Faculty | Juilliard Drama 50: The Readiness is All

– Michael Howard came to see
me in a show at Lincoln Center, he said, he knocked on my
door, he opened it up, he said, “You may not remember me,” I said, “Remember you?” I said, “I carry you around in my pockets.” (light piano music) – The teachers are magical human beings and they’re like magical masters and stunningly beautiful people. – There really was a vital
role, that they all played. – I say this in general
about faculty members, I think every single one of them makes an amazing Pixar character. – Oh yeah. – And I was thinking, you know,
who was my favorite teacher and I can’t tell you any one. – They had so much to offer and they really were a great balance. – I still think about
Chris’s comedy class, because it’s an amazing class and everybody kind of, I mean, everybody just weeps
a kind of humiliating, kind of soul-crushing
catharsis during that class. – One of the things that’s really great about Chris and Marsha is that they were really open-hearted. – They were both really
amazing in that way and they shared their
vulnerabilities with us and they shared you know,
their war stories and– – And they acted like equals. – So we had the privilege
of studying theater history with Anne, brilliant, brilliant woman. – Kate Wilson, she’s a
dreamboat of a teacher, she really is. I was able to just tell her once again how grateful I was for her pushing us to learn material so quickly. – I got to know Margot
and her ferocious advocacy on behalf of actors and
classically trained actors and classical theater in general, so very grateful for her stewardship. – Eve Shapiro was a guiding light for me, she was a mentor, she was a pillar of support. – Ellen Lauren,
(gasps) one of the two people, who got me to
– Ellen Lauren. – realize that I have a physical body, that can move accordingly to, you know, me and not the world at large. – He doesn’t care if The Tempest in room 301 is any good, he wants me to use this as a tool to make myself a better actor. – Carolyn Serota, who’s
one of the great teachers I feel very blessed to have worked with, got me to stand up straight
for the first time, I’m a tall man, so I was always
apologizing for my height and she got me to stand up
straight and own my height and it’s something that I’ve been trying to continue day to day ever since. – Everybody was scared, she was scary, because she was so good, but
she didn’t suffer fools gladly and she had no time for weak,
for people who were weak. The thing you had to learn with Liz was that the more you cowered from her, the more she would lose respect for you and when you finally
stand up for yourself, she’d be, “Alright then, let’s keep going, “let’s go, let’s go from here.” – Oh my God, she was the kindest, gentlest, I was like a ball of wire and she put her hands on
me and I just relaxed. She was great, she’s a
great teacher, you know, a teacher is someone that pushes you past where you think you can go. – I mean, it was incredible, yeah, I was scared to death of her,
everybody was scared of her, but at the same time, you
weren’t really scared of her, you were scared of what
she was showing to us, you know, kind of like the Eye
of Sauron going, “Theater,” and you’re like, “Oh my
God, that’s what it is.” – Whenever I think of
Mina, I’ll think of her opening that little door next to room 304, it’s this little closet,
which is this treasure trove of like costume pieces and masks. Whatever happens in 304,
masks class was like Vegas (laughs), you know, what happens happens. – Deb could make anybody cry while singing and that was sort of the thing. She had this…she’s fantastic, fabulous, and you’d sing a song for
Deb and then she’d, you know, have you shake a chin
or think of something or move your arms and suddenly you were sobbing while singing. – And Kahn was like,
“Kevin, when you came here, “you had a big, red crayon and
you used it for everything, “you colored everything
with your red crayon,” and he goes, “we’re not trying to tell you “to break your red crayon
or not use your red crayon, “because that’s what got you here, “we’re just offering
you green, yellow, blue, “we just want you to add colors to it, “but don’t stop doing the
thing that got you here.” – And Darryl, oh God,
there’s not really words to… that can, like, fully describe his aura. He was a saving grace,
energetically and spiritually. – Oh Kathy, I love Kathy. Kathy’s, Kathy’s like… the mother of all drama beings, and everyone would be
completely screwed without her, literally everyone, all the
faculty, all the students. She just looks out for everyone, and it’s kind of inhuman, the… her ability to just
keep going, going, going and do so many things at once. It’s like she’s a mystical
being, that we all love. – Richard Feldman again, Richard, he used to always say, “You
are enough. You are enough.” And I remember in school, I’d be, “Yeah, yeah, yeah, I’m enough,
I’m enough.” Like okay, like, you know what I
mean, like “Let’s get to it, I’m enough!” and he’d just
be like, “You’re enough.” Now when I’m on stage and in those quiet moments, where I’m like revealing
the deepest parts of myself, I sometimes, I can just, I get it, I get that I am enough. – Moni has a way of
focusing on your creativity and your artistic being and helping you to find the Olympian dimensions of your own being. The consistency of Moni’s approach, the exploration and discovery and transmission of technique is something that we all share, something that binds us all together through the generations,
groups one through 50. – When I look back at my experience, I think about how selfless
the teachers were, how they truly did care and how much love there
was in these rooms.


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