Staff Size: 1 person
Brands Used: Meisner, Strasberg, Stanislavsky
Pro Tip: Listen to this Alan Watts video.
Trained by Lee Strasberg at the Actors Studio, Shelley Mitchell won acclaim for her one-woman performance of Talking with Angels: Budapest 1943, which Los Angeles Weekly lauded for its ?leisurely, lifelike timing? and ?excruciating beauty.? Shelley draws on her extensive teaching and acting experience at institutions such as The Dublin Fringe Theatre Festival to teach dramatic acting to film, television, and theater thespians at the Arts Center of San Francisco, and has received praise from actors at all levels, including Sean Penn. Two-hour classes develop individual concentration and emotional response through sense memory exercises before students partner up for scripted scene work.
San Francisco Fire Engine Tours & Adventures’ sparkling 1950's Mack Fire Engine carries passengers on themed adventures that combine the excitement of racing toward a fire with the fun of outwitting time. From the vantage point of the "Big Red Shiny Mack Fire Engine," guests catch views of the Bay Area while pretending to be important pieces of firefighting equipment. Tours run year round, and the crew outfits patrons with authentic fire gear to keep them warm while they explore the city on one of the themed tours. Winery tours cruise to Treasure Island, where guests enjoy tastes of signature varietals, while the Golden Gate bridge tour begins in Fisherman's Wharf before heading across the iconic bridge, through the village of Sausalito. Holiday-lights tours capture some of the city's most festive and decorated locations, and Halloween tours creep through Historic Presidio where ghosts are rumored to vacation.
Mexico City native Ricardo T?llez began dancing when he was 12, shimmying his way through styles such as cumbia and guaracha. In 1995, he packed up his dancing shoes and moved to the Bay area, accelerating his salsa study not only by studying under Gabriel Romero, but also by trying out his footwork in clubs. Armed with a passion for dance, Ricardo founded RicaSalsa Dance Company in 1999 to share his love of the art. Today, he and dance partner Tianne Frias?with whom he placed third in the World Latin Dance Cup?teach private lessons and group classes that impart new and advanced dancers with the steps, partnership skills, and medallions filled with glowworms needed to light up the floor. By focusing on social dance skills and the ability to follow the rhythm, they help their students adapt easily to different songs and settings.
The Dark Room is a 50-seat performance space plunked in the Mission’s exact center, serving as a powerhouse of stand-up and underground theater for years. While not a black box, student-run space per se, guests definitely shouldn’t expect any frills at this former bar. Far from bad drapes and the standard comedy club’s brick wall background, this eccentric space pops with personality, including bathrooms plastered in historical tidbits from the SF theater scene from years past. Frequent shows include indie stand up sets, local talent shows and, lately, live renditions of classic TV episodes and a Sunday Bad Movie Night, which is something of a local tradition. For those looking to inquire, The Dark Room also doubles as a rentable space for rehearsals or shows.
Before she founded her eponymous ballroom school, Rhona Pick represented the United States at world dance championships in Berlin and London at famed venues such as Royal Albert Hall. Although she has since retired from dancing competitively, she culls from her experience to manage her school in accordance with the framed Code of Ethics that hangs on the office door. The code mandates that each teacher on her team holds professional teaching qualifications, a standard that guarantees the quality of the school’s private and group classes, in styles that range from salsa to tango and swing. Instructors can also choreograph wedding dances, ensuring that couples don’t have to spend their reception’s first song hiding in the supply closet.
Every Friday and Saturday night, the performers of the Secret Improv Society initiate a new batch of devotees into their alliance of short-form improv, comedic games, and live music. An audience of no more than 60 contributes to the content of each show in ways that exclude lobbing tomatoes or volunteering to be sawn in half. From random, spontaneous audience suggestions, the cast launches into an impromptu sketch that may skewer romantic relationships, office politics, or current events. Since the cast rotates and the audience changes, every 75- to 90-minute show is as fresh and unique as a dry-cleaned abstract expressionist painting.