Actor, Teacher, Director
The official home of Russell Dean Schultz, AEA, MFA
Welcome to russelldeanschultz.com! Thanks for visiting my website. Check back often for updates on upcoming shows, workshops and other happenings.
8/19/13- Russ will be performing the role of George in the Hippodrome State Theatre’s production of Don’t Dress for Dinner!
6/16/13- Awaiting the rough cut of Coming Home, shot in the Spring
6/16/13- Russ has been asked to stay and teach classes in Script Analysis and Acting this Fall at the University of Florida.
12/28/12- New Jerusalem named one of the Year’s Best by the Fort Worth Star Telegram.
12/8/12- Cycle, a film by Wes Rodriguez, released yesterday.
10/4/12- Russ will be directing Lorca’s Blood Wedding at the University of Florida this Spring.
8/23/12- Russ has been named one of the Five Best Bald Actors on DFW Stages by The Dallas Observer
5/20/12- Russ will be teaching voice classes this Fall at the University of Florida.
4/23/12- Russ is recording some characters for the series “One Piece” and “Athena: Goddess of War”
3/12/12- Russ just finished working the Out of the Loop Fringe Festival at WaterTower Theatre. Congratulations to all the festival winners!
1/10/12- New Jerusalem has received multiple positive reviews! Click on the News and Reviews page to read and then click on the Stage West link below for show dates and times!
1/7/12- New Jerusalem opens tonight at Stage West! Come check it out!
11/16/11- Russ has been cast in Stage West’s production of New Jerusalem: The Interrogation of Baruch de Spinoza at Talmud Torah Congregation: Amsterdam, July 27, 1656.
9/17/11- The reviews are in and A Most Dangerous Woman is a critical success! Click on the Reviews section to see what the critics are raving about!
8/7/11-Russ has just been cast in Echo Theatre’s original production of A Most Dangerous Woman.
After five years in New York and as many in Florida, Russ is once again proud to call Dallas home. A Texas native, Russ earned his B.A. in Theatre Arts from Coe College in Cedar Rapids, Iowa, where he earned the Dows Award for Outstanding Contribution by a Theater Major and was the inaugural recipient of the David Redford Outstanding Actor Award. Russ worked in the Dallas area for many years as a professional actor, appearing in such plays as The Tempest, Much Ado About Nothing, Romeo and Juliet, The Three Musketeers and on television in Walker, Texas Ranger, Wishbone and Dallas, The Reunion. Russ has also performed in many industrial films and commercials. Russ was accepted into the University of Florida’s Professional Actor Training Program where he studied voice under Yanci Bukovec, one of the world’s foremost masters of the Lessac Vocal Technique and Marcel Marceau’s performance partner. Russ earned his Master of Fine Arts on full fellowship, receiving two merit based scholarships, the Hubbell Scholarship and the Christopher Williams Memorial Scholarship, for which he was once again the inaugural recipient. In 2011, Russ co-directed Oedipus the King with his mentor Yanci that toured Athens, Greece and appeared as George Henry Lewis in the original production on A Most Dangerous Woman for Echo Theatre in Dallas, TX. He was also involved in WaterTower Theatre’s production of Spring Awakening and Rockin’ Christmas Party that same year. In 2012, he participated in the Out of the Loop Fringe Festival and won critical and audience praise for his work as Abraham van Valkenburgh in Stage West’s daring production of New Jerusalem. Utilizing the vocal techniques of Arthur Lessac, Cecily Berry and Patsy Rodenburg, Russ has developed a comprehensive approach to vocal training, focusing on the text as the primary element in character. A dedicated teacher and mentor, a role he takes as seriously as his stage and film work, Russ has been appointed to the position of Professor of Theatre and will be teaching voice classes this fall at the University of Florida. Russ is a proud member of Actor’s Equity Association.
One vocal technique does not fit all. An actor going to their first audition, an experienced actor wrestling with a Shakespeare play, or a veteran actor in the midst of their first absurdist piece, must all understand the specific vocal demands of each style they are journeying into. No matter where you are, novice or experienced actor, I can help you mine more out of the text in order to understand the role you seek or are preparing. I don’t confine myself to a ‘one size fits all’ approach to training the voice or the actor because each playwright demands something different from each actor, and not all techniques are appropriate for every play or film.
Based on the specific needs of the actor, we will determine an individual approach to meet the demands of the playwright or screenwriter. With my experience in myriad vocal techniques and actor training, I can help an actor articulate and enhance their process so that the demands of the playwright or screenwriter are met.
Whatever your goals, we will tailor your approach to examine and ‘better’ your process. I am not a quick fix… preparing for an audition or role is a noble endeavor, and if you are willing to put in the effort to understand your process and goals, I can help you.
My fee structure is based on your needs and can be discussed during an initial consultation. The first consultation is on me! We will both have questions to determine if we are a good fit to work together. Please contact me to schedule a consultation or with any questions you may have. I look forward to hearing from you!
Freytag Pyramids are diagrams of a play’s dramatic structure. The level of detail can vary quite a lot- some pyramids consist of one or two sentences that summarize entire acts while others may proceed line by line, thought by thought. These tend towards the latter, although I’m not so much of a perfectionist that I feel a need to go moment to moment. In addition, some are more detailed than others. This was simply a matter of trial and error, as I found that my early attempts lacked detail that hindered my understanding when I returned to them later. In any event, here they are.
My goal is to have a complete set of Shakespearean pyramids available on the website in PDF form for free.
Coriolanus, Part I
Coriolanus, Part II
Richard II, Part I
Richard II, Part II
Richard II, Part III
Richard II, Part IV
Henry IV, Part I
Henry IV, Part II, Part I
Henry IV, Part II, Part II
Henry IV, Part II, Part III
Henry IV, Part II, Part IV
Henry VI, Part I- Coming Soon
Antony and Cleopatra, Part I
Antony and Cleopatra, Part II
Antony and Cleopatra, Part III
Antony and Cleopatra, Part IV
Antony and Cleopatra, Part V
Antony and Cleopatra.Part VI
Richard III, Pt. I
Richard III, Pt. II
Richard III, Pt. III
Richard III, Pt. IV
Richard III, Pt. V
Macbeth, Pt. I
Macbeth, Pt. II
Macbeth, Pt. III- Coming Soon
Macbeth, Pt. IV- Coming Soon
Macbeth, Pt, V- Coming Soon
The Tempest- Coming Soon
The Man of Mode
News and Reviews
From the Dallas Observer, 2012
“Russell Dean Schultz wowed critics and audiences as the interrogator, Abraham van Valkenburgh, in Stage West’s searing production of New Jerusalem, a play about the trial of the young philosopher Spinoza. When you don’t have long tresses to toss around (as did Schultz’s Stage West co-star Garret Storms, who has enough hair for 10 men), you have to work extra hard with your voice, which is what Schultz, a voice and diction expert, did in his role. He also starred in Echo Theatre’s A Most Dangerous Woman. This fall Schultz takes a break from acting to teach voice at the University of Florida. Great job for an egghead”
New Jerusalem: Stage West, 2012
From CriticalRant.com’s Alexandra Bonifield: “Russell Dean Schultz portrays Abraham at first as an unsympathetic, unyielding man, seemingly bent on preserving the status quo with imperious disdain. But Abraham bears this power more as a sacred trust than egotistical control device. Schultz follows the arc of Ives’ intricately drawn character to the letter with subtle skill; by the play’s conclusion he transforms Abraham into a feeling human being faced with a serious governance challenge he must resolve, with the lives of many at stake. His Abraham does not inhabit a black and white world, nor does he judge from one.”
From the Stage West Facebook Page: ” Couple of terrific performances from actors I hadn’t seen before: Garret Storms and Russell Dean Schultz. At last, actors who know how to use their voices!”
From The Dallas Observer: “The playwright hangs heavy ideas out for consideration in New Jerusalem, but in a way that’s provocative and entertaining. What could become static debate scenes are made lively by the unfussy acting and masterly vocal work of Stage West’s cast, directed by Jerry Russell. For a quietly dazzling two hours of drama, give Spinoza a spin.”
From D Magazine’s Front Row: “Schultz, as the interlocutor Van Valkenburgh, is a stentorian figure worthy of fear, but no mere villain chewing the scenery.”
From The Fort Worth Star Telegram and DFW.com: “Also outstanding is Russell Dean Schultz, who plays the Dutch Christian leader Abraham Van Valkenburgh, who starts the ball rolling against Spinoza. It is a thankless role (he is a hiss-able villain), but he does a great job with it. Even while taking what the play presents as the wrong side, he gives his character a sturdy backbone of strength and dignity that keeps him from being an evil cliché.”
From John Garcia’s The Column’s Laurie Lindemeier:
“The opening lines of Stage West’s drama were delivered with an authoritative tone by Russell Dean Schultz as Abraham Van Valkenburgh, a Dutch political leader and Calvinist. As he walked heavily around the table he cast looks at the audience that seemed to say, ‘How dare you chatter at this time.’”
“Schultz’s Van Valkenburgh’s shaved head and cold piercing eyes were reminiscent of a serial killer. When he declared, “There is an evil abroad here in our city,” I thought, `it takes one to know one.’ The city was Amsterdam, the year 1656, the event an interrogation on Baruch de Spinoza (Garret Storms), 23 year old member of the Talmud Torah Congregation.”
“Schultz portrayed Van Valkenburgh with layers–if one watches closely. I perceived his menace as a thin coat of icing which covered a filling inside of utter confusion and panic. He could only solve his dilemma by deleting that undesirable trouble causing ingredient, Baruch de Spinoza, from the pure city of Amsterdam’s humankind recipe. In seeking to purify and protect his country, Van Valkenburgh denied his people the opportunity to think, ponder and protect themselves.”
From TheatreJones.com: “Abraham Van Valkenburgh, played powerfully by Russell Dean Schultz, is a Christian bent on preserving the peace. He approaches Gaspar Rodrigues Ben Israel (Michael Corolla) and Rabbi Saul Levi Mortera (Jim Covault) claiming that Spinoza has violated the city’s rules that allow the Jews to reside there. If they can’t silence one of their own, they may all have to pay the price.”
A Most Dangerous Woman: Echo Theatre, 2011
From TheatreJones.com: “But there is a laundry list of notable performances surrounding hers. Russell Schultz plays George Lewes, the philandering philosopher who catches Marian on the rebound from a painfully funny Brian Witkowicz as Herbert Spencer. Jessica Cavanagh plays the longtime friend, Barbara Bodichon, and Randy Pearlman is the caring—if disappointed—brother, Isaac Evans. Both want what’s best for her though neither agree much on what that is. Morgan McClure, Scott Milligan, Jordan Willis, along with Churchill, round out the talented ensemble.”
From Critical Rant and Raves: “As George Lewes, frustrated scientist and Marian’s lover/consort, Russell Schultz reveals awe as much as love for Marian and her accomplishments, almost as though he possesses her as another unique specimen in his vast scientific collection. His acceptance of her success hints at uncalculated opportunism as much as devotion; Schultz in no way incorporates anachronistic modernistic sensibility or exploitative stereotype in his portrayal. He explores the truth layers in Templesman’s script that define an ambitious, unconventional man who finds himself entranced with an exceptional woman and willingly encourages and benefits from her talents. Their relationship is as original as their two personalities and intriguing to watch unfold.”
From The Dallas Morning News: “Russell Schultz, recently returned to Dallas, makes a stalwart, sensitive Lewes.”
From John Garcia’s The Column: “The rest of the cast deftly directed by David Meglino is a joy to experience as well. Many are cast in multiple roles but they never lose focus, agility or spark. Especially memorable are Russell Schultz, Adran S. Churchill, Morgan McClure, Jessica Cavanaugh and Jordan Willis.”
From Art and Seek: “In that first act, Emily Scott Banks also establishes herself as formidable and tightly-wound, eager and pained by what she must do, while Russel Schultz impresses as the driven, defiant but charming Lewes (Tempelsman is admirably even-handed in dealing with their marital struggles).”
Our Town: WaterTower Theatre, 2010
From Critical Rant and Rave: “Sterling acting abounds, standouts include: Emily Scott Banks as the effusively loving, generous-spirited Mrs. Gibbs; Stan Graner as the honorable, hard-working family man Mr. Webb; Russell Dean Schultz as the well-intentioned, easily flustered Professor Willard; Nancy Sherrard as the effervescent Mrs. Soames; Ted Wold as deeply troubled drunkard Simon Stimson; and Joey Folsom as trusting, dutiful son and devoted husband George Gibbs.”
George Washington’s Boy: UF, 2008
From The Gainesville Sun: “The acting is first-rate throughout. Russell Schultz portrays Washington with the solidity and stolidity expected of the first national executive. He successfully develops aspects of Washington’s strong leadership abilities as a general and president. Schultz is able to convincingly humanize Washington who is often treated as an icon of American history- the ‘Father of His Country.”
List of plays and books I’m currently reading:
Opera Vita Aeterna- Vox Day
Shakespeare and the Culture Of Christianity in Early Modern England-Ed. Dennis Taylor and David N. Beauregard
Deep Survival-Laurence Gonzalez
The Last Superstition- Edward Feser
Mere Christianity- C.S. Lewis
Rome Sweet Home- Scott and Kimberly Hahn
Mud, Sweat and Tears- Bear Grylls
What’s Wrong With The World?- G.K. Chesterton
Siddartha- Herman Hesse
Training the Speaking Voice- Virgil A. Anderson
Color Struck- Zora Neale Hurston
Atlas Shrugged- Ayn Rand
A Shakespearean Actor Prepares- Adrian Brine and Michael York
The Necessity of Theatre- Paul Woodruff
Oleanna- David Mamet
Brecht On Theatre: The Development of an Aesthetic- John Willett, Ed.
The Memorandum- Havel