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Our Actor Training Faculty

Sheila Bandyopadhyay (Director of Training)

Sheila Bandyopadhyay (Director of Training)

Sheila Bandyopadhyay (she/her) is a movement specialist, actor, director, deviser, and Alexander Technique and yoga teacher. She first came to Shakespeare & Company in 1999 to train at the month-long intensive, taught with the Education Program for several years, and then joined the Training Faculty in 2007 under Founding Director Dennis Krausnick. Sheila has enjoyed a wide range of teaching experiences as an instructor, director, or movement coach with Brandeis University, California State University Summer Arts, Pace University, Brooklyn College, moreSheila Bandyopadhyay (she/her) is a movement specialist, actor, director, deviser, and Alexander Technique and yoga teacher. She first came to Shakespeare & Company in 1999 to train at the month-long intensive, taught with the Education Program for several years, and then joined the Training Faculty in 2007 under Founding Director Dennis Krausnick. Sheila has enjoyed a wide range of teaching experiences as an instructor, director, or movement coach with Brandeis University, California State University Summer Arts, Pace University, Brooklyn College, the Balance Arts Center (NYC), FSU/Asolo’s Conservatory for Actor Training, New York University’s Gallatin School, the Linklater Center, and Emerson College. Sheila served as Head of the Professional Training Program at Dell’Arte International’s School of Physical Theatre in 2021/22. For eight years prior, she was Head of the Movement Department at the American Academy of Dramatic Arts in New York City where she regularly directed and coached productions in the second year of training and for the Academy Company. As a theatre maker, Sheila is passionate about classic and contemporary performance that is physically dynamic, poetic and inclusive. In New York, Sheila has directed shows at the Brick, the United Solo Festival (Theater Row), the Tank, the Women in Theater Festival (the Gural), the West End Theater, and the 72nd St Theater Lab. Regional credits include the Boston Center for the Arts, and the Minneapolis and Montreal Fringe Festivals. Sheila has acted in, coached, choreographed and/or directed about half of Shakespeare’s plays over the years and is looking forward to exploring the other half. Favorite Shakespeare roles include Tamora in Titus Andronicus (The Humanist Project), Stephano/Miranda in The Tempest (Stages on the Sound), and Puck in A Midsummer Night’s Dream (New Hampshire Shakespeare Festival). Sheila is a member of the Humanist Project and a sponsored artist with Leviathan Lab. Education and training: Brandeis University (BA, Theatre Arts), Dell’Arte International (Professional Training in Lecoq/Physical Theatre/Devising), NYU Gallatin (Master’s Degree in Movement and Physical Performance), and ATNYC’s Alexander Technique Teacher Certification (m. AmSAT). www.sheilabnyc.com IG: @sheilabnyc
Sarah Kate Anderson

Sarah Kate Anderson

Sarah Kate Anderson (she or they) is an actor, director, and theatre educator who teaches in the Film and Theatre Department at San José State University. She has taught various university classes ranging from Classical Acting and Acting for Animation Majors to Theatre Appreciation and Voice and Movement for the Actor at institutions including De Anza Community College in Cupertino, CA, and The Art Institute in Sunnyvale, CA. Sarah Kate is a graduate of the American Academy of Dramatic Arts moreSarah Kate Anderson (she or they) is an actor, director, and theatre educator who teaches in the Film and Theatre Department at San José State University. She has taught various university classes ranging from Classical Acting and Acting for Animation Majors to Theatre Appreciation and Voice and Movement for the Actor at institutions including De Anza Community College in Cupertino, CA, and The Art Institute in Sunnyvale, CA. Sarah Kate is a graduate of the American Academy of Dramatic Arts West, completed a Bachelor's in Theatre Arts from the University of California, Santa Cruz, received a Master's in Theatre from San José State University, and holds an MFA from Goddard College in Interdisciplinary Arts with a Concentration in Performance Creation. She first came to Shakespeare & Company in 2014 to train at the Month-Long Intensive and began assisting Dennis Krausnick in his West Coast Weekend Workshops. Sarah Kate joined the training faculty in 2019 and serves as a text teacher for the Winter and Summer Intensives. She teaches specialized workshops on Structure of the Verse and on Tina Packer's research documented in Women of Will. She has also worked for the Education Program, directing for the Fall Festival, teaching Shakespeare in the Courts, and assisting Kevin Coleman in his Professional Development Workshops.
Ariel Bock

Ariel Bock

Ariel is the Producing Associate at Shakespeare & Company. Roles include: Rose in The Children, Mom in Ugly Lies the Bone, Mistress Quickly in Henry IV pts 1&2, Goneril in King Lear, Beatrice in Much Ado About Nothing, Elizabeth in Richard III, Audrey in As You Like it, Hippolyta in Midsummer Night’s Dream, The Nurse in Romeo and Juliet, Mistress Quickly in Merry Wives of Windsor, Paulina in The Winters Tale, Ruth in Private Eyes, the Woman in Laughing Wild, moreAriel is the Producing Associate at Shakespeare & Company. Roles include: Rose in The Children, Mom in Ugly Lies the Bone, Mistress Quickly in Henry IV pts 1&2, Goneril in King Lear, Beatrice in Much Ado About Nothing, Elizabeth in Richard III, Audrey in As You Like it, Hippolyta in Midsummer Night’s Dream, The Nurse in Romeo and Juliet, Mistress Quickly in Merry Wives of Windsor, Paulina in The Winters Tale, Ruth in Private Eyes, the Woman in Laughing Wild, Arlene in Off the Map. At Mixed Company: Ramona in Zara Spook and Other Lures and Eileen in The Cripple of Inishmaan. With the Ensemble for the Romantic Century in NYC: Nadezhda VonMeck in None But the Lonely Heart, as well as Fanny Mendelsohn, Emily Dickinson, Sonia Tolstoy and Anna Akhmatova. A Designated Linklater Voice Teacher, she has been on the faculty of Dartmouth College and MIT.
Andrew Borthwick-Leslie

Andrew Borthwick-Leslie

Andrew Borthwick-Leslie is a member of Shakespeare & Company in Lenox, MA, where he has taught, directed, and acted for twenty years. He is also the co-Artistic Director of The Humanist Project in NYC. He has taught acting and voice at the University of Pennsylvania, Temple University, Emerson College, DeSales University and the University of Maryland among others. Andrew has run workshops for the Center for Renaissance Studies, the American Bar Association, the New England Homeless Veterans shelter and many moreAndrew Borthwick-Leslie is a member of Shakespeare & Company in Lenox, MA, where he has taught, directed, and acted for twenty years. He is also the co-Artistic Director of The Humanist Project in NYC. He has taught acting and voice at the University of Pennsylvania, Temple University, Emerson College, DeSales University and the University of Maryland among others. Andrew has run workshops for the Center for Renaissance Studies, the American Bar Association, the New England Homeless Veterans shelter and many more. He has directed, devised, or assisted on over fifty productions—from Cymbeline to Perestroika. Most recently he directed Love’s Labour’s Lost and Merchant of Venice for the Shakespeare Forum at the Gym at Judson in Washington Square, Macbeth and Frances Goes to War for The Humanist Project, and Double Falsehood for the Letter of Marque Theater Company. He lives happily in Brooklyn.
Jenna May Cass

Jenna May Cass

Jenna May found her way to Shakespeare & Company while training in Linklater Voice. After taking both the Month-Long Intensive and the Conservatory in 2012, she immediately returned to begin teacher training, ultimately falling in love with the sonnet progression, which she now teaches, along with text. Originally from Washington State, Jenna May earned a degree in dramatic arts from Western Washington University, trained further with RADA, Theatricum Botanicum, Louis Colaianni, and Natsuko Ohama. Now based in the Berkshires, Jenna moreJenna May found her way to Shakespeare & Company while training in Linklater Voice. After taking both the Month-Long Intensive and the Conservatory in 2012, she immediately returned to begin teacher training, ultimately falling in love with the sonnet progression, which she now teaches, along with text. Originally from Washington State, Jenna May earned a degree in dramatic arts from Western Washington University, trained further with RADA, Theatricum Botanicum, Louis Colaianni, and Natsuko Ohama. Now based in the Berkshires, Jenna May previously worked as a voice teacher, dialect, movement, and text coach in San Francisco, New York, and the greater Seattle area. She is also an actor and director, and had the privilege of developing new work, in addition to playing with plenty of Shakespeare.
Merry Conway

Merry Conway

Merry Conway is a teacher, and performer. She teaches workshops in a range of subjects: Movement for Actors, Clown, and has developed original pedagogy on The Embodied Humors, Wit and Wordplay and The Fool. Merry trained with Trish Arnold in London and her work has continued to provide a strong foundation for Merry’s thought. Merry is a Founding Teacher at Shakespeare & Company, having taught at the first January workshop, bringing movement as well as Clown into the Company pedagogy, moreMerry Conway is a teacher, and performer. She teaches workshops in a range of subjects: Movement for Actors, Clown, and has developed original pedagogy on The Embodied Humors, Wit and Wordplay and The Fool. Merry trained with Trish Arnold in London and her work has continued to provide a strong foundation for Merry’s thought. Merry is a Founding Teacher at Shakespeare & Company, having taught at the first January workshop, bringing movement as well as Clown into the Company pedagogy, for several years thereafter. She became the Clownmaster there in 1983, and through the company, received and NEA grant to study Clown and Fool in Shakespeare. She has also taught at LA Women’s Shakespeare Company, Actor’s Shakespeare Project, Carnegie Mellon University, New York University, Emerson University, and Brandeis University. She is a regular teacher at the Linklater Center in New York, and co-teaches with Kristin Linklater at the Kristin Linklater Center in Orkney. In the past five years, she has taught many workshops in Italy as well as her own workshops in New York City. For 20 years Merry was a performer and co-producer of Conway & Pratt Projects which created large-scale, installations with performance along with her collaborator, Noni Pratt. She has danced with Susan Dibble for many, many years and valued the creative exchange. Merry is delighted to mark the circle completing on 40 years, returning to Shakespeare & Company for this workshop.
Paul D'Agostino

Paul D'Agostino

Paul D’Agostino is an assistant professor of theater at Boston Conservatory at Berklee, where he’s been on faculty since 2014. Additionally, he serves as the resident voice teacher for Commonwealth Shakespeare Company and Boston University Summer Theater Institute (both since 2013). A Designated Linklater Teacher and a certified teacher of The Alexander Technique, he holds a Master of Music in Musical Theater from The Boston Conservatory and an M.F.A. in Theatre Education with a concentration in voice and morePaul D’Agostino is an assistant professor of theater at Boston Conservatory at Berklee, where he’s been on faculty since 2014. Additionally, he serves as the resident voice teacher for Commonwealth Shakespeare Company and Boston University Summer Theater Institute (both since 2013). A Designated Linklater Teacher and a certified teacher of The Alexander Technique, he holds a Master of Music in Musical Theater from The Boston Conservatory and an M.F.A. in Theatre Education with a concentration in voice and speech from Boston University.
Dave Demke

Dave Demke

Dave Demke is a Shakespeare & Company Senior Faculty member and a
Designated Linklater Voice teacher. He received his BA in Theatre Arts
from Minnesota State University, and MFA in Performance from the
University of Maryland. He was the Artistic Director of Stark Raving Theatre
in Portland, OR; the Associate Director of Training for Shakespeare &
Company; and principle dancer/choreographer for the Red River Dance
Company in Fargo, ND. As an actor he has appeared in productions in New
York more
Dave Demke is a Shakespeare & Company Senior Faculty member and a
Designated Linklater Voice teacher. He received his BA in Theatre Arts
from Minnesota State University, and MFA in Performance from the
University of Maryland. He was the Artistic Director of Stark Raving Theatre
in Portland, OR; the Associate Director of Training for Shakespeare &
Company; and principle dancer/choreographer for the Red River Dance
Company in Fargo, ND. As an actor he has appeared in productions in New
York and regionally, as well as performing at the Edinburgh Fringe Festival
and in Beijing, China. Directing credits include theaters in Portland, OR,
Shakespeare & Company, Tennessee Shakespeare Company, and guest
directing credits at Purdue University, Skidmore College, and Northeastern
University. He has guest taught at various universities, at the Linklater
Center in New York, at the National Theatre of Ghana, and continues to
teach Shakespeare & Company workshops in cities around the country.
Marie Ramirez Downing

Marie Ramirez Downing

Marie (she/her) is an Assistant Professor of Theatre Arts Performance and Director of The Acting Program at Sonoma State University in the North Bay of California. She has an M.F.A. in Acting from The Theatre School at DePaul University, and a B.A. in Theatre Arts, Acting from California State University, Fresno. She is a Designated Linklater Voice Teacher (Shakespeare & Company 2012). Marie is also a Bronze Founding Member of the Linklater Centre in Orkney, Scotland where she has continued moreMarie (she/her) is an Assistant Professor of Theatre Arts Performance and Director of The Acting Program at Sonoma State University in the North Bay of California. She has an M.F.A. in Acting from The Theatre School at DePaul University, and a B.A. in Theatre Arts, Acting from California State University, Fresno. She is a Designated Linklater Voice Teacher (Shakespeare & Company 2012). Marie is also a Bronze Founding Member of the Linklater Centre in Orkney, Scotland where she has continued her training as a voice teacher and actor with Kristin Linklater, Louis Colaianni, Paula Langton and Ken Cheeseman. Marie also led Linklater Teachers in a Collaborative Continuing Professional Development workshop for the Centre on Identity and the Voice in the Fall of 2021. Most recently, she received a grant through the Koret Scholars Program at SSU that provided scholarships to BIPOC Theatre arts students to participate in professional voice workshops and write and present about their experiences with each technique. 2022 creative projects include leading a workshop titled, “Voice and Presence: Behind the Mask, On Zoom, and In the Classroom” at the Western Academy of Management in Hawaii performing Shakespeare’s Sonnets with world renowned voice and acting teacher Patsy Rodenburg at the National Opera House in New York City. Marie is also making her Bay Area directing debut at the 6th Street Playhouse with Josefina Lopez’s play Real Women Have Curves. She is an elected Board Member for the Voice and Speech Trainers Association (VASTA) term 2019-2022.
Tom Giordano

Tom Giordano

Tom Giordano is an actor, teacher and director based in New York City. His training as an actor at the Shakespeare & Company January Intensive was the springboard to receiving his MFA from Columbia University. While at Columbia, he trained extensively in voice and Shakespeare with Kristin Linklater and Andrea Haring, inspiring him to pursue and complete his designation as a teacher of Linklater Voice. He has worked in the Education and Training programs at Shakespeare moreTom Giordano is an actor, teacher and director based in New York City. His training as an actor at the Shakespeare & Company January Intensive was the springboard to receiving his MFA from Columbia University. While at Columbia, he trained extensively in voice and Shakespeare with Kristin Linklater and Andrea Haring, inspiring him to pursue and complete his designation as a teacher of Linklater Voice. He has worked in the Education and Training programs at Shakespeare & Company since 2014, as well as with Classic Stage Company, Letter of Marque Theater, the MIT Shakespeare Ensemble, and Columbia Business School. In his spare time, he works as a software engineer in Cambridge.
Susan Dibble

Susan Dibble

Susan Dibble is a choreographer, dancer, teacher and painter. She graduated from SUNY College at Purchase with a B.F.A. in Dance in 1976. In 1979, Susan was a participant in the first Shakespeare & Company January Intensive. Susan is a founding member of Shakespeare & Company where she has worked for the past 39 years as a master teacher of movement and dance for actors, movement director and choreographer. In 1987, after teaching at a variety of universities including NYU moreSusan Dibble is a choreographer, dancer, teacher and painter. She graduated from SUNY College at Purchase with a B.F.A. in Dance in 1976. In 1979, Susan was a participant in the first Shakespeare & Company January Intensive. Susan is a founding member of Shakespeare & Company where she has worked for the past 39 years as a master teacher of movement and dance for actors, movement director and choreographer. In 1987, after teaching at a variety of universities including NYU Tisch MFA in Acting Program, Susan joined the faculty of the Theater Arts Department at Brandeis University, where she is a full professor and teaches Movement for Actors, Modern Dance, Choreography, Clown, Mask, Period Styles, and Historical Dance. She has been on the faculty at Brandeis for 31 years and served as Theater Arts Department chair for 8 years. Susan is the director of Susan Dibble Dance Theater and has performed her work for over 40 years in New York, Massachusetts, and Vermont as well as numerous times at Shakespeare & Company in the program “DibbleDance”. She has worked as a choreographer and movement director for the Actors' Shakespeare Project, Berkshire Theatre Group, Manhattan Theatre Club, Merrimack Repertory Theatre, The Nora Theater and The Underground Railroad Theatre. Susan has taught at The Elements Theater, Yale School of Drama, New York University’s Tisch School for the Arts, the Denver Center Performing Arts Center, University of Ohio, University of Utah and Webster College. Susan received the 2006 Leonard Bernstein Festival of Creative Arts Award for Distinguished Contribution to the Arts at Brandeis.
Rebecca Goodheart

Rebecca Goodheart

Rebecca Goodheart has been a director, actor, and teacher specializing in Shakespeare and Voice for over 25 years. She is a Designated Linklater Voice teacher who has directed over 30 professional and 50 educational productions. Currently serving as the Producing Director of Elm Shakespeare Company in New Haven, CT, she has worked with a dozen Shakespeare theaters around the world, and is a proud lifetime member of the Shakespeare Theatre Association. Other leadership positions have included Director of Training at moreRebecca Goodheart has been a director, actor, and teacher specializing in Shakespeare and Voice for over 25 years. She is a Designated Linklater Voice teacher who has directed over 30 professional and 50 educational productions. Currently serving as the Producing Director of Elm Shakespeare Company in New Haven, CT, she has worked with a dozen Shakespeare theaters around the world, and is a proud lifetime member of the Shakespeare Theatre Association. Other leadership positions have included Director of Training at San Francisco Shakespeare Festival, Producing Artistic Director for Maryland Shakespeare Festival (an equity theater she founded in 1999), Artistic Director of the Metawhateverphor Theater in NYC, and Director of Education for Baltimore Shakespeare Festival. She is a classical text and voice teacher at Shakespeare & Company in Massachusetts and adjunct faculty at Southern Connecticut State University. She holds a BFA from NYU/Stella Adler Conservatory, a Master of Letters in Shakespeare & Renaissance Literature, and an MFA in Directing (both from the American Shakespeare Center). She has presented her research into Shakespeare’s dramatic use of rhetoric at numerous national conferences, and theatrical workshops across the country, as well as having her scholarship published in the Wooden O Journal and Shakespeare Criticism, online.
Charls Sedgwick Hall

Charls Sedgwick Hall

Charls Sedgwick Hall (Actor, Movement Teacher, Director) ) Charls’s acting credits include performances in Love’s Labour’s Lost, Mother Courage and Her Children, The Complete Works of William Shakespeare (Abridged, Revised), Romeo and Juliet, A Comedy of Errors, A Midsummer Night’s Dream with Shakespeare & Company; The Color Purple (The Musical) Los Angeles Ovations Award winning production, The Next Fairytale, The Escape Artist’s Children, and Follow with Celebration Theatre; Hamlet, Twelfth Night, Much Ado About Nothing with Southern California Shakespeare Festival; moreCharls Sedgwick Hall (Actor, Movement Teacher, Director) ) Charls’s acting credits include performances in Love’s Labour’s Lost, Mother Courage and Her Children, The Complete Works of William Shakespeare (Abridged, Revised), Romeo and Juliet, A Comedy of Errors, A Midsummer Night’s Dream with Shakespeare & Company; The Color Purple (The Musical) Los Angeles Ovations Award winning production, The Next Fairytale, The Escape Artist’s Children, and Follow with Celebration Theatre; Hamlet, Twelfth Night, Much Ado About Nothing with Southern California Shakespeare Festival; Uncle Vanya, As You Like It, The Vigil with RAAP Theater Company; A Christmas Carol, The Little Foxes, Cymbeline, Cyrano, with A Noise Within; Angels of Lemnos, David and Goliath in America, Hitler’s Head, The Lady’s Not For Burning with The Road Theatre Company; Tartuffe and Arms and The Man with The Classical Theatre Company; Twelfth Night and Saint Joan with The Royston Theater Company; as well as productions of Faith and The Good Thing, Our Country’s Good, Three Sisters, Death Unit, Measure For Measure, The Merry Wives of Windsor, The Firebugs. The Tempest, The Taming of the Shrew and Exit The King. Directing credits include Other World Lover and Afrocentricities with MPAACT, OUTStories and The Red Train Café with Celebration Theatre. During his many years of performing and studying with Shakespeare & Company, Charls toured with the School’s Program and trained as a Movement teacher in the discipline of Trish Arnold. He has taught as a Guest Professor in Movement at the National Institute of Performing Arts in Sydney, Australia; a Guest Professor in Movement and a Guest Artist performing in Angels of Lemnos at Queensland University of Technology in Brisbane, Australia, and held the position of Director of Training/Movement Instructor with Two Pence Theatre Company. Charls, a proud member of Actors’ Equity Association, holds an MFA from the NYU-School of the Performing Arts Graduate Acting Program, teaches and continues to study other Movement disciplines, as well as Shakespeare’s Text, Rhetoric and Sonnets.
Michael Hammond

Michael Hammond

Michael Hammond is an actor, director, playwright and teacher, who recently retired after ten years as an instructor at Boston University’s School of Theatre. Prior to Boston University, he worked for many years at Shakespeare & Company, last serving there as associate artistic director. He has appeared as an actor on Broadway, and at various regional theaters. His most recent live performance was part of a collaboration entitled The Cattle, presented at Douglas Dunn’s studio in New moreMichael Hammond is an actor, director, playwright and teacher, who recently retired after ten years as an instructor at Boston University’s School of Theatre. Prior to Boston University, he worked for many years at Shakespeare & Company, last serving there as associate artistic director. He has appeared as an actor on Broadway, and at various regional theaters. His most recent live performance was part of a collaboration entitled The Cattle, presented at Douglas Dunn’s studio in New York City. Thanks to a recent informal reading at Shakespeare & Company, he’s just completed a revision of his adaptation of Uncle Vanya, entitled Uncle Vance. Currently, he’s trying to wrap up a years-long project entitled Gone Before, Cont’d, an audio memoir about his late friend, who was Michael’s primary collaborator on an original music CD entitled Gone Before. Another project in the works is a series of monologues spoken extemporaneously (for the most part) by this irascible character named Ezra, who just showed up in the middle of the night a few months back.
Rory Hammond

Rory Hammond

Rory has studied Shakespeare her entire life and has also worked as an Education Artist at Shakespeare & Company since 2015. She has spent the last three years focusing on directing and teaching Shakespeare to kids from ages 7-18. Directing Credits: Twelfth Night, Much Ado about Nothing, and Macbeth for the Fall Festival of Shakespeare. New York acting credits include: Pericles, directed by Edward Berkeley at SoHo Rep, Measure for Measure at Circle in the Square also directed by Edward moreRory has studied Shakespeare her entire life and has also worked as an Education Artist at Shakespeare & Company since 2015. She has spent the last three years focusing on directing and teaching Shakespeare to kids from ages 7-18. Directing Credits: Twelfth Night, Much Ado about Nothing, and Macbeth for the Fall Festival of Shakespeare. New York acting credits include: Pericles, directed by Edward Berkeley at SoHo Rep, Measure for Measure at Circle in the Square also directed by Edward Berkeley, Bachelorette by Lesley Headland at Circle in the Square, John Patrick Shanley's Where's My Money at the Cherry Lane Theatre, and The Scarlet Letter starring Marisa Tomei. Berkshire credits include: Christmas at Pemberley directed by Ariel Bock; Ugly Lies the Bone and The Taming of the Shrew, both directed by Daniela Varone; King John and Richard III, both directed by Tina Packer; as well as Merry Wives of Windsor, Off the Map, Much Ado About Nothing, Merchant of Venice, Dibble Dance and The Wharton Salon at the Mount (Autres Temp, Xingu, and Summer, directed by Catherine Taylor Williams). TV credits include: Dr. Pepper commercials circa 1998. Training has been at Shakespeare & Company her entire life starting with Young Company and ending with a summer as a member of the Summer Performing Institute (SPI). Rory Hammond is a graduate of Circle in the Square Theatre School in New York City. She is a founding member of Animus Theatre Company in New York City. www.animustheatre.org
Sarah Hickler

Sarah Hickler

Sarah Hickler is an actor, deviser, director and theater educator. She has directed, choreographed and taught with the Los Angeles Women’s Shakespeare Co., Sedona Shakespeare, Sun Valley Shakespeare, and Actor’s Shakespeare Project. She is an Associate Professor and Head of Acting at Emerson College in Boston, where she teaches Movement, Action Theater and Shakespeare. Sarah has an MFA from Boston University and is a Certified in Authentic Movement facilitation and Action Theater™. Sarah has a long association with Shakespeare & Co., moreSarah Hickler is an actor, deviser, director and theater educator. She has directed, choreographed and taught with the Los Angeles Women’s Shakespeare Co., Sedona Shakespeare, Sun Valley Shakespeare, and Actor’s Shakespeare Project. She is an Associate Professor and Head of Acting at Emerson College in Boston, where she teaches Movement, Action Theater and Shakespeare. Sarah has an MFA from Boston University and is a Certified in Authentic Movement facilitation and Action Theater™. Sarah has a long association with Shakespeare & Co., dancing with Susan Dibble in Shakespeare & Company’s summer seasons since 1989, and teaching in Shakespeare & Company’s month-long intensives. She is thrilled to be returning to teach in the 2020 winter intensive.
Tom Jaeger

Tom Jaeger

Tom Jaeger has been teaching, acting, training, managing and directing at Shakespeare & Company since 1991. Before coming here he trained at Washington University in St. Louis with Hollis Huston, a Lecoq trained theatre maker and performance theorist. While in St. Louis he was also the managing director of the Holy Roman Repertory Company, a live radio theatre. He has also done stints at MIT and Harvard, including the first Shakespeare production done in the Sanders Theatre at Harvard in moreTom Jaeger has been teaching, acting, training, managing and directing at Shakespeare & Company since 1991. Before coming here he trained at Washington University in St. Louis with Hollis Huston, a Lecoq trained theatre maker and performance theorist. While in St. Louis he was also the managing director of the Holy Roman Repertory Company, a live radio theatre. He has also done stints at MIT and Harvard, including the first Shakespeare production done in the Sanders Theatre at Harvard in 50 years.
Edgar Landa

Edgar Landa

Edgar Landa is an actor/director from Los Angeles. He also creates fights & violence for theatres large and small. He has been a guest director at Off Square Theatre/Thin Air Shakespeare for the past five summers. He has directed at theatres in L.A. and beyond and has also been a guest director at USC, Long Beach State University and Loyola Marymount University. As a fight director Edgar has created mayhem at numerous theatres across Southern California and elsewhere including: moreEdgar Landa is an actor/director from Los Angeles. He also creates fights & violence for theatres large and small. He has been a guest director at Off Square Theatre/Thin Air Shakespeare for the past five summers. He has directed at theatres in L.A. and beyond and has also been a guest director at USC, Long Beach State University and Loyola Marymount University. As a fight director Edgar has created mayhem at numerous theatres across Southern California and elsewhere including: Center Theatre Group, San Diego Rep, Geffen Playhouse, South Coast Rep, The Getty Villa, The Wallis, Cornerstone Theatre, Tennessee Shakespeare Company, Shakespeare & Company, Boston Court Theatre and many others. Edgar is an alumnus of the Directors Lab West and the Lincoln Center Theatre Directors Lab. He received his undergraduate degree in theatre from the USC School of Theatre. Currently, he sits on the faculty of the USC School of Dramatic Arts as the resident fight/violence instructor and fight director. He is a long-standing member of Son of Semele Ensemble in Los Angeles. Edgar is a proud member of Actors Equity Association and a supporter of intimate theatres in Los Angeles.
Paula Langton

Paula Langton

Paula Langton - Actor and Designated Linklater Voice Teacher - is honored to return to teach at Shakespeare & Company where she encountered powerful teaching mentors, including Master Voice Teacher, Kristin Linklater, who was in residence when she participated in her first "intensive" in 1986. It was here that Paula received some of the most transformational training of her career. She is currently an Associate Professor on The School of Theatre faculty at Boston University where she has taught since morePaula Langton - Actor and Designated Linklater Voice Teacher - is honored to return to teach at Shakespeare & Company where she encountered powerful teaching mentors, including Master Voice Teacher, Kristin Linklater, who was in residence when she participated in her first "intensive" in 1986. It was here that Paula received some of the most transformational training of her career. She is currently an Associate Professor on The School of Theatre faculty at Boston University where she has taught since 1996 and served as Head of Acting for the past 20 years. Paula met Shakespeare & Company in the early 80s as an actor in training and was a member of the company's elementary schools program. In the late 80s, she became part of a motley crew of clowns, then called "Shakessquad & Clown Company" where she spent countless summer hours fooling about, devising and performing original, comedic material with and for the company. Paula apprenticed directly with Kristin Linklater for over three years and served as her assistant, and then, successor, for Shakespeare & Company's NEH funded Shakespeare Institute - (actor/ teacher training for high school teachers.) She was officially designated by Linklater to teach voice in 1991 and last taught voice at Shakespeare & Company's month long intensive in January of 2003. She joined Kristin Linklater at Emerson College in 1991 as a full time Artist in Residence for five years, where she assisted in the development of the acting program under Linklater's direction. She occasionally co-teaches with Linklater at The Kristin Linklater Voice Centre in Orkney, Scotland. Other teaching credits include: Trinity Rep Conservatory, University of Massachusetts, Wheaton College, Actors' Shakespeare Project, and Festa Di Teatro Ecologico, in Stromboli Italy. Paula's acting credits include: Shakespeare & Company's mainstage at The Mount where she played in The Tempest, at The Tina Packer Playhouse in Much Ado About Nothing, Love's Labour's Lost, & Mother Courage, and she has twice had the joy of being invited to be a part of DibbleDance. She was a member of Kristin Linklater and Carol Gilligan's all female Shakespeare company- Company of Women, and was director of the Company of Girls..Other acting credits include productions with American Repertory Theatre, La Mama etc, Actors Shakespeare Project, Potomac Theatre Co. NYC, LA Women's Shakespeare, The Olney Theatre, New Rep, Wellfleet Harbor Actors Theatre, The Charles Playhouse, Boston Theatre Works, Boston Playwrights Theatre, and Festa Di Teatro Eco Logico, to name a few. Paula has a band called The Crazy Neighbors, and is a member of Actor's Equity Association, Screen Actors Guild and Voice and Speech Trainers Association, Inc.
Cecil MacKinnon

Cecil MacKinnon

Cecil MacKinnon is delighted to be back at Shakespeare & Company where she has taught in many workshops. For Shakespeare & Company, she directed productions including, on the Mainstage: Love's Labour's Lost, Twelfth Night, Romeo and Juliet, and The Comedy of Errors. Elsewhere, a sampling includes: in Madison, Wisconsin: On the Razzle, for the Naples Opera Company Benjamin Britten’s A Midsummer Night's Dream, At the Portland Stage Co. Much Ado About Nothing and Later Life (Gurney).While an Arts Professor at moreCecil MacKinnon is delighted to be back at Shakespeare & Company where she has taught in many workshops. For Shakespeare & Company, she directed productions including, on the Mainstage: Love's Labour's Lost, Twelfth Night, Romeo and Juliet, and The Comedy of Errors. Elsewhere, a sampling includes: in Madison, Wisconsin: On the Razzle, for the Naples Opera Company Benjamin Britten’s A Midsummer Night's Dream, At the Portland Stage Co. Much Ado About Nothing and Later Life (Gurney).While an Arts Professor at NYU’s Tisch School of the Arts she directed numerous productions, most recently an adaptation of The Madwoman of Chaillot called Who’s Crazy Now? She is theater director of Circus Flora, based in St. Louis, where she has co-created shows in the twelve hundred seat circus tent and in collaboration with the St. Louis Symphony at Powell Hall. She also directed the 2019-2020 season of the Big Apple Circus in New York.
Corinna May

Corinna May

Corinna is a 30-year member of Shakespeare & Company, took her first Intensive in 1990, went on the education tour right afterwards, and has been working here ever since both as an actor (33+ roles and counting), and faculty member in and Education. Corinna has acted in NY and regional theatre in classical, modern, and new plays, appeared in film, on television, in radio plays and audio books. She stars in the indie feature Split Ends, directed by Dorothy moreCorinna is a 30-year member of Shakespeare & Company, took her first Intensive in 1990, went on the education tour right afterwards, and has been working here ever since both as an actor (33+ roles and counting), and faculty member in and Education. Corinna has acted in NY and regional theatre in classical, modern, and new plays, appeared in film, on television, in radio plays and audio books. She stars in the indie feature Split Ends, directed by Dorothy Lyman, & spent two years on the Broadway tour of The Graduate, with Jerry Hall, Linda Gray, Lorraine Bracco, Kelly McGillis and Morgan Fairchild as the various Missus Robinsons. TV includes “House of Cards” and “Law & Order”. Her one-woman play Dancing With The Czar was produced at Ventfort Hall in Lenox, MA. As a fight director, Corinna has staged fights for both classical and contemporary plays. She studied stage fighting with S&Co’s Founding Master Fight Teacher, BH Barry while training at Circle in the Square Theatre School, and then with her mentor, Shakespeare & Company’s Master Fight Teacher Tony Simotes. She has also trained with the Society of American Fight Directors and with Fight Directors Canada. Corinna is a Designated Linklater Method voice teacher and a Feldenkrais Method practitioner, one of only a handful of people in the world to hold both certifications. Currently serving as an adjunct assistant professor of Voice & Speech at the Actors Studio Drama School MFA program at Pace University, she has also taught at Smith, MIT, Syracuse University, a couple of SUNYs, Fordham, the National Theatre Institute and Circle-in-the-Square Theatre School. Corinna is a lead trainer with the international consulting company, The Cornell Voice Advisory/Australia. Her own private coaching practice serves actors, teachers, lawyers, executives, politicians, academics and clergy. She is a proud Union member: AEA, SAG-AFTRA, UAFP, Dramatists Guild; she’s a graduate of Barnard College, and Circle-in-the-Square Theatre School. She has recently begun taking workshops in staging theatrical intimacy with Intimacy Directors International, and is passionate about helping to integrate this excellent and thrilling work into every aspect of the performing arts.
Mary  Mayo

Mary Mayo

Mary is a Designated Linklater teacher with many years experience acting and teaching voice, acting and improvisation in universities and professional theatre training programs all over the United States including Shakespeare & Company, University of Maryland, NYU’s Tisch School of the Arts, University of Mississippi, Virginia Commonwealth University, and Syracuse University. She has an M.Litt/MFA in Shakespeare and Renaissance Literature in Performance from Mary Baldwin College and the American Shakespeare Center. Mary has coached voice and dialects at Arena Stage, moreMary is a Designated Linklater teacher with many years experience acting and teaching voice, acting and improvisation in universities and professional theatre training programs all over the United States including Shakespeare & Company, University of Maryland, NYU’s Tisch School of the Arts, University of Mississippi, Virginia Commonwealth University, and Syracuse University. She has an M.Litt/MFA in Shakespeare and Renaissance Literature in Performance from Mary Baldwin College and the American Shakespeare Center. Mary has coached voice and dialects at Arena Stage, Roundhouse Theater, Ford’s Theater, Signature Theatre, and Chesapeake Bay Shakespeare. She has performed with Nelson County Shakespeare Festival, Hamner Theater, Kristin Linklater’s Company of Women, Ensemble Studio Theater, the Open Eye and Shakespeare & Company. Directing credits include The Waiting Room (at UMD), A Midsummer Night’s Dream, Richard II, As You Like It, and Taming of the Shrew. Mary is Shakespeare consultant to the Nelson County Public Schools and, with Betty Tabony, has written a manual for teaching Shakespeare to middle school students and edited a young people’s edition of King Lear for Swan Books. She currently lives in Washington, DC.
Kristen Moriarty

Kristen Moriarty

Kristen Moriarty (she/her/hers) is a teaching artist, actor, mom, sentimentalist, and an infinite seeker of thinking and feeling deeply. After earning her BFA in Acting/Dance at Adelphi University, she worked as an actor and movement choreographer in Chicago for several years before going back to school to pursue an MFA in acting/teaching at the University of Montana. In 2011, while earning her MFA, she also began her actor training with Shakespeare & Company where she fell in love with Shakespeare’s moreKristen Moriarty (she/her/hers) is a teaching artist, actor, mom, sentimentalist, and an infinite seeker of thinking and feeling deeply. After earning her BFA in Acting/Dance at Adelphi University, she worked as an actor and movement choreographer in Chicago for several years before going back to school to pursue an MFA in acting/teaching at the University of Montana. In 2011, while earning her MFA, she also began her actor training with Shakespeare & Company where she fell in love with Shakespeare’s language and its capacity to reveal the truth; the power of listening, honesty, and being present; and the Berkshires. Under the guidance of her teaching mentors Dennis Krausnick and Andrew Borthwick-Leslie, she began her journey as a teacher trainee with the Company in 2017, and joined the multi-hyphenate and exceptional faculty at Shakespeare & Company in 2022 where she currently teaches Text, Basics, and Weekend workshops. Passionate about contributing to brave spaces and creating a more just and welcoming theatre, and society, for all people, Kristen loves working with actors who are curious—about themselves and the world—and helping facilitate personal growth and deepening belief in self. A boundless student, Kristen is grateful to continue learning from her students, colleagues, and certainly her daughters, and hopes to become a Designated Linklater Teacher someday.
Julie Nelson

Julie Nelson

Julie Nelson (she/her) is an actor, teacher, and professor emeritus (sic) at the University of Massachusetts Amherst. Recently she was in George Brant’s Dark Room at Bridge Rep Theater, Boston and played Marie Antoinette in The Revolutionists at Silverthorne Theater. Other roles include Mrs. Gardiner and Lady Catherine de Bourgh in Pride and Prejudice at Playmakers Repertory Company in Chapel Hill, NC, and Grace in Vigil at Portland Stage Company, Portland, Maine. In New York she played Childie in The moreJulie Nelson (she/her) is an actor, teacher, and professor emeritus (sic) at the University of Massachusetts Amherst. Recently she was in George Brant’s Dark Room at Bridge Rep Theater, Boston and played Marie Antoinette in The Revolutionists at Silverthorne Theater. Other roles include Mrs. Gardiner and Lady Catherine de Bourgh in Pride and Prejudice at Playmakers Repertory Company in Chapel Hill, NC, and Grace in Vigil at Portland Stage Company, Portland, Maine. In New York she played Childie in The Killing of Sister George Off Broadway, and Myrna-the-Docent for Conway and Pratt. She is a founding member of Shakespeare & Company, where she played Helena in A Midsummer Night’s Dream on the main stage and national tour, Celia in As You Like It, Fabian in Twelfth Night, Cory in Private Eyes and Edith Wharton in Wharton-land. Her training in theatrical clown with Merry Conway is the springboard for her work and incited her to further study with Philippe Gaulier and Jacques Lecoq, among others. Julie navigated academia’s Byzantine path from Visiting Lecturer to Full Professor at UMass, where she taught acting, voice, movement, and clown. In collaboration with the UMass Center for Women and Community, she directed and produced a play for New Student Orientation about sexual assault on college campuses. It was seen by thousands of incoming students and was subsequently adopted for orientations at Amherst, Hampshire, Mount Holyoke and Smith Colleges. She has taught in the actor-training program in El Salvador’s National Arts Center, San Salvador, The School of Drama at the New School, The Berkshire Theatre Festival; Actors Theatre of Louisville, and St. Stephen’s School in Austin, Texas. She is an alum of artEquity’s National Facilitator Training, 2016, and a theater consultant for the Wellesley Racial Justice Initiative. Member, AEA, SAG-AFTRA
Normi Noel

Normi Noel

Normi Noel (she/her), director and Linklater voice teacher, came to the first Shakespeare and Co. workshop in 1979; as a company member, she has directed twenty six productions there, as well as shows in Boston, New York and the Berkshires. Currently she is teaching acting and voice at Smith College, and has taught on and off with the Shakespeare & Company faculty, as well as six years as assistant professor at BU, and part time at MIT, NYU, moreNormi Noel (she/her), director and Linklater voice teacher, came to the first Shakespeare and Co. workshop in 1979; as a company member, she has directed twenty six productions there, as well as shows in Boston, New York and the Berkshires. Currently she is teaching acting and voice at Smith College, and has taught on and off with the Shakespeare & Company faculty, as well as six years as assistant professor at BU, and part time at MIT, NYU, Simon’s Rock, CBU, etc. Over the years she has created and taught many workshops with professional acting companies and training schools and coached for the Araca Group on Broadway. For three years she worked as a voice consultant with Carol Gilligan at Harvard on her study of healthy resistance with women and girls. She has acted, recorded audio books, and done narration for radio and television, as well as performed three one woman plays devised with combat nurses in theatres and veteran venues.
Jane Nichols

Jane Nichols

Jane Nichols is an actress, director, and teacher. She first studied with Shakespeare & Company in 1983, and has taught and acted with the Company off and on since then. Inspired by the work of Merry Conway at the 1983 workshop, Jane developed a passion for Clowning. Her teaching today brings together skills and techniques of Le Jeu, Physical Comedy, Clown, Bouffon, Improvisation, and Mask.

In addition to Merry Conway, she has studied with Philippe Gaulier (Ecole Gaulier), Clive

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Jane Nichols is an actress, director, and teacher. She first studied with Shakespeare & Company in 1983, and has taught and acted with the Company off and on since then. Inspired by the work of Merry Conway at the 1983 workshop, Jane developed a passion for Clowning. Her teaching today brings together skills and techniques of Le Jeu, Physical Comedy, Clown, Bouffon, Improvisation, and Mask.

In addition to Merry Conway, she has studied with Philippe Gaulier (Ecole Gaulier), Clive Mendes (Theatre Complicite), Ronlin Foreman (DellArte School of Physical Theatre), Michael Kennard (co-founder of Canada’s Mump & Smoot, and Master teacher of the Richard Pochinko native American mask/clown technique), Avner Eisenberg (Avner the Eccentric), Davis Robinson (author of Physical Comedy Handbook), Keith Johnstone (Impro and Impro for Storytellers), and world-renowned Czech clown, Bolek Polivka.

Before S&Co, Jane worked as an actress in Boston, and was the Founder/Artistic Director of Crosswalk Theatre for Children. In 1985, applying her knowledge of children’s theatre to Shakespeare, Jane created and implemented the curriculum for the S&Co Elementary and Jr High School program which continues to this day.

In addition to S&Co, Jane has held teaching positions at the Yale School of Drama; Juilliard; Harvard University; ART; ACT; Brown University; the Actors Center in NYC; Stella Adler Conservatory; Emerson College; Simon’s Rock College of Bard, and University of Washington.

She has directed shows at Harvard University, Brown University, Washington Ensemble Theatre (WET), Intiman Theatre, Seattle Shakespeare Co, Seattle University, Cornish College of the Arts, and Room Circus Medical Clowning. With her company of former clown students, Logic Limited, Ltd., she devised: Desdemonas Dream; Schaden, Freude, and You: A 3 Clown Seminar; TiVO la Resistance; New Shorts; and A Night at the Trojan Wall: a Clown version of the Iliad. For Cirque du Soleil she worked with John Gilkey, Daniel Passer, and Wayne Wilson to develop and devise the cabaret Your New Best Friends.

Acting credits include roles at Dallas Theatre Center, Portland Stage Co, En Garde Arts, Synapse Productions, New Georges, Shakespeare & Company, Gloucester Stage Co, Nora Theatre, Lyric Stage, Berkshire Public, Counterpoint Theatre, Cambridge Theatre Co. Film and TV credits include: School Ties; Heights; The Living Room Waltz; Ed; Law & Order SVU; America’s Most Wanted; Connect With English; and Rachels Dinner with Olympia Dukakis. She has done numerous voice overs and commercials.

Natsuko Ohama

Natsuko Ohama

One of the premier voice teachers in the world, Natsuko trained under legendary Master Kristin Linklater at the Working Theatre in New York. She is a founding member and permanent faculty of Shakespeare & Company (Lenox, MA), a senior artist at Pan Asian Rep NewYork, a certified Joy of Phonetics teacher trained by Louis Colaianni and was the Director of Training at the National Arts Center of Canada. She has taught at numerous institutions all over North America, including NYU, moreOne of the premier voice teachers in the world, Natsuko trained under legendary Master Kristin Linklater at the Working Theatre in New York. She is a founding member and permanent faculty of Shakespeare & Company (Lenox, MA), a senior artist at Pan Asian Rep NewYork, a certified Joy of Phonetics teacher trained by Louis Colaianni and was the Director of Training at the National Arts Center of Canada. She has taught at numerous institutions all over North America, including NYU, Cal Arts, Columbia University, the Sundance Institute. Internationally has taught in Stromboli Italy, Istanbul Turkey, Zurich Switzerland, Shanghai China as well as in Orkney Scotland at the KVLC. She has an extensive workshop and private teaching practice in Los Angeles and has coached numerous productions at the Kirk Douglas Theatre, Mark Taper Forum, and the Wallis Annenberg theatre. A Drama Desk nominated actress, she has portrayed roles ranging from Juliet to Lady Macbeth from Hamlet to Prospero (Los Angeles Women's Shakespeare Company) Film and TV appearances include the action film Speed, the cult series Forever Knight, and Pirates of the Caribbean 2. Favorite stage roles, Imelda Marcos in Dogeaters, Winnie in Beckett’s Happy Days, and she was in the Oregon Shakespeare Festival Company 2018. Ms. Ohama's play Geisha of the Gilded Age was performed by her at Summer Arts 2019. She heads the voice progression for the MFA Acting Program at USC. Home page: http://www.natsukoohama.com
Victoria  Rhoades

Victoria Rhoades

Victoria Rhoades, PhD (she/her) is an educator, actor and director, specializing in Shakespeare and girls’ and boys’ development. Tori is a senior faculty of Movement and Text in the Training Program and has worked for years in various areas of the Education Program. She currently serves as founder and Executive Director of the newly developing, SAGE Center, (Shakespeare, the Arts, Gender and Education). Tori strives to create spaces where young women and men can respectfully and playfully learn from, and moreVictoria Rhoades, PhD (she/her) is an educator, actor and director, specializing in Shakespeare and girls’ and boys’ development. Tori is a senior faculty of Movement and Text in the Training Program and has worked for years in various areas of the Education Program. She currently serves as founder and Executive Director of the newly developing, SAGE Center, (Shakespeare, the Arts, Gender and Education). Tori strives to create spaces where young women and men can respectfully and playfully learn from, and alongside one another. Favorite regional theatre roles include Rosalind (As You Like It), The Governess (The Turn of the Screw), Carol (Oleanna), Charity (Summer), among others. Tori holds a Masters’ and PhD from NYU integrating the teaching pedagogy of Shakespeare & Company with the Relational Psychology work of Carol Gilligan. She holds a BS in theatre from Northwestern University. She has worked as a guest director at high schools and universities in the Northeast, and as founding Performing Arts Director at an innovative high school in Sonoma County, CA. She was a two-time recipient of artist grants from the Lotta M Crabtree Foundation, as well as a grant from the Massachusetts Cultural Council. She is a member of both Actors’ Equity Association and SAG-AFTRA. Her production of A Midsummer Nights’ Dream was awarded “Best Production” by the University of Pittsburgh Department of Theatre Arts. Tori is currently writing a piece for publication on creating “safe” learning spaces for young men and women to create, work and learn together.
Rebecca Schneebaum

Rebecca Schneebaum

Rebecca Schneebaum (she/her) is currently based in Brooklyn NYC, here on the ancestral lands of the Lenape people. Rebecca is an actor, Designated Linklater Voice Teacher, theatre maker, and loving dog mom. As an actor she has performed with LAByrinth Theatre Company, American Repertory Theatre, The Huntington Theatre, Boston Playwright’s Theatre, Actors' Shakespeare Project, Seacoast Repertory Theatre, Brown Box Theatre Project, and many others. She was on the acting faculty at Emerson College for the last five years as

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Rebecca Schneebaum (she/her) is currently based in Brooklyn NYC, here on the ancestral lands of the Lenape people. Rebecca is an actor, Designated Linklater Voice Teacher, theatre maker, and loving dog mom. As an actor she has performed with LAByrinth Theatre Company, American Repertory Theatre, The Huntington Theatre, Boston Playwright’s Theatre, Actors' Shakespeare Project, Seacoast Repertory Theatre, Brown Box Theatre Project, and many others. She was on the acting faculty at Emerson College for the last five years as well as a guest lecturer at Boston University’s College of Fine Arts. Now, she teaches acting and voice in the theatre department at Brooklyn College while completing her MFA in Acting. As an actor, as a teacher, as a human being in this world, Rebecca strives to question and remove old barriers in order to help foster spaces where the full scope of the human experience can be expressed; opening up the possibility to move and be moved by the vibrations of another's voice; to be heard in spite of messages to stay quiet; to break down internal and external systems of oppression. She received her BFA in Acting from Emerson College and completed her certification with Kristin Linklater at the Linklater Voice Centre in Orkney, Scotland. www.RebeccaSchneebaum.com

Gwendolyn Schwinke

Gwendolyn Schwinke

Gwendolyn Schwinke (she/her) has served as voice and text coach at Shakespeare & Company for The Merry Wives of Windsor, Taming of the Shrew, The Merchant of Venice, Two Gentlemen of Verona, Or, Ugly Lies the Bone, The Comedy of Errors, Hamlet, The Unexpected Man and Shakespeare and the Language that Shaped a World, and created and directed Worse than Wolves for Henry VI.6. She is Resident Vocal Coach for PlayMakers Repertory Company and teaches voice in the MFA program moreGwendolyn Schwinke (she/her) has served as voice and text coach at Shakespeare & Company for The Merry Wives of Windsor, Taming of the Shrew, The Merchant of Venice, Two Gentlemen of Verona, Or, Ugly Lies the Bone, The Comedy of Errors, Hamlet, The Unexpected Man and Shakespeare and the Language that Shaped a World, and created and directed Worse than Wolves for Henry VI.6. She is Resident Vocal Coach for PlayMakers Repertory Company and teaches voice in the MFA program at University of North Carolina-Chapel Hill. Gwendolyn has worked as vocal coach for other professional companies including Oxford Shakespeare Company (MS), Atlantic Stage (SC), Cheap Theatre and Frank Theatre in Minneapolis, and for multiple university productions. Professional acting credits include Gertrude in Hamlet, Mistress Quickly in The Merry Wives of Windsor, The Nurse in Romeo and Juliet, Adam in As You Like It, Desdemona in Carlyle Brown’s The Masks of Othello, Margie in Good People, Amanda in The Glass Menagerie, Jesse in ‘night Mother, and numerous other roles. She holds an MFA from Illinois State University, is a Designated Linklater Voice Teacher, a Certified Feldenkrais Movement Teacher, a Certified Teacher of the Colaianni Approach to Speech and Accents, and a proud member of Actor’s Equity.
Michael F. Toomey

Michael F. Toomey

Michael (he/him) has been company member at Shakespeare & Company for nearly twenty years where he is an actor, director and faculty member. He is the Co-Artistic Director of the NYC based theatre company The Humanist Project. He also a founding member and trustee of Split Knuckle Theatre, which devises new works of theatre and is currently touring throughout the world with recent performances in Bangkok, Athens and Paris. Michael has been a Visiting Assistant Professor at Binghamton University teaching moreMichael (he/him) has been company member at Shakespeare & Company for nearly twenty years where he is an actor, director and faculty member. He is the Co-Artistic Director of the NYC based theatre company The Humanist Project. He also a founding member and trustee of Split Knuckle Theatre, which devises new works of theatre and is currently touring throughout the world with recent performances in Bangkok, Athens and Paris. Michael has been a Visiting Assistant Professor at Binghamton University teaching Clown, Shakespeare and Fight. Michael teaches workshops for professional actors in Fight, Clown and Shakespeare around the country and abroad. He has directed, devised and choreographed numerous shows including Titus Andronicus, Julius Caesar and Alice In Wonderland. Michael has performed throughout the East Coast and internationally including roles such as Macbeth, Scapin, and Polonius. He has studied clown with Giovanni Fusetti and Philippe Gaulier, is a graduate from LISPA (London International School of Performing Arts), and holds an MFA in Lecoq-based actor created theatre from Naropa University. www.michaelftoomey.com
Kevin Vavasseur

Kevin Vavasseur

Kevin Vavasseur is a theater artist whose credits include work at Highways Performance Space, Theater @ Boston Court, Odyssey Theater, Los Angeles Women’s Shakespeare Company, H.E.R.E, Company of Angels, Los Angeles Theater Center, Sacred Fools, Edinburgh International Arts Festival, New York International Fringe Festival, London Shakespeare Studio and Lincoln Center. An NAACP Image, GLAAD Media and Los Angeles Drama Critics’ Circle Award nominee for acting, he is a Lincoln Center Directors' Lab alum and a Stage Directors and Choreographers Union moreKevin Vavasseur is a theater artist whose credits include work at Highways Performance Space, Theater @ Boston Court, Odyssey Theater, Los Angeles Women’s Shakespeare Company, H.E.R.E, Company of Angels, Los Angeles Theater Center, Sacred Fools, Edinburgh International Arts Festival, New York International Fringe Festival, London Shakespeare Studio and Lincoln Center. An NAACP Image, GLAAD Media and Los Angeles Drama Critics’ Circle Award nominee for acting, he is a Lincoln Center Directors' Lab alum and a Stage Directors and Choreographers Union associate member. He has done the Shakespeare & Company Winter Intensive as both a participant and teacher trainee and was a participant in the 2014 Shakespeare & Company 13-week Conservatory, where he played “Friar Laurence” in the Conservatory production of “Romeo and Juliet”. He once had a recurring role on the NBC sitcom “A Different World” and played a pirate in Steven Spielberg’s children’s classic, “Hook”. He has also worked in film and television production having been a First Assistant Director in music videos, shooting top musical acts including, Dionne Warwick, Burt Bacharach, The Whispers, Troop and Stevie Wonder. He’s also worked as Creative Assistant to the President Worldwide Production, as well as Executive Assistant to the Vice Chairman, at Columbia Pictures/Sony Pictures Entertainment, where he worked on many feature films including, Men in Black, Air Force One, Bad Boys, Memoirs of a Geisha and The Cable Guy. In September 2016, Kevin completed a Master of Arts degree at the NYU Gallatin School of Individualized Study where he self-designed his curriculum which combined theater, gender studies and sociology. His research examines how live theater can provide an experience of empathy for audience members, which may be taken outside of the performing space to contribute to a more inclusive society. www.KevinVavasseur.com, www.KevinNotes.org
Sarah Weatherwax

Sarah Weatherwax

Sarah Weatherwax, originally from the US, has an honours BFA in Acting from Emerson College. She now lives with her family in Toronto. Along with private voice/audition coaching, she's worked as an on-set acting coach and taught at various places: Humber College Comedy Program; Workman Arts, a company devoted to fine arts training for people struggling with addiction and/or mental illness; Shakespeare & Company in Massachusetts; and Straeon Acting Studios in Toronto, Montreal and Boston. She's done voice work on moreSarah Weatherwax, originally from the US, has an honours BFA in Acting from Emerson College. She now lives with her family in Toronto. Along with private voice/audition coaching, she's worked as an on-set acting coach and taught at various places: Humber College Comedy Program; Workman Arts, a company devoted to fine arts training for people struggling with addiction and/or mental illness; Shakespeare & Company in Massachusetts; and Straeon Acting Studios in Toronto, Montreal and Boston. She's done voice work on numerous shows including Young Drunk Punk, Haven, Heartland, Saving Hope, Rookie Blue, and movies such as The Book of Negroes (mini-series), Beeba Boys, Hobo With A Shotgun and The Big Hit. Her production of MUD by Maria Irene Fornes, received four (out of five) Ns from NOW Magazine, Toronto’s primary arts paper. Other stage credits include Marlene in Bordertown Cafe at the Port Stanley Festival Theatre and Violet in Farther Westdirected by Jackie Maxwell. She was the recipient of a generous grant from the Canada Council for the Arts to complete her training with the renowned Kristin Linklater in 2003. One of Sarah's numerous short stories was a finalist (one of ten selected from 500) in an international competition. Member: Canadian Actors’ Equity Assoc. (CAEA) and the Alliance of Canadian Cinema, Television & Radio Artists (ACTRA). www.sarahweatherwax.com
Ryan Winkles

Ryan Winkles

Ryan Winkles has been a company member at Shakespeare & Company since 2006 as an actor, fight choreographer, and teacher. He has acted in, or choreographed stage fight for, over 30 productions with S&Co, the majority of which were productions of Shakespeare plays. He has taught in the Summer Training Institute, the January Intensive, and nearly every S&Co Education program.

Apart from S&Co he has acted in productions from one side of Massachusetts to the other with companies more
Ryan Winkles has been a company member at Shakespeare & Company since 2006 as an actor, fight choreographer, and teacher. He has acted in, or choreographed stage fight for, over 30 productions with S&Co, the majority of which were productions of Shakespeare plays. He has taught in the Summer Training Institute, the January Intensive, and nearly every S&Co Education program.

Apart from S&Co he has acted in productions from one side of Massachusetts to the other with companies that include WAM Theatre, Bridge Repertory Theatre, and Commonwealth Shakespeare Company. Additionally, he trained as a circus artist and performed on various apparatuses with the Florida State University Flying High Circus. Ryan has held teaching positions at Circus Juventas, Flipside Circus, Trapeze School New York, Brown University, UMass-Amherst, and currently teaches at Boston University.
Kristin Wold

Kristin Wold

Kristin Wold first trained and acted with Shakespeare & Company in 1987, playing Cobweb in A Midsummer Night’s Dream and Abhorson in Measure for Measure. Acting roles with the company since then include Shakespeare’s Will (Anne Hathaway), Julius Caesar (Portia, Calpurnia, Lucius), King Lear (Regan), Dibbledance (Dancer), The Tempest (Ariel), The Memory of Water (Teresa), Sea Marks (Timothea), Othello (Emilia), Ice Glen (Sarah), King Lear (Cordelia), Twelfth Night (Viola), Measure For Measure (Isabella), Berkeley Square (Helen), Macbeth (Witch, Lady Macduff), moreKristin Wold first trained and acted with Shakespeare & Company in 1987, playing Cobweb in A Midsummer Night’s Dream and Abhorson in Measure for Measure. Acting roles with the company since then include Shakespeare’s Will (Anne Hathaway), Julius Caesar (Portia, Calpurnia, Lucius), King Lear (Regan), Dibbledance (Dancer), The Tempest (Ariel), The Memory of Water (Teresa), Sea Marks (Timothea), Othello (Emilia), Ice Glen (Sarah), King Lear (Cordelia), Twelfth Night (Viola), Measure For Measure (Isabella), Berkeley Square (Helen), Macbeth (Witch, Lady Macduff), Romeo and Juliet (Juliet). She has worked extensively in our Education programs. Kristin has been the choreographer and movement director for many of our productions. She has been teaching Movement and Text in our Training programs since 1997. Elsewhere, Kristin teaches acting and movement in the BFA and MFA Acting programs at the University of Connecticut and has directed extensively for Connecticut Repertory Theatre. Recently she collaborated with artists from both Shakespeare & Company and the University of Connecticut to create an original dance theatre piece, Thetis: Immortal Fire. In addition to her lifelong study and immersion in Shakespeare at Shakespeare & Company, Kristin has studied at Burt Reynold’s Jupiter Theatre, Florida State University and with Tadashi Suzuki in Japan. www.kristinwold.com
Dennis Krausnick (1942-2018)

Dennis Krausnick (1942-2018)

Dennis Krausnick was a founder of Shakespeare & Company and served as its Director of Training from 1993 to 2018. Krausnick was central to the creation and development of the Company’s internationally acclaimed actor training programs. He also developed a number of training programs utilizing theater training methods for corporate and other non-theater clientele. Krausnick held an MA from St. Louis University and an MFA in Acting from NYU. As a Master Teacher of text and rhetoric, Krausnick provided residencies and moreDennis Krausnick was a founder of Shakespeare & Company and served as its Director of Training from 1993 to 2018. Krausnick was central to the creation and development of the Company’s internationally acclaimed actor training programs. He also developed a number of training programs utilizing theater training methods for corporate and other non-theater clientele. Krausnick held an MA from St. Louis University and an MFA in Acting from NYU. As a Master Teacher of text and rhetoric, Krausnick provided residencies and workshops for theater companies and university theater departments across the country. As a teacher, director or guest-artist, he worked in theatre training programs across the country including NYU, ACT, Boston University, Emerson College, Wake Forest University, Southern Methodist University, University of Washington, MIT, University of Pittsburgh, University of Tennessee, Chapman University, Bradley University, University of South Carolina and Western Carolina University. As a director, his Shakespeare credits include most of the Shakespeare canon. He also directed the award-winning television special about Edith Wharton, Songs from the Heart. Krausnick adapted the fiction of Edith Wharton and Henry James for the stage creating numerous one-act and full-length plays all of which have been produced one or more times at Shakespeare & Company as well as by other theaters. Krausnick was awarded the 2006 Bingham Chair of Humanities by the University of Louisville in recognition of his accomplishments as a Master Teacher of Shakespeare Performance.

From the Alumni

Jenna Hoff

Jenna Hoff

All of the vocal and physical training we did enabled me to see how much freedom and availability are possible, which raised my expectations of myself. But for the first time I felt that I had the tools to move forward with those expectations. I can hone, clarify and broaden my Shakespeare monologues (and other pieces, too!), and I gained moreAll of the vocal and physical training we did enabled me to see how much freedom and availability are possible, which raised my expectations of myself. But for the first time I felt that I had the tools to move forward with those expectations. I can hone, clarify and broaden my Shakespeare monologues (and other pieces, too!), and I gained so much confidence, which is perhaps the most important thing. People have asked me where I ‘got so good at Shakespeare’ and I happily recommend the training programs at S&Co because I honestly think that they are some of the best training available in this country

Halima Henderson

Halima Henderson

I’ve kept busy over the past year, and I have to say that weekend intensive has proven to be very effective! Everyone always asks about it when they see it on my resume and I love waxing poetically about it! Not only that, friendships that I made during my weekend have been long-lasting, I love running into folks at auditions moreI’ve kept busy over the past year, and I have to say that weekend intensive has proven to be very effective! Everyone always asks about it when they see it on my resume and I love waxing poetically about it! Not only that, friendships that I made during my weekend have been long-lasting, I love running into folks at auditions and have coffee with folks in the city and one friend even helped to book me in my first fully compensated theater job! Those three days were successful in so many ways I hadn’t even planned on!

Lulu Fogarty

Lulu Fogarty

My experience at the 2007 Summer Training Institute was absolutely priceless….I learned to bring a sense of play to everything I do. Play might be the most important tool for an actor but it’s surprising how quickly we forget to play because we try to be ‘right.’ There is no such thing as ‘right.’ To me, this is what the moreMy experience at the 2007 Summer Training Institute was absolutely priceless….I learned to bring a sense of play to everything I do. Play might be the most important tool for an actor but it’s surprising how quickly we forget to play because we try to be ‘right.’ There is no such thing as ‘right.’ To me, this is what the training at STI is all about. These lessons??"play, trust, and be ‘wrong’??"are the most important tools an actor can ever have….Words cannot express how lucky I feel to have gotten the opportunity to train at S&Co and become part of this community.

Seth Rue

Seth Rue

Shakespeare & Company is a very special organization; one that has a long history, and carefully refined training techniques that have evolved and developed over the past 40 years. But it is the people at Shakespeare & Company that make it what it is. The staff and faculty are among the most compassionate, sincere, and knowledgeable an actor will encounter, moreShakespeare & Company is a very special organization; one that has a long history, and carefully refined training techniques that have evolved and developed over the past 40 years. But it is the people at Shakespeare & Company that make it what it is. The staff and faculty are among the most compassionate, sincere, and knowledgeable an actor will encounter, and their priority is one: to give the actor the tools they need to discover - and wield - the deepest and most whole version of themselves. Until my experience at Shakespeare & Company, I had never experienced such an unconditional and affirming love as I did from the team there, and I left with an equally powerful love for them and for my peers. It was never easy. It was never even simple. And I'm grateful for every moment.

Maura Matarese

Maura Matarese

I attend at least one workshop at Shakespeare & Company each year as it always allows me an opportunity to grow as actor, to continue to free my actor’s instrument, to meet exciting new artists from around the world, and to spend time in an environment I love, with a faculty whom I deeply respect. moreI attend at least one workshop at Shakespeare & Company each year as it always allows me an opportunity to grow as actor, to continue to free my actor’s instrument, to meet exciting new artists from around the world, and to spend time in an environment I love, with a faculty whom I deeply respect.

Teresa Spencer

Teresa Spencer

The most important thing I’ve taken from the Conservatory has been a sense of professionalism. I used to consistently walk into auditions feeling the terror of unpreparedness: even if I’d rehearsed my monologue or sides forwards and backwards, I would arrive at an audition and suddenly feel overtaken with a sense of not knowing what the hell I was doing, moreThe most important thing I’ve taken from the Conservatory has been a sense of professionalism. I used to consistently walk into auditions feeling the terror of unpreparedness: even if I’d rehearsed my monologue or sides forwards and backwards, I would arrive at an audition and suddenly feel overtaken with a sense of not knowing what the hell I was doing, and I’m sure that this came through in my demeanor and performance. Since doing the Conservatory, I’ve noticed a marked difference in my confidence. I know my way around my craft, and this changes everything about an audition situation. My pieces are well chosen and well prepared; I know how to center my breath and body; I walk in feeling relaxed and happy to be there. I feel like I belong in the room, and this significant shift in perspective has made an enormous difference for me professionally. I’m getting twice as many callbacks and jobs (yes, jobs!) as I used to. Since returning from the Conservatory, some of the accomplishments I’ve been most proud of have been a callback for Viola in Twelfth Night at an Equity theatre in Baltimore, the title role in a children’s show with Classika Theater (which I’m rehearsing right now), and an invitation to train for a month with a dance theatre company in Virginia. I’ll also be going back to Massachusetts in July to rehearse and perform two one-acts in the KO Festival. I think the best way to summarize what I learned at the Conservatory is that I went from thinking, ‘I want to be an actor,’ to knowing, ‘I am an actor.’ I feel confident in my abilities, and this changes everything about the way that I pursue work. I have a physical and vocal warm-up that works well for me and that I use to prepare for auditions, rehearsals, and performances. I know now how to prepare and how to keep text fresh and alive once I’ve “nailed it” once. All of this has made the process of auditioning so much less of a mystery… I’d recommend the Conservatory to any young actor who’s serious and passionate.

Crown

Shakespeare & Company is a professional live theatre company in the heart of the Berkshires, presenting a vibrant summer performance season featuring the works of Shakespeare in repertory with classic and contemporary plays. The Company offers one of the most extensive actor training programs by a regional theatre in the country, and is also home to an award-winning and nationally recognized theatre-in-education program.

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