Lisa
LisaLogo
Lisa Coolridge
LisaEye
Portrayed By Sophia Bush
AKA Lisa-Lisa, The Bestie, Cool Ranch, Thing 1
Gender Female
Parentage Mortal
Date of Birth 1985
Age 27
Occupation Actress / Grad Student
Known Relatives None That Matter!
Significant Other Lils = Bestie. Everybody else is just a pit stop.

Lisa is, at the present time, following her illustrious dreams of becoming a big time actress. Stuck at University of Toronto for a bit longer, whilst handling her Theatre Graduate Studies, she's waging a war against being just another pretty face. She's adding talent.

Backstory

Lisa Coolridge has always said that she was born to be a star. Could have something to do with the fact that she was performing from an incredibly young age. Supported by both of her parents, the Toronto native was thrown into the world of entertainment from the time she could utter the one phrase that would allow her to fall in love with acting and the ability to be someone else.

"No Nap!"

As Bratty Child #2 in a commercial for local mattress and sleep furniture company, Mr. Z's, Lisa got her first taste of the spotlight and hasn't looked back since. She busted her ass in school, keeping her grades and GPA up high enough that her parents would allow her to continue pursuing her career. She was never really anything more than a solid actress that would kick ass in the school plays and traverse the many auditions that would pass her by. She was bound and determined to make it to Hollywood.

High School is when things started to take a turn for the worse. Her father got incredibly ill and eventually passed away, leaving her to take care of her mother. Her mother, after the loss of her husband, started to become someone that needed attention and to be taken care of on a regular basis. Bouts of depression would sink into her mother's actions and soon it became clear that there wasn't room in the house for both of them. So Lisa moved out.

Her grades scored her an academic scholarship to University of Toronto, where she planned to reinvent herself as the girl she wanted to be her last years of high school. She boosted up her flirty and girly-girl factor, mixing it with sexual exploration and a general thirst for attention and fame. Outspoken and brutal with her honesty, she sought out a lifestyle that would help springboard her into the world she felt she was destined to be in.

Then she met Ophelia Francis. From strangers to friends to roommates within a year, it didn't take long before the two of them were lined up to become Besties in every sense of the word. And when Lisa found out that Phi had pulled a Felicity she was both fast and furious with her opinions about That Rat Bastard Mother Fucker Who Shall Not Be Named Lest She End His Parental And Hockey Career With One Blow. She tends to refer to him as Rat Bastard for short, though.

Life moved on (after Lisa beat the Rat Bastard's Side Piece down in the parking lot) and many things were shared with Phi, solidifying their relationship. In a true testament of how strong their friendship is, sex came and went between the two of them, without even the smallest nick to their Platonic Armor. They acted together, they graduated together, they moved in together and they are now tackling their Graduate Degrees, also together.

Next Stop? Hollywood. Together.

Starring


"Seriously, Lils? Look, if you're gonna' make it to the top like me, you're gonna' have to have it up top like me. I'm just saying one cup size isn't going to kill you!"

"Fucker."

Class Schedule

Introduction to Theatre, Drama and Performance Studies T 10:00 - 1:00 DRA 1003HS Schotzko, Nikki Cesare This course provides participants with the skills (material, critical/analytical, methodological) needed for the academic study of theatre, drama, and performance. The coverage of the course will vary from year to year, but will be structured to provide exposure to a range of disciplines pertinent to the Centre’s mandate: in history and historiography, historical and contemporary theory, and production and developmental dramaturgy. We will pay particular attention to foundational debates within and between theatre and performance studies, such as those concerning liveness and mediation, the archive and the repertoire, and theatricality and performativity. This course will also directly engage concurrent events and performances at the Centre for Drama, Theatre, and Performance Studies, including the annual FOOT conference, and will feature several guest lecturers.
"Something More Than a Woman": The Way of the Actress W 11:00 - 1:00 DRA 3120HF Sperdakos, P. In this course, we will investigate the history and role of the actress in society, through a consideration of actress’s memoirs and biographies, photographs and drawings, performance reviews, histories of the theatre, plays and films, the growing catalogue of scholarly work about the figure of the actress, and so on. Our main objective will be to engage in research about our subject: to expand our understanding of why and how the actress/ female performer has functioned and continues to function in society as both a complex sign system - a symbol, an icon - and as a working woman.
The Brechtian Legacy: Sign, Gestus and Feminist Theory W 2:00 - 4:00 COL 5103HF Kleber, P. The main focus of the course will be the study of Bertolt Brecht ’s theory and practice and their relationship to theatre semiotics and feminist theory. We will investigate if Brecht can be seen as one of the first semioticians of theatre and how valid Brecht’s theatre is as a model for “ways of feminist seeing”.
Twentieth-Century Theatre and Performance R 10:00 - 1:00 DRA 1012HS Copeland, N. This course will familiarize students with major theoretical and practical developments in European and North American theatre in the twentieth century, and with selected current trends in performance theory and practice. The interaction of theory and praxis will be a central focus of the course. Theorist-practitioners to be studied include Stanislavski, Brecht, Artaud, Meyerhold, and Grotowski; topics include the avant-garde; gender theory and performance; post-colonial theatre; intercultural theatre; post-dramatic theatre. Readings, and some other course materials, will be available on-line through the UTL catalogue or Blackboard. Evaluation: in-class discussion; seminar; final essay.
Shakespeare and his Contemporaries R 3:00 - 6:00 ENG 2535H Lopez, J. He is called the "soul of the age"; Shakespeare was a profound bard, but, in this class, we seek to examine him next to other existing poets of the era. A look at what William Shakespeare had in common with his contemporary thinkers (themes, styles, etc), as well as how he was able to transcend this.
Resume
Languages French
Accents American, Brooklyn/NY, Irish, Southern, French
Other Specialities Singer, Dancer, Stage Combat, Character Voices, Sex Appeal
Hobbies Shakespeare in the Park, Improv Everywhere, auditioning for everything, karaoke night, pole dancing

Sides

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Trivia

  • Lover. Fighter.
  • Cannot hold her liquor. At all.
  • Obsessively overprotective of Ophelia.
  • Wardrobe to die for.
  • Working Actress.
  • Method.
  • Loud Supporter of Fuck Cancer (RIP Dad)

Photoshoot

Reel

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"Logs!"

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