Since 2007, ArtsBridge has given high school performing artists the tools to perfect their craft and audition approach, guided by top college arts faculty, industry professionals, and admissions experts. ArtsBridge SpringTerm is a 6-week virtual extracurricular for advanced acting or musical theater high school students taught by renowned educators.
ArtsBridge SpringTerm is an online program designed with a core focus of acting and musical theater training. Students will be offered highly specialized classes including:
- The Meisner Technique
- Text & Scene Study
- Alexander Technique
- Monologue Class
- Musical Theater
Wondering what ArtsBridge Spring Term can offer your child? Schedule a 15-minute call with our college arts program experts to discuss how ArtsBridge college prep, training, and seasonal intensives can support your child’s artistic aspirations.
Julie Boyd is an accomplished Actor, Educator, Director and Coach based in New York City. She has decades of experience at the highest levels of University training programs and is the Director of the Fordham Summer Musical Theatre Workshop. New York acting credits include "The Man Who Came to Dinner" (Roundabout/PBS) directed by Jerry Zaks, and "Noises Off" (Broadway) directed by Michael Blakemore. Regional theatre includes productions at Long Wharf, the McCarter, the Kennedy Center, Williamstown, the Goodman, and the Guthrie. Boyd also works extensively in film and television. She received her BFA from the University of Utah and her MFA from Yale Drama School. Her in-depth knowledge of acting and training sets her apart as one of the best in the business whether she is teaching, directing or acting. Her gentle approach, coupled with her rigorous work ethic are her hallmarks of excellence.
Helen is an actor, acting teacher and certified Alexander technique teacher. She graduated from Mason Gross School of the Arts with an MFA in acting in 2008. As an actor she has worked with various companies, including; Shakespeare Theater of New Jersey, Cross Roads Theater and Ensemble Studio Theater. Helen returned to Rutgers to teach in the BA theater program in 2013. She teaches Basic and Intermediate acting. Helen’s interest in Alexander technique began during her actor training. While living in New York she trained at the American Center for Alexander Technique (A.C.A.T), the oldest training program in the country. Since graduating from ACAT she has built her practice working with actors both one-on-one and in group settings. Helen has taught Alexander technique in the BFA and MFA programs at Mason Gross and will be working with BFAs at NYU this coming fall.
Kevin Kittle has worked as Joseph Chaikin’s assistant director and with Arthur Miller and Sam Shepard for the Signature Theater Company. He has directed numerous productions and readings in such New York City theaters as The John Houseman, The Neighborhood Playhouse, Theater Row Theaters, Ensemble Studio Theater, HERE, Sullivan Street Playhouse, and The Irish Repertory Theatre, as well as regionally. His most recent productions include Bitter Greens at 59E59, Hot Season at The Sheen Center for Strange Sun Theater, Blood Potato at the Clurman and In God’s Hat at Playwrights Horizons Peter Jay Sharp Theater for Apothecary Theatre Company, and Beyond the Pale (nominated for Best Director and Best Production at the 1st Irish Theatre Festival). At the Greenwich Street Theatre, he directed the world premiere of Jamie Linley’s Dirty Works (critical acclaim in NYC and at The Edinburgh Fringe Festival) and Philip Ridley’s The Pitchfork Disney, both as resident director of Stiff Upper Lip. Other credits include: Watching and Waiting at The Judith Anderson, The House of Yes at The Currican, and Life During Wartime (2001 Off-Off Broadway Review Award for Outstanding Production) with Inertia Productions as their resident director. As co-developer and dramaturge-director, Kevin has worked on This is the How, with Rhett Rossi at The Playroom Theater, David Dannenfelser’s When Words Fail… at The NY International Fringe Festival (the script of which is published in Plays and Playwrights, Vol. One), and Peter Handy’s East of the Sun and West of the Moon, which was a finalist in the Samuel French One Act Festival and is published by Samuel French. His Los Angeles production of Chet Whell’s Economic Subterfuge was nominated for an LA Weekly Award. Kevin served as Associate Head of Acting and the Director of Performance Ensemble at Mason Gross School of the Arts, Rutgers University until 2020.
Prior to UNCSA, Cameron was an assistant professor of acting and head of BFA acting at the Theatre School at DePaul University. Prior to that he was an assistant professor in the school Drama at Carnegie Mellon University, he also lectured on African American Theatre. Cameron has coached and taught actors of all ages for over ten years in: Acting, Shakespeare, Text Analysis, Improvisation, Stage Movement and Stage Combat. Professional directing credits include: Shakespeare in Love, Fences, Othello, Twelfth Night, Pericles, Underneath the Lintel, and dozens of staged readings.
Regional Theatre Credits include: Oregon Shakespeare Festival, Texas Shakespeare Festival, Alabama Shakespeare Festival, Lake Tahoe Shakespeare Festival, Richmond Shakespeare Festival, Notre Dame Shakespeare, Michigan Shakespeare Festival, MeadowBrook Theatre, Plowshares Theatre company, Stages Repertory Theatre, Milwaukee Repertory Theatre, Boarshead Theatre, The Kennedy Center, Water Works Theatre, Quantum Theatre, Off the Wall Theatre, City Theatre, Bricolage and No Name Players.
Notable roles include: Benedick in Much ado about Nothing, Othello in Othello, Dogberry in Much ado about Nothing, Booth in Topdog/under dog, Mercutio in Romeo and Juliet, John Worthing in The Importance of Being Earnest, Crooks in Of Mice and Men, Captain Jack Absolute in The Rivals, Oberon in A Midsummer Night’s Dream, Leslie in The Hostage, Hud in Hair, Cleante in The Imaginary Invalid, Roma in The Resistible Rise of Arturo Ui, Bill Walker in Major Barbara, Vershinin in Three Sisters, Caiaphas in Jesus Christ Superstar, Sam in Blues for an Alabama Sky, Cory in Fences, Canewell in Seven Guitars.
Gary Kline is Professor and Assistant Head of Acting and Musical Theatre at Carnegie Mellon University. He has taught private singing and music theatre courses such as Cabaret and Acting A Song for Carnegie Mellon University’s prestigious School of Drama since 1990, where he currently oversees the Vocal Curriculum. He is the artistic director of ArtsBridge Summer Musical Theater.
In demand as a teacher, Gary has taught Master Classes at the National Institute of Dramatic Arts (NIDA) in Sydney, Australia, the Torggler Vocal Institute at Newport University, the Flying Swan Program at Wesleyan University, The Broadway Theatre Project at FSU, The Performing Arts Project at Wake Forest, and Perry-Mansfield Arts Camp in Colorado.
Gary has taught some of the most highly-skilled Broadway Performers at CMU, including Tony-winners Christian Borle (Peter and Starcatcher) and Patina Miller (Sister Act/Pippin), as well as Patrick Wilson (The Full Monty), Chris Hoch (Beauty and the Beast), Kirsten Bracken (Follies), Megan Hilty (Wicked), Kyle Beltran (In the Heights), Bradley Dean (Spamelot), Renee Goldsberry (Color Purple) Donna Lynne Champlin (Sweeney Todd) and dozens more.
Regionally, Gary has appeared in leading roles in Evita, Jesus Christ Superstar, Night Music, 1776, The Civil War, Man of La Mancha, Secret Garden, The Laramie Project, and Fiddler. He’s also sung with the Pittsburgh Opera and soloed twice with the Pittsburgh Pops under the direction of Marvin Hamlisch.
Gary is a graduate of the Dana School of Music (YSU) and the CMU School of Music. He has studied Acting at Stanford U. with Richard Dreyfuss, Marsha Mason, and Ann Jackson, as well as with Johanna Merlin and Victor Garber in NY. His CD “Lucky” includes duets with friends Billy Porter, Patrick Wilson, Sally Mayes, and song legend Margaret Whiting. Gary is a member of Phi Mu Alpha, Actor’s Equity, and NATS. He is thrilled to be working with Halley and the great faculty and students at ArtsBridge!
Length of Program: 6 weeks
Dates: March 6, 2021 – April 17, 2021 (Classes will take place Mondays, Wednesdays, and Saturdays)
An official, final schedule will be provided to enrolled students.
- 6:30 – 8:30pm EST, The Meisner Technique, Kevin Kittle
- 6:30 – 8:30pm EST, The Meisner Technique, Kevin Kittle
- 11:30am – 12:30pm EST, *Alexander Technique, Helen Farmer
- 1:00 – 3:30pm EST, The Meisner Technique, Kevin Kittle
- 4:00 – 5:00pm EST, *Text & Scene Study, Cameron Knight
- 5:15 – 6:15pm EST, *Monologue Class, Julie Boyd
*The starred classes may be replaced some weeks with Musical Theater classes with Gary Kline or other classes taught by guest faculty.
How to Apply
Admission to the program is by video audition and interview.
Applications will be accepted on a rolling basis. Students can expect to receive an admissions decision within 1-2 weeks of applying. There is a priority application deadline of February 1, 2021.
Or click here to schedule a time to talk.
Tuition & Fees
- Application Fee: $75
- Tuition: $5,500
- Need-based application fee waivers are available. Limited need-based scholarship for tuition is also available. If you’re interested and have questions please contact firstname.lastname@example.org.