{"id":4255,"date":"2015-07-14T21:18:21","date_gmt":"2015-07-15T01:18:21","guid":{"rendered":"http:\/\/stateofshakespeare.com\/?page_id=4255"},"modified":"2015-07-14T21:39:34","modified_gmt":"2015-07-15T01:39:34","slug":"ray-chambers-about-the-artist","status":"publish","type":"page","link":"https:\/\/stateofshakespeare.com\/?page_id=4255","title":{"rendered":"Ray Chambers: About the Artist"},"content":{"rendered":"

Click here to listen to his interview<\/a>.<\/p>\n

\"Ray_Chambers_print\"\u00a0\"\"<\/p>\n

\n

Since first training with the Old Globe<\/a> in the mid-eighties, Mr. Chambers has worked as a classical actor and director with numerous regional theatres across the country. For nearly two decades as an Associate Artist with the Alabama Shakespeare Festival<\/a>, Ray has worked as actor, director, writer, and instructor and served as Director of the Master of Fine Arts\/Professional Actor Training Program at ASF from 2001-2009. Regional acting credits include title roles in Hamlet, The Count of Monte Cristo, Richard III, Coriolanus, King John, Henry V, Tartuffe; and leading roles in Julius Caesar, The Winter’s Tale, The Rivals, Henry IV, Cat On a Hot Tin Roof, Great Expectations, The Importance of Being Earnest, and Saint Joan among many others. Credits at the Old Globe<\/a> include Antony and Cleopatra, The Comedy of Errors, The School for Scandal, Coriolanus, Love\u2019s Labours Lost, Hamlet and Macbeth. He has taught Acting and Classical Text in master classes and workshops for universities and theatres around the country and has served as a national board member of the University\/Resident Theatre Association<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Click here to listen to his interview. \u00a0 Since first training with the Old Globe in the mid-eighties, Mr. Chambers has worked as a classical actor and director with numerous regional theatres across the country. For nearly two decades as an Associate Artist with the Alabama Shakespeare Festival, Ray has worked as actor, director, writer,<\/p>\n [...]<\/a>","protected":false},"author":1,"featured_media":4666,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-4255","page","type-page","status-publish","has-post-thumbnail","hentry","post-seq-1","post-parity-odd","meta-position-line-bottom","fix"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2Frfq-16D","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/4255","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4255"}],"version-history":[{"count":6,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/4255\/revisions"}],"predecessor-version":[{"id":4731,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/4255\/revisions\/4731"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/media\/4666"}],"wp:attachment":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}