Some of Matt’s Students

Patrick St. Esprit
(Hunger Games, Independence Day, Draft Day, Chosen)
Patricks Wiki Listing

Annabella Sciorra

(credits: What Dreams May Come, The Hand the Rocks the Cradle)
Annabella’s Wiki Listing

Kate Hodge

(the Good Wife, One Life to Live, As the World Turns)

Kate’s Wiki Listing

Kimberly Quinn

(St. Vincent, Twisted, Two and Half Men, Nash Bridges)
Kimberly’s Wiki Listing

Jay Karnes

(12 Monkeys, Stalker, Chicago PD, CSI, V, Judging Amy)

Jay’s Wiki Listing

Gary Hershberger

(Twin Peaks, Six Feet Under, Greys Anatomy, JAG, West Wing)
Gary’s Wiki Listing


Signature Acting and Improv Workshop with Hollywood Legend Matt Chait

The Workshop

 • Public Solitude: find greater relaxation and freedom on stage.

 • Spontaneity: act before you think.

 • Physical and emotional responsiveness: an ounce of behavior is worth a pound of words. Put more actions in your acting.

 • Intimacy: learn to focus on and get interested in the other person.

 • Objective: make what the character wants more important than your desire to please the audience.


Sanford Meisner

Sandy defined acting as “living truthfully in imaginary circumstances.” When you are acting, whether it’s in a play, a sketch or an improv, there are always imaginary circumstances. These could have something to do with the place you are supposed to be in, the imaginary relationship with the other actor, what you are trying to accomplish in the scene or the sketch, what happened just before the scene or the sketch began, and, if you have a longer rehearsal period, many circumstantial details of the life of your character. Some of these we can cover in later workshops.

Lee Strasberg

We will work on two circumstances that are always there when you are doing any scene or sketch. The first is what Lee Strasberg called ‘public solitude.’ To be able to have, in public, the same relaxed relationship with your mind and your body that you enjoy when you are alone. The second is to have intimacy in your relationship with the other actors that you are dealing with.

By intimacy I mean the sense that it is just the two of you, that you are really listening and responding to each other, and not merely exploiting the other actor in an attempt to entertain the audience. Both of these may sound difficult to achieve, but we will be doing the deep relaxation exercises and sensory work and repetition/response techniques that will allow you to get there. This work is very powerful and it will have a transformational effect on your performing on or off stage.


Sanford Meisner was a major influence on my acting and teaching. I studied with Sandy at the Neighborhood Playhouse and afterward in his professional classes.

After the Playhouse I worked intensively as an actor for a few years, playing major roles at The American Place Theater, The Theater Company of Boston, Cafe LaMama, the Eugene O’Neil Foundation, the Great Lakes Shakespeare Festival and many others. I also did improv with Chevy Chase, Neil Israel and Lawrence Sacharow of
The Concept.

I remember, more with humor than regret, a conversation which took place on East 4th Street in New York, when Chevy Chase and his young friend Lorne Micheals, interrupted a frisbee catch to try to convince me at length to join a new comedy improv group that they were forming; but I, who considered myself a ‘serious’ actor at the time, would have none of it. That group quickly morphed into the ‘Not Ready for Prime Time Players’ and Saturday Night Live.

I mention the following because it strongly influenced my work as a teacher. I went on a spiritual odyssey for several years which brought me in contact with some wonderful teachers who taught me a lot about my relationship with myself, with others and with the world around me. Sandy Meisner got me my first job teaching acting at The American Academy of Dramatic Arts, where I worked teaching and directing. George Cuttingham, the director of the Academy called me “the most successful teacher we’ve ever had.”

I opened up my own acting studio in Los Angeles where I taught for fifteen years and also taught acting during that time at UCLA. In 1990 I started a conglomeration of five theaters and five rehearsal studios called ‘The Complex’ which became and still is a main stay of theatrical life in Los Angeles. In 2006 I won the Charlie Award for outstanding contribution to theater in the Hollywood Arts Community.

Recently I have been doing a lot of acting and just played the central role in a play that I wrote called ‘Disinherit The Wind’ and that was called by the Los Angeles Examiner, “One of the most compelling, poignant and worthy plays ever staged.”


The cost of the workshop is $225 early registration or $249 late registration. It will consist of two three hour sessions. You can choose to attend the Saturday and Sunday morning group or the Saturday and Sunday afternoon group. There will also be a one hour homework assignment between the Saturday and Sunday sessions. Enrollment will be capped at 16 for each group. I look forward to seeing you there.

Please register for either the morning or afternoon session. Workshop fees are refundable up until November 1st.

Saturday and Sunday Morning Workshop (Session A)
16 spots | 6 open
10am to 1pm Saturday November 5th
10am to 1pm Sunday November 6th

Saturday and Sunday Afternoon Workshop (Session B)
16 spots | 8 open
2:30pm to 5:30pm Saturday November 5th
2:30pm to 5:30pm Sunday November 6th

On Matt

 • Graduate of Neighborhood Playhouse and private classes with Sanford Meisner.

 • Acting in leading roles with: American Place Theater, Eugene O'Neil Foundation, Theater Company of Boston, Great Lakes Shakespeare Festival, Actor's Studio, Cafe LaMama, etc.

 • Taught and directed  at the American Academy of Dramatic Arts.

 • Started Matt Chait Studio with private acting classes in Hollywod.

 • Taught acting at UCLA.

 • Founded and still operates 'The Complex,' a conglomeration of five theaters and five acting studios in Hollywood.

 • Founded Hollywood's Theater Row.

 • Won Hollywood Art Council's 'Charlie' Award for contributions to theater arts in Hollywood.

More about Matt

Disinherit the Wind Review

Peretz’s Tale of Caring

Peretz’s Review (II)

‘Chinese Coffee’

‘Chinese Coffee’ (II)

Saturday and Sunday Morning Workshop (Session A) 16 spots | 6 open
10am to 1pm Saturday November 5th
10am to 1pm Sunday November 6th

Saturday and Sunday Afternoon Workshop (Session B) 16 spots | 8 open
2:30pm to 5:30pm Saturday November 5th
2:30pm to 5:30pm Sunday November 6th

2135 Broadway, Oakland, CA
Tickets refundable until September 1st.

These workshops will sellout. Register early.

Matt’s Intro

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2135 Broadway
Oakland, CA 94612
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