The arc of production over the three years is organized so that you will live within various styles, various "stretches," in order to develop your instrument to the fullest degree possible and so be able to perform that actor's task. Faculty members support these productions with their involvement with your progress at rehearsals; and what you and they learn about you affects how they will teach you. It's a circle of learning and doing.
The first year doesn't focus heavily on productions, giving you a chance to concentrate on other things. In the second year, you are in four productions plus, usually, a special developmental project under a director with a unique script or point-of-view to be explored. The four productions range all over the world's repertory, with a special emphasis in each on an aspect of acting (physical comedy, language, character development, etc.)
The third year recognizes you as a professional in-the-making, and the productions move you toward the goal of taking your place in the world "out there." Four more varied roles culminate your training in a repertory of plays under directors of the highest professional achievement (as, indeed, is the case through all your training). A segment called "Freeplay" allows you to produce as a class six or seven projects chosen by you, cast by you, and rehearsed by directors you've chosen. Finally the League Presentations, allow you to present your work to professional agents, casting directors and producers.
Photo Credit:Ella Bromblin, George Mott
