When I think of Uta I think of the school. In the 90’s I was looking for an acting school. Feeling a little lost, a good friend suggested she study at HB. “They have a different approach to learning the craft.” The style was more European. It was exactly the type of training I was looking for.

“It was there at HB I became an artist, not just an actor.”

Katherine Sergava, small but mighty. Intense, an artist, a former dancer herself. I wrote her poems, I became her key student. I just loved her so.

I wanted to get an idea of who I was & what I was to become. I knew the stage was for me. Everything had to have a purpose. Remembering what it was like walking to class with all my props that I took from home only to learn that behind the curtain in class were a ton of props.

I remember going to Jeffrey Owens Shakespeare class. Being so drawn, of the way Jeffrey would command the language.

By the time you got to Uta’s class, you realized why she let us do the classics was because we had the opportunity to watch characters change.

I learned in Uta’s class how cognizant she was of objects. It’s about the preparation. You’re creating your own story. You HAD to rehearse. Do the work. Leave it there. I loved working with Uta. It was high intensity, it was pressure. She wanted to pull the best out in us.

Maria shares a critique after her scene in Uta’s class. It didn’t matter, opening or closing night, you kept the energy of the play. I miss being able to talk with her.

Setting that foundation, set the life that I lead. It was all about truth & being real.

Kelly shares her story of what it was like coming to New York as a dancer & being introduced by her friend to HB Studio.

Studying with Herbert in the early 80’s she discovered the feeling of “knowing what you’re meant to do.”

His ability to see into the core of a person & what they needed, changed my life.

He like Uta held you to a standard that he was never willing to do himself.

“You never stop working. You keep going deeper & deeper.” We’re not focusing on the fame.

Terrified she auditioned with Craig Bacon for Uta’s class. While studying with Uta, she discovered they both taught the same thing using different tools.

One of the brilliant things about Uta, watching how devoted she was to her craft. Being completely absorbed in her character was relatable.

Kelly talks about being what it was like being performing with Uta & Lyla Robins in a play written by Donna DeMatteo, “The Silver Fox.” Kelly’s character was the granddaughter of Uta. She mentored me with her actions & how she conducted herself.

Today’s show we have actor Laila Robins. She talks about meeting Uta & Hebert for the first time in there apt in NYC.

They changed the trajectory of my career. I got a lot of validation because of working with Uta & Herbert. “Working with them, is like studying with them.”

I felt very drawn to Uta. She had immigrant parents, I had immigrant parents. I went to school in Wisconsin. She was from Wisconsin. I could see my future in her.

There was a person that I recognized in her.

Laila dives into the time they were performing at the Drew Theatre in the Hamptons Laila your doing the lines the same every time. If we listen, we react.

One time I called Uta, from the Guthrie Theatre, in Minneapolis. I was playing Hedda Gabler & I was struggling. Uta was always encouraging. She gave you something to strive for. She was my artist mother.

She really taught us how to keep it alive. Listen to the fine details that Uta shared with Laila on acting.