SHERRI ALLEN
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BIO | NEWS | RESUME | DIRECTING | TEACHING | REGIONAL THEATRE | SAN DIEGO THEATRE | SHAKESPEARE | TYA | COLLEGE THEATRE | MISCELLANEOUS | TELEVISION | REVIEWS | DEMO VIDEOS | HEADSHOTS | CONTACT





CURRENTLY 
  • Sherri currently appears in THE MYSTERY PLAYS at Ion Theatre, running through September 15, 2012.  For more info and tickets: http://iontheatre.com
  • Sherri appears in a commercial for Jerome's Furniture: http://youtu.be/IXe-p7IpNVM
  • Sherri currently appears in a TV infomercial for IncomeAtHome.com (Response Marketing Associates/Mark Sussman Productions): http://www.youtube.com/watch?v=qZdGUaYbkA0
  • Sherri currently appears in Public Service Announcements for Suicide Prevention as part of the It's Up to Us campaign.  (Jeffrey Markowitz Productions): http://youtu.be/6Mdo2VtJLYE

UPCOMING

  • Sherri will be appearing in two films at 7:pm on June 27th as part of the 48 Hour Film Festival in San Diego: "The Lies that Bind" and "The Knuckle-Cracker Suite". (To buy tickets online, select Group E): http://www.48hourfilm.com/en/sandiego/
  • Sherri teaches a class for older adults entitled “The Impact of Radio on Our Lives."  The class culminates each term in a production done in the style of a live radio broadcast from The Golden Age of Radio. The classes and performances take place at MiraCosta College Community Learning Center in Oceanside.  To learn more and to see videos of our past productions, please visit our YouTube page: http://youtu.be/EPbV5PyLa4c
  • To sign up for two classes taught by Sherri at MiraCosta ("The Impace of Radio on Our Lives" and "Improving Awareness through Improvisation"): http://www.miracosta.edu/schedules.html http://www.miracosta.edu/schedules.html 

 

THE IMPACT OF RADIO ON OUR LIVES
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MiraCosta College CLC (Spring 2012)

RECENT & PAST NEWS

  • Sherri Allen recently won MiraCosta College's Outstanding Associate Faculty Member Award, 2011-2012 (an honor because it is voted on by the Associated Students, who wrote essays in support of their nominee): http://youtu.be/wxUu5ipjKto
  • Sherri gave a lecture and taught a Commedia dell'Arte workshop to commemorate Global Commedia dell'Arte Day 2012 (at MiraCosta College Community Learning Center, Wed., Feb. 22, 2012)
  • Sherri appeared in the 2011 48-HOUR FILM FESTIVAL in the film "REBOUNCE" (SunWord Productions): http://youtu.be/Vpo8mgW8FkM 
  • Sherri appeared with Cygnet Theatre Company as Mrs. Soames in Thornton Wilder's Pulitzer Prize-winning play, OUR TOWN, in June/July, 2011. INFO: http://cygnettheatre.com/shows.php?show_id=52
  • In March 2011 Sherri shot an industrial training film on Preventing Discrimination and Harassment for WeComply, Inc. (Sunword Studios/Lowell Niles).  VIEW: http://youtu.be/h9AW0GsugG8
  • Sherri appeared with the Carlsbad Playreaders in a staged reading of THE CLEAN HOUSE by Sarah Ruhl on March 21, 2011 at Schulman Auditorium in Carlsbad, CA. LINK: http://www.carlsbadplayreaders.org/index.html

  • In January 2011, Sherri appeared in the world premiere of THE CHILD, a short film by Shantal Reich. The screening was held at the UltraStar Cinemas in San Diego. VIEW: http://www.youtube.com/watch?v=p4HonzkJP4w

  • On December 20th, 2010, Sherri appeared in a staged reading of THE GRAPES OF WRATH with Ion Theatre Company's Human Action Festival. Proceeds benefit local charities.

  • Sherri read selected works by Mark Twain and Emily Dickinson for Write Out Loud's TWAIN FEST in Old Town, San Diego's Historic Park (August 2010). 

  • Sherri appeared in the short suspense/thriller film, BITER with SunWord Studios for the 48-Hour Film Project, San Diego (July 2010) VIEW: http://www.youtube.com/watch?v=ym6-_F-NL9c

  • Sherri appears in a staged reading of WOMEN OF VALOR at the Lyceum Theatre as part of the Lipinsky Family Annual Jewish Arts Festival (June 2010)

  • Sherri directs a staged reading of THE GRAPES OF WRATH for Carlsbad Playreaders (April 2010)

  • Sherri directs and performs in two plays for global Commedia dell' Arte Day and presents a Commedia dell'Arte lecture and workshop at MiraCosta College (February 2010)  

  • Sherri appears in a staged reading of RICHARD II with Intrepid Theatre Company (December 2009)

  • Sherri performs in WELCOME TO RAMALLAH as part of the Resilience of the Spirit Festival at Compass Theatre (December 2009) VIEW: http://www.youtube.com/watch?v=vE_K7RX8riY

  • Sherri performs in THE DINING ROOM at Scripps Ranch Theatre.

  • Sherri films a television commercial for Pet's Best Health Insurance. VIEW: http://www.youtube.com/watch?v=Bdqv3yYz_70

  • Sherri films a television commercial for Natural Fertility Centers. VIEW: http://www.youtube.com/watch?v=qbLAA-TEreI

  • Sherri appears on Public Service Announcements billboards throughout San Diego that focus on the tragedy of gun violence. 

  • Sherri records voice-overs for a television commercial for Calvary Chapel's addiction rehabilitation program.

  • Sherri appears in an infomercial for the Cardio-Twister System.

  • Sherri appears in the independent film LITTLE LIONEL LITTLE (Sunword Studios): http://youtu.be/fKEW1zleTqc

    ourtown.jpg

     

    SAN DIEGO READER

    La Jolla Playhouse Teaching Artist Sherri Allen is quoted in THE SAN DIEGO READER cover story entitled "Stay Awake for the Ten O'Clock Show." (Click image to read the full story.)

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    Click image for SAN DIEGO READER cover story

    [Excerpt from San Diego Reader cover story refers to 33 Variations, written and directed by Moises Kaufman, at La Jolla Playhouse]

    After the play, as my wife and I wandered out through the lobby toward the evening dark, a woman draped in swaths of black fabric called out, “There will be a postshow outside in five minutes!” About six people gathered to see what was what. When the woman — La Jolla Playhouse teaching artist Sherri Allen — emerged to join us, she began running down a list of questions and making notes of our answers. An example:

    “What did you think the play was about?”

    Person A: “Finding the transcendent virtue in everyday things — Beethoven in the beer-hall waltz, and the mother and her daughter, who is content to be ordinary.”

    Allen ran down the list, her pen twitching away over the clipboard. “Were there any particular scenes that will stay with you? Were there any points that weren’t clear? What did you think of the nudity? What was done particularly well?” Then she asked for general feedback.

    Person B: “I thought the first act was very slow — it didn’t go from emotional beat to emotional beat. Instead, it went from intellectual point to intellectual point.”

    And so on. Toward the end, Allen pulled back the curtain a bit: “The play, from the playwright’s point of view, is about obsession. Beethoven’s obsession with the waltz, and Katherine’s obsession with finding out why he was obsessed with it — it’s her life’s work. The daughter is the metaphor for the secondhand waltz. Katherine’s daughter does not meet her expectations because Katherine knows what she wants and is very driven. She’s devoted her whole life to one thing, and her daughter wants to try out different things.”

    Person B: “But the mother is not obsessed with the daughter.”

    Allen: “No, she’s obsessed with her own life’s work — she neglects her daughter.”

    Person B: “How does one illuminate the other if she’s not obsessed with her daughter?”

    Woman: “The daughter craves the mother’s approval. She feels she’s never met her mother’s expectations.”

    Person A: “Beethoven is obsessed with the minor work. But Mom is not obsessed with the parallel minor work, which is the daughter. That’s why Person B is saying that the one doesn’t illuminate the other, because Beethoven is obsessed with the waltz, but Mom is obsessed with Beethoven.”

    Person B: “If Mom was obsessed with making the daughter into what she wanted the daughter to be, maybe we would be able to make that emotional connection between the two more easily.”

    Woman: “That’s interesting. No one I know of has made that observation. I’m sure that will be very fascinating to the dramaturge and to the playwright himself.”

    “The audience feedback always got back to me,” says Kaufman. “Those were my questions. I put it all in my head. When you begin to hear over and over that something is fantastic, you know that that part is working really well. When you hear over and over that there is confusion around a character, you had better look at that character. It’s not that specific comments made a difference, but I read and studied everything. The whole ending of the play changed between the second and third preview in La Jolla. That was based on feedback from both the audience and the collaborators.” The audience joins in the creation of narrative; the art becomes the starting point for a kind of conversation.