1. art and entertainment
2. theatre

October-December 2014 Programme
→
Contents








Professional Development Programme (Quarterly)
Weekly/Fortnightly/Monthly Workshops
Industry Programme (Quarterly)
Weekly/Fortnightly Industry Workshops
Bespoke Coaching
Regional Workshop Programme
Other in-house Opportunities (events/supported groups)
Opportunities for Non-Members (Open Access)
page 3
page 42
page 48
page 63
page 64
page 65
page 67
page 68
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
Each season the Actors Centre will work with a partner to bring you current and relevant links to
practitioners in the industry. This season we are pleased to announce that Paul Clayton, chair of the Actors
Centre Board has curated a programme of workshops under the title The Working Actor.
Surely every actor is a ‘working actor’? Or at least would like to be. The irony for most
actors is that when we are supposedly ‘resting’ we are working our hardest - organising our
business, being the CEO, marketing officer, operations officer and tea boy of me.com. And
it’s all these aspects that the sessions included in my curated The Working Actor season will
focus on. The best piece of advice I was ever given was “Do one thing each day that might lead to work,
and then get on with living your life”. People hire people. They don’t hire desperate out of work people, so
I'm never out of work. Even if I’m not actually acting, I’m a working actor. That’s what the Actors Centre
wants to encourage you to be to. We can't get you work, but we can get you working. Learn how producers
and casting directors spend their days. Find out just what the perfect headshot is. Sort out your tax affairs.
Learn about the promotional market and how you can use your acting skills to earn good money on fun
jobs. Discover all about corporate role-play. Come along to a ‘Cut the Crap’ clinic and make the transition
from a newcomer to a working professional.
Paul Clayton
2
October-December 2014 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.
The Camera Loves You
Suri Krishnamma
October 5
10.30-17.30
Course: TV19
Keywords: ACT ON CAMERA | TAKING DIRECTION | TECHNICAL UNDERSTANDING | TECHNIQUE
WHAT IS IT? This workshop 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.
This will be 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, with a debrief
to follow at the end of the session.
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: £55
Acting with Passion
Niki Flacks
October 6, 7, 8, 9
13.30-17.30
Course: A28
Keywords: MIND & BODY | CONFIDENCE | INTENSIVE | SELF EXPLORATION | EMOTIONAL FREEDOM
WHAT IS IT? A unique approach to acting based on mind-body and neuroscience, guiding the actor to have ‘emotions
on cue’.
HOW WILL IT WORK? The frustrations of being ‘in your head’ and the ‘inner critic’ giving constant direction are
conquered through learning physical and emotion-driven techniques. Actors experience the remarkable connection
between spoken text and the rich emotional world of the unconscious mind. For this reason, actors are requested to
come prepared with two solidly memorised monologues. This is a workshop for actors who dare to experience acting
in a new and different way.
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’ - having easy access to all your feelings.
→ 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: £80 / OBSERVERS: £40
3
October-December 2014 Programme
The Headstrong Approach: Becoming Somebody Else
Michael Ferguson
October 8
10.30-17.30
Course: TV26
Keywords: SCREEN ACTING | CHARACTER | IMAGINATION | SKILLS | PRACTICAL | TEXT WORK
WHAT IS IT? A fast-track approach to building imaginative, in-depth and credible characterisations which will not only
satisfy an author’s intentions but also be fresh and compelling works of art.
HOW WILL IT WORK? Based on a brief character description, you will create and become an original personality. By
imagining their life story, physique, voice and nuances of personality, you will acquire a sense of this person’s self and
enable their on-camera behaviour to be intuitive instead of programmed.
WHAT DO YOU GET OUT OF IT? A simple way to create a rounded human being who is capable of truthfully
experiencing their involvement in a script’s narrative.
→Michael Ferguson trained as an actor at LAMDA before becoming a producer, director and writer of TV drama with
the BBC and major ITV companies. As a teacher he has worked at RADA, Bristol Old Vic, Guildford School of Acting and
ALRA. In 2002 he established the Film and Television training department at the ArtsEd. During the last ten years he
has been developing Headstrong, an important new approach to screen acting.
PARTICIPANTS: £55 / OBSERVERS: £15
The Body Never Lies: Creative Movement for Actors
Polly Bennett
October 9
10.30-13.30
Course: PH1
Keywords: CHARACTER | PHYSICALITY | CREATIVITY | AWARENESS
WHAT IS IT? An essential physical workshop that focuses on the notion of meaning and movement, and how the body
can say so much about the human character in a matter of seconds.
HOW WILL IT WORK? Using techniques she uses in the theatrical rehearsal room, Movement Director Polly Bennett
will explore habitual movement and investigate how an awareness of physicality when using text can open the door
to more creative opportunities. Please have a monologue or piece of text learnt.
WHAT DO YOU GET OUT OF IT? You will leave with a deeper awareness of how you can use your natural physicality
when working with text.
→ Polly is a movement practitioner, director & teacher working in the broadest applications of movement. She has an
MA in Movement from RCSSD and was resident company Movement Practitioner at the RSC 2013. She was Assistant
Movement Director on the London 2012 Opening Ceremony and Mass Cast Choreographer on Sochi Winter Olympics
Ceremonies 2014. She has worked at the NT, National Theatre Scotland, Bush, Young Vic & BBC.
PARTICIPANTS: £18
4
October-December 2014 Programme
Active Analysis
Dan Coleman
October 9, 10
10.30-17.30
Course: A39
Keywords: STANISLAVSKI | PHYSICAL EXPLORATION | IMAGINATION | CREATIVITY
WHAT IS IT? Most rehearsals start with ‘table-work’; a period of discussion and analysis in which the text is slowly
pulled apart to reveal the intentions of the characters and the world of the play they inhabit. Some people love it;
most cannot wait for it to end. Active Analysis is a set of exercises that allows an actor to make those same
discoveries up on their feet, away from the table.
HOW WILL IT WORK? In-depth textual analysis is achieved through intuition, imagination and physical exploration to
build a rich, textured understanding of a character’s journey and the world of the play that surrounds them. Drawing
on Stanislavski’s ‘Method of Physical Action’, the workshop will look at simple, practical, active ways of bringing a text
to life that don’t make you feel like you’re back at school. Essentially, It’s table-work without the table.
WHAT DO YOU GET OUT OF IT? A set of active exercises based on intuition and physical exploration that you can use
to quickly unlock text and develop character, either at home or in the rehearsal room.
→ Dan is the Artistic Director of Dawn State Theatre Company and a freelance theatre director and dramaturg.
Recent theatre credits include Merchant of Venice (RSC Studio), Hedda Gabler (Drama Centre London), Dirty Great
Love Story (Old Vic Tunnels), Taming of The Shrew (Arts Ed), GSA Acting Showcase (Criterion Theatre), Skittles (BAC
and Pleasance, Edinburgh), The Biting Point (Theatre503), Caucasian Chalk Circle (LSDA) and Urban Scrawl
(Theatre503 at Latitude). He has worked as an assistant director for the RSC, ETT, Liverpool Playhouse and the
Sheffield Crucible, where he was the resident assistant director. He trained at Birkbeck College and is a visiting
practitioner at GSA and Arts Ed Drama Schools.
PARTICIPANTS: £60
The Authentic Actor
Deepak Verma
October 11
10.00-13.00
Course: A79
Keywords: MOVEMENT | ENERGY | AUTHENTICITY | PERSONAL STRENGTHS
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, through exercises and group work your own challenges, strengths and
journeys to feed back into the work. We will start with a gentle physical warm up and expand into scene work and
solo work and culminate in a group meditation.
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 the
space to 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 comfortable clothes suitable for movement work and come
with an inquisitive mind.
→ 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
5
October-December 2014 Programme
Meisner and Cold-Reading
Susan Bracken
October 13
10.30-17.30
Course: A17
Keywords: MEISNER | COLD-READING | SKILLS | AUDITION | TAKING DIRECTION
WHAT IS IT? A workshop looking at how the Meisner-trained actor can develop their cold-reading skills.
HOW WILL IT WORK? Participants will develop their cold-reading skills for auditions by learning how to make effective
and dynamic choices while still fully engaging with their partner. We will also look at how to deal with an
unresponsive casting director and what to do if the reading isn’t going well. Scripts will be provided
15 minutes before the workshop starts in order for participants to practice making quick decisions (what’s just
happened, how do I feel, what do I want?).
WHAT DO YOU GET OUT OF IT? This workshop will provide you with a system of what to do the moment you are
handed a script and how to respond quickly and effectively to redirection.
→ Susan Bracken is an actress and director. She is co-founder of C Company, a Meisner-based ensemble that has
tested its work in performance over the last four years on the London stage. She trained in the Meisner Technique at
Act One Studios, Chicago.
PARTICIPANTS: £30 / OBSERVERS: £15
Presence, Lightness, Creativity
Annabel Arden
October 13, 14, 15, 16, 17
10.30-13.30
Course: A41
Keywords: PHYSICAL ITY | FLEXIBILITY | STAGE PRESENCE | ENSEMBLE WORK | EXPLORE
WHAT IS IT? A workshop designed to help you explore the nature of ‘presence’ on the stage. Gain confidence with,
and awareness of, space; enhance your ability to improvise physically with others; create greater lightness, flexibility
and creativity.
HOW WILL IT WORK? Through a series of exercises based on Feldenkrais technique, the work of Monika Pagneux and
a variety of other tools and ideas which Annabel has developed during her career as a director and teacher, you will
be encouraged to explore your body in the space and in relation to others. There will always be integration of the
voice but no text work in the commonly accepted sense.
WHAT DO YOU GET OUT OF IT? First and foremost an awakening experience, a chance to challenge yourself again,
and to be a blank canvas. Some physical exercises may strike you as so simple and effective that you will want to
incorporate them into your own practice. This kind of work, while relevant to any actor, is especially useful for anyone
wanting to work in physical ensembles or in devising. You will find new ways to play with others and explore your
unique sense of being on stage. A chance to perceive yourself differently and therefore be open to change.
→ Annabel Arden's distinguished career encompasses opera, theatre and broadcasting as well as acting and devising
new work. She trained with Monika Pagneux and Philippe Gaulier in Paris and then toured internationally with Neil
Bartlett and the performance collective ‘1982’. In 1983 she joined forces with Simon McBurney and Marcello Magni to
form Theatre de Complicité, now celebrated worldwide as the most consistently innovative, imaginative and popular
theatre company of a generation. For the next 15 years Annabel was a central figure in Theatre de Complicité; acting,
directing and teaching. Her award-winning production of Dürrenmatt’s The Visit established Complicité’s relationship
with the National Theatre. She directed Complicité’s first landmark production of The Winter’s Tale, performed in The
Street of Crocodiles which toured the world over a period of 7 years, and was artistic collaborator on The Three Lives
of Lucie Cabrol, Out of a House Walked a Man and more recently Mnemonic. In 2013 she directed Complicité’s first
family show Lionboy. She has taught internationally both for Complicité and independently for over 20 years.
PARTICIPANTS: £90
6
October-December 2014 Programme
Tune-Up
Niki Flacks
October 13, 14, 15
13.30-17.30
Course: A91
Keywords: MIND & BODY | SELF-EXPLORATION | EMOTIONAL FREEDOM | SCREEN PERFORMANCE WHAT
IS IT? Designed specifically for actors who have previously done the Acting With Passion workshop this is an
opportunity to fine-tune the techniques.
HOW WILL IT WORK? Actors should come prepared with two well-memorised monologues. You will utilise the skills
you have previously learned and gain a deeper, more confident connection to Niki’s work. Emphasis will be placed on
audition preparation with the third day of videotaping for direct feedback and coaching.
WHAT DO YOU GET OUT OF IT? Greater depth of your personal use of this technique and renewed energy around
auditions of all kinds.
→ 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: £70 / OBSERVERS: £30
The Actor and the Camera
Denis Lawson
October 14
12.30-14.30
Course: TV41
Keywords: SCREEN ACTING | Q&A | DEMONSTRATION | PERFORMANCE
WHAT IS IT? Drawing on his career in front of the camera (and behind it), Denis Lawson will introduce his new book,
The Actor and the Camera, focusing on his experience and practical aspects of acting for film & TV.
HOW WILL IT WORK? Through a practical demonstration and Q&A, Denis will take the actor’s point of view, offering
encouragement & enlightenment, as well as being candid about some of the more inane procedures.
WHAT DO YOU GET OUT OF IT? Participants will come away with a magnificent array of tips and inside knowledge for
coping with what can be a daunting experience for a hopeful young actor. Attendees will also have the opportunity to
buy Denis’ book The Actor and the Camera on the day at a reduced rate.
→ Denis Lawson has been running film workshops for over twenty years. His work includes the BBC’s Bleak House,
Holby City, Sensitive Skin, Marchlands and Inside No. 9 on television, and Local Hero, Broken and The Machine on film.
In 2012 he joined the cast of BBC TV’s New Tricks.
PARTICIPANTS: £FREE (Associate Members can participate in this workshop)
Fundamentals: Acting and Audition Technique
Morna Regan
October 15
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: £40
7
October-December 2014 Programme
Starting Out in Screen Acting
Martin Denham
October 16
10.30-17.30
Course: TV27
Keywords: TRANSITIONING TO SCREEN PERFORMANCE | ON SET ETIQUETTE | TECHNIQUE
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 the etiquette, processes and terms used on set.
→ 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
Rock and Pop Musicals - Ensemble Singing Workshop
Stuart Morley
October 16
14.00-17.00
Course: MT5
Keywords: MUSICAL THEATRE | ENSEMBLE | POP & ROCK | VOCAL DEVELOPMENT
WHAT IS IT? A practical workshop exploring a range of ensemble numbers from We Will Rock You, Chess and Tommy.
HOW DOES IT WORK? West End Musical Director Stuart will work with participants as he would with a cast from any
of these shows (using original show harmonies, etc.) developing vocal skills and your ability to work together as an
ensemble. All members are welcome: men and women!
WHAT DO YOU GET OUT OF IT? You will build confidence working as part of an ensemble and develop vocal skills and
harmony singing. At the end of the workshop there may be an opportunity to perform a rock/pop song with feedback
and further tips from Stuart.
→ Stuart studied at Trinity College of Music and the Royal Academy of Music. Most recently he was Musical Director
of the Olivier Award-winning West End production of We Will Rock You. Other MD credits include the UK tours of
Tommy and This is Elvis, Ray Cooney's Time's Up, Anthems with Kerry Ellis and Brian May, The Night of a 1000 Voices,
Ruth Jones' 2011 Christmas Cracker (BBC Wales), Chess in Concert (Royal Albert Hall/DVD – Choral Director) and
numerous concerts at venues including the Royal Festival Hall, London Palladium, Theatre Royal Drury Lane and Her
Majesty's Theatre. Stuart re-orchestrated and co-produced the new edition of Freddie Mercury & Monserrat Caballe's
Barcelona album for Island Records and conducted Claire Jones' new Heartstrings album with the English Chamber
Orchestra for Classic FM. He is also the author of The Musical Director's Handbook, available on Amazon.
PARTICIPANTS: £30
8
October-December 2014 Programme
Cracking Shakespeare
Kelly Hunter
October 17
10.30-17.30
Course: SH12
Keywords: ACTING THE CLASSICS | RHYTHM | EMOTIONAL TRUTH | CONFIDENCE
WHAT IS IT? A workshop designed to offer you skills and techniques which unlock Shakespeare's language. The day
will empower you to perform the plays with confidence up on your feet. The exercises will be based on
Hunters forthcoming book - Cracking Shakespeare; A Hands-On Guide for Actors, which is to be published by Methuen
books in 2015.
HOW WILL IT WORK? Please bring a speech you would like to work on. In the morning we will explore how to use
rhythm and sound to find the emotional truth of your speeches. In the afternoon 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 day 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, English Touring Theatre and with the Icelandic company Vesturport. She has also worked extensively in film,
TV and radio. Last year she played Mrs Alving in Ghosts, directed by Stephen Unwin for ETT. Most recently she
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 basis of a longitudinal study at Ohio State University and is the subject of her forthcoming book Shakespeare's Heartbeat - to be published this December by Routledge. She is currently writing Cracking
Shakespeare; A Hands-On Guide for Actors to be published by Methuen, in association with the Actors Centre, in
2015.
PARTICIPANTS: £30
Lycra Not Included
Polly Bennett
October 20
10.30-12.00
Course: PH2
Keywords: DANCE | WARM UP | CONFIDENCE | RHYTHM | MOVEMENT | ALL LEVELS
WHAT IS IT? This is a dance class for actors who struggle to walk into a dance class because it’s full of dancers, those
who find it hard to pick up routines and those who just want to learn dance techniques without any pressure.
HOW WILL IT WORK? After an intensive warm up, Polly Bennett will explore concepts of rhythm, movement quality,
dynamics and shape before teaching a short routine for you to put into practice all you’ve learnt.
WHAT DO YOU GET OUT OF IT? Fundamental dance techniques, physical awareness and the confidence to dance in
your next audition, job or even night out!
→ Polly Bennett is a movement practitioner, director and teacher working in the broadest applications of movement.
She holds an MA in Movement from Central School of Speech and Drama and was Resident Company Movement
Practitioner at the RSC 2013. She was Assistant Movement Director on the London 2012 Opening Ceremony and Mass
Cast Choreographer on Sochi Winter Olympics Ceremonies 2014. She has worked at the NT, National Theatre
Scotland, Bush, Young Vic and for the BBC.
PARTICIPANTS: £10
9
October-December 2014 Programme
Let the Writer Direct You
Finbar Lynch
October 21
10.30-17.30
Course: A48
Keywords: TEXT WORK | LANGUAGE | CHARACTER | PRACTICAL APPROACH
WHAT IS IT? A workshop looking at how to uncover the writer’s notes for the actor in a text.
HOW WILL IT WORK? Rehearsing scenes from modern classics, paying attention to style and language, we will
uncover the instructions the writer has given us on how to play the part. Bring a monologue you would like to work
on.
WHAT DO YOU GET OUT OF IT? A practical approach that takes the emphasis off you and puts it back on the text.
→ Finbar has performed at the National Theatre, the Donmar Warehouse, with the RSC and on Broadway. His
extensive TV and film credits include Proof, George Gently, Waking the Dead, Richard the Second, Silk and The
Numbers Station. He has played many Shakespearean roles with the National Theatre, Opera Comique, the RSC and
Peter Hall Company. Most recently he has been working on Breathless, Foyles War and The Musketeers.
PARTICIPANTS: £30
Simple Stanislavsky
Abigail Graham
October 22, 23, 24
10.30-17.30
Course: A51
Keywords: TECHNIQUE | CREATIVITY | IMAGINATION | FREEDOM | CONFIDENCE
WHAT IS IT? Stanislavsky is not about getting it right – it is about giving the actor a framework to play in. This short
course will help you see how simple - and freeing - Stanislavsky can be.
HOW WILL IT WORK? Over three days, you will rehearse a short play with director Abigail Graham. She will help you
build the world of the play in your imaginations; we will explore all of the factors which affect how you play each
scene; work out what is driving the characters, how they try to get what they want and what makes it difficult for
them to get it. Then we will find simple ways of phrasing these wants and look at the variety of tactics available to the
characters to help them achieve them. This workshop will help you keep your options open so that you can continue
to play over the course of a run.
WHAT DO YOU GET OUT OF IT? A toolbox to help you tackle any play, and the confidence to work with a
Stanislavskian process.
→ Abigail is a freelance theatre director and Artistic Director of OpenWorks Theatre. Her credits include Black Sheep
(Soho), Debris (Southwark Playhouse), Molly Sweeney (Print Room, London/Lyric Theatre Belfast and Northern Irish
Tour), 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: £90
10
October-December 2014 Programme
Finding Your Voice Through Text
Catherine Weate
October 23
10.30-13.30
Course: VC19
Keywords: VOICE | TEXT WORK | SPEECH | SKILLS BUILDING
WHAT IS IT? A practical workshop that focuses on the vocal demands of working on dramatic text.
HOW WILL IT WORK? Your voice needs to be open, free and flexible enough to tackle any style of play. This intensive
workshop will concentrate on practical exercises that build vocal skills for lifting the written word off a page for an
audience. Catherine will focus on material from her books Classic Voice (Working with Actors on Vocal Style) and
Modern Voice (Working with Actors on Contemporary Text) published by Oberon Books.
WHAT DO YOU GET OUT OF IT? A step-by-step set of voice exercises/activities that can be applied to any rehearsal
process.
→ Catherine Weate is a freelance voice and dialect coach. She has worked in theatre, film, television, radio,
education, commerce, law and politics across England, Australia, Hong Kong, Africa and India. Her former roles
include: Head of Voice at Rose Bruford College, Head of Voice and Vice Principal at ALRA and Head of Examinations at
LAMDA. Catherine is a published author with Oberon Books. Her titles include: Classic Voice (Working with Actors on
Vocal Style), Modern Voice (Working with Actors on Contemporary Text), The Oberon Book of Modern Monologues for
Men Volumes 1 and 2, The Oberon Book of Modern Monologues for Women Volumes 1 and 2 and The Oberon Book of
Modern Duologues.
PARTICIPANTS: £18
Performing for the Screen Lab
David Bonneville
October 23
10.30-17.30
Course: TV30
Keywords: SCREEN PERFORMANCE | PRACTICAL | ON SET ETIQUETTE | TECHNIQUE | TRUTH
WHAT IS IT? A workshop designed to practice and improve techniques for on-screen acting.
HOW WILL IT WORK? You will rehearse and interpret segments from character-based screenplays on a work-inprogress approach. You will have to make choices about the character’s back-story and subtext and together we will
make decisions that work for the characters in the scene. Individuals and pairs will then act the scenes for the camera.
We will then watch the recorded scenes collectively and analyse the performances to help you maximise your own
personal effectiveness for on-screen acting. We will focus on: how to turn a good performance into an unforgettable
one; the importance of the target in each scene; the holistic approach to acting; spontaneity and truth; economy of
the spoken word; performance and the power of film grammar.
WHAT DO YOU GET OUT OF IT? Pointers tailored to each individual actor of what their strengths are and what areas
need improvement. You will build confidence, spontaneity and elasticity in preparing for on-screen performance and
acting in general.
→ David Bonneville is an award-winning writer/director, with emphasis on character development and actor’s
performance. His last film Gypsy won Best Global Performance Award at the Toronto Wildsound Film Festival for the
ensemble work of the two male leads. Gypsy premiered in Locarno and was 1 of the 5 Golden Starfish nominees at
the Hamptons. His previous film L'Arc-en-Ciel won the Best Actress Award for Sofia Ferrão at the International
Portuguese Language Film Festival. His films have screened at more than 130 festivals worldwide and have been
broadcast on TV. For further information visit http://www.davidbonneville.net/
PARTICIPANTS: £55
11
October-December 2014 Programme
Doing an Ayckbourn
Paul Elsam
October 24
10.30-17.30
Course: A60
Keywords: APPROACHES TO TEXT | HUMOUR | PERFORMANCE | CHARACTER | CONFIDENCE
WHAT IS IT? The world’s most-performed living playwright is commonly seen as a farceur. Why, then, did French film
director Alain Resnais label him ‘better than Chekhov’? This workshop is designed to help actors ‘crack’ Sir Alan
Ayckbourn’s frequently misunderstood style of comic storytelling.
HOW WILL IT WORK? Using scene excerpts chosen by the playwright, Paul Elsam will take you through a range of
approaches to help you avoid traps, and make ‘correct’ choices when acting a character in an Ayckbourn play. How to
work with Ayckbourn scripts ‘in-the-round’; how to recognise and avoid the common character stereotypes; how to
uncover intended humour in dark places. Some prior line learning required.
WHAT DO YOU GET OUT OF IT? A checklist for when you audition for, perform in, or direct an Ayckbourn: guided
character research; approaches to silences and ‘the unsaid’; skill in working within an Ayckbourn-style in-the-round
space; approaches to humour, recognition and the role of the audience; these techniques and tips will leave you
feeling both more informed, and more confident, when next tackling an Ayckbourn play.
→ Paul is the author of the bestselling Methuen handbook Acting Characters (Foreword by Sir Ben Kingsley). Trained
at Manchester Polytechnic, he has worked widely as an actor in theatre, television, film and radio, often playing very
different character types. Paul currently teaches acting technique at both ALRA North and Teesside University. He
enjoys using active research to improve practitioner skills, including through his 2013 Bloomsbury book Stephen
Joseph – Theatre Pioneer and Provocateur (Foreword by Sir Alan Ayckbourn).
PARTICIPANTS: £30
Shakespeare and Autism – The Hunter Heartbeat Method
Kelly Hunter
October 24
10.30-17.30
Course: SH13
Keywords: TEACHING SHAKESPEARE | GAMES | COMMUNICATION | NEW SKILLS & TECHNIQUES
WHAT IS IT? A workshop designed to offer you skills and techniques that form the Hunter Heartbeat Method. These
games have been created by Kelly Hunter to unlock the communicative blocks of autism using the fundamental
concepts of Shakespeare. This work forms the basis of a longitudinal study at Ohio State University and is the subject
of Hunter's forthcoming book - Shakespeare's Heartbeat - to be published by Routledge in December 2014.
HOW WILL IT WORK? Kelly Hunter will spend the day taking you through the games, describing how each exercise
positively impacts the children. Everyone in the group will play together.
WHAT DO YOU GET OUT OF IT? These games offer a fresh new perspective from which you can further your skills as
an actor to work with children on the autism spectrum. The games also offer new ways to teach and unlock
Shakespeare for children of all abilities.
→ Kelly is an award-winning actor and director. Over thirty years she has played major roles at the RSC, National
Theatre, English Touring Theatre and with the Icelandic company Vesturport. She has also worked extensively in film,
TV and radio. Last year she played Mrs Alving in Ghosts, directed by Stephen Unwin for ETT. Most recently she
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 basis of a longitudinal study at Ohio State University and is the subject of her forthcoming book Shakespeare's Heartbeat to be published this December by Routledge. She is currently writing Cracking Shakespeare;
A hands-on guide for actors to be published by Methuen, in association with the Actors Centre, in 2015.
PARTICIPANTS: £30
12
October-December 2014 Programme
On Set
Jordan Beswick
October 25, 26
10.30-17.30
Course: TV31
Keywords: SCREEN ACTING | CHARACTER | SCENE STUDY | WORKING ON SET | DIRECTION
WHAT IS IT? A fun and energising taster workshop designed to help you prepare for the mental, physical, emotional
and technical demands of working on a TV or film set.
HOW WILL IT WORK? - From breaking down the text, through rehearsal and filming, Jordan Beswick will take you
through the preparatory process that has helped actors maximise their on-set experience for decades. Knowing who
you are, where you are, and what you are dealing with ‘in character’ whilst simultaneously hitting your marks, dealing
with green screen, imagining specific worlds off camera, sight lines, sound levels, continuity, etc. is key.
WHAT DO YOU GET OUT OF IT? The goal of the workshop is to become an actor who is focused, flexible, has a fertile
imagination and is able to multi-task.
→ Jordan began coaching actors 20 years ago at the Lee Strasberg Theatre Institute in New York. He has also taught
at Andrea Magder's Film Workshop & Laboratory in North Carolina, Studio VO/VF in Paris and the Institut für
Schauspiel Film und Fernsehberufe in Berlin. Jordan is a member of the Casting Society of America (CSA) and worked
with renowned casting directors including Douglas Aibel, Georgianne Walken and Sheila Jaffe on an array of awardwinning films including Dead Man Walking, Little Odessa, The Yards, Signs and Forty Shades of Blue before going solo
and casting several more award-winners including Getting To Know You and Urbania. Jordan has directed short films
and plays in LA, New York, Paris and Berlin. As an actor, Jordan trained with Michael Moriarty, Sandy Dennis, Shelley
Winters, Sally Kirkland and Martin Landau among many others.
PARTICIPANTS: £30
Fundamentals – Voice into Acting
Jessica Higgs
October 27, November 3, 10, 17, 24, December 1, 8, 15
18.00-21.00
Course: VC14
Keywords: VOICE | TEXT WORK | SPEECH | EMERGING & RETURNING ACTORS | SKILLS BUILDING
WHAT IS IT? A course of eight evening workshops run over eight weeks looking at voice, how it works and its
application in acting for theatre and screen.
HOW WILL IT WORK? There will be information and exercises to help 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 - breathing,
alignment, tone, range and articulation - alongside pithy topics such as how to deliver a line naturally, keeping the
voice relaxed when expressing emotion and projecting without force. Running in parallel to this there will be work
showing how to seamlessly draw together voice and acting in performance. The time in each three-hour session will
be divided up between technique and its application. Participants will receive feedback and coaching throughout the
course including specifically on the 3 monologues they will be asked to learn, prepare and present in weeks 3, 5 and 8.
(Monologues will be selected by Jessica).
WHAT DO YOU GET OUT OF IT? The course is progressive, with the accomplishment of voice and acting skills building
steadily from week to week. At the end you will have in place a simple but rock solid voice/acting process that will be
available to you to apply effortlessly and naturally to 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: £150
13
October-December 2014 Programme
Create Your Own Solo Performance
Colin Watkeys
October 28, November 3, 10.30-13.30
November 6, 14.00-17.30
Course: A61
Keywords: SOLO SHOWS | NARRATIVE | CHARACTER | DEVELOPMENT | SCRATCH PERFORMANCE
WHAT IS IT? Three sessions developing a new solo performance culminating in an informal showing in the Tristan
Bates Theatre.
HOW WILL IT WORK? Using techniques developed by solo theatre director Colin Watkeys you will explore character,
narrative and visual/physical choices in the construction and execution of your solo performances. In three
sessions you will develop an initial idea into a short ‘scratch’ performance, for further feedback, in front of a live
audience.
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. To apply for this course please send your CV and a brief outline of your idea
or script if there is one.
→ Colin Watkeys is the founder and director of the Face to Face Festival of Solo Theatre, which is now in its third
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 and also working with Jack Klaff, Rosie Wilby, Lisa Dwan and
Jeremy Stockwell. He originally 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: £54
Pursuing Le Jeu in Performing
Alvin Chiam
October 30, 31
18.00-21.00
Course: A71
Keywords: PLAY |IMAGINATION | CREATIVITY | THE AUDIENCE | PERFORMANCE
WHAT IS IT? A workshop that explores the most important core teachings of Philippe Gaulier.
HOW WILL IT WORK? At the beginning of the twentieth century games and improvisation were used infrequently in
the rehearsal process by directors, let alone actor training. Now this work is an integral component in most theatre
training throughout the world, used not only in the rehearsal process but also as a way of preparing the actor to be
creative. Le Jeu (the French word for ‘play’) helps to discover the fun of being an actor and the pleasure of being
onstage in front of an audience. If a performer enjoys their performance - and more importantly if they can share that
enjoyment with the audience - the audience are more likely to enjoy watching. Participants must bring a short,
prepared piece of text.
WHAT DO YOU GET OUT OF IT? This workshop will help actors discover their inner rhythm and timing, fixed point,
sensitivity, lightness, and a good complicité within themselves, fellow actors and the audience. Develop your
imagination and harness your inner fun to move towards an inspired and uninhibited performance.
→ Alvin Chiam is an international performer and director and Artistic Director of Le Jeu Studio (Singapore). With the
company he has directed and performed around the world including London, Paris, China, Macau, Hong Kong and
Taiwan. He has also been a teacher and assistant at L’Ecole Philippe Gaulier since 2009 as well as running his own
workshops in London, Singapore, China and Hong Kong since 2003.
PARTICIPANTS: £36
14
October-December 2014 Programme
Verbatim Theatre
Louise Wallinger
October 30, November 6
10.30-13.30
Course: A62
Keywords: INTERVIEW & PERFORMANCE TECHNIQUE | EDITING | TRUTH | CREATING WORK
WHAT IS IT? An introduction to the skills required to make and perform Verbatim Theatre.
HOW WILL IT WORK? In the first class Louise will explain the process involved in the Verbatim technique where the
actor records interviews, edits them, then performs the edited version exactly as they are hearing it through
earphones. You will be given guidance on interview and performance technique and will have space to explore both.
Louise will set ‘homework’ and in the second class you will present short extracts of material gathered in your own
time. We will explore the editing process in more depth and look at what makes a story performable.
WHAT DO YOU GET OUT OF IT? A sharpened ear for real speech and dialogue and an understanding of how you can
start to create your own work.
→ Louise was a founder member of Non-Fiction Theatre Company, the first Verbatim Company to develop from Mark
Wing-Davey’s Drama Without Paper workshops at the Actors Centre. She co-created and performed in all their shows
including Sex 1 : Death 2 (Edinburgh Festival, BAC, Soho Theatre); We Haven’t Said a Porky Pie Yet (BAC, Edinburgh)
and See-through Soho (Soho Theatre) - all directed by Mark Wing-Davey. Her first solo verbatim show Cut Me and I
Bleed Elvis (2004) was developed into a play for BBC Radio 4. She also wrote the radio play Audio Recordings of
Human Traffic. Her most recent solo show was Annoying the Neighbours (Lost Theatre, Edinburgh 2013, Juncture
2014). Louise introduced this particular Verbatim technique to Tamasha Theatre Company and co-created The Trouble
with Asian Men (first produced in 2005) for them. She has also worked as an editor of interviews on DV8’s To be
Straight with You (2008) at the National Theatre. Louise has taught Verbatim technique to actors and writers at Soho
Theatre, Theatre Royal Stratford East, Lost Theatre, Yorkshire Dance and on Tamasha Theatre Company’s new writing
workshops.
PARTICIPANTS: £36
Fighting for Film: An Introduction
Lyndall Grant
October 31
10.30-17.30
Course: PH6
Keywords: COMBAT | FILM & TV | REALISM | STORYTELLING | CHARACTER
WHAT IS IT? A full-day workshop introducing how we make unarmed combat work for screen – how to keep it safe,
and also how to bring out your best performance amongst the stress and technicalities of filming.
HOW WILL IT WORK? With our own camera operator present, we will learn how we create the illusion of unarmed
fighting. We will cover the dramatic combat techniques involved; the technical considerations we have to keep in
mind such as eyelines, marks and framing; and how we can make our performances truthful and engaging. Each
participant will have screen time, working each element we cover, as well as time to rehearse and explore off-screen.
The day culminates in the creation of short dramatic fight scenes which will be shot and reviewed.
WHAT DO YOU GET OUT OF IT? The knowledge of how the basics of dramatic combat works for screen, and the
confidence of knowing what to expect if required to perform a fight on set. You will also gain an awareness of the
dangers, difficulties and considerations of performing fights on set; what you need to keep yourself safe; and what
training is required to perform screen fights adequately.
→ Lyndall Grant 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: £40
15
October-December 2014 Programme
Acting on Screen
Caroline Webster
November 3
10.30-17.30
Course: TV32
Keywords: SCREEN ACTING | EMERGING | RETURNING | JARGON BUSTING | ON-SET ETIQUETTE
WHAT IS IT? A workshop that will give you the skills you need to prepare and play a role on screen.
HOW WILL IT WORK? Using scripted scenes from TV/film, Caroline will guide you through understanding the structure
of screenplays, and how to make clear dynamic thought-process choices, enabling you to create a truthful and
entertaining performance on camera. All scenes will be rehearsed and recorded with a camera operator, and
reviewed at the end of the day.
WHAT DO YOU GET OUT OF IT? A clear method for approaching screenplays that you can apply to auditions and
professional work on screen, that will help you stand out from the crowd and feel confident.
→ Caroline began her career as an actress working extensively in theatre and television and became a familiar face
when she appeared in four series of BBC1’s Casualty. She is currently a freelance director & photographer and has
written and directed a number of half hour films for Dramatic Media and Tara Television.
PARTICIPANTS: £55 / OBSERVERS £15
Improve Your Voice by 90%
Frances Parkes
November 3
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
The Landscape of Tennessee Williams - Heat, Loss, Mendacity, Desire
Lisa Forrell
November 4
10.30-17.30
Course: A64
Keywords: SCENE STUDY | CHARACTER | ACCENT | LANGUAGE | PHYSICALITY
WHAT IS IT? An exploration of characters and scenes in some of Williams' best-loved plays.
HOW WILL IT WORK? Using improvisation and exercises, the morning session will concentrate on the physicality,
accent and language of America’s Deep South and American acting styles. This will be followed by each actor working
on selected scenes from some of the great plays.
WHAT DO YOU GET OUT OF IT? A sense of the world of this great playwright and pointers to 'acting American'.
→ Lisa Forrell has directed over twenty-six theatrical productions in the UK, as well as in Paris, Canada and New York.
These include America Justice (Arts Theatre), Dark at the Top of the Stairs (Belgrade Theatre Coventry), Tabloid
Caligula (Arcola Theatre), Waiting for Godot (Lyric Hammersmith and Plymouth Theatre Royal), Three
Sisters (Chichester Festival Theatre) and A Shayna Maidel (Ambassadors, West End). She has worked with leading
actors including Clive Owen, Greg Hicks, Celia Imrie and Susan Hampshire. She has also written three plays, two
musical plays and is currently in pre-production for her film The Journey Home. For further information
visit www.lisaforrell.com.
PARTICIPANTS: £30
16
October-December 2014 Programme
Building Character Voices
Yvonne Morley
November 4
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
The Play’s The Thing – Rehearsing with an American Accent
Terry Besson
November 5
10.30-17.30
Course: VC2
Keywords: ACCENT | DELIVERY | SPEECH | AMERICAN | TEXT | REHEARSING
WHAT IS IT? A day-long workshop, reading a selection of scenes in a General American accent, in pairs and small
groups.
HOW WILL IT WORK? Terry will help you learn how to maintain an authentic General American accent throughout the
rehearsal process and into performance. 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 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. His vast experience gained over 30 years
working on film, TV, radio and theatre projects has given him a unique approach to the vocal and physical changes
needed when approaching acting in another accent. 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
17
October-December 2014 Programme
Screen Acting – Be Real and Believable
Daniel Dresner
November 5, 7
10.30-17.30
Course: TV11
Keywords: SCREEN PERFORMANCE | PRACTICAL | CONFIDENCE | ON SET PREPARATION
WHAT IS IT? A 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? In the morning of 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 will all then be incorporated into the initial scene from day one. All the 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 be able to deliver real, believable and honest screen life and a bag load of
confidence every time!
→ 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
The Meisner Technique
Scott Williams
November 5, 6, 7, 12, 13
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.
→ 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
Creating Your Own Character
Laurence Mitchell
November 5, 6, 12, 13
18.00-21.00
Course: A65
Keywords: EXERCISES | CREATIVITY | SELF EXPLORATION | CONFIDENCE BUILDING
WHAT IS IT? A workshop designed to help the actor awaken and unlock the wealth of creative resources within us all.
HOW WILL IT WORK? Starting with a simple exercise, you will be guided through a series of improvisations, each
building & expanding, step by step, culminating in group character improvisation work.
WHAT DO YOU GET OUT OF IT? The confidence and understanding that within every actor there exists the ability to
create our own stories and a fully realised, authentic and truthful creative world.
→ Laurence trained at Drama Centre London and has been working as an actor for over 16 years. Theatre work
includes the National Theatre, Young Vic, Old Vic, Almeida, RSC, Soho Theatre, Lyric Hammersmith & Manchester
(Royal Ex.). He has taught at RCSSD, Drama Centre, ALRA, and the Copenhagen ISPA.
PARTICIPANTS: £72
18
October-December 2014 Programme
How to Play Comedy on Screen
Caroline Webster
November 6
10.30-17.30
Course: TV6
Keywords: SCREEN ACTING | COMEDY TECHNIQUE | STYLE | CHARACTER
WHAT IS IT? A fun one-day workshop that will help you develop the skills you need to prepare and play a comedy
character on screen.
HOW WILL IT WORK? Using scripted scenes from TV and film, Caroline will guide you through understanding the
structure of comedy screenplays, and what makes a funny character. Through making clear, dynamic thought-process
choices, and observing the comic rhythm of the script, you will have the opportunity to rehearse and record your
scene on camera. Scripts will be provided, a camera operator will be present, and all scenes will be reviewed at the
end of the day.
WHAT DO YOU GET OUT OF IT? A clear method for approaching comedy scripts which you can apply to auditions and
professional work on screen, helping you to stand out from the crowd and feel more confident.
→ Caroline began her career as an actress working extensively in theatre and TV and became a familiar face when
she appeared in four series of BBC1’s Casualty. She is currently a freelance director and photographer and has written
and directed a number of half hour films for Dramatic Media and Tara Television.
PARTICIPANTS: £55 / OBSERVERS £15
Uta Hagen – An Introduction
Clive Perrott
November 7, 14, 21
10.30-17.30
Course: A23
Keywords: UTA HAGEN TECHNIQUE | ACTION/REACTION | TRUTH | EMOTION | CHARACTER
WHAT IS IT? An exploration of the 'Method' school of acting as interpreted by one of the most famous practitioners of
this approach. The legendary and influential Uta Hagen was the acting tutor of, among others, Sigourney Weaver,
Steve McQueen, Robert De Niro and Al Pacino.
HOW WILL IT WORK? The workshop is framed around her 10 Object Exercises. We will focus on truth in the moment.
We will not 'ACT', we will 'REACT'. To fully transform into a character - to be truthfully and emotionally connected needs hard work, technique and good direction, but the audience should see none of this. They should only see a fully
realised, three dimensional character alive and true to the moment. Drawing on Uta Hagen's technique, as set down
in her seminal work: 'Respect for Acting', this is an introduction and exploration of her advocation of 'realistic acting'
(as opposed to pre-determined 'formalistic' acting).
WHAT DO YOU GET OUT OF IT? The class will de-mystify the 'Method' approach, making it fun, accessible and very
practical.
→ Clive is a resident drama tutor at East 15 Drama School, part of Essex University and teaches the history of theatre
at the University of North Carolina European Study Centre. He is co‐director of the flicker club:
www.theflickerclub.com. As an actor his work includes Scar in Disney's The Lion King at the Lyceum Theatre, West
End. He was a founder of Marcus and McCrimmon Theatrical Agency and Producer of Black Cat Films Ltd.
PARTICIPANTS: £90
19
October-December 2014 Programme
The Actor and the Audience
Sinéad Rushe and Daran Oram
November 8, 9
10.30-17.30
Course: A66
Keywords: MICHAEL CHEKHOV | LINKLATER VOICE WORK | PRESENCE | TRUTH | THE AUDIENCE
WHAT IS IT? A workshop that explores how to find greater vocal and physical presence in performance, and how to
bridge the seeming divide between the imagined world of the play and the real world of the audience.
HOW WILL IT WORK? By integrating the vocal work of Kristin Linklater and the acting techniques of Michael Chekhov,
Daron Oram and Sinéad Rushe will explore who the audience are, how we feel about them, and investigate how to
connect with them without losing a deep sense of truth and connection to the play. We will work through a range of
integrated vocal, physical and acting skills which will then be applied to scene work. Pick a character you'd like to work
on from Anton Chekhov's The Seagull (any edition) and bring a copy of the play if you have one. It is not necessary to
be off book.
WHAT DO YOU GET OUT OF IT? An ability to perform with greater presence, an understanding of how to work with
the actual audience as an active part of your practice, and awakening what Michael Chekhov calls 'love' for the
audience.
→ Daron Oram specialises in teaching and coaching voice, text, accents and dialects. He started working at Central
School of Speech and Drama in 2012 after six years as Head of Voice at Arts Ed. He is now Head of Voice on BA Acting
CDT at Central. Daron’s initial training in voice was at Central on the MA Voice Studies course and he has also
subsequently been trained as a designated Linklater Voice Teacher by Kristin Linklater. Daron has also worked
professionally as a voice/dialect coach for the RSC and on West End and national touring productions. Prior to training
as a voice teacher, he worked as an actor.
→ Sinéad Rushe is a director and teacher. She teaches and directs on the BA Acting CDT programme at Central School
of Speech and Drama, specialising in the Michael Chekhov Technique and Meyerhold's Biomechanics. Her recent
directing credits include Loaded at Jacksons Lane, Gogol's Diary of a Madman with Living Pictures at Sherman Cymru
in Cardiff, Something or Nothing with Guy Dartnell at The Robin Howard Dance Theatre (and tour) and Out of Time by
Colin Dunne, performed at The Baryshnikov Arts Centre, New York and nominated for a 2010 Olivier Award. She is the
author of The Michael Chekhov Approach to Acting: A Practitioner's Guide, (forthcoming, Methuen 2015).
www.sineadrushe.co.uk
PARTICIPANTS: £70
Rehearse, Record: Working Fast in TV Drama
Andrew Lynford
November 10
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
20
October-December 2014 Programme
Stage Presence
Lucy Hopkins
November 10, 11, 12
14.00-17.00
Course: A67
Keywords: UNIQUENESS | NEW APPROACHES | STORYTELLING | SPACE | GAMES
WHAT IS IT? A course on stage presence exploring: own unique stage presence; working together - putting our
presence on stage with others; presence in the space and storytelling.
HOW WILL IT WORK? We’ll do group and solo exercises around listening to your audience, being fascinating while
doing nothing, sharing the stage and wielding the space. We’ll stretch, play some games, laugh at each other, laugh at
ourselves and perhaps cry a bit (hopefully not too much crying).
WHAT DO YOU GET OUT OF IT? A valuable insight into who you are as a performer, what your audience wants and
the incredible potential to be found in working with what you’ve got.
→ Lucy Hopkins trained at the schools of Jacques Lecoq and Philippe Gaulier and with Spymonkey. She has created a
play for two performers RawUs™, toured France as one of a trio of clowns (Les Femmes En Voyage), directed clown
trio The Gazpacho Brothers, performed with Parisian improvisation troupe Zarbi & Orbi, worked in France, Denmark
and Sweden on Kristian Husted’s Thomas Iratus, created and performed a solo show, Impossible N’est Pas Français or
There’s No Such Word As Can’t which won the Prague Fringe Festival Inspiration Award in 2011, and as assistant Mary
wreaked havoc alongside British variety legend Charlie Chuck in his 2012 creation Cirque de Chuck. She has toured her
one-woman show Le Foulard (Art Show) aka The Veil across 6 different countries to enthusiastic response from critics,
award-givers and audiences alike (www.lefoulard.eu). She is currently working on a French translation of Le
Foulard alongside working with UK based international ensemble Babakas.
PARTICIPANTS: £54
Fundamentals – Performance Naturalism
Vicky Jones
November 11, 12
10.30-17.30
Course: A37
Keywords: NATURALISM | TRUTH | TEXT | PERFORMANCE | CHARACTER | METHODOLOGIES
WHAT IS IT? 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.
→ Vicky is co-Artistic Director of DryWrite (www.drywrite.com), a theatre company dedicated to interrogating and
challenging the roles of playwright and audience. Over the past six years Vicky has worked as a freelance workshop
leader for the Young Writers Programme at the Royal Court. Other freelance directing credits include The Freedom of
the City (Finborough), A Bedroom (Lyric Studio) and The Blind Bird (Gate Theatre, Directors Festival). For the NT,
Coram Boy, Rafta, Rafta (Staff Director) and Banned: The History of Censorship (NT Platform). As AD, Piano/Forte, I
Remember the Royal Court and The One with the Oven (Royal Court).
PARTICIPANTS: £60
21
October-December 2014 Programme
Building a Life on Screen
Mel Churcher
November 11, 11.30-18.00
November 12, 10.30-17.30
Course: TV35
Keywords: SCREEN ACTING | CHARACTER DEVELOPMENT | SUSTAINABILITY
WHAT IS IT? A 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 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 be more tips, rehearsal techniques and strategies to build a life for
screen via short scenes. Please bring a very, very short modern monologue (preferably from screen) for the first day.
Scripts for the second day will be provided. This two-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. A 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: £110 / OBSERVERS: £30
Injury and Death in Performance
Lyndall Grant
November 14
10.30-13.30
Course: PH7
Keywords: COMBAT | REALISM | STORYTELLING | CHARACTER
WHAT IS IT? A workshop looking at how to realistically reproduce injury and death reactions when our character is
hurt on stage or screen.
HOW WILL IT WORK? We will explore how people and animals could react to a range of non-fatal and fatal injuries –
especially those most of us have never experienced (for example, a sword stab to the belly). We look at the physical,
emotional and mental changes that can occur, and how this can affect our character moving forward in the story.
These techniques will then be incorporated into a dramatic scene involving stage combat.
WHAT DO YOU GET OUT OF IT? You will leave with a physical toolbox of how to realistically create an injury or death
‘from scratch’, in a way that keeps you feeling safe and stops you feeling ‘fake’ or ‘silly’. NB, Lyndall will be drawing on
real-life experience in medicine for this class, talking in detail about the physiological processes of non-fatal and fatal
injuries.
→ Lyndall Grant 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: £18
22
October-December 2014 Programme
Action on Action – Exploring Screen Acting
Clifford Milner
November 14
10.30-17.30
Course: TV34
Keywords: TV/FILM | PREPARATION | SCREEN ACTING | CONFIDENCE | ACTING FOR CAMERA
WHAT IS IT? Acting for the camera, beginners to advanced, 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. 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 Middlesex University and
GITIS the Russian Academy of Dramatic Art in Moscow and has directed at The Oldham Coliseum, The Old Rep and
Crescent Theatres Birmingham, Jermyn Street Theatre, Watford Palace and recently the world premiere of The Forest
by Kevin Fegan at The Lowry, Salford. 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 including Arts Ed, ALRA,
Mountview and Central.
PARTICIPANTS: £55
Silent Workshop
Lucy Hopkins
November 15
14.00-18.00
Course: A68
Keywords: LISTENING | OBERVATION | EXPRESSION | PERCEPTION
WHAT IS IT? A workshop about making silent work, conducted in silence.
HOW WILL IT WORK? By the concerted effort of the group focusing our attention on listening to each other and
letting ourselves be seen. We’ll stretch and play some games. We’ll do exercises exploring communicating without
words, or even sound, and examine our sensitivity to each other and the space around us.
WHAT DO YOU GET OUT OF IT? A new experience of your own unique and incredible capacity for expression and
perception.
→ Lucy Hopkins trained at the schools of Jacques Lecoq and Philippe Gaulier and with Spymonkey. She has created a
play for two performers RawUs™, toured France as one of a trio of clowns (Les Femmes En Voyage), directed clown
trio The Gazpacho Brothers, performed with Parisian improvisation troupe Zarbi & Orbi, worked in France, Denmark
and Sweden on Kristian Husted’s Thomas Iratus, created and performed a solo show, Impossible N’est Pas Français or
There’s No Such Word As Can’t which won the Prague Fringe Festival Inspiration Award in 2011, and as assistant Mary
wreaked havoc alongside British variety legend Charlie Chuck in his 2012 creation Cirque de Chuck. She has toured her
one-woman show Le Foulard (Art Show) aka The Veil across 6 different countries to enthusiastic response from critics,
award-givers and audiences alike (www.lefoulard.eu). She is currently working on a French translation of Le
Foulard alongside working with UK based international ensemble Babakas.
PARTICIPANTS: £20
23
October-December 2014 Programme
Learning Lines with Confidence
Brigid Panet
November 15, 16
10.30-17.30
Course: A15
Keywords: TEXT WORK | CONFIDENCE | PERFORMANCE | DELIVERY
WHAT IS IT? 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. She is a teacher/director at RADA and NYU.
PARTICIPANTS: £60 / OBSERVERS: £30
Understanding Shakespeare
David Wylde
November 16
10.30-17.30
Course: SH14
Keywords: ACTING THE CLASSICS | UNDERSTANDING | LANGUAGE | RHYTHM | PERFORMANCE
WHAT IS IT? An intensive one-day workshop for anyone who wants to improve their understanding & performance of
Shakespeare.
HOW WILL IT WORK? Working on a variety of extracts and exercises we will explore how the rhythms and structures of
the language inform meaning and enable the character to shine through. Bring any speeches you would like to work on,
but a selection of extracts and speeches will be provided on the day.
WHAT DO YOU GET OUT OF IT? A range of simple exercises to help you approach any Shakespeare play or character with
confidence and creativity.
→ David has been working for many years as a director and drama school tutor in classical text. He is on the board of the
Haymarket Theatre, Basingstoke and leads the campaign to save the Redgrave Theatre, Farnham.
PARTICIPANTS: £30
Would Your Character Really Walk Like That?
Victoria Worsley
November 16
10.30-17.30
Course: PH8
Keywords: FELDENKRAIS | OBERVATION | AWARENESS | NEW APPROACHES
WHAT IS IT? A workshop delving into the differences in the ways people walk, starting with being able to feel what you
actually do yourself. We will also discover different possibilities, and what they mean for character.
HOW WILL IT WORK? We will take walking apart and put it together in different ways, observing ourselves and others in real
detail. To help you we will use a cutting edge neuromuscular re-education system called the Feldenkrais Method. (Bring a
character you haven’t worked on much from a play you know well.)
WHAT WILL YOU GET OUT OF IT? You will have a clearer sense of what you personally do when you walk and you have an
expanded tool box for characters. This is a detailed approach: even if you are a very experienced, you will make some new
discoveries. Walking is very complex: we will cover as much as we can in one day.
→ 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. Visit www.feldenkraisworks.co.uk for more info.
PARTICIPANTS: £30
24
October-December 2014 Programme
Exploring Shakespeare Through Physical Characterisation Techniques
Ariella Eshed
November 17
10.30-17.30
Course: SH19
Keywords: ACTING THE CLASSICS | BODY | PHYSICALITY | CHARACTER | PRACTICAL | EXPLORE
WHAT IS IT? Physical Characterisation Techniques (PCT) provide a useful and fun set of tools for exploring text,
characters and situations. In this workshop we will see how these techniques can help when working on Shakespeare.
HOW WILL IT WORK? During the workshop we will explore physical qualities such as tension levels, elements and
archetypes. We will then apply the work using texts from Shakespeare. Please bring a short Shakespearean
monologue you would like to work with.
WHAT DO YOU GET OUT OF IT? This is an excellent opportunity to acquire a variety of techniques for independent
work for auditions and performance. The techniques will help you to overcome fears or blocks while working on
Shakespeare’s texts as well as help you to perform them in a more fluent and physical way.
→ Ariella Eshed is a director and a teacher. She has taught Physical Characterisation Techniques for many years both
in the UK and internationally. She is also the artistic director of Tik-sho-ret Theatre Company (www.tik-sho-ret.co.uk).
Ariella’s directing credits include 5 Kilo Sugar (Tristan Bates Theatre, Brighton festival), New Writing from Israel (TBT)
Married to the Game (Theatre 503), Yerma (Corbett Theatre), The Bald Prima Donna (The New Players Theatre), Mum,
Me (Midnight Matinee,TBT), The Mythical Melting Pot (King’s Head), A Public Kind of Privacy (Brighton Festival, White
Bear), Ya’akobi and Leidental (Oval House, New End, Soho Theatre), Crocodile Seeking Refuge (Lyric Hammersmith).
Previous feedback from Ariella’s workshops includes: ‘Gives an employable fun set of tools to work with to discover
and develop characters – invaluable.’
PARTICIPANTS: £30
An Adventure in Playwriting
Amy Rosenthal
November 17
10.30-17.30
Course: WR3
Keywords: WRITING FOR STAGE | GENERATING IDEAS | STORY DEVELOPMENT | CHARACTER
WHAT IS IT? A one-day workshop designed to teach you how to be your own best collaborator.
HOW WILL IT WORK? Through group discussion and writing exercises, Amy Rosenthal will encourage you to tap into
your theatrical imagination and use character as a vehicle for story. The morning session will look at kick-starting ideas
and trusting your instincts; the afternoon will focus on character development and bringing your protagonists to
dramatic life.
WHAT DO YOU GET OUT OF IT? Most writers work in isolation, which can lead to self-censorship and loss of faith; this
workshop will give you the tools to improvise freely with your writing self, build on your ideas and create colourful,
rounded characters whose journey might shape your play.
→ Amy Rosenthal is an acclaimed playwright whose theatre work includes The Man Who Came to Brunch (Bush),
Liberation (Tricycle), Jitterbug Blitz (Lyric Hammersmith), On The Rocks (Hampstead – shortlisted for the international
Susan Smith Blackburn Prize), Thank God It’s Friday co-written with Cosh Omar (Hampstead), Sitting Pretty (Watford
Palace, UK Tour and Hypothetical Theatre, NYC), Jerusalem Syndrome (Soho, Royal Exchange) and Henna Night
(Chelsea Theatre – winner of the Sunday Times Drama Award). Radio work includes adaptations of Jack Rosenthal’s
teleplays Bar Mitzvah Boy and Tortoise, a four-part adaptation of the autobiography Jack Rosenthal’s Last Act and her
radio play Little Words, all for BBC Radio 4. Amy co-scripted Beware of Young Girls: The Dory Previn Story with Kate
Dimbleby and her short film, That Woman, premiered as part of the UK Jewish Film Festival in autumn 2012. Amy has
co-written the book for the new musical The Tailor-Made Man, which opened in February at the Arts Theatre.
PARTICIPANTS: £30
25
October-December 2014 Programme
The Shakespeare Workbook
David Carey and Rebecca Clark Carey
November 18
10.30-17.30
Course: SH15
Keywords: ACTING THE CLASSICS | VOICE | CHARACTER | TEXT WORK | SKILLS DEVELOPMENT
WHAT IS IT? A full-day workshop designed to help you integrate the demands of Shakespeare’s heightened language
with those of modern natural acting styles
HOW WILL IT WORK? When approaching Shakespeare, actors are often given two pieces of advice: don’t diminish the
power of Shakespeare’s language by bringing it down to your level; and speak the language with freshness and
immediacy. These are both sound principles – but you might quickly go crazy trying to do both at once. Using an
approach developed for our forthcoming book, The Shakespeare Workbook, we will take monologues from a range of
Shakespeare’s plays to explore how to embrace the truth of Shakespearean text.
WHAT DO YOU GET OUT OF IT? A method of working with Shakespeare’s language that helps you to unlock meaning,
character and action.
→ David & Rebecca are the authors of Vocal Arts Workbook and DVD and The Verbal Arts Workbook, published by
Methuen Drama. A voice teacher for 35 years, he has worked nationally/internationally within HE and the
professional theatre. David has been director of the Voice Studies course at RCSSD, Senior Voice Tutor at RADA. In
2007, David was awarded a National Teaching Fellowship by the UK Higher Education. He is currently a Resident Voice
& Text Director with the Oregon Shakespeare Festival.
→ Rebecca received a BA in history and literature from Harvard and then trained as an actress at the University of
California Irvine. She worked in professional theatre for eight years before attending RCSSD (MA Voice Studies). Since
then, she has taught voice at Central, the Oxford School of Drama and, for four years, as a Senior Voice Tutor at RADA.
She has coached American accents at the Royal and Derngate Theatre in Northampton and the NT. Currently she is
Head of Voice and Text at the Oregon Shakespeare Festival.
PARTICIPANTS: £35
Reading Between the Lines
Matthew Smith
November 19
10.30-17.30
Course: A76
Keywords: TEXT ANALYSIS | SHAW | SHAKESPEARE | TRUTH | CHARACTER
WHAT IS IT? A workshop designed to reawaken the creative collaboration between actor and author in order to
empower the actor to develop a part quickly, simply and effectively.
HOW WILL IT WORK? Using a selection of Shakespeare and Shaw’s texts this workshop will highlight the instructions
given to the actor and reveal the hidden nuances and sometimes mysteries that the written text will not always
immediately reveal. Through this analysis of the text we will begin to find out what to play, when to play it and the
signposts that develop truthful interactions on stage. Using this approach as a blueprint we will go on to apply these
principles and develop strategies for getting the most from more contemporary play, film and TV scripts; either for
audition or performance.
WHAT DO YOU GET OUT OF IT? The workshop will help improve the ability to: recognise what to look for in the text
to help you make clear, simple and effective acting choices; identify the information that helps bring shape and an
emotional journey to a scene; make more effective use of the punctuation in a script; overcome blocks related to our
perception of a ‘bad’ script; create a constructive approach to words and phrases we find difficult. The workshop also
offers the chance to look at a specific piece of text that you may be finding particularly troublesome. So please feel
free to bring along a short section of script you may have been asked to look at. However this is not a requirement
and material will be provided.
→ Matthew trained at LAMDA and later moved to directing - cutting his teeth as an assistant at the RSC. Over the
years he has worked with acclaimed Russian director Karma Ginkas, spent time with William Esper in New York, The
Moscow Arts Theatre and performed alongside the actor Brian Cox in Orson Welles’ Heart of Darkness for Fiona
Banner. He was most recently the head of the postgraduate acting course at Mountview and has worked as an acting
teacher, director and coach for the last 17 years.
PARTICIPANTS: £30
26
October-December 2014 Programme
Ten Steps to Learning an American Accent
Catherine Weate
November 20
10.30-13.30
Course: VC16
Keywords: VOICE | TEXT WORK | SPEECH | SKILLS BUILDING
WHAT IS IT? A practical workshop based on the 10-step accent learning programme on The Real Accent App (with a
special focus on American Accents).
HOW WILL IT WORK? Learning a new accent can be daunting. This workshop simplifies the process by working
through a clear and accessible 10-step programme that Catherine developed specifically for The Real Accent App after
researching accents in the USA. The main focus will be on General American; however New York Brooklyn and the
south coast of Mississippi will be explored as well.
WHAT DO YOU GET OUT OF IT? A step-by-step learning programme that can be easily adapted to learning any accent,
plus, step-by-step breakdowns for General American, New York Brooklyn and South Coast Mississippi.
→ Catherine Weate is a freelance voice and dialect coach. She has worked in theatre, film, television, radio,
education, commerce, law and politics across England, Australia, Hong Kong, Africa and India. Her former roles
include: Head of Voice at Rose Bruford College, Head of Voice and Vice Principal at ALRA and Head of Examinations at
LAMDA. Catherine is a published author with Oberon Books. Her titles include: Classic Voice (Working with Actors on
Vocal Style), Modern Voice (Working with Actors on Contemporary Text), The Oberon Book of Modern Monologues for
Men Volumes 1 and 2, The Oberon Book of Modern Monologues for Women Volumes 1 and 2 and The Oberon Book of
Modern Duologues.
PARTICIPANTS: £18
The Headstrong Approach: From Strength to Strength
Michael Ferguson
November 20
10.30-13.30 OR 14.30-17.30
Course: TV20
Keywords: SCREEN PERFORMANCE | SCENE WORK | PRACTICAL | PERFORM & REVIEW
WHAT IS IT? These intensive half-day workshops are for members keen to develop their talents by studying their
onscreen performance and comparing notes with an experienced director/tutor.
HOW WILL IT WORK? Short scenes are rehearsed, recorded, reviewed, discussed, developed, re-recorded and
reviewed again. The director works closely with the participants throughout the session and provides individual
coaching where appropriate.
WHAT DO YOU GET OUT OF IT? A rare opportunity to review, discuss and build on your screen performance
strengths. Newcomers and members already familiar with The Headstrong Approach will find the workshop equally
valuable.
→ Michael Ferguson trained as an actor at LAMDA before becoming a producer, director and writer of TV drama with
the BBC and ITV. He has worked at RADA, Bristol Old Vic, GSA and ALRA. In 2002 he established the Film and
Television department at ArtsEd. During the last ten years he has been developing Headstrong, an important new
approach to screen acting.
PARTICIPANTS: £30
27
October-December 2014 Programme
Automatic Acting
Ed Woodall
November 20, 27
10.30-17.30
Course: A69
Keywords: NEW TECHNIQUE | FREEDOM | SELF EXPLORATION | CONFIDENCE
WHAT IS IT? A two day workshop designed to integrate movement, voice and intention, culminating in the playing of
a scene.
HOW WILL IT WORK? Ed Woodall will take you through a series of physical and vocal exercises which you will then
apply, with a partner, to a text provided by Ed. The process works by using abstract movement and sound, based on
Ed's training with Jacques Lecoq, mixed with Meisner's idea of focusing on ‘the other fellow’ to take you beyond
naturalism before returning you to a playing of the scene which is ‘automatically’ fresh, alive and precise.
(Loose clothing must be worn).
WHAT DO YOU GET OUT OF IT? A new way of seeing the other actor in the scene; a technique to enable you to get
‘out of your head’ and, by playing freely, to actually change the other actor; A psycho-physical workout which will help
you to feel the connection between your inner and outer play; an exciting and new way to mark your script
for anything from a commercial casting to a Shakespeare dialogue.
→ Ed was trained at Ecole Jacques Lecoq in Paris. He has worked as an actor at the National, the RSC, ETT, Complicité,
Improbable and Kneehigh. Ed has just 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 (Timeout
Live Award for Een Hond Begraven). He has taught at the NT Studio and at many drama schools including Central, East
15 and Rose Bruford. Ed has been developing his teaching for the last 4 years at the Oxford School of Drama where he
teaches Masks, Clowning and Buffoon. He is also in the third year of his training as a Feldenkrais practitioner.
PARTICIPANTS: £60
Fundamentals – The Actor on Camera
Cathy Hammond
November 20, 27, 18.30-21.30
November 23, 10.30-17.30
Course: TV7
Keywords: EMERGING | RETURNING ACTOR | SCREEN ACTING | FILM | TV | SCENE WORK | CONFIDENCE
WHAT IS IT? A workshop for those with little or no on-camera experience.
HOW WILL IT WORK? By using scenes from films and TV dramas along with guided exercises looking at character and
scene objectives, the inner monologue and active listening we will explore ways to add a greater degree of truth to
your work. With plenty of opportunities to look at the playback before doing it again, you will watch and learn from
your mistakes.
WHAT DO YOU GET OUT OF IT? You will build confidence and gain practical experience discovering what works on
camera and develop the ability for self-assessment to improve your chances of success when auditioning for TV or
film.
→ Cathy is an actor, writer and director working in TV, film & theatre. Cathy has worked with the Royal Court and
Bristol Old Vic as well as several projects for the BBC, ITV and the Motion Picture Corporation of America.
PARTICIPANTS £75
28
October-December 2014 Programme
An Actor Prepares – Shakespeare
Donnacadh O’Briain
November 22, 23
10.30-17.30
Course: SH16
Keywords: ACTING THE CLASSICS | SCENE WORK | EXERCISES | CONFIDENCE BUILDING
WHAT IS IT? An intensive introduction to approaching and playing Shakespare 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 is the Artistic Director of Natural Shocks and the creator and director of pop-up venue PEEP, which has
played the Latitude and Edinburgh Festivals. Career highlights include opening a major production of King Lear at The
Wexford Opera House; two and a half years as assistant director to Michael Boyd on all eight of the RSC’s multi
award-winning Histories Cycle and his critically-acclaimed production of Leo Butler’s The Early Bird. Donnacadh was
dramaturg on the development of Complicité's Endgame and has directed and taught acting at RADA, LAMDA and
Bristol Old Vic. In 2014 Donnacadh has directed Blue Stockings for BOVTS at the Tobacco Factory; he is developing a
musical Vampirette, which is penciled to open in the West End at Halloween; and he will devise and direct a
performance using Shakespeare’s text, actors, musicians and a chamber choir at the National Portrait Gallery for
Christmas.
PARTICIPANTS: £60
Imagination Training for Actors
Teresa Grimsditch
November 22, 23
10.30-17.30
Course: A70
Keywords: CHARACTER | IMAGINATION | CREATIVITY | NEW TECHNIQUES | EXPLORATION
WHAT IS IT? This is a comprehensive, practical workshop looking at the topic of Imagination: what it is; how to use it;
how to train it, how to maintain it.
HOW WILL IT WORK? Day 1 begins with an in-depth look at imagination through observation and teaching. This work
lays the foundation for the training exercises throughout the rest of the session. Day 2 looks at how to apply your
training to a scene from a play. This work will include building the life (past, present and future) of a character, their
relationships, the world in which they live and how to use imagination to create the state of mind needed to carry you
actively through a scene.
WHAT DO YOU GET OUT OF IT? You will have a thorough and complete understanding of the imagination and how
best to use it in all areas of creative performance. More specifically, Teresa will work with you on a one-to-one level,
coaching and guiding you through the exercises, and appraising your work so you know which particular areas to
focus on, to strengthen and develop your technique.
→ Teresa is a trained actress, theatre director and a qualified acting coach. She has designed and delivered courses
for RADA, Warner Brothers, NFTS, Drama Centre, Bristol Old Vic, Central, ALRA, East 15, LFS and the Actors Centre.
Teresa specialises in Imagination Training, but in her approach to acting she also draws from previous teachers who
include Karen Wentworth, Sam Kogan and Graham Dixon among others.
PARTICIPANTS: £60
29
October-December 2014 Programme
How Do You Get to the Truth?
Carol Royle
November 24
10.30-17.30
Course: A72
Keywords: CHARACTER | PERFORMANCE | TRUTH | TECHNIQUE | STYLE | APPROACH
WHAT IS IT? A workshop designed to find the best route for you to get to the heart, soul and truth of the meaning and
intention of the writer and their character.
HOW DOES IT WORK? We will investigate whether it suits you to start from the outside in, or from the inside out. We will
discuss the various approaches, dissecting what they all mean and are aiming at, and then try to apply them to a
monologue/soliloquy in a safe and relaxed atmosphere. Please bring along a learnt two-minute speech.
WHAT DO YOU GET OUT OF IT? You will unravel some of the mystique surrounding the many differing approaches to our
art, perhaps crystallising what our own approaches might have been to date and making new choices about what they
might be in the future.
→ Carol began her career in rep and TV before joining the RSC. Work for them includes Ophelia in Hamlet, for which
she won a Drama Critics Award, Cressida in Troilus and Cressida, the Princess of France in Love's Labour's Lost and Mrs
Arbuthnot in Woman of No Importance. UK tours include An Ideal Husband and Richard Harris’ Going Straight. For
Terry Hands at Theatre Clwyd she played Amanda in Private Lives, Lady Croom in Arcadia and Mme Ranevskaya in The
Cherry Orchard. She played Flora Humble in Humble Boy at the New Vic and Lady Bracknell in The Importance of Being
Earnest for the Rose Theatre at the Chinese Arts Festival in Hong Kong. Other West End credits includes Festen, See
You Next Tuesday, Maria in Pinter’s Moonlight at the Donmar Warehouse and Storm in a Flower Vase at the Arts
Theatre. Extensive TV credits include the BBC sitcom Life Without George, Heartbeat, Ladies in Charge and Blackeyes.
www.carolroyle.co.uk
PARTICIPANTS: £30
Screen Acting: Understanding Your Audience & How to Keep Them Invested
Darren Bransford
November 25
10.30-17.30
Course: TV24
Keywords: STRONG CHOICES | UNSPOKEN DIALOGUE | FILM ACTING | NATURAL DELIVERY
WHAT IS IT? Most of your time as a screen actor will be spent performing out of continuity and context, and with the
absence of a live audience. Therefore, it is very easy to forget who your audience is and the importance of their role in
your work on screen. This workshop will help you understand your screen audience and the specific demands this
places on your performance, in order to keep them tuned in. The techniques explored will aid you both in the audition
process (including Self-Tapes) and whilst filming on set.
HOW WILL IT WORK? The workshop begins with an introduction to the process via group discussion, followed by
practical scene work. All actors will be put on tape, with playback of scenes and in-depth feedback. Actors will be
given a short film script to learn and prepare in advance.
WHAT DO YOU GET OUT OF IT? You will learn how to keep your audience hooked, and to stand out in castings by
making strong choices and avoiding the 'obvious read'. This is achieved by identifying and taking ownership of the
unspoken dialogue' (including behaviour). Go beyond subtext and learn 'The Art of Being Specific' in your choices and
examining how this better serves you for performance on screen. You will also come away with quick fix tips such as
the similarities between driving a car and acting on film!
→ Darren Bransford has over 20 years’ experience performing in feature films, in the West End and on TV in the UK
and US, including high profile series and three years as a series regular. He has worked as a writer and director since
2007, with credits including award-nominated short films, plays on the London Fringe and numerous rehearsed
readings and promos. In 2012, he established the award-nominated production company Front Line Picture House.
Darren began working as a screen acting coach in 2004 and has tutored at Universities, film schools, stage schools and
performing arts colleges across the UK. As a private coach, Darren works with both newcomers and experienced
actors and celebrities. Many of his career guidance clients who have started the process as complete newcomers to
the industry have gone on to secure agent representation, produce internationally screened film projects and book
acting work in film, theatre and TV productions.
PARTICIPANTS: £55
30
October-December 2014 Programme
Comedy Sketch Writing and Performing
Miriam Elia and Jane Lamacraft
November 25, 26, December 3
10.30-17.30
Course: WR6
Keywords: COMEDY | WRITING | CAREER DEVELOPMENT | NEW OPPORTUNITIES
WHAT IS IT? Everything you wanted to know about sketch comedy writing and performing but were afraid to ask…
PLUS everything you weren’t afraid to ask. Even Catherine Tate struggled to get work as an actress before turning her
hand to character comedy on the comedy circuit. Sketch comedy can provide you with a foot in the door to the
industry, without all the expense, time and effort of more traditional routes like fringe theatre.
HOW WILL IT WORK? We will share some techniques for writing and performing sketch comedy so you can get out
there and get seen by industry professionals and take control of your career. Recent feedback: “Just wanted to thank
you again for the fantastic workshop... I picked up a few critical things I am doing which helps immensely. It has
helped me focus and inspired me.”
WHAT DO YOU GET OUT OF IT? A powerful weapon to add to your arsenal for getting acting work.
→ Jane Lamacraft is currently working on a new Radio 4 sketch show. She has been a core writer on The Now Show
for several years and has written regularly for BBC Radio 4 across many of their shows. She has also written for Never
Mind the Buzzcocks, Smack the Pony, Armstrong and Miller, Rory Bremner, Jan Ravens, Ronni Ancona, Alistair
McGowan, Jason Byrne, Swinging and The All Star Impression Show. Last year she wrote and performed her own
sketch show, Comedy Haemorrhage, at the Soho Theatre.
→ Miriam Elia is a visual artist and comedian. Having won the BBC New Talent for Comedy award in 2007 she was
nominated for a prestigious Sony Radio Academy Award for her first ever sketch show, A Series of Psychotic Episodes
in 2008. She is currently working on her first solo show, exploring the crossover she has made in fine art and comedy
and is currently publishing her first illustrated book with Macmillan this August – The Diary of Edward the Hamster
1990-1990. Miriam has written prolifically on radio shows, including That Mitchell and Webb Sound, The News Quiz
and Artuart.
PARTICIPANTS: £90
Filling the Frame
Deva Palmier
November 26
10.30-17.30
Course: TV33
Keywords: SCREEN PERFORMANCE | ON SET ETIQUETTE | PERFORMANCE CONFIDENCE | FEEDBACK
WHAT IS IT? This workshop is aimed at improving screen presence and screen acting by enabling actors to explore the
boundaries of their performance.
HOW WILL IT WORK? We will take a look at memorable performances in films and then actors will experiment with
their own performance levels. Bring along an already prepared piece that challenges you as an actor. We will spend as
much time as possible shooting and reviewing performances, giving you maximum on-screen time. This workshop is
open to newcomers and those who have worked with Deva previously.
WHAT DO YOU GET OUT OF IT? This workshop will help you to really challenge yourself emotionally as an actor and
prepare you for the next time that you are being filmed on an acting job or at an audition.
→ Deva is a writer/director, who originally trained as an actress at Guildhall and then studied filmmaking at NYU. Her
short films have won many awards: a Silver Plaque at Chicago International Film Festival, runner-up for the BBC New
Filmmakers award, 2nd place at Raindance East Film Festival and the Broadcast Young Talent Award for Best Sound
Editor. Deva’s script, Finding Clive, was selected as a quarter-finalist for the Academy Nicholl Fellowship 2013, second
rounder at Austin Film Festival 2013 and 2012 and the Red Planet Prize 2012. Deva will shoot her first feature film,
Baby, starring Sophie Okonedo and Ben Daniels in Autumn 2014. Visit www.devafilms.com for more information.
PARTICIPANTS: £55
31
October-December 2014 Programme
The Play’s The Thing – Rehearsing with an RP Accent
Terry Besson
November 26
10.30-17.30
Course: VC6
Keywords: ACCENT | DELIVERY | SPEECH | RP | TEXT | REHEARSING
WHAT IS IT? A day-long workshop, reading a selection of scenes in an RP accent, in pairs and small groups.
HOW WILL IT WORK? Terry will help you learn how to maintain an authentic RP accent throughout the rehearsal
process and into performance. 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.
→ Terry is one of the country’s leading accent and dialect specialists. His vast experience gained over 30 years
working on film, TV, radio and theatre projects has given him a unique approach to the vocal and physical changes
needed when approaching acting in another accent. He has worked on such diverse projects as the films Awaydays,
Clubbed, Welcome to the Punch, Captain Phillips, Get Lucky, TUPAC, Hotel Taliban, the TV series Poirot, Privates and
Garrow’s Law. He is currently voice consultant at London Zoo!
PARTICIPANTS: £30
Fundamentals – The Shakespeare Toolkit
Jonathan Broadbent
November 27
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? Participants will be shown the rudiments of verse, and taught 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 a verse text 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
and panache.
→ Jonathan is an Associate Director with Filter Theatre and has collaborated with them over a number of years,
playing Oberon in their anarchic version of A Midsummer Night's Dream and Tusenbach in Three Sisters, both at the
Lyric Hammersmith. His many acting credits include productions with the National Theatre, RSC, Shared Experience,
Bristol Old Vic, Birmingham Rep and the Orange Tree. He has twice worked on film with Kenneth Branagh and
recently performed in Ghost Stories in the West End and Chekhov in Hell at Soho Theatre. This year he has appeared
in My Night with Reg at the Donmar Warehouse.
PARTICIPANTS: £30 / OBSERVERS: £15
32
October-December 2014 Programme
Acting - From the Neck Down
Paul Elsam
November 28
10.30-17.30
Course: A73
Keywords: BODY | MOOD | EMOTION | PHYSICALITY | MOVEMENT | COMEDY AND DRAMA
WHAT IS IT? A workshop designed to help you learn and apply an accessible language of character body signs and
movement – helping you move away from mere ‘voice and face’ acting.
HOW WILL IT WORK? Drawing on an eclectic mix of human/animal research, simple mood and emotion science, and
also modern physical comedy, Paul Elsam will take you through a process which links mood, emotion and body to
express meaning. We will explore how to recognise your own body signs; how to widen your repertoire of body
shapes; how to use your body for comedy and pathos.
WHAT DO YOU GET OUT OF IT? This workshop will help you to become more ‘bilingual’ – providing a repeatable
‘map’ of meanings and moods which will give your work more nuance. Techniques learned will help with both serious
and comic acting.
→ Paul is the author of the bestselling Methuen handbook Acting Characters (Foreword by Sir Ben Kingsley). Trained
at Manchester Polytechnic, he has worked widely as an actor in theatre, television, film and radio, often playing very
different character types. Paul currently teaches acting technique at both ALRA North and Teesside University. He
enjoys using active research to improve practitioner skills, including through his 2013 Bloomsbury book Stephen
Joseph – Theatre Pioneer and Provocateur (Foreword by Sir Alan Ayckbourn).
PARTICIPANTS: £30
A Practical Guide to Screen Acting
Jonathan Moore
November 28
10.30-17.30
Course: TV36
Keywords: STAGE TO SCREEN | ON SET ETIQUETTE | PERFORMANCE | TECHNIQUE | ADVICE
WHAT IS IT? A workshop for anyone - from beginners to those with experience - wanting to brush up on film acting
techniques.
HOW WILL IT WORK? Jonathan will talk the group through all aspects of film acting and participants will do practical
exercises in a relaxed and supportive environment. Many useful tips and advice are to be had such as how it works on
set, who does what, how to adapt performance to the frame size and the implications of the reverse angle take.
WHAT DO YOU GET OUT OF IT? This workshop will give you a practical guide to screen acting. You will learn how to
translate a stage performance for the screen, and practical tips on how to behave on set. You will also gain knowledge
and confidence on how to give your best on camera and how to work with (and respect) others' acting approach.
→ Jonathan is an award-winning actor, writer and director. He has played leading roles and directed at the RSC,
Globe, Royal Court, Donmar, Royal Exchange, Almeida, Gate, ENO, Covent Garden and La Fenice (Venice) and on
screen. A published playwright, his work has been performed at the Donmar, Royal Exchange, Gate, on BBC TV, radio
& internationally. He is about to direct his own feature film script. Jonathan directed the large scale Shakespeare
project What You Will, a co-production for Shakespeare's Globe, The Cultural Olympiad and the Mayor's Office. He
has recently finished a new opera libretto for Stewart Copeland.
PARTICIPANTS: £55
33
October-December 2014 Programme
A Vocal Approach to 17th and 18th Century Text
Jacquie Crago
November 28
10.30-17.30
Course: VC17
Keywords: RESTORATION COMEDY | VOCAL TECHNIQUES | EXPLORATIVE | PERFORMANCE
WHAT IS IT? A workshop designed to help the modern actor tackle the complexities and demands of Restoration
Comedy.
HOW WILL IT WORK? Jacquie Crago will show you ways of exploring and discovering the structure of the extended
thoughts and the vocal techniques required to energise the dialogue and make it 'live'. Practical work will focus on
speeches and short scenes from a range of playwrights from Congreve to Sheridan.
WHAT DO YOU GET FROM IT? Techniques that will serve you in your approach to, and performance of, all classical
texts.
→ Jacquie Crago is a regular member of the Royal Shakespeare Company's Voice and Text department and the
resident voice and dialect coach for the National Theatre's highly successful War Horse. 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
Fundamentals – Movement for Actors
Sarah Perry
November 30
10.30-17.30
Course: PH5
Keywords: EMERGING | RETURNING ACTOR | BODY | PLAY | EXPLORE | PHYSICALITY
WHAT IS IT? This workshop will raise awareness of the power of the physical body and movement as a tool for the
actor to develop and utilise. No prior movement experience required.
HOW WILL IT WORK? Sarah will focus on movement exercises, theory, practical group and individual character work.
Through Laban Movement Analysis we will explore and observe ourselves as movers asking; Where do I hold tension?
How can I release this tension? Do I have movement habits that are getting in the way of my performances, and what
impressions am I making non-verbally? We will then look at the body and movement as a tool for performance - how
characters walk; how to manifest characters’ thoughts and feelings through the body and how to use our bodies to
communicate more effectively. Prepare and learn a 1-minute monologue prior to the session.
WHAT DO YOU GET OUT OF IT? A richer understanding of how your body and physicality can be used to its full
potential in terms of characterisation, adding to your strengths as an actor.
→ 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: £30
34
October-December 2014 Programme
Developing Screen Acting Technique
Vivienne Cozens
November 30
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
Shakespeare Now
Jonathan Moore
December 1, 2
10.30-17.30
Course: SH17
Keywords: ACTING THE CLASSICS | TEXT WORK | PRACTICAL TECHNIQUES | CONFIDENCE
WHAT IS IT? An exciting and inclusive two day workshop that will help you to approach Shakespeare and verse
speaking with absolute confidence in a supportive and non-judgmental environment. Suitable for beginners and those
with experience in need of a brush-up.
HOW WILL IT WORK? The workshop will be focused on the practical application of techniques to enable the words to
really live. We will discover just how contemporary Shakespeare is, and not a dead museum writer appealing only to a
cultural elite. We will do practical work on speeches and sonnets and discover the main types of different verse
speaking required in Shakespeare, how to master it and why he wrote like that in the first place! We will look at
liberating the text and giving you the courage to step up and speak it boldly. Please bring a Collected Works if possible
or photocopies of a selection of speeches you feel comfortable with.
WHAT DO YOU GET OUT OF IT? The workshop aims to give you absolute confidence in acting Shakespeare and will
give you tools that should last a lifetime.
→ Jonathan Moore is an award-winning actor, writer and director. He has played leading roles at the RSC,
Shakespeare's Globe, Royal Court, Donmar, Royal Exchange and on screen. He has directed theatre and opera world
premieres at many leading theatres including the Almeida, Donmar, Royal Exchange, Gate, ENO, Covent Garden and
La Fenice (Venice). A published playwright, his work has been performed at leading theatres including the Donmar,
Royal Exchange, Gate, on BBC TV, radio and internationally. He is about to direct his own feature film script (AngloAmerican co-production). Jonathan was asked by Mark Rylance to direct the large scale Shakespeare project What
You Will, a co-production for Shakespeare's Globe, The Cultural Olympiad and the Mayor's Office. He has recently
finished a new opera libretto for Stewart Copeland.
PARTICIPANTS: £60
35
October-December 2014 Programme
Scene Study – 20th Century British Comedies
Tim Luscombe
December 1, 2
10.30-17.30
Course: A74
Keywords: COMEDY STYLES | TECHNIQUES | CHARACTER | TRUTH
WHAT IS IT? A workshop in which you explore scenes in depth from plays by popular British comedic playwrights,
including Tom Stoppard, Michael Frayn and Noel Coward, among others.
HOW WILL IT WORK? Using various approaches, Tim will help uncover different styles and techniques needed to work
on varying texts by some top 20th century British playwrights. You will have an opportunity to play a variety of roles
and develop several different approaches to text work and character building.
WHAT DO YOU GET OUT OF IT? You'll get an in-depth understanding of how different writers create roles and
dialogue, and exactly what you can best do to mine that work and get to the truth behind the laughs. You will develop
your sense of which style is appropriate for which writer, and grow your armoury of tricks and techniques to feel
more confident when approaching comedy scenes and characters.
→ 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 London directing credits include Easy Virtue (Garrick), Private Lives (Aldwych),
Artist Descending a Staircase (Duke of York’s), Eurovision (Vaudeville) and Relative Values (Savoy). Recently, Tim has
directed his 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 plays for the National Theatre, the Royal Court and
Hampstead Theatre. All three of his Jane Austen adaptations have been produced in the UK and Northanger Abbey in
Chicago this year. His play PIG was just produced at Buddies in Bad Times Theatre in Toronto. He is currently working
on a George Eliot adaptation.
PARTICIPANTS: £60
The Camera Does Not Lie
Alan Powell
December 2, 4
18.00-21.00
Course: TV37
Keywords: PERFORMING ON SCREEN | TECHNIQUE | AUTHENTICITY | RECORD AND REVIEW
WHAT IS IT? This workshop will help you create powerful film performances that are grounded in the moment.
HOW WILL IT WORK? Film director Alan Powell will guide participants through prepared scripted scenes or
monologues of their own choosing. Emphasis is on authenticity for the camera. Performances are recorded, viewed
and constructively critiqued.
WHAT DO YOU GET OUT OF IT? You will learn how to create subtle, powerful performances for film using your ability
to be present. You will also curb habitual behaviour that hinders a solid film performance and understand key
differences between stage and film craft.
→ An international, multiple-award winning director originally from Toronto, Canada, Alan has worked with Gemini,
Genie and Dora award-winning actors. His directing credits include the international TV series Urban Legends for
History Television, Biography Channel, and FX, Fraud Squad TV for Investigation Discovery Canada. His films have
screened at festivals around the world picking up awards in New York, California, London, Toronto and Australia. Over
the years he has worked as an Acting Instructor at Fanshawe College Continuing Studies, his own on-camera
workshops and has been a guest Director/instructor at LIFT (Liaison of Independent Filmmakers in Toronto), Talent
Unleashed and Toronto Film School. For further information visit www.alanpowelldirector.com
PARTICIPANTS: £60
36
October-December 2014 Programme
From Stage to Screen
Bill Britten
December 3
10.30-17.30
Course: TV38
Keywords: STAGE vs SCREEN ACTING | PRACTICAL | PREPARATION | ADVICE | FEEDBACK
WHAT IS IT? A workshop to help stage actors transfer their skills and expertise to working on camera.
HOW WILL IT WORK? Starting from Meisner’s premise that acting is ‘living truthfully in imaginary circumstances’ Bill
Britten will explain the three big differences between stage and screen acting that underpin his Bloomsbury
Methuen/Actors Centre book From Stage to Screen: A Theatre Actor’s Guide to Working on Camera. Using exercises
and scenes from successful screenplays he will then help you explore how to use your existing skills when filming to
deliver compelling performances on screen.
WHAT DO YOU GET OUT OF IT? Greater understanding and increased confidence about what works on camera and
how best to prepare for a film or TV role.
→ 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 the 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 - will
be published in November 2014 by Bloomsbury Methuen in association with the Actors Centre.
PARTICIPANTS: £55
Confidently Speaking – English Neutral Speech for Actors with Accents
Anne Walsh
December 3
10.30-17.30
Course: VC10
Keywords: FOREIGN & REGIONAL ACCENT COACHING | AUDITION | SKILLS | SPEECH | VOICE
WHAT IS IT? A workshop designed to help you learn accent-softening and Neutral English speech techniques to
reduce your International or Regional English accent, with Contemporary English Received Pronunciation as the target
accent.
HOW WILL IT WORK? We will cover the most important aspects of the English Neutral accent (Contemporary English
Received Pronunciation): weak form, strong and weak form, pitch on strong stressed syllables, modification of the
movements and spatial relationships of the tongue, lips, jaw and interior mouth space on key English vowels and
consonants, including omissions and substitutions.
WHAT DO YOU GET OUT OF IT? First-hand experience of a proven, successful accent-softening methodology covering
the key vowels and consonants of the English Neutral template plus; a comprehensive Accent-Softening Handbook
describing the positions of the tongue, mouth and lips on all of the English Neutral vowels and consonants; training in
basic contemporary outlooks to Neutral English intonation; a large range of exercises and drills you can practice postworkshop to reduce your accent; group and individual feedback to monitor your progression.
→ Anne Walsh is a voice, speech and vocal communications coach and has worked in some of England’s leading
drama schools including Drama Centre and Central. Her film, theatre and TV work includes dialogue assistant on
Steven Spielberg’s Munich and dialect consultant on The No. 1 Ladies’ Detective Agency and Waking the Dead (BBC1).
Theatre credits include Kebab at the Royal Court and The French Lieutenant’s Woman (national tour).
PARTICIPANTS: £30
37
October-December 2014 Programme
A Close-up on Screen Acting
Robert Bierman
December 4 OR December 11
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 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, resulting in 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
Making Friends with Shakespeare
Janet Suzman
December 5
10.30-13.30
Course: SH18
Keywords: ACTING THE CLASSICS | CONFIDENCE | TEXT & SCENE STUDY
WHAT IS IT? A workshop for those who lack confidence with Shakespeare.
HOW WILL IT WORK? Please bring along a Shakespearean monologue or a scene prepared between two of you if you
prefer and we will work together to unravel the clues in his rich and wonderful text.
WHAT DO YOU GET OUT OF IT? Enthusiasm, confidence and the skill to tackle and perform Shakespeare.
→ Janet cut her acting teeth on Peter Hall's quarter-centenary RSC season in 1963/4 – The Wars of the Roses. She
stayed on with the RSC and played many heroines including Cleopatra, Portia and Rosalind. Janet was Oscarnominated for Nicholas and Alexandra and worked alongside John Cusack in the film Max.
PARTICIPANTS: £18 / OBSERVERS: £10
The Headstrong Approach: Dynamic Screen Performance
Michael Ferguson
December 9
10.30-17.30
Course: TV39
Keywords: SCREEN PERFORMANCE | EMOTION | BODY | SKILLS | PRACTICAL | TEXT WORK
WHAT IS IT? Screen acting is a vibrant art form which makes demands on the body, challenges the brain and can
convey the subtlest thoughts and emotions. This one-day workshop will provide you with the ingredients that drive
insightful, subtle and fully-rounded screen performance.
HOW WILL IT WORK? Topics include life-force, focus, interaction, thoughtstream and fragmentation. Plenty of
practical work, exercises and two-handed scenes filmed and reviewed.
WHAT DO YOU GET OUT OF IT? Increased confidence and more compelling screen performance. Newcomers and
members already familiar with The Headstrong Approach will find the workshop equally valuable.
→ Michael Ferguson trained as an actor at LAMDA before becoming a producer, director and writer of TV drama with
the BBC and ITV. He has worked at RADA, Bristol Old Vic, GSA and ALRA. In 2002 he established the Film and
Television department at ArtsEd. During the last ten years he has been developing Headstrong, an important new
approach to screen acting.
PARTICIPANTS: £55 / OBSERVERS: £15
38
October-December 2014 Programme
Acting for New Writing
David Mercatali
December 9, 10
10.30-17.30
Course: A75
Keywords: NEW WRITING | EXPLORATION | COLLABORATION | CONFIDENCE | NEW SKILLS
WHAT IS IT? A 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 Associate Director at the Southwark Playhouse. In 2011 he was nominated for the Evening Standard's
Outstanding Newcomer award. Credits include: Feathers in the Snow (Southwark Playhouse), Someone to Blame
(King's Head Theatre), Tender Napalm (Southwark Playhouse and National Tour), Moonfleece (Riverside Studios and
tour), Weights (Blue Elephant Theatre) and Runners, the return (Underbelly, Edinburgh Fringe). He is also an
Independent Programming Advisor at the Tristan Bates Theatre and has developed work for Paines Plough, the
Finborough and Theatre 503.
PARTICIPANTS: £60
The Big Three Voice Notes - and How to Avoid Them
Yvonne Morley
December 10
10.30-17.30
Course: VC18
Keywords: VOCAL SUPPORT | BREATH | AVOIDING STRAIN | AUDABILITY | PRACTICAL EXERCISES
WHAT IS IT? A workshop looking at the most commonly given voice notes and how to avoid them.
HOW WILL IT WORK? The day will be divided into the essential and inter-connected work around vocal support,
clarity and ease. Practical exercises will build into a simple but effective kit for the performer to use on the day and
beyond, whether on stage, screen or in the studio.
WHAT DO YOU GET OUT OF IT? Practical experience and a deeper understanding as well as handouts to develop or
enhance: breath and physical support for the voice to free it up for audibility in a range of tones and situations;
honesty and authenticity to enhance clearer thinking and speaking; ways to avoid straining, constricting and pushing
the voice.
→ 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
A Close-up on Screen Acting
Robert Bierman
December 11
10.30-17.30
Course TV16
Keywords: SCREEN PERFORMANCE | PRACTICAL | SCRIPT WORK | FEEDBACK | SKILLS
See page 39 for full details.
PARTICIPANTS: £55
39
October-December 2014 Programme
Method Acting
Karina Fernandez
December 11, 12
10.30-17.30
Course: A77
Keywords: SENSE MEMORY | IMAGINATION | SCENE WORK | CHARACTER | TRUTH
WHAT IS IT? The Method trains actors to use their imagination, senses and emotions to create credible and authentic
performances grounded in the truth of the moment. It gives actors the tools to work with focus and confidence even in
situations where rehearsals may be limited or non-existent.
HOW WILL IT WORK? Using their own life experiences as a tool-kit to delve into, actors learn to recall emotional and
physical memories safely and redeploy them in the context of any given scene, and to identify character objectives,
obstacles and relationships. The work produced is without fail whole-hearted, truthful and produces performances
that are compelling and deeply human.
WHAT DO YOU GET OUT OF IT? We will look at understanding and developing character, breaking down a script,
improvised exercises to support scene work, working creatively alone and in a group, learning to be relaxed on stage,
finding truth and meaning in a text, and being ‘in the moment’ on stage as in life.
→ Karina trained at The Drama Centre and works regularly in theatre, TV and film. Her TV and film credits
include Another Year, Happy Go Lucky and Mr Turner (Mike Leigh, Thin Man Films), Pride (Matthew Warchus,
Pathé), My So Called Life Sentence, Twenty Twelve and My Family (BBC), A Young Doctor's Notebook, Falcon, Touch of
Cloth (Sky). Theatre work includes the National Theatre, the Royal Court, Bristol Old Vic, and several collaborations with
acclaimed theatre company Out of Joint. Alongside her acting career, Karina has been a workshop leader, acting coach
and director for the past ten years.
PARTICIPANTS: £60
Camera Technique – Character Thoughts
Mark Street
December 12
10.30-13.30
Course: TV40
Keywords: SCREEN ACTING | CLOSE-UP | EMOTION | CHARACTER
WHAT IS IT? This workshop looking at how we can develop the inner monologue/character thoughts by introducing
the actor to the idea of thinking cinema-graphically
HOW WILL IT WORK? Using the camera as an acting tool we will film simple exercises developed by Mark Street to
explore the Inner Landscape and how the thought motivates emotions. Using these exercises you will be able to make
the connections between your physical gesture and the character’s intention. Through analysis of your work on
camera you will be able to see the benefits of trusting the thought when performing.
WHAT DO YOU GET OUT OF IT? This way of looking at the acting process makes sense of a lot of what you do when
analysing your text and Mark will continually encourage you to make those connections. The exercises we use can
also be adapted to help you add depth to your performance whether prepping for an audition or a performance.
→ Mark began his career as an actor winning an Olivier Award during his training before working professionally on
stage and screen. As a director his plays have toured the UK fringe circuit while his films have previewed at many film
festivals. He was the co-founder of Forbidden Theatre Company, 104 Theatre Company (with which he won a Fringe
First Award) and From The Streets Productions. Mark teaches acting and camera technique at many of the top drama
schools including Central, Mountview, E15 and Italia Conti.
PARTICIPANTS: £30
40
October-December 2014 Programme
SPECIAL EVENT in association with The Stanislavski Centre and The Clive Barker Centre
PANTO IN THE 21st Century
Roy Hudd, Millie Taylor, David Bown, Simon Sladen, Nigel Hook, Philip Meeks, Robert Pearce
November 14
10.00-17.00
Course: A78
Join some of the UK’s leading panto performers, creators and scholars to explore what panto means to us today. The
day will start with a keynote speech given by one of the UK’s best-known actors and comedians, Roy Hudd. Roy will
then be joined by a panel, including Professor Millie Taylor and Simon Sladen, to explore what Panto really means to
us today. In the afternoon, there will be a choice of two workshops and participants will be able to choose which they
attend:
Playing the Dame led by Robert Pearce
WHAT IS IT? You will explore the art of playing the Panto Dame from the perspective of the actor & designer.
HOW WILL IT WORK? A leading performer and an experienced Panto designer will explore the range of devices and
techniques involved in playing the Dame successfully: how to approach the character, the special demands of the role,
how costume helps make the character, the function of the Dame in contemporary Panto.
WHAT DO YOU GET OUT OF IT? An introduction to the art of playing Dame and some practical tips on how to
approach this challenging role - learn what makes a successful Dame in today's Panto productions.
Writing Panto for the 21st Century led by Philip Meeks
WHAT IS IT? A workshop offering an introduction on how to approach writing the modern Panto script.
HOW WILL IT WORK? Two leading writers will discuss their approach to writing a modern Panto script; how it differs
from the good old favourites of the past; how many concessions should be made to the modern audience; how you
begin to write a script yourself - the pitfalls and the tricks.
WHAT DO YOU GET OUT OF IT? An introduction to a very specific writing style. If you are looking at developing this
area of work, our workshop leaders will be able to guide you, making use of their extensive experience.
The Stanislavski Centre at Rose Bruford was founded in 2007, and is a unique initiative within the UK to create a
home for both academic research and practice/performance events based upon the work of Stanislavski. Originally
conceived by the late Professor Jean Benedetti, the Centre hosts a series of important lectures, workshops, study
days and other events throughout the year. Since 2012, the Centre has published the ejournal, Stanislavski Studies.
For further information contact Dr Paul Fryer [email protected]
Roy Hudd has been in show business for more than 50 years, working in stand-up, pantomime, music hall, farce, film,
musicals and the plays of Shakespeare, Stoppard, and Cooney. His TV work includes soaps, sitcoms, dramas and
variety. On radio, he starred in the award-winning The News Huddlines which ran for 26 years.
Millie Taylor is Professor of Musical Theatre and Director of Postgraduate Research Students at the University of
Winchester. She worked as a freelance musical director and for almost 20 years toured Britain and Europe with a
variety of musicals. Her recent publications include British Pantomime Performance (Intellect 2007).
Simon Sladen is widely acknowledged as one of the UK’s leading experts on British Pantomime and is currently
exploring the role of celebrity’s impact on the British pantomime industry 1980 – 2010 and writing his PhD thesis. He
is Assistant Curator, Modern and Contemporary Performance at the Victoria and Albert Museum and Pantomime
Editor for The British Theatre Guide.
David Bown is chief executive of Harrogate Theatre. As a playwright, his work includes the pantos Aladdin, Beauty
and the Beast, Dick Whittington, Jack and the Beanstalk and Sleeping Beauty. Other work includes the play Loaded,
and the award-winning, Stand, which was premiered by Hull Truck in 1998.
Nigel Hook has designed sets and costumes for many of the UK’s leading regional theatres. His work includes drama,
musicals and more than 20 pantomimes. His recent work includes La Gazetta (RCM), the Scandinavian premiere of
Shrek, the Musical (Karlstad, Sweden), The Play that Goes Wrong (Duchess ) and Dial M for Murder (English Theatre,
Vienna).
PRICE FOR ACTORS CENTRE MEMBERS: £30
NON-MEMBERS can attend and can book a place in person at the Actors Centre or by email to
[email protected] with your name, contact telephone number and booking category. (Full-Price [nonmembers]: £50.00, SCUDD/Drama UK members: £40.00, Concessions [retired, student, un-waged]: £25.00. We will
then contact you to take payment – please do not supply payment details by email.)
41
October-December 2014 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.
Weekly Meisner
Kate Maravan
Mondays
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. She teaches weekly at the
Actors Centre and weekly classes in Exmouth Market and Brixton. Kate is also interested in collaborations with other
practitioners; she teaches Meisner/5 Rhythms workshops with Cathy Ryan.
PARTICIPANTS: £18 / OBSERVERS: £10
Preparing for Singing Auditions
Mary Hammond
Mondays October 20, November 10, December 8
14.00-17.00
Course: MT1
Keywords: MONTHLY | SHARING | SUPPORT | CONFIDENCE | SINGING | FEEDBACK | AUDITION
This is a practical workshop to try out singing audition material for actors who find singing auditions traumatic and
musical theatre performers with specific songs to work on. We will create a supportive and constructive environment
to try things out. You can bring music of any style and all abilities and experiences are welcome. Participants will be
given constructive advice both in choosing material and vocal help as needed. This workshop will continue on a
monthly basis so participants can develop their confidence and technique.
→ Mary is currently Head of Musical Theatre at the Royal Academy of Music. She has an eclectic teaching practise
covering many genres, working with performers from both West End shows and regional theatre. Her recent personal
highlights include work on London Road at the NT and visiting Glastonbury with Coldplay.
PARTICIPANTS: £30 / OBSERVERS: £10
Actors’ Weekly Drop-In
Vicky Jones
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.
→ Vicky is co-Artistic Director of DryWrite (www.drywrite.com), a theatre company dedicated to interrogating and
challenging the roles of playwright and audience. Over the past six years Vicky has worked as a freelance workshop
leader for the Young Writers Programme at the Royal Court. Other freelance directing credits include The Freedom of
the City (Finborough), A Bedroom (Lyric Studio) and The Blind Bird (Gate Theatre, Directors Festival). For the NT,
Coram Boy, Rafta, Rafta (Staff Director) and Banned: The History of Censorship (NT Platform). As AD, Piano/Forte, I
Remember the Royal Court and The One with the Oven (Royal Court).
PARTICIPANTS: £18
42
October-December 2014 Programme
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
Improvisation – Monthly Workshops
Paul Foxcroft
Tuesdays October 21, November 18
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.
→ Paul is an experienced improviser and has been performing and teaching professionally in the UK, Canada and
Europe for nine years. During that time, he has survived a number of 50-hour improvised marathons, both in Canada,
with show creators Die-Nasty and in the UK with The Sticking Place. He was co-founder of seminal London improv
troupe, The Institute, performs as exactly one half of improv wonder-team Paul & Cariad with the incredible Cariad
Lloyd, is a core cast member of Monkeytoast: The Improvised Talk Show and guests regularly with Grand Theft Impro
and Austentatious. As a writer, Paul was a finalist in Montreal's Just For Laughs International Comedy Festival
scriptwriting competition in 2011. His material has been broadcast on TV and radio in Canada and he's just sold a pilot
script to a Canadian production house. Most recently, he's been teaching and performing in Belgium and Germany.
PARTICIPANTS: £18
43
October-December 2014 Programme
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
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, Cathy Hammond, Akbar Kurtha,
Gill Wilkinson, Camilla Laxton and Suzy Catliff. Please check individual dates on the website for the tutor biographies.
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
44
October-December 2014 Programme
Shakespeare Sweatshop – Monthly Workshops
Luke Dixon
Thursdays October 16, November 20
18:30-21:30
Course: SH20
Keywords: MONTHLY | CLASSICAL THEATRE | AUDITION | SCENE WORK | CONFIDENCE | TEXT
Stretch your Shakespeare skills in Luke Dixon's monthly workout, for both Shakespeare virgins coming to his texts for
the first time and experienced old hands in need of refreshment. We'll look at monologues and scenes, familiar plays
and lesser known ones. This will be an ideal opportunity to find or work on new audition speeches in a fun, supportive
and enthusiastic environment that will leave you feeling inspired and confident. Bring along a speech to work on, a
character you would like to play or a scene you would like to be in. Alternatively, contact Luke in advance for advice:
[email protected].
→ Luke Dixon is a performance maker, writer, teacher and academic, internationally known for his innovative
productions of Shakespeare, his site-specific performances, his teaching of actors and his research into performance.
His productions for Theatre Nomad, of which he was Artistic Director for 20 years, included all-female versions of
Macbeth and Hamlet and productions of A Midsummer Night's Dream, Twelfth Night and As You Like It. These
productions have been seen all over the world. He has a doctorate in “The Performance of Gender”, and has
published regularly on performance. His book, Play-Acting, a Guide to Theatre Workshops, is published by Methuen in
the UK and by Routledge New York and his 4 Good Audition Guides to Shakespeare are published by Nick Hern Books.
PARTICIPANTS: £18
Monthly Screen Acting: Acting is Simple, Confidence is Key
Ewa Kolodziejska
Fridays October 24, November 21
10.30-17.30
Course: TV59
Keywords: SCREEN ACTING | PREPARATION | SCENE WORK | PRACTICAL | TECHNIQUES
This monthly 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 teaches using a plethora of acting practitioners, but
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
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.
→ Jessica is a freelance voice coach. Theatre work includes Salisbury Playhouse, Bolton Octagon and 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: £25
45
October-December 2014 Programme
Monthly Writers Drop-in
Stewart Permutt
Fridays October 31, November 28
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. Previous
participants have won the prestigious Verity Bargate Award, the Off Cut Festival at The Old Red Lion and had
productions at Edinburgh Festival. 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,
involvement in the monthly green room programme and input into the film courses along with the potential to create
short ‘response’ pieces to main-house shows in the Tristan Bates Theatre.
→ 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)
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 accent 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.
→ Terry studied with Cicely Berry and has worked at the NT, Peter Hall Company, English Shakespeare Company and
the BBC.
PARTICIPANTS: £25
46
October-December 2014 Programme
The Dyslexia Toolbox – Monthly Sessions
Deborah Leveroy
Saturdays October 25, November 22
14.00-17.00
Course: A59
Keywords: MONTHLY DYSLEXIA SUPPORT | TEXT WORK | SKILLS DEVELOPMENT | STRATEGIES
Are you dyslexic or think you might be? Do you want to improve your memory, concentration and reading skills?
These individually tailored 45 minute sessions will help you prepare for auditions, rehearsals and performances by
maximising your memory, reading and organisation skills, among others. Strategies are specifically tailored for
dyslexic actors. Areas that can be explored include:
• line learning
• mind mapping
• computer packages
• sight-reading & speed reading techniques
• text-to-speech software
• letter writing skills
• visual stress
• music and exercise
• non-text based approaches to rehearsal
• the assessment process and support funding options.
If you’re in need of a skill top-up or want tailored advice then come along, whether you’re dyslexic, dyspraxic or
neither. When booking please indicate what you want to work on. If you have a dyslexia/dyspraxia assessment report
that you want to discuss in the session, please email it in advance to [email protected] and a user-friendly
summary report will be provided.
→ Deborah’s practice-based PhD looks at dyslexia in the context of actor training institutions and the profession. She
is the drama advisor to the British Dyslexia Association’s music committee, has run dyslexia workshops at the Moscow
Art Theatre School, Young Vic Dyslexic Directors Network, TaPRA, National Student Drama Festival and has taught
acting at Richmond University, Kent University and CSSD. Deborah trained at Drama Studio London. Publications
include: ‘Dyslexia and Sight-Reading for Actors’ in Dyslexia, Music and the Performing Arts (British Dyslexia
Association), ‘Locating dyslexic performance: text, identity & creativity’ in Research in Drama Education (Routledge),
‘Enabling Performance: Dyslexia, (Dis)ability and Reasonable Adjustment’ in Theatre, Dance and Performer Training
(Routledge).
PARTICIPANTS: £34 (Associate Members can participate in this workshop)
47
October-December 2014 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.
Script to Screen Showcase (Early 2015)
Dates to be confirmed
Experience a 360-degree insight into the film-making process. Working on a shoot, under the real-life conditions of a
small scale film production, you will participate in aspects of film making not usually open to actors, including script
development and the edit. Learning through practical interaction with a leading screen director you will create,
produce and feature in a short film that will be screened in front of an audience of friends, industry and peers in the
Tristan Bates Theatre. As well as providing a showcase for you as a screen actor, this will also equip you with the
knowledge to initiate your own future projects. The director will cast the film and you may be invited to meet with
him/her as part of this process. Dates will be confirmed shortly. Register your interest by emailing
[email protected]
PARTICIPANTS: £400 / CV APPLICATION
Off the Record
We are thrilled that the Actors Centre has teamed up with Really Useful Theatres to present our hit series of
conversations, Off The Record as part of a new initiative - Lunchtime at the Lane. A series of colourful conversations
between Paul Clayton and his guests in what is probably the finest Georgian room in England -the Grand Salon at
the Theatre Royal Drury Lane.
Dates to be announced – keep an eye on the AC E-newsletter
Off the record is an ongoing series of talks with key figures in the industry. Actors and directors giving interesting and
informative insights into their personal journeys in this challenging and ever-changing business. Hosted by Paul
Clayton, there will be an opportunity for audience members to ask pertinent questions. In our previous seasons of Off
the Record, we were delighted to welcome Juliet Stevenson, Hugh Bonneville, Alison Steadman and Sir Derek Jacobi
among others. New dates will be announced in upcoming newsletters.
£FREE
Understanding Your Branding – One-to-One Sessions
Darren R L Gordon
October 6 OR December 1
10.30-17.30
Course: AD2
Keywords: 1-2-1 | SELF MARKETING | BRANDING | CAREER | PLANNING
WHAT IS IT? As an actor you are a product and like any good product you need a marketing strategy, branding and
packaging. These 1-2-1, 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.
→ For the last 15 years Darren R L Gordon has been helping actors develop a career in TV, film & theatre. For the last
7 years he has run his own company training actors and producing small-scale theatre and a variety of film-based
productions. He has delivered workshops for C4, BBC and a numerous UK theatres. He has worked with many actors
at all ages and levels of experience and has helped them progress their technique, understanding, contacts, range and
abilities. Over the last few years he has had particular success in helping actors identify what they have to offer and
how that is best marketed to the industry and as a result, has created his Branding and Networking Workshops.
PARTICIPANTS: £34
48
October-December 2014 Programme
Auditioning for Camera
Neil McDermott
October 10
10.30-17.30
Course: CA18
Keywords: PREPARATION | TAKING DIRECTION | RECORD & REVIEW | CONFIDENCE
WHAT IS IT? A workshop designed to help you understand what is required and how to achieve your best when
auditioning on camera.
HOW WILL IT WORK? You will receive a script two days before the workshop and you must prepare as for an audition.
We will film your performance in close up and allow two takes - with direction for the second. We will then go back
through the footage to discuss what works, what doesn’t and where you can improve.
WHAT DO YOU GET OUT OF IT? Preparation is key for TV/film auditions. The director has to be confident you are 'set
ready'. This workshop will help you understand what that means, and how to show the confidence that you are. Neil
will also talk about the differences between theatre and TV auditions.
→ Neil McDermott is an actor with a varied career doing in theatre, musicals, TV and film. He is probably best known
in his television career for playing Ryan Malloy in Eastenders for over two years. His other TV credits include The
Royal, Kiss of Death, Casualty, Doctors, Inspector George Gently and Dr Who. Neil has also had a very successful West
End career (Shrek The Musical, La Cage Aux Folles, Sound Of Music).
PARTICIPANTS: £55
Cartoon Voices
Tom Clarke-Hill
October 10
13.00-16.00
Course: RV6
Keywords: ANIMATION | CHARACTER VOICES | VOICEOVER | Q&A | CASTING
WHAT IS IT? A workshop for aspiring and working actors and voice artists interested in stretching their vocal range to
encompass the skills needed for Animation work.
HOW WILL IT WORK? Through vocal placement techniques, character development and mock voice session/audition
scenarios, Tom Clarke-Hill will help you find the wacky and wonderful vocal places you can go to squeak like a mouse
or growl like a grizzly! Tom also answers questions and shares experiences from his career voicing Cartoons, Animated
Characters like Tony the Tiger, Gaming, movie trailers and more, and also his thoughts on demos and agent selection.
WHAT DO I GET OUT OF IT? A realistic look as to whether cartoon voicing is for you. Tools to consistently find your
characters’ voice placement and a fun filled afternoon releasing your inner child ... or demon!
→ California native Tom Clarke-Hill is an actor and voiceover artist residing in the UK since 1993. He has appeared in
film and television shows including Churchill the Hollywood Years, Entrapment, The Royal and Heartbeat. His extensive
voiceover work includes cartoons, video games such as Killzone, Timesplitters, Lego and Big Mutha Truckers, the UK
voice of Tony the Tiger for Kelloggs Frosties, infomercials and more. Tom will be facilitating the workshop from his
CD/booklet, Cartoon Voices.
PARTICIPANTS: £30
49
October-December 2014 Programme
Cut the Crap Clinic
Natalie Burt
October 13 OR December 1
18.00-21.00
Course: AD18
Keywords: DISCUSSION | STRATEGIES | HONESTY | UP-TO-DATE INFORMATION | CONFIDENCE
WHAT IS IT? A masterclass and conversation with actress Natalie Burt, author of Acting: Cut the Crap, Cue the Truth,
that addresses, faces, reveals, challenges and discusses the intricacies and practicalities of being a jobbing actor in the
industry today.
HOW WILL IT WORK? Drawing from her own experience Natalie will move through a plethora of subjects that will
enlighten, help and support the young actors she works with. She will emphasise the importance of today’s ‘actorentrepreneur’ and give the inside scoop of how to stay ahead in one of the most competitive games in existence.
WHAT DO YOU GET OUT OF IT? You get an uncensored, honest, pragmatic, empathetic, thorough and uplifting view
of the industry, straight from the horse’s mouth; an opportunity to be open, specific and unedited with questions and
a chance to hear the most relevant and up to date information that drama schools forget (or neglect) to mention.
Natalie encourages her participants to have a voice during her sessions - with a view to each individual leaving the
discussion better informed, clearer about their aims, opinions and strategies and more confident about the world
they are now a part of. You might all have a laugh too.
→ Natalie Burt graduated from GSA in 2006 and is an actress and author. Her theatre credits include The Glass
Cage, The Prime of Miss Jean Brodie and The Wizard of Oz at Northampton Royal & Derngate, Sugar Daddies,
Honeymoon Suite, TRB's tour of Pride and Prejudice, First Light at Edinburgh Fringe/King's Head - London and Lady
Anne in Richard III at Nottingham Playhouse. Her TV credits include Doctors, Holby City, Coming Up, Being
Human, United starring David Tennant, Pandora in series one of BBC’s Blandings, ITV’s Breathless and Channel 4's
Scrotal Recall. She also works in voiceovers and created the role of Dr Sally Armstrong for Big Finish’s audio
series Doctor Who: Dark Eyes opposite Paul McGann’s Doctor. As an author - her first book Acting: Cut the Crap, Cue
the Truth was published by Oberon Books earlier this year and amidst plans for a second book, she writes screenplays.
“She likes Sharks and dislikes talking about herself in the third person”... but likes quoting her own book.
PARTICIPANTS: £15
Making a Career Plan
Darren Bransford
October 16
10.30-17.30
Course: AD19
Keywords: GOALS & TARGETS | GENERATING WORK | BRANDING | THE BUSINESS OF ACTING
WHAT IS IT? Whether you're just starting out in the industry, returning after a break, or looking to revamp your
career, every actor needs a plan. This workshop will help you make that plan, and set realistic targets to help keep you
on track.
HOW WILL IT WORK? Areas of focus include: Your profile (CV, Spotlight, Headshots and Showreel); identifying and
removing obstacles; brand and image (including casting types and first impressions); generating work; building your
network; online presence and The Business of Acting. Participants will be set a brief exercise/questionnaire to
complete in advance.
WHAT DO YOU GET OUT OF IT?: This Career Guidance workshop will help you design a 12-month plan with realistic
and achievable targets, whilst identifying and removing the obstacles and limitations you have been setting yourself.
Working in a small group enables actors to not only form their own plan, but to learn from those being set by others.
→See page 30 for tutor Bio
PARTICIPANTS: £30
50
October-December 2014 Programme
Making a Showreel from Scratch
Chrys Salt
October 17
10.30-17.30
Course: TV28
Keywords: SHOWREELS | SELF MARKETING | CAREER | BRANDING
WHAT IS IT? A Workshop with Chrys Salt - one of the Centre’s longest serving tutors - designed to help you develop a
professional show reel at minimum cost.
HOW WILL IT WORK? If you want to work on screen, you need to be seen on screen working. This course explores the
artistic process of how to construct a ‘selling’ show reel from scratch with low cost examples, examples of ‘the
competition’, advice on your casting profile, scripts, editing and how to use your show reel as a tool for success.
WHAT DO YOU GET OUT OF IT? A clear step by step insight into how best to sell yourself on screen. Bring examples of
your screen work on CD/DVD - HOWEVER BAD YOU THINK IT IS. You’ll be surprised!
→ Chrys is an award-winning director and writer and one of the Centre’s longest serving tutors. She has written seven books
for actors on auditioning and the business of acting (published by Methuen Drama), has worked extensively in theatre and
sound and directed many of the country’s leading actors. Chrys was awarded an MBE in The Queen’s Birthday Honours List
2014. For more information please visit www.chrysalt.com
PARTICIPANTS: £35
Hey, Mrs Producer
Kim Poster
October 17
14.00-17.00
Course: AD21
Keywords: PRODUCING | KNOWLEDGE | HOW TO | HANDOUTS | Q&A
WHAT IS IT? A workshop designed to introduce you to the role of the producer in theatre.
HOW WILL IT WORK? Using various hand outs and discussion, Kim Poster will take you through the role of the theatre
producer, both artistically and financially, to help you understand the function of a producer and your relationship to
the management of a production. How to turn what could be a perplexing relationship into one of mutual
understanding.
WHAT DO YOU GET OUT OF IT? An overview of the ‘big picture’ of a production and how each of us fits in it.
→ Kim Poster founded Stanhope Productions, a theatrical producing company, in 2001. She has many west end
credits a lot of which have received numerous Olivier and ES awards nominations. She is on the Board of SOLT and the
council of StageOne. www.stanhopeproductions.com
PARTICIPANTS: £10 (Associate Members can participate in the workshop)
Chatzy Man
Paul Clayton
October 21
10.30-13.30
Course: AD22
Keywords: VIRTUAL CHAT | ADVICE | COACHING | CAREER | BESPOKE
WHAT IS IT? Private 15-minute virtual chats with Actors Centre Chairman and actor, Paul Clayton.
HOW DOES IT WORK? An opportunity to ask questions that you have about your working life as an actor, that you'd
like a little confidential advice or coaching on. AC Chair Paul Clayton offers 15 minute slots for a virtual chat where you
can ask whatever you want. He doesn't claim to know all the answers, but he can probably put you in touch with
people who do, and help you move forward. All from the comfort of your own home!
WHAT DO YOU GET OUT OF IT? 15 minutes 1-2-1 advice to focus on whatever subject you choose.
→ Paul Clayton is an actor and director with many television and theatre credits to his name. He also works in the
corporate sector as a communication skills trainer. He has 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.
PARTICIPANTS: £10
51
October-December 2014 Programme
Promoting Yourself in the Film and TV Industry
Mark Street
October 21
10.30-14.30
Course: CA19
Keywords: SELF MARKETING | YOU AS A BUSINESS | PREPARATION | FILM & TV
WHAT IS IT? A workshop designed to help you sell yourself in the industry by encouraging you to view yourself as a
company.
HOW WILL IT WORK? Using role-play and various other exercises, the session will help you identify your ‘type’ and
highlight the benefits of playing to your strengths rather than against them. We will explore how best to sell yourself
by developing your pitch, how to cultivate a positive attitude and how to begin defining clear career goals. A lot of the
work will be filmed with continual feedback from Mark and other participants enabling you to analyse your progress
throughout the session.
WHAT DO YOU GET OUT OF IT? You will leave with the some basic acting techniques that will help you when
networking or auditioning. You will have begun to identify your primary-type/casting and so begin to understand what
makes you unique as an actor. You will have a better understanding of how the industry works, your place within it
and a plan to get you where you want to be.
→ See page 40 for tutor Bio.
PARTICIPANTS: £30
Paying the Piper - Support your Career Financially in the Corporate World
Tom Eatonton and Kru Live
October 21 OR November 4
18.00-21.00
Course: AD28
Keywords: CORPORATE ACTING | EVENTS | ROLE-PLAY | SKILLS | WORK OPPORTUNITIES
WHAT IS IT? A workshop designed to help you learn about the range of corporate work available to actors.
HOW WILL IT WORK? Using role-play, presentation and group participation, the multi-awarding-winning agency, Kru
Live, will introduce you to the world of corporate acting, event, experiential and performance based work that is
typically undertaken by actors in support of their chosen career. You will learn how the industry works, the booking
and briefing processes as well as what you can expect to earn.
WHAT DO YOU GET OUT OF IT: Successful candidates will be registered to the books of Kru Live during this session.
You will have access to their live portal to see all up-coming work available. You will gain an understanding of how to
maximise your income whilst remaining flexible enough to pursue acting roles. Thanks to generous support by Kru
Live, all those who attend will be given a £10 credit voucher for another workshop of your choice in The Working Actor
season to further extend your skill set.
→ Founded in 2005 by Tom Eatonton, Kru Live is an independent specialist staffing agency that carries out the
majority of its work for experiential, public relations and event agencies. Kru Live set about the task of delivering a
service of excellence, not only to clients but to our staff, those that make the difference between an ‘okay’ campaign
and a ‘fantastic’ campaign. Tom has worked in the brand experience and event industries for nearly 20 years
and having developed considerable experience in staffing he set up Kru Live with an absolute focus on delivery and
customer service. Tom is proud to be known for an agency and team that consistently deliver beyond expectations.
PARTICIPANTS: £18
52
October-December 2014 Programme
Audio Book Masterclass
Laurence Bouvard
October 22
10.00-17.30
Course: RV7
Keywords: AUDIO BOOKS | PRACTICAL | VOCAL SKILLS | INDUSTRY ADVICE | NEW OPPORTUNITIES
WHAT IS IT? Introduces you to the burgeoning audiobook industry and the skills required to be a successful reader.
HOW WILL IT WORK? Using a variety of texts, we will work on different skills including preparation, pacing, characterisations,
text analysis, and other issues, then will record each participant. Participants will have the chance to try different types of
text and receive individual feedback throughout. Participants are asked to bring with them a short piece of text that they feel
is suited to their voice and style to use in the first exercise.
WHAT DO YOU GET OUT OF IT? Industry information, personalised feedback and guidance from working audiobook industry
professionals, as well as recorded tracks that can be taken away at the end.
→ Laurence Bouvard is an American actress and voiceover artist who trained at LAMDA and is currently Equity's Audio
Councillor. Laurence has voiced almost 100 audiobooks to date for companies including BBC, AudioGo, RandomHouse, WF
Howes, RNIB, Oakhill and Isis. She was Reader of the Month for Whole Story Audio.
PARTICIPANTS: £35 / OBSERVERS: £15
Accounting For Actors
Mr Tim Haggard FCA & Mr Terry Smith CTA ATT
October 30
18.00-20.00
Course: AD27
Keywords:
WHAT IS IT? A workshop designed to help young and aspiring actors manage their Personal Tax affairs
HOW DOES IT WORK? Haggards Crowther has a wealth of experience of working with all kinds of clients including
actors, stage schools and writers, so are able to provide to you best advice, whether you are just starting out or if you
are already well established; they can assist with completing personal accounts and with all stages of self-assessment
including: Manage professional expenditure | Collating all required information | Assisting you with your tax return |
Advise you on your future tax liabilities
WHAT DO YOU GET OUT OF IT? Haggards Crowther will provide aspiring actors with a comprehensive understanding
of how best to manage their personal tax affairs. This workshop will help to raise awareness and highlight both the
importance of managing your financial affairs and highlight the pitfalls that many actors encounter.
PARTICIPANTS: £FREE
Commercial Casting Success
John Melainey
October 28, 18.00-21.00 OR
November 26, 14.30-17.30
Course: CA20
Keywords: COMMERCIAL AUDITIONS | TECHNIQUE | CONFIDENCE | PREPARATION | FEEDBACK
WHAT IS IT? A workshop designed to greatly increase your chances of succeeding at commercial auditions.
HOW WILL IT WORK? Using authentic commercial scripts and taking you through the whole process under mock
casting conditions whilst on camera, John Melainey will show you the rights and more importantly the wrongs when
auditioning for commercials. Remember – they look for reasons NOT to use you!
WHAT DO YOU GET OUT OF IT? For the actor with experience of commercial castings, come and find out all the
mistakes you’ve been making and how to rectify them. For the actor inexperienced at commercial casting, come and
discover the secrets of more successful auditioning.
→ 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: £30
53
October-December 2014 Programme
So You Want to Be a Corporate Actor?
Paul Clayton
November 1
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 work possibilities for actors.
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, and a full 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 try.
→ See Page 51 for tutor Bio.
PARTICIPANTS: £45
Audition M.O.T
Anna Ledwich
November 4 OR November 27
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 directed for Hampstead Theatre, Headlong and the Gate Theatre as well
as working as an Associate Director to Rupert Goold and Richard Eyre on the West End and Broadway. Directing credits
include 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, Lovely and Misfit (Trafalgar Studios) and Roulette (Finborough Theatre). Anna won the Gate Theatre/
Headlong New Directions Award in 2010 for her adaptation of Frank Wedekind’s Lulu and has previously been shortlisted for
The Jerwood Directors Award at the Young Vic.
PARTICIPANTS: £30
Paying the Piper - Support your Career Financially in the Corporate World
Tom Eatonton and Kru Live
November 4
18.00-21.00
Course: AD28
Keywords: CORPORATE ACTING | EVENTS | ROLE-PLAY | SKILLS | WORK OPPORTUNITIES
See page 54 for full details.
PARTICIPANTS: £18
54
October-December 2014 Programme
Casting on Camera
Polly Hootkins and Chris Green
November 6
18.00-21.00
Course: CA5
Keywords: AUDITIONS | PRACTICAL EXERCISES | FEEDBACK | INDUSTRY ADVICE | NEW SKILLS
WHAT IS IT? This workshop will improve your skills in front of camera and familiarise you with the tools required to
succeed at a casting/audition session.
HOW WILL IT WORK? Carefully selected scenes will be performed and recorded in front of the group then analysed
and refined by Polly and Chris before being presented a second time. Polly works specifically on what is required at a
casting session while Chris focuses on the behind-the-scenes work that is required to build a convincing performance,
often with little or no preparation. Participants will receive their scenes several days before the workshop so that they
have time to prepare.
WHAT DO YOU GET OUT OF IT? The importance of taking risks, understanding the intricate, almost mystical,
relationship between actor and camera and the ability to reveal a character’s thoughts between the lines on the page
will be discussed and demonstrated throughout the session. Feedback and involvement from everyone present is
encouraged throughout and an open discussion plus Q&A at the end provides a robust conclusion to the workshop.
→ Polly was an actress and agent before becoming a Casting Director. Her film casting credits include A New Day In Old
Sana’a, Captain Jack, The Long Kiss Goodnight, Cutthroat Island, Dark Blood (halted after the demise of River Phoenix
but about to be resurrected by director George Sluizer), Prospero’s Books, Utz. TV casting includes Wild at Heart, Rose &
Maloney, Marguerite Volant. Theatre casting credits include Chichester Festival Season, Faithful Dealing at Soho
Theatre, M. Butterfly for Singapore Repertory Theatre and The Wood Demon for The Playhouse, London. Her current
project is an Arabic film speaking bein shot in Marrakech in 2014.
→ Chris started out as an actor and is now a screenwriter, director & producer. Chris’s writing credits include:
Rhinoceros (Granada/Coastal Productions); Going Home (BBC); Festival of the Americas which received 3 Canadian
Academy Award Nominations including Best Film; Fell Tiger (BBC) which won T.R.I.C.S. Award Best Drama Series; A
Dinner Of Herbs (Festival Films); four episodes of Trainer (BBC); story consultant and lead writer for four episodes of
Adventurer (Thames/TVNZ/Gatetarn Co-Production) and 7 episodes of series one of Peak Practice (ITV). Chris
currently has several film and TV projects in development through his company Island Films.
PARTICIPANTS: £30
The Digital Revolution: Make Work, Get Work, Make Money, Make Work
Owyn Stephens
November 11
10.30-13.30
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 as well as winning humbling
acclaim from the likes of comedy giants Peter Serafinowicz (Shaun of the Dead, Spaced), Graham Linehan (Father Ted,
The IT Crowd) and Sam Bain (Peep Show, Fresh Meat).
PARTICIPANTS: £12
55
October-December 2014 Programme
PR and the Actor
Ben Chamberlain
November 17
18.30-20.00
Course: AD26
Keywords: PUBLIC RELATIONS | SOCIAL MEDIA | CAREER PROFILE | TIPS AND ADVICE
WHAT IS IT? This discussion led workshop will give you an introduction to the world of public relations. Including
media relations, best practice and social media, this interactive workshop will help you understand the role public
relations plays in the arts.
HOW WILL IT WORK? You will be shown how a PR campaign is built, where performers sit within a campaign and
how to build a profile for yourself through your career. Come prepared with questions to get the most out of this
session.
WHAT DO YOU GET OUT OF IT? An insight into the world of arts PR. Tips and tricks of the trade from a PR pro.
→ Ben Chamberlain has worked in arts marketing and PR for over 20 years; starting his career at Nicky Webb
Associates, moving on to English National Opera and, later, Battersea Arts Centre. He established Chamberlain AMPR,
alongside Clair Chamberlain, in 1999 to offer an integrated marketing and PR service primarily to arts sector clients. In
2007 he co-founded The Corner Shop PR and has established long and productive relationships with many key clients
including Punchdrunk, National Theatre Wales and National Youth Theatre.
PARTICIPANTS: £5
Step up to the Microphone
Peter Warnock
November 17, 18
10.30-17.30
Course: RV8
Keywords: VOICEOVER | PRACTICAL | MICROPHONE TECHNIQUE | VERSATILITY | ETIQUETTE
WHAT IS IT? An 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 Warnock 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; get a greater understanding of your own voice and its
capabilities.
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 lots of money on a poorly thought out
reel.
→ Peter Warnock is an Ambassador for Equity, a professional voice coach with an MA in Voice and Singing and has
been a working industry professional for over 20 years. In the voice world, Peter is known for high-octane energy, fast
pace and for delivering believable, emotive and trustworthy voices. Peter is able to make anything technical sound
totally uncomplicated and has a brilliant range of accents. He has over 13 years' experience in the voiceover world,
having recorded more than 2000 voices for radio, TV and film. In the past, Peter has voiced the Worldwide voice of
Heineken Christmas Wishes, Guinness St Patrick’s day, The Sunday Times, Sky Movies and Sky TV, Disney, Channel 4,
More 4, BBC and Dave. Most recently, Peter has voiced characters in the video game world and is the voice of DFS.
For further information visit www.pvolume.tv.
PARTICIPANTS: £70
56
October-December 2014 Programme
Headshots What Work!
Mark Davis
November 18
13.00-15.00
Course: AD24
Keywords: PHOTO SHOOT | ADVICE | MARKETING | AGENTS AND CASTING DIRECTORS
WHAT IS IT? Casting directors want to see the real you and this workshop will help actors understand the
fundamentals and importance of great headshots.
HOW WILL IT WORK? You will have the opportunity to show your headshot to London's foremost acting portrait
photographer with feedback and advice on how it all works. There will be a short free shoot in the studio or an
outside location (weather permitting) and you will be given guidance and help in finding the right photographer for
you.
WHAT DO YOU GET OUT OF IT? An understanding of the importance of a great headshot, information on what casting
directors and agents are looking for, as well as one new photo taken by Mark that will be emailed to you after the
workshop.
→ Prior to founding M.A.D Mark’s original artistic background was in Musical Theatre. He worked as a performer in
the West End in musicals such as Starlight Express, Pirates of Penzance and Seven Brides for Seven Brothers. He has
always enjoyed taking photographs and when he decided to hang up his roller skates he became an actors’
photographer. After showing some of his shots to a London theatrical agent back in the mid- 90’s, interest grew
rapidly and M.A.D was born. Mark’s technical expertise and second sense for capturing natural expression has
resulted in M.A.D becoming London’s foremost portrait photographer.
PARTICIPANTS: £20
Making the Meeting Work
Paul Clayton
November 18
18.00-21.00
Course: CA22
Keywords: AUDITIONS | POSITIVITY | PRESENTATION | ENERGY | PERSONALITY
WHAT IS IT? A workshop designed to help you make the most out of all interviews and auditions.
HOW WILL IT WORK? Using role-play, and various other exercises, Paul Clayton will take you through a point- bypoint plan to help you maximise your own personal effectiveness in an audition or casting interview. You will learn
ways to turn what could be an interrogation into a conversation and how to ensure that the casting people get the
chance to see the real you.
WHAT DO YOU GET OUT OF IT? A six-point plan that you should be able to put into effect next time you have an
audition/casting, ensuring you come across as positively as you possibly can.
→ See page 51 for tutor Bio.
PARTICIPANTS: £18
57
October-December 2014 Programme
TV/Film Audition Advice and Technique
Jane Deitch
November 19
14.00-17.00
Course: CA23
Keywords: AUDITION | CASTING DIRECTOR | PRACTICAL | ADVICE | 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 (incl. original cast), the Emmy award-winning Waking the Dead (incl. original cast), the BAFTAnominated A Respectable Trade, Judge John Deed (incl. original cast), The Mrs Bradley Mysteries (incl original cast),
Being April (incl. original cast), Sunburn (inc. original cast), 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 (Curio Films in association with Moli Films) She is also working on a number of
theatre projects including Man Overboard, Diary Of A Nobody, Sticks and Stones, David Hare’s Knuckle and the
musical tour It Happened In Nixon Falls.
PARTICIPANTS: £30
Career Marketing Strategy for Actors
Phil Shaw
November 21
14.00-17.00
Course: AD25
Keywords: UNIQUE SELLING POINT | COMMUNICATION | HEADSHOTS | CV | NETWORKING
WHAT IS IT? Maximise your chances of being seen by casting directors with this in-depth and analytical workshop
which offers a cutting edge approach to packaging and marketing your career.
HOW WILL IT WORK? Phil specifically deals with the USP (Unique Selling Point/s), character-driven headshots, Carl
Jung's archetypes and personality typology, Aristotle’s Art of Persuasion, relating/listening, body language,
actor/agent/casting director interpersonal dynamics, and communication skills. The workshop also covers
photographers, CV’s, letter writing, audition material, media networking, showreels, websites, and internet resources
for actors. You will be guided through the stages of implementing a marketing strategy and sales pitch which
encapsulates the essence of what selling ‘yourself' as a commercial product actually means. Accompanied by some
self-empowerment exercises, Phil will demonstrate how these invaluable tools for confidence building and selfawareness can be used to generate a casting director's interest and respect.
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!
→ Phil trained at Webber Douglas 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 Italian Movie. In 2014 he cast 24 creator Robert Cochran’s epic mini-series
1066-Conqueror (Sky TV/USA). Phil is also a casting consultant to the NFTS, a voice/audition technique coach, and
gives seminars at RADA, RCSSD, LAMDA and The Old Vic New Voices.
PARTICIPANTS: £18
58
October-December 2014 Programme
Voiceovers for International Actors
Lara Parmiani
November 25
14.00-18.00
Course: RV9
Keywords: VOICEOVERS | FOREIGN LANGUAGES | SKILLS | OPPORTUNITIES
WHAT IS IT? A group class for actors whose first language isn't English, focused on how to maximise your chances of
finding voice work in the UK.
HOW WILL IT WORK? Using real VO scripts (both in English and in your native language) and a microphone you'll
discover how to make the most of a foreign accent and language, how to sell and market your voice, what your
unique selling points are and which kind of material to select for a bilingual demo. Every participant will have the
chance to practice different styles of voice over, listen back and receive feedback. Topics such as voice and mic
technique, sightreading, and demo recordings will also be covered
WHAT DO YOU GET OUT OF IT? A clearer understanding of how the voice over market for international actors works,
a strategy to market yourself, demo suggestions, an overview on agents and internet websites for home studio
recordings.
→ Lara is 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: £20
Producing a Show
Ben Monks and Will Young
November 25
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? The workshop is 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 and don’ts of pitching and 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 production company Supporting Wall, where recent shows include the premieres and UK tours of
Philip Ridley’s Fringe First Award-winning Dark Vanilla Jungle (Royal Exchange/Pleasance Edinburgh/Soho Theatre,
2013-14), Tender Napalm (Southwark Playhouse/UK Tour, 2011-12) and Moonfleece (Riverside Studios/UK Tour,
2010), as well as the world premieres of Timberlake Wertenbaker's Our Ajax (Southwark Playhouse, 2013) and
Shallow Slumber (Soho Theatre, 2012) 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. Ben & Will have also provided general
management, tour booking & PR for a range of international companies across the performing arts.
PARTICIPANTS: £FREE (Associate Members can participate in this workshop)
59
October-December 2014 Programme
Commercial Casting Success
John Melainey
November 26
14.30-17.30
Course: CA20
Keywords: COMMERCIAL AUDITIONS | TECHNIQUE | CONFIDENCE | PREPARATION | FEEDBACK
Multiple Dates - See page 53 for full details.
PARTICIPANTS: £30
Audition M.O.T
Anna Ledwich
November 27
10.30-17.30
Course: CA21
Keywords: DIRECTOR’S INSIGHT | AUDITION PRACTICE | FEEDBACK | TECHNIQUES | CONFIDENCE
Multiple Dates - See page 54 for full details.
PARTICIPANTS: £30
How to Be Your Own Agent
Paul Cawley
November 29
10.30-13.30
Course: AD6
Keywords: ACTORS’ STATIONERY | INDUSTRY INFORMATION & ADVICE | 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.
→ 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: £18
Understanding Your Branding – One-to-One Sessions
Darren R L Gordon
December 1
10.30-17.30
Course: AD2
Keywords: 1-2-1 | SELF MARKETING | BRANDING | CAREER | PLANNING
Multiple Dates - See page 48 for full details.
PARTICIPANTS: £34
60
October-December 2014 Programme
Cut the Crap Clinic
Natalie Burt
December 1
18.00-21.00
Course: AD18
Keywords: DISCUSSION | STRATEGIES | HONESTY | UP-TO-DATE INFORMATION | CONFIDENCE
Multiple Dates - See page 61 for full details.
PARTICIPANTS: £15
Showcase in a Week
Sarah Hughes
December 1, 8, 15, 16, 17, 18, 19
10.30-17.30
Course: CA24
Keywords: PERFORMANCE | MARKETING SKILLS | PROMOTION | DUOLOGUES | COLLABORATION
WHAT IS IT? An intensive seven-day course (timetabled on different days over three weeks), aimed specifically at
STANDARD members and those starting out in their careers. We will rehearse, stage and deliver a 45-minute lunchtime
showcase of duologues in the Tristan Bates Theatre to an invited audience
HOW WILL IT WORK? The first two days of the course focus on marketing ourselves, our showcase, looking at the best ways
to contact and invite casting directors & agents. We will also select our duologues and begin to work on them. The
remaining five days will be spent rehearsing the showcase, with the performance on the Friday lunchtime. This is likely to
be an intensive week, teamwork and total commitment will be needed from all participants.
WHAT DO YOU GET OUT OF IT? The course will give participants useful skills in self-marketing and self-promotion,
and in presenting contemporary duologues onstage – skills that can be taken forward and used in the future. The aim
is also for the group to collectively find a good audience for the showcase and to provide participants with an
opportunity to be seen by agents, casting directors and industry peers.
→ Sarah has been Alan Ayckbourn's casting director since 1991, casting his plays at the SJT, in the West End, the NT and
on Broadway, as well as productions at the SJT. Since 2000 she has also freelanced for the BBC. Freelance theatre work
includes plays for West Yorks, Birmingham Rep, Theatre Royal Northampton and Frantic Assembly. She was a Senior Cast
Co-ordinator for the London 2012 opening/closing ceremonies, leading on the Paralympic Opening. In 2013, she cast
Slings and Arrows (BBC). Recent projects include world premieres of Muddy Cows and Arrivals and Departures, revivals of
Time of My Life and Sugar Daddies (ACT Theatre in Seattle).
PARTICIPANTS: £175 / CV APPLICATION (Deadline for applications: November 24th)
The Art of Networking and the Importance of Net-Worlding
Darren R L Gordon
December 2
10.30-17.30
Course: AD12
Keywords: NETWORKING | COMMUNICATION | ADVICE | CAREER | PLANNING | CONFIDENCE
WHAT IS IT? This workshop will help tackle some of the issues associated with networking and how to make better
use of the network you are continuing to build (Net-Worlding).
HOW WILL IT WORK? Many of us meet great people with whom we have a synergy or who we feel could help move
our career forward, but sometimes we are inhibited by self consciousness, nerves and even outright paranoia.
However much we may struggle with it, networking is becoming more and more important to our career progression
and without a strategy in place you are missing out on vital and significant opportunities. Once there is a network of
people to communicate with and market yourself to, the next stage is to build relationships with those that matter.
Net-Worlding will explore how you can categorise, organise and make far better use of that network, establishing
stronger connections and a level of communication that will eliminate many of the issues that make networking so
uncomfortable in the first place.
WHAT DO I GET OUT OF IT? You will receive solid advice, a clear set of pointers, dos and don'ts, and will also have the
opportunity to look specifically at your networking style and your Net-Worlding potential.
→ See page 48 for tutor Bio
PARTICIPANTS: £30
61
October-December 2014 Programme
Auditions Made Easy
Simone Reynolds
December 5
10.30-17.30
Course: CA11
Keywords: FILM & TV | THEATRE CASTINGS | PREPARATION | FEEDBACK | CONFIDENCE
WHAT IS IT? Working with a casting director who wants you to get that elusive part, this workshop will help you to
understand how to approach a film or theatre audition
HOW WILL IT WORK? You will work on a play and Simone will also provide sides from a TV drama in advance. Mock auditions
will be held and actors will have the opportunity to be put on tape and have scenes played back with detailed analysis and
feedback of each audition. We will also address such questions as: How do I work on the sides? What do I wear? Who am I
meeting? What do I say when I walk into the room?
WHAT DO YOU GET OUT OF IT? A better understanding of what is required in an audition enabling you to put these methods
into practice on your own, as well as increased confidence. Preparation is everything!
→ Simone’s casting credits include Chariots of Fire (4 Academy Awards), The Long Good Friday (Evening Standard Award),
The Vicar of Dibley and The Politician’s Wife. Her theatre credits include The 39 Steps, Criterion Theatre.
PARTICIPANTS: £55
Making Castings Work
Lucinda Syson
Date: to be confirmed
Course: CA25
Keywords: FILM CASTINGS | SELF-TAPE | ADVICE | Q&A
WHAT IS IT? A chance to get advice and feedback from one of the UK's leading casting directors.
HOW WILL IT WORK? Seminar and Q&A looking at how actors present themselves in castings.
WHAT DO YOU GET OUT OF IT? While some of the content will be pre-prepared by Lucinda, she will happily interact and
take questions and answers from the group so that you can highlight your specific needs, and get answers to your questions
about how major feature film castings work. Given the fact that many casting services are now preparing for actors to be
able to self tape their auditions, get advice on how to turn your iPhone footage into a first-class audition read. Please
contact [email protected] to register your.
→Lucinda Syson is a member of the CDG and is one of the foremost casting directors currently working in the UK. Recent
work includes Legend, Hercules, Fast and Furious 6, A Good Day to Die Hard, Cloud Atlas, Gravity, X-Men First Class,
Batman: The Dark Knight, V for Vendetta, Batman Begins, Ali G Indahouse.
PARTICIPANTS: £15
Inside Casting
Catherine Willis
Date: to be confirmed
Course: CA26
Keywords: THE CASTING PROCESS | ADVICE | AUDITIONS | Q&A
WHAT IS IT? A chance to work with top casting director Catherine Willis on what your best casting is and how you can
bring that across in the room.
HOW WILL IT WORK? This session offers you a fantastic opportunity to hear about the casting process from
Catherine’s perspective with a particular focus on TV and film. You will get tips and advice on how to present
yourselves and make the most of your opportunities, and questions will be answered along the way.
WHAT DO YOU GET OUT OF IT? An expert eye looking at your casting possibilities, and guidance on how to make
auditions work for you. Please contact [email protected] to register your interest and we will let you
know when the date is confirmed.
→ A freelance casting director, Catherine’s career started in theatre and then went on to include 6 years in-house at
the BBC casting drama series and serials. Since setting up her own company in 2006, Catherine specialises in new
series for drama, comedy and a strong line in critically acclaimed drama-documentaries. In the last year Catherine has
cast 5 new series; Mount Pleasant, This is Jinsy (Sky), Fresh Meat (C4), Top Boy (C4) and Dark Matters (Discovery). For
more information please visit http://www.cwcasting.co.uk
PARTICIPANTS: £15
62
October-December 2014 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 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
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.
→ See page 53 for tutor Bio.
PARTICIPANTS: £20 / OBSERVERS: £10
Audition Technique for Cold and Prepared Readings
Nina Finburgh
Wednesdays
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).
→ 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
63
October-December 2014 Programme
Audition Technique for Cold and Prepared Readings (Newcomers)
Nina Finburgh
Wednesdays October 15, November 26
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).
→ See tutor Bio above.
PARTICIPANTS: £18 / OBSERVERS: £10
One-to-One Voiceover Sessions
Lara Parmiani
Wednesdays October 8, 22 November 5, 19, December 3
14.00-17.00
Course: RV1
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.
→ See page 59 for tutor Bio.
PARTICIPANTS: £34
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.
→ Neil trained at RCSSD and is an acting coach/mentor & 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, ATG, ENO, The Think Collective and Stand-By. As an acting coach and project manager, Neil has worked
with Arts Ed, The Brit School, Shena Simon College of Performing Arts, Point Blank London as well as the UK Government.
Neil is the Membership & Creative Projects Manager of the Actors Centre.
PARTICIPANTS: £FREE
Bespoke Coaching
In addition to our regular programme of workshops, the Actors Centre is now providing a unique range of one-to-one
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 Cathy Hammond at:
[email protected] - All sessions take place at the Actors Centre or by Skype if applicable.
64
October-December 2014 Programme
REGIONAL WORKSHOP PROGRAMME
The Actors Centre is excited to announce that it is embarking upon a pilot programme in the North and Midlands
regions. We will be working in collaboration with Curve, Leicester as part of their artist development programme
and our shared ethos of supporting artists via industry engagement and professional development opportunities.
Our Manchester programme will run parallel to that in Leicester and will be delivered at a city centre location.
This programme is part of the Actors Centre's objective to provide support and a service for professional actors in
the regions. Recognising the need for increased and specific professional development opportunities for Actors
based outside of London, the Actors Centre will initially programme 2 masterclasses a month in each region by
non-local tutors from October 2014 for a six month period. If demand is evident, we aim to continue and extend
this provision from April 2015 and also work towards developing a central focus in both regions where actors can
meet and network.
All current Actors Centre members will be able to access the regional programmes as part of their membership.
As this is a pilot programme, we will offer Regional Membership complimentary to actors wishing to access these
masterclasses for this initial 6 month period; this membership will not give access to our London programme. All
new regional membership applications will be assessed against our current membership criteria.
LEICESTER
Masterclass/Workshop
Rock and Pop Musicals - Ensemble Singing
Times
Date
S: 11:00
06/10/2014
with Stuart Morley
F: 18:00
Character Voices
S: 11:00
with Yvonne Morley
F: 18:00
Understanding Your Branding
S: 11:00
with Darren R L Gordon
F: 18:00
09/10/2014
10/10/2014
(Double Bill)
Make The Meeting Work
S: 11:00
with Paul Clayton
28/11/2014
F: 18:00
Audition: Confidence with Sides and Scenes
With Sarah Hughes
Tools to Improve and Protect your Voice
S: 11:00
with Ian Macdonald (in association with BAPAM)
F: 18:00
01/12/2014
65
October-December 2014 Programme
MANCHESTER
Masterclass/Workshop
Tools to Improve and Protect your Voice
Times
Date
S: 11:15
14/10/2014
with Ian Macdonald (in association with BAPAM)
F: 18:00
Character Voices
S: 11:15
with Yvonne Morley
F: 18:00
Audition Intensive
S: 11:15
17/10/2014
19/11/2014
with Sarah Hughes
F: 18:00
Make the Meeting work
S: 10:00
with Paul Clayton
F: 13:00
How to Play Comedy on Screen
S: 11:15
25/11/2014
10/12/2014
with Caroline Webster
F: 18:00
Making a Career Plan
S: 11:15
with Darren Bransford
F: 18:00
18/12/2014
66
October-December 2014 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 Heather Doole on 020 7632 8012 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]
Supported Companies
This season 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 46.
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.
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.
67
October-December 2014 Programme
Courses for Non – Members
Get Into Acting
October course dates
October 4, 5, 11, 12, 18, 19, 25, 26, 10.30-17.30
November course dates
November 8, 9, 15, 16, 22, 23, 29, 30, 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 Introduction to 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
October 27, 28, 29, 30, 31, 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 7632 8002.
PARTICIPANTS: £400
68
October-December 2014 Programme
Get Into TV Presenting with Kathryn Wolfe
December 6, 7, 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 a highly experienced TV director and tutor with credits including BBC’s Breakfast Time, Record
Breakers, The Clothes Show, Teletubbies and Tweenies, and since 2006 she’s been Course Leader Television
Production and Senior Lecturer Media Performance at the University of Bedfordshire. For more than ten years she has
devised and delivered short courses in TV presenting across the UK, in addition to delivering TV presenter training in
Higher Education, coaching hundreds of TV presenters and launching countless careers. Kathryn is a published expert
with two authored books in this field. So You Want to be a TV Presenter? (2010) focuses on TV presenter training;
Kathryn’s second book The TV Presenter’s Career Handbook (2014) explains how to carve your TV presenting career
and includes advice from over 80 presenters, agents and producers. For further details see
www.pukkapresenting.co.uk
PARTICIPANTS: £300
Get Into Screen Acting
October course dates
October 27, 28, 29, 30, 31, 10.30-17.30
December course dates
December 15, 16, 17, 18, 19, 10.30-17.30
This new five-day course, launched with great success in August 2013, offers young performers (aged 16-30) 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 put onto DVD and forwarded to you.
PARTICIPANTS: £400
Drama School Audition Intensives
October 5, 10:30-17:30
November 2, 10:30-17:30
December 7, 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
69
October-December 2014 Programme
Notes
70
October-December 2014 Programme
Notes
71
October-December 2014 Programme
How to book

Online: www.actorscentre.co.uk

Telephone: 020 7632 8002

In person: Monday – Saturday, 10am – 6pm and Sunday 11am – 4pm.
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 68-69.
Renewing your membership is easy. Simply drop by and renew at Reception or call 020 7632 8003/8002 and renew
over the phone. If you pay to renew before your membership expires you will get a £10 credit bonus! If you renew
early for 1 year you’ll also get 2 months extra free!
Recommend a Member
If you enjoy your time at the Centre, benefit from your membership and know other professionals who might like to
get involved, send them our way and ask them to quote your name and membership number on their application. If
they successfully become a member, we'll put £15 workshop credit in your account!
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
72