Running Time: approximately 65 minutes, with no intermission

Jazzercize is out. Zumba is in. But instructor Kelsea Wiggan is not going down without a fight. Armed with pep, a petition, and her conflict averse co-instructor, MJ Fray, Kelsea is determined to keep Jazzercize alive at The Chikatawnee Valley Community Center.

Will Zumba win out or will Kelsea save her Jazzercize class from extinction? The Last Class is an exploration of what happens when you’ve invested your time, money, and life into a dying franchise that needs resuscitation. For a struggling entrepreneur, sometimes your problems become too big to just “sweat it out”.

The Last Class is a real aerobics class happening in real time. Along with the standard audience seating, two tickets will be made available each performance for audience members wanting to take the class. Students of the class must wear proper workout attire. Get ready to SWEAT!

All audience participants slots have been filled at this time.  We still encourage you to attend the performance that works best for you! If you would like to be added to the waitlist for any of the performances, contact: thelastclassplay@gmail.comPlease allow 24-48hrs for response.


Photo by Peter Rad, Font Design by Noah Bell at Bellboy Creative.

Originally from the wilds of the Great Pacific Northwest, Megan grew up surrounded by coffee, farmer’s markets, and rock ‘n’ roll. She now resides in Brooklyn where she is surrounded by coffee, farmer’s markets, and rock ‘n’ roll. She is delighted to bring The Last Class: A Jazzercize Play to her original stomping grounds and ACTLab.

As an actor and writer, recent and favorite credits include: Do you Feel Anger? (HUMANA Festival, Actor’s Theatre of Louisville); Georgia Mertching is Dead (EST/Unfiltered); The Rafa Play (The Pool at The Flea); Kentucky (World Premiere, Ensemble Studio Theatre); The Last Class: A Jazzercize Play (which she also wrote); Trade Practices (HERE Arts); Ermyntrude and Esmeralda (Ars Nova, ANT Fest); The Subtle Body (Shanghai Dramatic Arts Center); Clybourne Park (Pittsburgh Public Theater); The House of Von Macrame (Bushwick Starr); Hand to God (World Premiere, Original Cast, EST); Cut (The Management); Robert Wilson's The Watermill Quintet (Implied Violence/The Guggenheim Museum); Lonesome Winter (which she also co-wrote with Joshua Conkel); The Sluts of Sutton Drive (EST/Unfiltered Fest); Fissures (HUMANA Festival, Actor’s Theatre of Louisville).

She has also worked with Berkeley Rep’s Ground Floor, SPACE on Ryder Farm, NACL, The Atlantic, Soho Rep Lab, Primary Stages, The Lark, New Dramatists, Clubbed Thumb, New Georges, Labyrinth Lab, Target Margin, Rising Phoenix Rep, San Francisco Playhouse, Studio 42, Target Margin, Incubator Arts Project, Stein/Holum, Little Lord, The Arden, Intiman, Seattle Children’s Theatre, Speeltheatre Holland, Seattle Shakespeare Company, Book-It Repertory, among others.  Megan is a company member of DODO Theater, Ensemble Studio Theatre, and Morgan Gould & Friends. 

B.F.A. Acting/Original Works, Cornish College of the Arts. M.F.A. ART/MXAT IATT at Harvard University.

Megan Hill (Writer, Cast)

Originally from the wilds of the Great Pacific Northwest, Megan grew up surrounded by coffee, farmer’s markets, and rock ‘n’ roll. She now resides in Brooklyn where she is surrounded by coffee, farmer’s markets, and rock ‘n’ roll. She is delighted to bring The Last Class: A Jazzercize Play to her original stomping grounds and ACTLab.

As an actor and writer, recent and favorite credits include: Do you Feel Anger? (HUMANA Festival, Actor’s Theatre of Louisville); Georgia Mertching is Dead(EST/Unfiltered); The Rafa Play (The Pool at The Flea); Kentucky (World Premiere, Ensemble Studio Theatre); The Last Class: A Jazzercize Play (which she also wrote); Trade Practices (HERE Arts); Ermyntrude and Esmeralda (Ars Nova, ANT Fest); The Subtle Body (Shanghai Dramatic Arts Center); Clybourne Park(Pittsburgh Public Theater); The House of Von Macrame (Bushwick Starr); Hand to God (World Premiere, Original Cast, EST); Cut (The Management); Robert Wilson's The Watermill Quintet (Implied Violence/The Guggenheim Museum); Lonesome Winter (which she also co-wrote with Joshua Conkel); The Sluts of Sutton Drive (EST/Unfiltered Fest); Fissures (HUMANA Festival, Actor’s Theatre of Louisville).

She has also worked with Berkeley Rep’s Ground Floor, SPACE on Ryder Farm, NACL, The Atlantic, Soho Rep Lab, Primary Stages, The Lark, New Dramatists, Clubbed Thumb, New Georges, Labyrinth Lab, Target Margin, Rising Phoenix Rep, San Francisco Playhouse, Studio 42, Target Margin, Incubator Arts Project, Stein/Holum, Little Lord, The Arden, Intiman, Seattle Children’s Theatre, Speeltheatre Holland, Seattle Shakespeare Company, Book-It Repertory, among others.  Megan is a company member of DODO Theater, Ensemble Studio Theatre, and Morgan Gould & Friends. 

B.F.A. Acting/Original Works, Cornish College of the Arts. M.F.A. ART/MXAT IATT at Harvard University.

 

Amy Staats (Cast)

The 2017-2018 Tow Playwright in Residence through the Atlantic Theater Company. Select plays include: Eddie and Dave (Developed at Berkeley Rep’s Ground Floor and Space On Ryder Farm); Hands (Naked Angel’s First Mondays); Throws of Love (Samuel French Festival, winner); I Hope She'll Be Okay (Atlantic Theater Launch Commission, developed at Williamstown Theater Festival.) As an actor, favorite New York credits include the critically acclaimed Miles for Mary (directed by Lila Neugebauer, created by The Mad Ones, Playwrights Horizons, Bushwick Starr), The Last Class: A Jazzercize Play (Directed by Margot Bordelon, written by Megan Hill, Dodo Theater Collective), and Trevor (Directed by Moritz Von Stuelpnagel, written by Nick Jones, Lesser America). Film/Television credits include Mary and LouiseMothra is Waiting and Morgan Gould’s The Last Great American Web Series. She lives in Brooklyn with her husband Jeff and their cats James Carlos and Orlando.

 

Margot Bordelon (Director)

Originally from Seattle, Margot is a Brooklyn-based director who specializes in new work.

Recent projects: Do You Feel Anger? (ATL's Humana Festival), Too Heavy For Your Pocket (Roundabout Underground, Alliance), The Pen (NYT's Critic's pick, NYC Premiere), peerless (Marin Theatre Company, Yale Rep), A Delicate Ship (NYT's Critic's Pick, Playwrights Realm), and Okay, Bye (Steppenwolf Theater). She's developed plays with Ars Nova, American Theater Co., Atlantic Theatre, Berkeley Rep, Cherry Lane, Clubbed Thumb, Dodo, Juilliard, The Lark, NYTW, P73, Perry Mansfield, Play Penn, Portland Center Stage, Primary Stages, The Public, PWC, Rattlestick, SPACE at Ryder Farm, Steppenwolf, the Wilma, and Woolly Mammoth, among others.

Margot moved east after spending six years in Chicago working as a director, writer, and performer. She is a founding member of Theatre Seven of Chicago and spent four seasons working on the artistic staff of Lookingglass Theatre. B.F.A.: Cornish College of the Arts. M.F.A: Yale School of Drama. margotbordelon.com

 

Sarita Lou (Choreographer)

She is a London based choreographer and teaching-artist. While working mostly in musical theater, her personal dance practice includes a passion for contemporary dance, somatic practice, and storytelling. The New York Times has said, "Sarita Lou's choreography is terrific."

Most recent projects include assistant directing The Color Purple (Broadway) and choreography for the musicals The House of Von Macramé (The Bushwick Starr), and Devil and the Deep (Off-Broadway). In 2013, Sarita was named Artist in Residence for the Harold Clurman Center for New Works in Movement and Dance Theater. She holds an M.A. from Trinity Laban Conservatoire in London in Creative Practice (2017) and a B.A. from UCLA's World Arts & Cultures Program.

Sarita's mission is to "Inspire the world to move." With this in mind, she created the original arts web series For the Love of Dance, documenting diverse dances around New York City. To see more of her work please visit saritalou.com.

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