Discounts valid for classes only; not valid for workshops, programs or merchandise. Discounts cannot be combined nor applied retroactively. Union discount available to AEA, AGVA, AGMA, SAG/AFTRA, WGA and Dramatist Guild Union Members.
Attention F-1 Students: If you are eligible for Optional Practical Training at the end of this term- SPRING 2019- there is an invitation and information for you in the “Student Mail” folder in the office.
Please see Angela or Snezhana the International Student Advisors with any questions.
Frank Wood stars in the Broadway production of NETWORK opposite Bryan Cranston. Performances close June 8, 2019.
Maria Fontanals received a 2019 Latin ACE Award for Best Drama Actress for her performance in EL DIVÁN.
Mark Blum appears in the Netflix original thriller YOU, streaming now.
Paul Prycewon two major awards for his original television series SERPENTS MOUTH at the Caribbean Tales Incubator Film Lab, ‘The Big Pitch,’ at the Toronto International Film Festival. His pitch for SERPENTS MOUTH was voted Best Pitch by a panel of judges and received the People’s Choice Award from an audience of media and industry professionals at the event.
Susan Stein will perform her one-woman play ETTY, directed by Austin Pendleton, at 92Y on May 2, 2019.
Sally Burtenshaw performs A LIE OF THE MIND by Sam Shepard at Match Arts and Theatre Center, May 24 – June 8, 2019.
A reading of Natalie Bates’s PRO BONO, performed by Jody Prusan, will be held at the Grand Central Library on April 25, 2019. Bate’s monologue OVER EASY was also published in BEST MEN’S MONOLOGUES OF 2019 (Smith & Kraus).
Hugh Heckman performs in the role of Everett in the musical CRAZY FOR YOU at The Heights Players of Brooklyn, May 3-19, 2019.
Mitch Tebostars as Andrew Carnes in the Broadway production of OKLAHOMA! Previews began at Broadway’s Circle in the Square Theatre on March 19, 2019 ahead of an official opening on April 7, 2019. It will play a limited engagement through September 1, 2019.
“That really is my ambition: how to have a conversation so that the space can hold discomfort, so that the thing isn’t a thing that you have to put over there, so that we can get over ourselves, in a sense — and I mean all of us, people of color, white people — that we have, suddenly, a moment where we have an investment in a kind of possibility that is beyond our negotiation of each other. I think the messiness of just saying what it is, when it is.”