We reasoned that since, uniquely among America’s drama schools, our actors, writers and directors spend three years side-by-side, acquiring the world-famous “common language” conceived by Constantin Stanislavski to inform the work of all three disciplines – writing, directing and acting – and espoused and honed by the Actors Studio, what could be more logical than concluding our students’ time with us in a repertory season that combined their talents and newly acquired skills in a program of original and traditional works.
That was it, in a nutshell: an exciting Repertory Company of gifted young people, chosen by us for their talent, and trained by a faculty of life-members of the Actors Studio to carry on the Studio’s tradition for the public. For you. Want to share this experience? If you’re in New York between March 24 and May 1, you can acquire free tickets to the Repertory Season, which offers a brand new program of theatrical works each week, at www.pace.edu/ASDSRep.
I commend this theatrical experience to you without hesitation – and with what I hope is understandable bias and pride. Two weeks ago, as I was driving home from the Rep Season’s opening night with my wife, to whom I’d turned sixteen years ago when I first asked the question, “What if we created a Master’s Degree program at the Studio?” we reflected on the fact that if the question hadn’t occurred to me, and I hadn’t set out to answer it, none of the students we’d watched with such pleasure and pride would have been on that stage tonight, because the Repertory Season – and the school – and, for that matter Inside the Actors Studio, which was born as, and still is, a class in the school’s program – wouldn’t have existed.
Which led to a moment’s silence and another observation. “Funny,” I said to Kedakai. “When I’m asked, I always say I don’t have any children, but maybe…”
“…you’ve got hundreds,” Kedakai said, and smiled. All around us New York glittered as only it can on a fine spring night. It has never looked lovelier.