Students will learn under the leadership of Michael Kahn, the Shakespeare Theatre Company’s Artistic Director and one of the leading directors and teachers of classical actors in the country, and ACA Director Gary Logan. Joining ACA's faculty are members of the Shakespeare Theatre Company's acting company, as well as other working professionals, actors, scholars, and artists who understand the challenges that must be met by the next generation of classical actors.
Kahn’s directorial credits with STC include both Shakespeare’s plays and other works such as Eugene O’Neill’s Mourning Becomes Electra and Tennessee Williams’ Sweet Bird of Youth and Camino Real. He has directed the Washington premieres of Shakespeare’s King John and Timon of Athens, Jonson’s The Silent Woman and Musset’s Lorenzaccio, and two world-premiere translations by David Ives of Corneille’s The Liar and Regnard’s The Heir Apparent. His production of The Oedipus Plays played at the Athens Festival in 2003, and his Love’s Labor’s Lost wasselected to represent America at the Royal Shakespeare Company’s Complete Works Festival in 2006.
Kahn attended Columbia University, where he collaborated with budding artists like Terrence McNally and Andy Warhol. In 1968, He was invited to join the faculty at the newly-established Drama Division of the Juilliard School, where he continues to teach today. He served there as the Richard Rodgers Director of the Drama Division from 1992 to 2006. Among his former students: Christine Baranski, André Braugher, Kevin Kline, Laura Linney, Patti LuPone, Christopher Reeve and Robin Williams. In 1969, Kahn was named artistic director of the American Shakespeare Festival in Stratford, Connecticut, a position he held for 10 years. His productions of Shakespeare’s Othello and Henry V and Tennessee Williams’ Cat on a Hot Tin Roof transferred to highly successful Broadway runs. He simultaneously became a producing director at Princeton’s McCarter Theatre Center in 1974. He helped found The Acting Company in Manhattan in 1978 and served as its Artistic Director for a decade. In 1983, his production of Show Boat at the Houston Grand Opera transferred to Broadway and earned him a Tony nomination. The following year, he founded the Chautauqua Theater Company.
Kahn is the recipient of the 2005 Person of the Year from the National Theatre Conference; Shakespeare Society Medal; William Shakespeare Award for Classical Theatre; Distinguished Washingtonian Award from The University Club; GLAAD Capitol Award; Washingtonian Magazine Washingtonian of the Year; Washington Post Award for Distinguished Community Service; First Annual Shakespeare's Globe Award; John Houseman Award; Bravo International Award, Opera Music Theater International; Mayor's Arts Award for Excellence in an Artistic Discipline. He has received Honorary Doctorates from the University of South Carolina, Kean College, The Julliard School, and The American University.
The 2011-2012 Season marked the 25th anniversary of STC, which under Kahn’s leadership has grown into “the nation’s foremost Shakespeare company” (Wall Street Journal).
Gary Logan, Director
His voice, text and dialect coaching credits include dozens of productions for such places as the Royal Shakespeare Company, the Shakespeare Theatre Company, the Stratford Shakespeare Festival of Canada, the Kennedy Center, the Folger Theatre, Ford’s Theatre, Arena Stage, Studio Theatre, Signature Theatre, Everyman Theatre, Centerstage and the Chautauqua Theater Company. From 1995-2005, he was the Chair of Voice and Speech for the National Theatre Conservatory (NTC) at the Denver Center for the Performing Arts and was the Denver Center Theatre Company’s coach for over 60 productions. As well as instructing for the NTC and ACA, he has taught courses for the University of Maryland, The George Washington University, the University of Colorado, Boulder, the University of Colorado, Denver and as a guest artist at Dartmouth College, the Washington National Opera, the Chautauqua Theater Conservatory, the United States Air Force Academy, California State University, the Kennedy Center, and the Royal Scottish Academy of Music and Drama, Glasgow, Scotland. His directing credits include Hamlet, Machinal, Love’s Labour’s Lost, Bus Stop and more than 40 other productions.
He is a core faculty member of Canada’s National Voice Intensive, Vancouver, British Columbia, and was on the advisory board of the National Center for Voice and Speech (NCVS). He holds an MFA in Acting from the American Conservatory Theater (ACT), and an honorary MFA from the National Theatre Conservatory (NTC), where he, for several years, was the director of its Summer Training Intensive.
Leslie Jacobson's production of A ...My Name is Alice received a Helen Hayes Award for Outstanding Musical in 1988. She has been nominated for three Helen Hayes Awards for Outstanding Direction. She has written scripts for the Helen Hayes Awards Ceremonies and the script for Arena Stage's 40th Anniversary Gala. In 1989, she was selected by the U.S. Senate to write, direct, and produce a play commemorating its bicentennial. Theatres around the country have produced her scripts, and a television script was nominated for a Washington, D.C. Emmy. She received an award from the Dramatists Guild for producing outstanding plays by women at Horizons Theatre, where she is Artistic Director. She is also past president of the League of Washington Theatres. A faculty member at GW since 1977, she assumed the role of Chair of the Department of Theatre and Dance in 1995. Spring of 1997, Croak, of the Last Frog, with book by Jacobson and music by distinguished composer Anne LeBaron, premiered at The George Washington University in conjunction with the University's Earth Week activities. Ms. Jacobson directed the world premiere of Richard Rashke's Dear Esther, co-produced by Horizons and The Center Company, and first performed at the U.S. Memorial Holocaust Museum. She has directed numerous world premieres for Horizons and over 20 productions for GW. She inaugurated a residential program on Women and the Arts at the Mt. Vernon Campus of GW this past year. Ms. Jacobson has been a seminar director for the Smithsonian Associates International Theatre Programs for three years.
TEACHER: Columbia University MFA acting program. New York University Experimental Theater Wing. National Theater Institute at the Eugene O'Neill Theater Center. Barnard College. NIDA - National Institute of Dramatic Art ( Australia ). 1996 founded a company to coach individuals in corporations, book publishing houses and politics to build presence and public speaking. ACTOR: Australian state theater companies: A Streetcar Named Desire (Blanche Dubois) The Playboy of the Western World (Widow Quinn) A Midsummer Nights Dream (Titania). Nicholas Nickelby (Kate Nickelby), The Pillars of the Community (Marta). Top Girls (Pope Joan). Heartbreak House (Ariadne) Macbeth (Lady Macbeth) Twelfth Night (Olivia). Created and performed one woman show (masked) New Sky CD RECORDING: Magical Tales of Truth FILM: (20th Century Fox) Great Expectations. Careful He Might Hear You. Rebel. Undercover. TELEVISION : The Dismissal, The Scales of Justice, A Country Practice. Gobe la Lune MOVEMENT DIRECTOR : Le Jeune Theatre National De Paris for Si Jamais Je Te Pince, Australia: The Tempest, Gone With Hardy, The Struggle of the Nada Tribe, Hamlet, A Clockwork Orange, The National Health, A Midsummer Night's Dream DIRECTOR: Jnaneshwar. A Midsummer Night's Dream. Dog in the Manger ( Nominated outstanding direction 2005 Greater Baltimore Theater Awards) TRAINING: LSDA. (Licentiate, Speech and Drama,) B.A. Honors degree-English Literature, Queensland University. Jacques Lecoq, L'Ecole International de Theatre. Peter Brook and Yoshi Oida - International Center of Theater Research Paris. Jerzy Grotowski, Theater Laboratory, Poland (Mountain Project) and voice with Cicely Berry.
Christopher Cherry is the director of Studio 2C, a studio for the performing arts and the Alexander Technique, where he focuses his Alexander practice exclusively on helping performing artists attain greater freedom, grace, clarity, and skill. He has given lessons backstage at Lincoln Center, taught workshops at theatres and universities across the U.S., and consulted on many productions in Washington, D.C., and New York City. A charter member of the ACA faculty, he previously taught at the Shakespeare Theatre Company’s Summer Acting Conservatory, and is himself a graduate of that program.As a playwright and composer, Cherry has created several musicals for family audiences, including Buried Treasure, Homeward Bound, The Joy Gods Return, Perseus and the Gorgon and a musical version of As You Like It. He regularly directs theatre productions in the Washington, D.C., area in collaboration with his partner, pianist and musical director Stefan Brodd, with whom he also coaches singing actors. Before becoming a certified teaching member of the American Society for the Alexander Technique, he earned his bachelor’s degree from the College of William and Mary, and his master’s and law degrees from the University of Virginia.
Dody DiSanto trained in Paris and is an esteemed teaching protégé of the late Jacques Lecoq, whose teachings she carries forward. She is also on the faculties of The Catholic University of America and the Center for Movement Theatre, and has recently been a Guest Artist for Cirque du Soleil and The Yale School of Drama. She is the founder and artistic director of the Membrane Ensemble Theatre, and was a founding member of Phoenix Dance Theatre. She has been a member of several ensembles, including Chantier Theatre, Present Company and Barking Rooster Theatre. Her thirty years of performing include Off-Broadway at LaMaMa E.T.C., Lincoln Center Serious Fun Festival, Theatre for the New City, the Avignon Festival, and television and film work. DiSanto’s teaching credits include Fundamentals of Lecoq at the Center for Movement Theatre, Dynamic Studies in Space, Gesture and Structure at the Corcoran College of Art and Design, Graduate Acting: Performance Ensemble and Neutral Mask at Towson State University, a Lecoq Colloquium at Tufts University, Mask at University of Toledo, Neutral Mask at M.I.T., and various workshops and courses for Ringling Clown College, Penn State University, Amherst College Department of Theatre and Dance, The George Washington University, the Mid-Atlantic Movement Theatre Festival, MotionFest and the ATA National Convention at Tulane. She holds a diploma and teaching certification from Ecole Jacques Lecoq, where she received a private pedagogic apprenticeship and also completed the Laboratoire Etude de Movement course of study. She studied corporal mime with Etienne Decroux, wire, juggling, acrobatics and tap under the direction of Annie Fratellini at the Ecole Nationale du Cirque, and was the assistant to Jacques Lecoq at the Theatre of Creation Festival. She is nationally certified for Massage Therapy and Bodywork and also created, owned and managed the internationally acclaimed music venue Nightclub 9:30 in Washington, D.C. from 1980-1987.
THE SHAKESPEARE THEATRE: David in The Rivals, Ghost/Player King in Hamlet, King Edward IV in Richard III, Capulet in Romeo and Juliet, The Cardinal in The Duchess of Malfi, Ghost/Player King in Hamlet, Lord Capulet in Romeo & Juliet, Master Page in The Merry Wives of Windsor, Philip the Bastard in King John, Parolles in All's Well That Ends Well, Strange Passenger in Peer Gynt, Enobarbus in Antony and Cleopatra, Richard Plantagenet in Henry VI, Hotspur in Henry IV (Helen Hayes Award); Bolingbroke in Richard II (Helen Hayes Award); Macduff in Macbeth (Helen Hayes Award), more than 40 others. NEW YORK: CSC Repertory Ltd.; South Street Theatre; New Dramatists; SoHo Repertory Theatre. REGIONAL: Roundhouse Theatre: Richard Nixon in Nixon's Nixon; Studio Theatre: Tom Sargeant in Skylight (Helen Hayes Award), Vershinin in The Three Sisters, Charlie in Conversations with My Father; Olney Theatre Center; Arena Stage; Barter Theatre. FILM: Die Hard 2, Striking Distance. INSTRUCTOR: ACA; Director of the Ensemble, George Mason University; Shakespeare Theatre Acting Classes.
THE SHAKESPEARE THEATRE: Sir Lucius O'Trigger in The Rivals, Second Murderer in Richard III, Sir Amourous La Foole in The Silent Woman, Osric/Gravedigger in Hamlet, Launce in The Two Gentlemen of Verona, Peter in Romeo & Juliet, Mr. Sparkish in The Country Wife, Bottom in A Midsimmer Night's Dream, Fool in King Lear, Master Ford in The Merry Wives of Windsor, Malvolio in Twelfth Night, Lavatch in All's Well That Ends Well, Trinculo in The Tempest, Jaques in As You Like It, Dogberry in Much Ado About Nothing, Pandarus in Troilus and Cressida, Touchstone in As You Like It, Parolles in All's Well That Ends Well (Helen Hayes Award), many others. REGIONAL: Folger Elizabethan Theatre: The Dresser, Mad About the Bard; Woolly Mammoth Theatre Company: Quills (Helen Hayes Award); Studio Theatre: The Lisbon Traviata (Helen Hayes Award), A Tale of Two Cities (Helen Hayes Award), The Mystery of Irma Vep; Olney Theatre Center; Alley Theatre; Pittsburgh Public Theatre; Alliance Theatre Company. HONORS: Fulbright Fellowship 1995-19996. TEACHING: The Juilliard School; Shakespeare Theatre Acting Classes; University of South Carolina; British American Drama Academy, Oxford, England.
Lisae C. Jordan
Lisae C. Jordan is a dancer and teacher. She is on the faculty of the renowned Maryland Youth Ballet, and for ten years taught at the American Dance Institute under the direction of Michael and Pam Bjerknes. She received her early training in classical ballet with Marilyn Ramsey in upstate New York and with the School of the Hartford Ballet in Connecticut. She has worked as a principal dancer with Womenwerks (an actor/dancer collaborative) and was a member and principal dancer at Ballet North in New York. Since moving to the D.C. area, she has danced with the Washington National Opera under the direction of Placido Domingo, the Baltimore Opera, Artefacts and several others. With the Washington National Opera, she danced in, among others, Hamlet (soloist), Turandot, Samson et Dalila, Maid of Orleans, Aida and as one of the Witches in Macbeth. Her Stretch class works on passive, active-isolated, and contract-release methods, encouraging healthy alignment and range of motion, and she draws on principles found in gyrokinesis, Feldenkrais, yoga and dance.
Ellen O’Brien, Head of Voice and Text for the Shakespeare Theatre Company, has also coached dozens of Shakespeare productions for such theatres as the Kennedy Center, People’s Light and Theatre Company, Shakespeare Santa Cruz, Charlotte Repertory Theatre and The North Carolina Shakespeare Festival. At Shakespeare Santa Cruz, she also served as Associate Director for Antony and Cleopatra and Julius Caesar. She has led workshops on Shakespeare’s verse and language for theatre companies, colleges, universities and other organizations, including the Shakespeare Association of America, the Association for Theatre in Higher Education and the National Council of Teachers of English. Her dialect work includes productions at the Shakespeare Theatre Company, Ford’s Theatre, People’s Light and Theatre Company, the Aurora Theater (San Francisco), Aruba Productions and Guilford College.
A member of the Voice and Speech Trainers Association, O’Brien holds Advanced and Post-Graduate Degrees in Voice Studies from Central School of Speech and Drama (London) and a PhD in English from Yale University. She is the Associate Editor for Heightened Text, Verse and Scansion for The Voice and Speech Review, 2011. Her publications include essays in Shakespeare Quarterly, Shakespeare Survey, Selected Proceedings of the World Shakespeare Congress, 1996, Approaches to Teaching Shakespeare’s Hamlet, Shakespearean Illuminations: Insights from Performance and elsewhere. Before coming to the ACA, she taught at the University of California Santa Cruz, Kirkland College and Guilford College, where her directing work included Measure for Measure and Henry V .
Roberta Stiehm has been dancing since the age of 8. At 12, she began professional training in ballet and modern dance with Loyce Houlton at the Minnesota Dance Theater and School in Minneapolis, Minnesota. At 16, she began dancing with that company and went on to dance leading roles in such ballets as Sir Frederick Ashton's Les Patineurs and Facade, Herbert Ross' Capprichios, George Balanchine's Serenade, Concerto Borocco, and Allegro Brilliante, Glen Tetley's Mythical Hunters, and over fifty world premieres by resident choreographer Loyce Houlton. She later joined the Bat Dor Company of Israel, where her favorite role was the Lamentoso solo in Alvin Ailey's Streams. In South Africa, she danced with several small dance groups and with the American tour of Disney on Parade. In the early 80's, she played the roles of Bebe and Diana in the National and International companies of A Chorus Line and was honored to have worked directly with Michael Bennett. In Washington, D.C., she acted in the Studio Theater's acclaimed production of Fifth of July, emceed the Folger Theater's Annual High School Shakespeare Festival, and performed and choreographed for D.C. Cabaret Theater. Ms. Stiehm spent more than one year on Broadway in Cats, playing the role of Cassandra. She also performed various other roles from the musical in the National company. Ms. Stiehm was Rehearsal Director of the D.C. Contemporary Dance Theater under the Artistic Direction of Miiya Hisaka, and she has been on the teaching staff of many companies and schools, including The Shakespeare Theatre, George Mason University, Feet First, Joy of Motion, The Ballet Center, The Jewish Community Center, and Model Secondary School for the Deaf at Gallaudet University (where she also choreographed numerous production and concert modern dance pieces). She is on the permanent senior teaching staff of the Academy of the Maryland Youth Ballet, where she has choreographed numerous concert and demonstration pieces for senior-level students of the Academy. Ms. Stiehm studied Pilates under the tutelage of Romana Kryzanowska, a former student of Joseph Pilates, and has been a certified instructor since 1999.
Brad Alan Waller
Brad Alan Waller is a certified teacher of stage combat through the Society of American Fight Directors, is a member of SAG and AEA, and is an Honorary Member of the Nordic Stage Fight Society, Fight Directors Canada, and the New Zealand Stage Combat Society. He has served the Washington, D.C., theatre community as a Fight Choreographer and Teacher of Stage Combat since 1989. He has choreographed more than 150 professional shows for such theatres as the Shakespeare Theater Company, The Folger Theatre, Arena Stage, the Kennedy Center, Washington National Opera, Ford’s Theatre, The Washington Ballet, WSC Avant Bard, Huntington Theatre Company, New Jersey Shakespeare Festival, Olney Theatre, Woolly Mammoth Theatre Company, Source Theatre, Round House Theatre, the Virginia Stage Company and others. He has lectured at the Smithsonian Institution and the Folger Shakespeare Library. Over the last 20 years, Waller has also been teaching and training internationally for the Stage Combat Arts and the Historical Martial Arts in such countries as Canada, England, Scotland, Norway, Sweden, Denmark, Estonia, Australia and South Africa. He is currently developing and teaching an advanced training program for the Nordic Stage Fight Society. Honors include the Maestro’s Buckle Award from Paddy Crean, the Maestro’s Dagger Award from Henry Marshall and the Society of British Fight Directors, the Henry Marshall Memorial Award for Distinguished Service from Fight Directors Canada and Guest Curator of The Sword and the Pen exhibit at the Folger Shakespeare Library. He holds an MFA in Acting from Temple University and attended the Stella Adler Conservatory of Acting and studied with Uta Hagen, Sandy Dennis and Herbert Berghof at the H.B. Studio.