January – March 2016 Programme
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Contents
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Professional Development Programme (Quarterly)
Weekly/Fortnightly/Monthly Workshops
Industry Programme (Quarterly)
Weekly/Fortnightly Industry Workshops
Bespoke Coaching
Other in-house Opportunities (events/supported groups)
Opportunities for Non-Members (Open Access)
pages 3 - 47
pages 48 - 52
pages 53 - 70
pages 71 - 72
page 73
pages 74 - 76
pages 77 - 78
The following symbols will help guide you through the programme and select the opportunities available
for your membership type and professional development needs.
= STANDARD MEMBERS
= PREMIUM MEMBERS
= ASSOCIATE MEMBERS
Keywords = WORKSHOP SUMMARY WORDS
The Keywords section serves as a summary to best describe the workshop, but is not finite to the workshop
content. Full descriptions and workshop leader biographies are also listed.
Industry Partners and Season Highlights
Each season the Actors Centre works with a partner to bring you current and relevant links to practitioners
in the industry. This season he have asked members of America Actors UK to provide an eclectic mix of
workshops for our programme ranging from screen acting to musical theatre and improvisation.
American Actors UK are an organisation of professional North American actors who are each affiliated with
at least one industry union and are legally eligible for work in the UK as well as in the US or Canada. They
are an invaluable resource to casting directors on both sides of the pond, and act as a central hub of
activity for their members by organising regular industry and social events tailored to North American
Actors.
And we are also delighted to announce that The Actors Centre along with our core supporters Spotlight and
Equity are bringing you free sessions each season:
Spotlight – Making the Most of your Membership (see page 70)
Equity: Making the Most of Your Membership (see page 61)
Your Actors Centre: Making the Most of Your Membership (see page 63)
2
January – March 2016 Programme
Professional Development Programme
This selection of high calibre and affordable workshops offers an unrivalled programme for the continual
professional development of emerging and established actors. Practice-based workshops range from Shakespeare,
voice and movement through to sightreading, screen acting and improvisation, as well as many other exciting
opportunities to develop new skills and work with the industry’s leading practitioners, directors and performers.
Rehearse, Record: Working Fast in TV Drama
Andrew Lynford
January 6
10.30-13.30 OR 14.30-17.30
Course: TV29
Keywords: SCREEN ACTING | PREPARATION | CHARACTERISATION | CREATIVITY | ADAPTABILITY
WHAT IS IT? These fast-paced workshops are designed to give you an insight into, and tips on how to make the most
of working fast in television drama when playing a guest role.
HOW WILL IT WORK? Participants will be given a short scene to learn quickly, be directed to hit marks, take lines out
of context to be played as ‘pick-ups’ or ‘wildtracks’ and be given last minute rewrites to contend with just before
shooting. You will experience the pressure (and fun) of being in a fast moving studio environment.
WHAT WILL I GET OUT OF IT? The skills, techniques and confidence to turn a small role in to more than moving
wallpaper!
→ Andrew trained at Mountview where he was awarded the Mountview Singing Scholarship for three years (19891992). He has worked extensively in theatre and TV as an actor (including three years in EastEnders for which he
received a Best Newcomer nomination at the National Television Awards). Subsequently he has worked as a
presenter, writer and choreographer and more recently as a producer and director, including Associate
Producer/Head of Production for Paul Holman Associates, Artistic Director for Robert C Kelly Ltd, Director for Theatre
Royal, Lincoln and Director for Qdos Entertainment.
PARTICIPANTS: £30
The Duchess of Malfi
Joe Hill-Gibbins
January 6, 7, 8
10.30-17.30
Course: A175
Keywords: ACTING THE CLASSICS | SCENE STUDY | CHARACTER | DIRECTOR’S APPROACH | AUDIENCE
WHAT IS IT? A fun, practical workshop exploring John Webster’s gripping and macabre tragedy, The Duchess Of Malfi.
HOW WILL IT WORK? Over three days, director Joe Hill-Gibbins will lead a series of practical exercises exploring
speeches, scenes, and characters from the play. Together with Joe, participants will work on their feet to find ways of
making sense of the story, and bringing its study of power, gender and madness alive for a contemporary audience.
WHAT DO YOU GET OUT OF IT? Participants will get the opportunity to practice their skills for acting in classical
drama. As well as deepening your understanding of this particular play, Joe will share his experiences of working on
early modern plays like Measure For Measure, Edward II and The Changeling, and give you a practical insight into how
he rehearses, and also workshops, Renaissance texts.
→ Joe Hill-Gibbins is a theatre director whose recent productions include Measure For Measure and The Changeling
(Young Vic), Little Revolution (Almeida), Powder Her Face (ENO), Edward II (National Theatre).
PARTICIPANTS: £90
3
January – March 2016 Programme
Fundamentals – The Shakespeare Toolkit
Giles Taylor
January 8
10.30-17.30
Course: SH5
Keywords: ACTING THE CLASSICS | FOUNDATION TECHNIQUES | SHAKESPEARE | TEXT | EXPLORE
WHAT IS IT? A thorough introduction to Shakespearean verse and how to find the clues within the text to perform it.
HOW WILL IT WORK? Giles will show you the rudiments of verse, and teach you how to use the rhythms, imagery and
rhetoric in the text in order to find the fullest, clearest and most dynamic way to convey sense and character. Learning
how to recognise all the possibilities in verse will inspire you make informed choices and take absolute ownership of
the text. You will learn how to use these 'tools' using some choice texts provided on the day.
WHAT DO YOU GET OUT OF IT? A set of technical 'tools' with which to tackle any classical verse text with confidence.
→ Giles Taylor has been a teacher for over 15 years and an actor for over 25 years. He has worked with many leading
classical directors, including Jeremy Herrin, Greg Doran, Edward Hall and Rachel Kavanaugh. He has studied verse with
Cicely Berry, John Barton, Peter Gill and Andrew Wade. Giles also works as a Shakespeare Consultant, most recently
on As You Like It (West Yorks. Playhouse).He also teaches at various drama schools and, as an actor, he has worked
extensively in theatre (NT, RSC, West End, Broadway, and leading provincial theatres), as well as in TV, film and radio.
He has recently published his first book, Dramatic Adventures in Rhetoric – co-authored with director Philip Wilson.
PARTICIPANTS: £30 / OBSERVERS: £15
Presence – Embracing Yourself
Deepak Verma
January 10
10.00-13.00
Course: A171
Keywords: MOVEMENT | ENERGY | AUTHENTICITY | PERSONAL STRENGTHS | PERFORMANCE
WHAT IS IT? This workshop will explore how to maximise your presence and be present in your work.
HOW WILL IT WORK? Participants will develop authenticity in performance by connecting with their own energies
and personal sense of being. We will explore, your own challenges, strengths and journeys to feed back into the work.
WHAT DO YOU GET OUT OF IT? As actors we get too wrapped up in process and delivery. The mechanics of the script,
show, or performance often overtake the essence and heart of the piece and character. This workshop allows you to
re-connect with yourself and explore untapped aspects of your energies, primarily as a Person and then as a
Performer so that your reserve of authenticity grows as you perform. Please wear clothes suitable for movement.
→ Deepak Verma trained as an actor at Central and since then has made various television appearances on UK
mainstream networks. His body of acting work includes EastEnders, White Teeth, Holby City, Doctors and River City, all
for mainstream UK channels. Deepak is CEO of Pukkanasha Films and is currently producing a slate of films in the UK,
US, Canada and India. He is a graduate of the producers’ programme EAVE and the Berlinale Talent Campus and a
member of the European Producers Club.
PARTICIPANTS: £18
A Close-up on Screen Acting
Robert Bierman
January 11 OR January 18
10.30-17.30
Course TV16
Keywords: SCREEN PERFORMANCE | PRACTICAL | SCRIPT WORK | FEEDBACK | SKILLS
WHAT IS IT? These workshops are aimed at Premium members to help improve screen presence when shot in closeup, and screen acting.
HOW WILL IT WORK? By shooting and watching TV and film scripts, actors will see their performance change and
improve from take to take. We will spend as much time as possible shooting and reviewing scenes with director’s
comments, giving actors maximum on-screen time.
WHAT DO YOU GET OUT OF IT? Detailed practice on screen with feedback and advice for improved performance.
→ Robert is an experienced TV and film director. Credits include Keep the Aspidistra Flying, Blonde Bombshell,
Between the Lines (BAFTA Winner) and Waking the Dead (Emmy Winner).
PARTICIPANTS: £55
4
January – March 2016 Programme
Cracking Shakespeare
Kelly Hunter
January 11, 12
10.30-17.30
Course: SH12
Keywords: ACTING THE CLASSICS | RHYTHM | EMOTIONAL TRUTH | CONFIDENCE | AUDITIONS
WHAT IS IT? A two-day workshop designed to offer you skills and techniques which unlock Shakespeare's language.
This course will empower you to perform the plays with confidence up on your feet. The exercises will be based on
Kelly's new book - Cracking Shakespeare: A Hands-On Guide for Actors.
HOW WILL IT WORK? Please bring a speech you would like to work on. On day one we will explore how to use rhythm
and sound to find the emotional truth of your speeches. On day two we will take the speeches and be up on our feet
exploring the mind's eye pictures created within your speeches and how to physically bring your character to life.
WHAT DO YOU GET OUT OF IT? The practical hands-on exercises and techniques can be applied to any speech of
Shakespeare and may be used throughout your career. The work you will do during the course will offer you the
chance to fine-tune a speech for yourself - useful for future auditions.
→ Kelly is an award-winning actor and director. Over thirty years she has played major roles at the RSC, National
Theatre, ETT and with the Icelandic company Vesturport. She has also worked extensively in film, TV and radio. Most
recently she played Mrs Alving in Ghosts, directed by Stephen Unwin for ETT, and directed a production of The
Tempest for the RSC in Stratford and Ohio. She has created a series of Shakespeare drama games named ‘The Hunter
Heartbeat Method’ which forms her work with children with autism. Her methodology is the subject of her
forthcoming book - Shakespeare's Heartbeat - to be published by Routledge. She has also written Cracking
Shakespeare; A Hands-On Guide for Actors, published this year by Methuen, in association with the Actors Centre.
PARTICIPANTS: £60
Teaching Acting with Passion
Niki Flacks
January 12, 13, 14
13.30-17.30
Course: A160
Keywords: MIND - BODY | CONFIDENCE | INTENSIVE | ACTOR TRAINING | EMOTIONAL FREEDOM
WHAT IS IT? Designed for acting teachers who have studied with Niki and wish to incorporate her techniques into
their own actor training. Her book, Acting with Passion (Methuen Drama Bloomsbury) is required reading.
HOW WILL IT WORK? An intense, hands-on three days to explore the neuroscience body connections and the
psychological/emotional journey of Acting with Passion. Each teacher will learn how to guide actors through the
process of opening the “Dungeon” and learning to “Tune” themselves.
WHAT DO YOU GET OUT OF IT? The goal is to confidently embed these concepts into solid actor training that
encompasses other techniques as well. In making this approach to emotional freedom available to their students
each tutor, at the same time, will find their own connections to this work become richer, deeper and more easily
accessible. (Please apply with your CV and a short explanation why you would like to participate in this workshop)
→ Niki Flacks' long and varied career has in recent years taken her unique approach to actors in the UK, Paris,
Israel, New York and Berlin. She also directs frequently in England as well as in the US.
PARTICIPANTS: £75 / CV APPLICATION ONLY to [email protected]
5
January – March 2016 Programme
Acting on Screen: Less Is More
Carolyn Pickles
January 13
10.30-17.30
Course: TV72
Keywords: PREPARATION | PRESENCE | SIMPLICITY & TRUTH | RELEASE | CONFIDENCE
WHAT IS IT? A workshop that will show you how to access the presence and simplicity of truthful screen acting.
HOW WILL IT WORK? We will start by doing exercises designed to free oneself from nerves and the tendency to
'overwork'. Then we will extend those techniques to work on monologues and duologues. The class will look at the
journey from the initial preparation at home, to the rehearsal, and onto filming by a camera operator. The scenes will
be played back at the end of the session, and feedback encouraged.
WHAT DO YOU GET OUT OF IT? A method of accessing the simple truth of the character whilst in studio conditions;
understanding the arc of a scene and how that translates in performance.
→ Carolyn read Drama at Manchester University alongside three seasons with the National Youth Theatre. She began
in Rep, then worked at the National Theatre and the RSC before embarking on a long screen career. From Polanski's
Tess of the D’Urbervilles to Harry Potter and the Deathly Hallows, her most recent TV work includes two series of
Broadchurch.
PARTICIPANTS: £55
Confidence Tricks
Glen Walford
January 13
10.30-17.30
Course: A18
Keywords: COMMUNICATION | CONFIDENCE | SELF EXPLORATION | PERSONALITY
WHAT IS IT? A workshop designed to develop your own personal powers and conquer negativity so that you
communicate with confidence and truth.
HOW WILL IT WORK? We will explore specific exercises that dare you to confront the self-image you have
constructed. You will be encouraged to separate what comes across as ‘phoney’ and build a tool-kit of conviction of
commitment so that you communicate with truth and joy. Most of the material used will come from your own
memories and beliefs but these will be aided by extracts from plays, poems and song lyrics. You will work both on
your own and with the rest of the group as an audience or communally.
WHAT DO YOU GET OUT OF IT? A fun-filled, non-threatening adventure which will offer you the ability to put into
action Hollywood producer Sam Goldwyn’s famous remark ‘The most important quality in acting is sincerity. If you can
fake that, you’re made’. Bring generous hearts, flexible souls and a large dose of chutzpah and learn to communicate
with clarity, truth and passion.
→ Glen is an international theatre director – founder of London Bubble, Hong Kong’s Chung-Ying and Artistic Director
of Liverpool Everyman and Ludlow Festival Theatre. She commissioned and directed the original production of Shirley
Valentine, and directed Meera Syal in the Menier Chocolate Factory’s recent production. Her recent work includes
Shakespeare Consultant for the film Caribbean Dream based on A Midsummer Night’s Dream in Barbados and director
of a new production of Blood Brothers for Shownote Theatre in Seoul, South Korea. In 2015 she directed Blood
Brothers for Shochiku Co. in Tokyo and Osaka and a new production of A Picture of Dorian Gray for New National
Theatre, Tokyo. For other credits and information visit www. glenwalford.com.
PARTICIPANTS: £30
6
January – March 2016 Programme
Rethinking the Shrew; The Taming of the Shrew Today
Caroline Byrne
January 14, 15
10.30-17.30
Course: SH36
Keywords: ACTING THE CLASSICS | COLLABORATION | CONTEMPORARY APPROACH | CREATIVITY
WHAT IS IT? What are the cultural expectations around directing The Taming of the Shrew and how do directors and
actors navigate these, with an appreciation for the text but also with a conversation with it today? This two-day
workshop will look at scenes and excerpts of the play that have been edited to allow for new interpretations and a
reimagining of Shakespeare's controversial play, and ask how do actors and directors work together to recontextualise The Shrew.
HOW WILL IT WORK? You will get an insight into how to enter the text and make it your own. The workshop will offer
an insight into a director’s’ process of editing the play, and invite your creative input into that process as we try out
new readings of the play. Actors will be encouraged to think of themselves as creative partners and contribute to our
reimagining of the play for today. Come ready to play, push yourselves and unlock the potential of the text and the
play. We will focus mainly on duologues and monologues, which you will be encouraged to prepare in advance.
WHAT DO YOU GET OUT OF IT? You will leave this course with a fresh and personal understanding of your own
relationship to The Taming of the Shrew. You will be armed with ways to unlock the text, find the joy in the
relationships and question traditional representations of the play and the characters.
→ Caroline will direct a production of The Taming of the Shrew in London in 2016. Her previous directing credits
include Parallel Macbeth (Clare, Young Vic), Macbeth (Chapter Arts), F*ck The Polar Bears (Bush Theatre), Old Vic New
Voice Festival, Electra (RWCMD, Cardiff), Eclipsed (Gate Theatre, Nothing Hill), Gate 35 Gala (Louise Blouin
Foundation), Leaving Home Party (Farnham Maltings Tour), By Mr Farquhar (UK City of Culture 2013), Text Messages
(Project, Dublin), Shakespeare in a Suitcase (co-directed with Tim Crouch for RSC), The Recovery Position, Attempts on
Her Life (Durham Theatre, Berkeley, USA). As assistant director Adler and Gibb (Royal Court), Wendy and Peter Pan
(RSC) King Lear (RSC Tour). Associate Director 2014/15 on Grounded and Purple Heart.
PARTICIPANTS: £50
Screenwriting for Actors
Nirpal Bhogal
January 14, 10.30-13.30
January 15, 10.30-17.30
Course: WR5
Keywords: SCREENPLAYS | WRITING EXERCISES | STRUCTURE | CHARACTER | MOTIVATION
WHAT IS IT? A workshop that, over two sessions, teaches the basic principles of screenwriting including story
structure, character building, world building, thematic structure and formatting.
HOW WILL IT WORK? This intensive course will begin on Day 1 by going through the various beats and structures
common to film and television that will enable you to flesh out your ideas into a workable beat-sheet. Day 2 will
consist of refining that beat-sheet into a rough outline with the afternoon left to discuss how you can keep
focused and motivated.
WHAT DO I GET OUT OF IT? A beat-sheet, a rough outline and the tools you need to turn your idea into reality.
→ Nirpal directed the first block of series 4 of Misfits. His debut feature film Sket saw Nirpal and his lead actress
nominated for Best British Newcomer at the London Film Festival where it premiered before UK release. Little White
Lies wrote that “Bhogal’s style marks him out as a name for the future” while Time Out called him “Britain’s new film
talent." After directing several shorts and music promos Nirpal made his breakthrough with the critically-acclaimed
short film Cold Kiss, starring and produced by Ray Winstone. Nirpal is currently developing a TV series with Working
Title and is in post-production of his second feature film while developing his third.
PARTICIPANTS: £48
7
January – March 2016 Programme
America Accent and Dialect
Kara Tsiaperas
January 15
10.30-17.30
Course: VC8
Keywords: GENERAL AMERICAN ACCENT | SCRIPT WORK | TECHNIQUE | CONSISTENCY
WHAT IS IT? This one-day workshop will focus on acquiring a General American or Standard American accent for
auditions and performance.
HOW WILL IT WORK? The day will consist of a discussion of American accents and dialects and what clues to look for
in the script. We will focus on the vowel and consonant changes – what to look for and how to create the sounds; how
the articulators are held and how that affects the texture of the sound; the overall tune and music of an American
sound; and strategies for staying in the accent. Kara will read a few key pieces of text to illustrate some of the sounds
that you want to capture and you are welcome to make a recording in order to practice at home. Please bring
something with which to take notes, a recording device and a small hand mirror.
WHAT DO YOU GET OUT OF IT? The aim of the workshop is to build confidence in sounding authentically North
American to native ears. If you have familiarity with the accent then this workshop can help to fine tune your sound
and if you are just getting started then it can help you acquire a systematic approach in order to maintain a consistent
American accent.
→ Kara Tsiaperas is originally from California and has taught voice in London and New York City. In the UK she has
taught at Central, the Oxford School of Drama, Rose Bruford and Drama Studio London and in NYC at the New York
Film Academy, the School of Film and Television, the American Musical Academy of Dramatic Art, Marymount
Manhattan College and New York University at the Tisch School. Some of her coaching credits include: Cat on a Hot
Tin Roof (West Yorkshire Playhouse), Hidden in the Sand (Trafalgar Studios), His Greatness (Finborough), The Kingdom
of Heaven (Print Room), and Huck Finn for Fresh Glory Productions. Kara has an MA in Voice from Central.
PARTICIPANTS: £30
Starting Out in Screen Acting
Martin Denham
January 15
10.30-17.30
Course: TV27
Keywords: SCREEN PERFORMANCE | ON SET ETIQUETTE | TECHNIQUE | TRUTH
WHAT IS IT? A workshop that offers a collaborative and supportive introduction to screen acting from a professional
director, for those with little or no experience.
HOW WILL IT WORK? Film and TV allows an actor greater freedom to create a more nuanced performance so we will
initially rehearse some characters to find performances that work for camera. We will then work on set to fine tune
the performance and block the action for camera, looking at hitting your marks for camera focus and lighting set-ups.
We will also look at the mechanics of the repeat performance – getting the shots on camera does not only include
multiple takes to get the right performance but also different shot sizes and angles on the scene. There is pressure on
the actor to perform the same each and every time and we will look at how to maintain focus whilst at the mercy of
the technical equipment. During the workshop scenes will be shot and reviewed with feedback.
WHAT DO YOU GET OUT OF IT? A clear overview of how film/TV production works for you the actor. A general
understanding of screen performance in addition to the etiquette, processes and terms used on set, and why Film/TV
production is done the way it is.
→ Martin is a director, producer and scriptwriter. His latest short film Close To Heaven was an official selection for
the Cornwall Film Festival 2013, and was produced in association with Directors UK and ARRI. One of Martin's
previous films Dear Mr Cameron, screened at the British Urban Film Festival 2012, was accepted into the London
Metropolitan Archives as a work of historical importance. Some of his other independent productions include The
Man of Littleworth, Hobby (Official Entry, Virgin Media Shorts), Operation in Bruges (Official Entry – Film Four Scene
Stealers 2012), Mastermind, Ekho and The Off Site (Winner – Orbital London Film Challenge). Martin is currently
writing his first feature film script.
PARTICIPANTS: £55
8
January – March 2016 Programme
Learning Lines with Confidence
Brigid Panet
January 16, 17
10.30-17.30
Course: A15
Keywords: TEXT WORK | CONFIDENCE | PERFORMANCE | DELIVERY | AUDITONS
WHAT IS IT? A two-day workshop designed to combine line-learning techniques with a fresh understanding of how we
respond to stressful situations, offering practical ways of gaining new confidence in study, presentation and performance.
HOW WILL IT WORK? Via gentle, safe & enjoyable exercises, finding/releasing our individual habits of physical tensions
when under stress, we use techniques of line-learning with speeches & scenes from different plays.
WHAT DO YOU GET OUT OF IT? A new confidence in yourself and your acting, a secure process of relaxation and advice
on how to best present yourself in auditions and castings. You will also pick up techniques for learning lines and
rediscover the fun of listening and imaginative communication.
→ Brigid trained at Central and worked professionally, acting in theatre and TV for 14 years before starting to teach and
direct. Since then Brigid has taught and directed plays in the major English drama schools and around the world. She
worked with the NT’s Education Department, initiating and directing their first three educational Shakespeare tours in
England and Ireland. The second edition of her book Essential Acting (published by Routledge) contains the line-learning
exercises she has developed in her workshops at the Actors Centre. Brigid donates her fee from the Actors Centre to the
international charity, WATERAID.
PARTICIPANTS: £60 / OBSERVERS: £30
A Close-up on Screen Acting
Robert Bierman
January 18
10.30-17.30
Course TV16
Keywords: SCREEN PERFORMANCE | PRACTICAL | SCRIPT WORK | FEEDBACK | SKILLS
→See page 4 for full details.
PARTICIPANTS: £55
Acting with Passion
Niki Flacks
January 18, 19, 20, 21
13.30-17.30
Course: A28
Keywords: MIND & BODY | CONFIDENCE | INTENSIVE | SELF EXPLORATION | EMOTIONAL FREEDOM
WHAT IS IT? There is nothing more exhilarating than feeling totally alive onstage in every moment. Can you count
on this feeling every time you act? At auditions? First preview? Take after take? Acting with Passion is unlike any
acting workshop you've ever done. After only four very intense sessions you'll unlock all of the talent you know
you possess and find yourself acting with the joy and ease that often seems out of reach.
HOW WILL IT WORK? Niki Flacks' unique work is based on the mind/body concept that our emotions are trapped
in subtle muscular tensions that cause us to feel tight onstage. Instead of “being in the moment” we find our
heads taking over with non-stop critiques and we are consumed with effort to “make things happen”. How many
times have you left a rehearsal knowing you are working too hard, pushing feelings, intellectualising like mad and
totally unable to do anything about it? Give yourself a gift, sign up for Acting with Passion and bring along two
monologues securely memorised. Open to newcomers and those who have worked with Niki previously.
WHAT DO YOU GET OUT OF IT? You leave the workshop with a set of physical and vocal cues that give you the
confidence, even under pressure, to be fully alive ‘in the moment'. Many actors have described it as 'magic' finally giving you 'emotions on cue.'
→ See page 5 for tutor biography.
PARTICIPANTS: £80 / OBSERVERS: £40
9
January – March 2016 Programme
Screen Acting – Be Real and Believable
Daniel Dresner
January 19, 21
10.30-17.30
Course: TV11
Keywords: SCREEN PERFORMANCE | PRACTICAL | CONFIDENCE | ON SET PREPARATION
WHAT IS IT? A two-day workshop designed to give you the skills and tools to be real and believable on screen every
time. Help the viewer believe it because you do.
HOW WILL IT WORK? On the first day you will work on a prepared script and be directed. Everyone is involved in a
constructive environment. You are then filmed doing exercises on thinking and believing. Homework is given to
prepare for the second day when you will be filmed doing a prepared inner monologue. Then more exercises where
you meet your character. This is then incorporated into your initial scene. Filmed work will be reviewed as we go.
WHAT DO YOU GET OUT OF IT? Through observing your progress both during and at the end of the workshop, using
all the learned skills and tools, you will build confidence and be able to deliver real, believable and honest screen life.
→ Daniel studied at the Lee Strasberg Theatre Institute in NYC and works as a coach, teacher & actor. His recent
credits include playing George W Bush for Channel 4, internet TV series, pilot sitcoms, radio stories, Mercenaries for
ABC, Sixty Six for Working Title, various commercials and a training video series for the NHS.
PARTICIPANTS: £75 / OBSERVERS: £30
How to Conjure Up and Communicate Erotic Power
Glen Walford
January 20
10.30-17.30
Course: A164
Keywords: SENSUALITY | POWER | IMAGINATION | CONFIDENCE | FREEDOM
WHAT IS IT? This workshop is designed to explore and develop your own personal imagination and power in order to
enhance and communicate erotic allure.
HOW WILL IT WORK? Bring with you a couple of lines from any play, song, poem, story etc. which you find sensually
stimulating. The group will then develop short monologues or more populated scenes in order to explore and
enhance the sensual content. Extra stimulus may be introduced from pieces which are already written.
WHAT DO YOU GET OUT OF IT? You will discover that the allure of eroticism can ignite our senses more than
obviously blatant ‘touchy-feely’ displays and you will discover and develop your personal powers in original ways
conquering fear and embarrassment. This will help to open doors to many erotic scenes in Shakespeare and other
masters and mistresses pursuing the senses.
→ See page 6 for tutor biography.
PARTICIPANTS: £30
10
January – March 2016 Programme
Performing for the Screen Lab
David Bonneville
January 20
10.30-17.30
Course: TV30
Keywords: SCREEN PERFORMANCE | PRACTICAL | ON SET ETIQUETTE | TECHNIQUE | TRUTH
WHAT IS IT? David’s focus is on the actor, the character and the narrative. In this highly practical workshop he offers a
comprehensive introduction to screen acting with an organic approach to character construction.
HOW WILL IT WORK? As a group we will work on a number of practical exercises including: on-camera scene work;
performance and presentation; physical blocking of scenes and the psychological effect it attains; static dialogue and
dialogue in action. All exercises will be followed by feedback and discussion. We will analyse and discuss the filmed
excerpts to highlight the truth, spontaneity and continuity of performance.
WHAT DO YOU GET OUT OF IT? Participants will be able to see and evaluate their on-screen performances and come
away from the course with tools for character creation and an awareness of their acting skills for the motion picture
arts. A full course plan is available from [email protected]
→ David Bonneville is a writer-director with an emphasis is on character development and actor’s performance. The
two male leads on his last film Gypsy won 5 international Awards including a Best Global Performance Award in
Canada. Gypsy premiered in Locarno and was a Hamptons and SXSW nominee. The female lead in his previous film
L'Arc-en-Ciel had also won the Best Actress Award for her performance at the International Portuguese Language Film
Festival. David’s films have been broadcast on TV in Europe, Africa and America and have commercial distribution in
the UK and abroad. He has written, directed and produced films that have won a total of 29 awards and been
screened in more than 200 film festivals worldwide. For further information visit http://www.davidbonneville.net/
PARTICIPANTS: £55
Exploring Political Plays from the Last 50 Years
Tim Luscombe
January 20, 22, 10.30-17.30
January 21, 10.30-13.30
Course: A155
Keywords: SCENE STUDY | CHARACTER & THEME | POLITICS & DRAMATIC CONFLICT | DISCUSSION
WHAT IS IT? A three-part workshop which explores the way politics has been presented as theatre from the 1970s to
now.
HOW WILL IT WORK? Taking a variety of plays, and examining them texturally, Tim Luscombe will explore the way in
which theatre has treated politics over the last 50 years. From David Hare (Pravda) and David Edgar (Maydays) to the
political plays of today (This House, A Walk on Part, Islands, 13 and How to Hold your Breath) raw politics has been
more or less successfully woven into dramatic conflict. The work will be mostly group work – text analysis through
reading and working on scenes. The approach will mix theory and practice: reading and discussion, as well as scenework, all of which will illuminate character, themes and ideas, and allow us to draw conclusions about how effective
playwrights have been in getting a message across.
WHAT DO YOU GET OUT OF IT? A greater knowledge and awareness of a variety of political work and a chance to
take part in a theoretical and practical analysis of text.
→ As a director, Tim’s productions have been seen in the West End, all over the UK, on and off Broadway, in the
Netherlands, Japan and Sweden. His West End credits include Easy Virtue, Private Lives, Artist Descending a
Staircase, Eurovision and Relative Values. Recently, Tim has directed The Green Bay Tree at the Jermyn Street Theatre,
his own play Hungry Ghosts at the Orange Tree Theatre, Coward's The Rat Trap at the Finborough and, for the
Stephen Joseph Theatre in Scarborough (and subsequently 59E59 in New York) six of the eight plays in Alan
Ayckbourn’s Intimate Exchanges series. As a writer Tim has written original plays for the National Theatre, the Royal
Court and Hampstead Theatre, as well as many stage adaptations of novels by Jane Austen and George Eliot. His
play PIG was produced at Toronto’s Buddies in Bad Times Theatre in 2013. He’s currently developing a new musical.
PARTICIPANTS: £78
11
January – March 2016 Programme
Verbatim Theatre: Approaches to Modern Text
Alecky Blythe
January 22, 29
10.30-13.30
Course: A169
Keywords: PERFORMANCE & INTERVIEW TECHNIQUE | CREATING WORK | TRUTH | CHARACTER WORK
WHAT IS IT? This short course is designed to teach you the necessary skills to create and perform in your own
verbatim play using the “Recorded Delivery” technique of acting with earphones.
HOW WILL IT WORK? In the first workshop you will learn the performance technique using selected audio from
Alecky’s plays. Interview techniques will also be practised and you will then have a week to gather interviews of your
own. In the second workshop, the collected material will be examined, edits discussed and sections rehearsed and
presented to the class. Please bring along a pair of earphones and a smart phone or recording device.
WHAT DO YOU GET OUT OF IT? The knowledge and confidence to make and perform in a Verbatim play from scratch,
providing you with the opportunity to play parts outside your normal casting bracket. The technique also aids
approach to character when working with more conventional text based plays.
→ Alecky is a playwright and actor who has pioneered the Verbatim technique she learnt in a workshop run by Mark
Wing-Davey at the Actors Centre in 2002. Since her first show Come Out Eli (Arcola, BAC), Alecky’s work
includes Cruising (Bush), The Girlfriend Experience (Royal Court, Drum, Young Vic), A Man in a Box (Channel 4), Where
Have I Been All My Life? (New Vic), Little Revolution (Almeida), and the feature film of London Road (BBC Films,
BFI) after its two successful runs at the National. For more about her work go to www.recordeddelivery.net.
PARTICIPANTS: £40
The Camera Loves You
Suri Krishnamma
January 23, 24
10.30-17.30
Course: TV19
Keywords: ACT ON CAMERA | TAKING DIRECTION | TECHNICAL UNDERSTANDING | TECHNIQUE
WHAT IS IT? This two-day course will lead actors through the nuts and bolts of performing on camera, giving an
insight into key questions such as: What are the specific requirements of a screen actor? How do you stay ‘in the
moment’ when filming out of sequence? What effect should shot size have on your performance? What impact does
building a scene in ‘cuts’ versus single, developing shots have on the actor? How to work with or without marks, and
does continuity really matter?
HOW WILL IT WORK? This workshop will start with an introduction to the distinct expectations of the screen actor,
followed by the rehearsal, shooting and debriefing of selected scenes. Actors will be expected to learn a scene given
to them before the start of the workshop which they will then perform in pairs, on camera, followed by a debrief.
WHAT DO YOU GET OUT OF IT? You will gain practical experience of rehearsing, shooting and debriefing scenes. You
will be able to examine choices under the guidance of an experienced film and TV director, in close to real world
conditions. This will include help in identifying the meaning of a scene, giving options as to how to stage that meaning,
and an insight into how the scene may end up being filmed. We will examine what impact a director’s choices have on
performance and help gain a better understanding of how to take direction and how to change a performance quickly
and effectively without rehearsal.
→ Suri Krishnamma is an award-winning director with more than 30 years’ experience. Credits include BBC dramas A
Respectable Trade, The Cazalets and Waking the Dead as well as feature films A Man of No Importance, New Year’s
Day and Locked In. Industry recognition includes BAFTA nominations and other awards. Most recently, he
directed Bad Karma with Ray Liotta and and Dark Tourist starring Melanie Griffith. Also a writer, Suri has a number of
new projects in development.
PARTICIPANTS: £110
12
January – March 2016 Programme
Freeing Shakespeare’s Voice
Daron Oram
January 23, 24
10.30-17.30
Course: SH37
Keywords: VOCAL POTENTIAL | EXPRESSION | EMOTIONAL CONNECTION | IMAGERY & IMAGINATION
WHAT IS IT? A two-day workshop that seeks to expand the actor’s experience of performing Shakespeare.
Participants will work to release the full expressive potential of their voice and channel it into the rich imaginative
world of Elizabethan language.
HOW WILL IT WORK? The first day will be spent exploring the expressive potential of the voice through work on the
imagery and language of Shakespeare’s sonnets. On the second day, this will move into a deeper exploration of
language structure and emotional connection through work on speeches. The beauty of this work is that it
approaches voice, text and acting from the same place; connecting imagery and imagination to the breath, body,
intellect and emotions. Drawing on the voice and text work of Kristin Linklater, this approach to Shakespeare does not
separate vocal technique from artistic expression. Participants will need to prepare a sonnet and a speech of around
20-30 lines.
WHAT DO YOU GET OUT OF IT? You will learn practical approaches to voice, text and acting that help to unlock the
dynamic language of Shakespeare and release your expressive potential.
→ Daron Oram specialises in teaching and coaching voice, text and Shakespeare. Daron’s professional work includes
coaching for the RSC, and on West End and national touring productions. He is currently Head of Voice on the BA
Acting CDT course at the Royal Central School of Speech and Drama, where he also teaches on the world leading
MA/MFA in Voice Studies. Daron is a designated Linklater Voice Teacher, having trained with Kristin Linklater over the
past 10 years. Prior to working as a voice teacher, he worked as an actor.
PARTICIPANTS: £60
Stage Combat: Urban Fights
Lyndall Grant
January 25
10.30-17.30
Course: PH16
Keywords: COMBAT | REALISM | STORYTELLING | EMOTION | PHYSICAL CONTROL | STAGE & FILM
WHAT IS IT? A session on creating highly realistic fights that are set in the urban environment. Whether it’s for gang
warfare, a domestic scene, a mugging or a pub fight out of hand, today’s industry frequently asks for ‘realistic’
dramatic violence which is visceral, gritty and opportunistic. We will explore how to create these safely and
effectively, and how to inject the performance that sells the story.
HOW WILL IT WORK? After exploring the foundations which are key to safe dramatic fights, we will journey through
techniques which involve scrappy unarmed fighting, blades, and ‘found weapons’. The session will culminate in
creating a scene to perform back to the group.
WHAT DO YOU GET OUT OF IT? The session will give you a toolbox you can draw upon in keeping yourself and your
partner safe, while injecting realism and heightened emotional performance in the action. You will also gain an
understanding of what is required in film and stage fights, in terms of the rehearsal, the physical control, the energy
and the awareness. Be prepared for a very physical class that will explore gritty violence in urban situations. Please
come with appropriate movement clothes and shoes.
→ Lyndall is a Fight Director, Fight Performer, and certified teacher of Dramatic Combat with the British Academy of
Dramatic Combat. She is also director of company Captivate Action Ltd, which provides performers, directors and
training to Motion Capture. Lyndall teaches dramatic combat in Australia and Austria, and in the UK at various venues
including the Bristol Tobacco Factory and London MET Film School. Lyndall trained as an actor at ArtsEd London, and
is still a working actor. She uses this industry experience and understanding of working both sides of the creative
process, in training students how to access their best performances for stage, motion capture, and screen.
PARTICIPANTS: £30
13
January – March 2016 Programme
Fine-Tune Your Speech
Gari Jones
January 25
10.30-17.30
Course: A159
Keywords: TEXT WORK | AUDITION TECHNIQUE | PERFORMANCE | CHARACTER | CONFIDENCE
WHAT IS IT? Hour-long one-to-one sessions to either work on existing or new material, for auditions or development.
HOW WILL IT WORK? Working with Gari, whether the piece is learnt or not, you will strip away the unnecessary and
find new ways of accessing and delivering your material with integrity, depth and engagement, whilst touching on
audition technique.
WHAT DO YOU GET OUT OF IT? Whether you want to blow the dust off an old piece or ignite a new one, you will gain
more confidence in the simplicity of your piece or pieces, whilst creating more colour and shape.
→ Gari is a director and writer, with over 20 years experience, whose work has been seen at the National
Theatre, the Almeida, the Old Vic, the Young Vic, the Tricycle, in the West End and on Broadway, as well as many
other theatres, both in the UK and abroad. His work has toured throughout the UK and internationally and he
has written a large number of plays and adaptations.
PARTICIPANTS: £45
Stage to Screen – Adjusting Your Performance for the Camera
Marvin Karon
January 25, 10.00-17.00
January 26, 10.30-17.30
Course: TV56
Keywords: SCREEN ACTING | AUTHENTICITY | PRACTICAL EXERCISES | CONFIDENCE | IMAGINATION
WHAT IS IT? A two-day workshop designed to help actors whose training and experience is mostly stage-related make
the transition to acting effectively in front of the camera.
HOW WILL IT WORK? Part theory, part improvisation, part practical exercises, we will mainly focus on shooting classic
and contemporary film and TV scenes. These will be broken down and analysed to provide participants with the basics
that are essential to working imaginatively, authentically and successfully in front of a camera.
WHAT DO YOU GET OUT OF IT? Four major concepts as well as a dozen other smaller, very concrete ideas that you
will be able to draw on the next time you get an audition for a film or TV role - and the confidence in knowing you
have a very specific set of tools to help make the adjustments necessary to work effectively given the different
demands acting for the camera places on the artist.
→ Marvin Karon is a graduate of the National Theatre School of Canada, the University of Toronto's Faculty of
Education and the Ontario Institute for Studies In Education. He played the recurring role of Headmaster Killerby in
the YTV series The Zack Files, a program on which he also served as acting coach. He has appeared in work for the
CBC, CTV, Global, Showcase, TVO, CBS, HBO and NBC in projects such as Knight Rider, Paradise Falls, The Newsroom,
This Is Wonderland, Degrassi: The Next Generation, Rookie Blue as well as feature films such as Dr. Cabbie, Charlie
Bartlett, The Rocker and Blindness. His teaching credentials include camera workshops at Humber College and the
ACTRA Members' Conference. He is the Executive Director of Shakespearience Performing Arts, an interactive
workshop for schools across Ontario, the United States and England.
PARTICIPANTS: £110
14
January – March 2016 Programme
Scene Study: British Drama Post 1990
Jennie Buckman
January 26, 27, 28
18.00-21.00
Course: A173
Keywords: TEXT | CHARACTER | CONTEMPORARY BRITISH DRAMA | ADVANCED SCENE STUDY
WHAT IS IT? A chance to sink your teeth into some of the great British plays from the last 25 years. This will be an
advanced scene study that will whet your appetite for new writing.
HOW WILL IT WORK? Jennie will choose scenes for you to work on over the three sessions by writers such as Lucy
Prebble, Debbie Tucker Green, Mike Bartlett, Dennis Kelly, Sabrina Mahfouz, Alexi Kaye Campbell, Caryl Churchill,
Alice Birch. It will be a vigorous workout rooted on exploring the text, and suited to your potential as an actor.
Material will be provided, but feel free to bring something that you might want to work on (written after 1990).
WHAT DO YOU GET OUT OF IT? A wider knowledge of new writing, new audition pieces and good time.
→ Jennie taught acting at many of the leading drama schools, but principally at RADA (1986-2007) where she was
latterly Head of Acting. In 2008 she founded Giants’ Theatre Company. She has written two plays for Giants - Pandora,
which ran at the Arcola Theatre May-June 2010 and SNAFU in 2014. She has also written many plays for BBC Radio.
Jennie directed Richard III for RADA and an RSC tour for the Complete Works Season in 2006. www.jenniebuckman.com
PARTICIPANTS: £54
The Telegenic Actor
Terry Iland
January 27
10.30-17.30
Course: TV18
Keywords: SCREEN ACTING | TRUTH | TECHNIQUE | CHARACTER | WORKING WITH DIRECTORS
WHAT IS IT? This workshop will look at different approaches to performing on film and television.
HOW WILL IT WORK? We will look at your relationship with the camera, getting the best from the director, new
ways of “seeing” the role, self-preservation, you and the character, creating interest, engaging the viewer, building
your role, uncovering the truth of the situation and the screenplay – how to read the lines and between them.
WHAT DO YOU GET OUT OF IT? An all-round understanding of practical and technical performance for screen.
→ Terry has directed hundreds of hours of television on many continuing drama series in the UK. Credits include
Casualty, The Bill, Down to Earth, Dream Team, Grange Hill, EastEnders, Expert Witness, Heartbeat and over 150
episodes of BBC Doctors. Terry divides his time between writing and directing.
PARTICIPANTS: £55
Building Character Voices
Yvonne Morley
January 27
10.30-17.30
Course: VC15
Keywords: VOCAL TECHNIQUE | VOCAL MANIPULATION | PRACTICAL | EXPLORE | METHODOLOGY
WHAT IS IT? A practical workshop to explore safe ways of manipulating your voice from the subtle to the more
extreme for work on stage, screen or in the studio.
HOW WILL IT WORK? There will be time taken to learn new skills throughout the day and to apply them to both
imitating established voices and also creating and inventing from scratch. Yvonne will take you through a full day of
learning, listening and developing new skills.
WHAT DO YOU GET OUT OF IT? You will be able to notate accurately how you create a voice, reproduce it accurately
again and again, look after your vocal instrument and work from the subtle to the extreme. Skills, practice and a tried
and tested approach will enable you to: accurately analyse and reproduce other voices, heighten your listening skills,
invent and create countless voices from scratch. The work will stimulate a huge repertoire of voices for animation,
computer games, preparation for a voice reel, or more subtle work for screen or stage work.
→ Yvonne has worked as a voice and vocal coach for over twenty years. She has taught in many drama schools
including LAMDA where she was Head of Voice. Other work includes West End productions, BBC, independent TV
companies, voiceover and radio. She also works with actors suffering from vocal fitness and health issues.
PARTICIPANTS: £30 / OBSERVERS: £15
15
January – March 2016 Programme
Acting for New Writing
David Mercatali
January 27, 28
10.30-17.30
Course: A75
Keywords: NEW WRITING | EXPLORATION | COLLABORATION | CONFIDENCE | NEW SKILLS
WHAT IS IT? A two-day workshop designed to replicate a condensed rehearsal process of a new play.
HOW WILL IT WORK? From a working draft of a new script, David will guide you in analysing a new play and asking
the right questions, whilst always aware of the actor's role in the process. All attendees will also have a chance to
perform the script, including adapting to changes as they come along.
WHAT DO YOU GET OUT OF IT? A skill set that will give you confidence to embrace the actor's role in the rehearsal
room of a new play, both in terms of performance and script analysis.
→ David is an award-winning stage director. His recent production, Tonight with Donny Stixx by Philip Ridley at the
Edinburgh Fringe, won The Stage Best Solo performance award. Prior to that he directed another Philip Ridley new
play Radiant Vermin, which enjoyed a sell-out run at the Soho Theatre (The Stage described it as ‘masterfully
directed), and Alice Birch’s Little Light at the Orange Tree Theatre. David has successfully staged new work from
writers including Critics Circle Award winner Barney Norris, multi-award winner Timberlake Wertenbaker and Harold
Pinter Playwrights Award winner Anders Lustgarten. He picked up a Fringe First award for Dark Vanilla Jungle 2013,
and was nominated for Off West End awards for Best Director in both 2011 and 2014. He was also nominated for the
Evening Standard Outstanding Newcomer Award 2011. David is currently the Associate Director, Southwark
Playhouse, a Programming Advisor for Tristan Bates Theatre, and serves on the board of Stage Directors UK.
PARTICIPANTS: £60
The Process: The Secret of Truthful Acting
James Bowden
January 28, 29
10.30-17.30
Course: A125
Keywords: TRUTHFUL PERFORMANCE | CHARACTER | EMOTION | SIMPLICITY | NEW TECHNIQUES
WHAT IS IT? A two-day workshop designed to help you find a way to consistently create truthful emotions in
performance. It is an ABC to approaching a role from page to performance and is suitable for actors of all experience.
HOW WILL IT WORK? Over the two days you will learn exercises and techniques to help you discover how to create a
truthful character for performance. The Process is James’ own systematic and streamlined approach to the art and
craft of creating character designed to keep it simple! As well as using elements from Stanislavski, Meisner and
Strasberg, The Process has at it's core James' own 'Four Principles' - the secret of truthful acting.
WHAT DO YOU GET OUT OF IT? A step by step approach to creating a complete character for performance. The
Process will also give you the keys to maintaining truthful emotions throughout your performance.
→ James graduated from Rose Bruford in 1994 and has worked regularly as an actor in theatre and TV. His career has
been diverse appearing in the original West End cast of The Beautiful Game, open air Shakespeare, pantomime,
repertory theatre, off West End, number one tours, TV and music videos. James has also trained as a teacher and
recently he has developed his own approach to the art and craft of acting called ‘The Process’ which is a fundamental
element of the training at The Dorset School of Acting and will be publishing his book in 2015.
PARTICIPANTS: £60
16
January – March 2016 Programme
Complete Vocal Technique for Actors and Singers
The Voice Hub: Michael Hill and Rósa Björg Ómarsdóttir
January 29 OR March 30
10.30-17.30
Course: VC37
Keywords: VERSATILITY | VOCAL HEALTH | EXPRESSION | TECHNIQUE | ARTISTRY | SINGING & SPEECH
WHAT IS IT? For singers, actors and public speakers, CVT provides an acoustic science-based, clear and efficient
approach to producing all the sounds the human voice can make, in a HEALTHY way. From resonant, rich tones for
voice-overs, to heavy metal screams, CVT provides tools to access a myriad of vocal colours.
HOW WILL IT WORK? In a dynamic group setting, you will be presented with a fresh perspective on how the voice
works, where you can try out new sounds, refresh your technique, ask any burning questions you might have about
your voice and enjoy a taster one-to-one lesson, helping you get on track with your vocal and performance goals. This
workshop is suitable for those who have worked with CVT before and newcomers to the technique.
WHAT DO YOU GET OUT OF IT? You will leave the session with a new toolkit of quick and reliable ways to access
different voice qualities, dynamics and effects. This allows you to focus on artistry and expression on stage, or in the
studio, knowing that your voice will always deliver what you need. You will also leave with a deeper understanding of
the voice as an instrument, removing fears or doubts about your vocal abilities.
→ The Voice Hub are London-based voice coach and freelance BBC broadcaster Michael Hill and Rósa Björg
Ómarsdóttir, an Icelandic singer and voice coach. As Complete Vocal Technique-educated coaches they have coached
a number of actors with major screen and stage credits, including Game of Thrones, Babylon and Hebburn, plus stage
credits with the NT, the National Theatre of Scotland and Cockpit. Current collaborations include workshops for the
Tron Theatre in Glasgow and the Edinburgh Festival Theatre. Performance credits include work with the Austurbaer
Theatre in Reykjavík, the Icelandic Musician´s Union and BBC Scotland/BBC Alba.
PARTICIPANTS: £35
Classical Surgery - Ibsen
Jennie Buckman
January 30, 31
10.30-17.30
Course: A174
Keywords: ACTING THE CLASSICS | IBSEN | LANGUAGE | CHARACTER | REALISM | PERFORMANCE
WHAT IS IT? A two-day workshop designed to help you get your teeth into some gritty realism and brilliant roles with
Ibsen.
HOW WILL IT WORK? On day one, we will work specifically on Little Eyolf both as scene study and character work.
There are plenty of meaty duologues and challenging roles (including the infamous Rat Woman) which you will
explore and put on its feet. On day two, you have the choice to continue working on scenes from Little Eyolf, or a
scene from any other Ibsen play of your choice.
WHAT DO YOU GET OUT OF IT? Remembering how much you love Ibsen, ‘the father of realism’. You will take on
characters that are a stretch for you, have fun and broaden your understanding of a towering 19 th century playwright.
→ See page 15 for tutor biography.
PARTICIPANTS: £60
17
January – March 2016 Programme
The Skill of Playfulness
John Wright and Victoria Worsley
January 30, 31
10.30-17.30
Course: A156
Keywords: CREATIVITY | SPOTANEITY | POWER | MASK WORK | FELDENKRAIS | LISTENING
WHAT IS IT?? This two-day workshop dives into the inventiveness of acting. It enables us to reconnect with our playful
instincts: how we get ideas, generate material and create action. The ancient art of making stuff up can easily get
squashed out of all recognition by the pressures and conditions of the acting business. This workshop is designed to
rekindle the power and pleasure of finding things for ourselves. Play is a skill like any other, and this skill can be
learned, honed and applied in any way you like.
HOW WILL IT WORK? We’ll use the Feldenkrais Method to re-acquaint us with the play mat, where we can simply
explore and discover physical possibilities without the pressure of trying to ‘get it right.’ Then we’ll progress to Naïve
Masks to empower us to mess about with greater skill. Finally we’ll remove the masks to explore a variety of different
games and techniques to apply your emerging expertise. We will learn to start small, do less, listen more intently to
ourselves and others so that we can actually hear that little impulse, let it grow and lead us somewhere new.
WHAT DO YOU GET OUT OF IT? You get a weekend to rediscover the spontaneity and sheer pleasure that lies at the
heart of all acting. A weekend to wake up that child-like skill for playing that brings your work to life.
→ John Wright co-founded Trestle Theatre Company in 1980 and directed most of their work until 1990, when he cofounded Told By an Idiot and directed most of their work up until 2000. His credits as Movement Director include:
Rain Dance (Chicago Rep), Rhinoceros (Royal Court), Macbeth (Chichester Festival Theatre), Laurel and Hardy, Arabian
Nights (Victoria Theatre, Stoke), The Life and Times of Judas Iscariot (Almeida) and Endgame (Liverpool Playhouse).
His most recent productions include The False Servant (Bord Cardre and Third Party Productions Touring in France and
the UK) and The Fragility of X (Coal Theatre Company/Royal Exchange, Manchester).
→ Victoria Worsley was an actor, movement director and theatre maker for over 20 years. She has worked with the
Feldenkrais Method for 25 years, qualifying as a Professional Practitioner in 2007. She teaches at Oxford School of
Drama and has a private practice which is attended by people from all walks of life – including many professional
actors, dancers, singers and musicians. Visit www.feldenkraisworks.co.uk for more info.
PARTICIPANTS: £90
Screen Acting and Performance
Tim Leandro
February 1
10.30-17.30
Course: TV42
Keywords: ON SET ETIQUETTE | SCREEN PERFORMANCE | TV PRACTICES | REVIEW AND FEEDBACK
WHAT IS IT? This workshop will explore the interaction between actor and camera.
HOW WILL IT WORK? We will rehearse and shoot scenes in a variety of shots and set-ups and the rushes will be
reviewed by the group who will discuss all aspects of the process.
WHAT DO YOU GET OUT OF IT? The aim is to achieve the full potential of the scenes under the time pressure of a
realistic television shooting schedule, providing a valuable insight into current TV rehearsal and shooting practices.
→ Two-time BAFTA nominee, Tim Leandro, is a director of television drama and film with over 15 years experience.
His credits include Eastenders, Casualty, Emmerdale, The Bill, Ultimate Force, The Inspector Lynley Mysteries, The Vice,
North Square and The Famous Five.
PARTICIPANTS: £55
18
January – March 2016 Programme
Solo Theatre Performance: Basic Skills and Techniques
Colin Watkeys
February 1
10.30-17.30
Course: A152
Keywords: SOLO SHOWS | NARRATIVE | CHARACTER | DEVELOPMENT | SKILLS & TECHNIQUES
WHAT IS IT? An introduction to skills and techniques useful for creating, developing and performing your own solo
theatre shows.
HOW WILL IT WORK? You will explore character, narrative and visual/physical choices in the construction and
execution of your solo performances using Face to Face techniques developed by Solo Theatre Festival Director Colin
Watkeys. In one session you will learn basic skills and approaches which you will be able to apply in many areas of up
front performance involving direct audience address.
WHAT DO YOU GET OUT OF IT? An opportunity to test out your ideas for solo theatre and learn techniques which will
enable you to develop them further.
→ Colin Watkeys is the founder and director of the Face to Face Festival of Solo Theatre, now in its fourth year. He
has been working with solo performers for the last thirty years producing and directing all of the solo theatre work of
Claire Dowie and the late great Ken Campbell, also working with Jack Klaff, Rosie Wilby, Lisa Dwan, Charmian Hughes
and Jeremy Stockwell. He studied Philosophy in London and Japanese Theatre Music and Dance in Tokyo and ran the
Finborough Cabaret from 1982 to 1988. He also worked at the Royal Court Theatre for the Young Writers Festival.
PARTICIPANTS: £30
The Play’s The Thing – Rehearsing with an American Accent
Terry Besson
February 1
10.30-17.30
Course: VC2
Keywords: AMERICAN ACCENT | DELIVERY | SPEECH | TEXT | REHEARSING
WHAT IS IT? A day-long workshop, reading a selection of scenes in a General American accent.
HOW WILL IT WORK? Learn how to maintain an authentic General American accent; looking at how the accent affects
style, rhythm and changes in flow, where the power lies, the subtle changes of speed and tone, the energy of the
piece, the characters and finding & using the correct muscularity and breath strength. Please bring your own copies of
any scripts you want to work on or we can work on a scene from any of the following: Twelve Angry Men (Rose),
Speed The Plow, Glengarry Glen Ross (Mamet), All My Sons, Death of A Salesman (Miller) and The Safe Sex Trilogy
(Fierstein). Some photocopied scenes will be available. Example CDs will be available for an extra cost.
WHAT DO YOU GET OUT OF IT? Learn how to maintain an authentic general American accent throughout the
rehearsal process and through to performance, solidifying your accent usage.
→ Terry is one of the country’s leading accent and dialect specialists, with over 30 years’ experience. He has worked
on such diverse projects as the films Awaydays, Clubbed, Welcome to the Punch, Captain Phillips, Get Lucky, TUPAC,
Hotel Taliban, and the TV series Poirot, Privates and Garrow’s Law. He is currently voice consultant at London Zoo!
PARTICIPANTS: £30
19
January – March 2016 Programme
Shakespeare’s Strong Women
Bill Homewood
February 2
10.30-17.30
Course: SH22
Keywords: ACTING THE CLASSICS | PASSION | EXPLORATION | CONFIDENCE |AUDITIONS
WHAT IS IT? This is a women only workshop exploring Shakespeare's well-known female roles (e.g. Lady Macbeth).
HOW WILL IT WORK? Please bring with you a passionate monologue or soliloquy (memorised), The Complete Works
and a pencil and paper. This is not primarily an audition class, but audition issues will be referred to.
WHAT DO YOU GET OUT OF IT? Shakespeare’s leading women are powerful, and the roles are showy. This is an
empowering workshop for the actor, releasing and exploring the big stuff. We have seen some extraordinary,
passionate performances in this class over the years.
→ Bill has been teaching workshops for the Actors Centre for over 30 years. He has directed theatre & opera in the
UK, USA and France, and as an actor has innumerable RSC, West End and TV credits. He is Patron of AC Theatre
Productions in Dublin. He is a poet and screenwriter with many credits. www.billhomewood.com
PARTICIPANTS: £30 / OBSERVERS: £15
Tools for Learning an Accent
Elspeth Morrison
February 2
10.30-17.30
Course: VC3
Keywords: ACCENTS | TECHNIQUES | TOOLKIT | PREPARATION
WHAT IS IT? Are your accents sometimes sounding a bit wonky? Does your Newcastle sound more Indian? Or your
American more Irish? This fun workshop will give you techniques for working by yourself on ANY accent, breaking
down the various components (sounds, body language etc.) in an accessible way, so that you have a better chance of
being authentic all by yourself.
HOW WILL IT WORK? There'll be listening - lots of listening - to different voices - and some movement. And when you
are ready, lots of speaking.
WHAT DO YOU GET OUT OF IT? Confidence and practical skills to take straight into your next audition or rehearsal.
→ Elspeth Morrison is an ex-BBC producer who escaped the Corporation to explore her passion as an accent coach. She
has huge experience in coaching actors for TV, theatre & film roles in accents spanning from Trinidad to Cockney. Radio
listeners will be familiar with her popping up as a regular pundit commenting on the use of accents and she has also
worked on the BAFTA award-winning series, Faking It. In this workshop she welcomes all levels of accent confidence.
PARTICIPANTS: £30
Acting in Period Drama
David Tucker
February 3
10.30-17.30
Course: TV45
Keywords: SCREEN ACTING | LANGUAGE | CONTEXT | CHARACTER | FEEDBACK AND REVIEW
WHAT IS IT? Using scenes from broadcast period TV dramas, this workshop will look at handling period language, social
and political context, manners and etiquette, creating character, balancing the requirements of period with
contemporary sensibility, physicality, listening & playing in the moment and technical proficiency in front of the camera.
HOW WILL IT WORK? Participants will be cast and sent scenes in advance, which will be filmed as in a professional
context, the results being played back for critique and feedback.
WHAT DO YOU GET OUT OF IT? An understanding of how to approach creating and playing a character in a period
context, so that the real thing will hold no terrors when it comes.
→ Among David’s screen credits are A Very Peculiar Practice (BAFTA nomination), A Very Polish Practice (British
Comedy Awards nomination), Behaving Badly (International Emmy Awards nomination, best serial) and The Gravy Train
(RTS nomination). More recently his directing credits include Lark Rise to Candleford, Dalziel and Pascoe, Born and Bred,
Midsomer Murders, Grafters, Bramwell, Rhinoceros, Stanley and the Women (Banff International Festival), Miss Marple,
Holby City and EastEnders. Directing credits include productions for the RSC, Bristol Old Vic and Liverpool Playhouse.
PARTICIPANTS: £55
20
January – March 2016 Programme
Scene Study: Simplicity and Theatricality
Gari Jones
February 3, 4
10.30-17.30
Course: A140
Keywords: TEXT ANALYSIS | INTUITION | SPONTANEITY | EXPLORING PLAYWRIGHTS | AUDITION SKILLS
WHAT IS IT? A two-day workshop allowing you to analyse, play and experiment with scenes and moments within
them, using contrasting simplicity and theatricality.
HOW WILL IT WORK? Using a wide variety of material and scenes Gari will take you through a process, allowing you
to really play, using simplicity and theatricality. This process will improve your text analysis skills and allow you to be
in the moment, developing your intuition and spontaneity and giving you more confidence.
WHAT DO YOU GET OUT OF IT? You will take away improved methods and a more instinctive way of analysing text
and bringing it to life, which will prove a huge advantage in auditions and rehearsals. As well as a further knowledge
of plays, playwrights and ideas for audition and further development.
→ See page 14 for tutor biography.
PARTICIPANTS: £60
Approaches to Classical and Modern Text
Charlotte Westenra
February 4, 5
10.30-17.30
Course: A161
Keywords: TEXT ANALYSIS | METHODS & APPROACHES | CHARACTER | PERFORMANCE | CONFIDENCE
WHAT IS IT? A two-day workshop designed to give you a variety of approaches to analyse a text and quickly identify clues
to help build your performance.
HOW WILL IT WORK? Using exercises adapted from August Boal, Stanislavsky and Brecht, Charlotte Westenra will work
with you on several pieces of text, both modern and classical. You will cover a wide range of different genres and style of
writing over the two days.
WHAT DO YOU GET OUT OF IT? A toolkit of methods and approaches to pick and choose from when building a character,
and the confidence to approach any new text without fear.
→ Charlotte studied drama at the University of Manchester and trained at Augusto Boal’s Centre of the Theatre of the
Oppressed in Rio de Janeiro. She was Resident Assistant Director at the Donmar Warehouse 2004–05 where she directed
Kiss of the Spider Woman and Lower Ninth, as well as working as Associate Director to Michael Grandage for Frost/Nixon
and to Jamie Lloyd for Piaf (Donmar and West End). She is currently an Associate Artist at the Gate Theatre. Other credits
include The Return of the Soldier (Jermyn Street Theatre), the 24 Hour Plays Celebrity Gala (Old Vic), Blair’s Children
(Cockpit Theatre), Titanic: Scenes from the British Wreck Commissioner’s Inquiry, 1912 (Metropolitan Arts Centre, Belfast)
and Brazil and Casablanca (Secret Cinema).
PARTICIPANTS: £60
Developing Screen Acting Technique
Vivienne Cozens
February 7
10.30-17.30
Course: TV23
Keywords: EMERGING & RETURNING ACTORS | SCREEN ACTING | CONFIDENCE | TECHNIQUE
WHAT IS IT? A workshop for those who are new to screen acting and those wanting to brush up on their technique.
HOW WILL IT WORK? Participants will learn the disciplines required for film and TV performance, working with different
shot sizes and close-ups. Using scripts from TV and film as well as improvisation, scenes will be recorded and reviewed
with feedback and tips on voice, physicality and overall performance.
WHAT DO YOU GET OUT OF IT? This workshop will build confidence on camera, and develop your ability to make quick
decisions to arrive at the best results and give a truthful performance.
→ Vivienne Cozens is a highly experienced director, with many screen credits including Emmerdale, EastEnders, Grange
Hill, Brookside, In The Picture, City of the Rich, Fimbles, The Hoobs, Fair City, Angels and Some of My Best Friends. Vivienne
has taught screen acting at ALRA, Bristol Old Vic Theatre School, City Lit and most recently the University of Bedfordshire.
PARTICIPANTS: £55 / OBSERVERS: £15
21
January – March 2016 Programme
Authenticity on Screen
Miranda Harcourt
February 8
10.30-17.30
Course: TV77
Keywords: SCREEN ACTING | AUTHENTIC | TECHNIQUE | CONNECTION | AUDITION/REHEARSAL/ON-SET
WHAT IS IT? A workshop that will deepen your craft and presence for film and TV, delivering fast, effective techniques
for advancing your on-screen work.
HOW WILL IT WORK? Using scenes, games, exercises and visual material Miranda will introduce techniques that help
you deliver startlingly authentic and connected performances for film and TV. You will develop new thinking and
practices which are easy to implement yourself — in auditions, in rehearsal and on-set.
WHAT DO YOU GET OUT OF IT? You will experience the tools to develop intimacy and conflict quickly. You will see
and hear about effective real-world examples. You will experience techniques and ideas that will help you to develop
connections with your fellow actors, a deeper ability to deliver naturalistic text and to access the power of thought.
→ Miranda is an independent acting-coach, working on-set, in-rehearsal, via skype and in person all over the world.
Actors she has worked with include Nicole Kidman, Dev Patel, Josh Hutcherson, AnnaSophia Robb. Directors she has
worked with include Jane Campion (on Bright Star and Top of the Lake), Peter Jackson (on The Lovely Bones, The
Hobbit, Lord of the Rings, Heavenly Creatures), Morten Tyldum and Master Yuen Woo Ping (on Crouching Tiger Hidden
Dragon 2), Garth Davies (on Lion and Top of the Lake), Alison McLean (on The Rehearsal) and Gabor Csupo (on Bridge
to Terabithia). Read endorsements and further information at mirandaharcourt.com
PARTICIPANTS: £55
Stage Combat: Do It Blindfolded
Lyndall Grant
February 11
10.30-13.30
Course: PH17
Keywords: COMBAT | REALISM | SENSITIVITY | CONNECTION | SAFETY & CONTROL | FREEDOM
WHAT IS IT? This workshop will tap into all of our senses, so that we can ‘do it with our eyes closed’ - literally. We
often rely on a lot of information from our eyes, particularly when fighting in film or on stage, however this is only a
fraction of the information we have available to us. This workshop turns up the other senses we can use on stage – to
give us freedom, greater safety, and a greater connection to our partners.
HOW WILL IT WORK? The session will begin with foundation exercises that explore our awareness of ourselves as
physical performers, and of the other performers in the room. We will then move, learning stage combat techniques
using a range of senses. The session will culminate in performing a scene … with your eyes closed.
WHAT DO YOU GET OUT OF IT? This workshop will leave you with skills for accessing a heightened sensitivity and
awareness not just for stage combat, but for any performance. For stage combat you have greater safety, access to
more advanced techniques and the freedom to allow a full performance. In general, you have a stronger connection
to the scene, your partners, your action and the emotional journey – allowing more pathways to delivering a full and
truthful performance ‘in the moment’. Please come with appropriate movement clothes and shoes.
→ See page 13 for tutor biography.
PARTICIPANTS: £18
22
January – March 2016 Programme
Sounding American in Auditions
Kara Tsiaperas
February 12
10.30-17.30
Course: VC21
Keywords: AMERICAN ACCENT | CASTINGS | SCRIPT WORK | TECHNIQUE | CONSISTENCY
WHAT IS IT? The goal of this one-day workshop is to give you the tools and strategies to maintain a General American
sound when auditioning for American film and TV. It will be targeted for those actors who have some basic
experience doing an American accent, but who need to sustain or sharpen it. The focus of the workshop is to help you
get ready for pilot season or for putting yourself on tape for an American audience.
HOW WILL IT WORK? This is a practical workshop using improv, theatre games and articulation exercises in order to
maintain your American accent. Key sound drills will be interwoven with on your feet games, to help you sound
American while being in a playful moment. The afternoon will consist of mock audition practice using American plays,
films and/or TV scenes.
WHAT DO YOU GET OUT OF IT? At the end of the workshop you will have a warm-up to do before auditions in order
to help you sound American. Your individual strengths or weaknesses with the accent will be identified, and practice
material and/or exercises targeting any weakness will be recommended. You will also come out of the workshop
benefiting from the experience of having done a mock audition, with your own personalised feedback.
→ See page 8 for tutor biography.
PARTICIPANTS: £30
Physicality and Collaboration: The Actor as Creative Artist
Simon Pittman
February 12
10.30-17.30
Course: A168
Keywords: PHYSICAL SKILLS | DEVISING TECHNIQUES | COLLABORATION | CREATIVITY | NEW SKILLS
WHAT IS IT? This is a highly practical workshop developing the actor’s physical skills and exploring task-based creative
processes. Working with Rough Fiction’s co-director Simon Pittman, the workshop will offer actors the skills and
confidence for working with devised and physical theatre makers.
HOW WILL IT WORK? With more and more playwrights, directors and theatre companies embracing physicality and
devising techniques in their work, the modern actor is increasingly required to be a skilled and collaborative maker of
new work. This workshop leads participants through an exploration of how to embrace physicality and creativity in
your practice. You will explore a set of tasks to develop physical confidence and technique that builds on every actor’s
existing skill set. You will explore how to generate material and create physical choreography, as well as working with
‘physical scores’ and ‘RSVP Cycles’ to create material as an ensemble.
WHAT DO YOU GET OUT OF IT? Through this workshop you will gain a unique insight into a range of collaborative
theatre-making skills that are increasingly essential in the contemporary actor’s toolkit. The session will also offer an
understanding of what directors and theatre-makers are asking of you as a collaborative artist, and how your existing
acting training can be effectively fed in to working with physicality.
→ Simon is a theatre director and movement director. He co-directs ensemble company Rough Fiction, is a creative
practitioner for Frantic Assembly, and has worked with a range of companies including The National Theatre of
Scotland, West Yorkshire Playhouse and The Library Theatre Manchester where he was resident trainee director. He is
currently working for Frantic Assembly as Movement Associate on The Curious Incident of The Dog in The Nighttime (National Theatre/West End).
PARTICIPANTS: £30
23
January – March 2016 Programme
Acting on Camera
Gill Wilkinson
February 12
10.30-17.30
Course: TV10
Keywords: SCREEN PERFORMANCE | AUDITION | SCENE WORK | TV | TAKING DIRECTION
WHAT IS IT? A workshop to give you a taste of the fast audition processes and shooting scenarios practised on set.
You will learn how shot sizes can affect performance, the importance of eye-lines and continuity, and the speed at
which you are expected to work in TV drama today.
HOW WILL IT WORK? Actors will be sent a scene the night before, which they will be expected to learn in readiness
for filming their ‘TV audition’ the following morning. The material will be reviewed and discussed as a group. Actors
will then rehearse the scene with their partner(s) and be ready to walk onto the set to shoot straight away. Scenes will
be blocked and filmed with a variety of shots in a short allotted time whilst other participants take on crew roles. The
rushes will then be reviewed by the group. All aspects of the day will be discussed, including how the work relates to
professional practice – from learning lines and hitting the ‘beats’ to ‘turning points’, taking notes and learning to look
objectively at your performance.
WHAT WILL YOU GET OUT OF IT? You will gain a valuable insight into current TV auditioning and shooting practices,
discovering what is achievable in the time restraints and learning to take direction quickly and concisely. By becoming
familiar with working in front of the camera, you will improve your ability to look at your own work objectively.
→ Gill began her professional career as a director on The Bill. Since then her credits include Casualty, Peak Practice,
Grange Hill, Hollyoaks and The Royal Today. Experienced in a wide range of programme formats and styles including
single- and multi-camera, Gill was awarded the BAFTA/PO Scholarship to study Direction at the NFTS. Her graduation
films Ellie and Horses for Courses screened at numerous festivals, scooping awards in Tokyo and Chicago.
PARTICIPANTS: £55 / OBSERVERS: £15
Seeing and Being Seen
David Boxer
February 12
14.00-18.00
Course: A154
Keywords: PRESENCE | SPONTANEITY | CHARACTER | EXERCISES | AWARENESS
WHAT IS IT? This workshop will develop awareness of self and others as one experience, with presence,
creativity and spontaneity. By integrating awareness with your mental construct of character and memory of lines,
true confidence is cultivated and a sense of ease is guaranteed.
HOW WILL IT WORK? Using awareness exercises we can break through our personal boundaries into an intimacy with
character and audience so we are not imprisoned by our idea of how we think it should be. Please bring a short piece
of learnt text. 2-3mins.
WHAT DO YOU GET OUT OF IT? Complete ease and awareness while performing and in auditions, as well as an
understanding of how a shift in attention can resonate more with the audience.
→ David has studied at NIDA and the Lecoq School in Paris. He has taught improvisation in several drama schools and
his freelance directing includes work with Moving Pictures and many Shakespeare productions.
PARTICIPANTS: £20
24
January – March 2016 Programme
An Introduction to Viewpoints
Anna Morrissey
February 13, 20, 27
13.00-16.00
Course: A165
Keywords: PHYSICAL EXPRESSION | MOVEMENT | STRENGTH & FLEXIBILITY | AWARENESS | ARTISTRY
WHAT IS IT? This short course is designed for theatre artists who may be new to Viewpoints and who wish to deepen
the knowledge of physical expression and ensemble theatre making. Viewpoints is a theatre discipline that provides a
way of thinking about and acting upon the components of performance and composition. It was originated in the
1970s by choreographer Mary Overlie for dancers. It was then developed for theatre and actors by directors Anne
Boghart and Mary Overlie.
HOW WILL IT WORK? The three sessions will cover the technical preparation of the body and the voice through
warm-up and movement exercises that develop strength, flexibility and readiness. It will give an introduction into the
9 Viewpoints as a starting point for creating the ensemble, generating material and the beginning of open
improvisation and composition work. Please wear loose clothing, suitable for movement.
WHAT DO YOU GET OUT OF IT? Training in the Viewpoints gives the performer and the theatre maker a heightened
artistic awareness of time, space, gesture and the use of the body. It lends itself to ensemble theatre making and
generating new and exciting work that is driven by improvisation and action.
→ Anna Morrissey trained in Viewpoints and Composition with Anne Bogart's SITI company and has taught at Central,
ArtsEd, Birkbeck College and for Globe and RSC Education. She has been making theatre since she graduated from
Central in 2004 and has worked on over 40 productions with companies including the RSC, The National, National
Theatre of Scotland, Manchester Royal Exchange, Birmingham REP, West Yorkshire Playhouse, Scottish Opera, Opera
North and NI Opera. As well as working independently as a theatre director and choreographer Anna is currently
Artist in Residence for Historic Royal Palaces making newly commissioned pieces of dance theatre.
PARTICIPANTS: £54
How to Become a Comedy Sketch Writer and Performer
Karen Hayley
February 14, 21
10.30-17.30
Course: WR2
Keywords: COMEDY | TV | CREATIVITY | CONFIDENCE | CAREER ADVICE
WHAT IS IT? A fun, imaginative and highly informative two-day course, introducing you to the process of becoming a
comedy sketch writer/performer.
HOW WILL IT WORK? Through a series of games and exercises, you will learn how to create material from
improvisation and write for different formats, exploring the key differences between stand up, character comedy and
sketch comedy. You'll explore the mechanics and components of what makes good sketch comedy work, and have the
opportunity to explore the best outlet for your comedy (live performance, TV and radio sketch writing, monologue,
narrative comedy, online series). We'll also look at how to take this work further, including practical advice on how to
successfully pitch scripts, continue writing and performing your own work, how to build a career as a comedy
writer/performer and the cross over between live and TV comedy.
WHAT DO YOU GET OUT OF IT? Skills development will include; building confidence; generating ideas; honing and
editing your material; creating great comedy characters; understanding comedy writing structure (i.e. set up/pay off,
the 'reveal') You will also gain great insights into playing (live and TV) comedy, working as a team and serving the joke.
→ Karen is a comedy writer/performer and voice over artist with over 20 years’ experience in film, TV and theatre.
She is best known for her TV sketch show performances including regular appearances in The Armstrong and Miller
Show, Dom Jolly's Fool Britannia, Lemon La Vida Loca, Bo Selecta, A Bear's Tail, Chikipedia and MTV's 1 LSQ with
Russell Brand. She's written and developed TV and radio comedy projects for Hat Trick Productions, Objective
Productions, Talkback Thames and provides voices for cartoons (Cartoon Network, CBeebies, MTV, Virgin Media). As a
live comedy writer/performer, she has performed in over 200 venues in the UK and abroad and has appeared in
several long-running theatre productions in the West End and at the National Theatre.
PARTICIPANTS: £60
25
January – March 2016 Programme
Puppetry for Actors
Richard Booth
February 15
10.30-16.30
Course: A42
Keywords: INTRODUCTION TO PUPPETRY | NEW SKILLS | PRACTICAL WORK | NEW OPPORTUNITIES
WHAT IS IT? An introduction to the basic principles of puppetry, and how they can be applied to various puppetry genres.
HOW WILL IT WORK? Through a number of individual and team exercises we will work through the principles of focus,
breath, stance and fixed points and how these relate to the puppet and puppeteer, and the joy of play that comes with it.
WHAT DO YOU GET OUT OF IT? Puppetry has enjoyed an increase in popularity over the last few years, however there is
very little available to performers who may be interested in learning the basics. Actors are often asked to audition for
puppetry jobs and if you are inexperienced it can be overwhelming. This workshop aims to give you a head start in the
audition room, or a foundation should you wish it take it further.
→ Richard has been a professional puppeteer for eight years. He is trained/experienced in Bunraku, object manipulation,
full body, shadow, glove and rod puppetry. He has devised and performed on a number of collaborative projects including
Kate Bush's recent comeback, Before the Dawn at the Hammersmith Apollo and as a founding member and Associate
Artist of Flabbergast Theatre. His recent work outside of Flabbergast includes, Topthorn Head and Goose in War Horse at
the New London and NT: Live and The BFG at the Bolton Octagon.
PARTICIPANTS: £30
Fundamentals – Introduction to Voice
Jessica Higgs
February 15, 22, 29, March 7
18.00-21.00
Course: VC22
Keywords: VOICE | TEXT WORK | ACTING | TECHNIQUE | SKILLS BUILDING
WHAT IS IT? 4 evening workshops over 4 weeks looking at voice, how it works and its application in acting.
HOW WILL IT WORK? Information and exercises to show how to develop a confident yet flexible vocal technique that is at
hand to serve the demands of your acting choices and the industry. These will cover the basics, alongside pithy topics
such as how to deliver a line naturally, keeping the voice relaxed. Each participant will be given a monologue in the first
week to work on throughout the course culminating in a performed presentation of it to the group in the last session.
Participants will receive individual feedback and coaching throughout the course.
WHAT DO YOU GET OUT OF IT? A simple, but rock solid voice/acting process that will be available to you to apply
effortlessly and naturally in all acting situations.
→ Jessica is a freelance voice coach. Theatre work includes the Royal Court, Salisbury Playhouse, Bolton Octagon and on
Mamma Mia! Her earlier work as an actor, singer and MD, along with her more recent directing experiences greatly
informs her voice work and the assistance she gives to performers.
PARTICIPANTS: £72
A Fresh Perspective on Vocal Health
The Voice Hub: Michael Hill
February 16
10.30-13.30
Course: VC38
Keywords: VOCAL HEALTH | VOICE TRAINING ROUTINE | TECHNIQUE | STAMINA | VARIETY | STRENGTH
WHAT IS IT? Complete Vocal Technique (CVT), an acoustic science-based approach to working with all the sounds the
human voice can make. This course will show you how, in just 5-10 minutes a day, you can keep your voice in top
condition and will give you reliable practice methods to get even the most tired voices feeling free again.
HOW WILL IT WORK? This course will give you simple, effective methods to avoid the common causes of vocal fatigue
and will allow you to design a daily voice training routine that fits your specific needs.
WHAT DO YOU GET OUT OF IT? You will leave this course with a bespoke practice routine to keep your voice healthy.
Regardless of the particular demands placed on your voice, you will be able to trust that you have the knowledge of your
instrument and vocal stamina to see you through every performance.
→ See page 17 for tutor biography.
PARTICIPANTS: £18
26
January – March 2016 Programme
Advanced Solo Theatre Performance
Colin Watkeys
February 19, 22, 26
10.30-17.30
Course: A153
Keywords: SOLO SHOWS | SCRATCH PERFORMANCE | CHARACTER | DEVELOPMENT | FEEDBACK
WHAT IS IT? Three sessions developing your solo theatre ideas, culminating in a scratch performance in the Tristan
Bates Theatre.
HOW WILL IT WORK? Building upon basic skills and techniques already encountered in Solo Theatre Workshops, you
will develop your initial ideas over three sessions into a short ‘scratch’ performance, for further feedback, in front of a
live audience. This workshop assumes a knowledge of the basics learned by attending one of Colin Watkeys' previous
Face to Face Solo Theatre Workshops, including the Solo Theatre Performance workshop at the Actors Centre on 1st
February 2016.
WHAT DO YOU GET OUT OF IT? An opportunity to take your solo theatre performance ideas to the next level.
→ See page 19 for tutor biography.
PARTICIPANTS: £90
Creating a Creature and an Introduction to Motion Capture Performance
Sarah Perry
February 21
10.30-13.30
Course: PH3
Keywords: MOTION CAPTURE | CREATURE PERFORMANCE | FILM | VIDEO GAMES | NEW SKILLS
WHAT IS IT? This workshop is aimed at actors and physical performers who are interested in creature
performance, with particular emphasis on creating for motion capture.
HOW WILL IT WORK? We will look at how the analysis of creature behaviour, inspired by Laban Movement
Analysis, can inspire physical choices and performance techniques. Many films and even the TV and Games
industries require the actor to create non-human, animalistic and other worldly characters. This workshop will
give you the space to play, create, have fun and explore using games and exercises from which to inspire physical
and creative choices. Prior to the session please observe and research a chosen animal’s movements and
behavioural characteristics and try to embody such physical qualities too, so we can use this as a starting point for
creation.
WHAT DO YOU GET OUT OF IT? The medium of Motion Capture is now widely used to capture human
performances in the making of creature and non-human roles. Participants will learn the basic principles of
Motion Capture performance, and the physical aspects we need to consider when creating with motion capture.
→ Sarah is an actor, movement coach, director and tutor specialising in yoga, movement for actors and acting for
animation. She has coached many actors for film, TV and live performance and is a visiting lecturer and workshop
leader at numerous UK unis and educational institutions. She was movement coach for the feature film Jupiter
Ascending and has also worked with character animators on Harry Potter, The Chronicles of Narnia, Voyage of the
Dawn Treader, John Carter, World War Z and Guardians of the Galaxy.
PARTICIPANTS: £18
27
January – March 2016 Programme
There’s No ‘I’ in Improvisation
Todd Kramer
February 23
10.30-17.30
Course: A105
Keywords: IMPRO | AMERICAN TECHNIQUE | AUDITIONS AND PERFORMANCE | CONFIDENCE
WHAT IS IT? Understand and develop the basic fundamentals of Improvisation skills and technique.
HOW WILL IT WORK? Participants will learn to build the four cornerstones of good performance: AGREE AND ACCEPT
- add/contribute (“yes, and”); OBSERVE - listen and react with sharpness, clarity and confidence; TEAMWORK become an integral part of the ensemble/group and work together towards a common goal; FLOW - break out of your
comfort zone, enjoy and gain ready access to all the tools in your talent toolbox.
WHAT DO YOU GET OUT OF IT? This fun course is designed for all levels of improv experience. We will start with the
basics and introduce training methods used at The Groundlings (Los Angeles) and work our way up to performing
improvisation scenes. You will be taken through exercises that will not only improve how you do in castings and
performances but can help you improve in personal relationships as well as start you on the path to becoming a
performance level long-form improviser.
→ Todd Kramer is an American born actor and improviser with nearly 20 years’ experience. He holds a BA in Theatre
Arts from Loyola Marymount University LA and studied with the renowned Groundlings in Los Angeles for over 3
years. He has been training, performing and teaching improv ever since. He is now based in London as a stage, film,
commercial and TV actor.
PARTICIPANTS: £30
Essential Movement Sequences for Character
Ed Woodall
February 23
10.30-17.30
Course: A97
Keywords: NEW TECHNIQUE | MOVEMENT | SELF EXPLORATION | CREATING CHARACTER
WHAT IS IT? A day-long workshop to develop a technique for exploring character through movement and sound.
HOW WILL IT WORK? You will warm up physically and vocally and then explore the connection between the two with Ed’s
work on the Laban ‘shapes’. Then you will choose elements of a character you are preparing (or have played or even want
to play – bring a short speech with you) and create a series of movement and sound sequences for them. Once this has
been done you will combine them in a variety of ways to reveal new possibilities for the character.
WHAT DO YOU GET OUT OF IT? You will learn a startling new approach to character. You will go away with a new way
of annotating the decisions you make in what Ed calls ‘The Grid’. Most importantly, you will learn a new way to develop
character which is physical and playful rather than intellectual.
→ Ed trained at Ecole Jacques Lecoq in Paris. He has worked as an actor at the NT, RSC, ETT, Complicité, Improbable &
Kneehigh. Ed has recently acted with the RSC again in Tanika Gupta's The Empress and has several movie credits including
Master and Commander, Emma and Enigma. He is also an award-winning theatre director (Time Out Live Award for Een
Hond Begraven). He has taught at the NT Studio and at many drama schools. Ed has been developing his teaching for the
last 4 years at the Oxford School of Drama where he teaches Masks, Clowning and Buffoon.
PARTICIPANTS: £30
28
January – March 2016 Programme
Working on Camera
Marcus D F White
February 23, 24
10.30-17.30
Course: TV46
Keywords: AWARENESS | TRUTH | THE CLOSE-UP | SCREEN PRESENCE | PRACTICAL
WHAT IS IT? An intensive and practical two-day workshop exploring screen acting and how a director, actor and
production team work together to create visually exciting and entertaining work.
HOW WILL IT WORK? Participants will work on elements of screen performance including the close-up, the power in
your eyes, thoughts and actions and being aware of where the camera is in relation to you. There is no hiding place on
camera and if you are not being equally and spontaneously reactive and proactive in a scene, you leave the director
and, more so, the film editor with fewer options when cutting the show. For those who have worked with Marcus
before - welcome back - we shall work on a specific scene from a film. For those who are new to this workshop, we
shall work on monologues first. Book early so you can learn scripts.
WHAT DO I GET OUT OF IT? A deeper understanding of your relationship with the camera and how this can make you
shine on screen.
→ Marcus studied drama at RSAMD and trained to be a teacher at the University of Glasgow. He then gained a place
on the highly competitive Directors Training Course and has worked continuously since then. He directed Junk
(adapted from the novel by Melvyn Burgess) which won a BAFTA. He has also been nominated for an RTS award for
Peak Practice – Through a Glass Darkly and a BAFTA for Taggart – Angel Eyes. He has taught TV and film technique at
RADA, the Royal Conservatoire of Scotland and DSL.
PARTICIPANTS: £110
Fundamentals: Acting and Audition Technique
Morna Regan
February 24
10.30-17.30
Course: A20
Keywords: ONE-TO-ONE | AUDITIONS | MONOLOGUES | SIGHTREADING | INTERVIEW SKILLS
WHAT IS IT? Hour-long private consultations specifically designed to suit YOUR individual needs.
HOW WILL IT WORK? The session will focus on exactly what you need – be it preparing for a specific audition, addressing
your audition concerns in general, working/choosing monologues, practicing audition technique and presentation,
combating nerves, practicing how to take direction, how to sight-read or how to interview. (Pre-session email
consultation with the tutor is welcomed so the session can be tailor-made).
WHAT DO YOU GET OUT OF IT? You will leave with a very comprehensive understanding of the dos and don’ts of
auditioning to help you land that job, or get out of bad habits which have not been working.
→ Morna is a Fulbright Scholar and MFA graduate in Acting from the University of Southern California and a BA graduate
from Central. In the UK Morna has worked with the Donmar, Hampstead, Tricycle & Traverse One. In Ireland work
regularly included The Abbey Theatre, the National Theatre of Ireland, The Gate Theatre and The Lyric. Morna is
concentrating on writing. Her most recent play The House Keeper won The Irish Times Best New Play Award 2013. Her
play Midden won an Edinburgh Fringe First and was produced at the Hampstead.
PARTICIPANTS: £45
29
January – March 2016 Programme
Voice and Speech for Theatre Performance
Jacquie Crago
February 24
10.30-17.30
Course: VC31
Keywords: PROJECTION | STAGE AND SCREEN | TRUTH | NEW TECHNIQUES | VOCAL HEALTH
WHAT IS IT? A workshop for actors who are interested in exploring the potential of their vocal instrument, especially
those whose careers have focussed on TV, film and radio who are now working on stage and in large venues.
HOW WILL IT WORK? Jacquie will introduce techniques to ensure accurate, safe projection while maintaining a truthful
performance. Discover how to be audible and clear without straining your voice. Texts will be provided but do bring any
speeches you would like to work on. Please wear loose, comfortable clothing for movement.
WHAT DO YOU GET OUT OF IT? The workshop aims to banish the often held fear of giving an ‘over the top’, superficial
performance when increasing physical and vocal size. You will also experience ways of sharing all the truth of an intimate
sensitive text with a large, live audience.
→ Jacquie Crago is a regular member of the RSC’s Voice & Text department and the resident voice and dialect coach for
War Horse (NT). Jacquie also works as an actor and freelance director and leads voice and acting workshops and
projects for theatres, drama schools and universities throughout the country.
PARTICIPANTS: £30
Working Words
William Trotter
February 26
10.30-13.30
Course: A157
Keywords: TEXT WORK | EXPLORE | EMOTION | CHARACTER | UNDERSTANDING | FREEING UP
WHAT IS IT? This practical, exploratory, voice-text based workshop will raise awareness of how working with the rhythm
and texture of words increases their impact.
HOW WILL IT WORK? We will work in a practical, exploratory, physical way, with a range of voice, speech and text
exercises. We will find meeting points between the rhythms and cadences of our own speech and those of the script. We
will look at how bringing our own voice into a truer relationship with the voice of the character can unlock the clues
encoded in the language and be a way into character. We shall look for how the specific vocal energy you bring to the
words affects the scene's action by impacting on your own character and the other characters.
WHAT DO YOU GET OUT OF IT? This workshop will help you find the freedom to make your character's words live, to use
the lines to reveal the psychology and emotion of the character, and to find how the choice of words, rhythm, and
phrasing are part of a character's mind-set and attitudes. It will help with both screen and stage. It will help you to focus
your intentions with lines while remaining in the moment, discovering the psychology & emotion embedded in the script.
→ William has provided voice input for shows at theatres across London. His one-to-one clients have worked at the
National, Royal Court and West End and leads at Regent’s Park and Apollo Victoria. He has led workshops for Escape
Artists, Graeae, Mind the Gap, the Magic Circle, RSAMD and for Tamasha Theatre's actor-director laboratory. Drama
schools he has taught at include ArtsEd, Central, Drama Centre, East 15 and LAMDA. He trained at Central and Bristol and
Exeter Universities and is on the training working party of the British Voice Association.
PARTICIPANTS: £18
The Chubbuck Technique
Anthony Green
February 27
14.00-17.00
Course: A135
Keywords: ACTING | AUDITIONING | IVANNA CHUBBUCK | UTA HAGEN | STANISLAVKSI
WHAT IS IT? A look at the approach used by world renowned acting teacher Ivana Chubbuck, coach to Charlize Theron,
Halle Berry, James Franco, Jared Leto, Travis Fimmel, Judith Light, amongst many others.
HOW WILL IT WORK? Nothing to prepare. We will discuss what makes great acting, with some short acting exercises.
WHAT DO YOU GET OUT OF IT? You will come away with concepts and tools that will immediately help you in your work.
→ Anthony Green is an actor who has spent the last eight years working with Ivana.
PARTICIPANTS: £18
30
January – March 2016 Programme
Michael Chekhov Technique
Gretchen Egolf
February 27, 28
10.30-17.30
Course: A139
Keywords: PSYCHO-PHYSICAL | IMAGINATION | CREATIVITY | CHARACTER | NEW TOOLS
WHAT IS IT? A two-day course on the Michael Chekhov Technique - an imaginative, physical and psychological
approach to acting.
HOW WILL IT WORK? We will explore various exercises, engaging your body and imagination. The group will spend
much of the two days moving through the space - be sure to dress very comfortably. You will focus on a well-known
play (to be confirmed) over the course of the workshop, so you will be expected to read the play, choose a character,
and learn a minimum of 30 seconds of the character’s lines.
WHAT DO YOU GET OUT OF IT? Michael Chekhov was a great Russian actor, director and teacher. A protégé of
Stanislavski’s, he cultivated his own approach to truth in acting, focusing on engaging one’s physical life and
imagination to access impulses. He looked to avoid using personal experience, the focus upon which he found to be
limiting, cerebral and potentially unhealthy. The work helps get you out of your “head” and out of your own way.
Through various psycho-physical exercises, you will find a creative, deep, and joyful way to approach a character and
you will leave with practical new tools for performance, rehearsal and auditions. The work will be approached with
ease, focus and a spirit of fun. It feels like a breath of fresh air!
→ Gretchen trained at Juilliard and has worked as an actor for 20 years, appearing on Broadway and off, in the West
End, and in many theatres around the US, playing great roles from Blanche to Rosalind. She has worked extensively in
television including The Good Wife, Law and Order and CSI among many others, and in films such as The Talented Mr.
Ripley and The Namesake. She has taught at the Royal Central School of Speech and Drama, RADA, and LAMDA, as
well as independent workshops in New York and London. More information at www.gretchenegolf.com
PARTICIPANTS: £60
Screen Acting: The Art of Non-Doing
Rami Dvir
February 28
10.30-17.30
Course: TV76
Keywords: SCREEN ACTING | STORYTELLING | CHARACTER | TRUTH | PRESENCE | ADVANCED
WHAT IS IT? An intense introduction to a unique process of researching the personal ingredients that grounds the
character and the story s/he tells in absolute truth.
HOW WILL IT WORK? We will use exercises of storytelling and presence in order to deepen the necessary link
between the actor and the character s/he plays. We will film scenes/monologues of your choice (which you will bring
to the workshop) before and after we work on them. This will clearly show us what is needed and what actually works
for deepening the presence of the character.
WHAT YOU GET OUT OF IT? A clear understanding and experience of doing less and saying more; of what works,
deepens your acting, and makes your character not just better, but absolutely real and unique.
→ Originally trained at the Bristol Old Vic, Rami is a feature film and theatre director. His first feature, The Wedding
Tackle, had a wide theatrical release and was presented on BBC 1. Currently he is working on Chekhov’s shorts for the
stage and has two feature films in development. He also designs and leads acting and drama therapy workshops in
universities and Drama Schools.
PARTICIPANTS: £55
31
January – March 2016 Programme
The Play’s The Thing – Rehearsing with an RP Accent
Terry Besson
February 29
10.30-17.30
Course: VC6
Keywords: ACCENT | DELIVERY | SPEECH | RP | TEXT | REHEARSING
WHAT IS IT? A day-long workshop to help you learn how to maintain an authentic RP accent throughout the rehearsal
process and into performance.
HOW WILL IT WORK? We will look at how the accent affects style, rhythm and changes in flow, where the power lies,
the subtle changes of speed and tone, the energy of the piece and of the characters and finding and using the correct
muscularity and breath strength for the accent. Please bring your own copies of any of the following scripts and know
your way around them: any Noel Coward or Oscar Wilde, Equus, Amadeus (Peter Shaffer), The Secret Rapture (David
Hare). Some photocopied scenes will also be available. Please also bring any speeches or scenes that you would like to
look at. Example CDs will be available for an extra cost.
WHAT DO YOU GET OUT OF IT? This workshop will put accent work into practice over a sustained period, and show
you how to find clues from the text to develop accent and character.
→ See page 19 for tutor biography
PARTICIPANTS: £30
Shakespeare: The Complete Works – One Play at a Time
Adrian Fear
February 29, March 1
10.30-17.30
Course: SH35
Keywords: ACTING THE CLASSICS | TEXT | CHARACTER | AUDITION SKILLS | PERFORMANCE
WHAT IS IT? A two day exploration of Much Ado About Nothing. The exotic world of Messina provides the backdrop
for the “merry war” between two of Shakespeare's most famous comic characters Beatrice and Benedick whilst the
scheming Don John's attempts to destroy the union of Hero and Claudio are only narrowly thwarted by the timely
intervention of the bungling Dogberry.
HOW WILL IT WORK? The workshop will explore the play's characters and narrative before moving on to detailed,
performance oriented, text work on key monologues and scenes. We'll see how the play fits in to Shakespeare's
canon and look at what comparisons can be drawn between the language, characters and themes of Much Ado and
his other plays including Othello and The Taming of the Shrew.
WHAT DO YOU GET OUT OF IT? A practical insight into this timeless and oft performed romantic comedy. The
knowledge gained and the experience of working on the play will improve your chances of success when faced with
an audition not only for 'Much Ado' but any classical text. You will also see how Shakespeare developed his art as a
playwright throughout his creative life.
→ Adrian trained at Birmingham School of Acting and has been working as professional actor, director and teacher
for eighteen years. Theatre work include Shadowlands and See How They Run (West End), Dangerous to Know (No.1
tour) and The Battle of Bull Run Always Makes Me Cry (King’s Head Theatre). His classical credits include Titus
Andronicus (BAC), The Merchant of Venice (Edmonton Theatre), Macbeth (Now and Then Productions), Twelfth Night
(CBSO Centre) Henry V (Pentameters Theatre) and Much Ado About Nothing (Heartbreak Productions). Film and TV
work includes Doctors, Days That Shook The World, Barbarians and The First True Olympics. Adrian has taught
Shakespeare for Act Up, Capital Screen Arts and award-winning young people's theatre company Playbox. He has led
workshops for the London Shakespeare Workout and the Schools Shakespeare Festival and is an associate director of
Roland Egan Productions.
PARTICIPANTS: £60
32
January – March 2016 Programme
Stand-Up Comedy Made Easy
Rob Hitchmough
February 29, March 1, 2
10.30-13.30
Course: A128
Keywords: STAND-UP | WRITING | PERFORMING | CREATIVITY | COMIC-TIMING | LANGUAGE | IMPRO
WHAT IS IT? A short course that will teach the tools of stand-up comedy. We will look at this from both a writing and
a performing perspective.
HOW WILL IT WORK? We will be looking at the mechanics of writing comedy including: Where do our ideas come
from? How do we develop them? How does the language we use in stand-up differ from that used in other comedy
mediums, such as monologues and magazine articles. We will also use improvisation which is extremely useful from
both a writing and a performing perspective. Many people find improvisation quite intimidating. Please don’t fret;
you’ll be nursed through it with very simple, well-structured games.
WHAT DO YOU GET OUT OF IT? By the end of the course you will; a) be able to write short comedy routines and ‘oneliners’; Understand the tools of creativity; b) understand comedy timing; c) have developed an instinct of what will
and won’t work on stage and d) know how to get work as a comedian.
→ Rob spent twenty five years as a full time professional stand-up, on the London circuit and with the Improvisation
group Scared Scriptless. He has written and performed in many TV sketch shows and now mainly works as a writer
and stand up teacher. His stage play One Step Ahead was shortlisted for The Liverpool Hope Playwriting Prize 2015.
PARTICIPANTS: £54
Preparing a Role for Screen
Bill Britten
March 1
10.30-17.30
Course: TV75
Keywords: SCREEN PERFORMANCE | PREPARATION & SPONTANEITY | CHARACTER | CONFIDENCE
WHAT IS IT? A workshop to help all actors prepare fully for a role on camera.
HOW WILL IT WORK? One of the biggest challenges facing screen actors is knowing how to prepare without the
extended collaborative rehearsal process that is integral to stage productions. At the same time the intense scrutiny
of your character’s inner world by the camera means that any lack of preparation is ruthlessly exposed. Using scripts
from a TV drama, Bill Britten will take you through the approach outlined in his Bloomsbury Methuen/Actors Centre
book From Stage to Screen: A Theatre Actor’s Guide to Working on Camera to help you develop your own
methodology. The day will involve a mixture of script analysis and rehearsing scenes to find the balance between
creating the character, exploring the scenes and leaving room for spontaneity when shooting.
WHAT DO YOU GET OUT OF IT? Increased confidence in breaking down a script, identifying key moments in your
character's backstory and understanding the journey through the story so that you can walk onto set feeling totally
prepared.
→ Bill began his career as an actor before turning to directing. He has directed many TV dramas, including Holby City,
EastEnders, Night and Day, Dream Team, the TV movie The Last Musketeer and a BAFTA-nominated short One
Night Stand. He is now a senior Acting for Camera tutor at Drama Centre and works extensively internationally as a
business communications coach. His book - From Stage to Screen: a Theatre Actor's Guide to Working on Camera was published in November 2014 by Bloomsbury Methuen in association with the Actors Centre.
PARTICIPANTS: £55
33
January – March 2016 Programme
Building a Life on Screen
Mel Churcher
March 2, 11.30-18.00
March 3, 4, 10.30-17.30
Course: TV35
Keywords: SCREEN ACTING | CHARACTER DEVELOPMENT | SUSTAINABILITY | PREPARATION
WHAT IS IT? A three-day workshop to ensure that you, in your role, stay at least as charismatic (or possibly even more
interesting and exciting) than you are in your own life, and to help you cope with the fact that there is little or no
rehearsal for screen work.
HOW WILL IT WORK? On the first day/second morning we look at you, your unique life on screen, and how to hang
on to it within the specifics of the role. On the second day there will also be more tips, rehearsal techniques and
strategies to build a life for screen and we will rehearse short scenes to shoot on final day. Please bring a very, very
short modern monologue (preferably from screen) for us to play with on the first day. Scripts for the third day's
filming will be provided. This three-day workshop is very individual so suitable for actors who have done little or no
screen work as well as those with lots of experience.
WHAT DO YOU GET OUT OF IT? More confidence both in self-preparation and on set. The difference between working
on stage and on screen. An intense look at yourself both as you, and in a role, on screen in a safe environment.
→ Mel has worked as a dialogue or acting coach on over 50 major movies including The Lady (Michelle Yeoh),
Berberian Sound Studio (Antonio Mancino), Control (Sam Riley), The Fifth Element (Milla Jojovich), The Hole (Thora
Birch/Keira Knightley), Lara Croft: Tomb Raider (Angelina Jolie/Daniel Craig) and Danny the Dog (Jet Li). She has
worked as voice and text coach for theatre companies including the RSC, Royal Exchange, Royal Court and Regent’s
Park Open Air Theatre. Mel has written 2 books, Acting for Film: Truth 24 Times a Second (Virgin Books) and A Screen
Acting Workshop with DVD (Nick Hern Books). Visit www.melchurcher.com for more info.
PARTICIPANTS: £150 / OBSERVERS: £45
The Meisner Technique
Scott Williams
March 2, 3, 9, 10, 11
10.30-17.30
Course: A11
Keywords: SANFORD MEISNER | METHODOLOGY | TRUTH | INSTINCT | RESPONSIVENESS
WHAT IS IT? Five days that can change your life as an actor.
HOW WILL IT WORK? Using five simple, practical exercises during this intensive course you’ll explore the Meisner
Technique in depth. Taking you from the start of the process all the way through to working with text, Scott will help you
discover that acting is living truthfully under a given set of circumstances.
WHAT DO YOU GET OUT OF IT? You’ll walk away with a complete experience of a single approach to the acting process,
with a renewed sense of your own ability to ‘live truthfully’, and with a sense of inspiration at what is possible for you in the
world of performance. Please note: on occasion, one of Scott's associates from the Impulse Company may lead a session.
→ Scott is founder of the Impulse Company, working with actors, writers and directors to create vibrant and dynamic
theatre. As a director his work has been seen all over the world.
PARTICIPANTS: £150 / OBSERVERS: £75
34
January – March 2016 Programme
The Poetry of Circus, Dance and Theatre
Bart Soroczynski
March 4, 5, 6
10.30-17.30
Course: A158
Keywords: ENSEMBLE | COLLABORATION | NEW TECHNIQUES | SKILLS DEVELOPMENT | STORYTELLING
WHAT IS IT? A workshop designed for actors, performers, dancers and circus artists who wish to share and go beyond
their comfort zones. Dare to experiment with new techniques and skills that are not your own.
HOW WILL IT WORK? By playing games, improvising, telling stories and experimenting with different techniques we
will discover a common language and attempt to tell a story together as an ensemble. All participants will be sent the
same monologue or scene in advance and be required to learn it before attending the workshop.
WHAT DO YOU GET OUT OF IT? You will have an understanding of how other artists work. Discover and develop your
abilities within a technique that is not your own. Realise the potential of sharing experiences. Discover the richness of
mixed arts performance.
→ Bart Soroczynski is breaking down the borders - from Quebec’s Contemporary Circus to the stages of the RSC to
Swiss theatre and cinema. He is currently preparing for his second production at Theater St.Gallen (Switzerland) as
Demeter Stanzides in Arthur Schnitzler’s Das Weite Land, whilst playing Ignaz Scheel in Carl Zuckmayer’s Katharina
Knie in this theatre’s repertoire. He played at the RSC as Doctor Caius in The Merry Wives of Windsor directed by
Phillip Breen and various parts in The Mouse And His Child directed by Paul Hunter. In 2013 he worked with Michael
Finger on the stage show and film The Fool And The Princesses/Son Of A Fool planned for release in 2016. In 2011, he
debuted in London at The Arcola alongside Kathryn Hunter, Marcello Magni and Patrice Niaimbana in Tell Them That I
Am Young and Beautiful directed by Marcello Magni. From 2008 until 2012 he was a permanent member of the Irina
Brook Theatre Company in Paris playing The Tempest as both Trinculo and Ferdinand as well as Somewhere La
Mancha, an adaptation of Don Quixote. (Théâtre des Bouffes du Nord, Festival d’Avignon and world tour).
PARTICIPANTS: £90 (Associate members can participate in this workshop).
Acting for Camera: Taking Away the Fear
Sue Dunderdale
March 7
10.30-17.30
Course: TV74
Keywords: SCREEN ACTING | PREPARATION | ENERGY | EMOTION | TRUTH | CONFIDENCE
WHAT IS IT? A workshop aimed at helping you to understand the connection between your theatre training and acting
for camera and giving you the courage to do it.
HOW WILL IT WORK? Sue will use discussion, exercises and most importantly work on short scenes to guide you
through the steps to understanding how to use energy and emotion in a way that reads on camera and give feedback.
WHAT DO YOU GET OUT OF IT? An understanding of how to prepare for acting a scene on camera so that you play
the scene with depth, with layers and in a way that truthfully conveys the journey of the scene.
→ Sue is a freelance director and writer and for ten years was the Head of the MA in Directing at RADA. Her latest
theatre production was Told Look Younger (Jermyn St.). In February this year she wrote and directed a short film for
the Actors Centre – Help, and she is now working on a new short film, Karen. She directed 2 episodes of Holby City in
September 2015 and has two feature films in development.
PARTICIPANTS: £55
35
January – March 2016 Programme
An Actor Prepares – Shakespeare
Donnacadh O’Briain
March 7, 8
10.30-17.30
Course: SH16
Keywords: ACTING THE CLASSICS | SCENE WORK | TOOLS & EXERCISES | CONFIDENCE BUILDING
WHAT IS IT? An intensive two-day introduction to approaching and playing Shakespeare without fear.
HOW WILL IT WORK? Participating actors will work with in detail with the director on a number of speeches and
duologues from across a broad range of plays as well as one prepared speech of their choice. This workshop is a
detailed and thorough look at approaching Shakespeare as a working actor, full of practical tools and exercises, which
can be applied to any text.
WHAT DO YOU GET OUT OF IT? Participants will leave with the tools that will enable them to tackle a complex and
poetic script with confidence.
→ Donnacadh’s recent projects include the sell out/Evening Standard Critics Choice Rotterdam
(Theatre503); Lesere (Jermyn Street); My World Has Exploded a Little Bit (Tristan Bates/Camden Fringe); The Poet, The
Lover and the Lunatic (National Portrait Gallery); Blue Stockings (Tobacco Factory, Bristol); Mercury Fur & From Both
Hips (RADA). He created the unique cross art form pop-up theatre PEEP, which featured at the Edinburgh Fringe in
2012 & 2013 and Latitude. Other credits include Leo Butler’s The Early Bird (Finborough - Independent on Sunday
Critics Choice); Between Life and Nowhere (Theatre Delicatessen - Time Out Critics Choice), King Lear staring the late
Gerard Murphy (Wexford Opera House & tour), and assisting Michael Boyd on the Histories Cycle (RSC).
PARTICIPANTS: £60
Sprächgesang – Speak-singing
Ian MacDonald
March 8
14.00-17.00
Course: MT15
Keywords: SPEECH AND SONG | VOCAL TECHNIQUES | FREEDOM | EXERCISES | NEW VOCAL SKILLS
WHAT IS IT? The workshop will explore the grey areas between speech and song. There are numerous styles in which
the boundary between speech and song blur. Sprächgesang, sprächstimme, recitative, patter songs, rap, parts of the
narrative of musical theatre and so on.
HOW WILL IT WORK? First we will look at some of these versions that seem to sit somewhere in the middle. Then we
will work on some of the vocal techniques and exercises that form the basis of sprächstimme and assist in being able
to move freely between speech and song, before giving you the chance to explore some of your own repertoire and
explore some of your own issues in this area.
WHAT DO YOU GET OUT OF IT? Knowledge of types of speak-singing. Information and exercises that are part of the
skill of this type of voicing. A chance to demonstrate these skills and workshop your own material. A chance to
contribute to the ongoing development and learning of other performers.
→ Ian studied music and psychology at Glasgow University and Vocal Pathology at University College London.
Between these two he also graduated from the Royal College of Music in voice, piano and composition. He was the
lead vocal rehabilitation specialist for the British Association for Performing Arts Medicine (BAPAM) since 2000 and is
the course tutor for the world’s first MSc in Performing Arts Medicine at University College London, a collaboration
with The Royal College of Music and Trinity Laban Conservatoire of Music and Dance.
PARTICIPANTS: £18
36
January – March 2016 Programme
Improve Your Voice by 90%
Frances Parkes
March 9
10.30-17.30
Course: VC13
Keywords: VOICE WORK | GROTOWSKI TECHNIQUE | LEARN EXERCISES | FREEING UP
WHAT IS IT? A Grotowski-based voice workshop to look at and resolve any unresolved vocal problems. Using the
Grotowski technique the performer is at one with their voice.
HOW WILL IT WORK? We will use a range of physical and vocal exercises to explore how to extend and release your
voice and develop emotional freedom in performance.
WHAT DO YOU GET OUT OF IT? An introduction to the Grotowski technique and how it can help release and develop
your voice. Frances will also supply material for a basic daily voice warm-up on request.
→ Frances has worked extensively in film, TV and radio. She lectures at the University of London and continues to
coach actors here and in California in vocal development and dialects. She has been working with vocal techniques
first outlined by Grotowski for the last 10 years and his insights influence all of her work.
PARTICIPANTS: £30
Fundamentals: Sharpening Your Skills
Patricia Doyle
March 10, 11
10.30-17.30
Course: A134
Keywords: SKILLS DEVELOPMENT | EXPLORATION | CONFIDENCE | NETWORKNG | AUDITIONS
WHAT IS IT? The Actors Centre is the perfect place to build skills and re-inspire you with new confidence. This two day
course is fun, challenging and inspirational and is ideal for new members, new graduates and those returning to the
industry after a break.
HOW WILL IT WORK? Through improvisation, poetry and text, working together as a group you will discover new skills
in a non-judgemental atmosphere. At the end of the course, we will focus on auditions, how to get work and look at
other courses to continue the pathway to achieving your goals.
WHAT DO YOU GET OUT OF IT? This course offers new members a great springboard into the Actors Centre. It will be
an enjoyable experience, revisiting some earlier training and rehearsal methods and revitalising your passion to act.
This will be a sharing of experience and advice, an opportunity to network and an ideal place to start your ongoing
professional development at the Actors Centre.
→ Patricia trained as an actress at RADA and has worked at the NT, the RSC (including the world tour of Peter
Brook’s A Midsummer Night’s Dream), Royal Court, the West End and in rep, radio and film. As a theatre director her
productions include plays by Stoppard, Chekhov, Churchill, Ibsen, Priestley and Brenton. For the Northern Ballet
Theatre Patricia has directed Carmen and A Streetcar Named Desire, co-directed Peter Pan, A Midsummer Night’s
Dream, Hamlet a new ballet of Cleopatra and, most recently, The Great Gatsby and Cinderella. She recently worked on
a ballet of Nijinsky in Bratislava and directed her first short films, Beware of What You Wish For and No Man’s Land.
PARTICIPANTS: £60
37
January – March 2016 Programme
Action on Action – Exploring Screen Acting
Clifford Milner
March 11
10.30-17.30
Course: TV34
Keywords: TV/FILM | PREPARATION | SCREEN ACTING | CONFIDENCE | ACTING FOR CAMERA
WHAT IS IT? Acting for the camera, looking at strategies for dealing with little or no rehearsal in film and TV. It can be
a surprise to actors whose training is rooted in theatre traditions that there are often no rehearsals in TV and film, and
any rehearsals that do take place are usually for technical reasons.
HOW WILL IT WORK? Using contemporary TV/film scripts the workshop will deal with the three key questions you
need to ask for every scene and associated choices in regard to your relationship with the camera. We will look at
what works, what doesn’t, how much freedom you have and the old chestnut, is less really more?
WHAT DO YOU GET OUT OF IT? The ability to bring specifics, and therefore clarity to your performance on screen.
The acquisition of a camera savvy technique, in order to create compelling, watchable performances.
→ Clifford trained as an actor at Webber Douglas and some of his TV credits include A Very Open Prison, Brookside,
Drop the Dead Donkey, Poirot, Cold Feet, The Bill, EastEnders, Coronation Street, Trial and Retribution II and IV, Eyes
Down and the BAFTA award-winning Middlemarch for the BBC. He trained as a director at GITIS the Russian Academy
of Dramatic Art in Moscow, Skillset, BBC and DGGB and has directed at The Oldham Coliseum, The Old Rep and
Crescent Theatres Birmingham, Jermyn Street Theatre, Watford Palace, The Lowry, Salford and several short films
screened at BAFTA and Busho the Budapest Film festival. He ran the MA in Acting for TV, Film and Radio at E15 for
three years and has directed and taught acting for both stage and screen at several leading UK drama schools.
PARTICIPANTS: £55
Extreme Texts: An Exploration of the Work of Sarah Kane
Richard Shannon
March 11
10.30-17.30
Course: A162
Keywords: SCENE STUDY | EMOTIONAL EXTREMES | CONFIDENCE | APPROACHING DEMANDING TEXT
WHAT IS IT? This workshop will focus on scenes from Blasted and Phaedra's Love and explore how they can be moved
and where the actor has to go to make them work.
HOW WILL IT WORK? The extracts will be supplied in an advance and participants will be cast and asked to learn short
sections so that they can be fully physicalised. Richard will direct each scene and give detailed notes.
WHAT DO YOU GET OUT OF IT? The workshop offers participants the opportunity to focus on plays that make
extreme demands on the actor in a safe environment. Build confidence when faced with very demanding texts.
→ Richard is a playwright, director and lecturer, working mainly in theatre and radio. In 2014 he directed Walaa by
Ahmed Masoud, a new play about the crisis in Syria (New Diorama and St. Martin-in-the-Fields). His writing credits
include Sabbat, (Dukes Theatre, Lancaster) and The Lady of Burma (Old Vic) - both published by Oberon Modern
Plays. Richard was Associate Director at Polka Theatre for ten years where productions included Shouting, Stamping,
Singing Home by Lisa Evans. He was also one of the founding directors of Independent Radio Drama Productions. His
directing credits include Saddam’s Arms by Simon Beaufoy, No Boy’s Cricket Club by Roy Williams and The Hound of
the Baskervilles. Richard works as a visiting lecturer in radio drama and theatre production at Goldsmiths’ College,
University of London, and teaches playwriting at Warwick University.
PARTICIPANTS: £30
38
January – March 2016 Programme
The Art of Living on Stage
Sam Douglas
March 12, 13
11.00-18.00
Course: A163
Keywords: STANISLAVSKI | FOUNDATION SKILLS | APPLICATION OF METHOD | TRUTH
WHAT IS IT? This two-day course provides a laboratory for applying the Stanislavski "system". Emphasis will be on the
fundamentals of the art of acting and matching the truth in the text with the truth in oneself.
HOW WILL IT WORK? We will discuss, work on and apply chapters of An Actor Prepares by Stanislavski. We will cover
introductory exercises on concentration, imagination, relaxation, communion and need games as well as fundamental
exercises with no dialogue. These will include using and applying: the concept of Life and Death; the Formula
(who?/what?/when?/where?/why?/how?); using your own life as the script; and uniting the truth in the script with
the truth in oneself. If you, as an actor, want to get back in touch/learn how become one with your part and to" live a
role" on stage rather than act on stage, then this is the course for you. All welcome.
WHAT WILL GET OUT OF IT? You will come away with an understanding for the fundamental principle on stage need. You will experience letting go of yourself in a role by being immersed in action. You will have a sense of giving
yourself over to the script, in all its totality, and a renewed faith in the principles and approaches to theatre.
→ Sam Douglas was a member of the Actors Space in New York City under Alan Langdon. He has a BFA in acting and
directing and has appeared in film, TV and theatre productions in the UK, USA and around the world. Theatre credits
include numerous productions at the National Theatre including A Streetcar Named Desire and Sweet Bird of Youth,
Edmund at the Royal Court, Porgy and Bess at the Savoy Theatre and Stephen Berkoff’s production of On The Water
Front. His TV credits include The Painted Lady, Kavanagh QC, Goodnight Sweetheart, Jeeves and Wooster and Last
Days Of Patton. He has appeared in over 40 films including The Fifth Element, Batman, Eyes Wide Shut, Mission
Impossible, Snatch and Perfume. Recent credits include William Woodgard in Colombiana, Ravetino in The Sweeter
Side of Life and King Herod the Great in The Bible: The Series. Sam also runs Method Acting workshops in Oxford.
PARTICPANTS: £60
The World of the Monologue
Chris New
March 14
10.30-17.30
Course: A9
Keywords: CREATIVITY | IMAGINATION | SOLO WORK | AUDITION | PERFORMANCE
WHAT IS IT? A workshop designed to make monologues dramatic worlds in which an actor can lose her-/himself.
HOW WILL IT WORK? Dealing with classic monologue challenges – creating drama and conflict on your own, building
an imagined world from only the words on the page, and how to feel totally comfortable flying solo - the workshop
will be a process of presentation and observation. Participants should bring a learnt monologue (approx. 2-3 mins) to
present - classical or modern.
WHAT DO YOU GET OUT OF IT? This workshop is great for building audition material and/or creating a richer inner
world using techniques that will filter through all your work.
→ Chris trained as an actor at RADA. Graduating in 2006, he landed his first professional role starring in the West End
revival of Bent (nominated as Best Newcomer - ES Theatre Awards). He then went on to lead companies at the NT,
RSC, Young Vic, Sadler’s Wells & Manchester Royal Exchange, returning to the West End in 2009 to play Joe Orton in
Prick Up Your Ears. He made his NYC theatre debut in 2011 in Lingua Franca & his film debut in 2012 in Weekend.
PARTICIPANTS: £30
39
January – March 2016 Programme
Working Shakespeare’s Words
William Trotter
March 14, 15, 16, 17
10.30-13.30
Course: SH24
Keywords: ACTING THE CLASSICS | VOICE | TEXT WORK | SPEECH | CHARACTER | VERSE
WHAT IS IT? One of the challenges of working on Shakespeare is that you can feel that by working on the
character you lose the verse, and if you work on the verse you lose the character. This course will look at how you
can use the language as a way into the character.
HOW WILL IT WORK? We will work in a practical, exploratory, physical way, with a range of voice, speech and text
exercises. We will find meeting points between the rhythms and cadences of our own speech, and the density and
richness of Shakespeare's language. We will look at how bringing our own voice into a truer relationship with the
voice of the character can unlock the clues encoded in the language and be a way into character.
WHAT DO YOU GET OUT OF IT? This course will help you find the freedom to make your character's words live, to
use the verse to reveal the psychology and emotion of the character, and to find how the choice of words, rhythm,
and phrasing are part of a character's mind-set and attitudes. This work will help with both castings and
rehearsals, and for both screen and stage.
→ See page 30 for tutor biography.
PARTICIPANTS: £72
Acting Through Song
Kim Sheard
March 14
14.00-17.00
Course: MT14
Keywords: SINGING | ACTING TECHNIQUE | VOCAL TECHNIQUE | PERFORMANCE | STYLE | FEEDBACK
WHAT IS IT? A workshop that looks at the importance of approaching your songs from an acting perspective rather
than simply a vocal one.
HOW WILL IT WORK? Whether you are looking to work on an audition song or simply work through one of your
favourites, this session allows you the chance to develop technique, performance and style. Get feedback on one song
of your own and observe other participants as well. Please prepare one song and bring the sheet music with you.
WHAT DO YOU GET OUT OF IT? The opportunity to workshop one audition or performance song with feedback and
notes, and the chance to watch other participants and learn from their feedback as well.
→ Kim Sheard has been on both sides of the audition table - she trained in Musical Theatre at ArtsEd as a performer
and is also a Producer. Most recently, she was the Associate Producer for the From Page to Stage season of new
musical theatre at the Tristan Bates Theatre with Aria Entertainment and assisted in selecting the seven casts required
over the course of the season. She has worked with a number of creative teams and also curated the Gala evening of
the From Page to Stage season. Visit http://www.kimsheard.com/ for further info.
PARTICIPANTS: £30
40
January – March 2016 Programme
Simplicity
Bathsheba Garnett
March 14, 15, 16, 17, 18
10.30-17.30
Course: A30
Keywords: SELF EXPLORATION | METHODOLOGY | RESPONSIVENESS | TRUTHFUL PERFORMANCE
WHAT IS IT? Simplicity will give you a range of tools and techniques that will help you as an actor and job seeker in
film, theatre and TV performances.
HOW DOES IT WORK? Bathsheba will provide a selection of scenes on the first day and you will have the opportunity
to select one with your scene partner to work on for the duration of the week. If you have a scene that you are
particularly interested in, please bring it to the workshop for consideration. Scenes should be no longer than 6 pages.
If you have taken Simplicity before, we will take the work on further.
WHAT DO YOU GET OUT OF IT? This course will give you the tools to glide into any role and situation by maximising
your personal involvement, develop your ability to relate fully to other actors and include them into the meaningful
reality of the scene. A by-product of this process is that line-learning and sightreading skills are naturally acquired.
→ Bathsheba is a working actress and her screen credits include X-Files and Mean Girls as well as Blindness, directed
by Fernando Meirelles and Adoration, directed by Atom Egoyan. She has worked with many artists in New York
including Tyrone Guthrie on Broadway and trained with Lee Strasberg, Uta Hagen and Herbert Berghof. Bathsheba
also has an international directing CV of over 80 theatre productions worldwide.
PARTICIPANTS: £150 / OBSERVERS: £75
Spoken Word Writing and Performance
Lanna Joffrey
March 15
10.30-17.30
Course: A178
Keywords: OPEN MIC PERFORMANCE | WRITING | CREATING WORK | PROACTIVITY | NEW SKILLS
WHAT IS IT? A workshop designed to generate writing and explore the performance of Spoken Word Performance.
HOW WILL IT WORK? The session will cover an introduction to Spoken Word and various writing and performance
styles. We will work on a series of writing prompts and exercises to generate work in class. The day will finish with a
sharing of work with information of what to do next and where to go to perform in the UK.
WHAT DO YOU GET OUT OF IT? Working as an actor there are hills and valleys. The hills of being busy: in production,
rehearsing, auditioning. Then there are the valleys where there is nothing going on. This workshop will explore how to
look to yourself in those moments alone with no director, teacher or playwright to tell you what to do as an actor, and
how you can satisfy your need to create and be active in your chosen career path. Explore how to write what you
know: random thoughts, feelings, self. Discover your solo role as a creative pro-active artist and the opportunities
available through open mic performance. We will each look into ourselves and write of ourselves, then perform
ourselves in wildly different ways - ultimately becoming creative artists standing on our own two, very capable feet.
→ Lanna Joffrey is a critically acclaimed US/UK actor/writer/spoken word performer who has been coaching for over
15 years. She has an MA (Distinction) in Acting from Central and a BFA Drama from Syracuse University. Her Spoken
Word performance credits include Farrago Poetry Slam, The Roundhouse, Nuyorican Poets Cafe, Bowery Poetry Club
and Inspired Word. UK stage credits include work at The Globe, Theatre503, Edinburgh Fringe, JW3, White Bear and in
New York at The Public, Epic Theatre, Urban Stages, Kitchen Theatre, Lark Theatre, HERE Arts Center, TerraNova
Collective, The Flea. As a performer she has won the IRNE Award, Ovation Award & NY Fringe Performance Award.
Visit http://www.lannajoffrey.com/ for further information.
PARTICIPANTS: £30
41
January – March 2016 Programme
Discovering Great Contemporary Female Parts and Staging Them
Cathal Cleary
March 16, 17
10.30-17.30
Course: A177
Keywords: CREATIVITY | TEXT WORK | CASTING | CREATING WORK | PRODUCING ADVICE
WHAT IS IT? A two-day workshop designed to help each actor find a part that suits their specific casting but also their
sensibilities and talents.
HOW WILL IT WORK? In preparation for the workshop each participant will be asked to read three plays in order to
find a part that speaks to them. These plays will be chosen to specifically suit that actor. Cathal will work with each
actor on a section from each play they have read, teasing out the merits and challenges of each part before deciding
which of the three is best suited to that actor. On the second day Cathal will take each actor through the steps they
would need to take to secure the rights for that particular play and how to go about getting it produced and staged.
WHAT DO YOU GET OUT OF IT? More and more actors are taking matters in their own hands by producing plays in
which they want to perform. Cathal will help each participant to find those parts and plays that are perfect for them,
but also show them how they can go about making that production happen rather than waiting for the phone to ring.
→ Cathal is the former Trainee Artistic Director at the Donmar Warehouse. His directing credits include Disco Pigs (UK
Tour 2015 House Theatre Recommission Award, Young Vic 2011 JMK Award) The Last Yankee at the Print Room
Theatre (Nominated for four Off West End Awards). He was also Artistic Director of Zelig Theatre, Galway between
2007 – 2009. Associate Director credits include, The Vote (Donmar/More4, directed by Josie Rouke) and Privates on
Parade (MGC Noel Coward Theatre, directed by Michael Grandage). Assistant Director credits include, Timon of
Athens (NT, directed by Nicholas Hytner), Detroit (NT, directed by Austin Pendleton), The Winslow Boy (Old Vic,
directed by Lindsay Posner), The Beauty Queen of Leenane (Young Vic & UK/Irish tour, directed by Joe Hill-Gibbins).
PARTICIPANTS: £60
Actor-Driven Approaches to Devising
Becka McFadden
March 16, 23, 30
18.00-21.00
Course: A166
Keywords: ACTOR AS CREATOR | DEVISING TECHNIQUES | STRUCTURE | NEW SKILLS | ENSEMBLE WORK
WHAT IS IT? Through practical exercises and provocations, this course explores the work of the actor as a creator and
generator of material within a contemporary performance-making context. Particularly suitable for actors
approaching devising practices for the first time.
HOW WILL IT WORK? Over three practical sessions, we will work to create physical scores in response to themes and
texts and also explore ways of generating your own performance texts. Participants will gain experience of ensemble,
pair and individual devising. Please come in clothes you can move in and bring one or more short texts (poetry, prose,
non-fiction) that you’d like to work with.
WHAT DO YOU GET OUT IT? The course works to cultivate a dramaturgical sensibility in participants, who will gain
experience in structuring as well as generating material. You’ll emerge with the confidence to attend workshop
auditions for devised productions, as well as a host of strategies for getting your own ideas off the ground.
→ Becka McFadden is a performer, director, devisor and dramaturg with a PhD in Theatre and Performance from
Goldsmiths. Recent directing credits include The Walthamstow Mysteries (Coppermill Fields, Walthamstow
Marshes), Commodity (Theatre Lab Company, Riverside Studios) and The Return (LegalAliens, St. James Theatre
Studio). With Scheherazaad Cooper, she is co-creator of BackStories, currently in development with support from Arts
Council England, Canada Council for the Arts and Cooltour (Ostrava, Czech Republic). She is Associate Artistic Director
of LegalAliens International Theatre Company and founding Artistic Director of Beautiful Confusion Productions.
PARTICIPANTS: £54
42
January – March 2016 Programme
An Introduction to Comedy Technique
David Boxer
March 18
14.00-18.00
Course: A38
Keywords: IMPROVISATION | PLAYING COMEDY | SITUATION COMEDY | STATUS | NEW TECHNIQUES
WHAT IS IT? An introduction to comedy technique. From master and servant, to situation comedy, status
transactions, one up-man-ship, punch and judy, and from Chaplin to Fawlty Towers, there is a common over turning
of the power mode involved in making comedy.
HOW WILL IT WORK? This workshop helps you get used to a simple Improvisation technique that will help comedy
playing and improvisation.
WAT DO YOU GET OUT OF IT? Your own innate potential for comedy is released as well as understanding exactly
what makes people laugh. This is not stand up but comic acting.
→ See page 24 for tutor biography.
PARTICIPANTS: £20
Actions Speak Louder Than Words
Teresa Grimsditch
March 19
10.30-17.30
Course: A10
Keywords: ACTIONING | BUILDING CHARACTER | SCENE STUDY | EXERCISES
WHAT IS IT? A practical training workshop designed for you to fully understand and explore the power of Actions.
HOW WILL IT WORK? We will go back to basics, stripping away any misconceptions about 'actions' or 'actioning' by
getting down to the nitty-gritty of understanding precisely what actions are, how to define them and how to use them
to develop unique and memorable characters (to see an example please go to www.teresagrimsditch.com or follow
this link - http://teresagrimsditch.wix.com/actorcoach#!examples/c1tfw).
WHAT DO YOU GET OUT OF IT? You will learn how to create and develop an instantly accessible and valuable
catalogue of actions to use at any time, and for any character. You will also see how your own 'affinities' to certain
actions may be keeping you stuck in a type-casting rut and, should this be the case, learn how you can change it.
→ Teresa is a trained actress, theatre director and a qualified acting coach. She has designed and delivered courses
for RADA, Warner Brothers, National Film and Television School, Drama Centre, Bristol Old Vic, Royal Central, ALRA,
East 15, the LFS and the Actors Centre. Teresa specialises in Imagination and Character Design and her work has taken
her from the UK to Moscow and the US. Her main influence is Stanislavski but in her approach to acting she also
draws from previous teachers who include Karen Wentworth (Adler and Meisner) and Sam Kogan.
PARTICIPANTS: £30
Let’s Get Physical
Sarah Perry
March 20
10.30-13.30
Course: PH15
Keywords: CREATIVITY | PHYSICAL GAMES | INSPIRATION | IMPROVISATION | EXPLORE
WHAT IS IT? This workshop is open to all levels - non-movers, movers and experienced physical performers - for
anyone willing to get physical and to explore creativity through movement.
HOW WILL IT WORK? We will start with a warm up to ease out physical tensions and to get the body moving. Physical
games, exercises, improvisations and techniques will be explored as a source of inspiration for creativity; this will lead
to the devising of a short physical performance – choosing to work solo or in a group.
WHAT DO YOU GET OUT OF IT? A space and a place to play, explore, move, create and perform in a safe and
supportive environment. Feedback and direction will be offered.
→ See page 27 for tutor biography.
PARTICIPANTS: £18
43
January – March 2016 Programme
Vocal Extremes
Yvonne Morley
March 22
10.30-17.30
Course: VC39
Keywords: EMOTIONS | TECHNIQUE | EXPLORATION | SKILLS DEVELOPMENT
WHAT IS IT? A practical workshop for actors, voice artists and performers, ideally with some pre-existing voice
training. The day will be spent steadily building skills and techniques for authentic delivery of screaming, shouting,
sustaining emotionally-heightened text and the more challenging aspects of voice work that occur on stage, screen
and in the studio.
HOW WILL IT WORK? Yvonne will work through essential skills to develop a heightened support for the voice. The day
will progress from the essential groundwork to more and more demanding skills. At any point participants can choose
to observe if previous voice training isn’t sufficient to participate in every aspect. The day will also include how to do a
“cool down” - an often neglected aspect. Handouts will be provided.
WHAT DO YOU GET OUT OF IT? You will learn an approach designed to keep you safe while delivering work that looks
and sounds like the real thing - without damaging your voice.
→ See page 15 for tutor biography.
PARTICIPANTS: £30 / OBSERVERS: £15
American Drama Now
Christy Meyer and Ross Howard
March 22, 29
18.00-21.00
Course: A170
Keywords: CONTEMPORARY AMERICAN DRAMA | SCENE STUDY | ACTING STYLES | NATURALISM
WHAT IS IT? An introduction to America’s new wave of dramatists and an investigation into “The New Naturalism’
pervasive in contemporary American drama, with a practical approach to the craft.
HOW WILL IT WORK? Over the two sessions, and using a wide variety of scenes and material from today’s exciting
new voices, we will use exercises to achieve an authentic American style of acting. Actors will get to work on plays
which are now reaching British audiences: these include Pulitzer Prize winners Annie Baker (Circle Mirror
Transformation at The Royal Court, The Flick coming to the NT in March 2016), Stephen Adly Guirgis (The Last Days of
Judas Iscariot, Motherf**ker With the Hat – NT) and Ayad Akhtar (Disgraced- Bush Theatre, The Invisible Hand coming
to the Tricycle in May 2016). Scene work from the plays of Anne Washburn, Will Eno, Sarah Ruhl and Young Jean Lee
will also feature.
WHAT DO YOU GET OUT OF IT? An up-to-date knowledge of the American theatrical landscape and its major
playwrights, while building a solid foundation in ‘being American’ and an understanding of American versus British
styles of acting.
→ American actress Christy Meyer has worked extensively both in the United States and in the UK. Most recently,
Christy appeared in Yellow Face at the National Theatre and Park Theatre. In the US, Christy spent three summers at
the Williamstown Theatre Festival as well as other regional theatres. In New York, she worked with the Hudson Stage
Company, New Georges, Target Margin Theatre, Adobe Theatre and Ensemble Studio Theatre. Current and upcoming
films include The Program (director Stephen Frears), Snowden (director Oliver Stone) and A Hologram for the King in
which Christy has a supporting role opposite Tom Hanks. Christy trained at Northwestern University in Chicago.
→ Ross Howard is a British playwright whose work has been seen in London (Theatre 503, Old Vic Tunnels, Upstairs at
the Gatehouse, Riverside Studios, Old Red Lion, Park Theatre, Finborough Theatre, Southwark Playhouse), Cork, Las
Vegas, Minneapolis, San Francisco, New York City, and New York City. In 2002, he was invited to join the Royal Court
Theatre Young Writer's Group. In 2008, he received a Playwright Fellowship from the Edward F. Albee Foundation. His
plays Arthur and Esther, No One Loves Us Here, Picture Ourselves in Latvia and his evening of short plays Our Walk
Through The World are published by Samuel French. He is the Resident Playwright of New Light Theater Project in
New York and has taught playwriting and theatre classes both in the UK and across the United States.
PARTICIPANTS: £45
44
January – March 2016 Programme
Risky Acting
Ed Woodall
March 22
10.30-17.30
Course: A98
Keywords: NEW TECHNIQUE | MOVEMENT | OPENNESS | CHARACTER | BOLD CHOICES
WHAT IS IT? A day-long workshop designed to help you make bolder acting choices.
HOW WILL IT WORK? After being warmed up physically and vocally by Ed with his approach to Laban shapes, you will
explore what award-winning poet Don Patterson has called The Three Risks. You will bring a text that you would like
to work on and then we will look at it with a view to taking the speech into new and exciting areas.
WHAT DO YOU GET OUT OF IT? You will get a practical but playful strategy for always ensuring that you do not “play
it safe”. You will learn how to recognise when you are protecting yourself and instead learn how to share yourself
more readily.
→ See page 28 for tutor biography.
PARTICIPANTS: £30
Award-Winning American Female Playwrights
Adria Dawn and Cherise Silvestri
March 23, 24
10.30-17.30
Course: A172
Keywords: SCENE STUDY | ACCENT WORK | PERFORMANCE | DISCUSSION | AMERICAN CULTURE
WHAT IS IT? This two-day workshop will introduce you to and give you hands-on experience with the voices of awardwinning American female playwrights from the past to the present.
HOW WILL IT WORK? Learn about, discuss and work on scenes from Pulitzer Prize-winning American female
playwrights such as Marsha Norman, Paula Vogel, Suzan-Lori Parks and Annie Baker.
WHAT DO YOU GET OUT OF IT? In addition to working first hand with a team of two American coaches - one on a
special visit from the States and one currently working here - you will walk away with a stronger understanding of
some of America’s greatest female playwrights, some new options for audition pieces and the opportunity to stretch
and improve your American accent in a nurturing environment.
→ Adria Dawn has over a hundred TV, film, new media and theatre credits. After many years based in LA, working on
both coasts and regionally, from primetime network TV to independent films, she offers a vast knowledge and
understanding of on-camera acting. Adria currently teaches at The Acting Studio Chicago and The Performer’s School.
She is also a freelance casting director, co-founder of Tarleton/Dawn Productions and a busy on-camera acting
coach. For more information please visit http://adriadawn.com/Home.html
→ Earning her BFA in a conservatory setting with Krannert Centre for the Performing Arts, Cherise’s career started
most strongly in the theatre, being a long-standing member of the now disbanded Defiant Theatre, named Best
Experimental Theatre in Chicago Magazine's Best of Chicago. She has since continued performing in theatre, film, TV
and voiceover while travelling all over the world, now continuing in London. Most recently, she taught at Flanders
Acting Studio in Brussels.
PARTICIPANTS: £60
45
January – March 2016 Programme
The Craft of Acting: Finding the Inner Key
Jason Riddington
March 29, 30, 31
10.30-13.30
Course: A167
Keywords: TRUTH | CHARACTER | PHYSICAL LIFE | IMPROVISATION | CREATIVITY
WHAT IS IT? This short three-part course is designed to give you the keys to unlock truthful inner-life when
developing characterisation.
HOW WILL IT WORK? As well as ‘method’ techniques exploring motivation, objective and backstory; you will draw
inspiration from the external and abstract world as stimulus to create the inner and physical lives of characters.
Improvisation is a tool with which you can find the ‘key’ to the character - a way to feel comfortable and at one with
the person you are wanting to be. Knowing what key to use opens their inner world for you. Exploring ways into the
inner life: finding the different keys, or ways into character, is the main purpose of this course.
WHAT DO YOU GET OUT OF IT? A practical set of tools designed to unlock a deep sense of truth and belief when
developing character. Engaging in this way with the craft of acting can make all of the difference when auditioning, or
performing.
→ Jason began his screen career playing Hareton Earnshaw in Peter Kosminsky's Wuthering. TV credits include Dr
Rob Khalefa in Casualty, Ashley Davies in Inspector Morse, EastEnders, A Touch of Frost, Berlin Breaks, Bugs, The Bill,
Family Affairs, Highlander and most recently, Luther and Birds of a Feather. Film credits include King Lear, Where
There’s Smoke, The Five Wives and Lives of Melvyn Pfferberg, Wondering Eyes, Motherland (also writer) and Switchin’.
Theatre credits include the title roles in Hamlet and Macbeth, as well as The Lion in Winter, A Midsummer Night’s
Dream, Wuthering Heights, The Beggar’s Opera and 12 Angry Men. Jason has been a practitioner and teacher of
Quigong for over 20 years and currently teaches acting techniques at Associated Studios and East 15.
PARTICIPANTS: £54
Complete Vocal Technique for Actors and Singers
The Voice Hub: Michael Hill and Rósa Björg Ómarsdóttir
March 30
10.30-17.30
Course: VC37
Keywords: VERSATILITY | VOCAL HEALTH | EXPRESSION | TECHNIQUE | ARTISTRY | SINGING & SPEECH
→ See page 17 for full details.
PARTICIPANTS: £35
Emotions and Character
Joy Richardson
March 30
11.00-17.00
Course: A52
Keywords: IN THE MOMENT | EXPLORING EMOTIONS | INSTINCT | BUILD CONFIDENCE
WHAT IS IT? We will explore the emotional landscape available to you as a performer, helping you to make clear
choices with freedom and confidence.
HOW WILL IT WORK? Using games, storytelling and improvisation, we will explore six primary emotions: disgust,
anger, fear, surprise, happiness and sadness. No preparation necessary. Just be ready to play.
WHAT WILL YOU GET OUT OF IT? This workshop will help you with auditions, rehearsals and performance. Preparing
you to trust your instincts whilst being in the moment.
→ As an actor, Joy delivers workshops for various companies including The National Theatre and Shakespeare's
Globe. She has performed in productions at Shakespeare’s Globe, The National Theatre and in the West End. She
has performed with Dame Judi Dench, Mark Rylance and Sir Michael Caine. Joy recently appeared in Welcome to
Thebes at the National Theatre, Song of Songs with the RSC and Shakespeare in Love in the West End.
PARTICIPANTS: £30
46
January – March 2016 Programme
Fundamentals – Performance Naturalism
Anthony Lau
Dates TBC
10.30-17.30
Course: A37
Keywords: NATURALISM | TRUTH | TEXT | PERFORMANCE | CHARACTER | METHODOLOGIES
WHAT IS IT? Over two days, this workshop will take a multifaceted approach to naturalistic acting, from application to
text and text analysis through to character building and performance.
HOW WILL IT WORK? We will utilise techniques by some of the most relevant and respected theatre practitioners of
our time including Stanislavski, Uta Hagen, Susan Batson, Sanford Meisner and Stella Adler.
WHAT DO YOU GET OUT OF IT? In studying a wide range of texts from modern classics through to new writing,
participants will explore the meaning of truthful performance, looking at how to make dynamic character choices and
build on these choices to develop creative naturalistic performances with detail, colour & nuance.
→ Anthony has directed a ‘parallel production’ of The Cherry Orchard at the Young Vic. Other credits include the
world premiere of Terry Johnson’s Dreaming in America (Shoreditch Town Hall) and The Common Land (Rose Theatre
Kingston), Still Life/Red Peppers (Old Red Lion), The Taste of Us (HighTide), I Am A Camera (Southwark Playhouse), The
Pillowman (Workshop, Young Vic) and There Are Two Of Me (New Diorama Theatre). Recent associate/assistant
directing includes: King Lear (Chichester Festival Theatre and BAM, New York), Mint (Royal Court), Canvas
(Chichester), Bingo (Young Vic), An Inspector Calls (various venues, Paris). Anthony trained as a Director at LAMDA.
PARTICIPANTS: £60
47
January – March 2016 Programme
Professional Development – WEEKLY, FORTNIGHTLY AND MONTHLY WORKSHOPS
You may attend as many or as few of these regular workshops as you wish, although a regular commitment to each
discipline is more beneficial.
Actors’ Weekly Drop-In
Abigail Graham
Mondays
18.00-21.00
Course: A55
Keywords: WEEKLY DROP-IN | SKILLS BUILDING | TEXT | EXPLORE | TECHNIQUE | CONFIDENCE
Drop in for a stimulating acting workshop utilising contemporary professional methods on a myriad of texts from
Shakespeare via modern classics to new writing. Based on the belief that we learn through doing, this is a workshop to
help you experience new techniques, keep your skills fresh and gain constructive and supportive feedback. Perfect for
those just starting out and those who wish to keep their hand in, this workshop can build confidence and develop overall
technique. This workshop involves no preparation.
→ Abigail is a freelance theatre director and Artistic Director of OpenWorks Theatre. Her credits include Black Sheep
(Soho), Debris (Southwark Playhouse), Agent 160, Four Short Plays (UK tour), The Censor (JMK Award Runner Up, Young
Vic), Blue Heaven – Three Short Plays by Tennessee Williams (Finborough), Jacks Quest (Company of Angels Theatre
Makers Award winner) and The Boy and The Dog Who Walked to the Moon (Pleasance, Edinburgh). Her credits as
associate/assistant director include Great Expectations (Bristol Old Vic), Death and The Maiden (Harold Pinter Theatre,
West End), Glass Menagerie (Young Vic), Ruined (Almeida), Enron (Chichester and Royal Court).
PARTICIPANTS: £18
Weekly Singing Coaching
Heather Weir
Mondays
18:00-21:00
Course: P4
Keywords: WEEKLY 1-2-1 | SINGING | SKILLS | TECHNIQUE | ALL LEVELS
Private, 45-minute coaching sessions for all stages of development of the actor who needs to sing. Exercises for the
individual warm-up, working from the song text, preparation of audition material and how to interpret musical
direction your way.
→ Heather is a freelance MD, actor and singer and a teacher of voice and sung voice in drama schools.
PARTICIPANTS: £34
Vocal Surgery
Caryll Ziegler
Every other Tuesday (see website or call reception for dates)
10.30-13.30
Course: V2
Keywords: FORTNIGHTLY 1-2-1 | VOCAL PRACTICE | SKILLS | BODY | TECHNIQUE | ARTICULATION
Half-hour, private sessions for voice problems including speech faults and poor articulation and placement for native
and foreign English speakers. Caryll also specialises in English usage, pronunciation, phonetics, etiquette and
behaviour from Shakespeare to contemporary playwrights. Caryll can also work with you on simple vocal control
through anatomical knowledge, relaxation, release and imagination. Using the body naturally, your vocal instrument
becomes flexible and exciting. You will also pick up tips for your own personal vocal/articulation warm-up. Please
bring any pieces that you would like to work on, including audition pieces and let the Bookings Office know if advance
if you have any specific requests.
→ Caryll was taught Shakespeare by John Dover Wilson, founder of the Arden Shakespeare. She spent two years with
Joan Littlewood's Theatre Workshop Company, set up the Voice Department of the London Studio Centre and was
one of the founding Principals at ALRA. She was Head of Voice at Webber Douglas from 1997-2006. She has worked
on Channel 4's Faking It and her clients have included Laura Michelle Kelly, Minnie Driver, Donna Air, John Hefernan,
Thomas Craig, Nigel Lindsay, Hari Dhillon and Stockard Channing.
PARTICIPANTS: £25
48
January – March 2016 Programme
Improvisation – Monthly Workshops
Charlotte Gittins
January 19, February 16, March 15
18.00-21.00
Course: A63
Keywords: MONTHLY | IMPROVISATION | PLAY | EXPLORE | CONFIDENCE | CREATIVITY
The ability to think on your feet freely and without fear can allow an actor to reach new levels in performance and in
the elemental process of rehearsal. These monthly improvisation workshops allow actors to be more present, to
connect to other performers and create work that will even surprise themselves. Not necessarily geared towards
comedy, but towards creating truthful scenes that will inspire and re-energise any performer. Allow yourself to play,
be free and gain confidence and take these skills to auditions, rehearsals and even your own creative work.
→ Charlotte is an actress, comedian and writer. A seasoned improviser, she is one of the cast of Chortle Awardnominated show Austentatious: An Improvised Jane Austen Novel and improvises regularly as part of the Monkey
Toast Players. She has made multiple guest appearances in shows including Grand Theft Impro and Marcus Brigstocke
presents Unavailable For Comment, and has repeatedly survived London’s annual 50-hour Improvathon.
PARTICIPANTS: £18
Working
Nathan Osgood
Wednesdays
18.00-21.00
Course: A49
Keywords: WEEKLY | AUDITION | SCENE WORK | CHARACTER | RETURNING | PRACTICAL
We all know how good we are when an audition comes during, or just after a period of work. These weekly workshops
are hands-on and aim to help you stay that sharp. Working on scenes from new American and British plays, hotseating audition piece characters, improvisation on text and taking quick direction in an audition setting.
→ Nathan’s many directing and acting credits include seasons at the National Theatre, Chichester Festival Theatre,
the Tricycle, Henry Street Theatre in New York and the films Velvet Goldmine, Sahara, Piccadilly Jim and Mission
Impossible. He has most recently appeared in Cool Hand Luke and A Life with Joan Rivers, both in the West End and
can be seen in the new film Red Lights with Sigourney Weaver.
PARTICIPANTS: £18
Private Singing
Brian Galloway
Every other Thursday (see website or call reception for dates)
13.15-16.15
Course: P3
Keywords: FORTNIGHTLY 1-2-1 | SINGING | AUDITION | BEGINNER | EMERGING | REFRESH | PRACTICE
Private, half-hour singing sessions for the less confident and those who need to rehearse songs for audition or those
wanting to try new ones. Brian is an excellent pianist and thus is able to record your music for practising at home.
Learn a basic singing technique with a relaxed approach.
→ Brian has been working with singers for many years and teaches professional students in the UK and abroad. He
also manages two performing groups which regularly perform in London.
PARTICIPANTS: £25
49
January – March 2016 Programme
Putting in the Hours
Various Tutors
Thursdays
13.30-15.30 or 15.45-17.45
Course: TV48
Keywords: WEEKLY | SCREEN PERFORMANCE | CONFIDENCE | CREATE | SHARE | DISCUSS | PRACTICAL
In order to excel in any field of human endeavour it’s necessary to accumulate about 10,000 hours of practice. That’s
what they say and it’s probably true. There’s no doubt that commitment and opportunity produce superior skill, but
where can trained but inexperienced screen actors get an opportunity to put in ten, let alone ten thousand hours of
experience in front of a camera? These innovative weekly workshops are specifically designed to help members
improve their screen skills and to gain experience and confidence. During these record-and-review sessions,
participants will film short sequences and discuss the playback with an experienced director or tutor. This is not a
drop-in workshop. Scripts will be emailed to participants the day before each session and because each workshop is
limited to four participants, a high standard of pre-learning, punctuality and commitment is essential.
→ These workshops will be led by a small team of tutors including Daniel Dresner, Akbar Kurtha, Gill Wilkinson,
Camilla Laxton, Peter Salter, Laurence Mitchell, Suzy Catliff. Please check individual dates on the website tutor
biographiess.
PARTICIPANTS: £18
Weekly Meisner
Kate Maravan
Thursdays
14.00-17.00
Course: A50
Keywords: WEEKLY | MEISNER | INSTINCT | IN THE MOMENT | FURTHER DEVELOPMENT
These workshops are for those who have experience in the Meisner Technique. A chance to continue or refresh the work,
whether as an occasional drop-in or a regular workout. This is a drop-in workshop.
→ Kate is an actress/writer and teacher. She trained at RADA and has co-written scripts for theatre, the BBC and Channel
4. In 1997 Kate discovered the Meisner Technique and embarked on an on-going practice and exploration of the work.
She began teaching in 2000 and now teaches in the UK and internationally. Kate is also interested in collaborations with
other practitioners; she teaches Meisner/5 Rhythms workshops with Cathy Ryan.
PARTICIPANTS: £18 / OBSERVERS: £10
Voice
Jessica Higgs
Every other Friday (see website or call reception for dates)
14.00-17.00
Course: V3
Keywords: FORTNIGHTLY 1-2-1 | VOCAL PRACTICE | TECHNIQUE | TEXT | SKILLS
These sessions provide advice and tutoring on all aspects of voice work including basic technique, vocal health,
keeping the voice free and expressive when acting, text work, sight-reading and RP. Half-hour private sessions.
→ See page 50 for tutor biography
PARTICIPANTS: £25
50
January – March 2016 Programme
Screen Acting: Acting is Simple, Confidence is Key
Ewa Kolodziejska
Fridays January 8, 22 February 5, 19, March 4, 18
10.30-17.30
Course: TV62
Keywords: FORTNIGHTLY SCREEN ACTING | PREPARATION | SCENE WORK | PRACTICAL | TECHNIQUES
This fortnightly practical workshop will explore screen acting technique in a quick and accessible way. You will learn a
wide range of the most popular techniques and see them work first hand off- and on-camera. The work will be inspired by
Stanislavski and Ewa's focus on relaxation, concentration, and imagination, enabling actors to own their craft and improve
their work practically on a regular basis. In class, work will focus on self and character, listening and responding in the
moment and homework in equal measure. A commitment to working hard in class and on your own will ensure that you
learn all you need to be a fulfilled working actor.
→ Ewa is an international acting coach and theatre director. She specialises in Uta Hagen, Stanislavski, screen acting and
audition technique. She trained as an actress at Arts Ed, LAMDA and RADA. In 2010, she completed her MA in Actor
Training and Coaching at RCSSD. She also works as a visiting lecturer at LAMDA, Central, Rose Bruford and London Film
Academy amongst others. Her current research practise lies in 21st century life coaching, concentrating on the science of
success and the importance of self-belief. For more information visit www.actingcoachewa.com.
PARTICIPANTS: £45
Monthly Writers Drop-in
Stewart Permutt
Fridays January 29, February 26, March 18
18.30-21.30
Course: WR1
Keywords: MONTHLY | SCRIPT WRITING | CREATE | SHARE | DISCUSS | SUPPORT
These sessions are aimed at anyone who has work they would like to be read for group feedback or who just simply want
to come and observe or discuss an idea. The aim is to encourage, stimulate and support writers through a workshop
approach. This is a chance to hear your work aloud and discuss problems and ideas with the group. Rehearsed readings of
completed works are often shown in the TBT. The Actors Centre supports the Writers Group in a variety of ways including
opportunities to undertake an annual play reading and input into the film courses.
→ Stewart is a playwright, teacher and actor. He has given writing workshops for Channel 4, The Bankside Globe and
Morley College. His play Real Babies Don`t Cry won an Edinburgh Fringe First. His play Unsuspecting Susan starring Celia
Imrie played at The Kings Head, off-Broadway and Stuttgart. Singular Women starring Lesley Joseph played at Edinburgh,
The Kings Head, a National Tour and Perth, Australia. Many Roads To Paradise with the late Miriam Karlin was produced
at The Finborough and Jermyn Street Theatres.
PARTICIPANTS: £10 (Associate Members can participate in this workshop)
There’s No Such Thing as Character
Chris New
Saturdays
10.30-13.30
Course: A176
Keywords: WEEKLY | COLLABORATION | CREATIVITY | IMPRO | PROCESS | CONFIDENCE | TRUTH
WHAT IS IT? A startling and fresh viewpoint on acting and how to do it. Evolved from Chris New's experience as a working
actor - and last year's Actors Gym - this weekly class cuts through the myths and mysticisms that surround acting and
delivers a clear, concise process on which you can rely.
HOW WILL IT WORK? Beginning with the simplest principles of what acting is, each class will work to craft your method,
solidify within you a technique and create confidence and relaxation in your work - confidence that you can rely on in
every audition and on every film set or stage. Each week will be a mixture of 'no prep' exercises for newcomers and
prepared work for regulars all designed to encourage you to remove the mask of character and, instead, have the
confidence to trust what is already within you.
WHAT DO YOU GET OUT OF IT? Through a discipline of process and a clear understanding of why acting works, each
participant will learn to trust what is within themselves and speak with a clear voice and mind.
→ See page 39 for tutor biography
PARTICIPANTS: £15
51
January – March 2016 Programme
Weekly Accent Clinic
Terry Besson
Saturdays
10.30-13.30
Course Code: D1
Keywords: WEEKLY 1-2-1 | ACCENTS | SPEECH | VOCAL PRACTICE
WHAT IS IT? Private, half-hour clinics. Please advise the Bookings Office which accent you would like to work on.
HOW WILL IT WORK? Terry will take you through the main points of the accent using: phonetic notes on the accent
being studied; exercises to retrain the muscles of articulation and the breathing, rhythm and flow of that accent.
WHAT DO YOU GET OUT OF IT? With work and application, you will gain the ability to use and sustain an accent you
were not born with, as if a native, through a rehearsal period and into performance. Example CDs may be available for
an extra cost.
→ See page 19 for tutor biography
PARTICIPANTS: £25
52
January – March 2016 Programme
Industry Programme
The Industry Programme offers a range of workshops that provide our members with knowledge of, and links to,
the industry, assisting them in a working context and with their employability.
Off the Record
A series of colourful conversations with leading actors hosted by Paul Clayton.
Dates to be announced
Keep your eyes peeled this season for details of upcoming Off the Record chats with Paul Clayton. Previous guests
include Juliet Stevenson, Hugh Bonneville, Clive Swift, Douglas Hodge, Sir Derek Jacobi, Josie Lawrence, Caroline
Quentin, Anita Dobson, Alex Jennings, Zoe Wanamaker, Russell Tovey, Celia Imrie and Mark Rylance.
£3
Elements of Motivation
Nirpal Bhogal
January 7
11.00-13.30
Course: AD1
Keywords: SELF EXPLORATION | CONFIDENCE BUILDING | PREPARATION | AUDITION | SHARING
WHAT IS IT? In this workshop Nirpal will look at techniques and ideas to help empower you to feel positive and
motivated to developing your craft
HOW WILL IT WORK? Through group discussion and we will look at: the reasons why you want to be an actor –
and how remembering this will keep you motivated; the importance of networking; how to keep positive; how to
interpret rejection; auditioning; and understanding the industry.
WHAT DO I GET OUT OF IT? This session will help to build confidence and skills so that when opportunities arise
you are prepared and excited, rather than frustrated (which all too often comes across in auditions).
→ See page 7 for tutor biography.
PARTICIPANTS: £18
So You Want to Be a Corporate Actor?
Paul Clayton
January 9
10.00-17.30
Course: AD23
Keywords: ROLE-PLAY | SKILLS DEVELOPMENT | CAREER OPPORTUNITIES | FEEDBACK & ADVICE
WHAT IS IT? A full day workshop exploring the corporate role play world and how to increase your earning potential
in it as an actor.
HOW DOES IT WORK? Led by Paul Clayton, author of So You Want to Be a Corporate Actor? the day will include
tuition in role-play and feedback skills, forum theatre and an appraisal and exploration of the corporate market. Each
participant will also receive a complimentary copy of Paul's book.
WHAT DO YOU GET OUT OF IT? A comprehensive look at the opportunities available for actors in the corporate
market today to enhance their earnings and use their skills. A readiness and awareness of what role play involves, in
preparation for that vital role-play company audition that you want to make part of your New Year strategy.
→ Paul is an actor and director with many TV and theatre credits to his name. He has directed over 35 productions in
regional theatres, on national tours, and in site-specific venues. Productions include The Pocket Dream (Theatre Royal
York), The Comedy of Errors (Nottingham Playhouse), Privates on Parade (Greenwich Theatre and national
tour) Gaslight, Good Morning Bill, Toad of Toad Hall, Christmas Cat and The Pudding Pirates, Dilemma for Murder,
Sticky Wickets and On Approval (Watermill Theatre Newbury). As an actor Paul is best known for four series of the
BAFTA award-winning sitcom Peep Show, and most recently Him and Her - The Wedding. He has also worked as a role
player for many leading training companies and as a corporate casting director he has cast over 150 videos and live
events. Paul is the chair of the Board of the Actors Centre.
PARTICIPANTS: £35
53
January – March 2016 Programme
Cold Reading: Bring the Words off the Page
Nancy Bishop
January 11
12.15-14.15
Course: CA48
Keywords: CASTING DIRECTOR | SPONTANEITY | AUDITION TECHNIQUE | CREATIVITY | FEEDBACK & TIPS
WHAT IS IT? Nancy Bishop, international CSA casting director, and author of Auditioning for Film and TV, offers a two
hour workshop teaching her special technique for cold reading.
HOW WILL IT WORK? Learn how to have fun with the spontaneity of cold reading rather than being intimidated by it.
Learn how to bring the words off the page in a fun and creative way. This workshop is only open to those actors who
have not worked with Nancy in a previous workshop.
WHAT DO YOU GET OUT OF IT? Valuable feedback from a coach and casting director who is actively working in the
international film and TV market. Copies of Nancy’s book Auditioning for Film and TV will be on sale on the day.
→ Emmy-award nominated Casting Director, Nancy Bishop, C.S.A, has cast supporting talent on over sixty projects
from her home in Prague. Her credits include major studio pictures such as Wanted (Universal), Alien Vs. Predator
(Fox), Hellboy (Revolution) and Prince Caspian (Disney), and TV series such as The Philanthropist (NBC), Charles II (BBC)
and Anne Frank (ABC). She has worked for Roman Polanski and Joel Schumacher and legendary producers such as
George Lucas and Jackie Chan. Recent credits include Mission Impossible IV, Snowpiercer and November Man. She
recently launched her second book, Auditioning for Film and TV, (Bloomsbury).
PARTICIPANTS: £18
TV Commercial Confidential
John Guerrasio
January 17
12.00-17.00
Course: CA50
Keywords: COMMERCIAL CASTINGS | PRACTICAL EXERCISES | REVIEW & FEEDBACK | INDUSTRY TIPS
WHAT IS IT? This workshop will give you the lowdown on commercial casting and show you how to master, enjoy and
win commercial auditions (all auditions!) plus improve your relationship with agents, casting directors and scene
partners. It’s an excellent introduction to commercials for less experienced actors, a useful refresher for actors
returning to the business and a terrific tune-up for working actors.
HOW WILL IT WORK? Using a typical audition situation as template, John will share his positive, practical, professional
secrets, tips and golden rules that work! Actors will then perform actual copy to camera, watch the playback and
receive individual coaching in John’s upbeat, down to earth, irreverent style.
WHAT DO YOU GET OUT OF IT? You will learn how to prepare for, dress for and enjoy auditions; how to analyse
scripts and make them come alive; how to identify and broaden your casting range; how to get the edge on the
competition and how to put joy in your work and money in your pocket.
→ Brooklyn native John Guerrasio has starred in commercials worldwide and conducted this popular workshop in
New York and London. He has taught acting in colleges, prisons, drug-rehabs and drama schools and directed
extensively - most recently at ALRA. John wrote and presented programs for the Travel Channel and PBS. His theatre
work includes musicals, classics and the avant-garde on Broadway, in the West End and at leading regional theatres.
He is featured in Nixon’s The One with Harry Shearer and Florence Foster Jenkins with Meryl Streep and Hugh Grant.
John is often heard on BBC radio and is active in all areas of commercial voice work.
PARTICIPANTS: £40 / OBSERVERS: £15
54
January – March 2016 Programme
Auditions – Confidence with Scenes and Sides
Sarah Hughes
January 18
10.30-17.30
Course: CA13
Keywords: CASTING DIRECTOR | SYSTEMATIC PLAN | STANISLAVSKI APPROACH | CREATIVITY
WHAT IS IT? When we are presented with isolated scenes and sides (or given particular scene or page numbers to
prepare) for audition, sometimes we don't know where to start in presenting a clear sense of character and an
understanding of the text - and are often haunted by the often-heard edict 'make bold choices!' This workshop is
about having a systematic plan to analyse our audition scenes by way of a series of questions we may recognise from
a Stanislavski approach and then - having established the clear basics - be freed up to add our own creative,
distinctive and confident flavour to auditions.
HOW WILL IT WORK? In this one-day workshop, we will work on as many varied scenes as possible. We will examine
and work through scenes with a variety of scene partners using a simple checklist of questions and answers, with the
aim of encouraging confidence in presenting text in auditions - whether for theatre, TV or film.
WHAT WILL I GET OUT OF IT? A simple, adaptable plan for working on scenes. An opportunity to work on scenes in
mock auditions and discuss what happens in auditions, leading to more confidence when auditioning in future.
→ Sarah is Alan Ayckbourn’s casting director, casting world premieres of his plays at the Stephen Joseph Theatre
Scarborough, in the West End, at the National Theatre and on Broadway, as well as many other productions at the
Stephen Joseph Theatre. She has also freelanced extensively for the BBC, where series include Jonathan Creek, Grass,
Love Soup, 2 Pints, Pulling, John Sullivan's Rock & Chips, The Old Guys, Freedom and The Great Outdoors. Theatre work
includes plays for the West Yorkshire Playhouse, Birmingham Rep, and Theatre Royal Northampton, and six projects
for Frantic Assembly, including Love Song, Othello and The Believers. In 2011/2012 she was one of four Senior Cast Coordinators for the London 2012 Olympic and Paralympic opening and closing ceremonies, leading on the Paralympic
Opening. She recently cast the BBC1 series Slings and Arrows, and other recent projects include world premieres of
John Godber's Muddy Cows and Alan Ayckbourn's Roundelay, Sugar Daddies for the ACT Theatre in Seattle, Cox and
Box, The Boy Who Fell Into a Book, Aladdin and Slipping for the SJT and Kill Me Now for the Park Theatre.
PARTICIPANTS: £30
Producing a Show
Ben Monks and Will Young
January 19
18.00-20.00
Course: AD10
Keywords: PRODUCING | HOW TO | LONDON FRINGE | TRISTAN BATES THEATRE | Q&A
WHAT IS IT? An introduction to theatre producing in London; an overview of how to pitch, fundraise and market a show;
an introduction to opportunities for Actors Centre members at the Tristan Bates Theatre; a chance to ask questions about
producing or a project you’re working on.
HOW WILL IT WORK? Aimed at producers as well as writers, directors and artists keen to explore more about producing
or who are considering self-producing. It will include sections on the different kinds of venues and opportunities available
for producers in London; sections on marketing, budgeting and fundraising for a production; dos & don’ts of pitching &
working with venues; and a discussion section with an opportunity to ask questions about your own projects.
WHAT DO YOU GET OUT OF IT? An insight into the role and responsibilities of producing theatre; techniques for
assembling and managing a production; advice from the TBT’s producers on members’ opportunities at the theatre.
→ Ben and Will are Creative Producers at the TBT, responsible for programming, working with visiting companies and
in-house projects including the annual FIRST Festival and the dedicated programme slots for AC Members. Elsewhere
Ben and Will run award-winning production company Supporting Wall, where recent shows include Mike Bartlett's
BULL (Young Vic, 2015 Olivier Award, Outstanding Achievement in an Affiliate Theatre), the premieres and UK tours of
Philip Ridley’s Fringe First Award-winning Dark Vanilla Jungle (Royal Exchange/Pleasance Edinburgh/Soho Theatre),
Tender Napalm (Southwark Playhouse/UK Tour) and Moonfleece (Riverside Studios/UK Tour, 2010), as well as the
world premieres of Timberlake Wertenbaker's Our Ajax (Southwark Playhouse) and Shallow Slumber (Soho Theatre)
among others. They were shortlisted for Best Producer at the OffWestEnd.com Awards in 2010 & 2011 and received a
SOLT/TMA Stage One Bursary in 2009.
PARTICIPANTS: £FREE (Associate Members can participate in this workshop)
55
January – March 2016 Programme
I’m Still Here
Phil Shaw
January 22
14.00-17.00
Course: AD44
Keywords: 1-1 SESSIONS | RETURNING ACTORS | BRANDING | MARKETING PLAN | SELF-CONFIDENCE
WHAT IS IT? Returning to the profession after an absence and re-establishing your identity can present a formidable
challenge. These hour long one-to-one sessions will help actors re-evaluate their brand image in terms of casting
range, and access internet/media resources in order to maximise employment prospects.
HOW WILL IT WORK? Person-centred advice will be given about head shots, CV, covering letters, casting directors,
agents, networking, audition monologue, and how to strategically market your USP (unique selling point) and
previous experience within the parameters of your casting. Some role play and improvisation will assist in verifying
your niche market, and dispel the myth that you are at a disadvantage from not having been visible within the
industry. Phil will help you identify ways in which to consolidate and implement this procedure.
WHAT DO YOU GET OUT OF IT? Increased self-confidence to empower you at interviews, together with a high-end
marketing plan, so that instead of being ‘the one who slipped through the net’, you interact productively with casting
directors and agents, and generate a positive response. Please bring head shot portfolio, resume and covering letter and also prepare a short audition monologue.
→ Phil trained as an actor at The Webber Douglas Academy and has worked in the theatre, film and TV industry for
over 25 years. He was also an agent with ICM and has independently cast commercials for JWT, Great Guns and Ridley
Scott Associates. His many casting credits include Days in the Trees with Corin Redgrave (BBC), The Chalk Garden with
Constance Cummings (Kings Head), The Last Post with Gael Garcia Bernal (BAFTA nominated), Romans 12:20 (Grand
Jury Prize, ARPA Los Angeles), Deckies (Channel 4) and UK casting on the feature Italian Movie. He’s currently doing
principal casting on the epic TV mini-series 1066-Conqueror for 24 creator Robert Cochran (Exec Producer) &
Conquest Prods & Sky TV. Phil is also a casting consultant to the National Film & TV School, a voice/audition
technique coach and gives seminars at RADA, Central, LAMDA and The Old Vic New Voices as well as running a busy
one-to-one actors' consultancy service.
PARTICIPANTS: £45
A Voice for Commercial Media
Katie Lyons and Ruth Gibson
January 25
14.30-17.30
Course: RV3
Keywords: VOICEOVER TECHNIQUES | SKILLS | VOCAL DEVELOPMENT | CAREER | PRESENTATION
WHAT IS IT? An access level workshop for actors wanting to move into commercial voiceover, or actors with limited
voiceover experience wanting to expand their knowledge and skills.
HOW WILL IT WORK? Using practical exercises, the workshop will explore understanding your voice, what agents
require, how to get the most out of your voicereel, techniques in the studio, working with the client and much more.
WHAT DO YOU GET OUT OF IT? Knowledge of your voice and where you fit into the market, an understanding of the
voiceover industry and the skills to confidently record or improve your voice reel.
→ Katie is an actress, voiceover artist and writer and has voiced adverts for Kinder Bueno, Charles Worthington,
Avon, Lynx and Specsavers as well as The Secret World video games and documentaries such as At Teens In Love (ITV)
and Kara Tointon: Don't Call Me Stupid. Her recent acting credits include The Kitchen (National Theatre), Him & Her
(BBC3), The Crimson Petal and The White (BBC2), Boy A and Green Wing (both Channel 4) and the feature film The
Imaginarium of Dr Parnassus. Katie has also facilitated numerous workshops for young people and her clients include
the Future Film Festival (BFI), BBC Blast, Oval House Theatre and Goldsmiths University of London.
→ Ruth is an actress and voiceover artist. She was featured on the BBC Culture Show, famous voices and in the
Readers Digest. She is most famous as the voice of Orange Mobile but has recorded numerous adverts for television
and radio, including Ariel washing powder, Look Magazine and British Airways and in-house work for American
Express, HSBC, Co-operative Bank and The Times. Ruth's work as an actress includes productions at the National
Theatre, RSC with Alan Ayckbourn and for the BBC. In 2009 she won a MEN best actress award.
PARTICIPANTS: £25
56
January – March 2016 Programme
Audition M.O.T
Anna Ledwich
January 26
10.30-17.30
Course: CA21
Keywords: DIRECTOR’S INSIGHT | AUDITION PRACTICE | FEEDBACK | TECHNIQUES | CONFIDENCE
WHAT IS IT? A workshop for those who haven't auditioned for a while, who want to scrutinise their own process,
and for those who want to know what a director is really thinking when they're casting a play.
HOW WILL IT WORK? The workshop will explore how to negotiate auditions for new writing and contemporary
plays. It will consist of exercises, role play and scene work from contemporary plays, with an opportunity to
audition and receive feedback. We will explore issues that can arise due to nerves, how to negotiate the recall
and how to adapt in response to director's notes within an audition scenario.
WHAT DO YOU GET OUT OF IT? An insight into the strengths and weaknesses of your own process, techniques for
navigating the unpredictability of the audition room, audition practice and individual feedback from the director.
→ Anna Ledwich is a director and writer. She was co-Artistic Director of Theatre on the Fly at Chichester Festival
Theatre where she directed Blue Remembered Hills. She has worked as an Associate Director to Rupert Goold and
Richard Eyre on the West End and Broadway. Directing credits include Four Minutes Twelve Seconds (Hampstead
Theatre/Trafalgar Studios) The Empty Quarter and Donny’s Brain (Hampstead Theatre), The Importance of Being
Earnest (GSC), How Does a Snake Shed its Skin (NT Studio/Summerhall), Dream Story (Gate Theatre), Lulu (Gate
Theatre/Headlong), A Christmas Carol (Chichester) and Roulette (Finborough Theatre). For further information
please visit http://www.annaledwich.com/
PARTICIPANTS: £30
Kick-Start Your Career
Paul Cawley
January 26 AND March 1
18:00-21:00
Course: AD7
Keywords: 1-2-1 | CAREER | ADVICE | PROGRESSION | PLANNING
WHAT IS IT? Personal career advice that's designed exclusively for you.
HOW WILL IT WORK? You will have two 1-1 private sessions with Paul, a month apart. In the first 30-minute session
bring your CV, photo & showreel, address your specific concerns and worries and get practical solutions tailored
specifically for you. In the 2nd private session, see how things are going and get a long-term plan to move forward
with your career.
WHAT DO YOU GET OUT OF IT? Career advice specifically tailored for you as well as strategies and plans to help you
achieve your goals in the year ahead.
→ Paul’s 25 year career has encompassed a variety of theatre from Greek tragedy and Restoration comedy to
modern classics and new writing in venues as varied as NT, Chichester, Gate and Finborough, as well as appearances
in the West End. On screen he began in children’s TV and has since appeared in comedies, dramas and soaps, not to
mention commercials. He has taught at the Actors Centre, City Lit and Drama Studio and he has been one of the
Equity/Skillset Careers Advisors since 2005.
PARTICIPANTS: £50
57
January – March 2016 Programme
Auditioning on Camera
Leila Bertrand
January 29
14.00-17.00
Course: CA45
Keywords: CASTING DIRECTOR | AUDITION | FILM AND TV | CONFIDENCE | FEEDBACK | ADVICE
WHAT IS IT? This workshop will recreate the casting process and build confidence for on-screen auditions.
HOW WILL IT WORK? Participants will receive sides with which to familiarise themselves in advance. Auditions will be
filmed and we will review them as a group afterwards to understand what works and where improvements can be
made.
WHAT DO YOU GET OUT OF IT? A clear understanding of what is required in an audition enabling you to put this into
practice, as well as confidence working intimately on camera.
→ Leila trained at Webber Douglas and has worked extensively in theatre, TV, film and radio. As an actress she has
worked with Mike Leigh in Meantime and Kidulthood directed by Menhaj Huda. Theatre credits include productions at
Plymouth Theatre Royal, Old Red Lion, Upstairs at The Royal Court, Sheffield Crucible and Theatre Royal Stratford
East. TV credits include Desmonds & Tygo Road. As a Casting Director Leila has worked with Max Stafford Clark,
Matthew Lloyd, Maria Aberg, Gemma Bodinetz, John Tiffany, Ralph Koltai, Felix Coss, Charlie Westenra, Janet Steel,
Dawn Walton and Paul Miller. As a casting assistant to the inimitable Leo Davis work includes Wit, directed by Mike
Nichols starring Emma Thomson and Toussaint directed by Danny Glover. Feature film castings include Collusion
directed by Richard Burridge, The Bird Can’t Fly starring Barbara Hershey and FreeStyle directed by Kolton Lee.
PARTICIPANTS: £30
The Craft of Auditioning
Bill Homewood
February 3
10.30-17.30
Course: CA10
Keywords: AUDITION | THEATRE | SCREEN | TECHNIQUE | CONFIDENCE
WHAT IS IT? The actor should be as at home in the audition space as in the rehearsal room, the studio, on the set or
the stage. This workshop will simplify your auditions by approaching auditioning as a craft in its own right.
HOW WILL IT WORK? The workshop will provide you with a secure, rehearsed model for auditioning for the stage, for
television, for film and for commercials, including help with cold readings. Please bring a thoroughly prepared
audition speech of any kind.
WHAT DO YOU GET OUT OF IT? The pieces you bring to perform in the workshop will be improved, but more
importantly you will take away with you a clear, confident technique for all future auditions.
→ See page 20 for tutor biography
PARTICIPANTS: £30 / OBSERVERS: £15
58
January – March 2016 Programme
Marketing and Business of Acting – The American Way
Richard Burke
February 5
10.30-17.30
Course: AD31
Keywords: 1-1 SESSIONS| BRANDING | CONFIDENCE | AUDITIONS | MARKETING | OPPORTUNITIES
WHAT IS IT? One-to-One sessions designed to help you identify your BRAND (casting type) and arm you with the tools
and insight to give you the competitive edge in the American market. More importantly you will build confidence and
knowledge and find out how to increase your chances of getting into the casting room.
HOW WILL IT WORK? Richard will be focusing on how you present yourself, both with your marketing materials and
your chosen one-minute monologue. We will use marketing tools, exercises and role-play to break down any fears
and barriers and discover the secrets of how the industry works.
WHAT DO YOU GET OUT OF IT? Empowerment. You will take back control of your career and gain an insight into how
the industry will perceive you and how you perceive yourself. You will also have an action plan ready to implement,
using the tools and knowledge learnt throughout the session. (Please bring along a 1 minute COMTEMPORARY
monologue (no classical) and a copy of your current resume/CV and headshot).
→ As a regular face on British TV for more than 10 years and with two National TV award nominations to his name,
Richard’s many credits include series regulars on Footballers Wives, Crossroads, Emmerdale and Family Affairs.
Through his company, Industry Hollywood, Richard has opened LA to many international actors and helped to launch
many careers. He has a 99% success rate in helping more than 300 actors from the UK and Australia obtain visas and
sponsorship, as well as helping them gain representation from agents and managers. His regular networking weeks in
LA offer actors the opportunity to meet industry professionals from some of the top agencies and studios and work
closely with some of Hollywood’s A-list acting coaches. www.industryhollywood.com
PARTICIPANTS: £35
The Casting Lab Workshop for TV
Suzy Catliff
February 6
10.30-17.30
Course: CA31
Keywords: CASTING DIRECTOR | FEEDBACK AND REVIEW | CONFIDENCE | SCREEN WORK | POTENTIAL
WHAT IS IT? A workshop designed to help you make the most out of a TV casting with an experienced TV Casting
Director.
HOW WILL IT WORK? Suzy Catliff will cast you in a role from one of the many TV projects she has worked on - you will
be sent the scene a couple of days before - and you will experience a real time TV casting session and put on tape
filming the scenes you have been sent. The second part of the session will be an 'in camera' session, watching back
your work - a unique glimpse into the world of casting - in a relaxed and supportive environment and be able to
critique your own work alongside immediate feedback and notes from Suzy.
WHAT DO YOU GET OUT OF IT? This workshop offers a unique opportunity to see how you come across on camera
and an opportunity to practise your screen technique and try out new ideas. Get practical and immediate feedback on
your work and how you come across on screen from a Casting Director.
→ Suzy works as a Casting Director and is a member of the CDG. TV credits include Primeval, The Inspector Murdoch
Mysteries, Casualty, Silent Witness and Hope and Glory III. Single dramas include D-Day, Empathy, Lifeline and The Secret.
She cast the feature film A Bunch of Amateurs and her associate work includes Stormbreaker, The Gathering, Swimming
Pool and Fairy Tale – A True Story. She was assistant casting director on Sense and Sensibility, The English Patient and Wilde.
Suzy works extensively as a lecturer in casting for various UK and US film schools and co-wrote The Casting Handbook. She
is also a theatre director, and a founding member of Lucky Stuff Productions. For more info visit www.suzycatliff.co.uk.
PARTICIPANTS: £55
59
January – March 2016 Programme
Step up to the Microphone
Peter Warnock
February 8, 9
10.30-17.30
Course: RV8
Keywords: VOICEOVER | PRACTICAL | MICROPHONE TECHNIQUE | VERSATILITY | INDUSTRY ETIQUETTE
WHAT IS IT? A two-day industry led, hands-on voice-over workshop to help you learn how to use your voice
effectively, find a natural read style and get professional, honest feedback.
HOW WILL IT WORK? Limited to eight actors and using professional studio equipment, Laban and numerous
physical exercises, Peter will take you through what goes on a voice reel and all you need to know about the UK
voice-over industry. You will also build and develop microphone technique; practice commercial, documentary,
narrative and conversational reads; explore radio drama reels and get a greater understanding of your own voice
and its capabilities. Participants will be sent some prep in advance of the workshop.
WHAT DO YOU GET OUT OF IT? You will get a good insight into the industry and understand the different voice
qualities needed on a showreel. You will learn good mic technique and studio etiquette and go away with the
confidence and tools to practice/analyse reads and styles before you spend money on a poorly thought out reel.
→ Peter Warnock is an actor, voice-over artist and highly technical voice and acting coach. He has an MA in Voice and
Singing, has been a working actor for over 20 years and is an ambassador for Equity. He developed Flow and
stimulating muscle memory to increase reading styles and learning text. Over the past 15 years, he has recorded more
than 6000 voices for radio, TV and film. Acting work includes: the RSC, Royal Opera House, the Abbey Theatre Dublin,
over 100 hours of episodic TV and numerous commercials. As a teacher, Peter has worked with LAMDA, ALRA, BSA
and runs his own training company, The Voice Zone, specialising in voice and acting. Most recently, Peter has voiced
characters in the video game world and is the voice of DFS. For further information visit www.thevoicezone.co.uk
PARTICIPANTS: £80
Audition Intensive
Sarah Hughes
February 8, 9
10.30-17.30
Course: CA8
Keywords: CASTING DIRECTOR | PRACTICAL TECHNIQUES | MOCK AUDITIONS | SCREEN & THEATRE
WHAT IS IT? A two-day workshop designed to give you lots of practice in all sorts of audition situations.
HOW WILL IT WORK? We will be working in a small group on a quick-fire mix of as many different types of auditions
as possible - from monologues to improvisations, scenes from classic plays, TV drama scenes, sitcom scenes and
commercial or corporate scripts. There will be some work prepared in advance and some cold readings too. This will
be an extremely practical and lively workshop with much more doing than talking, with an aim of losing your
inhibitions and facing your fears, and getting you feeling confident and ready to tackle whatever a real audition
situation might throw at you.
WHAT DO YOU GET OUT OF IT? We will work through some of our audition fears and hang-ups in a supportive and
relaxed atmosphere, and feel much more "ready for anything" in auditions.
→ See page 55 for tutor biography.
PARTICIPANTS: £65 / OBSERVERS: £30
60
January – March 2016 Programme
Lights, Camera, Upload
Peter Warnock
February 10
10.30-17.30
Course: CA43
Keywords: SELF-TAPING | AUDITIONING OVER THE INTERNET | TECHNOLOGY | BEST PRACTICE
WHAT IS IT? This introductory workshop will help take the fear out of self-recording: teaching you the best techniques
and how to make recording from home work for you. It will be suitable for actors who find technology more difficult,
as well as the more tech-savvy who want to work on self-taping audition technique.
HOW WILL IT WORK? This introduction will include advice on etiquette and best practice. We will look at video
examples of what to do and what not to do when self-taping. There will be practical demonstrations and
opportunities to have a go, Q&A and feedback. Bring a device you can record on - ideally a smartphone or laptop with
appropriate connector leads if you have them, or just a digital camera will do. You’ll get advice on how to use some of
the following: iMovie, Skype, smart phones, iPads, We Transfer, Castweb, Vimeo and You Tube channels to
upload/convert your video files; or voice recording devices, such as garageband, memos or i-talk to send voice files.
WHAT DO YOU GET OUT OF IT? Learn how to direct and light yourself with a few simple reminders. Increased chances
of getting that film, TV, voice or corporate job, via self-taping; a useful tool when applying for jobs in the USA or for
some first round auditions in the UK; increased confidence in technology plus a step-by-step guide that you should be
able to put into effect next time you have an audition to submit over the internet. We’ll also have a lot of fun too!
→ See page 60 for tutor biography.
PARTICIPANTS: £40
Equity – Making the Most of your Membership
Stephen Rice
February 11
12.00-13.30
Course: AD43
Keywords: EQUITY MEMBERSHIP | BENEFITS | SERVICES | ADVICE | Q&A
WHAT IS IT? A session with Equity to help you make sure you know how to get the best out of Equity membership.
HOW WILL IT WORK? An open session giving an overview and Q&A about the support available that comes with an Equity
card and how to access the individual and collective benefits. If you are already a member, or not yet a member, come and
find out more about what the union offers and make sure you are not missing out.
WHAT DO I GET OUT OF IT? Some proper information straight from the horse’s mouth that may help you during your
career. This session will be led by Stephen Rice from Equity’s Communications and Membership Department.
→ Equity is the UK Trade Union representing performers and creative team practitioners from across the entire spectrum
of arts and entertainment and negotiates their minimum terms and conditions of employment throughout UK
entertainment. Equity provides a wide range of services for our members, including job information, pension scheme,
insurance, medical help and others. www.equity.org.uk
PARTICIPANTS: £FREE
61
January – March 2016 Programme
I’ve Been Meaning to Make a Voicereel
Marina Caldarone
February 11
14.00-17.00
Course: RV10
Keywords: VOICEOVERS | FLEXIBILITY | HOW TO | PRACTICAL | CAREER ADVICE
WHAT IS IT? An interactive workshop to help you understand what the perfect mix of material should be for a voicereel, how the various companies make the reels, how the voice clips (also called mega-mixes) work in relation to that
reel and their role in getting your voice out there.
HOW WILL IT WORK? Using real scripts from the audio industry - largely commercials and documentaries - Marina will
demystify the business of typecasting your own voice, which is at the heart of the best material selection.
WHAT DO YOU GET OUT OF IT? Knowledge is Power! You will know why versatility isn't that useful, yet what we
mean by 'vocal flexibility', how there are at least 7 different sounds within your 'own voice', why you don't need
copyright on any material recorded, how to go about choosing the appropriate reel making company for you, and
what to expect from them, how to target voiceover agents, what needs to go on the Spotlight clip, why animation is
an entirely other market, the potential pitfalls of choosing drama that isn't audio friendly, why you may not need to
include a novel excerpt, and many other nuggets of wisdom that come from having made voice-reels for the last 15
years. You will need to bring a one-minute piece of narrative fiction, for which you think your natural voice is perfect
casting. Marina offers a free recording track to anyone who has done a workshop with her if making their reel with
Crying Out Loud.
→ Marina is a freelance theatre and radio drama director, actively involved in actor training for the last 25 years and
is Drama Director for Crying Out Loud, a voiceover CD Production Company. She also compiles collections for Nick
Hern Books, Methuen/A&C Black and is the co-author of the best-selling Actions – An Actor’s Thesaurus.
PARTICIPANTS: £18
Casting with Confidence
Irene Cotton
February 11
18.00-21.00
Course: CA2
Keywords: CASTING DIRECTOR | FILM & TV | PRESENTING YOURSELF | TECHNIQUE | INDUSTRY ADVICE
WHAT IS IT? Build confidence and pick up tips to make the most of all your film and TV casting opportunities.
HOW WILL IT WORK? You’ll be sent a scene to prepare in advance that is specially suited to your casting type and on
the day we’ll film and playback your performance with extensive notes and tips to get the most from the scene and
present yourself at your best. Following this there will be a Q&A focussing on the practical side of your careers.
WHAT DO YOU GET OUT OF IT? As well as tips and feedback on your audition technique you will build confidence,
consider new ways to be proactive, look at how to work effectively with (and without) an agent and how to,
hopefully, achieve a lifetime career in this demanding profession.
→ Irene is a Casting Director for film, theatre, TV and commercials. She originally worked alongside Jonathan Miller at
the Old Vic and other theatre casting credits include the National Theatre, Chichester, Crucible Sheffield, Olympia
Theatre Dublin and many productions on Broadway and in the West End. She worked extensively for
Talkback/Thames casting over 200 episodes of The Bill as well as many shows for CBBC. Her other TV and film credits
include The Libertine, Seventh Moon, Little Lord Fauntleroy and she was also the regular casting director for the BBC’s
Panorama. Currently Irene is casting two films, The Little Mermaid for Done Four Productions Vancouver and
Americus for RAI Europe. In September she starts casting a new play about Churchill for Guildford and the West End.
PARTICIPANTS: £30
62
January – March 2016 Programme
Make a Radio Play in a Day
Gordon Lamont
February 17
10.30-17.30
Course: RV2
Keywords: RADIO DRAMA | SCRIPT DEVELOPMENT | RECORDED OUTCOME | PRACTICAL
WHAT IS IT? Immerse yourself in acting for radio and produce finished scenes or even whole mini dramas from
scratch with experienced radio director Gordon Lamont.
HOW WILL IT WORK? This intensive one-day workshop will take you through the basics using BBC scripts and the
opportunity to create your own dramas. You’ll learn about mic technique, handling scripts, internal monologue and
more. Most importantly, you’ll discover how to bring characters to life for the ear, putting it all into practice using
broadcast standard equipment. The final session covers CVs, showreels, contacts and tips for getting work & creating
opportunities.
WHAT DO YOU GET OUT OF IT? You’ll come away with a wealth of inside knowledge and Gordon will take your
recordings away, edit and mix to create finished pieces that you can access online.
→ Gordon is a freelance writer and director of audio, video & online material. Formerly with BBC learning he has
produced over 200 programmes, including Afternoon Play and was part of the BAFTA winning team for Off by Heart
(BBC). Recent work includes Hands on History (BBC) & the Tate Movie Project (BBC, Aardman, Tate Galleries).
PARTICIPANTS: £30
Your Actors Centre – Making the Most of Your Membership
Neil Rawlinson
February 17
18.00-19.30
Course: AD53
Keywords: MEMBERSHIP | PROJECTS | BENEFITS | OPPORTUNITIES | ADVICE | PERKS
WHAT IS IT? A group session to discuss all things Actors Centre, how to get the best from the programme and the
opportunities we provide.
HOW WILL IT WORK? Our Creative Projects Manager will introduce the full range of the Actors Centre programming and
membership opportunities, through an open and frank discussion and Q&A about how to make it all work for you – getting
the best out of your membership. This session is open to members old and new.
WHAT DO YOU GET OUT OF IT? Find out about the full range of perks and opportunities available, discuss new professional
development opportunities and hear about upcoming projects for the coming year.
→ Neil trained at Central and is an acting coach/mentor and director. He was Associate Director of DNA Performance
Resource in Manchester before moving to London. His ongoing professional experience lies as a director, agent, casting
director and work with numerous production companies. As a performer and director he has worked with companies such
as Punchdrunk, Ambassador Theatre Group, ENO, The Think Collective, Tom Spindler Presents and Stand-By. As an acting
coach/mentor and project manager, Neil has worked with companies such as Arts Ed, The Brit School, Point Blank London
as well as the UK Government. He specialises in the development of emotion and truth in performance and professional
practice/development of the actor. Neil joined The Actors Centre in October 2011 and is currently the Creative Projects
Manager and an Acting Mentor.
PARTICIPANTS: £FREE (Associate Members can participate in this workshop)
63
January – March 2016 Programme
Inner Action/Camera Audition
Myles Horgan
February 22
10.30-13.30
Course: CA46
Keywords: DRAMATIC REALISM | CHARACTER | SCREEN TECHNIQUE | AUDITION/CASTINGS
WHAT IS IT? This workshop will introduce a camera technique that shows subtext in natural performance as preferred by
industry castings.
HOW WILL IT WORK? Using recording equipment and playback, each participants will be given a brief and filmed. A series
of theory (Chekhov) and simple exercises will be practised and then the audition is re-filmed, so a marked improvement
can be noted by each actor.
WHAT DO YOU GET OUT OF IT? A consistent repeatable technique to fit a number of casting requirements in the industry
as it stands today.
→ Myles Horgan is an acting tutor at St Mary’s University, Bird College and the Associate Lecturer at The International
School of Screen Acting. He has an MA in actor training and coaching from Central. He is also an award-winning actor,
director and producer with 20 years’ experience. Director and writer credits include Paddy (Best Animation Galway Film
Festival 1996) and Stinky Neptune (Best Short, Galway Film Festival 1998). His film and TV acting credits include The Wind
that Shakes the Barley (Palme d’Or 2006), directed by Ken Loach, and Custard’s Last Stand Up (BAFTA 2001).
PARTICIPANTS: £25
Self Taping: How to Get The Best Result
Suzy Catliff
February 22
14.00-17.00
Course: CA47
Keywords: PRACTICAL EXPLORATION | EXERCISES & FEEDBACK | INCREASE SKILLS | BUILD CONFIDENCE
WHAT IS IT? A practical workshop looking at self taping and discussing the best way to go about it.
HOW WILL IT WORK? A few days before the workshop you will be sent a scene from a TV or film script with a brief for
you to self tape and upload. Suzy will then review and note your self tapes and, as a group, you will watch them and
discuss the challenges and pitfalls. All Suzy’s workshops are run in a relaxed, supportive and positive environment
allowing you to share and learn from everyone within the group as well as from Suzy’s feedback and notes.
WHAT DO YOU GET OUT OF IT? This workshop offers opportunity to ‘practice’ this increasingly used technique and learn
some simple do’s & don’ts to increase potential & allow your work to be seen in a more positive & professional light.
→ See page 59 for tutor biography.
PARTICIPANTS: £30
The Actor’s Website – How You Can Do It
Tim McDonald
February 23
18.00-20.00
Course: AD61
Keywords: WEBSITE CONTENT | SOCIAL MEDIA | TECHNICAL ASPECTS | COSTS | SET UP & TOOLS
WHAT IS IT? An informative and interactive class to tackle the ins & outs of putting together a website and what to put on it.
HOW WILL IT WORK? Building a website can seem like a monstrous task. We will break it up so you can understand what
you need to do, talking about the necessary aspects of whether you need a website and especially what to put on it. We
will discuss how much it costs and how can you do it cheaply. We will go through technical and non-technical questions
and we will review a selection of websites from those attending.
WHAT DO YOU GET OUT OF IT? You will leave the session with a plan on how you can build a website. You will know
what to put on it. If you can use Facebook, you can build a website!
→ Tim McDonald is a web designer-developer and actor. He has worked on websites for clients such as Nike, Barclays,
The Telegraph, Beats by Dr Dre and British Airways, and has recently set up Site Your Art, a website dedicated to helping
actors and artists build their own websites at www.siteyourart.com. Tim has spent countless hours working with casting
directors and other industry professionals in order to demystify what should go into an actor’s website and now travels to
schools delivering seminars, showing actors how it can be done.
PARTICIPANTS: £15
64
January – March 2016 Programme
Career Marketing Strategy
Phil Shaw
February 26
10.30-17.30
Course: AD25
Keywords: UNIQUE SELLING POINT | COMMUNICATION | HEADSHOTS | CV | NETWORKING
WHAT IS IT? Learn to be an image-maker and raise your professional visibility. This full-day workshop provides actors
with an in-depth and analytical approach to managing and promoting their career with cutting edge precision.
HOW WILL IT WORK? Phil focuses specifically on the USP (unique selling point), character-driven headshots
(applicable to casting range), Carl Jung's archetypes and personality typology/spectrum, Aristotle’s ‘art of persuasion’,
personal relating/listening, body language, actor/agent/casting director interpersonal dynamics, and communication
skills. The workshop also covers: photographers; resumes; key-note letter writing; agents/casting directors – UK,
Europe and USA; branding image; media networking; showreels; websites and IT resources for actors. Storytelling and
improvisation will be incorporated in the process of self-discovery which is a significant component in the art of
influencing people. Resourceful thinking produces positive results! The morning session will deal with the psychology
and ethos of marketing, the power of persuasion, and strategic planning which comprise Phil’s six step ‘Present
Visioning’ programme. The afternoon will deal with the practical implementation of a marketing plan, the ‘tools of the
trade’ and the ‘nuts and bolts’ of administration to underpin the mechanics of visibility exposure and career strategy.
WHAT DO YOU GET OUT OF IT? A marketing plan and administration procedure that will safely steer you through the
unfamiliar terrain of agent interviews and castings, and ultimately work to your advantage. Resourceful thinking
produces positive results!
→ See page 56 for tutor biography.
PARTICIPANTS: £30
Sightreading on Camera for Dyslexic Actors
Peter Warnock
February 26
10.30-17.30
Course: CA44
Keywords: DYSLEXIA SUPPORT | COLD READING | TEXT WORK | CAMERA SKILLS | CONFIDENCE
WHAT IS IT? This workshop will help actors with dyslexia change their default reading and listening style, begin to
build a clear routine to increase confidence, mark text and learn how to use “Flow” - a technique developed by Peter
specifically to help those with dyslexia to approach any new text. Actors will also build confidence by tuning
their ear and watching back their sightreading on a monitor.
HOW WILL IT WORK? Through the session, you will improve your sightreading skills, bringing cold text to life. With
the aid of the camera we will identify default patterns so you do not fall back on over-presenting, sounding read or
throwing away text. By distracting the left side of the brain, you will be able to make bolder, stronger and more
interesting choices in an audition room. We will also explore voice use, clarity, believability, reading with other actors,
working the camera and your intro chat, as we explore a range of texts.
WHAT DO YOU GET OUT OF IT? Begin to build confidence in performing an unseen text; pick up a personal
assessment plan leading to a daily routine; identify your strengths and weaknesses, and learn how dyslexia specifically
affects you. Prep work – please forward in advance a short email detailing how dyslexia affects/disrupts your work.
→ See page 60 for tutor biography.
PARTICIPANTS: £35
65
January – March 2016 Programme
TV and Film Audition Advice and Technique
Jane Deitch
February 29
14.00-17.00
Course: CA41
Keywords: AUDITION | CASTING DIRECTOR ADVICE | PRACTICAL | FEEDBACK | Q&A
WHAT IS IT? Work on your audition technique with a Casting Director and ask questions about the casting process.
HOW WILL IT WORK? Following a talk, Jane will provide the opportunity for participants to do a mock read-through
using TV and/or film scripts she has cast, or on which she is currently working. The mock auditions will be undertaken
on camera in front of the group so that everyone can contribute to the process and learn from each other. Scenes will
be given out on the day as if for a cold read scenario, but time will be given to prepare.
WHAT DO YOU GET OUT OF IT? Feedback, tips and advice from a Casting Director, renewed confidence and strategies
to help you be at your best when auditioning.
→ Jane developed the first BBC in-house Casting Department, being appointed Head of Casting for Drama Series in
1999 until 2006. She went on to form her own business in 2007 and now casts for a wide variety of productions
including theatre, musical theatre and films. Her many casting credits include the films, Welcome To Leathermill,
Locked In, New Year’s Day (Jury Prize: Raindance Film Festival/Best Film: Sapporo Film Festival), the BAFTA awardwinning Shoot the Messenger and Magnificent 7 with Helena Bonham-Carter. On TV she has cast EastEnders, Holby
City, Casualty, Doctors, the Emmy award-winning Waking the Dead, the BAFTA-nominated A Respectable Trade, Judge
John Deed, The Mrs Bradley Mysteries, Being April, Sunburn, The Afternoon Plays and Walter’s War among many
others. Her current projects include the films Being Hamlet (dir. Suri Krishnamma), The Oyston Conspiracy, What’s
Going On, Mawken and Long Time Coming. She is also working on a number of theatre projects including Man
Overboard, Sticks and Stones, David Hare’s Knuckle and the musical tour It Happened In Nixon Falls.
PARTICIPANTS: £30
The Audition Monologue - Reinforcing Your Branding Image
Phil Shaw
March 4
10.30-17.30
Course: CA49
Keywords: AUDITION SPEECHES | TECHNIQUE | VERSATILITY | RANGE | BRANDING | CASTING TYPE
WHAT IS IT? The audition monologue, like a painting, should demonstrate not only versatility and range, but also
match your branding image and USP. These hour-long one-to-one sessions will help to re-evaluate whether the
material you are using helps to sell you as an actor, or in some cases, impedes the process by conveying a generalised,
rather than specific, casting type.
HOW WILL IT WORK? Phil will offer writers/audition speech suggestions, and help you identify, objectively
analyse, and polish two contrasting monologues which complement and define the branding image so that clarity,
texture and nuance is factored in to the final wash on the canvas. Please bring two prepared monologues which you
are currently using, plus headshot portfolio.
WHAT DO YOU GET OUT OF IT? A greater understanding about selecting monologues which reflect your niche
market, endorse your marketing strategy, and productively influence a casting director’s perception of your work.
→ See page 56 for tutor biography.
PARTICIPANTS: £45
66
January – March 2016 Programme
Introduction to Continuity Announcing
Gary Terzza
March 7
10.30-17.30
Course: RV14
Keywords: SCRIPT WRITING | TECHNIQUE | RECORDED DEMO | PRACTICAL WORK | INDUSTRY TIPS
WHAT IS IT? A workshop for beginners on how to a become a TV continuity announcer.
HOW WILL IT WORK? Starting with continuity script writing and moving on to voice over, Gary Terzza will show you
how to write and record your lines and approach broadcasters for work. Using practical exercises, you will learn to
deliver scripts in a conversational style, avoid cliché and make the most of your voice for announcing on-air.
WHAT DO YOU GET OUT OF IT? A recorded demo of your voice that will be your starting point for a future career as
an announcer.
→ Gary Terzza started his continuity announcing career for ITV in the Midlands in 1982 and in 1991 joined Channel 4
where stayed for 24 years. In addition Gary has been a prolific voiceover artist narrating documentaries such as Phil
Spector’s Demons and Channel 5’s Ultimate series, along with work for the BBC, VH-1, CITV and Discovery. He has
been running a successful voiceover training course since 2005, coaching beginners in the art of voiceovers. Many of
his students have achieved success in TV, radio, audiobooks, video games and, of course, continuity announcing.
PARTICIPANTS: £30
How to Be Your Own Agent
Paul Cawley
March 8
10:30-13:30
Course: AD6
Keywords: ACTORS’ STATIONERY | INDUSTRY INFORMATION & ADVICE | NETWORKING | FEEDBACK
WHAT IS IT? A workshop designed to help you ensure that you are doing everything possible to improve your chances
of getting seen, both for auditions and by agents.
HOW WILL IT WORK? Bring all your marketing materials, CV, photo, etc., and learn how to use your acting skills to
assess them objectively, and how to help others. You will also learn techniques to avoid, and have a better
understanding of how the industry works, so that you can get a better response.
WHAT DO YOU GET OUT OF IT? A full appraisal of all your marketing materials, an understanding of the different
approaches to employ across different media, networking, how to use Spotlight, what makes a good CV, how to write
a better covering letter, and The Curse of The Last Rolo! Please bring a copy of your current photo and CV.
→ See page 57 for tutor biography.
PARTICIPANTS: £18
The Digital Revolution: Make Work, Get Work, Make Money, Make Work
Owyn Stephens
March 8
18.00-21.00
Course: AD3
Keywords: DIGITAL MEDIA | ONLINE PRESENCE | BRANDING | YOUTUBE | ADVICE
WHAT IS IT? A workshop designed to explore Digital Media and why performers of every skillset should have
a digital YouTube channel dedicated to them.
HOW WILL IT WORK? The workshop takes performers step by step through how to set up, brand and make content for
YouTube. Looking at how to gain, keep and increase your audience, collaborate with others, achieve attention from the
entertainment industry and look toward making money from the fastest growing entertainment platform in the world.
WHAT DO YOU GET OUT OF IT? A booklet on everything we cover in the workshop, as well as a networking opportunity
to collaborate with other like-minded digital-thinking people.
→ Owyn is an actor, writer and producer of Owyn & Co, his officially-partnered YouTube channel. His first sketch,
Knightmare, was nominated for sketch of the year by The Poke, his second, Quest, was labelled “One of the most playful,
original sketches ever seen” by TV Comedy is Dead. Since launch, Owyn & Co has gained over 350,000 views, over a dozen
corporate commissions and has been featured in Shortlist and The Guardian.
PARTICIPANTS: £15
67
January – March 2016 Programme
Acting Outside the Box
Adrian Hedley
March 9, 14
18.00-21.00
Course: AD62
Keywords: NEW WORK OPPORTUNITIES | MULTI-SKILLS | NEW SKILLS | CREATE YOUR OWN MATERIAL
WHAT IS IT? While between jobs or waiting for the next audition, why not utilise your talents and skills as an actor in
the Events and Corporate Entertainment World. This is not corporate role-playing, (ie working as a drama facilitator in
forum theatre), but about you performing as an actor playing a character at live events. The events world loves actors
of all ages when it comes to character role-playing, but to succeed in it you’ll need to learn some additional skills and
create a few set routines to make your performance stand out. Complementing your work as an actor, this workshop
will introduce you to new performance skills, show you how to create your own material and routines, and will give
you the run-down of what will be expected of you working in the events entertainment world.
HOW WILL IT WORK? Over two sessions, you will be taught a wide variety of instantly useable skills and given the
opportunity to utilise them with your chosen characters and develop routines for them during the workshop. The
emphasis will be on creating fun, spontaneous, playful entertainment, which is what the majority of clients will expect
of you. Everything you learn will be focussed on ‘you’ and your instinctive talents as an actor. You will develop new
performance skills you thought you didn’t possess and by the end of the workshop will feel totally confident about
performing them.
WHAT DO YOU GET OUT OF IT? You will learn that there are many other rewarding and well-paid ways to utilise your
skills, without having to undermine your own personal creative journey as an actor. There are many entertainment
agencies and theatre companies that regularly employ actors of all ages for this kind of work and the work
opportunities in the events entertainment sector are plentiful.
→ Adrian Hedley is a BAFTA and RTS award-winning actor and director. He began his career after training as an actor
at the Webber Douglas Academy of Dramatic Art. He subsequently studied at the Jacques Lecoq School in Paris and at
the National Film & Television School. He has worked as an actor, mime artist, TV presenter and director. He has
worked regularly in the events and corporate entertainment world, both as an actor and deviser/director.
Complementing his acting and directing career, he has regularly taught and directed courses including devised theatre
and TV, impro and comedy at drama schools, including RADA, Webber-Douglas, Mountview and ALRA.
PARTICIPANTS: £36
Recharge Your Battery
Sarah Hughes
March 10
11.00-14.00
Course: CA37
Keywords: CONFIDENCE | SELF-BELIEF | POSITIVITY | OPPORTUNITIES | FOCUS
WHAT IS IT? This practical workshop is a step forward from the traditional Casting Director advice session. We may be
clued up on headshots, CV's, audition technique and how best to communicate with directors and casting directors,
but how do we keep ourselves confident and ready to go in the next audition after 6 weeks out of work, and face the
challenge of retaining self-belief and focus after a slow 6 months? How can we reframe some of the negative feelings
that actors inevitably experience into more helpful and positive thoughts about ourselves and the business of being
an actor? How can we put confidence and focus into action on a day-to-day basis in order to move ourselves forward
as artists?
HOW WILL IT WORK? In this three-hour session, we will discuss anxieties and habits and work to clear up some of the
thinking patterns that might be holding us back. Be prepared to think hard, focus and to discuss your experiences with
the group, and to finish the session with clear goals for the future.
WHAT WILL I GET OUT OF IT? The aim is to get the group thinking, talking and ready to move forwards, and to finish
with clear aims and goals for ourselves as actors for the next 3 weeks, 3 months and 3 years.
→ See page 55 for tutor biography.
PARTICIPANTS: £18
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January – March 2016 Programme
The Actor Inc.
Neil Rawlinson
March 10
18.00-21.00
Course: AD59
Keywords: SELF-MARKETING | DIGITAL & IT MANAGEMENT | SOCIAL MEDIA NETWORKING
WHAT IS IT? This workshop is designed to help actors maximise their self-marketing and networking potential through
effective management of their social media and digital information streams.
HOW WILL IT WORK? Scouring through the quagmire of social media applications and digital communication options
open to you, we will see what you currently have, what you could change and select what is best for you. We will
explore the potential avenues for meeting industry professionals and where best to place your resources, time and
energy to enable potential meetings. We will also focus on researching and approaching industry professionals and
management of information streams and contacts using the “Hammond Chart”. There will be demos and information
sheets to take away – feedback will be provided on your current digital footprint (social media/IT information
management). Please feel free to bring laptops and tablets to make amendments on the spot (not obligatory).
WHAT DO YOU GET OUT OF IT? More confidence with engaging the industry on a digital level. Effective methods to
manage and administrate Actor Inc. to best utilise the resources you have available to you. A clearer understanding
and knowledge of how to transfer that digital networking into actual meetings and opportunities.
→ See page 63 for tutor biography.
PARTICIPANTS: £12
On-Camera Auditions: Small Roles
Adria Dawn
March 20
10.30-17.30
Course: CA51
Keywords: AUDITION TECHNIQUE | PREPARATION | DRAMA & COMEDY | REVIEW & FEEDBACK | ADVICE
WHAT IS IT? The cop, waitress, nurse, reporter, city worker, bartender; these are the roles that many actors must be
skillful with when auditioning. There are specific techniques you can learn to help you make decisions about your
function, your environment and your choices. Work with Adria Dawn and sharpen your audition muscles.
HOW WILL IT WORK? Participants will work on current TV and film sides and practise mock auditions for small roles.
We will start with how to implement techniques to help with these types of auditions and explore them through some
improv. We will then explore comedy sides and finally work on dramatic sides. Work sessions will be filmed and
shown on screen so that students can observe each others work and progress.
WHAT DO YOU GET OUT OF IT? Useful, practical tools to help you give your best on-camera audition for a smaller
role. A demystifying look at what it really takes to book the job.
→ See page 45 for tutor biography.
PARTICIPANTS: £55
Pain Free Tax Surgery
Mark Carr
March 23
14.00-17.00
Course: AD20
Keywords: 1-2-1 | TAX ADVICE | ACCOUNTING | BOOKKEEPING | FREE
WHAT IS IT? Private, 30-minute sessions offering free advice and information from a qualified certified accountant.
HOW WILL IT WORK? Mark will cover bookkeeping advice (both computerised and manual), advice on how to keep and
store your accounting records, taking the right steps for your tax affairs and what role the VAT man should play in your life.
The Pain Free Tax Surgery does not allow for a detailed study of individual records and the advice given cannot therefore be
comprehensive. If you book an appointment and fail to attend, or do not cancel by noon the previous working day, you will
be charged £10. These sessions are also open to Associate Members.
WHAT DO YOU GET OUT OF IT? Expert advice on your tax and accounting affairs.
→ Mark Carr & Co. are chartered certified accountants and registered auditors specialising in the entertainment industry.
PARTICIPANTS: £FREE (Associate Members can participate in this workshop)
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January – March 2016 Programme
Spotlight – Making the Most of your Membership
Emma Dyson
March 31
11.30-12.30
Course: AD40
Keywords: SPOTLIGHT MEMBERSHIP | PROFILE | BENEFITS | CASTING DIRECTORY | ADVICE
WHAT IS IT? This session will highlight the benefits of being a Spotlight member, how Spotlight works within the
industry and how to make the most of your membership.
HOW WILL IT WORK? Emma will tell you all you need to know, including how to apply, what membership gives you,
how to use it and the perks you can get from being a member. Get advice on your Spotlight profile, CV and
photographs.
WHAT DO I GET OUT OF IT? A full introduction to the benefits of joining the UK’s most popular casting directory.
→ Emma Dyson is Spotlight's PR Manager and careers expert. She trained at the Guildford School of Acting. After
working in other areas of the arts, she became an agent and developed a broad understanding of the relationship
between the performer, management and casting process. Her six years’ experience as an agent gives her an
invaluable perspective on portfolio photography, CVs and presentation.
PARTICIPANTS: £FREE
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January – March 2016 Programme
Industry – WEEKLY, FORTNIGHTLY AND MONTHLY WORKSHOPS
You may attend as many or as few of these regular workshops as you wish, although a regular commitment to each
discipline is more beneficial.
Audition Doctor
Tilly Blackwood
Every other Monday (see website or call reception for dates)
10.30-13.30
Course: PA1
Keywords: FORTNIGHTLY 1-2-1 | AUDITION | SKILLS DEVELOPMENT | BESPOKE | CONFIDENCE
Audition Doctor is a fortnightly fixture and a must for all your audition concerns. These totally unpressurised, 45minute private surgeries are a focused, pro-active way to hone your auditioning skills and pieces. This bespoke
method of working will focus on your individual needs in order to nail your next job. Ideally, bring a piece to work on
and be prepared to re-ignite your confidence and find a fresh approach to your work.
→ Tilly is an actress who has worked extensively in theatre including the National Theatre, the RSC and West End,
where she gave her Helena to Dawn French's Bottom in A Midsummer Night's Dream. Her TV credits are numerous,
including Stella and her stint as the resident “It Girl”, Lady Candida de Dennison Bender in Absolutely Fabulous. For
more information visit www.auditiondoctor.co.uk.
PARTICIPANTS: £34
Understanding Your Branding – One-to-One Sessions
Darren R L Gordon
Tuesday January 26, Monday February 22, Monday March 21
10.30-17.30
Course: AD2
Keywords: 1-2-1 | SELF MARKETING | BRANDING | CAREER | PLANNING | STRATEGY
WHAT IS IT? As an actor you are a product and like any good product you need a marketing strategy, branding and
packaging. These 1-1, 45-minute sessions are an opportunity to discuss your personal branding and how effective it is.
HOW WILL IT WORK? We will look at your existing marketing material including any of the following: CV, headshot,
showreel, covering letters, personal website, Spotlight, Casting Call Pro and performance piece (monologue of no
more than three minutes in length).
WHAT DO YOU GET OUT OF IT? Darren will work through as much of your material as possible looking for the
consistency of the message your brand is sending out. He will help you identify ways that your brand can be
strengthened and fine-tune your marketing strategy.
→ See page 63 for tutor biography
PARTICIPANTS: £34
Audition Practice on Camera
John Melainey
Tuesdays
14.00-17.00
Course: TV1
Keywords: WEEKLY | AUDITION | SCREEN ACTING | PRACTICE | REFRESH | PRACTICAL
Weekly on-camera workshops to learn, practise and review TV and film auditioning and sightreading skills. Practice
makes perfect – but practise between auditions, not during them when a mistake can lose you work. Please bring a
DVD RW.
→ John has first-hand experience of the casting process on both sides of the camera. For 20 years John has, on behalf
of Hubbard Casting, auditioned and directed thousands of actors whilst running casting sessions for TV, film and
commercials. He has combined this experience with his 30 years of professional acting work to refine and teach the
solutions to the problems faced by actors during the audition process.
PARTICIPANTS: £20 / OBSERVERS: £10
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January – March 2016 Programme
Audition Technique for Cold and Prepared Readings
Nina Finburgh
Wednesdays (on temporary hiatus – please check with reception before booking)
10.30-13.30
Course: G40
Keywords: WEEKLY | SIGHTREADING | PRESENTATION | AUDITION | TEXT WORK
The innovator of the now widely used method for revealing potential when sightreading at auditions, Nina Finburgh
takes a weekly morning session for a group of twelve. Please be advised that workshops fill up well in advance. Texts
are provided on the day. These sessions are for Premium members only. If you have not participated in Nina’s
workshop before, please join a G41 Audition Technique for Cold and Prepared Readings (Newcomers) workshop (see
below).
PARTICIPANTS: £18 / OBSERVERS: £10
Audition Technique for Cold and Prepared Readings (Newcomers)
Nina Finburgh
Wednesdays January 27, March 16 (on temporary hiatus – please check with reception before booking)
10.30-13.30
Course: G41
Keywords: INTRODUCTION | SIGHTREADING | PRESENTATION | AUDITION | TEXT WORK
Learn about this skill, vital when meeting Directors and Casting Directors, with Nina Finburgh, mentor to many of our
most established performers. Texts are provided on the day. If you have not participated in Nina’s regular
sightreading workshops before, you must take this workshop first. You only need to attend one before participating in
Nina's weekly Wednesday workshops, (see above).
→ Nina has coached many of our foremost musical theatre artists and has worked with Classical and Contemporary
Companies and coached Principals in Ballets and Musicals.
PARTICIPANTS: £18 / OBSERVERS: £10
Voiceovers: One-to-One
Lara Parmiani
Wednesdays January 13, 27, February 10, 24, March 9, 23
14.00-17.00
Course: RV20
Keywords: FORTNIGHTLY 1-2-1 | VOICEOVER | ADVICE | CAREER | PRACTICAL | WEB MARKETING
These sessions are designed to discover your voice's unique selling points and help you start (or refresh) a successful
voice over career. Using real VO scripts and a microphone you will understand the specifics of your voice, how to sell it,
how to approach different styles as well as how to choose outstanding material for both commercial VO and radio drama.
Sessions are completely tailored to your needs, whether you're new to voiceover work and need an overview to start in
the right direction, or have previous experience and want help with new material and self-promotion (please bring along
any previous material). You’ll come away with a better understanding of your voice and its USPs, an overview of the
voiceover market, self-marketing strategies, how to approach it & demo material suggestions.
→ Lara is an actress, voice over artist, voice coach and founder of LegalAliens ITC. She trained first in Italy and then in
London at Guildhall. Credits include The King and I (BAC), Poprygunya, Romeo and Juliet, and Dorian Gray (Ruby in the
Dust), Seven at Thebes (Laboratorio Teatro Settimo), Neither Here nor There (Soho Theatre), The Return (St James Theatre)
and The Old and the Young (Bloomsbury Theatre). In 2007 she founded international theatre company LegalAliens. Her TV
and film credits include He Knew He Was Right (BBC), Hollow Bones, Yours in Solidarity and Nine Days of Hell. Lara is also a
voiceover actress who in 1997 won the Paola Tovaglia Award for best female voiceover artiste. Her international
experience includes work for MTV, Discovery, Paramount, Channel 4 and BBC Worldwide.
PARTICIPANTS: £34
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January – March 2016 Programme
Mentorship Surgery
Neil Rawlinson
Keywords: EMERGING | RETURNING | ALL LEVELS | MENTORSHIP | PROFESSIONAL DEVELOPMENT PLAN
These FREE one-to-one, 30-minute sessions are open to all Actor and Associate Members and give you an opportunity to
discuss your professional development options with regards to the Actors Centre programme and to align it with your
larger professional development plan/targets for your wider work as an actor. NOTE: Standard Members must sign up for a
session within 3 months of joining the Actors Centre.
→ See page 63 for tutor biography.
PARTICIPANTS: £FREE (Only bookable via Reception or on: 020 3841 6601 or 020 3841 6602)
Bespoke Coaching
In addition to our regular programme of workshops, the Actors Centre is now providing a unique range of one-toone consultations offering specialist advice, training and tuition. You decide on what you need and we will aim to
put it together for you! These consultations are facilitated by leading practitioners and are tailored to your specific
requirements and at a time that suits you. They will include consultations such as preparation for performance,
voicereel preparation, audition presentation and technique, public speaking, self-marketing, financial advice, career
strategy and advice.
If you would like to find out more, or have any specific requirements please contact Michael John at:
[email protected]
All sessions take place at the Actors Centre or by Skype if applicable.
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January – March 2016 Programme
OTHER IN-HOUSE OPPORTUNITIES
GREEN ROOM PROGRAMME
The Actors Centre’s Green Room (café and bar) is an ideal space for a performance such as storytelling, cabaret and solo
work. We are keen for actors and other artists to use this space at no cost to develop their work and provide
opportunities to present both scratch performances and fully developed pieces. Members will get priority consideration
and booking. For further information please contact 020 3841 6612 or email [email protected]
MEMBERS EVENTS COMMITTEE
The Actors Centre Members Events Committee is a group of Actors Centre members who are enthusiastic about
organising events in order to bring Actors Centre members together and facilitate networking. Past events have included
BFI film screenings, member’s short film screenings, comedy/improv nights, pub quizzes, Halloween events and the
annual Actors Centre Members Christmas Party. We are passionate about fostering a community and would like for
Actors Centre members to feel that the Actors Centre is a place where, in addition to progressing their training, they can
also socialise with their fellow actors. The Committee is always looking for new core members or event volunteers. Event
volunteers assist with organising specific events on an ad-hoc basis. Core members commit to regular monthly Committee
meetings and become fully-fledged committee members. If you’re interested in joining, please email:
[email protected]
TRISTAN BATES THEATRE
The TBT, part of the Actors Centre, offers great benefits for members. These include concession-rate discount tickets for
all productions over a packed year-round season, half price opportunities for showcase hires, and a week's work of
priority programming in supported slots every season for shows by members. www.tristanbatestheatre.co.uk
Supported Companies
We are also hosting, supporting and collaborating with the following groups:
THE MONO BOX
These monthly events led by Joan Iyiola and Polly Bennett offer a valuable resource for actors preparing for auditions and
showcases. Each month there will be the opportunity to increase your knowledge of plays and the parts available to you
as well as participate in speech surgeries, prepare for showcases and improve audition technique. At the heart of the
Mono Box is an extensive collection of plays that have been donated entirely by established directors, producers,
playwrights and actors, and many donors will be involved in future events. Places are limited so we do advise booking
early. For upcoming dates and to find out more visit: www.themonobox.co.uk/ or email [email protected]
THE WRITERS GROUP
We support the Writers Group in a variety of ways including opportunities to undertake an annual play reading,
involvement in the monthly green room programme and input into film projects, along with the potential to create short
‘response’ pieces to main-house shows in the Tristan Bates Theatre. The Writers Group meets on the last Friday of every
month at 6.30pm, costs £10 and is facilitated by playwright Stewart Permutt. For further information see page 51
THE POETRY GROUP
Performing poetry is the perfect way to develop your craft as an actor, improve your sight reading skills and engage with
language in its most brilliant and varied forms - extending the range of your voice as well as your imagination. The Poetry
Group is a company of actors, meeting on a regular basis to develop their skills in live reading, and forming a professional
ensemble that will tailor selections of work for special events, fundraisers and one-off gigs.
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January – March 2016 Programme
THE ACTORS SCREEN COLLECTIVE (ASC)
In October 2009, a group of actors, prompted by a love of films and the desire to achieve the highest calibre of screen
acting, decided to create a company of professionals, determined to develop both their artistic and technical abilities for
screen. Long time television director and producer Michael Ferguson gave his unwavering support and invaluable
guidance to this vision and the ASC was born. With the support of the AC, the group meet to exchange ideas, create
characters and improvise. A major focus of the ASC’s work is to reinvigorate the creative relationship between all the
people involved in bringing film to life. New and established writers, directors and editors are enthusiastic about the aims
of the group and contribute their time and skill to this endeavour. We aspire to be a valuable resource for all those
working in the industry.
ACTORS RE-CHOIRED
Vivacious, versatile and vocal! A choir for hire in the heart of the West End – for television, theatre and corporate
projects. Supported by the Actors Centre, Actors Re-Choired meet every Friday. Find out more at
www.actorsrechoired.com.
AMERICAN ACTORS UK
We are an organisation of professional North American actors who are each affiliated with at least one industry union and
are legally eligible for work in the UK as well as in the US or Canada. We are an invaluable resource to casting directors on
both sides of the pond, and act as a central hub of activity for our members by organizing regular industry and social
events tailored to North American Actors. www.americanactorsuk.com/
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January – March 2016 Programme
January - March at the Tristan Bates Theatre
For spring 2016, the Tristan Bates Theatre kicks off the year with a vibrant season of festivals and shows
from new writing to improvisation, ghost stories and romantic comedy.
Highlights include the return of regular favourites TALKBACK, Kali Theatre's Festival of new plays by South
Asian women writers; IMPROFEST, the UK's biggest Festival of improvised performance; and the Pensive
Federations innovative SIGNIFICANT OTHER Festival.
Plus there's a full debut for Tom Ward-Thomas' sharply observed class- and generation-crossing romantic
comedy ONE OF THOSE, a new project created by Central School of Speech & Drama's COLLABORATIVE
DEVISED THEATRE course and spooky anthology show THE GHOST TRAIN DOESN'T STOP HERE ANY MORE.
Finishing things off in style is the return of the TBT's annual FIRST Festival of Solo Performances, with full
details (and members' opportunities) to be announced soon.
Ben Monks and Will Young, Tristan Bates Theatre’s Creative Producers, run a free Seminar/Q&A each
season. Check out Producing A Show on page 55.
www.tristanbatestheatre.co.uk
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January – March 2016 Programme
Non – Member Courses
For newcomers to the industry
Get Into Acting
January course dates
January 9, 10, 16, 17, 23, 24, 30, 31, 10.30-17.30
February course dates
February 6, 7, 13, 14, 20, 21, 27, 28, 10.30-17.30
March course dates
March 5, 6, 12, 13, 19, 20, April 2, 3, 10.30-17.30
Have you ever dreamt of becoming an actor? If so, our Get Into Acting course is perfect for those who are both
inquisitive and serious about a future career in acting. These courses act as both a taster of drama school training and
as a broad and basic introduction to the craft of acting, for anyone who is interested in becoming an actor. Get Into
Acting is aimed at those currently outside the industry. The course runs regularly throughout the year - each course
lasting a month, running over 4 weekends. Content includes key elements of actor training including voice,
movement, character, scene and text work (classical and contemporary), improvisation and audition technique. The
course culminates in an informal performance of work to invited guests. All workshops are taught by tutors from the
Actors Centre's regular programme for professional actors. All participants on the Get Into Acting course have the
opportunity to apply for Standard Membership of the Actors Centre on completion of the course. Actors Centre
Standard Membership is for actors still making secure professional links with the industry and/or building their CV
through professional work. This membership type is suited to emerging or returning actors, or those with limited
experience. To be considered for Standard Membership you must tick the relevant box on the application form.
Standard Membership will be offered to those who meet a level of ability, professionalism and potential assessed by
our tutors. Visit www.actorscentre.co.uk for details on how to apply or contact [email protected].
PARTICIPANTS: £500
Audition Bootcamp – supported by Spotlight
February 15, 16, 17, 18, 19, 10.00-17.30
This intensive five-day course is for anyone considering a career in acting who wants to prepare and hone their
audition technique in preparation for drama school auditions. The week will offer a range of workshops giving an
invaluable grounding in vital skills required for auditions and ongoing training. Working with experienced tutors,
directors and performers you will develop a practical understanding of text and character, basic vocal and movement
skills, the art of improvisation and at the end of the week you will walk away armed for auditions with two polished
monologues; one classical and one contemporary and plenty of tips and techniques to keep you relaxed in audition
situations. The course will end with a mock audition and the opportunity to showcase your polished pieces and
presentation skills in front of a panel. For full information and details on how to apply visit
www.actorscentre.co.uk/classes_nonmembers.asp or contact the Bookings Office on 020 3841 6601.
PARTICIPANTS: £400
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January – March 2016 Programme
Get Into TV Presenting with Kathryn Wolfe
February 13, 14, 10.30-17.30
Whether you’re aiming to present mainstream TV or niche channels, present online or websites, or shoot your own
YouTube videos, the possibilities for presenters are endless. This two-day course will give you the tools to work across
different presenting mediums and sharpen your skills for a career in front of the camera. The Actors Centre is
renowned for presenter training with professionals from hits such as BBC’s Strictly Come Dancing and top West End
shows attending recent courses. Get professional training and understand industry expectations before you risk public
failure! This popular course will give you the confidence to audition for a wide variety of TV presenting jobs and
present your own videos. It is highly practical with plenty of opportunities to record pieces to camera, covering talking
to camera, speaking to time, interviewing guests, being interviewed, reading Autocue, walking and talking, vox pops
and shopping channels. It includes how to find a TV presenting job and how to market yourself as a presenter. You will
be given the unedited recordings of your work after the course.
→ Kathryn Wolfe is Course Leader TV Production and Senior Lecturer Media Performance at University of
Bedfordshire, and author of So You Want to be a TV Presenter? Nick Hern Books (2010) and The TV Presenter’s Career
Handbook Focal Press (2014). Kathryn’s experience includes over 25 years as a TV director on mainstream broadcast
programmes at BBC and ITV; she has taught hundreds of aspiring presenters and launched countless careers through
her company Pukka Presenting. See www.pukkapresenting.co.uk for success stories and further information.
PARTICIPANTS: £300
Get Into Screen Acting
February course dates
February 15, 16, 17, 18, 19, 10.30-17.30
This is a five-day course for newcomers to the profession offering an exciting, dynamic and creative introduction to
acting and auditioning for camera. You will gain experience of the technical demands of acting on film, explore the
differences between stage and screen acting and develop techniques that will help you produce powerful on-screen
performances. Working in a small group we will look at camera shots, characterisation, hitting marks, technical jargon,
close-ups, movement and continuity. You will have maximum time on-screen to develop your technique and
performance in a supportive environment with feedback and guidance from the workshop tutors and the rest of the
group. On the final day you will work with a Casting Director to explore the casting process for TV and film, looking at
auditioning on camera, presentation, technique, taking direction, confidence and dealing with nerves. We will also
discuss casting types and branding and you will get the chance to try out ‘mock-auditions’ followed by feedback,
advice and a casting Q&A. You will also have the opportunity to look at what happens next! Through entertaining and
informative discussions you will find out how the Actors Centre can help you develop as performers, followed by a
career advice session and Q&A. At the end of the course your footage will be forwarded to you.
PARTICIPANTS: £400
Drama School Audition Intensive
January 31, 10.30-17.30
February 28, 10.30-17.30
These new one-day workshops offer young performers an invaluable grounding in the vital skills needed to succeed in
the Drama School Audition process. This will be an opportunity to: polish your speeches to the highest standard, gain
tips and techniques to remain relaxed and confident, understand how it all works, learn how to prepare, learn how to
best present yourself. Participants should bring at least one 2-minute speech, off-book. You may wish to bring two –
one classical and one contemporary. Participants wishing to enter the Drama School Audition Process next year may
also attend - bring lesser prepared speeches and get advice on how to choose the best speech for you.
PARTICIPANTS: £60
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NOTES:
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January – March 2016 Programme
How to book

Online: www.actorscentre.co.uk

Telephone: 020 3841 6601 / 020 3841 6602

In person: at reception during regular opening hours
Please bear in mind that the Bookings Office can be very busy. We deal with urgent bookings as quickly as possible.
However, if you have not heard from the Bookings Office within 3 working days, please contact us again.
For full details of our bookings and refund policies please refer to the terms and conditions of membership which you
would have received when you joined. They can also be found on our website
www.actorscentre.co.uk/membership_terms.asp.
Renewing your Membership
To access our Professional Development Programme you must be an active member of the Actors Centre. There are
also a number of opportunities for non-members, please see pages:
http://actorscentre.co.uk/membership
http://actorscentre.co.uk/non-members
Renewing your membership is easy. Simply drop by and renew at Reception or call 020 3841 6601 or 020 3841 6602
and renew over the phone. If you pay to renew before your membership expires you will get a £10 credit bonus!
Recommend a Member
Remember, any member who gets one a friend (who has never been a member before) to join the Actors Centre will
get their next annual membership for £45.
Get two friends to join the Actors Centre and we will give you your next membership completely for FREE.
Please ask reception for more details.
Keep us updated
If any of your personal details change, please do let us know as soon as possible so you don’t miss any exciting
opportunities. Please send your details to [email protected].
Keep informed
Add us on Facebook:
facebook.com/TheActorsCentre
facebook.com/TristanBates
Follow us on Twitter:
@TheActorsCentre
@TristanBates
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