Keck Theater 208

The Burials of André Cailloux: a Civil War Antigone is a new play with music by Professor Emeritus Alan Freeman. Two sisters from New Orleans learn that their father's corpse has been abandoned on the battlefield after he led the first charge against the Confederate Army at Port Hudson. They are Black. The General who left him there is white. In reclaiming their late father's dignity, the sisters encounter the complex contradictions of Northern values. Inspired by the true story of Native Guard commander and hero Captain André Cailloux.

Join our "Improv for the Actor" workshop, where you'll dive into the art of using real-life situations to find the humor in being present, deeply listening, and responding truthfully. This hands-on class focuses on finding the truth in everyday experiences and transforming them into captivating on-stage moments. Perfect for actors looking to sharpen their skills, we'll explore techniques for building storylines based on real life, honing your audition chops, and nailing commercial auditions with authenticity and humor.

Chutzpah!

Devised by Ella Raziel
Directed by David Crabb
March 29 at 8:15pm and March 30 at 7:30pm

Chutzpah! is a one woman recital featuring a collection of songs and monologues. Come hang out and enjoy this entertaining and humorous show about Judaism, musical theater, and growing up

How the sky meets the land in LA

Devised by Jonah de Forest
Directed by Natalya Nielsen
March 29 at 7:30pm and March 30 at 8:15pm

How the sky meets the land in LA incorporates elements of documentary theater, mixed-media and spoken word to tell the story of one families’ unique relationship with the Golden West. An exploration of intergenerational memory and authorial authority, this project serves as both a family autopsy, a love letter and an excavation of self.  

Workshop description:
● Work on breath, resonance, and articulation
● Provide you with efficient vocal warm-ups for auditions, rehearsals, and more
● Give you tools for actively care for your voice daily
● Overall, help you integrate your intentions, body, and voice

This is day 2 of a two-day, six-hour foundations course for stage combat covering the core concepts of safety, story, and style - as defined by the Fight Directors Canada. Participants will learn the fundamentals of unarmed stage combat in a consent forward and trauma informed course designed to arm them with the tools to keep themselves and others safe while practicing scenes with physical violence.

This is day 1 of a two-day, six-hour foundations course for stage combat covering the core concepts of safety, story, and style - as defined by the Fight Directors Canada. Participants will learn the fundamentals of unarmed stage combat in a consent forward and trauma informed course designed to arm them with the tools to keep themselves and others safe while practicing scenes with physical violence.

Kissing on stage can be challenging to approach. There are very few jobs where you go to work and are asked to kiss your co-worker. So lets talk about kissing. In this workshop we will explore best practices for approaching kissing in rehearsal and performance. Creating kissing choreography that meets the characters, stories, and actors needs. Techniques for clarifying and facilitating kissing choreography. Alternative options to kissing. Masking techniques for kissing. Please note that there will be no lip to lip kissing in this workshop. 

The workshop will be 4 hours.

The Fairy Who Cried Gems is a cross-cultural, sometimes verbatim folk-tale, memoir, and celebration of identity, created and performed by Lily Abha Cratsley. She serves as a storyteller, employing dialogue, music, and movement to transport the audience through the oral histories of Desi American women. Through this piece, Lily explores her contradicting identities and discovers how Desi joy can be built out of legacies of trauma.

A cross-cultural, sometimes verbatim folk-tale, memoir, and celebration of identity, created and performed by Lily Abha Cratsley. She serves as a storyteller, employing dialogue, music, and movement to transport the audience through the oral histories of Desi American women. Through this piece, Lily explores her contradicting identities and discovers how Desi joy can be built out of legacies of trauma.