A Westside Experiment
Young Actors Laboratory
As the parent of a theatrically inclined adolescent, IRT’s Westside Ex
-Joe Matunis, Father of Maya Matunis
For Ages 10-17
Dates: July 5-9, 12-17, 2021
Performances: Sat. July 17, 2021 11am
Location: Classes Remote over Zoom,Vimeo and some opportunity to be live in person.
Contact IRT: 212-206-6875 email@example.com
Since 2007, IRT Theater has served the downtown theater community by providing space, support and community for independent artists through its 3B Development Series. An offshoot of IRT’s 3B Development Series, the Westside Experiment offers students the skills to create original devised theater in collaboration with a working theater company in residence at IRT.
The progressive Young Actors Laboratory program still covers all the theater essentials, like physical-acting technique, improvisation & script writing, but with a decidedly downtown twist. This years unique summer experience will include a fusion of sign language, spoken word, mime, storytelling, dance and music. This is a great choice for students, hearing, Deaf, and Hard-of hearing, who are interested in theater but eager to try something more offbeat than, say, Oklahoma.
No prior acting experience necessary. Artists of all disciplines encouraged to apply. Bring an open mind and have it blown away!
Tuition: $600 per student (payable in cash or check)
Deposit: $200 non refundable deposit to hold spot.
Fully accessible and FREE for Deaf and Hard-of-Hearing students.
DOWNLOAD TUITION ASSISTANCE APPLICATION
Check should be sent to:
IRT Theater 154 Christopher st. 3B NY, NY 10014
BEHIND THE SCENES:
In 2016-2017 We were under a contract with the John F. Kennedy Center for the Performing Arts. It was designed to provide enriching career development opportunities to Deaf and Hard-of-Hearing youth through the Westside Experiment. Please watch our video for more information. CLICK HERE
The Weirder the Better?
-November 2012 issue of American Theater Magazine
IRT’S Westside Experiment Provides Eureka Moments for Teens
Not all experiments happen in the lab.
– Featured in Seen in NY presented by Teachers College, Columbia University 2015
Amelia Hensley Broadway: Spring Awakening (Deaf West). Off Broadway: I Was Most Alive with You (Playwrights Horizons). NYC: Sylvia (NYDT), Dancing Girl (She NYC Arts), Stepchild (IRT Theater), Rape of Lucretia (New Camerata Opera). Seattle: A Midsummer Night’s Dream (12th Ave Arts), Skin (Deaf Spotlight). LA: Spring Awakening (Deaf West), Our Town (Pasadena Playhouse) Romeo and Juliet (Sontag Greek Theatre). DC: The Lady Becomes Him, (Faction of Fools), Peepshow (Dog & Pony DC), Noises Off (Kennedy Center American College Theater Festival).
Jessica Ranville (she/they) is a theater artist based in NYC. Originally from Winnipeg, Canada, she is part of the Métis Nation of Manitoba. They focus on developing new works (The Lark, NY Stage & Film, WP Theater) and plays with music and folk musicals (Stupid F*cking Bird at The Pearle Theatre, Charles Mee’s Soot and Spit at the New Ohio Theater). Regionally, Jessica most recently played William Dunn in Men On Boats at Baltimore Center Stage. Past work at IRT theater includes residences with Our Voices and Blessed Unrest. MFA: The New School for Drama; jessicaranville.com; @jessicaranville
HONORARY GUEST TEACHERS:
Julia C. Levy is Executive Director of Roundabout Theatre Company. In her 25 years with Roundabout, Julia has guided its growth from a small off-Broadway company to a leading not-for-profit institution. Prior to Roundabout, she held positions at the Boston Symphony Orchestra and Lincoln Center for the Performing Arts. She received her BS the University of Vermont and attended Harvard Business School Executive Education program. She currently serves on the Times Square Alliance Board of Directors and the NYC Department of Education Advisory Council for Arts Education. She is a frequent lecturer on arts management, sponsorship, governance and fundraising.
Sarah J. Hom is Roundabout Theatre Company’s Director of Audience Services. She is passionate about and dedicated to increasing accessibility and inclusion in the arts. Prior to joining Roundabout, she held senior positions with the Denver Center for the Performing Arts and the Colorado Symphony and was Board Chair for Phamaly Theatre Company. When she isn’t sitting inside a theatre (which isn’t often), Sarah also enjoys skiing; particularly with the NSCD in Winter Park, Colorado.
Malik Paris is a Deaf actor and artist based in Philadelphia. He has been a performer and co-founding member of the ASL poetry performance group “Dangerous Signs” since 2010. He enjoys the range of work done in “Dangerous Signs” from theater for Young Audience performances to Fringe Festival creations. He is most proud of his performance work in Godspell as Jesus, Pippin as Leading Player, and Ronnette in Little Shop of Horrors at Rochester’s Equity Theater, GEVA. This year he won a Kennedy Center Award for his work in Fences at NTID and starred as Don Quixote/Cervantes in Man of La Mancha. He has been recognized with Rochester Theater Award nominations. His favorite New York Deaf Theatre (NYDT) production included: TITUS as Aaron the Moor and Riff Raff in Rocky Horror Picture Show. He also has worked with IRT theater here in NYC.
Daniel Irizarry is an international director and actor. He recently directed an adaptation of Gogol’s The Inspector General in NCPA performing space in Mumbai, India. Directed and performed the world premiere of Yukio Mishima’s Busu for Provincetown Tennesse Williams Theatre Festival. He’s known for The Maids by José Rivera (New York Times Critic’s Pick), UBU (Time Out NY Critic’s Pick), The Madman and The Nun performed in Turkey, Poland (Gardzienice) and NYC (Pregones Theatre), An Italian Straw Hat (Essen, Germany), Mouthgasm Chapter 1 (Turkey and Cyprus), Momorato (Tokyo, Japan), and Chekhov’s one-act series (Seoul, South Korea). This year he performed in Piazzola’s Maria de Buenos Aires (Bare Opera at Blue Building in NYC).
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council, New York State Council on the Arts, and The Nancy Quinn Fund, a project of ART-NY.