Angeles film and TV industry.industry. It didn't phase her that her Father's name
would show up on the end of TV programs or that she would have to demolish
her sandcastle half-way through so it would match the previous shot. Otherwise
she grew up well and wasn't pushed into becoming a child star.
Theater was another normal part of the scrawny blond child's young life. She
knew fifth row center was the coveted seat in most Broadway size theaters and
she could quote bits of Shakespeare before she could read him.
However, before the age of 7 her performing experience consisted solely of
movement - dance and gymnastics. Her parents - both theater major's in college
- finally enrolled in her a local musical theater program; a program which has
drastically grown in size since she left. Callan's first acting experience was in a
first grade puppet show, where she was cast as Cinderella's fairy godmother. She
was thoroughly upset she didn't get the lead.
Callan wrote her first play in elementary school, which she performed in the
theater her Father built for her and her sister. The play was THREE BILLY
GOATS GRUFF and all four roles were played by Callan, her sister and their
cousin. It was a good lesson in double casting. Callan went on a write a few other
plays for her parents, which she performed in her back theater.
Years later, after becoming thoroughly involved in a local community theater and
running all types of tech imaginable, Callan played an Evil Step Sister in
Cinderella, she was still thoroughly annoyed.
After many more roles, including leads like Titania in A MIDSUMMER NIGHT'S
DREAM and the title character in SLEEPING BEAUTY, Callan decided to forsake
acting and dancing for a more noble art of stage.
Callan wrote her first play for production as a Junior in High School. AESOP'S
FABLES opened to much excitement. The school paper even did an article on
her.
Callan's second play, BROWNIES, BICYCLES AND BIGFOOT was done while she
was away at college and other then writing it, she had nothing else to do with the
production. She is believed to have said "It's a relief to pass off your baby to
more knowledgeable hands for the next step of the road."
Callan's play, RED INDIA, saw production in The Next Stage New Play Festival,
also produced by her. Callan was absolutely thrilled to have Sherry Coon as a
director. Ms. Coon is a very talented director who has an amazing ability to take
words off a page and with actors, breathe life into them so they become a whole
of their own.
Callan spent four diligent months in London, studying nothing but theatre under
the professorship of Dr. Roy Kendell - the only man in London to have both a
PhD and a play produced in London's West End. In December 2006, the Institute
of Contemporary Art produced a staged reading of Callan's new play THE
PASTRY QUEEN. The reading was greeted with uproarious laughter, which was
good as the play is a comedy.
She made her first appearance in Playbill as the sound operator for "Dutchman"
by Amiri Baraka, while interning at The Cherry Lane Theatre. Callan met the
playwright numerous times, but he still only thinks she's the girl who opens the
door for him. The production was also recorded to be included in the Lincoln
Center archives. Callan has also worked with The Public Theatre doing literary
research for the park production of 'Romeo & Juliet' and for Thirteen Playwrights.
Her hair, starved of the California sun, or any sun for that matter, being stuck
inside dark theaters, started to show its true color and turned red.
Callan just finished writing her masters degree 'Stories for Performance: An
inquiry into the Storytellers in the North-East of Scotland and how they negotiate
the acquisition, transmission and performance of oral narratives under the
pressures of imposed value systems and personal aesthetics'. A rather long
academic paper with a much longer more academic title. She didn't want the title
to be quite so long, or quite so academic, but her professors insisted. And well,
she wanted to pass.
Callan's adaptation of THE JUNGLE BOOK, based on stories in the book by
Rudyard Kipling has just been published by YouthPLAY.com and the rights are
now available to by purchased through them. Callan is super excited about this
development and her goal is to have every middle school in American perform
her version of The Jungle Book.
Her play CRAP CRAP CRAP: OR EVERYTHING I DON'T WANT TO BE AT 40
received a workshop and reading through the Cherry Lane Theatre's Tongues
Reading Series.
Callan lives New York and is actively working to become that rich and famous
playwright that everyone keeps reminding her is not possible to obtain.
Apparently, a playwright cannot be both rich and famous, eventually she'll have
to pick. She is a member of the writer's group Cockpit Writers. She is very excited
for her future as a young playwright and hopefully one day as an old playwright.
would show up on the end of TV programs or that she would have to demolish
her sandcastle half-way through so it would match the previous shot. Otherwise
she grew up well and wasn't pushed into becoming a child star.
Theater was another normal part of the scrawny blond child's young life. She
knew fifth row center was the coveted seat in most Broadway size theaters and
she could quote bits of Shakespeare before she could read him.
However, before the age of 7 her performing experience consisted solely of
movement - dance and gymnastics. Her parents - both theater major's in college
- finally enrolled in her a local musical theater program; a program which has
drastically grown in size since she left. Callan's first acting experience was in a
first grade puppet show, where she was cast as Cinderella's fairy godmother. She
was thoroughly upset she didn't get the lead.
Callan wrote her first play in elementary school, which she performed in the
theater her Father built for her and her sister. The play was THREE BILLY
GOATS GRUFF and all four roles were played by Callan, her sister and their
cousin. It was a good lesson in double casting. Callan went on a write a few other
plays for her parents, which she performed in her back theater.
Years later, after becoming thoroughly involved in a local community theater and
running all types of tech imaginable, Callan played an Evil Step Sister in
Cinderella, she was still thoroughly annoyed.
After many more roles, including leads like Titania in A MIDSUMMER NIGHT'S
DREAM and the title character in SLEEPING BEAUTY, Callan decided to forsake
acting and dancing for a more noble art of stage.
Callan wrote her first play for production as a Junior in High School. AESOP'S
FABLES opened to much excitement. The school paper even did an article on
her.
Callan's second play, BROWNIES, BICYCLES AND BIGFOOT was done while she
was away at college and other then writing it, she had nothing else to do with the
production. She is believed to have said "It's a relief to pass off your baby to
more knowledgeable hands for the next step of the road."
Callan's play, RED INDIA, saw production in The Next Stage New Play Festival,
also produced by her. Callan was absolutely thrilled to have Sherry Coon as a
director. Ms. Coon is a very talented director who has an amazing ability to take
words off a page and with actors, breathe life into them so they become a whole
of their own.
Callan spent four diligent months in London, studying nothing but theatre under
the professorship of Dr. Roy Kendell - the only man in London to have both a
PhD and a play produced in London's West End. In December 2006, the Institute
of Contemporary Art produced a staged reading of Callan's new play THE
PASTRY QUEEN. The reading was greeted with uproarious laughter, which was
good as the play is a comedy.
She made her first appearance in Playbill as the sound operator for "Dutchman"
by Amiri Baraka, while interning at The Cherry Lane Theatre. Callan met the
playwright numerous times, but he still only thinks she's the girl who opens the
door for him. The production was also recorded to be included in the Lincoln
Center archives. Callan has also worked with The Public Theatre doing literary
research for the park production of 'Romeo & Juliet' and for Thirteen Playwrights.
Her hair, starved of the California sun, or any sun for that matter, being stuck
inside dark theaters, started to show its true color and turned red.
Callan just finished writing her masters degree 'Stories for Performance: An
inquiry into the Storytellers in the North-East of Scotland and how they negotiate
the acquisition, transmission and performance of oral narratives under the
pressures of imposed value systems and personal aesthetics'. A rather long
academic paper with a much longer more academic title. She didn't want the title
to be quite so long, or quite so academic, but her professors insisted. And well,
she wanted to pass.
Callan's adaptation of THE JUNGLE BOOK, based on stories in the book by
Rudyard Kipling has just been published by YouthPLAY.com and the rights are
now available to by purchased through them. Callan is super excited about this
development and her goal is to have every middle school in American perform
her version of The Jungle Book.
Her play CRAP CRAP CRAP: OR EVERYTHING I DON'T WANT TO BE AT 40
received a workshop and reading through the Cherry Lane Theatre's Tongues
Reading Series.
Callan lives New York and is actively working to become that rich and famous
playwright that everyone keeps reminding her is not possible to obtain.
Apparently, a playwright cannot be both rich and famous, eventually she'll have
to pick. She is a member of the writer's group Cockpit Writers. She is very excited
for her future as a young playwright and hopefully one day as an old playwright.
Callan Stout was born in
Santa Monica, California
and right away her
presence was made
known to the industry.
She was in Variety just a
month after her birth.
Callan grew up fairly
normally, or normally for
being born into the Los
Santa Monica, California
and right away her
presence was made
known to the industry.
She was in Variety just a
month after her birth.
Callan grew up fairly
normally, or normally for
being born into the Los
photo Megan Mack
