Acting Classes

The Tuesday Night Acting Class:

A New York City tradition for over 14 years...

Imagine an acting class, a different sort of acting class. An acting laboratory where artists are experimenting with new techniques and challenging one another to soar to the heights of great acting.

Now imagine what working in this environment could do for your career, feeling the freedom to take risks and inspired to work on complex material and characters, all in the company of the new generation of NYC’s hottest talent. Not only will you be honing your skills with seasoned professionals and IT New York company members, your work will be eligible for IT New York’s Performance Series, a growing favorite among some of the city’s leading casting directors, agents, directors and producers for scoping out talent.


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The Teachers

Robert Castle has worked professionally with such luminaries as Charles Durning, Brooke Shields, Jane Fonda, Angie Dickenson, Jeannie Berlin and George Segal. He trained for many years with Lee Strasberg and Peggy Feury. Mr. Castle has appeared in major roles in scores of feature films, TV shows and on the professional stage. He has directed award-winning films, videos and over 50 plays.

Mr. Castle founded IT New York in 1995 in order to explore theatrical material and techniques from around the world. He has trained and directed many international stars, including Julia Gam from Brazil, Peter Gantzler of Denmark, Adriana Dominguez of Spain, Luciano Cruz-Coke of Chile, Nandana Sen of India, Nuno Lopes and Ivo Canelas of Portugal, Luciano Suardi of Argentina, and many others. Mr. Castle has taught stage and film acting at the Lee Strasberg Theatre and Film Institute in New York for over ten years.

Alejandra Orozco is a Mexican actress and director. She currently works at the Repertorio Español in New York in various productions including leading roles in The Feast of the Goat (ACE AWARD 2004 – Best Actress), Doña Rosita the Spinster (ACE AWARD 2006 – Best Character Actress), The Passion According to Antigona Perez (HOLA AWARD 2000 – Best Actress), Yerma, The House of Bernarda Alba, Blood Wedding, and Chronicle of a Death Foretold. Also in New York she played leads in Dario Fo’s A Woman Alone, and in Edward Allan Baker’s The Bride of Olneyville Square. She has performed internationally at the Queen Elizabeth Hall in London, Cervantino International Festival, Manizales International Festival of Colombia, Sor Juana Ines Theater, and the Julio Castillo Theater in Mexico, among others. On film you can see her in the leading role in Con la Mirada Perdida (Director- Delia Izcalbalceta), and she appears in Milk and Honey and Virgil Bliss (Director - Joe Maggio) and Dirt (Director - Nancy Savoca). She was awarded the Grant to Young Creators by the National Endowment for the Arts of Mexico and was two-time recipient of the National Endowment for the Arts of Mexico’s Grant for Professional Advancement Abroad. In Mexico she directed several plays, and made her NYC directorial debut with Griselda Gambaro’s La Malasangre (HOLA 2003 Award for Best Director, ACE 2003 Award for Best Director). She most recently directed A Place Without Seasons in New York. Ms. Orozco co-founded IT New York with Robert Castle in 1995.

Edward Allan Baker is a published and frequently produced NYC Playwright with 32 plays to his credit, including: Dolores, North of Providence, Prairie Avenue, Rosemary With Ginger and Face Divided. He's in his tenth year of teaching three levels of playwriting (and a screenwriting class) at Sarah Lawrence College. He's written for HBO and ShowTime, and was recently awarded 'The 25th Anniversary Award For Theatrical Excellence' by The Ensemble Studio Theater of New York.

Kirsten Russell played the lead in the critically acclaimed feature films Virgil Bliss and Milk and Honey, winning awards at Sundance, Slamdance, the Atlanta Film Festival and the Independent Spirit Awards. She also co-starred on NBC’s Law & Order and Third Watch. She has performed on the New York stage for over 12 years in a wide range of plays including Italian American Reconciliation, The Wake of Jamey Foster, The Dumbwaiter, Sexual Perversity in Chicago, Fallen Angels, the one-woman play See Bob Run and has collaborated with playwright Edward Allan Baker and director Robert Castle in The Bride of Olneyville Square, Dolores, Rosemary With Ginger, and last year appeared in the premiere of Baker’s Ray on the Water. Kirsten began her voice training at CalArts where she studied intensively under Fran Bennett and Irene Connors – both disciples of Kristin Linklater.  The Linklater technique has become the method Kirsten has utilized in all her body of work. She now teaches voice using these same principles of breath, voice, body and emotion as one instrument – never separate from each other - all working in unison to achieve an unfettered, open channel of free theatrical expression.

What the Students are Saying

"He works with what he is given by a person, it doesn't matter if experienced or inexperienced. He goes with what he is given without judging and leads him/her to the next step, their individual next level which is what Robert unconsciously senses and is completely and sensitively aware of.

Robert is capable of revealing and activating secret power and strength in an actor, that the actor might not even have suspected in him/her self.

I have not once seen Robert work where he was not one hundred percent focused and concentrated on the actor, watching and observing as well as taking the actor and the actor's presence into himself and helping out, guiding, encouraging the best he could.

He is drawn into his students work, he is moved by performances and personal success of his students, he is feeling along with his students and highly emotionally involved when they manage to go to places they have not been before and have their personal breakthroughs.These things happen and they touch Robert personally and he gives a lot of himself to find a way to give courage and power to the actor. I have seen him moved to tears when he experienced that happening to one of his students which is to me the best compliment and appreciation you can get for your work as an actor. It is worth more then any words or gestures because it is true, naked, honest human emotion in response to artistic work.

I am thankful that he is my teacher. He gave me treasures and encouraged me to be the artist that I am deep inside when all the fears and doubts are pushed aside. He really enriched my acting and my life, for he gives me strength as an artist, overwhelming personal breakthroughs and a strong confidence in my work which nobody can take from me because I EXPERIENCED it.
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--Katharina Maas, Berlin


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