Summer
directing
class

NEXT SESSION
Early June—Early August, 2026
Email to be informed when dates are set

Do you want to direct?

This is a highly-structured, 50+ hour online/hybrid* class in directing designed to be as comprehensive and creatively stimulating as possible. 

There are 3 ways to take the class: 

• Full Director
• Active Auditor
• Guest Class Only

The class started in 2006, in response to the fact that there are (still!) very few places to seriously study directing outside of a degree program. The class is for theater and film artists (actors, playwrights, dancers, choreographers, stage managers, designers) who want to learn to learn the director's craft, or who already direct and want to deepen their foundation and skill sets.

*After teaching the class in person in New York City from 2006-2019, I’ve taught the class online/hybrid since 2021, which has opened it up to participants all over the world, with outstanding results. Directors have the option to work completely online, or to cast locally and work in person with their casts, and zoom us in to their rehearsal studios.

***ACTORS WILL BE NEEDED FOR THIS CLASS. ONLINE AUDITIONS ARE PART OF THE DIRECTORS' TRAINING AND WILL BE IN MID-JUNE. DATES WILL BE ANNOUNCED IN EARLY JUNE. THERE IS NO CHARGE TO PARTICIPATE AS AN ACTOR IF YOU ARE CAST, AND YOU CAN SIT IN ON CLASS AND THE GUEST CLASSES AS OUR THANK YOU. TO HEAR ABOUT THE ONLINE AUDITIONS, PLEASE EMAIL.***.

Jim Gallagher, Connor Bond, and Stephen Wilson in Martin McDonagh's "THE PILLOWMAN, directed by Joshua Lombard

There is a real sense of community in the spaces you create for these classes, that is unlike anything I've taken part in before. There is warmth, joy and determination amongst the auditors and directors.
—Lizzie Huggins, Theater and Film Director, Sydney Australia

The class includes intensive, hands-on experience with: Pre-production and research; Throughline script analysis and table work; Developing a specific and inspiring directorial vision; Auditions and casting; Staging & blocking: how to use composition, structure, and suspense to create dynamic, alive, storytelling on stage or film; Collaborating effectively with actors: a collection of rehearsal techniques to use with actors of any background; Leadership, time management, and troubleshooting.

And, lecture/discussion/guest classes that address: Working with a playwright on a new play; Collaborating with designers; Working effectively with casting directors, artistic directors, producers and stage managers; Directing careers; Goals for and handling of previews/opening/run; Building your vision of the kind of director you want to be and taking steps to realize that vision.

Often, artistic relationships are fostered that continue into the future, and it is wonderful to hear of new collaborations between actors & directors who first met in class.

I’m heading into my short film now, fully prepared and armed with the things I need to work with my actors.You made me feel like I can be confident in a room with my talent. Thank you!
—Katherine Croft, Los Angeles Film Director

Brigitte Loftis and Sedly Bloomfield in August Wilson's FENCES, directed by Rolando Sanchez

LEVELS OF PARTICIPATION


FULL DIRECTOR LEVEL | Limited to 6. Full directors direct scenes from two different plays for the two assignments of the class.

Assignment 1 | The Event The first scene (2 characters, 3-5 minutes), is worked on to learn "The Event," the most powerful directing tool I've ever learned. The Event is a way of articulation your vision of a scene using active, visual language.

Assignment 2 | Throughline Project The Throughline project (3-4 characters) is the major project of the Full level and lasts until the end of the class. Directors choose a full length play they are passionate about and work on scenes of increasing length (5, 10, then 15-20 minutes) that come into class in 5 rounds (see schedule below). Actors are cast through auditions. Directors learn to analyze the entire play and to clearly and passionately articulate their vision to their collaborators. The Throughline scenework addresses more complex blocking and storytelling issues, composition, and design elements. The throughline scenes come into class a total of 5 times, building toward a final performance.

I’ve never taken a better organized or more productive class in any field.
—Elise Marenson, NYC Writer and Director of Film & Theater

Really insightful techniques. I'm learning more than I have in all my previous classes put together.
—Patty Mulcahy, NYC Screenwriter and Film Director

ACTIVE AUDITOR LEVEL
 | Auditors are a valuable and vocal part of the directing class, responding to the work from an audience's perspective, and sparking deeper discussion of the directors' plays and scenes. Active Auditors observe all classes and guest classes, participate in discussions, and, using the tools of the class, complete an on-paper Throughline analysis of a play they choose that can be turned in any time for feedback. Why Audit? Auditing the class is ideal for those who want to learn and explore directing techniques, including throughline script analysis, story structure, and working with actors, but who do not have the time to do the Full level of participation. Who takes the audit level? We have had filmmakers, actors, playwrights, documentarians, designers, and others audit the class. Many have gone on to join the Full level the following year.

I feel like I stumbled upon a pot of gold with your class. I had been really searching for a class that would help me focus on technique and really give me some tools to keep fine-tuning my skills. I honestly feel like my head was cracked open and my brain has just grown and grown. 
—Steve Hitchcock, Jr., Theater Director | Active Auditor

GUEST CLASS ONLY LEVEL | The class features four 60-minute guest speakers, which have included prominent playwrights, directors, actors, producers and designers. Guest classes are included in the Full and Auditor levels.

WHAT I'M LOOKING FOR IN CLASS PARTICIPANTS

I'm looking for artists with previous theater or film experience who want to work with commitment and passion at learning and/or deepening the craft of directing. I teach a specific way of approaching a script. It's not a style—it's a collection of techniques to realize any style of production. I want those who take the class to be open to taking feedback, respectful and supportive of others' work; highly professional in all interactions with actors; organized, and able to rehearse their scenes and enjoy the challenges of the process. The director holds the center of a production! Therefore, it's very important to be willing to observe class guidelines, be prepared and on time to class and rehearsals, and meet class deadlines. If these are things you are willing and able to do, you are welcome to apply for the class.

Yvette King and Nina Kova in David Lindsay-Abaire's RABBIT HOLE directed by Catherine Pulley

I took this intense Directing Class in the summer. Man, it changed my life! Karen's the real deal. Her methodology has helped me a lot working with actors. If you're serious about your craft, consider her master class!
—Rolando Sanchez, NYC film, theater, and music video director


GENERAL SCHEDULE

Classes are Mondays and Tuesdays from early June to early August, plus directors hold auditions on additional days in mid-June. Class skips 3 weeks during the course to allow for more rehearsal time. There are 14 classes in the session. Classes start at 6pm Eastern Time..

Classes 1 & 2: INTRODUCTION | LECTURES ON THE EVENT AND THROUGHLINE SCRIPT ANALYSIS | HOW TO AUDITION ACTORS

Classes 3 & 4: 
EVENT SCENES PERFORM AND WORK IN CLASS


***ACTOR AUDITIONS mid-June, usually Thursday/Friday/Saturday***

Classes 5 & 6: THROUGHLINE SCENES | Round 1

Classes 7, 8, 9, 10: THROUGHLINE SCENES | Round 2 | 4 Guest Classes

Classes 11 & 12: THROUGHLINE SCENES | Round 3

Classes 13: DRESS RUN and notes

Class 14: INVITED PERFORMANCE OF 20 MINUTE THROUGHLINE SCENES and CLASS WRAP-UP

This class created much of my professional life. I doubt I'd be as happy or as successful if I hadn't taken it when I did. Highest recommendation for directors at all levels. —Mark Armstrong, Executive Director, The 24 Hour Plays

TUITION AND HOW TO APPLY

Tuition Full Directors | $725 Payment plans available. Includes the guest class series. If directors choose to cast locally and work in person, you are responsible for your own rehearsal space. TO APPLY please email and include a resume or description of your previous performing arts work and training, and a statement about why you'd like to take the class.

Tuition Active Auditors | $375 Payment plans available. Includes the guest class series. TO APPLY please email and include a statement about why you'd like to take the class.

Tuition Guest Class Only | $15 per class or $50 for all 4. If you're interested in this level, please email and guests will be announced mid-June.

Please feel free to email with questions.

I enjoyed the professional attitude and mutual respect you engendered in the class among classmates. And especially, I thank you for guiding me through the crises of my first job as director on the New York stage. Your class made that a much richer experience!

—Sarah Tuft, Writer, Director of Theater and Film

KAREN KOHLHAAS is a stage director, filmmaker, teacher, author, and Tennessee Williams scholar. Full Bio