Guerneville Performing Arts Classes

C and feel an actor will lead me to what works for them.
I also work extensively with many people who are in other industries. I teach communication skills using tools that actors use. It is extremely effective.
I am here to help you delve into your creativity in a supportive and joyful way.
My students are committed to exploring their craft of acting, singing performance, songwriting and screenwriting. Most land agent representation. They have booked many roles, too many to name, but here are a few, HBO's, Thirteen Reasons Why, WestWorld, Blue Jasmine, Touching Home, and productions at Equity theatres throughout the country and countless National commercials. Most have joined SAG-AFTRA and Actors Equity and I encourage this.
When you study acting / singing performance w/ me you'll learn how to navigate the business because you must know how.

Auditions!!
They are definitely the most difficult and nerve wracking part of being an actor or singer, right? Booking work means your audition has to be as good as opening night.
Auditioning is about preparation and preparation takes consistent support. Look, showbiz is not a business about being alone. Artists thrive when working together. We are a collaborative bunch and collaborating to make sure you're ready and organized for your auditions makes sense.
Stop trying to muscle through this necessary step alone. No one who works consistently does that! They ask for help. ASK FOR HELP!!
Solidify your acting choices so you don't have to worry about them the day before your audition. Know your prep so you can internally drop into it when the casting director says, "Whenever you're ready."
Have your music material and performance choices prepared ahead of time.
BE AHEAD OF SCHEDULE.
Work with me when your agent sends you your sides so you show up READY. Know your lines. It's OK if your struggling with memorization.
Let's figure out How YOU memorize.
Let me coach you for online audition submissions.
If we are working virtually I will coach while you are taping yourself to submit your online audition. It works!
Let me collaborate with on script analysis in order for you to you understand your material before you audition.
Take your work seriously so you bring your most intelligent and inspiring work to the audition rooms.
You'll be bringing the agents, casting directors, directors, producers and writers the inspiration they crave regarding their beloved projects. Do that and you're gonna book.
I know you can work and I can't wait to make it happen with you.  
About Kathryn
Kathryn is a member of the Sag-Aftra and Actors Equity and BMI and is a Critics Circle Award Winner.
Kathryn has worked with such legends as Tennessee Ernie Ford, Ben Vereen, Word Baker, who directed the first a one-act version of “The Fantastics” and then the historic two-act show, Sandy Duncan, Loretta Lynn, Flip Wilson. She studied at the University of Cincinnati College-Conservatory of Music (CCM) and HB Studio in New York City.
For Parents of Minor:
I'm available to help you understand this somewhat confusing industry.
Vocal Coaching Available - Vocal Coaching
Music Performance - Technique and Performance- songwriting

About Kathryn and Music
KATHRYN K is a soulful singer and prolific songwriter.
You can find more about Kathryn's music and her life story, which has allowed her to be of service to many, in national and local media, including: The Oakland Tribune, the San Francisco Chronicle, the San Jose Mercury News, Broadway World, Reader's Digest, NPR, The Gil Gross Show, The Montel Williams Show, and The Mancow Muller Show, NPR and Woman Magazine, UK.
Kathryn has released a video and CD with Multi - Grammy winning producer and drummer, Narada Michael Walden, Tarpan Records in Marin County, Ca. Walden says, "Kat is bringing the message of hope, light, love and faith to people's lives." Walden says. "I am proud of her and her divine mission."
Gil Gross, Host The Gil Gross Show –Radio, ABC "I have loved Kathryn's music from the day I first heard her sing, but even being a fan of her recordings did not prepare me for seeing her perform live. She is a great live performer holding her audience willing captives to each turn of a melody and the drama of every lyric. She more than sings. She inhabits a song and involves each member of the audience in its drama, joy or sorrow. There are performers for whom a performance is a night out. When Kathryn performs it’s a lifetime shared with us in a single evening. If you want to merely hear some tunes, there are many people who will do. If you want a real experience in music, there is Kathryn.
Kathryn's latest show is being created with director David Ford (Marsh Theatre) and Kevin Gerzevitz and her concerts features a who’s who list of world-renowned musicians: Gerzevitz and Grammy-Nominated Bassist, Michael Manring; Album of the Year Winner, Trumpeter, Jeff Oster; Master Percussionist, Joe Venegoni; Guitar Virtuoso, Tom Lattanand; Critically Acclaimed Pianist, Kelly Park; Celebrated Flutist, Barbara Else; and from the Steve Winwood Band, Brazilian-born Drummer, Celso Alberti.
Kathryn has played a variety of venues, including the renowned Yoshi's Oakland Jazz Club, the Bitter End and Symphony Space in New York City, the Knitting Factory in Los Angeles, the Plush Room and the Fairmont in San Francisco, as well as Mill Valley's premier showcase, the Throckmorton Theatre, Theatre on the Square, the Beacon Theatre, Great American Music Hall,The Mint, The Fairmont, to name a few. She has Cd's at all outlets.

years. Students who have studied with him come from a wide range of backgrounds with different goals. Those who have continued with musical studies in college have consistently placed out of at least the first two semesters of music theory and achieved advanced placement in their chosen fields of study. Those who chose a different path continue to benefit from the education and training they received from taking music lessons.

*** Lesson Details ***
There is no "standard formula" to lessons. Each student has their own unique background, needs, and goals. Lessons tend to be somewhat casual but are structured in such a way as to meet the unique requirements of the student.

To accomplish your goals, there are a few requirements and basic expectations that the student and parent must meet.
The first is practice. Students are expected to practice daily for at least the length of their lesson time. This, above all else, is essential to progress. It is also expected that a parent will attend lessons for students who are too young to drive themselves here. It's important for a parent to guide the student's practice time (particularly for younger students) to ensure that the most is gained from it. This is why I ask that a parent observe lessons.
Each student or parent should bring to each lesson a notebook, pencils (with erasers). The notebook will be used to record notes about each lesson, homework, practice advice, etc. Pencils (not pens...nobody's perfect!) are used by composers to record their creations and performers to mark their music. Both of these essential practices are subject to changing thought and must be open to change. So no ink, please!

Performers: It is not necessary to know how to read music at the first lesson for beginners. However, learning to read is required for subsequent lessons and will be a large focus for all non-readers. Lessons are not learned "by ear." A certain amount of theory will be a part of every lesson just as technique and repertoire. Concerning repertoire, it will be selected based on the student's learning needs but also with their input. The main emphasis on performance lessons, however, will be technique and reading. Students should come to the first lesson prepared to discuss their background & goals and the plan of their course of study.
Note: Voice students must be at least 16 years of age.

Composers: Just as with performers, it is not necessary to know how to read music at the first lesson. However, learning to read is required for subsequent lessons. Many young composers have great ideas but can only hear them in their heads or play them on an instrument. Lessons will allow you to obtain the skills to write them down with greater speed, accuracy, and clarity. More advance students will also include exploring a wider range of harmonic languages, advanced notation, instrumentation, orchestration, and aural skills. Students should come to the first lesson with examples of their work, either written, notated, or recorded in a digital format. They should be prepared to discuss their background & goals and the plan of their course of study.

IMPORTANT NOTES:
• To reschedule a lesson, more than one day notice is required.

• Make up lessons must be scheduled before the next regular lesson.

• A make up lesson cannot be scheduled in place of a regular lesson.

• If, for any reason, two 30-minute lessons are scheduled one right after the other, they will be charged as two 30-minute lessons, not one 60 minute lesson which is a different rate.

• If, for any reason, two 45-minute lessons are scheduled one right after the other, they will be charged as two 45-minute lessons, not one 90 minute lesson which is a different rate.

• the studio space is also inhabited by two lovely cats. Do consider this when signing up for lessons.

*** Studio Equipment ***
Yamaha DGX-650 weighted 88 keys full sized keyboard
area for parents to sit and observe lessons.

*** Specialties ***
Main area is in classical music and media scoring with secondary focus on musical theatre vocal performance and composing/arranging.

ch music & spread positivity through her own music and would love nothing more than make learning music a positive and fun experience for everyone.

*** Lesson Details ***
I teach out of the Alfred's Piano course, but am open to trying out any music books you may already have in your home. I do expect my students to purchase the books they would like to learn out of and to have the material I have given them for homework ready, completed, and practiced by the time we have our weekly lesson. I recommend at least twenty to thirty minutes of practice every day, and will give rewards for having practiced well, and for performing well in our lessons. I would love it for my students to be clear on what they would like to learn, and I love using songs that the student enjoys to make his or her music learning process fun.

*** Studio Equipment ***
In my home studio, I have a full size Cable-Nelson upright piano, as well as two ukuleles, and two guitars (one acoustic-electric and one electric).

*** Travel Equipment ***
When I travel, I bring my own instrument that the student is learning on so that I can demonstrate, as well as a music stand if necessary.

*** Specialties ***
Pop, folk, opera, musical theater, classical, rock, reggae

another and so much more. It helps that each game played builds upon the next to reinforce the learning.

What you get:
One-on-One - 45 min - 1 hour of discussion / rehearsal with Christine - working on improv performance skills or personal communication skills. At the end of the session, you will be armed with new tools.

Improv Troupe Notes - 1 hour - for improv troupes needing an outside eye for notes, direction and ideas for marketing your troupe. At the end of the session, you will have new games and ideas to move your troupe forward.

Custom Course - 45min - 1 hour or weekly - Tell me what you would like to improve. Character choices? Initiations? Storyline? You tell me.

Improv empowers people. Let's empower each other.

able to the real world. I promise you, based on the route and goal you want to achieve, you'll be able to tie it all together and see music from a non intimidating and approachable point of view.

Lessons include, but definitely not limited to:
Music Production: We'll explore how to go about creating music with a computer. Composing, Editing, Mixing.
Film Scoring: Everything from ground zero in how to write music for Film, TV, and Video Games.
Guitar: Learning the instrument, Learning chords, how to improvise, learning the songs you want to learn, some music theory through the guitar.
Songwriting: What makes a song a song? The musical elements, the lyrical motives, and blending it with commercial music patterns.

I am thrilled to be able to pass on as much music knowledge to you all and see where the journey of music takes you on!

rd Winner), Allison Janney (Academy Award Winner), Jay Duckworth (Props – The Public Theatre), Jeffrey Horowitz (Founder – Theatre for a New Audience), Patrick Russell (American Conservatory Theatre), Carol Mendes (Carol Mendes Dance Company, Brazil), among many others.

In the past decade, Staci has studied a variety of theatre concepts, ranging from styles such as classical acting and musical theatre to devised theatre and clown. She has worked on numerous prestigious productions, including the PPAC Award-winning Cabaret directed by Dr. Kevin Landis, and directing the Samuel Beckett work Waiting for Godot.

Staci completed a Production Management internship with the Public Theatre in New York City in 2018 for the Under the Radar Festival. During this time, she worked closely with many productions, including After (Andrew Schneider), Margarete (Janek Turkowski), Re-Member Me (Dickie Beau), The Gates (Adam Gopnik), How to be a Rock Critic (Jessica Blank and Erik Jensen), Antiginon (Teatro El Publico – Cuba), We’re Only Alive for a Short Time (David Cale), Parable of the Sower (Toshi Reagon and Bernice Johnson Reagon), and Choir Choir Choir (Choir Choir Choir with David Byrne).

Staci was honored to receive a nomination in the Kennedy Center American College Theatre Festival (KCACTF Region 7) Irene Ryan competition for her role of Gwendolyn in The Importance of Being Earnest. She also competed twice in the Irene Ryan competition as a partner. Additionally, she has previously consulted on the musical theatre text "How to Succeed in Musical Theatre Without Really Trying" by Professor Chris Will.

o do it, and mainly to those who want to navigate the exciting world of improvised dance (social dance).

I am passionate about teaching dance lessons to people of all ages and levels. I have taught hundreds of satisfied customers from different parts of the world. When it comes to beginners, I like to take them step by step at their own pace, with easy-to-understand explanations and methods that help to remember, in order to make the learning process enjoyable and be able to apply early on the dance floor all the learned material. The goal is to fall in love with dancing!

When it comes to students who have previous experience (intermediate and advanced), my mission is to become a guide and mentor for them. Since in these stages is where they need a push to get out of the level where they are stuck and do not know why, or maybe they get to the point where they can learn all the material from their teachers but fail to improve their own style.

No matter what level you are in, if you are my student, it represents for me a unique and different challenge that leads me to commit myself until you reach your goals. Most of the classes I teach are online, but if you live near my area, I can visit you personally at home for a private session with great pleasure. I look forward to meeting you and helping you to become a great salsa dancer!