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Parker, Corey

Corey Parker is an alum of HB Studio and the HB Playwrights Foundation. He studied with Uta Hagen and acted under the direction of Herbert Berghof in three productions. Corey has recently been the official acting coach for the CMT Series, MILLION DOLLAR QUARTET, which he also appears in. Corey has coached actors in Wim Wenders and Sam Shepard’s DON’T COME KNOCKIN’ as well as on TV shows such as MASTERS OF SEX, BLUE BLOODS, and CHICAGO MED. Corey has coached numerous actors on Broadway. Corey has taught at HB Studio, Michael Howard Studios, Susan Batson Studios, Operafest in Martha’s Vineyard, and in L.A. at Lesly Kahn’s Studio, The Ruskin School of Acting, BGB Studios, New Collective, L.A. He was Guest Artist at Rhodes College in Memphis and is Guest Artist at University of Memphis for 2016-2017. He is a lifetime member of the Actors Studio in N.Y. and L.A. and a member of the Ensemble Studio Theater in N.Y. and L.A. He has coached Patrick Dempsey, Sean Combs, Annaleigh Ashford, Naomi Campbell, MC Lyte and many others. He has appeared in BROADWAY BOUND, BILOXI BLUES, Will and Grace, Mr. and Mrs. Loving, DESTINY-THE ELIZABETH TAYLOR STORY, LOST LANGUAGE OF CRANES, WHITE PALACE, and many others. He has appeared as star or costar on ABC, NBC, CBS, FOX, UPN, PBS, BBC and guest star on HBO, Showtime and Lifetime. Corey has worked with the Steppenwolf Theater Company and has appeared at the Public Theater, the St. James, American Place, Circle Rep, Ensemble Studio Theater and in Los Angeles at the Mark Taper, the Coronet and at E.S.T. Corey is a native of New York and is a graduate of the High School of Performing Arts.

Junior Prom

Playwright: Edward Napier

Director: Herbert Berghof

Cast: Alexandra Gittes, Corey Parker

Set Designer: Lester Polakov Lighting Designer: Greg Macpherson Costume Designer: Lydia Hamza Dramaturg: Donna De Matteo Production Manager: Marlene Mancini Stage Manager: Mitzi Leone Assistant Stage Managers: Heidi Brennan, Janet Cassin, Heidi Hemingway Bendrat Poster: Robert Fleri Sound: Thomas Moffatt Production Electricians: Matthew Conlon, Leila Mansury, Susan Fowles Sound Technicians: Rebecca Nestor, Vicki Hartshorn

Junior Prom was performed March 1st – 9th

The Old Flag

Playwright: Vincent Canby

 Director: Herbert Berghof

Cast: Harold James, Corey Parker, Robert Symonds

Set: Mina Albergo Lighting: Craig Miller Costumes: Jane Greenwood Production Manager: Marlene Mancini Technical Director: Robert Fleri Stage Manager: Jolie Steckart Assistant Stage Manager: Heidi Brennan

Harrison, Texas

Playwright: Horton Foote

Director: Herbert Berghof

Cast: Leo Burmester, William Hicke, Mike Leighton, Edith Meeks, Wallace Johnson, Richard Mawe, Sarah Rush/Patricia O’Grady, Sandy Dennis/Cecilia Peck, Ha Holden/Alexander Bernstein, Sally Burtenshaw/Samantha Atkins, Corey Parker

Set: Lester Polakov Costume: Jeanne Button Lighting: Susan A. White Assoc. Costume Design: John Carver Sullivan Production Manager: Marlene Mancini Technical Director: Rober Fleri

Harrison, Texas was performed July 9th

An Introduction to Acting on Camera

Presented by: Corey Parker

This workshop is a specialized approach to on camera work. Each individual actor will receive authentic audition material–culled from guest instructor Corey Parker’s work with top casting directors–and then prepare them as if for an audition. Each actor will begin by doing an audition and then engage in process-oriented work to be clear on their choice making and how to adjust it on camera to work to their creative potential. Specific techniques will be offered to understand what the camera can do and how to work with it effectively. This will be a positive approach to audition and on set camera work, designed to support the actor and utilize the training each actor has developed in order to create the authentic actor.

The second step will utilize prepared monologues to bring to light the actual difference between stage and camera work, as well as how this difference can be utilized to show the actor off at their best in every audition. The work will involve the actor’s instrument, the actor’s sense of truth, and the actor’s choice making and putting those choices into their work.

Session three will build upon steps one and two in watching the footage and discussing where each actor’s strengths and weaknesses will both be beneficial to the work if used properly. In the on camera process, an actor’s inner feeling toward the camera and toward themselves is important, and Corey’s supportive work will allow the actor to grow and find themselves in the equation of their work and their future on camera.

Alumni

HB Studio’s alumni include many noted theater, film and television artists. We value their support and participation greatly. If you are, or have been a student at HB, we hope you’ll stay in touch and keep us apprised of your activities! alumni@hbstudio.org

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