Kathryn Blume is Co-Founder of the Lysistrata Project, the first worldwide theatrical event for peace. She has toured The Accidental Activist - her critically acclaimed one-woman show about Lysistrata Project - to over 30 cities in the US and Canada, receiving an Austin Critics Table Award nomination. She is an Artistic Associate at Vermont Stage Company in Burlington, where her play Vanya/Vermont - a modern adaptation of Anton Chekhov's Uncle Vanya - premiered in the spring of 2005. Kathryn's new solo show, The Boycott, premiered at VSC in January, 2007.
Her Off-Broadway credits include The Seagull, Mirandolina, and The Country Wife. Her Regional theater credits include Two Rooms, She Stoops to Conquer, A Child's Christmas in Wales, Sylvia, Waiting for Godot, A Streetcar Named Desire, Amadeus, June Moon, Antigone, Much Ado About Nothing, The Baby Dance, and Our Country's Good. Her Film credits include Deception, My Mother's Early Lovers, The Apartment, and Maybe It's Me.
In amongst her theatrical activities, Blume has had essays published in the books MoveOn.org's 50 Ways To Love Your Country, Code Pink's Stop the Next War Now, Outcry - American Voices of Conscience Post 9/11, and 365 Ways to Change the World. She has also had essays published in the weekly Seven Days and in Yes Magazine. Blume has worked for organizations such as the Sierra Club, Friends of the Earth, and Forest Watch. She founded Earth on the Air, a nationally-syndicated, award-winning environmental and social justice radio program, and was a company member of Living Voices, touring one-woman shows about the Holocaust and immigration to communities nationwide.
Blume co-founded The Hill Actor's Retreat Center and New Paradigms Personal Coaching Services, and has taught yoga, acting, Shakespeare, stress-reduction, and public speaking in venues across the country.
Kathryn Blume received her BA from Yale with a self-designed degree in environmental studies and theater.
If you're going to be an actor you have to love language, because what are you doing? You're working with scripts. And yeah, a lot of them are badly written, but you still got to be able to know how to handle the language...and even modern, of course Shakespeare you have to be able to handle the l...(Full transcript available to logged in subscribers.).
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