Kevin Confoy

BA, Rutgers College. Certificate, London Academy of Music and Dramatic Art (LAMDA). Graduate, The Conservatory at the Classic Stage Company (CSC), Playwrights Horizons Theatre School Directing Program. Actor, director, and producer of Off Broadway and regional productions; resident director, Forestburgh Playhouse; producer/producing artistic director, Sarah Lawrence theatre program (1994-2008); executive producer, Ensemble Studio Theatre, New York (1992-94); associate artistic director, Elysium Theatre Company, New York (1990-92); manager, development/marketing departments of Circle Repertory Company, New York. Recipient of two grants from the Alfred P. Sloan Foundation; OBIE Award, Outstanding Achievement Off and Off-Off Broadway (producer, E.S.T. Marathon of One-Act Plays); nomination, Drama Desk Award, Outstanding Revival of a Play (acting company); director, first (original) productions of 13 published plays. SLC, 1994–

Undergraduate Courses 2019-2020

Theatre

Actor’s Workshop: Acting the Kilroys

Open , Component—Year

This class meets twice a week.

An on-your-feet acting class, Acting the Kilroys is a script-based approach to acting and performance that uses the works of the Kilroys, “a gang of playwrights…who came together to stop talking about gender parity in theatre and start taking action.” Students will perform given scenes written in a variety of styles by female, queer, and trans writers. The course calls for full and unbridled expression as the foundation of a vital approach to performance and way of looking at theatre. “We make trouble. And plays.” The course is open to actors of any and all identities.

Faculty

Breaking the Code

Advanced , Component—Year

This class meets twice a week.

This is an acting scene study class that uses a practical, on-your-feet, script-driven approach to performance. Students will tear open and dissect given plays to find the clues for their characters’ truths and behaviors, fears and vulnerabilities, and the tactics and strategies they use to to get what they need. Students will act scenes from contemporary plays and adaptations. The class is open to both actors and directors.

Faculty

Directing Brechting

Open , Component—Year

This class meets twice a week.

This hands-on directing class offers directors a vital technique and way of working based upon Bertolt Brecht’s theories of dialectical theatre. Brecht was a social activist. He used theatre to affect change. Brecht’s plays and techniques changed the way we look at theatre and view the world. His approach continues to shape the way directors dissect text, incorporate production elements, and create dynamic theatre productions. Students in Directing Brechting will use Brecht’s plays and plays by contemporary theatre makers that he deeply influenced—like Larry Kramer, Moises Kaufman, Anna Deavere Smith, and Suzan Lori-Parks, among others—for a personalized directing technique built upon an expansive Brechtian model. Students will direct scenes from chosen plays and create and mount their own original work; they will act in scenes directed by their classmates for in-class presentations. The class is open to serious directors, actors, designers, writers, poets, etc. who are interested in developing an approach to work and to theatre that is rooted in activism and social change.

Faculty

NOW PLAYING: Theatre in This Moment

Open , Component—Year

This class meets twice a week.

This is a seminar class that looks at the plays and types of theatre happening right now. Students will read scripts from plays being performed across the country and attend theatre in New York City as a way of figuring out how theatre responds to the events that shape our lives even as they occur. A great variety of plays and playwrights will be discussed. NOW PLAYING addresses the relevance of theatre in the 21st century. Do plays matter? Has the form been exhausted? Or is there a need now, more than ever, for what theatre can distinctly provide? Scenes and portions of plays will be read aloud in class. Students will create solo or group performance pieces—of a type to be agreed upon in conference—to be presented in class at the end of each semester.

Faculty

Graduate Courses

Theatre 2019-2020

Actor’s Workshop: Acting the Kilroys

Open , Component—Year

This class meets twice a week.

An on-your-feet acting class, Acting the Kilroys is a script-based approach to acting and performance that uses the works of the Kilroys, “a gang of playwrights…who came together to stop talking about gender parity in theatre and start taking action.” Students will perform given scenes written in a variety of styles by female, queer, and trans writers. The course calls for full and unbridled expression as the foundation of a vital approach to performance and way of looking at theatre. “We make trouble. And plays.” The course is open to actors of any and all identities.

Faculty

Breaking the Code

Advanced , Component—Year

This class meets twice a week.

This is an acting scene study class that uses a practical, on-your-feet, script-driven approach to performance. Students will tear open and dissect given plays to find the clues for their characters’ truths and behaviors, fears and vulnerabilities, and the tactics and strategies they use to to get what they need. Students will act scenes from contemporary plays and adaptations. The class is open to both actors and directors.

Faculty

Directing Brechting

Open , Component—Year

This class meets twice a week.

This hands-on directing class offers directors a vital technique and way of working based upon Bertolt Brecht’s theories of dialectical theatre. Brecht was a social activist. He used theatre to affect change. Brecht’s plays and techniques changed the way we look at theatre and view the world. His approach continues to shape the way directors dissect text, incorporate production elements, and create dynamic theatre productions. Students in Directing Brechting will use Brecht’s plays and plays by contemporary theatre makers that he deeply influenced—like Larry Kramer, Moises Kaufman, Anna Deavere Smith, and Suzan Lori-Parks, among others—for a personalized directing technique built upon an expansive Brechtian model. Students will direct scenes from chosen plays and create and mount their own original work; they will act in scenes directed by their classmates for in-class presentations. The class is open to serious directors, actors, designers, writers, poets, etc. who are interested in developing an approach to work and to theatre that is rooted in activism and social change.

Faculty

NOW PLAYING: Theatre in This Moment

Open , Component—Year

This class meets twice a week.

This is a seminar class that looks at the plays and types of theatre happening right now. Students will read scripts from plays being performed across the country and attend theatre in New York City as a way of figuring out how theatre responds to the events that shape our lives even as they occur. A great variety of plays and playwrights will be discussed. NOW PLAYING addresses the relevance of theatre in the 21st century. Do plays matter? Has the form been exhausted? Or is there a need now, more than ever, for what theatre can distinctly provide? Scenes and portions of plays will be read aloud in class. Students will create solo or group performance pieces—of a type to be agreed upon in conference—to be presented in class at the end of each semester.

Faculty

Previous Courses

Crisis Mode: Theatre at War

Open , Component—Fall

This class meets twice a week.

This class examines how theatre has responded to those moments of the past 50 years that define the struggles of a generation. Students will read and discuss a variety of plays from a list of playwrights that may include Brecht, Beckett, Fugard, Anna Deavere Smith, Wole Soyinka, Eve Ensler, Larry Kramer, Dael Orlandersmith, and August Wilson, among others. Documentary films that represent distinct points of view on the same struggles will be shown throughout the semester. Plays will be supplemented with nonfiction readings. Theatre at War is a discussion-based seminar. Portions of plays will be read aloud for discussion purposes.

Faculty

Actor’s Workshop: Incognito: The Craft of Assumed Identity

Open , Component—Year

This class meets twice a week.

An approach to performance that focuses on external applications as a method of building a character—working with costumes, props, make-up, and tangible aspects of production, as well as voice, dialects, gesture, and given behavior—students will develop an “outside-in” technique that allows for the full physical and emotional expression of a character and the text.

Faculty

Breaking the Code

Intermediate , Component—Year

Open to both actors and directors. This class meets twice a week.

A specific text-driven approach to acting, Breaking the Code provides a context for the most vital performances based upon a way of dissecting a play and determining a character’s behavior. Students will act scenes from contemporary plays and adaptations.

Faculty

Spring Musical

Open , Component—Year

Required audition and interview held during registration week.

Students in this class will become the company of the Theatre Program’s Main Stage Spring Musical. Classes will provide for an in-depth rehearsal process and allow for an extended study of the show in its greater context. Students will work together on the songs, scenes, dance and movement, and book of this musical in a traditional manner, with class time dedicated to rehearsals with the director, musical director, and creative team of the production. In addition, students will have a distinct opportunity to study and participate in the show at a level of far greater discovery and intensive preparation than a standard rehearsal period allows. First semester work will include meetings with the show’s designers, extended work on the text and characters, and in-class rehearsals. All aspects of the show—its relevance and significance in a historical context, its production history and place in the canon of musicals, as well as a study of its composer and creators of similar works of its kind—will be discussed and become part of regular class work. Also in the first semester, students will be expected to meet out of class for rehearsals on designated scenes, songs, etc., as they would in a traditional scene study class. Students will be assigned to research and report back to the cast certain aspects of the show and its history. Second semester work will move to a concentration on production and will include a regular period of out-of-class nightly rehearsals on a pre-determined schedule. Students interested in directing plays and musicals will be given specific aspects/scenes/songs of the show to be rehearsed and worked on under the guidance of the teachers. Student directors in the class will become part of the discussion of the design and production elements of the show. Students in this class are free to participate in shows outside of class in the first semester. In the second semester, students may not participate in any production that has rehearsals or performances that conflict with the schedule of this production. All principal and featured roles in the show will be cast from within this class.

Faculty

Crisis Mode: Theatre From the Late 1960s Through Today

Open , Component—Year

This class meets twice a week.

Crisis Mode examines how theatre has responded to certain events of historical significance and moments of crisis. It is of particular value to those directors, actors, and theatre makers/producers interested in an expansive view of theatre and in how and why a play can change the way we think. The course provides a working foundation for performance and production. We will examine plays and playwrights and theatre movements and styles that have developed and come to expression in the past several decades. Students will discuss a variety of plays, with an emphasis on looking at the world in which those plays were written and why they continue to resonate today. Students will study documentaries and make presentations on events of historical/political/cultural significance as a way of providing a play with a rich context for production and performance. We will concentrate on American plays and political movements but will encompass a global and cultural perspective with discussion ranging from the influential works and innovations of Brecht and Beckett to political theatre groups like El Teatro Campesino of the 1960s, to agitprop theatre events like those of the Vietnam War and Civil Rights eras, and to those of ACT UP in the 1980s AIDS Crisis. Students in Crisis Mode will devise projects to serve their particular theatre interests. Projects range from staging and acting scenes to design work, dramaturgical presentations, and original plays written in the style/spirit of the events studied.

Faculty

Forensics: Actor and Director Lab

Advanced , Component—Year

Open to graduate and advance undergraduate students interested in both acting and directing. This class meets twice a week.

Forensics is a production class for actors and directors. Students will read, analyze, direct, and act in a wide variety of one-act plays from a cross-section of periods and styles in a way of working that puts shared emphasis upon the text and its context. Forensics students form their own actor and director ensemble. Students present their work as part of the theatre program’s second-semester season. Classwork includes discussion of the playwrights and the time periods that gave their plays shape and resonance, along with a practical overview of the production process. It is understood that students in Forensics will have a range of acting and/or directing experience. Emphasis is placed on determining what is common for both actors and the director in staging a play. Over the course of the full year and in presentation, students will be expected to both act and direct.

Faculty

Forensics: Actor and Director Lab

Advanced , Component—Year

Open to graduate and advance undergraduate students interested in both acting and directing. This class meets twice a week.

Forensics is a production class for actors and directors. Students will read, analyze, direct, and act in a wide variety of one-act plays from a cross-section of periods and styles in a way of working that puts shared emphasis upon the text and its context. Forensics students form their own actor and director ensemble. Students present their work as part of the theatre program’s second-semester season. Classwork includes discussion of the playwrights and the time periods that gave their plays shape and resonance, along with a practical overview of the production process. It is understood that students in Forensics will have a range of acting and/or directing experience. Emphasis is placed on determining what is common for both actors and the director in staging a play. Over the course of the full year and in presentation, students will be expected to both act and direct.

Faculty