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2002 – 2003

I came to Hb fresh out of high school and hungry for serious acting training. The lessons I gleaned my teachers Lorraine Serabian, Mary Anthony, Rasa Allen Kazlas & Ian Marshall have ended up shaping the path of my life in ways I never could have anticipated. Lorraine imparted the importance of experiencing all I could out of life and not being afraid or judging the moments that were difficult, but to embrace them, observe myself and use it to stay connected & focus each aspect that is within me. My time with Mary Anthony was interesting; I feared her because she was harsh, honest, passionate. She didn’t hold back anything to be nice. She challenged everyone in the class, especially me, in the way that I held my body and took care of my most precious vessel for acting. I credit her with planting the seeds that grew a newfound interest I took in the health and awe of my body. I am now a dancer, I think because of her. As a result of her and Lorraine’s wisdom about traveling to observe and throw oneself into Life, & learning how to respect and play the body like a beautiful instrument, I have found myself on a journey as a teacher & performer of Flow and Fire dancing. My improv and acting training has given me a unique edge as a performer, and I even incorporate exercises out of Challenge for the Actor into my classes, to bring more meaning and connection to students’ relationship to the objects with which they dance. Hb started it all for me!

1988 – 1993

I was fortunate enough to study with Uta Hagen, Earle Hyman, Doreen Cannon, Ellen Foley, Elizabeth Hodes, Mary Anthony and the incomparable Sandy Dennis, for whom I was key student for 2+ years. The superb instruction I received at HB has helped me bring characters to life with vibrancy and truth — creating, as Earle Hyman put it, “formed living.” Thank you, HB.

2014 –

After yesterday’s improv class, I found myself thinking deeply about what it means to be an actor and would like to share a few thoughts I had.

To some degree acting is a profession of the highest calling. Higher then clergy, higher than law, higher in psychology and higher than teaching because to some degree it incorporates all of those professions. The actor uses his body as a tool. His aim is to present elements of the human condition in it’s most authentic, original unadulterated form for the state of learning about what it means to be alive and for healing. The actor uses his body as his instrument, his tool. With courage, he aims to delve into the deepest canyons and the darkest alleyways of what it means to be human under intimate, personal, and turbulent conditions. So the actor must be willing to go there within himself first. The actor must go to places within himself over and over again and play, get familiar with, and present his findings. Healing must be part of the process. The actor must pursue healing in his life. Healing through familiarity. Healing through experience. Healing through presentation. In other words, complete familiarity with all of the darkest alleyways and deepest caverns and scary haunted hallways. Familiarity in deed; with all of these places and bring them to the light. And what that really means is in a quite literal way. Bring these dark deep personal states of being that exist within the mind and the memory and to an extent the imagination, into the manifested world of the five senses through his body and quite literally in front of the spotlight or stage lights for that matter. So please, understand that acting is a noble profession of the highest calling.

1952 – 1955

I remember my first day, and cognizant of the sign that said, “do not enter while a scene was in progress.” so I didn’t. But when I did there was Geraldine Page receiving her critique after doing a scene (the opening one of course) of Masha’s in “The Three Sisters.” Oh what I had missed!
But most of all, and through those lucky years, I remember Uta…in her little hats and with her little dog…and remember that of all the teachers I studied with and there were more…Uta cared first and foremost and always about beauty. Her love of our art was palpitating…true, sincere and her critiques incisive. I remember such words from her how the word “just” is never to be used. Her insistence on “Action”…and remember, every minute of her teaching, was infused with love…

1985 – 1987

I studied with Uta Hagen’s protege, Charles Nelson Reilly at the Burt Reynolds Institute. With his recommendation I auditioned for Ms. Hagen’s class, even getting the chance to act with her in class on a scene from FRANNY AND ZOEY. Ten years later I associate directed Ms. Hagen in the premiere of AFTER ALL/Vincent Canby, co-starring Fritz Weaver and directed by Charles Nelson Reilly. It was such an honor to work on, to co-create, a new work of art with the greatest of artists, Ms. Hagen. I now write and direct short films and teach her process at the Broadway Theatre Project, around the world: The Netherlands, Israel, Panama, Venezuela, Canada, and across the USA, with clients starring on Broadway, ABC, CBS, Nickelodeon and telenovelas.

1961 – 1963

My days at HB were at a very exciting time for the studio. Herbert (although quite aware of the burgeoning theater in Germany with the Berliner Ensemble making a strong move on the international theater scene with works of Bertolt Brecht) was insistent on his great desire to promote only American work. So, I was glad to be in the presence of this great man of the theater who was so excited about finding new American work.
But my experience at HB was actually in the atmosphere of Bill Hickey, whose look at life was so unique that every actor in his class went home with the knowledge that he or she was a special person, a one-and-only actor with the absolute right to express their individual talents and surprise even themselves. My greatest challenge in that class was to make Bill Hickey laugh and if I did, I knew it came from a truly unique place in me, because that’s what he inspired us to do. Yes, it was a very exciting time for me and the true beginning of my career.

1992-1999

#HB70 I moved to NYC in 1992 specifically to go to HB Studio. Took Elizabeth Dillon’s acting master class. And took song performance classes with Michele Grace, accompanied by Noel Katz. Still picking the Hoosier hay out of my hair, I was so lucky to be recommended for and then cast in the benefit cabaret that year, directed by Charles Nelson Reilly and staged by Donna McKechnie. I got to share a spot at dressing table with Anne Meara. The years at HB were a superlatively formative for me and led directly to my work today, every day singing Illustrated Songs (and writing a blog about it, Sing Books with Emily) to children in classrooms and libraries, still using everything I learned from the amazing and inspiring teachers at HB. I am grateful and always delighted for the chance to pass it on.
My tribute to Charles Nelson Reilly and my first cabaret at HB Studio:

2013-2015

When I first came to HB I was eager to explore and rediscover my childhood love of acting. From the moment I walked through the doors, I knew I had found my happy place. I began my studies with Michael Beckett and couldn’t wait to go to class every week to learn more. Through his guidance I began to grow more and more as an actor than I had ever hoped to. His respect, love, and experience for the craft is visible in every single session with him. I am beyond grateful to HB and to Michael for providing me with the best institution possible to grow and learn as an actor. These last two years studying at HB have truly been incredible and I look forward to many more years here.

1993-1995

In fall 1993, I studied stage management with the late Michael Foley and Bill Walters. I had the honor to work with Uta Hagan, Fritz Weaver and Charles Nelson Reilly as an ASM on Vincent Canby’s “After All”. I remember Ms Hagan would bring her dog GB to rehearsals and she called me “The Saint”! I guess because I rarely complained and tried to stay focused. I also had the pleasure to work with the late Marjorie Sigley, better known as Sigi on a the holiday production, St George and the dragon at Christmastide, which happened to be one of Ms Hagan’s favorite plays. She attended almost every performance. In addition to these productions, I worked on many workshops with talented, professional artists. My time at HB, taught me discipline, organization and boosted my self esteem. I am very proud to have been a student and part of such an esteemed school. I know my experience was not unique, but want to express my gratitude for being given the opportunity to work with your playwright foundation.

~1980s – ~2000s

Time never went so fast! It was love, I started in my 40’s. I studied Musical theatre, acting, speech. I worked with some great teachers. HB was my theatrical home. I found who I was, it gave me my true soul. I go back now and then for fine tuning. Ive done great things in the biz. And at 78 still going. Never say never. My thanks to Herbert and Uta for this place I call home, that has love overflowing.

MY THEATRICAL HOME