Catapult Acting Studios Celebrates 10 Years of Impact in the Southeast's Film & TV Industry
Save the Date: 10-Year Anniversary Party on September 26, 2025
ATLANTA, June 16, 2025 /PRNewswire/ -- Catapult Acting Studios is proud to celebrate its 10-year anniversary in 2025, marking a decade of inspiring and equipping actors of all ages and experience levels to succeed in the film and television industry. Since its founding in 2015, Catapult has become a cornerstone of the Southeast acting community, training thousands of actors of all ages—from first-timers to working professionals—and helping them navigate the ever-evolving entertainment landscape.
Over the past decade, Catapult has created a supportive space for actors to grow both artistically and personally. The studio's diverse programming includes weekly on-camera classes, seasonal camps and workshops, private coaching, audition taping, and industry consultations, and the Catapult Conservatory, a selective, high-level training program for actors committed to long-term growth. Registration is currently open for Fall classes, with options available for youth, teens and adults. Through each offering, Catapult's mission remains the same: to deliver professional-level training and services that empowers actors to become not only better performers but also better people.
"What we've built over the past 10 years is more than a training studio—it's a community," said Erik Lingvall, founder of Catapult Acting Studios. "We're incredibly proud of the countless actors we've seen land roles, sign with agents, and most importantly, grow in confidence, both on and off camera. Watching students go from their first class to booking major jobs has been one of the most fulfilling parts of this journey."
The celebration will culminate in a 10-Year Anniversary Party on Friday, September 26, where past and present students, instructors, families, and industry professionals are invited to come together to honor the studio's legacy and look ahead to its future. Additional event details will be announced later this summer.
From its Atlanta headquarters, Catapult has become a trusted resource for families, a pipeline to top talent agencies, and a respected name among casting directors. As Georgia's entertainment industry continues to thrive, Catapult remains committed to preparing local actors for a successful TV and Film career.
For more information about classes, audition taping, workshops, showcase opportunities, and anniversary celebration updates, visit catapultacting.com or contact the studio directly at 404-500-7897.
About Catapult Acting Studios:Founded in 2015, Catapult Acting Studios provides film and TV acting training for students ages 4 and up. Through a robust slate of classes, private coaching, audition taping, workshops, camps, and industry education, the Atlanta-based studio equips actors with the tools to succeed in front of the camera and beyond. Catapult's holistic approach to training emphasizes skill-building, character development, and personal growth. Spots for classes and workshops sell out, please visit catapultacting.com for more information, book your free tour, and to reserve your class spot today!
Contact:Media / PressNicole Buie404-500-7897nicole@portraitpr.com | info@catapultacting.com
View original content to download multimedia:https://www.prnewswire.com/news-releases/catapult-acting-studios-celebrates-10-years-of-impact-in-the-southeasts-film--tv-industry-302481994.html
SOURCE Catapult Acting Studios

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Boston Globe
4 hours ago
- Boston Globe
Free Boston events: Roxbury film fest, roller disco, boxing lessons
Free events READ IT & WEEP This years' Roxbury International Film Festival began last Thursday, inaugurating a new cohort of independent filmmakers of color. Screenings are taking place in and around Roxbury, but for those who can't make it to an in-person event, online script readings will happen over Zoom all week. Beginning Monday, playwright Louis Johnson, will lead a dramatization of his script 'Divided,' centering a biracial couple's experiences amid their nation's race war. Through Friday, tune in for live table reads featuring works by writers including Brandice Peltier, Kareem Nemley, Kenyatta Hoskins, Heather Gibson, and Kaili Y. Turner. June 23-27, noon. Register for Zoom link at WET & WILD COLORS For newbie artists, watercolor painting can be a forgiving (or torturous) practice. To master the technique, beginners can attend a free watercolor workshop at the Lyrik multiplex in Back Bay. On Monday, Boston-based artist June 25, 4-7 p.m. Lyrik Courtyard, 400 Newbury St. Advertisement ONE STEP, TWO STEPS Even some of the biggest salsa fans don't know how to appreciate the genre through the art of dance. Plus, let's face it, salsa classes can get expensive. The June 25, 6-8 p.m. 142 Mystic Ave., Medford. Advertisement Cambridge Crossing brings local artists to the Common at CX stage for summer nights full of music and community bonding. Cambridge Crossing LIVE SUMMER VIBES The Common at CX will be hosting three live music events this summer, kicking off this Thursday with rock band Copilot, whom you might have seen at this year's Boston Calling, and soul-pop singer-songwriter Jill McCracken. The monthly series features free live performances, with July and August's events featuring co-headliners Zola Simone and Rijah, two soloists from the Northeast, and Boston-based performers Hill House and Tori Tori, respectively. June 26, 5:30-8:30 p.m. The Common at CX, Cambridge Crossing, 320 Morgan Ave., Cambridge. I FEEL LOVE Local legend and 'Queen of Disco' Donna Summer will reign supreme again at the city's 11th Annual Celebration of Summer. City Hall Plaza will be transformed as a retro roller rink with colorful lights, disco balls, and '70s hits courtesy of DJ Vince1. Attendees are encouraged to bring their own skates, groovy attire, and best dance moves. June 27, 5-9 p.m. 1 City Hall Square. Rumble Boxing will be giving a free pop-up boxing class at Faneuil Hall. India DuBois ROLL WITH THE PUNCHES A sweat-inducing, heartbeat-raising workout is a great way to channel your inner power. Stop by Faneuil Hall for a free class with Rumble Boxing. The 45-minute class will take participants — whether beginners or experienced — through the basics of the combat sport and provide a high-energy workout, no equipment required. June 28, 10:30-11:15 a.m. Faneuil Hall Marketplace, South Plaza. Advertisement LET'S ROCK 'N' ROLL It's never too late to learn something new, and the School of Rock aims to lead by example with its upcoming student showcase at Arts at the Armory. The event will spotlight adult students from the Waltham location, whose four months of courses culminate with a free, open-to-the-public concert. Expect a rock concert of headbangers performed by 9-5ers who learned to channel their musical passions into lively performances. June 29, 6-10 p.m. 191 Highland Ave., #1C, Somerville. Deals & steals BOOZY HAPPY MEAL Hungry brunchers and lunchers can stop by coastal Mexico-inspired Citrus & Salt in the Seaport for an $18 lunch deal. The flat rate includes an entrée, side, and margarita with options ranging from beef birria tacos to elote corn salad. Weekdays, noon -3 p.m. $18. 319 A St. Marianna Orozco can be reached at


Hamilton Spectator
8 hours ago
- Hamilton Spectator
Natalie Sue wins Leacock Medal for Humour for novel ‘I Hope This Finds You Well'
Natalie Sue's debut novel 'I Hope This Finds You Well' has won this year's Stephen Leacock Memorial Medal for Humour. The $25,000 award is given to the best Canadian book of literary humour published in the previous year. The novel follows the story of an office worker in her early thirties who one day stumbles upon all of her colleagues' private emails and decides to use their gossip to help save her job. 'I Hope This Finds You Well' was published by HarperCollins Publishers Ltd. Sue is a Calgary-based author of Iranian and British descent who spent her early years living in western Canada. Runners-up, who received $5,000 each, were Greg Kearney for 'An Evening With Birdy O'Day,' about an aging hairstylist who lost connection with his childhood best friend when he left to pursue a pop music career, and Patricia J. Parsons for 'We Came From Away: That Summer on the Rock,' which follows one woman's attempt to reconnect her family with Newfoundland. This report by The Canadian Press was first published June 21, 2025.


Chicago Tribune
17 hours ago
- Chicago Tribune
Review: Giancarlo Guerrero steps into new Grant Park Music Fest role with a pair of genial and dynamic programs
Talk about a perfect storm. On Wednesday, Giancarlo Guerrero's much-fêted debut as principal conductor and artistic director of the Grant Park Music Festival was dampened by relentless rain. Audiences scrunched under the Jay Pritzker Pavilion fringe, only to play musical chairs dodging the structure's many (and ever-changing) leaky spots. When they weren't doing that, seat shuffles and squabbles competed with the evening's violin concerto. But if Guerrero appeared unflappable onstage, it's because he's been there before. He made his sophomore appearance with the orchestra in 2014 under nearly identical circumstances, down to the solo string showcase and contemporary American opener. Despite the lousy weather, that appearance impressed festival musicians enough to fast-track Guerrero to the top of their director wishlist a decade later. While last week's storm never erupted into thunder, musical lightning struck twice here with yet another exuberant, water-resistant stand by Guerrero on Wednesday, followed by a masterful account of Mahler's Symphony No. 1 on Friday. Wednesday's concert included two harbor works: 'An American Port of Call,' by Virginia-based composer Adolphus Hailstork, and Leonard Bernstein's 'On the Waterfront' suite. Conducting with his pointer fingers rather than a baton, and sporting a new goatee, Guerrero led a sparky, whistle-clean run of Hailstork's eight-minute curtain raiser. But when the music dissipated into quietude — recalling a boat drifting far off from shore, surrounded only by blue horizon — Guerrero guided the music with expansive ease. Bernstein's 'Waterfront' benefited from the same balance of gusto and intuitive pacing. Patrick Walle's horn solo up top sounded suspended in time, before an increasingly feral orchestra jerked us back to street level. Amid the ferocity, the Grant Parkers always sounded whetted and clean, moving through the works' shifting meters with fearsome precision. In the final windup to the end, electric energy gave way to ringing, Mussorgskyan grandeur. Between the Hailstork and Bernstein, Jeremy Black returned to the festival as both concertmaster and featured soloist, offering up the Mendelssohn Violin Concerto. Even the brunt of the evening's downpour couldn't wash away the strong impression left by this filigree, soulful performance. Black's sound in the opening theme and balladic second movement was sugared but never treacly. Meanwhile, the Allegro molto vivace coasted along serenely, Black's bel canto phrasing and pristine intonation never betraying its finger-flying briskness. Promisingly, Guerrero's orchestral accompaniment was every bit as tasteful. Negotiating solo string balance in the park is always just that — a negotiation — but Guerrero hit the sweet spot of clarity and restraint. The orchestra was able to be a bit more gutsy under Friday's soloist, Pacho Flores. The Venezuelan trumpeter has a sparkling sound, which he dispatched with doting attention to phrase and line in Arturo Márquez's lively, if unseasonal, 'Concierto de Otoño' ('Autumn Concerto'). The work was specifically composed for Flores in 2018, taking unabashed advantage of not just the trumpeter's lyricism but his gatling-gun articulation, unflappable stamina and chameleon flexibility. (He traded four different horns across the 20-minute piece: C and D trumpets in the outer movements, then a flugelhorn and soprano cornet in the middle.) Flores also knows how to work a crowd. Rather than shooting to the stratosphere in his third-movement cadenza, he crawled to the bottom of his range — an amusing subversion of trumpet tropes. He then turned his bell directly at Guerrero and playfully pppththhed at him through his horn, prompting a teasing 'what gives?' shrug from the conductor. That said, it's hard to endorse Márquez's concerto beyond a mere virtuoso vehicle. The orchestral backing is often trite, cycling through the same progressions for what feels like minutes at a time. If the concerto's many flavors of theme-and-variation were engrossing at all, it was entirely thanks to Friday's soloist and orchestra, both playing with tempera-rich color and joie d'vivre. For pops-adjacent music under a more skillful hand, look to Flores himself. He opened and closed his appearance with two self-penned numbers: 'Morocota' (named for a $20 Venezuelan coin) and 'Lábios Vermelhos' ('Red Lips'). Originally recording both with guitar accompaniment for a 2017 Deutsche Grammophon release, Flores sang through his horn with a suave melodiousness that would have done the Rat Pack proud, with just a shimmer of vibrato where it counted. His lush orchestral arrangements would have been right at home in that milieu, too. At one point in 'Lábios Vermelhos,' section trumpets got in on the fun, with a sneering little interjection. Yet another short, Latin-inspired curtain raiser opened the concert: 'Baião n' Blues,' by Chicago composer Clarice Assad. A staple of the Carlos Kalmar years, Assad's inclusion in Guerrero's opening week bodes well for the new festival chief's attention to local composers. Ultimately, though, this performance had some of the same early-season jitters as last week's opener, with a scraggly opening and subdivision disagreement among the violins. 'Baião n' Blues' already isn't Assad's most compellingly structured piece, but a more honed performance might have made a better case. While Mahler sought to depict the world's natural beauty and bizarre juxtapositions in his music, he perhaps didn't anticipate contending with throbbing helicopters, the squeal of a coach's whistle, and hot rods sputtering down Lake Shore Drive on Friday. The Grant Park corps rose above the usual downtown backing track with a fresh, focused Mahler 1. Guerrero cued the unearthly, whistling first bars with an ambiguous gesture that invited the orchestra to melt in freely. Offstage trumpets were piped through the crown of the pavilion stage, sounding mysteriously heaven-sent. When the theme arrived in the cellos, Guerrero maintained their levity and grace throughout the movement — and, in fact, throughout much of the piece, bringing an aerodynamic lightness even to the symphony's final cadence. Because Grant Park 'does things a little differently,' per Guerrero, Friday's performance reinserted Mahler's discarded 'Blumine' movement. Through a complex change of hands, the only surviving manuscript copy of 'Blumine' ended up in in New Haven, Connecticut, where it was rediscovered as part of the Mahler renaissance of the 1960s. If 'Blumine' is heard at all, it's usually as a standalone piece, for good reason: It's arresting but nearly always out-of-place amid the lustiness of the rest of the symphony. Friday's performance gave the same impression — gauzy and subtle, but stopping short of the richness and emotional abandon that would make a better case for its inclusion. Elsewhere, other idiosyncratic touches intrigued and often convinced: more perky staccatos by oboist Alex Liedtke, orchestral accents like bitter twists of a knife in the funeral march, and a slower reading of the klezmer-band interludes. In all, it endorsed Guerrero's warhorse chops as enthusiastically as his new-music acumen. Rain or shine, Grant Park is looking like a fair place to be under his baton.