Now Enrolling for Private and Pairs Acting Lessons

BNTC is currently offering private lessons at the Fly Loft at 117 N. Boston Ave. We have openings for one middle school student and three high school students. If you would like to be considered for one of these openings, please call our artistic director, Kara Saunders at (918) 978-BNTC.

The middle school opening is for a student who would be paired with a sixth grade actor. The rate for this opening is $120/month and lessons will take place from 3:30pm to 4:30pm each Tuesday.

Sessions for high schoolers will include private lessons on the first and third Tuesdays of each month and a pairs lessons on the second and fourth Tuesdays of each month. The rate for these lessons is $180/month. Sessions are available according to the schedule below:

Pair #1 – Partner number one is already booked for 4:30 to 5:30 each week (on odd weeks this time slot will be shared with partner number two). Partner number two will be booked from 5:30 to 6:30 on even weeks.

Pair #2 – Partner number one will be booked from 6:30 to 7:30 each week (on odd weeks this time slot will be shared with partner number two). Partner number two will be booked from 7:30 to  8:30pm on even weeks.

Take Me Back To Tulsa: Introducing the Center for Creativity and Leadership

It’s been quite a while since I’ve have posted. BNTC is an artist driven organization so, BNTC goes wherever I (Artistic Director, Kara Saunders) go. When I am in one place long enough I set down roots, offer acting classes and collaborate with local playwrights and performers to produce new work. When I have short-term engagements that occupy a great deal of my time, I step back from classes and BNTC projects. For several months before leaving Austin, Tx, I worked exclusively with Creative Action bringing creative education into schools and heading up an after-school arts program. After wrapping up the school year, I headed back to my home town of Tulsa, Oklahoma to connect with the Creative Director of a new arts academy that is just starting out in the city.  I offered insight into the development of the academy’s theatre program and stepped in as the Director of the Theatre Department for the 2013-2014 school year.

My work with the art’s academy as well as work with students in a number of Austin schools has inspired me to launch the BNTC Center for Creativity and Leadership. For several years now, I have been working with other arts organizations to offer programing that uses arts education for social change. When it comes to working with elementary aged students, I find that offering a broad spectrum of arts/social-emotional education opportunities  is more rewarding to me as a teaching artist than focused instruction on theatre skills.  I believe that younger children have more to gain from using creative exploration to get to know themselves and the world around them than they have to gain from trying to become experts in one specific art form. The Center for Creativity and Leadership is my way of making space for that kind of learning and growth in young children.

At this time I am on the look out for a temporary home from which to offer Creativity and Leadership classes to kids as well as focused acting instructions for Teens and adults. If interest is high, BNTC will look into opening a dedicated studio in Tulsa’s Brady Arts District.

I strongly encourage you to check out the BNTC Center for Creativity and Leadership dedicated website.

Origins of “Radio City Austin”

The Project

BNTC’s first production since moving to Texas will be an eight episode comedic radio serial style podcast called, Radio City Austin. We moved into the BNTC Studio in November and spent our first several months reaching out to the local community by offering acting classes and workshops. Here’s a little background on how the project came about:

The Origin of the Radio Serial Podcast Concept

I am an ideas person. I have new ideas for projects, classes, workshops and a variety of other BNTC oriented activities every day. I am also a practical person. Pretty much every time I have a new idea, my knee jerk reaction is to pull out a calculator and start doing cost benefit analysis. This is a terrible habit in the life of a creative person but a very healthy habit in the life of a business person. Since I am both a creative artist and a business owner simultaneously, I struggle to find the balance and often err on the side of over analysis in an idea’s early stages.

As BNTC’s Artistic Director, I wasn’t entirely convinced that it was time yet to begin development on our first Austin production but when this project presented itself I felt connected to it right away. The more I started thinking about the logistics of it, the more I began to perceive it as the perfect next step in our efforts to establish a meaningful connection to the city and its artists.

The idea came about by accident when I happened to overhear a conversation between two actors who were involved with work at the BNTC Studio. They were having a conversation about radio serial dramas. The second I heard the words “radio serial” my mind started racing. I got swept up in the idea of creating a radio serial style podcast and was so excited about the concept that I arranged a meeting to discuss my thoughts about it with the actor who’s conversation I had overheard. I told him all of my ideas and we exchanged thoughts on how we might approach a production. About thirty minutes into the conversation I paused to say that I wanted to make sure I wasn’t stepping on any toes. “I overheard you talking about this to another actor,” I said. “Was this a project you were already planning with someone else?” He laughed and said, “No I was talking about a completely different project that I did a while ago,” and he went on to explain the project that he had done. I realized, as I listened to him explain the actual conversation he had been having, that I had come up with this entire production idea based on a misinterpretation of a conversation I had overheard in passing. Then I had walked away and filled in all the blanks in my understanding with the ideas that excite me most about BNTC’s potential as a source of new works. Having ordered my thoughts around what I thought I had overheard, I then took the all-important next step of moving from idea to action. I broke through the “over analysis barrier” not because I had enormous personal confidence in my plan but because I believed that it was someone else’s plan all along. Then, because of my willingness to invest in the idea, I had convinced someone else to support it without even realizing that I was “giving him a pitch.” I believed he was already invested in the idea because I thought it was his idea. Then he, in turn, was inspired by my enthusiasm for the idea and began to encourage it’s further development. Up to that point, the entire project was just a bunch of misunderstandings that shaped up into an exciting framework for a new project. Once that the framework was in place and the energy was behind it, the hardest step in my creative process, that of moving from idea to action, had been taken without me even realizing I was doing it.

The Structure 

The basic idea of a radio serial podcast was easily agreed upon but finding the right structure, setting and organization of the rehearsal process was a challenge that required a lot more consideration. I wanted to go into the process as open to new ideas as possible and that meant limiting the amount of planning that took place before the writers were hired and the core cast members were selected. I am dedicated to the idea of creating new work with both actors and writers. New work is what the Brand New Theatre Co. is about. If we aren’t creating things that are new, we either have to come up with a new name for the company or move to a new city every two years. In comparison with those options, creating new work seems both easier and more enjoyable. On the other hand, creating a series from scratch with literally no idea of what the structure, plot or characters will look like isn’t exactly a low-risk situation.

I was convinced that the value of this project for BNTC was it’s contrast with the prospect of devising a full length play at this stage in the company’s development. Doing an audio serial that didn’t require sets and costumes and for which episodes only needed to be about fifteen minutes in length, gave me the opportunity to make connections with a number of writers simultaneously while also enabling me to cast and get to know up to a dozen actors in the span of three months. This was a stark contrast to the option of producing a devised play, which, with BNTC’s current production budget, would only give me the opportunity to work with one writer and with no more than four actors on a project that would take up to four months to carry out.

The tricky aspect of any project that BNTC undertakes at this stage is that none of the writers and actors who will be involved in the project will have had any previous experience devising new work together. There isn’t a standard structure for devising that is shared among various theatres. Most writers and actors have little or no training or background in devising and in any devising situation the company has to develop its own individual process.

The Process

Starting to develop a new devising process is difficult and intimidating but the fast and furious nature of trying to produce eight new scripts in three weeks actually felt more liberating than intimidating. It gave me the opportunity to turn up the heat from the very beginning and keep everyone focused on getting any idea that came through their head right out onto the table. It can be very difficult building openness and trust with a new group because no one wants to suggest a concept or improvise a scene that makes them appear to be less “creative” or “talented” than the other members of the group. Fortunately, one thing that is more scary than the prospect of having a “dumb” idea is the prospect of having no script at all when the audience arrives. The serial will be presented as a reading, not a play, which means rehearsal time is short. There is no time for worrying about what might go wrong. There is only plunging ahead, staying open to new ideas and being honest as quickly as possible about what isn’t working in order to have time to make adjustments.

The writers began working with the actors from the get-go. In fact, I auditioned the actors first and invited some of them to come along to the writer’s audition. This gave me the opportunity to see how each actor dealt with the challenge of experimenting with prompts provided by writers. It also showed me how the writers dealt with the challenge of allowing an actors’ interpretation of the writer’s ideas to open up new directions for plot/character development.

The wonderful thing about a devising audition, is that you don’t have to reject talented people just because they don’t fit a specific part. Instead you write the role for the actor. On the other hand, neither writers nor actors can be cast based on only their writing or acting ability. The main challenge in the audition process is to try to weigh out, in a very short amount of time, who will be open to collaboration and who will struggle with give and take once they get attached to their ideas. There will always be some struggle in the devising process but there is nothing that puts the breaks on collaborative creation more quickly than a collaborator who has a tendency to foreclose on their own ideas rather than allowing their creativity to be influenced by other people’s contributions.

As soon as the series was cast, the first challenge I was faced with as the coordinator of the overall creative process, was to sort out everyone’s schedules. On the up side, I was blessed with a talented cast of in-demand actors, improvisors and writers. On the down side, being in demand meant that most of my performers had very limited schedules. The first real challenge for the writers was to come up with a plot-line that was flexible enough to allow actors to miss episodes while maintaining each character’s role in the overall plot development of the series. We started with a full-cast and writers workshop to brainstorm possible scenarios that would engage our own interest and the interest of an Austin audience while also allowing us to introduce new characters from one episode to the next without disrupting the plot. After the initial workshop, I met with a couple of the writers to map out the overall plot structure.

We then moved on to the workshopping phase during which I directed two weeks of interactive meetings between actors and writers. The structure of each meeting varied depending on the particular writer’s approach and ideas. Some meetings took the form of round table character discussions. Some meetings looked more like improv rehearsals; and one meeting even involved exercises influenced by Suzuki Technique which involves a lot of stomping around with your legs contorted into strange positions.  At the end of every meeting the writer was tasked with the challenge of combining their portion of the overall plot structure with their workshop experience in order to produce a draft of an episode.

Ideally, I would like to develop a devising process that involves a lot more give and take between writers and actors throughout the development process but this project, for BNTC, is a lot more about laying a groundwork for exchange and getting to know a number of different artist’s processes. Later, I hope that some of the ideas and approaches that came out of these workshops will resurface in more extended devising projects but for now the idea is just to push past the initial psychological resistance that occurs when trying to create something new, with new people, in a new environment. I believe that the result will be something that we can all be proud of but that we also have great ideas for improving on as the podcast develops.

We are quickly coming to the end of phase two, the “solo” writing phase. For the most part the writers are working on their own to complete their drafts but, of course, the fact that each person’s episode has a major effect on every other person’s episodes means that the writers are in constant contact throughout the writing process.

When the drafts are complete we will have rehearsals that are open to writers and later run-through rehearsals with the final drafts of the scripts. The rehearsals for early episodes will begin next week and episodes that occur later in the season will be rehearsed while we are already in the process of recording the first several episodes.

Production and Distribution

Each episode will be recorded in the BNTC Studio in front of a live audience on Friday nights starting April 6th and running through May 25th. Tickets to attend a live recording can be purchased from our online ticket office. We are currently only selling tickets for one show at a time so you’ll only be able to buy tickets for the next available performance. If you would like to reserve tickets to a specific production, however, you can email brandnewtheatre@live.com to request your seats.

The recordings will be distributed as a podcast. More information about the release date will be posted here on the website as it gets closer. If you would like to be on a mailing list to receive information about podcast distribution you can let us know by emailing brandnewtheatre@live.com.

First Seats, Now Butts

They'll look better with people in them.So, as it turns out, starting an acting studio in the middle of November does not lead to instant fame and untold fortune. Thankfully, I anticipated this going in. I knew the first few months would be a struggle financially so my focus for November and December was to set my sights on enrollment for January and February classes. People asked questions about our production plans but, though I had some plans brewing, I didn’t feel that I could commit to them until I had seen how enrollment for spring shaped up.

In the meantime, I had a casual conversation with a friend about an idea for a podcast. The conversation turned into plans and plans turned into auditions and the next thing I knew I was in the middle of looking over drafts for the first season of BNTC’s Austin-based comical radio-soap-opera-style podcast which is almost completely written now but still doesn’t have a title.

Here are a few things that the first few months of owning an acting studio have taught me:

  1. If you put the word “theatre” in your title, it doesn’t matter how many times you tell people it’s just a studio. They will think it’s a theatre until they show up and see it for themselves.
  2. You can tell yourself ahead of time not to stress out and just to enjoy the adventure but…let’s be real…if an adventure isn’t stressful it’s not actually an adventure. It’s just a thing that you are doing that doesn’t really matter much.
  3. Enthusiasm breeds enthusiasm. The truth is, I want to be creating something brand new. That’s why it’s called the Brand New Theatre Co. So feeling that I had to put all of my focus on filling classes was really starting to get me down. Let me be clear, I love teaching and I think I have a lot to offer as an acting coach but if teaching was the only thing I wanted to do, I could teach at someone else’s studio, school or university and not have to promote my own classes. I started my studio to create brand new work in collaboration with writers, actors and other theatre professionals and the longer I put off fulfilling that goal, the more the energy began to drain out of the entire enterprise. I fell into the podcast idea by accident but, as soon as the idea came up, I found the energy I had been lacking. It wasn’t just my own energy that improved either, I was suddenly having the experience again that had first attracted me to Austin. Everyone I mentioned my ideas to said, “That sounds exciting! I want to get involved!” Suddenly the level of enthusiasm surrounding BNTC seemed to lift up the entire studio and start moving it forward.

I am reassured every day that the third lesson is the most important one I have learned so far but that lesson doesn’t solve the problem of chairs. You see, it made the most sense to record the podcast in the studio. I’m already paying for the studio so why would I rent another location? But the studio is only big enough for an audience of about 30 and, if we wanted to sell tickets to a live studio audience in order to fund the project, we needed to have chairs to seat them in. So…here’s the dilemma: One chair costs $30 to buy but the tickets are only $10. That means that we have to seat three people in each chair in order to pay for the chair. And that wasn’t the only issue. It turns out, it’s not just chairs that cost money. It’s everything! This, of course, was why I was so intent on making sure that my classes were making a profit before starting a production. That’s just the way I think, I have this wacky idea that I should make money before I spend it. That little hang up is the thing I struggle the most with when it comes to creating theater: the terrifying idea that you have to start producing shows before people will pay you for the tickets.

So, of course, I began to work on all of the things that scare me the most about being a theatre director: budgeting, fundraising and marketing. It’s not that I don’t like doing these things. It’s just that I don’t want to fail at them and, as an acting coach, I find that when you get too committed to “not failing” you stop doing anything worth doing. As an artist I am absolutely committed to the belief that failing is part of the process. I accept it and I don’t let fear of failure keep me from trying to create something new. I’m finding that learning curve to be a bit more difficult from the business management perspective. Of course, failing doesn’t have to mean that you loose a lot of money. It could just mean that you didn’t get it the way that you thought you would and now you have to try something new.  Then, just like it does in art, an answer that you never would have expected sometimes reveals itself at just the right moment.

For me, that answer came in the form of chairs. It turns out that I work with someone who is connected to an organization called the Austin Scenic Coop. They have just gotten started so I could have researched online all day and I wouldn’t have come across them. Nevertheless, I got connected with them and they rented me 30 of the ugliest chairs I could possibly have wished for at only a fraction of the price I would have paid to purchase them!

To someone who has not been stressing about chair prices for the last month this may not seem like a big event. “Yup,” you might say, “people do that. They rent out chairs.” Yes, yes they do…and I found some I could afford and I rented them…and that might not seem to you like it’s worth writing a blog post about but to me it’s a major victory. Isn’t that funny? I auditioned actors, hired writers, cast a show, created an incredibly complex rehearsal schedule in order to ensure that I got the best talent available and oversaw an absurdly complex writing process that resulted in eight scripts in a matter of just a few weeks…but the aspect of the process that I choose to write a blog about is the chair rental.

Why? Because of lesson number four:

          4. Fear of failure stops progress but minor successes in your areas of highest    anxiety will spur on even more success.

I hope I’m right about lesson number four. I’ll be unrolling our marketing and fundraising campaign this week. I’ll let you know how it goes.

Auditions/Interviews for Writers and Actors

“Saturday Morning Serial” Podcast 

Saturday, February 25th at the BNTC North Austin Studio

8701 W. Parmer Ln. #1122

Actors: 10am to 12pm

Writers: 1pm to 3pm 

BNTC is in the early phases of developing a radio serial that will be distributed as a podcast (and potentially expanded into a web series). The concept of the serial is to feature different Austin based talent each week. Each episode will be written by a different writer but will feature the same cast of actors. Every week, the new writer will build on the script that was produced the week before and add their own personal twist to the plot. Each new episode will also feature a different guest musician. Script writing will begin in March and live recordings will begin in April.

 Writers

Interviews/Auditions Saturday, February 25th from 1pm to 3pm.

Please bring a five-page writing sample (we would be thrilled if you emailed it ahead of time to brandnewtheatre@live.com). The interview/audition will consist of group discussions and devising exercises lead by the podcast’s director/script supervisor.

 Actors

Auditions Saturday, February 25th from 10am to 12pm.

The audition will consist of cold-reading and improvisation exercises. Some actors may be called back for a follow-up audition which will involve interaction with writers from 1pm to 3pm. (If you would like to send your resume ahead of time, please email it to brandnewtheatre@live.com.)

 Musicians

If you would like to be considered for inclusion in the musician pool please email your contact information to brandnewtheatre@live.com with the words “Radio Serial Musician Pool” in the subject line.

Audience Members

The show  will be recorded live on Friday evenings in April and May. If you would like reserve tickets to attend an in-studio taping or, if you would like to receive the link to download the show, email brandnewtheatre@live.com with the words “Tickets for Radio Serial Taping” or “Link to Podcast” in the subject line.

Sponsorship/Donations

If you are interested in becoming a Sponsor or donating to support the project, we would be happy to send you more information. Just email brandnewtheatre@live.com with the words “Radio Serial Sponsorship Info.” or “Radio Serial Donation Info.” in the subject line.

Germination

About ten years ago I drove off the road and did $500 worth of damage to my VW Bug. I was driving home from work, distracted by thoughts of a project I wanted to launch, when suddenly I realized that I had veered off the road and onto a curb. Rather than putting the car in reverse and easing back in the same direction I had come from, I drove forward off the corner, not realizing that there was a drainage ditch on the other side. In a bigger car this wouldn’t have had much of an impact but in in a VW Bug, the sides of the car are only a few inches off the ground. As my front wheel came off the curb I felt the front of the car dip into the ditch and the side of the car scrape along the concrete leaving a deep indention all the way from the front wheel hub to the back wheel hub. That experience taught me a lesson that I still have to recite to myself  just about every day: Don’t think about new projects while driving.

Just yesterday, on my drive home, I put this axiom to use as I found my car veering ever so slightly to the left while I pondered a project I hope to get started with this month. As I willed myself to put all thoughts about the new project on hold until I got home, I was reminded of the project I had been pondering during that moment a decade ago. I realized that, three years before I started the Brand New Theatre Co., the project that had me so distracted was an idea for developing new work based on improvisation. I wasn’t familiar with theatre devising at that time but, even then, before I had any real intention of starting a company, before I had any experience in theatre administration, before I even saw myself as a director (rather than an actress), the ideas about theatre that excited me enough to make me drive off the road revolved around projects that were developed in the studio through collaborative processes.

When I started BNTC three years later I still didn’t know that I wanted to do theatre devising. I knew that I wanted my company to produce New Work but I didn’t have any concept of how New Work could be developed in a devising context. What I did know was that the idea of creating something Brand New excited me. So I focused on directing plays that hadn’t been seen before and producing monthly improv shows. This work eventually lead me to pursue further study in London where I learned about the concept of theatre devising. I connected with the idea immediately and began processing everything I knew, and was learning, about actor training through the filter of developing a creative process that fostered collaborative theatre making (aka: devising).

When I think about the major themes my creative interests tend to revolve around, I’m often surprised at just how far back into my experience I can recall moments of excitement about those ideas. I think the ideas that excite me most as an artist have been germinating since I started acting at elven years old, or maybe even earlier than that. In one respect it’s exciting to think that my most important artistic themes have always been with me and that when I’m working on projects which bring these ideas to fruition, I’m bringing out work that has been building up in me for a very long time. On the other hand, though, it’s a little bit discouraging to think that maybe only a few major ideas have ever really stuck with me and maybe I’ll just keep recycling those ideas for the rest of my creative career.

When I think about that, I’m glad that one of my major artistic themes is the idea of a collaborative creative process. One of the things that makes devising unique is that the process isn’t dependent on the creative themes that have been germinating in one particular writer or one particular director. Every person involved in the process has the opportunity to bring out the ideas that drive them creatively and to allow those ideas to interact with the ideas that have been germinating in the other members of the creative ensemble. To some degree this happens in every theatrical production but I think it is heightened in the devising process.

I love the idea that we are all walking around with the seeds of a creative process or artistic theme growing inside of us but the way those ideas develop will depend on how they are cross germinated with other people’s processes and themes. We can get to know one another’s work and have some idea of where a cross section of our interests might take us but we can’t entirely control the way our ideas will change one another. In the collaborative process we have to allow one another to mess with our precious pet ideas and see what happens when someone else gets their hands on them. It’s all the fun of experimenting with the ideas that excite us most combined with the challenge of giving up control over how those ideas will be interpreted and expressed.  And, at the same time, its an opportunity to see what ideas have been growing in the people around us while we’ve been busy focusing on our own personal interests.

I get really excited thinking about the possibilities involved in that exchange but I’m about to get in my car and drive to a production meeting so, for the safety of everyone on the road, I’m going to put my excitement aside and try to think about something boring.

Brand New Year, Brand New Plays

"We need to get serious about devising that new play!"..."I don't know, maybe we should put it off some more."

There are a million ways to create brand new theatre but with a world of possibilities available to you, it can be difficult to pick one approach, stick with it and make your ideas a reality. If you want to be a part of developing brand new theatre in 2012, get started on the right foot by participating in one of the Brand New Theatre Co.’s theatre devising workshops this January.

Here’s how the BNTC Brand New Year, Brand New Plays Project works:

  • One playwright will be teamed with two to six actors.
  • Each team will attend a four session workshop.
  • The sessions, which are three hours in length, will take place either over the span of one work week (Mon-Thurs 6:30pm to 9:30pm) or over one intensive weekend (Fri 6:30pm to 9:30pm and Sat 9am to 8pm) during the month of January.
  • Each participant will work directly with BNTC staff to book the session in January that works best for his/her schedule.
  • BNTC’s Artistic Director will guide each team through a series of devising exercises designed to kick start the creative process while giving depth and structure to ideas about Plot, Character, Setting and Conflict.
  • At the end of the four sessions writers will have a framework for a one-act play. They will then have until the end of January to produce a working script.
  • Teams will come back together for one more session between Feb. 1 and Feb. 8 during which they will read the script, have the opportunity to make minor adjustments and come up with a presentation plan (note: most presentations will consist of a simple script reading).
  • On the weekend of Feb 10-12 (specific date TBA) the works-in-progress will be showcased at a BNTC fundraiser. The audience will have the opportunity to donate to BNTC by purchasing as many votes as they would like. They will then vote on the work-in-progress that they feel has the most potential to become a successful completed theatre piece. The winning team will take home a portion of the audience’s donations as their prize.

Important Notes On the BNY, BNP Project:

  • The entry fee for participating in the project is $75/person. (This is half BNTC’s normal workshop fee because the BNY, BNP Project is still in the pilot phase.)
  • Because this is a pilot project, BNTC cannot make any guarantees about the outcome of each workshop. BNTC will support writers in the development of their works-in-progress but participants must be prepared for the possibility that their work may not be presentation ready in February. BNTC will make every attempt to ensure that each group has a presentation to offer but we cannot give refunds to groups that are unable to produce suitable scripts in time for the presentation event. 
How to Sign Up
Fill out the form below. You can sign up with a group or as an individual. BNTC staff will be in contact with you about scheduling your specific workshop dates. We will contact you first by email but we may need to follow-up by phone to ensure that we have scheduled you with a group size and workshop dates that you can commit to. You do not pay until an entire team has been scheduled for the workshop dates you have selected. Remember, the sooner you sign-up, the more likely you are to get the workshop dates that work best for you.

Free Kids Classes – November 19th

Trying something new can be stressful at any age. Before you make the investment of enrolling your children in the acting classes BNTC is offering this winter, why not give them a chance to get the first-class jitters out of the way by bringing them to a free trial session? The sessions are designed to be a fun low-pressure experience that will help you and your child to see if BNTC is a good fit! Parents will have an opportunity to ask questions at the  end of the session and will also be given a 25% tuition discount for the month of January if they decide to enroll.

Sign Up Today! – Spaces are Limited

Welcome to the Theatre for Pre-School and Elementary Students

  • Free Introduction Session for Kids: 11am to 12pm
  • Question and Answer Session for Parents: 12pm to 12:15pm

This class is an opportunity for students aged 4 to 10 to meet the teacher of the classes, Story Telling and Dramatic Play (for 4 to 6 year olds) and Welcome to the Theatre (for 7 to 10 year olds).  Students will meet some of their potential classmates, play some fun and easy theatre games and learn one or two things about what it means to be an actor.

Acting and Improv for Middle and High School Students

  • Free Introduction Session for Kids: 12:30pm to 1:30pm
  • Question and Answer Session for Parents: 1:30pm to 1:45pm

This class will introduce the ideas that will be taught in both Acting and Improv (for 11 to 13 year olds) and Acting, Improv and Shakespeare (for students aged 14+) . There won’t be any Shakespeare yet but there will be acting games and an introduction to improv to help students build confidence and show them how much fun BNTC acting classes will be.

Number of Spaces Still Available:

Welcome to the Theatre – 2

Acting and Improv – 5

Interview with BNTC’s Artistic Director

A basic overview of what the Brand New Theatre Co. is all about and how you can be involved.

Please Note: The Brand New Theatre Co. is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of The Brand New Theatre Co. must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

Pre-Enrollment Has Started!

Winter 2011

BNTC is moving to Austin this fall. We want to thank you for being among the first of our Austin students by offering a 15% discount on the Jan/Feb adult acting classes and a 25% discount on the first month’s tuition for children’s classes. All you have to do to pre-enroll is fill out the electronic form below before November 15th. For children’s classes, not only will you receive a tuition discount, you will also be invited to attend free open-house classes in November/December so you’ll know what to expect in January!

Winter 2011