For the past five years coordinating and teaching drama workshops at the Institute for Retired Professionals at The New School in New York. These workshops have included scene study, play presentation, Shakespeare Studies and Practice, and improvisation, and have culminated in public performances.
For the past three years Drama workshops at the Stein Center In New York City. Adjunct work in drama at Adelphi University including directing a Shakespeare Collage on the main stage as part of the regular season.
Private coaching in speech and drama and in television techniques.
A publicity release from the brochure distributed to concert venues from NCAC (National Concert Artist Corporation)
To be chosen by one of the great singers of the past for guidance, encouragement and help is an enormous responsibility for both the giver and receiver, but the young tenor, Charles May, gives every evidence of full justification in the faith of Rosa Ponselle.
It was because of Mme. Ponselle's first interest that May sang leading roles with the Baltimore Civic Opera Company in "Fledermaus," "La Boheme," "Madame Butterfly," Gianni Schicchi" and "Il Tabarro." Earlier he was a nation-wide winner of the auditions for the Experimental Opera Theatre of America and participated in the first television color performance of opera in the Southwest when he sang Rinuccio in "Gianni Schicchi" with the Fort Worth Opera Association.
With the Dallas Lyric Theatre he appeared in "Cosi Fan Tutte," "Don Pasquale," "Traviata" and "The Impresario." May appeared as soloist with the Dallas Symphony singing the difficult tenor leads in Carl Orff's "Catulli Carmina" and "Carmina Burana."
The New York press first took notice of Charles May's musical talents when the critics came to Hartford, Connecticut, where he sang Renault in a revival of the rarely done Gluck opera, "Armide." Jacksonville and Shreverport are other cities in whose opera companies May has appeared. For the Toledo Opera the tenor sang first Faust with outstanding success.
In addition to the Dallas Symphony, May has sung with the New Orleans Symphony, the Erie Philharmonic and in New York with the American Symphony Orchestra. In his past performances also are included all the standard oratorio works and masses. The lighter side of the repertory has never been neglected; May's credits have numbered the transcontinental tour of Leonard Bernstein's "Candide," Offenbach's "Helen of Troy," "The Song of Norway," with Kathryn Grayson in "Rosalinda" and Marion Marlowe in "New Moon."
One of the heartening aspects of musical life is the formation of fresh, new talent, its growth and maturity. Charles May is one of these new talents and audiences throughout the country can look forward to the evolution of a star.