Keenon Hooks

Casting Director / Resident Artist

Keenon Hooks

(805) 928-7731 ext. 4121

PCPA (since 2007): Actor: Come From Away (Bob & others), Disney’s Beauty and the Beast (LeFou), Jane Austin’s Emma (Frank Churchill), Rogers & Hammerstein’s Cinderella (Lord Pinkerton), In the Heights (Ensemble/Benny u/s), Shrek (Sticks Pig/Ensemble), Sound of Music (Swing), Godspell (Light of the World), Ragtime (Ensemble), Hot Mikado (Ensemble), White Christmas (Ensemble), Les Miserables (Ensemble), Bat Boy (Mrs. Taylor/Roy/Reverend Hightower – Conservatory Rep), The Music Man (Ensemble), Curtains (Russ Cochran), West Side Story (Juano)

Director/Choreographer: Beehive: the 60’s Musical; Disney’s FROZEN – The Broadway Musical; Something Rotten; Little Shop of Horrors; Elf; Bright Star

Choreographer: Waitress; Disney’s Beauty and the Beast; Rogers & Hammerstein’s Cinderella

Other Theatres:  Director/Choreographer/Actor: Utah Shakespeare Festival, Oregon Cabaret Theatre, Las Vegas Nevada Conservatory Theatre (UNLV), Musical Theatre West, San Diego Musical Theatre, Palos Verdes Performing Arts, Utah Festival Opera, Sierra Repertory Theatre, Simi Valley Cultural Arts Center, Transcendence Theatre Company, 5-Star Theatricals, The Great American Melodrama, Long Beach Opera,  SLO Repertory Theatre, Performance Riverside, Candlelight Pavilion Dinner Theatre, Chance Theatre.

Other:  International Merman Entertainer @theabalonemerman; Co-Founder and former Director of Studio Collective Performing Arts

Teaches:  Movement I, Audition Techniques, The Business of Acting, Social Media

Training:  PCPA (Class of 2009), El Camino College (Dance)

Member:  Stage Directors and Choreographers Society, Former Actors’ Equity Association

Teaching Philosophy

One can learn a lot about themselves when they understand the concept of flow in the body. That understanding unlocks the keys to transform into any character you set your mind to. Whether that is for acting or dance, it all comes from the same place. In many cases, we can clog our minds into thinking we aren’t movers, or our bodies can’t transform. But once we learn the tools needed to free o