lady With The Lapdog” by Anton Chekhov. I loved working with Aleksey, he’s creative, and gets very specific as a director. He would ask you to deliver line, while doing stage combat, stop, deliver another line, turn, leave, deliver line, come back, deliver another line, and so on. It’s physical and mental acting at the same time. I loved it; I had a lot of fun with it. I’m very athletic, and I have an appetite for words at the same time, so working with Aleksey fed these two different aspects of me. For this show, I had to learn how to tap dance in less then month. I had Daniela Mastropietro teach me tap dancing and I would rehearse every day for two-three hours, until I was able to do it smoothly. I also had to sing, in Russian, which I didn’t speak. Snezhana Chernova taught me song in Russian and I learned it in three days. I love singing and I have ear for languages. I use to be opera trained when I was six years old until I was fourteen, and I sang in acapella group and choir. That was before war. I stopped singing when war had happened and never got back to it, until I came to study at HB. I studied singing with Anne McCormick and my favorite songs were from Disney’s animations.

Then I was in the readings: Strangulated, written by Liz Grey and directed by Kate Bushman, American Myth written by Christina Gorman and directed by Rasa Allan-Kazlas.

I was in production of Midnight City directed by Laura Shaine Cunningham, where I met one of my dearest friends, Florencia Lozano. Florancia inspired me to do something I call “natural acting in the theatre”. It’s like acting for TV or film, very intimate, but on the stage.

I took master class with Victor Slezak, who is wonderful and emotional actor, not afraid to get vulnerable on the stage. So I learned to open myself as an actor even more, thank to Victor. To make bigger, bolder, emotional choices.

Then I was cast by Fred Timm in his “Fugue For Four Voices”, where I could implement and play with choices I learned from Victor. It was incredible experience to play anorexic, abused, Israeli woman who struggled with her relationship with her mother. Fred is very specific as a director, but he guides and actor gently through performing journey.

Then I was cast in play Bite, directed by Laura Shaine Cunningham again, and I’ve got to work with Florencia again. Laura is smart writer, and her plays are mix of drama and humor. She is versatile and very giving writer and director. I loved working with Laura. Laura is good friend, and amazing person.

Through HB Studio I worked with Fred Timm, out of HB. He cast me in his play “Accord Of the Angels” and we performed at Mary Anthony dance studio.

Laura cast me in a play iBaby directed by Dan Gallant, and we performed at Nuyorican Poets Cafe.

And Giovani Villari, with whom I worked in “Lady With The Lapdog” cast me in a play “High Cheekbones” that he directed at Gallery Players. Giovani is wonderful director. We studied together dialects at HB Studio, and we acted in a play together. So it was pleasure to get to work with him as a director. He’s creative, hard working and he lets an actor play, and run with it. And I auditioned for many other plays at HB and out of HB, thank to HB. I’ve made many friends, with whom I’m still in touch and I’m grateful for that.
HB is wonderful place for an actor to learn craft, to practice acting skills, meet and work with other artists. It’s wonderful and creative community and I will always be grateful to Herbert and Uta for making this experience possible for us.”

Lady With a Lapdog, directed by Aleksey Burago. — Lady With a Lapdog directed by Aleksey Burago.

Lady with a Lapdog, directed by Alexsey Burago

The Airport Plays

Playwrights: Neena Beber, Catherine Filloux, Alexandra Gersten, Dmitry Lipkin, Quincy Long, Julie McKee, Daniel Reitz, Ari Roth, Peter Sagal, Joe Sutton, Jay Tarses, Tug Yourgrau

The Airport Plays - HB Studio

Directors: Jessica Bauman, Aleksy Burago, Kevin Confoy, Deborah Hedwall, Caroline Kava, Kimberly I. Kefgen, Jordan Lage, James Milton, Jules Ochoa, Shira Piven, Jean Randich and David Simonds

Cast: Jessica Allen, Marc Ardito, Peter Birkenhead, Victoria Boothby, Robert Burke, Shannon Burkette, Snezhana Chernova, Caitlin Clarke, Tami Dixon, Tom Draper, Ryan Dunn, Joel Garland, Grant Goodman, Pamela Jayne Gray, Paula Gruskiewicz, Michelle Hurst, Rhonda Jensen, Diana LaMar, Julie Fain Lawrence, Salem Ludwig, Jason J. Madera, Tony Martinez, Jennifer McGowan, Sheryl Moller, Julia Mueller, Harsh Nayyar, Patricia O’Grady, David Prete, Gerriane Raphael, Richard Rodriguez, Martin Shakar, Godfrey L. Simmons Jr and Amy Wright

Set: Andy Warfel Lighting: Chris Dallos Sound: Robert Auld Costume: Deborah R. Rosen and Kyra Svetlovsky Technical: Carlo Adinolfi Production Stage Manager: Kimberly I. Kefgen Stage Managers: Gro Engelstoft, Ruth McKee, Liz Sabia Artistic Director: William Carden Managing Director: Robert Callely

The Airport Plays were performed June 8th – 27th.

Plays:

Departures: Two sisters, Pauline and Jane, were conversing in the airport as they were about to board the plane. Pauline starts having a sort of anxiety so she holds off on going on the plane, but as the last call for boarding is announced they finally rush to get on the plane.

Storks: Anne is a woman who is accompanying her aging grandmother back to her home in France and while waiting for the flight discuss life choices and regrets.

The Airport Play: A woman and a man waiting at an airport terminal form a connection through literature and eventually have an in depth conversation about life in which they consul each other.

I AM LAIKA: Two dogs in an airport pet carrier bond over what they perceive as unjust treatment.

The Flight of the Last Calhoon: Calhoon, a young man scared to go on an airplane, complains to the dentist about his situation. After, the dentist puts Calhoon to sleep to remove his wisdom tooth, and he has a dream of his mother and father.

HAERE MAI KI AOTEAROA: Fiona is entering New Zealand and as she waits to enter she converses with herself.

Where I Come From: An American couple converses about middle eastern people and culture not knowing that a middle eastern man named Aziz was waiting in the airport with them. The woman named Shay converses and flirts with Aziz everytime Mark, the man who was with Shay, left to go to the store.

Terminal Connection: While in an airport terminal, Cordella and Morgan are having a long conversation with each other. Cordella is supposed to go home to her family but is restricted not by force but by the words of Morgan to not go home. The end result leads both of them to go home.

Happenstance: Amy and Martin, two old lovers run into each other at an airport and talk about their current lives.

Layover: Four strangers in an airport lounge bond over “making love”.

Cecila: A man tells a woman about his play in an airport terminal and tries to convince her to let him use her likeness for a character.

Peanuts: In a departure gate, an elderly couple, Herb and Frances wait with there friend Phil to board an old propellor plane. As they are going through the process the Gate Agent is giving everyone a very hard time.

Acting 1

The Fundamentals of an HB acting technique: Here, you develop the ability to respond truthfully, dynamically, and vividly with fellow actors and the ability to access sensory elements. You tap into the power of imagination and the reservoir of memory. You gain a working understanding of the terms: previous circumstances, destination, inner and outer objects, intentions, obstacles, and conflicts. You develop an awareness of the power, function, and dynamics of “place”, and learn to be in a state of discovery, which leads to actions. You develop tools of research and observation and you get comfortable improvising. You begin to measure yourself against professional standards and develop habits of discipline and a strong work ethic. Do understand that these practices take time to master. It takes about a year (20-30 weeks) at this level to really own the skills addressed. Further scene study or performance work will then take root in this fertile ground.

When choosing an Acting 1 class, please refer to instructors’ teaching statements, found on their faculty bio pages, for greater detail about each one’s approach to meeting the course goals. Every instructor brings their own methods and experience and teaching styles vary. You are encouraged to read about and audit the classes of each instructor to find the right fit for you:

Required reading*: A CHALLENGE FOR THE ACTOR by Uta Hagen. *Required for classes with Jim Boerlin, Francesca Ferrara, Julissa Roman and Trudy Steibl. Recommended for classes with Magaly Colimon and Snezhana Chernova.

Recommended viewing: UTA HAGEN’S ACTING CLASS documentary.

Magaly Colimon’s class requires: WE’RE NOT NEUTRAL ed. Sergei Burbank; and 30 TEN-MINUTE PLAYS FROM THE ACTORS THEATRE OF LOUISVILLE FOR 2 ACTORS; and recommends: A CHALLENGE FOR THE ACTOR by Uta Hagen; ACTIONS: THE ACTORS’ THESAURUS by Marina Caldarone & Maggie Lloyd-Williams; and PLAYS IN ONE ACT by Dan Halpern. Please also bring: Yoga mat or towel and clothes that allow for easy movement.

Michael Beckett’s and David Deblinger’s classes have no required reading.

HB Studio offers both online classes and in-person classes at the Studio. Before your first class, please review the information outlined on the relevant page(s). Class titles below indicate which are running online vs. in person.

Most classes run for 10 weeks. Some classes are offered in two 5-week parts (Part A & Part B), and you can sign up for either part independently or register for both parts for $15 off. You can register for Part B without taking Part A:

Two Evenings of One-Act Plays

An HB Ensemble Production

Playwrights: Eugene Ionesco, Tennessee Williams, Fernando Arrabal, Don Nigro, Horton Foote, Christopher Durang, Harold Pinter,

Directors: Aleksey Burago, Kate Bushmann+, Rasa Allan Kazlas+, Ian Marshall, Amy Wright.

Cast: Georgina Bates, Stephanie Braxton*, Jim Boerlin*, Emily Cain, Snezhana Chernova, Daniela Dakic, AC Davidson, Toni Ann DeNoble, Nick DeSimone, Pascal Escriout, Koichiro Goto, Elizabeth Grey*, Hanna Hayes, Cordis Heard*, Ryen Herrmann, Gregory Higgins, Genc Jakupi, James LaChere, Philip Kushner, Barry McBrien, David McElfresh*, Rachel Murdy, Etienne Navarre, Noelle Neglia, Dara O’Brien, Marci Occhino, Tadhg O’Mordha, Kathleen Peirce, Marilyn Porayko, Paul Pryce, Anil Ramani, Sophia Remolde, Judy Rosenblatt*, Tony Siniscalchi, David Shih*, Catherine Siracusa, David B. Sochet*, Michael Spence, Ying Yu Tan, Thomas Tinelli, Matthew Tischler, Sharon Wajswol, Derek Wong, Marius Zilberstein.

Stage Manager: Alan Bluestone Production Manager: Shiraz Biggie Assistant Directors: Alan Bluestone & Sharon Wajswol Production Assistant & Set Design: Emily Chain Costume Design: Kanlaya Phoutinane Costumes and Projection Sketches: Catherine Siracusa Props: Elizabeth Grey Sound Editor: Kenneth Feldman Choreography: Georgina Bates Original Music & Lyrics: Nick DeSimone.

*Appearing Courtesy of Actor’s Equity Association, +Member of the Society of Stage Directors and Choreographers

Two Evenings of One-Act Plays were performed in 2006

EVENING A

The Bald Soprano by Eugene Ionesco:

The Long Goodbye by Tennessee Williams:

Picnic on the Battlefield by Fernando Arrabal:

EVENING B

The Daughters of Edward D. Boit by Don Nigro:

The Dancers by Horton Foote:

The Actor’s Nightmare by Christopher Durang:

Mountain Language by Harold Pinter:

The Master and Margarita

An HB Studio Ensemble Production

Playwrights: Mikhail Bulgakov, Adapted by Aleksey Burago

Director: Aleksey Burago

Cast: Georgina Bates, George Bartenieff*, Snezhana Chernova, Pascal Escriout, Jack Gillespie*, Hanna Hayes, David Khouri, Vadim Krol, Andy McCutcheon*, Danusia Roberts*, Tom Shubert, Nick DeSimonne, David Sochet*, Lana Stimmler, Kenneth Thompson, Thomas Tinelli, Marius Zilberstein*.

*Appearing courtesy of Actor’s Equity Association

Assistant Director: Pamela Wilkinson Dance and Choreography: Gus Solomons, Jr Lighting Design: Shiraz Biggie Production Crew: Mindy Luce, Sandra Roque, Rob Freedman

Master and Margarita was performed July 11th – 15th, 2007

Synopsis: This play is a darkly comedic takedown of Soviet society, an audacious revision of the stories of Faust and Pontius Pilate, and a thrilling love story. The novel begins with the Devil’s arrival in 1930’s Moscow disguised as the distinguished Professor Woland. Together with his retinue of odd associates, including a talking, vodka-swilling black cat, Woland wreaks havoc on the societal elite. Meanwhile, the Master (an author of an unpublished novel about Jesus and Pontius Pilate who has been hounded by Soviet censors), languishes in despair in a psychiatric hospital, unable to share his story. His devoted lover, Margarita, agrees to sell her soul to the Devil in an effort to rescue the Master from his fate. The story weaves back and forth between current day Moscow and ancient Jerusalem, studded with sparkling scenes ranging from a dizzying Satanic Ball to the crucifixion of Jesus on Bald Mountain, with the enduring love between the Master and Margarita joining the strands of plot across space and time.