Burning Coal Theatre Company gives you a chance to get up on your feet and explore the Bard's language. Recent New York City actor and director Jason Tyne-Zimmerman leads a eight-week class on acting and enjoying Shakespeare. This class will run Monday evenings from 6:30 to 9:30 pm at the Murphey School, 224 Polk Street, Raleigh (unless otherwise noted) from today, January 28 through March 18, 2013 and is suitable for anyone interested in Shakespeare, no experience necessary. The class fee is $155. To register, give us a call at 919.834.4001. Further information may be obtained at www.burningcoal.org.
Jason Tyne-Zimmerman is an improviser, director, and actor. He has performed Henry IV, Part 2 at American Theater of Actors, Romeo and Juliet with Shakespeare Showdown, Macbeth at The Clemente Soto Velez Cultural Center, among others. He has directed The Tempest at Burning Coal Summer Theater Conservatory, Romeo and Juliet (drink the young wine) in the Exquisite Corpse Festival, and King Lear for Rising Sun Performance Company. Other directing credits include Head Games, The Cooking King, And That's The Way It Is! (...if you think so), Baby with the Bathwater, as well as two operas for Empire Opera Company. He holds an MFA from Northwestern University in directing and an MA from NYU in educational theater.
For further information, contact Burning Coal's managing director, Simmie Kastner, at 919.834.4001 or visit our website at www.burningcoal.org.
Burning Coal Theatre Company is one of Raleigh's small, professional theatres. Burning Coal is an incorporated, non-profit [501 (c) (3)] organization. Burning Coal's mission is to produce literate, visceral, affecting theatre that is experienced, not simply seen. Burning Coal produces explosive reexaminations of overlooked classic and modern plays, as well as new plays, whose themes and issues are of immediate concern to our audience, using the best local, national and International Artists available. We work toward a theatre of high-energy performances and minimalist production values. The emphasis is on literate works that are felt and experienced viscerally, unlike more traditional linear plays, at which audiences are most often asked to observe without participating. Race and gender non-specific casting is an integral component of our perspective, as well as an international viewpoint.