Courses for Non – Members

Transcription

April - June 2015 Programme
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Contents
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Professional Development Programme (Quarterly)
Weekly/Fortnightly/Monthly Workshops
Industry Programme (Quarterly)
Weekly/Fortnightly Industry Workshops
Bespoke Coaching
Other in-house Opportunities (events/supported groups)
Opportunities for Non-Members (Open Access)
page 3 - 40
page 41 - 45
page 46 - 61
page 62 - 64
page 64
page 65 - 66
page 67-68
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 and Season Highlights
Each season the Actors Centre works with a partner to bring you current and relevant links to practitioners in
the industry. This season we have asked Sphinx Theatre Company to curate an exciting contribution for our
programme with some of the UK’s leading female directors, writers and practitioners.
Sphinx has been at the vanguard of promoting and developing roles for women in UK theatre
since the 1970s, and has been hosted by the National Theatre for the Glass Ceiling conferences
for ten years and for the 2009 Vamps and Vixens event. Bryony Lavery, Jackie Kay, Pam Gems,
April de Angelis, Winsome Pinnock, and Deborah Levy are among the writers championed by the company.
Their current project, WOMEN CENTRE STAGE - HEROINES builds on recent conferences and research to pilot
a nationwide plan of action to encourage and enable venues, writers, programmers and artists to create more
leading female roles, and is supported by Arts Council England.
In addition, we are delighted to welcome back Directors UK, bringing you a collaborative
workshop examining the actor/director on-screen relationship (see page 5).
And we are also delighted to announce that our core supporters Spotlight and Equity will bringing
you free sessions each season: Spotlight – Making the Most of your Membership (see page 49) and
Equity: Making the Most of Your Membership (see page 51).
2
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.
Looking at Shakespeare
Nancy Meckler
April 7
14.00-17.00
Course: SH25
Keywords: ACTING THE CLASSICS | EXPLORING TEXT | MOVEMENT | SHAKESPEARE | TECHNIQUE
WHAT IS IT? An opportunity to work with director Nancy Meckler, exploring Shakespeare and building character.
HOW WILL IT WORK? Participants should bring a prepared speech from A Midsummer Night’s Dream or Romeo and Juliet
and bring a copy. Wear loose clothing as we will work physically during the session.
WHAT DO I GET OUT OF IT? Nancy will share a range of exercises and approaches she uses when working on
Shakespeare. You will leave the workshop with new ideas, confidence and a renewed creativity.
→ Nancy Meckler was co-Artistic Director of Shared Experience for 22 years where her work included the prize-winning
Anna Karenina, Heartbreak House, True West, The Birthday Party, The Bacchae, Orestes, Mother Courage, and with codirector Polly Teale, War and Peace and Mill on the Floss (UK and world tour). More recently she has resumed her
freelance career, including work at the RSC (All’s Well that Ends Well, A Midsummer Night’s Dream, Comedy of Errors)
and creating a ballet of A Streetcar Named Desire for Scottish Ballet (Southbank Award for Outstanding Ballet Production
and Olivier Nominee 2012). Nancy has directed two feature films, Sister My Sister with Julie Walters, and Martin
Sherman’s film, Alive and Kicking which won the Audience Prize at the London Film Festival. Visit
www.sphinxtheatre.co.uk for further information.
PARTICIPANTS: £18
The Play’s The Thing – Rehearsing with an American Accent
Terry Besson
April 8
10.30-17.30
Course: VC2
Keywords: AMERICAN ACCENT | DELIVERY | SPEECH | TEXT | REHEARSING
WHAT IS IT? A day-long workshop, reading a selection of scenes in a General American accent.
HOW WILL IT WORK? Learn how to maintain an authentic General American accent; looking at how the accent affects
style, rhythm and changes in flow, where the power lies, the subtle changes of speed and tone, the energy of the piece,
the characters and finding & using the correct muscularity and breath strength. Please bring your own copies of any
scripts you want to work on or we can work on a scene from any of the following: Twelve Angry Men (Rose), Speed The
Plow, Glengarry Glen Ross (Mamet), All My Sons, Death of A Salesman (Miller) and The Safe Sex Trilogy (Fierstein). Some
photocopied scenes will be available. Example CDs will be available for an extra cost.
WHAT DO YOU GET OUT OF IT? Learn how to maintain an authentic general American accent throughout the rehearsal
process and through to performance, solidifying your accent usage.
→ Terry is one of the country’s leading accent and dialect specialists, with over 30 years’ experience. He has worked on
such diverse projects as the films Awaydays, Clubbed, Welcome to the Punch, Captain Phillips, Get Lucky, TUPAC, Hotel
Taliban, and the TV series Poirot, Privates and Garrow’s Law. He is currently voice consultant at London Zoo!
PARTICIPANTS: £30
3
Keep It Real: Dramatic Combat
Lyndall Grant
April 10
10.30-17.30
Course: PH10
Keywords: COMBAT | REALISM | STORYTELLING | CHARACTER | THEATRE | FILM
WHAT IS IT? This is a workshop on how to really make your dramatic fights look realistic for theatre, film and motion
capture; taking us away from the stigma of ‘staged combat’.
HOW WILL IT WORK? The day starts with an overview of the dramatic combat techniques which we will be using (and
which are commonly encountered in the industry). We will then explore how we can adapt these techniques so we can
perform with our full commitment, guided by true ‘action’ and ‘reaction’ with our partner, so that we can completely
convince our audience that we are ‘really fighting’. The day builds into creating and performing a scene of violence which
is strongly driven by story, intention and response. We will be working closely with our partners using elements of
improvisation, physical story-telling and imaginative work. Be prepared to get sweaty!
WHAT DO YOU GET OUT OF IT? You will get a taste of what it means to fight ‘on the edge’ in a dramatic context, and
learn how to bring this sense of realism into any physical scene. You will what it means to connect quickly with your
partner to keep each other safe, while allowing heightened performance and spontaneity. And let’s face it, you’ll get a
day of incredible fun.
→ Lyndall is a Fight Director, Fight Performer, and certified teacher of Dramatic Combat with the British Academy of
Dramatic Combat. She is also director of company Captivate Action Ltd., which provides performers, directors and
training to Motion Capture. Lyndall teaches dramatic combat in Australia and Austria, and in the UK at various venues
including the Bristol Tobacco Factory and London MET Film School. Lyndall trained as an Actor at ArtsEd London, and is
still a working actor. She uses this industry experience and understanding of working both sides of the creative process,
in training students how to access their best performances for stage, motion capture, and screen.
PARTICIPANTS: £30
Tools for Learning an Accent
Elspeth Morrison
April 10
10.30-17.30
Course: VC3
Keywords: ACCENTS | TECHNIQUES | TOOLKIT | PREPARATION
WHAT IS IT? Are your accents sometimes sounding a bit wonky? Does your Newcastle sound more Indian? Or your
American more Irish? This fun workshop will give you techniques for working by yourself on ANY accent, breaking down
the various components (sounds, body language etc.) in an accessible way, so that you have a better chance of being
authentic all by yourself.
HOW WILL IT WORK? There'll be listening - lots of listening - to different voices - and some movement. And when you are
ready, lots of speaking.
WHAT DO YOU GET OUT OF IT? Confidence and practical skills to take straight into your next audition or rehearsal.
→ Elspeth Morrison is an ex-BBC producer who escaped the Corporation to explore her passion as an accent coach. She
has huge experience in coaching actors for television, theatre and film roles in accents spanning from Trinidad to
Cockney. Radio listeners will be familiar with her popping up as a regular pundit commenting on the use of accents and
she has also worked on the BAFTA award-winning series, Faking It. In this workshop she welcomes all levels of accent
confidence.
PARTICIPANTS: £30
4
Directing Actors and Working with Directors
Brian Gilbert / Malcolm Mowbray / Directors UK
April 11
10.00-17.30
Course: TV55
Keywords: TAKING DIRECTION | TECHNIQUES | PRACTICAL | FILM ACTING | COLLABORATIVE PROCESS
WHAT IS IT? This will be a collaborative workshop for actors and young film directors exploring the fundamental
techniques for directing actors.
HOW WILL IT WORK? Many directors with filmmaking experience have little understanding or training in the performing
arts. Through discussion, demonstration and practical work, this workshop will look at how actors are trained and the
methods used in order to work effectively with the director to bring characters to life. By engaging in a few simple,
practical exercises and examining a couple of scenes from existing screenplays, we will highlight what actors do and what
they need from directors, and help directors find their own tools and vocabulary to use when working with actors. The
final part of the workshop will pair directors with actors to put their newly learned skills into practice by rehearsing and
directing a short scene that will then be reviewed and discussed by the group.
WHAT DO YOU GET OUT OF IT? This workshop is for any actor interested in the actor/director relationship. It will be a
collaborative and practical day aimed at developing a common language between directors and actors. You will also have
the opportunity to network with young film directors and members of Directors UK. (Please arrive at 09.45).
→ Directors UK is the professional association for British screen directors. It is both a collecting society and campaigning
body with over 5000 members. Find out more by visiting www.directors.uk.com.
→ Brian Gilbert is a film director. In 1979 he joined the NFTS as a directing student and so well received was his
graduation film, The Devotee, that producer David Puttman immediately commissioned him to write and direct a feature
length film for the Channel 4 First Love series back in the 80s. He has worked in both Hollywood and the UK directing Vice
Versa, Not Without My Daughter starring Sally Field, Tom & Viv starring Willem Dafoe and Miranda Richardson
(nominated for two Academy Awards) and Wilde starring Jude Law and Stephen Fry. In 2002, he directed The Gathering
starring Christina Ricci. He is currently a regular guest tutor at the National Film and Television School.
→ Malcolm Mowbray is a director and screenwriter. His credits include the multi-BAFTA award-winning A Private
Function, The Revengers’ Comedies, Out Cold and most recently the MIFF awarded Meeting Spencer. His TV films include
Monsignor Renard, The Virgin In The Ice and Days At The Beach. Malcolm is a long-standing member of the Directors
Guild of America, BAFTA and founding chair of the UK’s DGGB Director’s Awards.
PARTICIPANTS: £20
Scene Study: British Drama Post 1960
Jennie Buckman
April 11, 12
10.30-17.30
Course: A26
Keywords: TEXT | CHARACTER | CONTEMPORARY BRITISH DRAMA | ADVANCED SCENE STUDY
WHAT IS IT? A chance to sink your teeth into some of the great British plays from the last 50 years. This will be an
advanced scene study workshop that will whet your appetite for new writing.
HOW WILL IT WORK? Jennie Buckman, director and playwright, will chose scenes for you to work on by brilliant writers
such as Lucy Prebble, Debbie Tucker Green, Mike Bartlett, Dennis Kelly, Sabrina Mahfouz, Alexi Kaye Campbell, Caryl
Churchill. It will be a vigorous workout rooted on exploring the text, and suited to your potential as an actor. Jennie will
provide the material, but feel free to bring something that you might want to work on (written after 1960).
WHAT DO YOU GET OUT OF IT? A wider knowledge of new writing, new audition pieces and a good time.
→ Jennie taught acting at many of the leading drama schools, but principally at RADA (1986 –2007) where she was
latterly Head of Acting. In 2008 she founded Giants’ Theatre Company. She has written two plays for Giants, Pandora,
which ran at the Arcola Theatre May-June 2010 and SNAFU which toured in autumn 2012. She has also written many
plays for BBC Radio. Jennie directed Richard III for RADA and an RSC tour for the Complete Works Season in 2006. Visit
www.jenniebuckman.com for further details.
PARTICIPANTS: £60
5
Screen Acting and Performance
Tim Leandro
April 13
10.30-17.30
Course: TV42
Keywords: ON SET ETIQUETTE | SCREEN PERFORMANCE | TV PRACTICES | REVIEW AND FEEDBACK
WHAT IS IT? This workshop will explore the interaction between actor and camera.
HOW WILL IT WORK? We will rehearse and shoot scenes in a variety of shots and set-ups and the rushes will be reviewed
by the group who will discuss all aspects of the process.
WHAT DO YOU GET OUT OF IT? The aim is to achieve the full potential of the scenes under the time pressure of a
realistic television shooting schedule, providing a valuable insight into current TV rehearsal and shooting practices.
→ Two-time BAFTA nominee, Tim Leandro, is a director of television drama and film with over 15 years’ experience. His
credits include Eastenders, Casualty, Emmerdale, The Bill, Ultimate Force, The Inspector Lynley Mysteries, The Vice, North
Square and The Famous Five.
PARTICIPANTS: £55
Presence, Lightness, Creativity
Annabel Arden
April 13, 14, 15, 16, 17
10.30-13.30
Course: A41
Keywords: PHYSICALITY | FLEXIBILITY | STAGE PRESENCE | ENSEMBLE WORK | AWARENESS
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, 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. 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, and was a central figure for the next 15 years. Her award-winning production of Dürrenmatt’s The
Visit established Complicité’s relationship with the National Theatre. Her credits with theatre De Complicité include: The
Winter’s Tale, The Street of Crocodiles, 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
Making Friends with Shakespeare
Janet Suzman
April 14
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 Oscar-nominated for
Nicholas and Alexandra and worked alongside John Cusack in the film Max.
PARTICIPANTS: £18 / OBSERVERS: £10
6
Find Your Playwright
Joan Iyiola
April 17
10.30-17.30
Course: A104
Keywords: NEW WRITING | DIVERSITY | FEMALE ROLES | KNOWLEDGE
WHAT IS IT? A workshop focused on exploring a diverse range of playwrights and how they might work for you.
HOW WILL IT WORK? Actress and The Mono Box Director Joan Iyiola will be asking the following questions: Who are the
most exciting playwrights at the moment? What are they writing about? Where are the diverse plays? Where are the
plays for women? Who writes for young people? Who are our emerging writers? This workshop will focus on
contemporary plays. It will be action packed - we are going to discover and do.
WHAT DO YOU GET OUT OF IT? More of an understanding about the plays available to us, so we can hopefully have an
idea of where we would like to sit in this crazy industry. So come and put the power back in your court.
→ Joan Iyiola is co-founder of The Mono Box and is also a Vice Patron of the Actors Centre. She trained as an actress at
Bristol Old Vic Theatre School, NYT and Cambridge University. Her theatre credits include The White Devil, The Arden of
Faversham, The Roaring Girl, The Life of Galileo, Boris Godunov and The Orphan of Zhao (RSC), A Season in the Congo
(Young Vic), Holiday (Bush Theatre), 24HR Plays (Old Vic), His Spirits Hear Me (Kevin Spacey Foundation, New York), Toilet
(Southwark Playhouse). Here radio credits include Two Pipe Problems: A Rose By Any Other Name, I’m Sorry I Haven’t a
Clue (BBC Radio 4), Skyvers (BBC Radio 3).
PARTICIPANTS: £30
An Exercise
Sarah Esdaile
April 20
10.30-13.00
Course: A84
Keywords: CREATIVITY | SELF EXPLORATION | DEVELOPMENT | NEW PERSPECTIVE
WHAT IS IT? An exercise that will help you to access your creativity and to identify the things that hold you back.
HOW WILL IT WORK? Please arrive with a scarf, an open mind and be prepared to push your boundaries. Wear
comfortable clothing. Latecomers cannot be admitted.
WHAT DO YOU GET OUT OF IT? A relaxing, enjoyable and enlightening morning, some self-knowledge and an experience
that should change the way that you work and how you think about yourself as an artist.
→ Sarah's most recent productions include Single Spies (Rose Theatre), Paxo - a one man show with Jeremy Paxman at
Pleasance in Edinburgh, Cat on a Hot Tin Roof (West Yorks.), Sleeping Beauty (Birmingham Rep) and The Lady in the Van
(Hull Truck & No. 1 Tour) 2011 and 2012. Other credits include The Deep Blue Sea, the world premiere of Crash by William
Nicholson, Death of A Salesman and The Grouch, all for West Yorks. Playhouse where she has been an Associate Director,
Cling to Me Like Ivy (Birmingham Rep), co-directing His Dark Materials (Birmingham Rep/West Yorks.), The Horse
Marines (Theatre Royal Plymouth), Kafka's Dick (Watford Palace), Lysistrata and Compact Failure (Arcola), Pictures of
Clay (Royal Ex.), Coyote On A Fence (Royal Ex./ Duchess Theatre) & Nicky Silver's The Maiden's Prayer (Bush).
PARTICIPANTS: £18
7
How to Stop An Audience in its Tracks
Caitlin McLeod
April 20
10.30-17.30
Course: A83
Keywords: CREATIVITY | AUTHENTICITY | IMAGINATION | EMOTION | POTENTIAL
WHAT IS IT? The biggest question for us as theatre makers is how we get from the tangible facts of human experience to
manifesting real, deep, human emotion onstage. When we see a truthful, authentic moment in performance, it embodies
intense energy. It demands a response from the audience. We can't look away. This workshop will challenge you to push
your imagination out of bounds, and learn how the actor can create authentic emotional moments, using body, voice,
play and space in unexpected ways.
HOW WILL IT WORK? We will begin with a traditional text, pulling out facts and questions about the characters, their
situations and their experiences. Then through exercises, improvisations, tasks and games, we will disentangle and retangle the myriad strands and possibilities of how to present character and truth onstage. We will explore ideas like those
of renowned practitioner Anne Bogart: “[Within] opposites lies the untamed and complex truth about being alive”.
WHAT DO YOU GET OUT OF IT? The skills, experience and confidence to think and perform outside the box: to
understand your potential for truth-telling. This workshop will prepare you for future projects, where you will be asked to
make choices about new, unique and infinitely more powerful ways of playing onstage.
→ Caitlin’s directing work includes And I And Silence (Signature Theatre, New York), The Malcontent (Shakespeare's
Globe), CommonWealth (Almeida), FACTS, And I And Silence, Northern Star (Finborough), The Children's Hour (Royal
Welsh College), The Red Set, Mahua (The Royal Court), Escalator Plays (HighTide), Slaughter City (RSC, staged reading). As
Assistant Director, Caitlin's work includes Strange Interlude (National Theatre), Hamlet (Globe) Love and Information, In
Basildon, Love, Love, Love, Haunted Child (The Royal Court), The Talented Mr Ripley (Royal and Derngate). Caitlin was
Trainee Director at the Royal Court Theatre from 2011-12.
PARTICIPANTS: £30
Filling the Frame
Deva Palmier
April 21
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,
RAYA, starring Gemma Whelan in 2015. Visit www.devafilms.com for more information.
PARTICIPANTS: £55
8
Meisner and Cold-Reading
Susan Bracken
April 21 OR June 16
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.
Objects and Atmospheres
Geraldine Pilgrim
April 22
10.30-17.30
Course: A119
Keywords: NARRATIVE | SPACE | BODY | ARCHITECTURE | EXPLORE | DEVISING
WHAT IS IT? This workshop will explore working as a performer in site specific practice, creating atmospheres using
objects and ways of developing narratives.
HOW WILL IT WORK? Participants will have the opportunity to explore devising non-verbal work, the body in relation to
site and the importance of the dynamics of architectural space.
WHAT DO I GET OUT OF IT? You will learn new ways to create and devise your own narratives and start to understand
and examine creating work through working with objects and atmospheres that are inspired by site.
→ Geraldine Pilgrim, Director/Designer and Installation artist, works across theatre and the visual arts, and is known for
her site-specific performances and evocative installations, which create a contemporary dialogue with occupied and
deserted buildings, historic houses and landscapes. She is also Artistic Director of Geraldine Pilgrim Co, a performance
company she set up to continue to create site-specific events. Working with the history – imagined and real – of a space,
she specialises in creating installations and performances in unusual buildings and landscapes, responding to the
architecture of the site for inspiration and narrative. She trained as a fine artist and theatre designer and is an Artsadmin
Artist, a Complicité Associate, an Associate Lecturer at Wimbledon College of Arts, and a Visiting Lecturer at Goldsmiths
College, Central St Martins, LAMDA and Mountview. Visit www.sphinxtheatre.co.uk for further information.
PARTICIPANTS: £30
9
Starting Out in Screen Acting
Martin Denham
April 22
10.30-17.30
Course: TV27
Keywords: SCREEN PERFORMANCE | ON SET ETIQUETTE | TECHNIQUE | TRUTH
WHAT IS IT? A workshop that offers a collaborative and supportive introduction to screen acting from a professional
director, for those with little or no experience.
HOW WILL IT WORK? Film and TV allows an actor greater freedom to create a more nuanced performance so we will
initially rehearse some characters to find performances that work for camera. We will then work on set to fine tune the
performance and block the action for camera, looking at hitting your marks for camera focus and lighting set-ups. We will
also look at the mechanics of the repeat performance – getting the shots on camera does not only include multiple takes
to get the right performance but also different shot sizes and angles on the scene. There is pressure on the actor to
perform the same each and every time and we will look at how to maintain focus whilst at the mercy of the technical
equipment. During the workshop scenes will be shot and reviewed with feedback.
WHAT DO YOU GET OUT OF IT? A clear overview of how film/TV production works for you the actor. A general
understanding of screen performance in addition to the etiquette, processes and terms used on set, and why Film/TV
production is done the way it is.
→ Martin is a director, producer and scriptwriter. His latest short film Close To Heaven was an official selection for the
Cornwall Film Festival 2013, and was produced in association with Directors UK and ARRI. One of Martin's previous films
Dear Mr Cameron, screened at the British Urban Film Festival 2012, was accepted into the London Metropolitan Archives
as a work of historical importance. Some of his other independent productions include The Man of Littleworth, Hobby
(Official Entry, Virgin Media Shorts), Operation in Bruges (Official Entry – Film Four Scene Stealers 2012), Mastermind,
Ekho and The Off Site (Winner – Orbital London Film Challenge). Martin is currently writing his first feature film script.
PARTICIPANTS: £55
The Meisner Technique
Scott Williams
April 22, 23, 29, 30, May 1 OR June 15, 16, 17, 18, 19
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.
10
Let’s Explore Character
Paulette Randall
April 23
10.30-17.30
Course: A120
Keywords: PRACTICAL | TEXT WORK | INSTINCT | IMAGINATION | CREATIVITY
WHAT IS IT? Using Frankie and Johnny in the Clair de Lune by Terrence McNally, this workshop will explore character
through a combination of practical work, text analysis and playful exercises.
HOW WILL IT WORK? Paulette will use her rehearsal techniques to explore the characters through language, physicality,
imagination and instinct. This will be a vigorous workout highlighting your own potential as an actor. Please bring a copy
of the play.
WHAT DO I GET OUT OF IT? You will discover a new way of approaching character, useful for any play or screen job.
Paulette will give you fresh exercises designed to help you unlock your creativity, imagination and potential.
→ Paulette Randall is a widely experienced director. Her most recent success was Frankie and Johnny at the Clair de Lune
with Dervla Kirwan and Neil Stuke at Chichester Festival Theatre. She is acknowledged as the foremost interpreter of the
plays of August Wilson both in the UK and USA - most recently she directed Fences in the West End with Lenny Henry. She
was the Artistic Director of Talawa Theatre Company, an Associate Director of the Tricycle Theatre and the New Wolsey
Theatre Ipswich, and Chair of the Board for Clean Break Theatre Company. She was also Associate Director on the
opening ceremonies, London Olympics 2012.
PARTICIPANTS: £30
Comedy Toolbox
Peta Lily
April 25, 26
10.30-17.30
Course: A102
Keywords: SPONTANEITY | DELIVERING COMEDY | VOICE AND BODY | CONFIDENCE | CREATE WORK
WHAT IS IT? A two-day workshop to build confidence and know-how to get and keep an audience laughing.
‘Such a good teacher - warm, hardcore and playful all at the same time - skilled like you wouldn't believe.’ - Rufus Hound
(Dirty Rotten Scoundrels, One Man, Two Guvnors).
HOW WILL IT WORK? There will be techniques and processes to combat nerves, grow on-stage ease and engage
audiences. Some exercises grow trust in spontaneity, some open your physical and vocal expression and you will learn
valuable techniques to release the comedy from a text. You will be able to practice being funny with nothing and also
practice delivering text. Many ‘secrets’ of comedy craft take the mystery out of being funny, and you’ll find you can trust
in your authentic self and style. Some text will be provided for exercises and you are asked to bring a comedy speech or
text of your own choice. Please bring two copies of the text. It does not need to be memorised.
WHAT DO YOU GET OUT OF IT? Clear techniques and understandings to take away and apply to stage roles (look at the
number of comedies on in the West End at the moment: The 39 Steps, The Play That Goes Wrong) or to encourage you to
make and perform your own work.
→ Award-winning performer Peta Lily teaches Clown at the Royal Central School of Speech and Drama and Theatre Skills
at Circus Space. She writes and tours her own funny and thought–provoking shows including Topless, Chastity Belt,
Invocation. ‘extremely funny’ Time Out. ‘a crisp and clever brand of humour’ The Scotsman. ‘electric….funny where it
hurts...’ The Guardian.
PARTICIPANTS: £60
11
Improve Your Improvisation Through Games
Dave Bourn
April 26
10.30-17.30
Course: A118
Keywords: SKILLS DEVELOPMENT | PLAY | PHYSICAL & VERBAL | LISTENING & AWARENESS
WHAT IS IT? Learn and extend your improvisation skills through games. For beginners and more experienced improvisers.
HOW WILL IT WORK? The strength of impro games (as opposed to scenes) is they give a strong structure through which
to practise your skills - usually refining one or two aspects of your ability. We look at games to stretch: verbal skills,
physicality, spontaneity, listening and awareness - and games that are just plain fun!
WHAT DO YOU GET OUT OF IT? After a warm-up and (re)introduction to the basic skills you’ll be taken through games to
explore and extend your skills. Games are an extremely safe and fun way to learn to relax on stage without a script to
keep your company.
→ Dave is co-promoting ImproFestUK at the Tristan Bates Theatre in April. He is currently the resident improvisation
tutor at the University of West London/London College of Music, and the Court Theatre Training Company as well as
running regular improv modules at The Giles Foreman Centre for Acting. He also provides workshops on improvisation
and creativity, communication and effective teams in the business arena. Dave has directed shows by Stephen K Amos,
Carey Marx, Felix Dexter and Phil Nichol. The last of which was nominated for the Perrier award. He also directed and
collaborated with Laurence Clark on the highly praised show Inspired - commissioned as part of the Olympics. He has
written for many comedians and sketch shows and has projects currently in development with Channel 4. Dave is also the
owner of The Funny Side comedy clubs. Dave started improvising and began performing with London Theatresports and
Scared Scriptless in the early 90’s before forming the performance group, Sprout.
PARTICIPANTS: £30
Building Character Voices
Yvonne Morley
April 27
10.30-17.30
Course: VC15
Keywords: VOCAL TECHNIQUE | VOCAL MANIPULATION | PRACTICAL | EXPLORE | METHODOLOGY
WHAT IS IT? A practical workshop to explore safe ways of manipulating your voice from the subtle to the more extreme
for work on stage, screen or in the studio.
HOW WILL IT WORK? There will be time taken to learn new skills throughout the day and to apply them to both imitating
established voices and also creating and inventing from scratch. Yvonne will take you through a full day of learning,
listening and developing new skills.
WHAT DO YOU GET OUT OF IT? You will be able to notate accurately how you create a voice, reproduce it accurately
again and again, look after your vocal instrument and work from the subtle to the extreme.
Skills, practice and a tried and tested approach will enable you to: accurately analyse and reproduce other
voices, heighten your listening skills, invent and create countless voices from scratch. The work will stimulate a huge
repertoire of voices for animation, computer games, preparation for a voice reel, or more subtle work for screen or stage
work.
→ Yvonne has worked as a voice and vocal coach for over twenty years. She has taught in many drama schools including
LAMDA where she was Head of Voice. Other work includes West End productions, BBC, independent TV companies,
voiceover and radio. She also works with actors suffering from vocal fitness and health issues.
12
You’re Having a Laugh
Paul Clayton
April 27
18.00-21.00
Course: A116
Keywords: COMEDY TEXTS | TRUTH | LANGUAGE | TIMING | LAUGHTER
WHAT IS IT? A new experimental workshop with director/actor Paul Clayton. Eight actors, four scripts, three hours, one
director and who knows?
HOW WILL IT WORK? A chance to explore just what it is in language that induces laughter. How do you make a text work
in your favour? How do you extract the laughs from a scene and keep it believable and truthful?
WHAT DO YOU GET OUT OF IT? An understanding of how language and timing can impact on comedic effect.
→ Paul is an actor and director with many TV and theatre credits to his name. He has directed over 35 productions in
regional theatres, on national tours, and in site-specific venues. Productions include The Pocket Dream (Theatre Royal
York), The Comedy of Errors (Nottingham Playhouse), Privates on Parade (Greenwich Theatre and national tour) Gaslight,
Good Morning Bill, Toad of Toad Hall, Christmas Cat and The Pudding Pirates, Dilemma for Murder, Sticky Wickets and On
Approval (Watermill Theatre Newbury). As an actor Paul is best known for four series of the BAFTA award-winning sitcom
Peep Show, and most recently Him and Her -The Wedding. He has also worked as a role player for many leading training
companies and as a corporate casting director he has cast over 150 videos and live events.
PARTICIPANTS: £20
Method Acting
Karina Fernandez
April 27, 28
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
13
Ten Steps to Learning an American Accent
Catherine Weate
April 28
10.30-13.30
Course: VC26
Keywords: US ACCENTS | 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: USA.
HOW WILL IT WORK? Learning a new accent can be daunting. This workshop simplifies the process by working through a
clear and accessible programme that Catherine developed specifically for The Real Accent App after recording accents
across the USA. The main focus will be on General American; however New York Brooklyn and the south coast of
Mississippi will be touched upon as well.
WHAT DO YOU GET OUT OF IT? Step-by-step instructions for learning any accent, detailed practice materials for General
American, plus, hints and tips for New York Brooklyn and Mississippi.
→ Catherine is a freelance voice and dialect coach. She has worked in theatre, film, TV, 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 ALR) and Head of Examinations at LAMDA, where she was
responsible for the artistic and commercial operation of speech and drama exams worldwide. Catherine is co-developer
of an app series, which includes The Real Accent App: USA and The Real Accent App: England. She is author of two voice
books, Classic Voice and Modern Voice, and a series of monologue and duologue books. She has also appeared on Radio 4
Midweek, BBC Radio London, BBC Radio Manchester and BBC Radio Merseyside. For further information visit
www.catherineweate.com
PARTICIPANTS: £18
Screen Acting Intensive
Sam Haft
April 28, 30, May 5, 7
18.00-21.00
Course: TV54
Keywords: SCREEN PERFORMANCE | SKILLS BUILDING | PRACTICAL APPROACH | CREATIVITY
WHAT IS IT? A short course (four 3-hour sessions running over two weeks) on the practical, enjoyable and productive
approach to working on set and in screen tests.
HOW WILL IT WORK? Based on the system developed at Sam’s renowned Australian screen acting school, the Sydney
Screen Acting Group, participants will be given scenes in pairs to be prepared for the following session. The scenes will be
filmed and participants given clear, concise and useful feedback about their work and a wide range of techniques with
which to harness their talent, overcome their inhibitions and sit in the work with a greater sense of enjoyment and
release. This is the perfect course for those actors looking to find a new lease of creativity and a greater sense of freedom
in screen-test situations.
WHAT DO YOU GET OUT OF IT? This course will provide participants with a deeper sense of themselves as performers finding a freer place from which to interpret characters and to relate to one another in front of the camera.
→ Sam Haft is regarded as one of the leading acting tutors in Australia. He has taught with nearly every major drama
school there, including the National Institute of Dramatic Art and The Actor’s Centre Australia, where he is a core tutor.
He is also co-founder of the Sydney Screen Acting Group - based out of Sydney’s Fox Studios. Sam is also a working actor
with 20 years’ experience and has performed with most of the major theatre companies and television networks in
Australia.
PARTICIPANTS: £100
14
The Headstrong Approach: Dynamic Screen Performance
Michael Ferguson
April 29
10.30-17.30
Course: TV39
Keywords: SCREEN PERFORMANCE | EMOTION | BODY | FOCUS | 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.
Exploring Shakespeare Through Physical Characterisation Techniques
Ariella Eshed
April 30
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
15
Acting for New Writing
David Mercatali
April 30, May 1
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), Someone to Blame (King's Head ),
Tender Napalm (Southwark and National Tour), Moonfleece (Riverside Studios and tour), Weights (Blue Elephant) 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
Exploring Women’s Roles
Sue Parrish
May 1
10.30-17.30
Curse: A121
Keywords: STEROTYPES | GENDER | SEXUALITY | STATUS | PHYSICALITY | INSTINCT
WHAT IS IT? Using Sphinx texts (Playhouse Creatures by April de Angelis, The Snow Palace by Pam Gems, and Sweet Dreams
by Diane Esguerra) this workshop will explore female stereotyping, the female protagonist, and taking centre stage. It will
include an introduction to the background and early plays of feminist theatre, with actor Susan McGoun.
HOW WILL IT WORK? Sue will use her rehearsal techniques to explore the twin poles of femininity and masculinity
embodied in the main characters through status, language, physicality, imagination & instinct. (Scenes will be provided).
WHAT DO I GET OUT OF IT? You will unlock your ego and acting power, and explore a new way of approaching gender
and sexuality in a text.
→ Sue Parrish is a widely experienced director, of new work, classics and music theatre. She was a founder director of
the Women’s Playhouse Trust and is the Artistic Director of Sphinx Theatre Company, formerly the pioneering Women’s
Theatre Group founded in 1973. Most recent production, A Berlin Kabaret (winner: Best Cabaret-Brighton Fringe & Argus
Angel for Artistic Excellence).
PARTICIPANTS: £30
Perfecting the Pop Song for Theatre Auditions
Paul Russell
May 2
10.30-17.30
Course: MT10
Keywords: SONG REPERTOIRE | AUDITION ADVICE | POP PHRASING TECHNIQUE | CONFIDENCE
WHAT IS IT? Many singers struggle with delivering a pop song in auditions. This workshop gives you the skill set to nail
every single pop song audition - whether you are auditioning for a musical, play, or movie.
HOW WILL IT WORK? Participants will discover a clear and succinct approach to singing pop for theatre auditions. You
will learn about pop vowels and phrasing, and how to identify which pop songs work (and which don’t) for auditions. We
will demystify the fear of singing pop and build your repertoire of pop songs.
WHAT DO YOU GET OUT OF IT? You will learn how to find the right pop song to suit you, develop your repertoire, have
fun, build confidence and start booking gigs!
→ Paul recently has worked as a vocal director in both New York City and the UK. Some of his clients included Grammywinner John Legend, UK pop artist Pixie Lott and actors Liv Tyler & Hugh Jackman. As a performer Paul has worked in all
disciplines. Since returning to London Paul set up STANDING OVATION LONDON. www.standingovation.london
PARTICIPANTS: £40
16
Improve Your Voice by 90%
Frances Parkes
May 5
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
An Introduction to Screen Acting
Stephen Billington
May 5, 6
10.30-17.30
Course: TV60
Keywords: TECHNIQUE | FRAMING & SHOTS | EXPRESSION | MOVEMENT | CONFIDENCE
WHAT IS IT? Specifically for those actors with little or no experience on camera, this workshop offers an exciting
opportunity to gain experience of the technical demands of screen acting.
HOW WILL IT WORK? Using dedicated screen acting exercises and with lots of time on camera, we will look at the
differences between stage and screen acting, keeping within the frame, shot sizes, expressivity, movement, hitting marks
and relaxing in front of the camera.
WHAT DO I GET OUT OF IT? By the end of the course you will have an understanding of the techniques required to
deliver confident and compelling performances on camera.
→ Stephen Billington is a professional actor with a wide breadth of experience playing leading roles in feature films,
television dramas and on stage. Best known for playing Lysander Hawkley in ITV’s The Man Who Made Husbands
Jealous and Greg Kelly in Coronation Street (for which he won a British Soap Award), he continues to work in independent
movies and in theatre, enjoying classical roles as well as those in challenging new writing. Most recently he played John
Proctor in The Crucible at the York Theatre Royal and in 2013 he joined the cast of Hollyoaks playing Danny Lomax.
Stephen has been teaching screen acting for over five years and has taught at The Method Studio, LSDA and Drama
Centre London.
PARTICIPANTS: £110
17
Shakespeare Now
Jonathan Moore
May 6, 7
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 (Anglo-American 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
How to Play Comedy on Screen
Caroline Webster
May 7
10.30-17.30
Course: TV6
Keywords: SCREEN ACTING | COMEDY TECHNIQUE | STYLE | CHARACTER | AUDITION
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 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
18
Singing Audition Preparation
Julia Kogan
May 8
10.30-17.30
Course: MT8
Keywords: AUDITION TECHNIQUE | ACTING THROUGH SONG | CONFIDENCE | VOCAL HEALTH
WHAT IS IT? This full-day workshop is a great opportunity to carefully work through all aspects of your musical theatre
audition programme in a safe and supportive environment.
HOW WILL IT WORK? Bring along what you normally perform, try out something new, or both, in a masterclass setting in
front of other participants. We will look at acting through song, technical vocal issues and musical/stylistic considerations.
We will also discuss visualisation techniques for calming the nerves, optimal warm ups, vocal health and any other
concerns you may have. Choice of repertoire will also be covered.
WHAT DO YOU GET OUT OF IT? A solid approach to your next singing audition that will have you performing at your
highest level with confidence and charm.
→ Julia Kogan started out in musical theatre in the US before becoming an international opera singer and teacher. Using
an old school Bel Canto technique, she enables participants to have a consistently natural, flexible voice capable of
working for long periods of time with minimal effort and fatigue. As an acting coach, she uses text and character to fuel a
performance with expressiveness and ease. Visit www.JuliaKogan.com for further information.
PARTICIPANTS: £40
The Headstrong Approach: From Strength to Strength
Michael Ferguson
May 8
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 & members already familiar with The Headstrong Approach will find the workshop equally valuable.
→ See page 15 for tutor biography.
PARTICIPANTS: £30
The Voice, The Body, The Word
Helen Strange
May 9, 10
10.30-17.30
Course: VC20
Keywords: PHYSICAL & VOCAL CONFIDENCE | TECHNIQUE | IMAGINATION | TEXT WORK |
WHAT IS IT? This will be a practical course exploring the connections between the voice, movement and text - as an
individual and as a group.
HOW WILL IT WORK? We will explore a combination of experimental and technical work moving from simple movement
exercises and improvisations to a free and dynamic use of the voice. Poetry and dramatic text will be explored to enhance
vocal and physical release while focussing on the connections between sound, structure and meaning - highlighting the
need for an imaginative, emotional and intellectual understanding of the text. This course is open to those who have
worked with Helen previously and newcomers to this work.
WHAT DO YOU GET OUT OF IT? Physical and vocal confidence; ease of utterance; textual freedom.
→ Helen has been on the staff of RADA for over 30 years, and later became head of classical text and project
director. She trained at the Royal Central School of Speech and Drama as a voice teacher and at Ecole Jacques Lecoq in
movement. She has internationally and has extensive experience working with dance companies and has been a voice
and text coach on numerous fringe shows as well as at NT, Royal Exchange and Royal Court.
PARTICIPANTS: £60
19
Me, Myself & I
Anjali Mya Chadha
May 9, 10
10.30-17.30
Course: WR7
Keywords: WRITING | SOLO SHOWS | CREATING WORK | INDIVIDUALITY | CONFIDENCE
WHAT IS IT? A 2 day masterclass about becoming a full-time, earning performer by creating/touring your own solo show.
HOW WILL IT WORK? A step-by-step guide that will take participants from finding an idea to cultivating it through to
treatment or draft stage, whilst tapping into their individuality to help create a one person show by themselves.
WHAT DO YOU GET OUT OF IT? The confidence to create alone and discover the right way for you to bring your solo
story-telling piece to the right audience.
→ Anjali Mya Chadha has a successful track record in comedy. She has appeared in award-winning shows including Little
Britain and Webb & Mitchell, and has recently finished filming for Matt Lucas's new sitcom Pompidou. She created and
toured her own successful solo show, The Dateless Wonder, (nominated for the Meyer-Whitworth Award). She went on to
work as a storyline associate in the British soap Hollyoaks. Anjali is a social commentator and can often be heard on a wide
variety of radio talk shows. She is a regular guest panellist for the BBC Asian Network. www.anjalimya.co.uk
PARTICIPANTS: £60
Shakespeare: Approaching the Verse
Paul Brennen
May 11
10.30-17.30
Course: SH26
Keywords: ACTING THE CLASSICS | VERSE | CHARACTER | TRUTH | CONFIDENCE
WHAT IS IT? This workshop will explore another way of approaching Shakespeare’s verse, for both new professionals and
experienced actors wishing to add an alternative perspective on dealing with classical text.
HOW WILL IT WORK? This workshop is based on Declan Donellan’s book The Actor and His Target. Prepare two short
speeches by your favourite Shakespearian character.
WHAT WILL I GET OUT OF IT? This workshop will place you in the moment, release you from the burden of character and
build confidence in using Shakespeare's language.
→ Paul Brennen is an actor, writer and director and has worked on stage and in film for the last thirty years. He has
played leads at the NT, Globe and in the West End. He ran his own award-winning theatre company and set up an
independent radio company. He has performed and delivered Shakespearian workshops all over the world and has
worked at numerous Drama Schools. For the last three years he has appeared as a regular character in Tom Fontana's
Borgia and is currently playing in Shakespeare In Love in the West End.
PARTICIPANTS: £30
Fundamentals – Introduction to Voice
Jessica Higgs
May 11, 19, 26, June 1
18.00-21.00
Course: VC22
Keywords: VOICE | TEXT WORK | ACTING | TECHNIQUE | SKILLS BUILDING
WHAT IS IT? A course of 4 evening workshops over 4 week looking at voice, how it works and its application in acting.
HOW WILL IT WORK? Information and exercises to show how to develop a confident yet flexible vocal technique that is
at hand to serve the demands of your acting choices and the industry. These will cover the basics, alongside pithy topics
such as how to deliver a line naturally, keeping the voice relaxed. Each participant will be given a monologue in the week
to work on throughout the course culminating in a performed presentation of it to the group in the last session.
Participants will receive individual feedback and coaching throughout the course.
WHAT DO YOU GET OUT OF IT? A simple, but rock solid voice/acting process that will be available to you to apply
effortlessly and naturally in all acting situations.
→ Jessica is a freelance voice coach. Theatre work includes the Royal Court, Salisbury Playhouse, Bolton Octagon and on
Mamma Mia! Her earlier work as an actor, singer and MD, along with her more recent directing experiences greatly
informs her voice work and the assistance she gives to performers.
PARTICIPANTS: £72
20
Want to Try Stand-Up Comedy?
Bentley Browning
May 12
10.30-17.30
Course: A6
Keywords: STAND-UP | TECHNIQUES | CREATING MATERIAL | DEVELOPING COMEDY PERSONA
WHAT IS IT? A workshop for the total beginner who has never done stand-up comedy.
HOW WILL IT WORK? We will explore a variety of great impro exercises designed to ease you into doing stand-up. We
will also discuss and explore a mixture of comedy theory and practice – including joke techniques the professionals use.
You will discover the comedy inside you and get the opportunity to perform your first 5-minute routine.
WHAT DO YOU GET OUT OF IT? You will take away the tools to write and develop your routine and start performing in
comedy gigs on the open mic circuit. You will have left your comfort zone and greatly increased your confidence for
public speaking.
→ Bentley runs the Comedy Novices courses and his workshops have featured on Breakfast, The One Show, Russell
Howard’s Good News, Radio 4, 5 Live, The Evening Standard and The Sun on Sunday. He is also a stand-up comic and
comic actor. He been a finalist Northampton Funhouse Gong show and Leicester Funhouse Gong Show, recent credits
include Health Freaks (Channel 4), This Morning, Odd One In, Loaded TV, Sex - The Sitcom (all for ITV), Double
Take (BBC2), Freakishly Normal (BBC3) and Louie Spence’s Showbusiness (Sky1). Visit www.comedynovices.com
PARTICIPANTS: £30
Ten Steps to Learning Received Pronunciation
Catherine Weate
May 12
10.30-13.30
Course: VC27
Keywords: RP ACCENTS | 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: England.
HOW WILL IT WORK? This workshop will focus on consolidating the technical skills required for rehearsing characters
with a contemporary Received Pronunciation accent (RP). You will work through a clear and accessible programme that
Catherine developed specifically for The Real Accent App series, appropriate for all levels of experience.
WHAT DO YOU GET OUT OF IT? Step-by-step instructions for learning any accent, detailed practice materials for Received
Pronunciation, plus, hints and tips for working on different types of RP accents.
PARTICIPANTS: £18
Uta Hagen – An Introduction
Clive Perrott
May 13, 14, 15
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? Framed around her 10 Object Exercises, we will focus on truth in the moment. We will not 'ACT',
we will 'REACT' in order to create 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 & very
practical.
→ Clive is a resident drama tutor at East 15 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. He was a founder of Marcus and McCrimmon Theatrical Agency and
Producer of Black Cat Films Ltd.
PARTICIPANTS: £90
21
Screen Acting – Be Real and Believable
Daniel Dresner
May 13, 15
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 is then incorporated into your initial scene. Filmed work will be reviewed as we go.
WHAT DO YOU GET OUT OF IT? Through observing your progress both during and at the end of the workshop, using all
the learned skills and tools, you will build confidence and be able to deliver real, believable and honest screen life.
→ Daniel studied at the Lee Strasberg Theatre Institute in NYC and works as a coach, teacher & actor. His recent credits
include playing George W Bush for Channel 4, internet TV series, pilot sitcoms, radio stories, Mercenaries for ABC, Sixty
Six for Working Title, various commercials and a training video series for the NHS.
A Close-up on Screen Acting
Robert Bierman
May 14 OR June 3
10.30-17.30
Course TV16
Keywords: SCREEN PERFORMANCE | PRACTICAL | SCRIPT WORK | FEEDBACK | SKILLS
WHAT IS IT? These workshops are aimed at Premium members to help improve screen presence when shot in close-up,
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
The World of the Monologue
Chris New
May 15 OR June 19
10.30-17.30
Course: A9
Keywords: CREATIVITY | IMAGINATION | SOLO WORK | AUDITION | PERFORMANCE
WHAT IS IT? A workshop designed to make monologues dramatic worlds in which an actor can lose her-/himself.
HOW WILL IT WORK? Dealing with classic monologue challenges – creating drama and conflict on your own, building an
imagined world from only the words on the page, and how to feel totally comfortable flying solo - the workshop will be a
process of presentation and observation. Participants should bring a learnt monologue (approx. 2-3 mins) to present classical or modern.
WHAT DO YOU GET OUT OF IT? This workshop is great for building audition material and/or creating a richer inner world
using techniques that will filter through all your work.
→ Chris trained as an actor at RADA. Graduating in 2006, he landed his first professional role starring in the West End
revival of Bent, (nominated as Best Newcomer - ES Theatre Awards). He then went on to lead companies at the NT, RSC,
Young Vic, Sadler’s Wells & Manchester Royal Exchange, returning to the West End in 2009 to play Joe Orton in Prick Up
Your Ears. He made his NYC theatre debut in 2011 in Lingua Franca and his film debut in 2012 in Weekend, (Best
Newcomer Nomination - BFI London Film Festival Awards).
PARTICIPANTS: £30
22
Flat on My Farce
Ian Masters
May 15
10.30-17.30
Course: A111
Keywords: COMEDY DRAMA | FARCE | DELIVERY | TIMING | SCENE WORK
WHAT IS IT? Following its previous success, this reintroduced workshop is a course for actors wishing to enhance their
comedic playing skills; those with little or no experience performing in farce or comedies and for actors wishing to
enhance their experience.
HOW WILL IT WORK? You will work on extracts from various comedies looking at precision, delivery, feeding and timing.
Scripts will be provided, but ideally bring one short comic dialogue or monologue.
WHAT DO YOU GET OUT OF IT? You will gain confidence in playing comedy and discover how precision, energy and
teamwork help to develop a professional production.
→ Ian has worked in the industry for over 40 years as an actor and director. His directorial debut was at the Kings Head
Theatre with Beck that played at the NT, and a fringe play The Orange Penguin which won an award at the Edinburgh
Festival. He went on to direct many national tours and theatre seasons. He has directed 20 productions at The Mill
Theatre, Sonning, national and international tours and 15 large commercial pantomimes. As an actor he was in the
original production of Noises Off and played the lead in No Sex Please We're British.
PARTICIPANTS: £30
Rehearsal Processes
George Perrin
May 19, 20, 22
10.30-17.30
Course: A82
Keywords: NEW TECHNIQUES | PREPARATION | EXPLORATION | DISCUSSION | PRACTICAL TEXT WORK
WHAT IS IT? An exploration of different rehearsal processes and the results they yield.
HOW WILL IT WORK? Using a new text, we will explore different approaches to rehearsing a scene and discussing a play,
and examine the results.
WHAT DO YOU GET OUT OF IT? A range of different techniques and exercises to prepare for rehearsals and to use in the
rehearsal room. This workshop will equip you to do your own work around the director’s, or to be ready when the
director uses a technique you might previously have been unfamiliar with. The beginning of your own rehearsal practice.
→ George Perrin is Joint Artistic Director of Paines Plough. His recent directing credits include Sea Wall by Simon
Stephens, Every Brilliant Thing by Duncan Macmillan and Good With People by David Harrower.
PARTICIPANTS: £90
Fundamentals: Acting and Audition Technique
Morna Regan
May 20
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
23
Unravelling Text and Style
Michael Fitzgerald
May 20
14.00-17.00
Course: A107
Keywords: ACTING STYLES | CLASSICAL & CONTEMPORARAY TEXT | VERSE | CONFIDENT APPROACH
WHAT IS IT? A workshop designed to help you recognise, differentiate and produce the relevant acting style required by
each text - particularly classical, Shakespearean and more modern texts (20th Century onwards). You will also discover a
greater feeling for how defining each textual style may help you define its ‘opposite’ more helpfully.
HOW WILL IT WORK ? Through simple recitation of the texts, either memorised or read, Michael will help you to
instinctively feel the differences in style required by each text, and understand and achieve what is required by each
genre with more confidence. We will allay some of the fears some people feel when approaching classical texts in
particular. Please bring a modern monologue and a Shakespeare (or classical) speech with you, either memorised or
ready to read fluently.
WHAT DO YOU GET OUT OF IT? You will have a clearer attack on each text, uncluttered by the confusion surrounding
verse-speaking, and a stronger perspective on each style of text through comparison.
→ Michael Fitzgerald has nearly 40 years' experience as an actor. He recently completed work on 3 seasons of the
CANAL+ series Borgia. He also recently appeared in Whitechapel and New Tricks. He has appeared in various films,
including Love Actually, Kingdom of Heaven, Charlotte Gray, Wilde, Heart of Darkness and Drowning By Numbers. He
appeared in The Madness of George III and The Invention of Love at the NT.
PARTICIPANTS: £18
The Big Three Voice Notes - and How to Avoid Them
Yvonne Morley
May 21
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.
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.
PARTICIPANTS: £30
Finding the Play as a Company
Hamish MacDougall
May 21
10.30-17.30
Course: A106
Keywords: APPROACHES TO TEXT | ENSEMBLE | FREEDOM | CREATIVITY & IMAGINATION | CHARACTER
WHAT IS IT? A workshop designed to create ideas and produce work as a company.
HOW WILL IT WORK? Looking at a short play that has a setting and characters that are open to interpretation, we will
work to find our own way with the text. No pre-conceived ideas or concept beforehand, the workshop is about finding
the truth and the best way with the script as a company. We will workshop the text and use different methods to explore
and create interesting and vibrant characters.
WHAT DO YOU GET OUT OF IT? New ways to open the mind and to use play, rather than thinking; a chance to explore
and test things that will give you empowerment as an actor; different methods of approaching a text.
→ Hamish is an Associate Director of Kings Head Theatre and an Associate Artist of NYT. As a director he has directed for
a range of companies and theatres including Old Vic New Voices, Arcola, Soho plus others. Highlights include directing the
world premiere of a previously undiscovered Tennessee Williams play and working with Edward Bond on a revival of The
Under Room. As an AD, Hamish has worked for companies such as Complicité, Old Vic & Trafalgar Studios.
PARTICIPANTS: £30
24
The Basics of Drama Writing
Diane Messias
May 23, 24
10.30-17.30
Course: WR8
Keywords: STORY & PLOT | CHARACTER | DIALOGUE | CREATIVITY | THEATRE, TV, FILM & RADIO
WHAT IS IT? A two-day workshop looking at the different practical aspects of writing drama for theatre, TV, film and
radio.
HOW WILL IT WORK? Through a number of exercises, participants will learn about the freedoms and strictures involved
with each medium, along with the general precepts that every script requires. Specific topics will include: ideas - viable
and non-viable; pacing story and plot lines; characters - how to choose them and make them realistic; sub-plots - why
they’re necessary; dialogue - what it needs to do and how to get your characters to write it for you.
WHAT DO YOU GET OUT OF IT? An understanding of how drama writing differs for each medium - which is also useful for
actors who work across multiple platforms - and an ability to plan and create your own script. Suitable for the absolute
beginner, and those wanting to take their writing to the next level.
→ Diane Messias has worked in the industry for the past three decades as a writer, script editor, director, producer and
performer of theatre, TV, film and radio. A former BBC Comedy producer/director (credits include One Foot In The
Grave), Diane has written for and worked with many of the country’s top household names, including Andrew Sachs, Sir
Michael Hordern, Annette Crosbie, Alistair McGowan, Ian Hislop, Harry Hill, and many others. She is currently writing a
treatment for a TV comedy drama series, and developing a film idea with a well-known independent film company. She
teaches writing and comedy with her company, secretofcomedy.com
PARTICIPANTS: £60
Getting Something from Nothing
John Wright & Victoria Worsley
May 28, 29
10.30-17.30
Course: A117
Keywords: CREATIVITY | PLAYFULNESS | MOVEMENT | FELDENKRAIS | SPONTANEITY
WHAT IS IT? This is an explorative course about play; about getting ideas from nothing - at least nothing of any
significance. To what extent can you have nothing in your head and yet something to play with?
HOW WILL IT WORK? Through a structured series of games and exercises as well as some movement puzzles from the
Feldenkrais Method, we will explore different aspects of physical playfulness, spontaneity, and the delights of the bizarre.
WHAT DO YOU GET OUT OF IT? The essence of creativity: developing the ability to take the tiniest suggestion or the
smallest impulse and simply follow your nose.
→ John Wright co-founded Trestle Theatre Company in 1980 and directed most of their work until 1990, when he cofounded Told By an Idiot and directed most of their work up until 2000. His credits as Movement Director include: Rain
Dance (Chicago Rep), Rhinoceros (Royal Court), Macbeth (Chichester), Laurel and Hardy, Arabian Nights (Victoria Theatre,
Stoke-on-Trent), The Life and Times of Judas Iscariot (Almeida) and Endgame (Liverpool Playhouse). His most recent
productions include The False Servant (An Anglo-French production touring in France and the UK) and The Fragility of X
(Coal Theatre Company and The Royal Exchange, Manchester).
→ Victoria Worsley was an actor, movement director and theatre maker for over 20 years. She has worked with the
Feldenkrais Method for 25 years, qualifying as a Professional Practitioner in 2007. She teaches at Oxford School of Drama and
has a private practice. Visit www.feldenkraisworks.co.uk for more info.
PARTICIPANTS: £80
25
Fundamentals – Movement for Actors
Sarah Perry
May 31
10.30-17.30
Course: PH5
Keywords: EMERGING | RETURNING ACTOR | BODY | PLAY | EXPLORE | PHYSICALITY
WHAT IS IT? Movement for Actors raises ones awareness of the power of the physical body and movement in terms of
creating a character and enabling freedom of expression. No prior movement experience required.
HOW WILL IT WORK? Sarah will focus on movement exercises, theory, practical group and individual character work. The
workshop aims to be informative, yet fun. We shall initially 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, behave, gesture; 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,
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
The Play’s The Thing – Rehearsing with an RP Accent
Terry Besson
June 1
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.
PARTICIPANTS: £30
26
Preparation & Instinct: Creating a Living Performance
Donnacadh O’Briain
June 1, 2
10.30-17.30
Course: A108
Keywords: PREPARATION | REHEARSAL PROCESS | FREEDOM | INSTINCT | RESPONSIVENESS
WHAT IS IT? This workshop will look at the two distinct strands of preparing for performance - the process of preparing in
isolation; both before the beginning of rehearsals and through the rehearsal process; and the very different and distinct
process of exploring character and action with other actors and a director.
HOW WILL IT WORK? Actors will work in groups of two or more on contemporary scenes, using a number of exercises
which will push them to listen and respond with specificity and freedom. Alongside this work will be a series of
preparatory or ‘kitchen table’ exercises which will be done in the room and at home by the participants in preparation for
the scenes.
WHAT DO YOU GET OUT OF IT? A developed sense of how to prepare alone for a role and a rehearsal, coupled with an
organic and instinctual approach to fully engaging with the text, the other actors and any other stimulus during the actual
rehearsal process.
→ 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 awardwinning 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.
PARTICIPANTS: £60
Screen Acting Using the Method
Karina Fernandez
June 1, 2
10.30-17.30
Course: TV43
Keywords: SENSE MEMORY | IMAGINATION | SCREEN 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. This can feel like a distant goal in the context of a film or TV job,
where there may be no rehearsal, or going on tape for a film or TV audition. The intention of this course is to give actors
the tools to prepare their work with focus and confidence in order to be equipped to always do their best.
HOW WILL IT WORK? Actors will practice applying the Stanislavski ‘system’ to identify character objectives, obstacles and
relationships to film scripts, which we will then tape and play back, enabling actors to learn from watching themselves
and the rest of the group. There will be plenty of opportunity for constructive feedback and re-work in a supportive
environment.
WHAT DO YOU GET OUT OF IT? During the course we will look at finding truth and meaning in a text, developing character
and understanding the requirements of different camera shots in order to develop confidence in a medium which may be
unfamiliar, aiming to be ‘in the moment’ on camera as in life.
PARTICIPANTS: £90
27
Shakespeare’s Playground
Michael Gould
June 1, 3, 5
10.00-12.30
Course: SH6
Keywords: ACTING THE CLASSICS | LANGUAGE | RHYTHM | VERSE AND PROSE | CHARACTER
WHAT IS IT? A practical and playful exploration of Shakespeare’s language which is designed to make you feel as if it
belongs to you and always has.
HOW WILL IT WORK? Over three sessions we will unpack a toolbox of techniques which reveal the rhythms, sounds and
grammar of his texts; we will explore the differences between prose and verse; we will examine how Shakespeare
organises thought and feeling to reveal character and how all of this works to create dramatic action.
WHAT DO YOU GET OUT OF IT? It is all about owning and enjoying Shakespeare’s plays. This short course will provide you
with the tools and the confidence to play Shakespeare in auditions, rehearsal rooms and in production.
→ Michael is an actor and teacher. In both capacities he has worked at the RSC, National Theatre and Shakespeare's
Globe. He played Iago in Othello for the RSC, Polonius in Hamlet at The Young Vic, Edmund in King Lear at Shakespeare’s
Globe. In Spring 2015 he will be playing Alfieri in the revival of the Young Vic's critically acclaimed production of A View
From the Bridge at The Wyndhams Theatre and John Major in The Audience at The Apollo Theatre. Other theatre credits
include 'Tis Pity She's A Whore, Our Class, Waves, Earthquakes in London. His TV/Film credits include Wallander, Ashes to
Ashes, Silk, Lucan, Secrets – The Conversation, Silent Witness, Secret State, Getting On, Our Kind of Traitor, Crocodile,
Room 8 (winner of The BAFTA Short Film Awards) and Private Peaceful.
PARTICIPANTS: £54
Sharpening Your Skills
Patricia Doyle
June 2, 3, 4, 9, 10, 11
14.00-17.00
Course: A101
Keywords: SKILLS DEVELOPMENT | EXPLORATION | CONFIDENCE | SCENE WORK | MONOLOGUES
WHAT IS IT? A six-session course devised especially to give you renewed confidence and develop your skills - maybe
discovering new ones - working in an enjoyable way within the group.
HOW WILL IT WORK? We will start with improvisations, work through personally chosen poems, leading on to classical
and modern text work and speeches. At the end of the course, we will focus on auditions, and how to get work.
WHAT DO YOU GET OUT OF IT? An enjoyable experience, revisiting perhaps earlier training and rehearsal methods,
revitalising your passion to act. This will be in a non-judgemental atmosphere, with a sharing of experience and advice,
and ways to get work with renewed confidence and desire for something you love.
→ Patricia trained as an actress at RADA and has worked at the NT, the RSC (including the world tour of Peter Brook’s A
Midsummer Night’s Dream), Royal Court, the West End and in rep, radio and film. As a theatre director her productions
include plays by Stoppard, Chekhov, Churchill, Ibsen, Priestley and Brenton. For the Northern Ballet Theatre, Patricia has
directed Carmen and A Streetcar Named Desire, co-directed Peter Pan, A Midsummer Night’s Dream, Hamlet a new ballet
of Cleopatra and, most recently, The Great Gatsby and Cinderella. She is preparing to work on a new ballet of Nijinsky for
Bratislava in 2015. She recently directed her first short films, Beware of What You Wish For and No Man’s Land.
28
Introducing The Art Of Being An Idiot: Good Things Always Happen In Threes
Lucy Hopkins
June 2, 4, 5
18.00-21.00
Course: A109
Keywords: UNIQUENESS | NEW APPROACHES | STORYTELLING | SPACE | GAMES | LAUGHTER
WHAT IS IT? A three-part workshop discovering your own magnificent idiot self and exploring how to let it be seen.
HOW WILL IT WORK? We’ll stretch and play some games, we’ll do group and solo exercises around listening to the
audience and each other and try to be fascinating while doing as little as possible. We’ll laugh at each other, laugh at
ourselves, perhaps cry a bit (hope not too much crying) and have a really good go at letting ourselves be seen exactly as
we are.
WHAT DO YOU GET OUT OF IT? 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 in corporeal mime and at the schools of Jacques Lecoq and Philippe Gaulier in Paris as well as
with renowned clown troupe Spymonkey. 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 has
recently translated Le Foulard into French and is delighted to be performing The Full Art (spectacle d’Art) at the Festival
Off d’Avignon in July 2015. Lucy collaborates with companies and artists across Europe as performer, writer, director and
workshop leader.
PARTICIPANTS: £54
A Close-up on Screen Acting
Robert Bierman
June 3
10.30-17.30
Course TV16
Keywords: SCREEN PERFORMANCE | PRACTICAL | SCRIPT WORK | FEEDBACK | SKILLS
→ See page 22 for full details.
PARTICIPANTS: £55
An Actor Prepares – Shakespeare
Donnacadh O’Briain
June 3, 4
10.30-17.30
Course: SH16
Keywords: ACTING THE CLASSICS | SCENE WORK | TOOLS & EXERCISES | CONFIDENCE BUILDING
WHAT IS IT? An intensive introduction to approaching and playing Shakespeare without fear.
HOW WILL IT WORK? Participating actors will work with in detail with the director on a number of speeches and
duologues from across a broad range of plays as well as one prepared speech of their choice. This workshop is a detailed
and thorough look at approaching Shakespeare as a working actor, full of practical tools and exercises, which can be
applied to any text.
WHAT DO YOU GET OUT OF IT? Participants will leave with the tools that will enable them to tackle a complex and poetic
script with confidence.
PARTICIPANTS: £60
29
You Already Know How to Act on TV
Sarah Punshon
June 4
10.30-17.30
Course: TV2
Keywords: SCREEN ACTING | SKILLS DEVELOPMENT | SCENE WORK | FEEDBACK | ADVICE
WHAT IS IT? For actors with mainly stage experience, this workshop will give you the chance to work with an experienced
theatre and TV director, to transfer the skills you already have to acting for the camera.
HOW WILL IT WORK? We will work on short scenes with close direction, with the opportunity to discuss particular
problems and air concerns. At the end of the session we will review and assess the scenes we've recorded.
WHAT DO YOU GET OUT OF IT? Participants will build confidence while working on camera as well as gain an
understanding of the technical demands and performance levels required for screen.
→ Sarah is a theatre and TV director. Since training in 2006 on the BBC Drama Directors Academy she has directed
Shameless, Emmerdale, EastEnders and Doctors. Theatre credits include directing productions for Salisbury Playhouse,
West Yorkshire Playhouse, New Vic Theatre, Oldham Coliseum, Theatre by the Lake, Manchester Library Theatre and the
Watermill Theatre.
PARTICIPANTS: £55
There’s No ‘I’ in Improvisation
Todd Kramer
June 4, 5
10.30-17.30
Course: A105
Keywords: IMPRO | AMERICAN TECHNIQUE | AUDITIONS AND PERFORMANCE | CONFIDENCE
WHAT IS IT? Understand and develop the basic fundamentals of Improvisation skills and technique.
HOW WILL IT WORK? Participants will learn to build the four cornerstones of good performance: AGREE AND ACCEPT add/contribute (“yes, and”); OBSERVE - listen and react with sharpness, clarity and confidence; TEAMWORK - become an
integral part of the ensemble/group and work together towards a common goal; FLOW - break out of your comfort zone,
enjoy and gain ready access to all the tools in your talent toolbox.
WHAT DO YOU GET OUT OF IT? This fun course is designed for all levels of improv experience. We will start with the
basics and introduce training methods used at The Groundlings (Los Angeles) and work our way up to performing
improvisation scenes. You will be taken through exercises that will not only improve how you do in castings and
performances but can help you improve in personal relationships as well as start you on the path to becoming a
performance level long-form improviser.
→ Todd Kramer is an American born actor and improviser with nearly 20 years’ experience. He holds a Bachelor’s Degree
in Theatre Arts from Loyola Marymount University LA and studied with the renowned Groundlings in Los Angeles for over
3 years. He has been training, performing and teaching improv ever since. He is now based in London as a stage, film,
commercial and TV actor.
PARTICIPANTS: £60
A Practical Guide to Screen Acting
Jonathan Moore
June 5
10.30-17.30
Course: TV36
Keywords: STAGE TO SCREEN | ON SET ETIQUETTE | PERFORMANCE | TECHNIQUE | ADVICE
WHAT IS IT? A workshop for anyone 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.
PARTICIPANTS: £55
30
Learning Lines with Confidence
Brigid Panet
June 6, 7
10.30-17.30
Course: A15
Keywords: TEXT WORK | CONFIDENCE | PERFORMANCE | DELIVERY | AUDITONS
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.
Plays to Performance
Nathan Osgood
June 6, 8, 9, 10, 12, 13, 14
10.30-17.30
Course: A103
Keywords: PERFORMANCE | INTENSIVE COURSE | CHARACTER | ACCESSING TEXT
WHAT IS IT? This course offers participants the opportunity to perform a series of short plays to an invited audience.
HOW WILL IT WORK? On the first day we will meet for casting and character development. We will then rehearse the
chosen short plays over the following week ready for a performance on the final day. Please forward your CV/Spotlight
link to [email protected] when you book this workshop in order to assist with casting.
WHAT DO YOU GET OUT OF IT? The chance to develop character to performance in an exciting 'rep' style environment.
Friends, colleagues and industry will be invited.
→ 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: £220
Around The Art Of Being An Idiot: Silent Workshop
Lucy Hopkins
June 7
14.00-18.00
Course: A110
Keywords: LISTENING | OBERVATION | EXPRESSION | PERCEPTION | GAMES | LAUGHTER
WHAT IS IT? A workshop conducted entirely in silence about making magnificent and ridiculous physical work.
HOW WILL IT WORK? We’ll all shut up and focus our attention on listening to each other and letting ourselves be seen.
We’ll stretch and play some games, we’ll do group and solo exercises around being fascinating while doing nothing,
sharing the stage and listening to our audience. We’ll laugh at each other (shh), laugh at ourselves (SHH), perhaps cry a
bit (hope not too much crying) and we’ll do all of that in total silence.
WHAT DO YOU GET OUT OF IT? An experience of the power of physical expression and your own unique and astonishing
capacity for expression and perception.
PARTICIPANTS: £20
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Acting in Drama Documentary
David Caldwell-Evans
June 9
10.30-17.30
Course: TV58
Keywords: CREATING CHARACTER | PHYSICALITY | STORYTELLING | SCREEN TECHNIQUE | NEW WORK
WHAT IS IT? This workshop will prepare actors to perform effectively in drama documentaries whatever the subject
matter and however brief the preparation and rehearsal time. It will help you understand the documentary director’s
requirements and be ready to work with directors who may not be accustomed to helping actors with their roles.
HOW WILL IT WORK? Using example scenarios from broadcast documentaries, actors will create a variety of believable
characters using either minimal dialogue or no dialogue at all. They will be encouraged to use physical characterisation
and devise simple mannerisms which provide the cutaways and close-ups that maximise usable footage from a
documentary shoot.
WHAT DO YOU GET OUT OF IT? By encouraging actors to create their own library of distinct characters they will be ready
to audition and be cast in both full drama documentaries and specialist factual documentaries with drama reconstruction
sequences. The workshop aims to provide actors with the skills to use drama documentaries as a way of showcasing their
talents on screen and generating valuable contacts within the television industry.
→ After training as an actor and working as a Youth Theatre director in the UK and Europe, David came to TV via radio
fifteen years ago. As a documentary Producer/Director his films have covered a wide range of royal, social and military
history stories as well as contemporary political and security issues. Seeing himself above all as a storyteller, David has
gained a reputation for portraying powerful emotions rather than just straightforward action in the drama sequences of
his documentaries. He has worked with actors of all levels of experience in both the UK and overseas and is able to draw
on his theatre background to help them deliver high standard of performance whatever the circumstances.
PARTICIPANTS: £55
Gender-Bending Shakespeare
Russell Bolam
June 11, 12
10.30-17.30
Course: SH21
Keywords: TEXT AND SCENE WORK | NON-TRADITIONAL CASTING| CHARACTER CHALLENGES
WHAT IS IT? A workshop exploring the challenges and demands of playing female characters as men and male characters
as women in Shakespeare.
HOW WILL IT WORK? Using Shakespeare's Othello and a multitude of approaches and techniques, Russell Bolam will
explore how the actor inhabits Shakespeare's men and women of Venice and Cyprus when genders are reversed; from
text analysis to production concept through to actor-director work in the rehearsal room.
WHAT DO YOU GET OUT OF IT? A dramaturgical awareness of playing roles non-traditionally in the classics and the
opportunity to play parts outside of the accepted repertoire.
→ Russell Bolam is a former Assistant Director for the Royal Shakespeare Company (to Dominic Cooke) and recently
received great acclaim for his production of Anya Reiss' version of The Seagull at Southwark Playhouse. He recently
returned from Sofia, directing The Merry Wives of Windsor for the Main Stage of the Ivan Vasov Theatre (National
Theatre of Bulgaria). Other credits include the world premiere of Philip Ridley's Shivered at Southwark Playhouse which
received Off-West End award nominations for Best Production, Best New Play, Best Actor and Best Director.
PARTICIPANTS: £60
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Modern Text Project
Victoria Alcock
June 11, 12, 18, 19
14.00-17.00
Course: A114
Keywords: CONTEMPORARY WRITING | STAGE & SCREEN | CHARACTER | INTUITION | SCENE WORK
WHAT IS IT? Over four practical sessions participants will work on a range of modern texts and explore performing them
for both stage and screen.
HOW WILL IT WORK? Participants will work in pairs on modern duologues selected by Vicky, exploring text, style and
character development. The scenes will be performed on stage and on screen allowing you to examine and discuss the
differences in style and approach when working in different mediums on the same text.
WHAT DO YOU GET YOU OF IT? You will develop your skill and intuition when approaching modern texts for both stage
and screen. You will understand the differences and similarities between stage and screen acting and have the
opportunity to watch and discuss your overall performance and style.
→ Vicky trained as an actress at Central and has over 20 years’ experience. Her extensive screen credits include The
Bletchley Circle, Birds of a Feather, The Game, Call The Midwife, Dr Who, Whitechapel, EastEnders, Agnes in three series
of House of Eliott and eight series of Bad Girls as one of the two Julies. In theatre she has worked with Caryl Churchill,
devising the play Mad Forest which ran at the Royal Court. She has also worked closely with Nell Dunn and performed at
a number of theatres across the UK. Recently she has also taught at Mountview, the Brit School and Pauline Quirke
Academy.
PARTICIPANTS: £80
Action on Action – Exploring Screen Acting
Clifford Milner
June 12
10.30-17.30
Course: TV34
Keywords: TV/FILM | PREPARATION | SCREEN ACTING | CONFIDENCE | ACTING FOR CAMERA
WHAT IS IT? Acting for the camera, looking at strategies for dealing with little or no rehearsal in film and TV. It can be a
surprise to actors whose training is rooted in theatre traditions that there are often no rehearsals in TV and film, and any
rehearsals that do take place are usually for technical reasons.
HOW WILL IT WORK? Using contemporary TV/film scripts the workshop will deal with the three key questions you need
to ask for every scene and associated choices in regard to your relationship with the camera. We will look at what works,
what doesn’t, how much freedom you have and the old chestnut, is less really more?
WHAT DO YOU GET OUT OF IT? The ability to bring specifics, and therefore clarity to your performance on screen. The
acquisition of a camera savvy technique, in order to create compelling, watchable performances.
→ Clifford trained as an actor at Webber Douglas and some of his TV credits include A Very Open Prison, Brookside, Drop
the Dead Donkey, Poirot, Cold Feet, The Bill, EastEnders, Coronation Street, Trial and Retribution II and IV, Eyes Down and
the BAFTA award-winning Middlemarch for the BBC. He trained as a director at GITIS the Russian Academy of Dramatic
Art in Moscow, Skillset, BBC and DGGB and has directed at The Oldham Coliseum, The Old Rep and Crescent Theatres
Birmingham, Jermyn Street Theatre, Watford Palace, The Lowry, Salford and several short films screened at BAFTA and
Busho the Budapest Film festival. He ran the MA in Acting for TV, Film and Radio at E15 for three years and has directed
and taught acting for both stage and screen at several leading UK drama schools.
PARTICIPANTS: £55
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The Art of Cabaret
Tim McArthur
June 13, 14
10.30-17.30
Course: MT9
Keywords: CABARET PERFORMANCE | SONG CHOICE | PERSONA | DELIVERY | STYLE
WHAT IS IT? Discover the hidden secrets of constructing a one person Cabaret show.
HOW WILL IT WORK? Over two days and working with Tim and a Musical Director, each performer will put together a 15minute set. Tim will reveal a few hot tips for putting together your own cabaret show, from song choice and set list, to
what to say and even what to wear!
WHAT DO YOU GET OUT OF IT? A clear understanding of the basics of Cabaret, and an opportunity to perform your 15minute show in front of the rest of the group.
→ Tim McArthur has performed his one man show at The Purcell Room, several seasons at Pizza on The Park, Jermyn
Street Theatre, internationally at Don't Tell Mama NYC, New Space Theatre 2 Cape Town and last year was the first British
performer to appear at Theatre Lounge Cafe, Kuala Lumpur. In December 2014 he released his debut album Don' Be
Anything Less. Tim is also Associate Director of Above The Stag Theatre, credits there include Bathhouse, Orton,
Maurice and My Beautiful Laundrette. Other director credits include Sunny Side of The Street, Bewitched Bothered and
Bewildered at Jermyn Street Theatre, Newsrevue at Canal Cafe and Edinburgh and recently Into The Woods at Rose and
Crown. Tim also presents The Curtain Up Show on Resonance 104.4FM. www.timmcarthur.com @Tim_McArthur
PARTICIPANTS: £80
The Meisner Technique
Scott Williams
June 15, 16, 17, 18, 19
10.30-17.30
Course: A11
Keywords: SANFORD MEISNER | METHODOLOGY | TRUTH | INSTINCT | RESPONSIVENESS
Meisner and Cold-Reading
Susan Bracken
June 16
10.30-17.30
Course: A17
Keywords: MEISNER | COLD-READING | SKILLS | AUDITION | TAKING DIRECTION
34
Fighting for Film: An Introduction
Lyndall Grant
June 17
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.
PARTICIPANTS: £40
Actioning
Maggie Lloyd-Williams
June 17
14.00-17.00
Course: A113
Keywords: TEXT WORK | ACTIONING | ACCESSING THE TEXT | REHEARSAL TOOL | PREPARATION
WHAT IS IT? Maggie will lead a workshop which demystifies the process of actioning the text and refines the process for
those who have studied it at basic level at drama school.
HOW WILL IT WORK? Finding the right action is an essential part of the process of preparation for an actor. Actors need
actions, they cannot act moods; they need to be doing something with every line and an aim to achieve. Using active
verbs we will look at how to refine the action-word until you hit the right one to make the action come alive.
WHAT DO YOU GET OUT OF IT? A vital tool for the rehearsal room and a method to revitalise performance. “If you want
to act, or act better, actions will take you a long way on the journey to excellence” (Terry Johnson).
→ Maggie is co-author of Actions – The Actor’s Thesaurus. She is an actress who has performed in a number of plays at
the National as well as productions at the Soho, Tricycle and Shakespeare's Globe. She has appeared in several TV series
including Secret Diary of a London Call Girl, Murphy’s Law, Redcap and Silent Witness. She has recently completed
another book - King of Queens - with Boy George.
PARTICIPANTS: £18
35
Fundamentals – The Actor on Camera
TBC
June 18, 25, 18.30-21.30
June 21, 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/TV dramas along with guided exercises looking at character, scene
objectives, the inner monologue & 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 & 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/film.
→TBC
PARTICIPANTS £75
The World of the Monologue
Chris New
June 19
10.30-17.30
Course: A9
Keywords: CREATIVITY | IMAGINATION | SOLO WORK | AUDITION | PERFORMANCE
PARTICIPANTS: £30
Come Chat Road! An Intro to the Multi-Cultural London Accent
Louise Jones
June 20
10.30-13.30
Course: VC28
Keywords: CONTEMPORARY ACCENT | NEW WRITING | TEXT WORK | VOCAL SKILLS
WHAT IS IT? This is an accent and dialect workshop for young actors. Within the last 20 years we have witnessed a shift
from a traditional cockney accent of East London to a new contemporary sound. This accent is often known as 'street'
London and linguistically termed Multi-Cultural London English. During the 1980s young Londoners responded to the
American hip hop and garage music scene and created their own sound - Grime music. Along with this music came a
whole new youth cultural expression, which led to the birth of a new accent. This is now an established accent spoken by
many young Londoners and one that should be in a young actor's accent repertoire.
HOW WILL IT WORK? Using kinaesthetic and listening exercises, beatboxing and the music of East London artists such as
Tinie Tempah and Labrinth this workshop aims to offer a fun, informative and accessible approach to accent learning,
going on to apply the work to scripts of contemporary playwrights.
WHAT DO YOU GET OUT OF IT? A confident grasp of the Multi-Cultural London English accent, adding another accent to
the young actor's repertoire.
→ Louise received her MA in Voice Studies from RCSSD. After graduating she returned as a visiting lecturer. Louise also
teaches at the Performance Preparation Academy in Guildford where she is in charge of the students’ speech and accent
learning. She has worked with performers from Greenwich and Lewisham Young People’s Theatre, Tara Arts, Outfox
productions and students from Arts Ed. Most recently, Louise worked with Clean Break Theatre Company coaching the
‘street’ accent for Vivienne Franzmann’s Pests at the Royal Court.
PARTICIPANTS: £18
36
Simplicity
Bathsheba Garnett
June 22, 23, 24, 25, 26
10.30-17.30
Course: A30
Keywords: SELF EXPLORATION | METHODOLOGY | RESPONSIVENESS | TRUTHFUL PERFORMANCE
WHAT IS IT? Simplicity will give you a range of tools and techniques that will help you as an actor and job seeker. These
techniques work just as well for auditions as they do for film, theatre and TV performances.
HOW DOES IT WORK? Bathsheba will provide a selection of scenes on the first day and you will have the opportunity to
select one with your scene partner to work on for the duration of the week. If you have a scene that you are particularly
interested in, please bring it to the workshop for consideration. Scenes should be no longer than 6 pages. If you have
taken Simplicity before, we will take the work on further.
WHAT DO YOU GET OUT OF IT? This course will not only help you get work but also give you the tools to glide into any
role and situation by maximising your personal involvement. Your ability to relate fully to other actors and include them
into the meaningful reality of the scene will be astonishingly rewarding. A by-product of this process is that line-learning
and sightreading skills are naturally acquired.
→ Bathsheba is a working actress and her screen credits include X-Files and Mean Girls as well as Blindness directed by
Fernando Meirelles and Adoration directed by Atom Egoyan. She has worked with many artists in New York including
Tyrone Guthrie on Broadway and trained with Lee Strasberg, Uta Hagen and Herbert Berghof. Bathsheba also has an
international directing CV of over 80 theatre productions worldwide.
Text and Active Analysis for the Screen
Ewa Kolodziejska
June 22, 29
10.30-17.30
Course: TV57
Keywords: STANISLAVSKI | SCREEN ACTING | CHARACTER | PRACTICAL APPROACH | PERFORMANCE
WHAT IS IT? A workshop designed to help you master text work before screen work.
HOW WILL IT WORK? In just two days you will be led through Stanislavski’s Magnum Opus of Text and Active Analysis.
Ewa Kolodziejska will demystify and simplify acting, juxtaposing Stanislavski System with Method. You will be given a
succinct scene to learn prior to class, and to complete any personal research. Day One will take you through clear step by
step Text and Analysis which will give you a clear and working way of decoding and understanding text from the point of
view of an actor, and Day Two will close with Active Analysis which will solidify the text work into a clear system of how
you then put that work into practice as an actor. In preparation for this workshop, please read and research David Hare’s
My Zinc Bed.
WHAT DO YOU GET OUT OF IT? A comprehensive and simple technique that is repeatable for working successfully as an
actor using the two vital 'circles of attention': Subconscious and Conscious, Homework and listening and responding.
Basically Stanislavski System vs. Method. This workshop is an ideal introduction for newcomers and those who have not
yet attended Ewa’s regular monthly screen workshops – but all-comers are welcome.
→ 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: £85
37
Fundamentals – Performance Naturalism
Anthony Lau
June 23, 24
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.
→ Anthony has directed a ‘parallel production’ of The Cherry Orchard at the Young Vic. Other credits include the world
premiere of Terry Johnson’s Dreaming in America (Shoreditch Town Hall) and The Common Land (Rose Theatre Kingston),
Still Life/Red Peppers (Old Red Lion), The Taste of Us (HighTide), I Am A Camera (Southwark Playhouse), The
Pillowman (Workshop, Young Vic) and There Are Two Of Me (New Diorama Theatre). Recent associate/assistant directing
includes: King Lear (Chichester Festival Theatre and BAM, New York), Mint (Royal Court), Canvas
(Chichester), Bingo (Young Vic), An Inspector Calls (various venues, Paris). Anthony trained as a Director at LAMDA.
PARTICIPANTS: £60
Practical Screen Acting
Stephen Billington
June 23, 24
10.30-17.30
Course: TV61
Keywords: TECHNIQUE | TRUTH ON CAMERA | PREPARATION | REVIEW & FEEDBACK | CONFIDENCE
WHAT IS IT? Working alone and in pairs, using screen-acting exercises and scenes from films and TV dramas, this
workshop offers an exciting opportunity to gain experience of the technical demands of screen acting. Suitable for those
who have worked with Stephen previously and actors who want to develop and improve their screen performance at a
more advanced level.
HOW WILL IT WORK? Participants will learn how to prepare effectively for the shoot, gain practical experience on
camera, start to bring a greater degree of truth to their performance and most importantly develop an ability for selfreflexive assessment. Participants must provide their Spotlight link on application for casting purposes. Scripts will be
provided in advance and must be learnt for the start of the workshop.
WHAT DO I GET OUT OF IT? This intensive and individually focussed workshop is designed to give an ease and confidence
to the actor's work on camera, framing it with the practical application of a dedicated screen-acting technique.
PARTICIPANTS: £110
The Headstrong Approach: Becoming Somebody Else
Michael Ferguson
June 25
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 satisfy an
author’s intentions and be fresh & 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.
38
Shakespeare Squad - A Midsummer Night's Dream
Luke Dixon
June 27, 28
10.30-17.30
Course: SH27
Keywords: ACTING THE CLASSICS | PERFORMANCE | CHARACTER | AUDITION SPEECHES | CONFIDENCE
WHAT IS IT? An intensive weekend exploring Shakespeare's play with a sharing at the end of the Sunday afternoon for
friends and colleagues.
HOW WILL IT WORK? We will work through scenes and speeches, cast so everyone has meaty things to do, and bring the
text alive in lightning speed. Please bring a learned speech from the play to the first session and be prepared to learn text
as we go. Ideal for anyone who has never performed Shakespeare to an audience before, those who just love the play, or
anyone up for the challenge of mounting a potted version of the play in record time. Bring a copy of the play – any
edition.
WHAT DO YOU GET OUT OF IT? Confidence with Shakespeare text, an audition speech or two, sightreading experience,
and a chance to add a play to your CV in record time!
→ 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 in China, North America, South Africa, Germany, France, Poland, Russia, Czech and Slovak
Republics, Spain and the UK. 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: £60
Playwriting Masterclass
April de Angelis
June 30
10.30-17.30
Course: WR9
Keywords: WRITING EXERCISES | STRUCTURE | DRAMA | CHARACTER | LANGUAGE
WHAT IS IT? A one-day workshop with playwright April de Angelis for anyone interested in the craft of playwriting.
HOW WILL IT WORK? Through group discussion and writing exercises, participants will examine what makes a play work.
We will focus on structure, character, themes and language.
WHAT DO I GET OUT OF IT? You’ll come away with the skills and understanding to create your own characters, create
dramatic situations and create your own play.
→ April is a playwright whose work includes Jumpy (Royal Court/West End), Hush, Catch, Wild East and Havana (Royal
Court), Playhouse Creatures (Old Vic/Sphinx), The Warwickshire Testimony (RSC), A Laughing Matter (Out of
Joint/National Theatre/UK tour), Amongst Friends (Hampstead Theatre), Crux and Calais (Paines Plough). April is currently
under commission to Plymouth Theatre Royal and the Royal Court Theatre. She is also developing a television series
(Drama Republic/Channel 4) based on her stage play Jumpy. Visit www.sphinxtheatre.co.uk for further information.
PARTICIPANTS: £30
39
Working on Camera
Marcus D F White
June 30
10.30-17.30
Course: TV46
Keywords: AWARENESS | TRUTH | THE CLOSE-UP | SCREEN PRESENCE | PRACTICAL
WHAT IS IT? An intensive and practical workshop exploring screen acting and how a director, actor and production team
work together to create visually exciting and entertaining work.
HOW WILL IT WORK? Participants will work on elements of screen performance including the close-up, the power in your
eyes, thoughts and actions and being aware of where the camera is in relation to you. There is no hiding place on camera
and if you are not being equally and spontaneously reactive and proactive in a scene, you leave the director and, more so,
the film editor with fewer options when cutting the show. For those who have worked with Marcus before - welcome
back - we shall work on a specific scene from a film. For those who are new to this workshop, we shall work on
monologues. Book early so you can learn scripts.
WHAT DO I GET OUT OF IT? A deeper understanding of your relationship with the camera and how this can make you
shine on screen.
→ Marcus studied drama at RSAMD and trained to be a teacher at the University of Glasgow. He then gained a place on
the highly competitive Directors Training Course and has worked continuously since then. He directed Junk (adapted from
the novel by Melvyn Burgess) which won a BAFTA. He has also been nominated for an RTS award for Peak Practice –
Through a Glass Darkly and a BAFTA for Taggart – Angel Eyes. He has taught TV and film technique at RADA, the Royal
Conservatoire of Scotland and DSL.
PARTICIPANTS: £55
The Power of Belief
Robert Bowman
Date to be confirmed
Course: A115
Keywords: NLP | TEXT WORK | AUDITIONS | CAREER | CHALLENGES | OBJECTIVES
WHAT IS IT? An explorative workshop that will uncover the beliefs that hinder and beliefs that help our acting career (and
life).
HOW WILL IT WORK? Using NLP, Stanislavski techniques and some text from biological and neurological science books,
we will explore this far reaching topic through exercises and through 'working' auditions speeches in the room. The
approach is non-judgemental and encourages a sense of curiosity about how we 'do' our career, how we 'do' our life. To
acknowledge where we are succeeding and where we are coming up against 'challenges'. The atmosphere will be one of
sharing, an understanding that we can learn from everyone in the room and that some of the answers are already within
us.
WHAT DO YOU GET OUT OF IT? A chance to reflect and work on the 'challenges' we might face in our acting careers and
life. Identify the areas you're doing well in. Techniques to take away and work with those 'challenges' and
create different outcomes, to move closer to a clearer sense of what it is we want and of who we really are. (To register
your interest in this workshop please email [email protected])
→ Robert Bowman is an actor, director and teacher of acting. He is also a master practitioner of NLP (ITS). With over 30
years of experience working in theatre and combining that with over 10 years of experience in NLP he has created a
challenging, fun and practical experience that will help you move forward in your life and work.
PARTICIPANTS: £60
40
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.
Preparing for Singing Auditions
Mary Hammond
Mondays April 13, May 11, June 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.
Actors’ Weekly Drop-In
Abigail Graham
Mondays
18.00-21.00
Course: A55
Keywords: WEEKLY DROP-IN | SKILLS BUILDING | TEXT | EXPLORE | TECHNIQUE | CONFIDENCE
Drop in for a stimulating acting workshop utilising contemporary professional methods on a myriad of texts from
Shakespeare via modern classics to new writing. Based on the belief that we learn through doing, this is a workshop to
help you experience new techniques, keep your skills fresh and gain constructive and supportive feedback. Perfect for
those just starting out and those who wish to keep their hand in, this workshop can build confidence and develop overall
technique. This workshop involves no preparation.
→ Abigail is a freelance theatre director and Artistic Director of OpenWorks Theatre. Her credits include Black Sheep
(Soho), Debris (Southwark), Molly Sweeney (Print Room, London/Lyric 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). Great Expectations (Bristol Old Vic), Death and The Maiden (Harold Pinter
Theatre), Glass Menagerie (Young Vic), Ruined (Almeida), Enron (Chichester/Royal Court).
PARTICIPANTS: £18
41
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 April 21, May 12, June 16
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, performer and teacher. 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.
PARTICIPANTS: £18
42
The Dyslexia and Acting Toolbox – Monthly Sessions
Deborah Leveroy
Wednesdays April 8, May 27
17.00-19.30
Course: A59
Keywords: DYSLEXIA SUPPORT | ONE-TO-ONE | TEXT WORK | SKILLS DEVELOPMENT | STRATEGIES
WHAT IS IT? Are you dyslexic or think you might be? Do you want to improve your memory, concentration and reading
skills? These individually tailored 45 one-to-one sessions will help you prepare for auditions, rehearsals and performances
by working on your memory, reading and organisation skills, among others. Dyslexia-friendly strategies are specifically
tailored for actors. If you’re in need of a skill top-up or want tailored advice then come along, whether you’re dyslexic,
dyspraxic or neither.
HOW WILL IT WORK? We will discuss your individual learning style; your strengths and challenges. We will work
practically to apply tools to combat your blocks. Some of the areas we can cover include: processing text (sight-reading &
speed reading techniques); visual stress and reading; memory, concentration & focus; stress, self-concept, disclosure &
confidence; assistive technology & mind-mapping; verbal language, interview technique & letter writing skills, non-text
based approaches to monologues & scenes, the assessment process and support funding options
When booking please indicate 1 or 2 areas that you want to work on.
→ Deborah is a dyslexia and acting tutor at Arts Ed and ALRA, and has a PhD in the area of dyslexia, specific learning
differences and acting from the University of Kent. Publications include: ‘Dyslexia and Sight-Reading for Actors’ in
Dyslexia, Music and the Performing Arts (British Dyslexia Association), and articles in Research in Drama Education
(Routledge), Theatre, Dance and Performer Training (Routledge) and on the DramaUK website. She has taught
Shakespeare and acting at the University of Kent and RCSSD, is the drama advisor to the British Dyslexia Association’s
music committee, and has run dyslexia workshops at the Moscow Art Theatre School, Young Vic Dyslexic Directors
Network, Actors’ Guild, TaPRA & NSDF. Deborah is also an actor and trained at Drama Studio London.
PARTICIPANTS: £34 (Associate Members can participate in this workshop)
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, hot-seating
audition piece characters, improvisation on text and taking quick direction in an audition setting.
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
43
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, Peter Salter and Suzy Catliff. Please check individual dates on the website tutor biogs.
PARTICIPANTS: £18
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.
PARTICIPANTS: £25
Monthly Screen Acting: Acting is Simple, Confidence is Key
Ewa Kolodziejska
Fridays April 24, May 22, June 26
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.
PARTICIPANTS: £45
44
Monthly Writers Drop-in
Stewart Permutt
Fridays April 24, May 29, June 26
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.
→ 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)
The Actors Gym
Chris New
Saturdays April 11, 18, May 9, 23, June 6, 20
10.30-12.30
Course: A112
Keywords: FORTNIGHTLY | CHARACTER | COLLABORATION | CREATIVITY | IMPRO
WHAT IS IT? Stretch those muscles and keep acting-fit with Chris New's Actors Gym - a workout for every actor.
HOW WILL IT WORK? Kick off a virtuous weekend by joining the gym. There's no preparation required, just bring
yourself. Sessions will focus on the collision of characters to create instant scenes and dynamic dramas. Attendance can
be one-off or regular, with each actor's workout being noted and retained for future reference and development. All you
have to do is turn up, relax and have fun.
WHAT DO YOU GET OUT OF IT? Build your creative confidence, discover your collaborative strength and release your
relaxation as you join the gym.
PARTICIPANTS: £15
Weekly Accent Clinic
Terry Besson
Saturdays
10.30-13.30
Course Code: D1
Keywords: WEEKLY 1-2-1 | ACCENTS | SPEECH | VOCAL PRACTICE
WHAT IS IT? Private, half-hour clinics. Please advise the Bookings Office which accent you would like to work on.
HOW WILL IT WORK? Terry will take you through the main points of the accent using: phonetic notes on the accent being
studied; exercises to retrain the muscles of articulation and the breathing, rhythm and flow of that accent.
WHAT DO YOU GET OUT OF IT? With work and application, you will gain the ability to use and sustain an accent you were
not born with, as if a native, through a rehearsal period and into performance. Example CDs may be available for an extra
cost.
PARTICIPANTS: £25
45
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
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 and price will be confirmed shortly. Register your interest by emailing [email protected]
CV APPLICATION
Off the Record
A series of colourful conversations with leading actors hosted by Paul Clayton.
Dates to be announced
Keep your eyes peeled this season for details of upcoming Off the Record chats with Paul Clayton. Previous guests
include Juliet Stevenson, Hugh Bonneville, Clive Swift, Douglas Hodge, Sir Derek Jacobi, Josie Lawrence, Caroline Quentin,
Anita Dobson, Alex Jennings, Zoe Wanamaker, Russell Tovey, Celia Imrie and Mark Rylance.
£3
The Life of Your Audition - from Casting to Booking
Kahleen Crawford
April 13
18.00-21.00
Course: CA33
Keywords: CASTING NETWORKS | CASTING DIRECTOR ADVICE | IMPACT | TECHNOLOGY
WHAT IS IT? Kahleen will walk you through the audition process, offering insight into the requests of producers/directors
and the influence YOU can have on their final decision.
HOW WILL IT WORK? Kahleen will discuss the way she auditions actors, showing the tools she uses to capture audition
videos and what her clients (the director/producer/ad house) see when they receive the auditions via Casting Networks.
The evening will run 6-9pm but each participant will be contacted by Casting Networks with an individual arrival time so
that Kahleen can put them on tape. This is a FREE workshop, so please let Reception know ASAP if you need to cancel.
WHAT DO YOU GET OUT OF IT? A stronger understanding of the casting process and how you can ensure you are seen in
the best possible light when Casting Directors use Casting Networks for their auditions. We will put actors on tape and
share the video with them via email after the workshop so they can see what those booking the jobs see.
***All those attending will receive a complimentary headshot upload to Casting Networks (£15 value) and a copy of their
day-of audition so they can see what decision-makers see. We will also offer a free personal profile for those interested
(£10 value) with access to submit to Casting Billboard jobs.
→ Kahleen Crawford is a casting director and founder of Kahleen Crawford Casting. She has been Ken Loach’s casting
director since 2003 - credits including Jimmy’s Hall, The Angels’ Share and Looking for Eric. Her recent work also includes
casting for Jonathan Glazer’s Under The Skin, which was in official competition at last year’s LFF; Filth (2013), hit
musical Sunshine on Leith, God Help the Girl & Weekend. For further information, please visit www.kahleencrawford.co.uk
PARTICIPANTS: £FREE
46
Tools of the Trade
Suzy Catliff
April 14
10.30-13.30
Course: AD36
Keywords: COMMUNICATION TOOLS | CV CLINIC | ADVICE | CASTING POTENTIAL | SHOWREELS
WHAT IS IT? A workshop designed to help you identify the tools of your trade available to you, and how to use them to
the best effect. Designed for actors newly graduated or at an early stage in their career.
HOW WILL IT WORK? Using your CV and photo/showreel as a starting point, Suzy Catliff will use her own experience as a
casting director to advise and pinpoint what you could do to maximise your casting potential. The group are encouraged
to discuss their own experiences within the profession so far and how they would like to progress. Suzy will give realistic
and practical advice on how to source and access the next step of their career in a supportive and enjoyable environment.
WHAT DO YOU GET OUT OF IT? A personal evaluation for each participant in order for them to forward their career in the
areas they would like to progress to ensure you come across as professionally and positively as possible.
→ Suzy works as a Casting Director and is a member of the CDG. TV credits include Primeval, The Inspector Murdoch
Mysteries, Casualty, Silent Witness and Hope and Glory III. Single dramas include D-Day, Empathy, Lifeline and The Secret.
She cast the feature film A Bunch of Amateurs and her associate work includes Stormbreaker, The Gathering, Swimming
Pool, Two Men Went to War and Fairy Tale – A True Story. She was assistant casting director on Sense and Sensibility, The
English Patient and Wilde. Suzy has worked extensively as a lecturer in casting for various UK and US film schools and cowrote The Casting Handbook. Suzy is also a theatre director, and is a founding member of Lucky Stuff Productions. For
more info visit www.suzycatliff.co.uk.
PARTICIPANTS: £18
Blowing Up the Dolphin
Suzy Catliff
April 14
14.30-17.30
Course: CA30
Keywords: COMMERCIAL CASTINGS | TECHNIQUE | CONFIDENCE | PREPARATION | FEEDBACK
WHAT IS IT? A workshop designed to take you through the minefield of a commercial casting.
HOW WILL IT WORK? An intensive, practical and enjoyable workshop, focussed on what is expected of you in a commercial
casting meeting. You will see yourself on camera whilst Suzy takes you through her unique "Who Do We Think You Are?"
commercial casting exercise, and an opportunity to partake in a real commercial casting brief and watch it back for feedback.
WHAT DO YOU GET OUT OF IT? An honest and positive view of your current 'look' and where you fit in to the cannon of
commercial casting 'types'. You will watch yourself on camera with feedback and experiencing real-life casting conditions.
→ See above for tutor biography.
PARTICIPANTS: £30
The Casting Lab Workshop for TV
Suzy Catliff
April 15
10.30-17.30
Course: CA31
Keywords: CASTING POTENTIAL | FEEDBACK AND REVIEW | CONFIDENCE | TECHNIQUES | PRACTICAL
WHAT IS IT? A workshop designed to help you make the most out of a TV casting.
HOW WILL IT WORK? Suzy Catliff will cast you in a role from one of the many TV projects she has worked on - you will be
sent the scene a couple of days before - and you will experience a real time TV casting session and put on tape filming the
scenes you have been sent. The second part of the session will be an 'in camera' session, watching back your work - a
unique glimpse into the world of casting - in a relaxed and supportive environment and be able to critique your own work
alongside immediate feedback and notes from Suzy.
WHAT DO YOU GET OUT OF IT? This workshop offers a unique opportunity to see how you come across on camera and
an opportunity to practise your screen technique and try out new ideas. Get practical and immediate feedback on your
work and how you come across on screen from a Casting Director.
→ See above for tutor biography.
PARTICIPANTS: £55
47
RSC Casting: A Q&A Session
Hannah Miller
April 16
14.30-16.00
Code: CA14
Keywords: Q&A | CASTING DIRECTOR | NETWORKING | TIPS & ADVICE
WHAT IS IT? An opportunity to meet the RSC’s Head of Casting, Hannah Miller, and ask her all your questions about the
company’s casting process.
HOW WILL IT WORK? Hannah will talk about her work and role at the RSC and open the floor for a Q&A session.
WHAT DO YOU GET OUT OF IT? An insight into how the casting process works at the RSC as well as tips and advice on
how to make the most of all your opportunities as well as getting answers to all your burning questions.
→ Hannah is currently Head of Casting at the RSC. After studying Drama at Hull University Hannah worked with Cheek by
Jowl and then became the Casting Assistant at the NT. She first joined the RSC in ‘03 as Deputy Casting Director leaving in
‘05 to become Casting Director at Birmingham Rep. She has cast for Northampton Theatres, Hampstead & Young Vic
amongst others, returning to the RSC in ‘08.
PARTICIPANTS: £10
Auditioning for Musical Theatre
Neil Rutherford
April 21
14.00-17.00
Course: CA38
Keywords: PREPARATION | CASTING DIRECTOR ADVICE | SONG CHOICE | CONFIDENCE | FEEDBACK & TIPS
WHAT IS IT? This workshop offers actors and singers the opportunity to work with international Casting Director Neil
Rutherford and focus on singing auditions and the casting process for Musical Theatre.
HOW WILL IT WORK? Bring along a song of your choice that will be performed in front of the group with feedback and
advice. We will look at acting through song, song choice and any other audition issues that come up.
WHAT DO YOU GET OUT OF IT? You will have the opportunity to work on your singing and audition technique as well as get
the Casting Directors’ perspective on this kind of audition. You will also pick up tips on how to approach and prepare for
auditions and what the key elements are to help you achieve success.
→ Neil was an actor for 15 years before becoming Head of Casting for The Ambassador Theatre Group. He has cast many
West End plays and musicals. Having left ATG in 2012, he has his own company Neil Rutherford Casting. He has most
recently been working in Australia on the award-winning production of The King and I at the Sydney Opera House as
Associate Director and Casting Director, and premiering his new musical Beyond Desire (Hayes Theatre Company,Sydney).
PARTICIPANTS: £30
How to Be Your Own Agent
Paul Cawley
April 25
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 & Drama Studio and he has been an Equity/Skillset Careers Advisor since 2005.
PARTICIPANTS: £18
48
Spotlight – Making the Most of your Membership
Pippa Harrison
April 30
11.30-12.45
Course: AD40
Keywords: SPOTLIGHT MEMBERSHIP | PROFILE | BENEFITS | CASTING DIRECTORY | ADVICE
WHAT IS IT? This session will highlight the benefits of being a Spotlight member, how Spotlight works within the industry
and how to make the most of your membership.
HOW WILL IT WORK? Pippa will tell you all you need to know, including how to apply, what membership gives you, how
to use it and the perks you can get from being a member. Get advice on your Spotlight profile, CV and photographs.
WHAT DO I GET OUT OF IT? A full introduction to the benefits of joining the UK’s most popular casting directory.
→ Pippa is Head of Clients Relations at Spotlight where her work involves liaising with the UK’s top Agents & Casting
Directors and Performers. She is a regular speaker and guest presenter on the casting industry (London Film Festival,
Dublin Film Festival, Edinburgh Festival). Prior to Spotlight Pippa ran Union Dance Company, The International Theatre
Forum, The Tristan Bates Theatre and is a founder member of Fecund Theatre & Film Projects.
PARTICIPANTS: £FREE
I’m Still Here
Phil Shaw
May 1
14.00-17.00
Course: AD44
Keywords: 1-1 SESSIONS | RETURNING ACTORS | BRANDING | MARKETING PLAN | SELF-CONFIDENCE
WHAT IS IT? Returning to the profession after an absence and re-establishing your identity can present a formidable
challenge. These hour long one-to-one sessions will help actors re-evaluate their brand image in terms of casting range,
and access internet/media resources in order to maximise employment prospects.
HOW WILL IT WORK? Person-centred advice will be given about head shots, CV, covering letters, casting directors,
agents, networking, audition monologue, and how to strategically market your USP (unique selling point) and previous
experience within the parameters of your casting. Some role play and improvisation will assist in verifying your niche
market, and dispel the myth that you are at a disadvantage from not having been visible within the industry. Phil will help
you identify ways in which to consolidate and implement this procedure.
WHAT DO YOU GET OUT OF IT? Increased self-confidence to empower you at interviews, together with a high-end
marketing plan, so that instead of being ‘the one who slipped through the net’, you interact productively with casting
directors and agents, and generate a positive response. Please bring head shot portfolio, resume and covering letter - and
also prepare a short audition monologue.
→ Phil trained as an actor at The Webber Douglas Academy and has worked in the theatre, film and TV industry for over
25 years. He was also an agent with ICM and has independently cast commercials for JWT, Great Guns and Ridley Scott
Associates. His many casting credits include Days in the Trees with Corin Redgrave (BBC), The Chalk Garden with
Constance Cummings (Kings Head), The Last Post with Gael Garcia Bernal (BAFTA nominated), Romans 12:20 (Grand Jury
Prize, ARPA Los Angeles), Deckies (Channel 4) and UK casting on the feature Italian Movie. In 2015 he will cast 24 creator,
Robert Cochran’s epic mini-series 1066-Conqueror (UK/USA). Phil is also a casting consultant to the National Film & TV
School, a voice/audition technique coach and gives seminars at RADA, Central, LAMDA and The Old Vic New Voices as
well as running a busy one-to-one actors' consultancy service.
PARTICIPANTS: £45
49
A Beginner’s Guide to Making Short Films
Michael van der Put
May 2, 3
10.30-17.30
Course: AD47
Keywords: FILMMAKING | INDUSTRY ADVICE | CAREER DEVELOPMENT | PRODUCTION | CREATIVITY
WHAT IS IT? A weekend workshop designed to equip you with everything you need to know before embarking on a short
film project.
HOW WILL IT WORK? Award-winning filmmaker Michael van der Put will take you on a guided tour of all things short
film. Using his own short 'Callum' as a case study, the course will look at everything from initial inspiration to the various
stages of production and finally promotion of a short film.
WHAT DO YOU GET OUT OF IT? By the end of the course you should have some idea of what works in the medium of
short film and the challenges involved in the production process. You will have been introduced to some of the golden
rules around visual storytelling and editing and have some idea as to the various avenues through which your film can
gain exposure - be it online, or via the festival circuit.
→ Michael van der Put is a freelance film and theatre director based in London. He studied directing at Drama Centre
where he made his debut short Callum. To date, Callum has screened at 26 festivals around the world and won 15
awards, including Best UK Short at the East End Film Festival. The film was selected as a finalist for the Rushes Soho
Shorts Newcomer Award and made it onto the long-list for the BAFTA Short Film Award 2012/13. Recently Michael has
been working with many of the cast and crew of Callum to develop two follow up shorts Angry Face & Rage. Together
with Callum these films will form a triptych of youth shorts under the umbrella title; Broken Hearted Youth. Visit
http://brokenheartedyouth.com for further information.
PARTICIPANTS: £60
Auditioning for Theatre
Neil Rutherford
May 6
14.00-17.00
Course: CA39
Keywords: PREPARATION | CASTING DIRECTOR ADVICE | TECHNIQUE | CONFIDENCE | FEEDBACK & TIPS
WHAT IS IT? A workshop with international Casting Director Neil McDermott focusing on audition technique and the casting
process for theatre.
HOW WILL IT WORK? Participants should bring a short prepared speech of no longer than 2 minutes from a contemporary
text. Speeches will be performed in front of the group with feedback, tips and advice.
WHAT DO I GET OUT OF IT? You will get the opportunity to work on your acting and audition technique with a leading
Casting Director, as well as pick up tips on how to approach and prepare for auditions and what the key elements are to
help you achieve success.
PARTICIPANTS: £18
Auditions: How to Make Maximum Impact
Sarah Esdaile
May 7
10.30-13.30
Course: CA27
Keywords: AUDITION | INSTINCT | TAKING DIRECTION | MAKING AN IMPRESSION
WHAT IS IT? A thorough exploration of the whole audition process - making a good impression, bold choices, listening
carefully to notes and guidance and facilitating the most fruitful possible chat about the play.
HOW WILL IT WORK? You will read and prepare to audition for a part in either Richard III, The Crucible or The Beauty
Queen of Leenane. We will talk through all aspects of the audition process and then each participant will have a practice
audition. We will also do some work on being in the moment and on trusting your instincts.
WHAT DO YOU GET OUT OF IT? Audition practice and thorough feedback. An invaluable and practical set of tools and
guidelines that you can implement immediately and a new perspective on the whole process of auditioning.
PARTICIPANTS: £18
50
Equity – Making the Most of your Membership
Stephen Rice
May 8
11.00-12.30
Course: AD43
Keywords: EQUITY MEMBERSHIP | BENEFITS | SERVICES | ADVICE | Q&A
WHAT IS IT? A session with Equity to help you make sure you know how to get the best out of Equity membership.
HOW WILL IT WORK? An open session giving an overview plus a Q&A about the support available that comes with an
Equity card and how to access it. Union membership brings with it a lot of individual and collective benefits and this
session will help you get the best out of them. If you are already a member, or not yet a member, come and find out
more about what the union offers and make sure you are not missing out.
WHAT DO I GET OUT OF IT? Some proper information straight from the horse’s mouth that may help you during your
career.
→ Equity is the UK Trade Union representing performers and creative team practitioners from across the entire
spectrum of arts and entertainment and negotiates their minimum terms and conditions of employment throughout UK
entertainment, ensuring these take account of social, economic and technological changes. As well as lobbying and
campaigning on arts, entertainment and employment issues Equity provides a wide range of services for our members,
including job information, pension scheme, insurance, medical help and others. www.equity.org.uk
Price: £FREE
Audio Book Masterclass
Laurence Bouvard
May 12
10.00-17.30
Course: RV7
Keywords: AUDIO BOOKS | PRACTICAL | VOCAL SKILLS | INDUSTRY ADVICE | NEW OPPORTUNITIES
WHAT IS IT? An introduction 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.
51
The Edge and How to Get It
Jeremy Stockwell
May 12 OR May 19
10.30-17.30
Course: CA36
Keywords: COMMUNICATION | CONFIDENCE | PERSONALITY| AUDITIONS | SUCCESS
WHAT IS IT? A new and inspirational one-day workshop to help you develop the skills, technique, and confidence
necessary to increase your chances of personal and professional success.
HOW WILL IT WORK? In these days of competitive casting, the actor with the edge is more likely to succeed. Through
truth, trust, heightened awareness and honest engagement this course will have you acting without acting and thinking in
new directions. Auditioning with intelligence, good grounding and ease will give you great advantage over the
competition. On stage, screen, or at castings, by engaging wholeheartedly with no ego-driven anxiety you are much more
likely to show yourself at your personal and professional best. The one thing you can bring to any casting director that no
one else can bring to them is you. And yes, YOU - the real, confident, generous, non-acted creative, and open you - are
good enough!
WHAT WILL I GET OUT OF IT? This intensive workshop offers firm foundations and clear principles of communication and
acting, and looks to help you find your edge. Nothing is achieved without a certain degree of risk. You will get out of it
what you invest in it. Bring a speech, an open mind and leave everything else at the door.
→ Jeremy is a freelance theatre maker. In the UK he has directed new work for the National Theatre and BAC among
many others. He has taught and directed extensively all over Europe including, Scuola Teatro Dimitri, Switzerland and
Kumbarac 50, in Istanbul. Jeremy is a tutor and long serving member of the teaching and directing faculty at RADA, where
he has worked with many leading actors of stage and screen in the UK and USA. His work is practical, accessible and nonacademic. He leads courses on Performance and Creativity at UK universities, including Oxford and Sussex. He has worked
extensively teaching and directing in Japan, where he is known as a philosophical entertainer. As a performer and
director, he has worked on many award winning TV series. Jeremy is also a presenter, director and Acting & Performance
consultant for the BBC. For more on Jeremy’s work see www.jeremystockwell.co.uk.
PARTICIPANTS: £30
Making the Meeting Work
Paul Clayton
May 12
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- by-point
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.
PARTICIPANTS: £18
52
Radio Drama: Performing for the Microphone
Richard Shannon
May 14
10.30-17.30
Course: RV12
Keywords: MICROPHONE TECHNIQUE | NARRATION | SCENE & SOLO WORK | CAREER OPPORTUNITIES
WHAT IS IT? A workshop designed to explore how to perform for the microphone in a radio drama.
HOW WILL IT WORK? The session will deal with solo performance and ensemble work and draw on a range of broadcast
scripts - both BBC and LBC radio. A range of techniques will be practised, including close mic narration, action and use of
props and spot effects.
WHAT DO YOU GET OUT OF IT? You will develop confidence working with a microphone when faced with a range of
different script challenges. The session will end with a discussion of the industry and employment pointers.
→ Richard is a playwright, director and lecturer, working mainly in theatre and radio. In 2014 he directed Walaa by
Ahmed Masoud, a new play about the crisis in Syria, at the New Diorama and St. Martin-in-the-Fields. His writing credits
include Sabbat, produced in 2012 by the Dukes Theatre, Lancaster and published by Oberon Modern Plays and The Lady
of Burma which premiered at the Old Vic. The play is published by Oberon Modern Plays and has been performed in
Poland, Bangalore, Mumbai, Ireland and Norway. His other work includes All Our Hellos and Goodbyes, Olympic Dreamer,
and Stargazer – a play for children, produced by Polka Theatre in London and the USA. Richard was Associate Director at
Polka Theatre for ten years where his productions included Shouting, Stamping, Singing Home by Lisa Evans. He was also
one of the founding directors of Independent Radio Drama Productions. His directing credits include Saddam’s Arms by
Simon Beaufoy, No Boy’s Cricket Club by Roy Williams and The Hound of the Baskervilles. Richard also works as a visiting
lecturer in radio drama and theatre production at Goldsmiths’ College, University of London, teaches playwriting at
Warwick University.
PARTICIPANTS: £30
The Art of Networking and the Importance of Net-Worlding
Darren R L Gordon
May 18
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.
→ 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: £30
53
TV/Film Audition Advice and Technique
Jane Deitch
May 18
14.00-17.00
Course: CA23
Keywords: AUDITION | CASTING DIRECTOR ADVICE | PRACTICAL | FEEDBACK | Q&A
WHAT IS IT? Work on your audition technique with a Casting Director and ask questions about the casting process.
HOW WILL IT WORK? Following a talk, Jane will provide the opportunity for participants to do a mock read-through using
TV and/or film scripts she has cast, or on which she is currently working. The mock auditions will be undertaken on
camera in front of the group so that everyone can contribute to the process and learn from each other. Scenes will be
given out on the day as if for a cold read scenario, but time will be given to prepare.
WHAT DO YOU GET OUT OF IT? Feedback, tips and advice from a Casting Director, renewed confidence and strategies to
help you be at your best when auditioning.
→ Jane developed the first BBC in-house Casting Department, being appointed Head of Casting for Drama Series in 1999
until 2006. She went on to form her own business in 2007 and now casts for a wide variety of productions including
theatre, musical theatre and films. Her many casting credits include the films, Welcome To Leathermill, Locked In, New
Year’s Day (Jury Prize: Raindance Film Festival/Best Film: Sapporo Film Festival), the BAFTA award-winning 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 BAFTA-nominated 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
Cut the Crap Q&A
Natalie Burt
May 18
18.30-20.00
Course: AD48
Keywords: DISCUSSION | STRATEGIES | DEBATE | UP-TO-DATE INFORMATION | CAREER ADVICE
WHAT IS IT? A Q&A and masterclass with actress Natalie Burt, author of Acting: Cut the Crap, Cue the Truth. It's an open
forum in which to air, debate and ask all things about being a jobbing actor in today's industry. No question is too direct
and no answer will be edited.
HOW WILL IT WORK? Natalie is open to whatever you want from the session, both as a group and as individuals. She has
a plethora of important subjects to hand but is equally comfortable to jump from question to question - so come armed!
She will emphasise the importance of being an actor-entrepreneur and will challenge you to take control of your own
career before unpicking the intricacies of building one. Copies of Natalie's book will be available at a discounted rate on
the night. See http://oberonbooks.com/acting for further details.
WHAT DO YOU GET OUT OF IT? A no frills account of what you're facing as you step into the industry and how to handle
it all. An opportunity to get everything off your chest; to overload on relevant info, to hear and learn from your peers and
to become part of the working actor's world. You will leave enthused, fired up, feeling confident and with a clearer view
of who you are as an actor, what you want as an actor, and how you're going to get it - or I'll eat my hat... We might 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 last
year 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: £10
54
The Edge and How to Get It
Jeremy Stockwell
May 19
10.30-17.30
Course: CA36
Keywords: COMMUNICATION | CONFIDENCE | PERSONALITY| AUDITIONS | SUCCESS
PARTICIPANTS: £30
Breaking into Voiceovers: Discover Your USP
Lara Parmiani
May 22
10.30-17.30
Course: RV11
Keywords: MARKETING STRATEGY | VOICEOVER CAREER | PERSONALITY | UNIQUENESS | POTENTIAL
WHAT IS IT? A practical workshop to discover how to define your voice, what's special about ‘you’, and how to approach
or develop a career in voice over.
HOW WILL IT WORK? In this intensive one day workshop, participants will take turns at the microphone, practising with a
selection of voice over scripts (commercial, corporate, character, audiobooks) in order to discover their voice's unique
selling point, what it's suitable for, its strengths and potential. Each participant will be given detailed individual feedback
as well as suggestions on how to market themselves as voice over artists. You will also get to listen to successful demos to
understand what agents and producers are looking for.
WHAT DO YOU GET OUT OF IT? A clearer understanding of your voice's unique potential and characteristics, a strategy to
market yourself and demo suggestions.
→ Lara is an actress, voice over artist, voice coach and founder of LegalAliens ITC. She trained first in Italy and then in
London at Guildhall. Credits include The King and I (BAC), Poprygunya, Romeo and Juliet, and Dorian Gray (Ruby in the
Dust), Seven at Thebes (Laboratorio Teatro Settimo), Neither Here nor There (Soho Theatre), The Return (St James
Theatre) and The Old and the Young (Bloomsbury Theatre). In 2007 she founded international theatre company
LegalAliens. Her TV and film credits include He Knew He Was Right (BBC), Hollow Bones, Yours in Solidarity and Nine Days
of Hell. Lara is also a voiceover actress who in 1997 won the Paola Tovaglia Award for best female voiceover artiste. Her
international experience includes work for MTV, Discovery, Paramount, Channel 4 and BBC Worldwide.
PARTICIPANTS: £30
55
Recharge Your Battery
Sarah Hughes
May 26
10.30-13.30
Course: CA37
Keywords: CONFIDENCE | SELF-BELIEF | POSITIVITY | OPPORTUNITIES | FOCUS
WHAT IS IT? This practical workshop is a step forward from the traditional Casting Director advice session. We may be
clued up on headshots, CV's, audition technique and how best to communicate with directors and casting directors, but
how do we keep ourselves confident and ready to go in the next audition after 6 weeks out of work, and face the
challenge of retaining self belief and focus after a slow 6 months? How can we reframe some of the negative feelings that
actors inevitably experience into more helpful and positive thoughts about ourselves and the business of being an actor?
How can we put confidence and focus into action on a day-to-day basis in order to move ourselves forward as artists?
HOW WILL IT WORK? In this three-hour session, we will discuss anxieties and habits and work to clear up some of the
thinking patterns that might be holding us back. Be prepared to think hard, focus and to discuss your experiences with
the group, and to finish the session with clear goals for the future.
WHAT WILL I GET OUT OF IT? The aim is to get the group thinking, talking and ready to move forwards, and to finish with
clear aims and goals for ourselves as actors for the next 3 weeks, 3 months and 3 years.
→ Sarah is Alan Ayckbourn’s casting director, casting world premieres of his plays at the Stephen Joseph Theatre
Scarborough, in the West End, at the National Theatre and on Broadway, as well as many other productions at the
Stephen Joseph Theatre. She has also freelanced extensively for the BBC, where series include Jonathan Creek, Grass,
Love Soup, 2 Pints, Pulling, John Sullivan's Rock & Chips, The Old Guys, Freedom and The Great Outdoors. Theatre work
includes plays for the West Yorkshire Playhouse, Birmingham Rep, and Theatre Royal Northampton, and six projects for
Frantic Assembly, including Love Song, Othello and The Believers. In 2011/2012 she was one of four Senior Cast Coordinators for the London 2012 Olympic and Paralympic opening and closing ceremonies, leading on the Paralympic
Opening. She recently cast the BBC1 series Slings and Arrows, and other recent projects include world premieres of John
Godber's Muddy Cows and Alan Ayckbourn's Roundelay, Sugar Daddies for the ACT Theatre in Seattle, Cox and Box, The
Boy Who Fell Into a Book, Aladdin and Slipping for the SJT and Kill Me Now for the Park Theatre.
PARTICIPANTS: £18
Producing a Show
Ben Monks and Will Young
May 26
18.00-20.00
Course: AD10
Keywords: PRODUCING | HOW TO | LONDON FRINGE | TRISTAN BATES THEATRE | Q&A
WHAT IS IT? An introduction to theatre producing in London; an overview of how to pitch, fundraise and market a show; an
introduction to opportunities for Actors Centre members at the Tristan Bates Theatre; a chance to ask questions about
producing or a project you’re working on.
HOW WILL IT WORK? Aimed at producers as well as writers, directors and artists keen to explore more about producing or
who are considering self-producing. It will include sections on the different kinds of venues and opportunities available for
producers in London; sections on marketing, budgeting and fundraising for a production; dos & don’ts of pitching & working
with venues; and a discussion section with an opportunity to ask questions about your own projects.
WHAT DO YOU GET OUT OF IT? An insight into the role and responsibilities of producing theatre; techniques for
assembling and managing a production; advice from the TBT’s producers on members’ opportunities at the theatre.
→ Ben and Will are Creative Producers at the TBT, responsible for programming, working with visiting companies and inhouse 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)
56
Cut the Crap 1-1 Sessions
Natalie Burt
May 31
10.30-17.30
Course: AD49
Keywords: TAILORED ADVICE| MARKETING | AUDITION PREP | CONFIDENCE | CAREER STRATEGIES
WHAT IS IT? 45-minute private sessions for you to receive the guidance, opinions and support you crave from someone
who has 10 years experience in the field. These sessions are wide open for whatever you need to address, whether that
be graduating, career strategy, marketing issues, audition prep, industry knowledge, stage or screen work or just a
general chat about your journey and how it's going.
HOW WILL IT WORK? The ball is in your court, so please come armed with issues, problems, worries and ideas. You will
know what needs attention and what you're concerned about or struggling with in your career and Natalie will have ideas
about how to combat and handle these issues. If you're coming for audition prep, either bring along the relevant material
if you'd like to focus on a specific job or let the office know ([email protected]) that you'd like Natalie to
provide some scenes for a more generic prep session.
WHAT DO YOU GET OUT OF IT? You will leave with a clearer view of how the industry works and a better understanding
of how you can access it. There will be specific tasks set and a short term plan will be devised, encapsulating whatever
has been discussed. You will leave feeling more confident about how to become the actor you aspire to be and with more
knowledge of how your artistic appetite can be maintained and nourished at the same time. We might have a laugh too.
PARTICIPANTS: £34
Acting on Your Mind
Karen O’Connor
June 2
10.30-13.30
Course: AD8
Keywords: CONFIDENCE | STRATEGIES | OVERCOMING ANXIETY | PREPARATION
WHAT IS IT? Running for the fourth time – an interactive workshop designed to introduce and explore performance
coaching and applied sport psychology as methods of enhancing preparation and performance.
HOW WILL IT WORK? After an illustrated introduction using actual (anonymised) performer experiences, Karen will
describe how these individuals creatively employed sport psychology and mental training strategies when rehearsing for,
and performing in, pressure performance situations. The second half of the workshop will give you an opportunity to
observe Karen coaching a volunteer, followed by work in small groups so you can experiment with ideas which have
caught your attention during the morning. There will be plenty of time for discussion and questions throughout the
workshop.
WHAT DO YOU GET OUT OF IT? An opportunity to meet and work in a relaxed, supportive environment with like-minded
colleagues as well as a range of practical ideas to take away and integrate into your performing lives.
→ Karen leads a programme of Coaching in Performing Skills at Birmingham Conservatoire – the only one of its kind in
the UK. She also has a thriving private practice, collaborating with performing artists and executives based in the UK,
Europe and United States. As well as being a mental skills practitioner for the British Association for Performing Arts
Medicine (BAPAM), Karen regularly shares her expertise through presentations and workshops with various performing
arts establishments including the Masters in Performing Arts Medicine course at UCL and the 2012 Cheltenham
International Music Festival. Her career began as a professional oboist, initially with the Orchestra of Opera North in
Leeds followed by an invitation from Sir Simon Rattle to join the internationally-acclaimed City of Birmingham Symphony
Orchestra (CBSO), with whom she has performed in many of the world’s great concert halls including Carnegie Hall New
York, Suntory Hall Tokyo, Vienna’s Musikverein and Berlin’s Philharmonie. For more information visit:
www.performingartsconsultancy.co.uk.
PARTICIPANTS: £18
57
Cartoon Voices
Tom Clarke-Hill
June 5
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
Finding the Right Headshot
Nancy Bishop
June 9
10.00-12.00
Course: AD46
Keywords: MARKETING | HEADSHOTS | CV’S | SELF-TAPING | WEBSITES | SOCIAL MEDIA
WHAT IS IT? Nancy Bishop CSA, Casting Director and author of Secrets from the Casting Couch will teach a two-hour
marketing seminar for actors, focusing on archetypes and headshots. Your headshot is the main logo for your marketing
campaign and it is the first thing that Casting Directors see - but it's so hard to choose the right one.
HOW WILL IT WORK? Please bring along some of your headshots and get professional feedback from Nancy. Bring along
several; both good ones and not so good ones.
WHAT DO I GET OUT OF IT? As well as choosing a winning headshot this session will also cover how to self-tape,
organising your CV, creating a website and activating an interactive web presence using attraction marketing and social
media to draw Casting Directors to you.
→ Emmy-award nominated Casting Director, Nancy Bishop, C.S.A, has cast supporting talent on over sixty projects from
her home in Prague. Her credits include major studio pictures such as Wanted (Universal), Alien Vs.
Predator (Fox), Hellboy (Revolution) and Prince Caspian (Disney), TV series such as The Philanthropist (NBC), Charles
II (BBC) and Anne Frank (ABC). She has worked for Roman Polanski and Joel Schumacher and legendary producers such as
George Lucas and Jackie Chan. Recent credits include Mission Impossible IV, Snowpiercer and November Man. She will be
launching her second book, Auditioning for Film and TV, (Bloomsbury) after this workshop.
PARTICIPANTS: £10
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Auditions Made Easy
Simone Reynolds
June 10
10.30-17.30
Course: CA11
Keywords: FILM, TV & THEATRE CASTINGS| US ACCENTS | 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 an American play and Simone will also provide sides from an American 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? We will also address issues
related to auditioning for American projects.
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 and feedback on your American accent. 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: £45
Auditions – Confidence with Scenes and Sides
Sarah Hughes
June 16
10.30-17.30
Course: CA13
Keywords: AUDITIONS | SYSTEMATIC PLAN | STANISLAVSKI APPROACH | CREATIVITY | CONFIDENCE
WHAT IS IT? When we are presented with isolated scenes and sides (or given particular scene or page numbers to
prepare) for audition, sometimes we don't know where to start in presenting a clear sense of character and an
understanding of the text - and are often haunted by the often heard edict 'make bold choices!' This workshop is about
having a systematic plan to analyse our audition scenes by way of a series of questions we may recognise from a
Stanislavski approach and then - having established the clear basics - be freed up to add our own creative, distinctive and
confident flavour to auditions.
HOW WILL IT WORK? In this one day workshop we will work on as many varied scenes as possible. We will examine and
work through scenes with a variety of scene partners using a simple checklist of questions and answers, with the aim of
encouraging confidence in presenting text in auditions - whether for theatre, TV or film.
WHAT WILL I GET OUT OF IT? A simple, adaptable plan for working on scenes. An opportunity to work on scenes in mock
auditions and discuss what happens in auditions, leading to more confidence when auditioning in future.
PARTICIPANTS: £30
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Career Marketing Strategy
Phil Shaw
June 18
10.30-17.30
Course: AD25
Keywords: UNIQUE SELLING POINT | COMMUNICATION | HEADSHOTS | CV | NETWORKING
WHAT IS IT? Learn to be an image-maker and raise your professional visibility. This full-day workshop provides actors
with an in-depth and analytical approach to managing and promoting their career with cutting edge precision.
HOW WILL IT WORK? Phil focuses specifically on the USP (unique selling point), character-driven headshots (applicable to
casting range), Carl Jung's archetypes and personality typology/spectrum, Aristotle’s ‘art of persuasion’, personal
relating/listening, body language, actor/agent/casting director interpersonal dynamics, and communication skills. The
workshop also covers: photographers; resumes; key-note letter writing; agents/casting directors – UK, Europe and USA;
branding image; media networking; showreels; websites and IT resources for actors. Storytelling and improvisation will
be incorporated in the process of self-discovery which is a significant component in the art of influencing people.
Resourceful thinking produces positive results! The morning session will deal with the psychology and ethos of marketing,
the power of persuasion, and strategic planning which comprise Phil’s six step ‘Present Visioning’ programme. The
afternoon will deal with the practical implementation of a marketing plan, the ‘tools of the trade’ and the ‘nuts and bolts’
of administration to underpin the mechanics of visibility exposure and career strategy.
WHAT DO YOU GET OUT OF IT? A marketing plan and administration procedure that will safely steer you through the
unfamiliar terrain of agent interviews and castings, and ultimately work to your advantage. Resourceful thinking produces
positive results!
PARTICIPANTS: £30
Commercial Auditions
Paul Cawley
June 20
10.30-13.30
Course: CA9
Keywords: AUDITION | COMMERCIALS | ON SCREEN TECHNIQUE | UNDERSTANDING
WHAT IS IT? This workshop aims to show you that getting a commercial is as much about you and your attitude as your
ability, by going through the process from getting the audition all the way through to the recall stage.
HOW WILL IT WORK? You will get the opportunity to work one-on-one and in pairs on camera with commercial scripts,
get to review your own and fellow participants’ work and see what improvements you can make. We will also examine
some of the common mistakes, and misconceptions, about commercial castings
WHAT DO YOU GET OUT OF IT? By demystifying the process through understanding how to use the casting to its best
advantage, this workshop will enable you to handle your next commercial casting with more knowledge and more
confidence.
PARTICIPANTS: £30
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Performance Excellence
Eamon Haughian
Date to be confirmed
Course: AD41
Keywords: GOAL-SETTING | OVERCOMING BLOCKS | SELF-BELIEF | CAREER OBJECTIVES
WHAT IS IT? This two-day coaching seminar uses Creating Your Future® Coaching Processes which will allow you to let go
of fear of failure and any limiting decisions holding you back from total belief in yourself. You will learn how to eliminate
performance anxiety and set compelling goals for the future. The techniques are a set of very powerful active
visualisation processes designed to help you create the future you want.
HOW WILL IT WORK? Day One will involve learning the theory behind the Creating Your Future® Coaching Processes and
how the techniques work. You will also learn the principles of effective goal setting and start to set your own goals. On
Day Two you will let go of the fears and limiting decisions about your potential/self-belief that stop you becoming
successful. The day will end with participants learning a simple technique for eliminating Anxiety.
WHAT DO YOU GET OUT OF IT? You will have the opportunity to release yourself from any fear or limiting beliefs you
have. You will learn a quick and easy technique to control any anxieties for the future. You will also be able to set
compelling goals and insert them into your future time line.
→ Eamon is Head Trainer of Dynamic Impact, a Personal Development Training company offering trainings and coaching
in NLP (Neuro Linguistic Programming), Time Line Therapy®, Hypnosis and Life Coaching. He is also a freelance voice, text
and accent coach. For two years he worked for the RSC on a range of productions including Hamlet, As You Like It, All's
Well That Ends Well (Theatre Royal Newcastle), and Richard II (Barbican). Throughout his time with the
company he worked as a voice coach on Matilda, The Musical. Eamon has also taught at many acting schools including
Central, LIPA, Rose Buford and East 15 and he is a full-time voice and accent tutor at The American Musical Theatre
Academy of London.
PARTICIPANTS: £60
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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, 45-minute
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.
→ 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.
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.
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Audition Technique for Cold and Prepared Readings (Newcomers)
Nina Finburgh
Wednesdays April 15, June 3
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).
Voiceovers: One-to-One
Lara Parmiani
Wednesdays April 22, 29, May 13, 27, June 10, 24
14.00-17.00
Course: RV20
Keywords: FORTNIGHTLY 1-2-1 | VOICEOVER | ADVICE | CAREER | PRACTICAL | WEB MARKETING
These sessions are designed to discover your voice's unique selling points and help you start (or refresh) a successful voice
over career. Using real VO scripts and a microphone you will understand the specifics of your voice, how to sell it, how to
approach different styles as well as how to choose outstanding material for both commercial VO and radio drama. Sessions
are completely tailored to your needs, whether you're new to voiceover work and need an overview to start in the right
direction, or have previous experience and want help with new material and self-promotion (please bring along any previous
material). You’ll come away with a better understanding of your voice and its USPs, an overview of the voiceover market,
self-marketing strategies, how to approach it & demo material suggestions.
PARTICIPANTS: £34
Understanding Your Branding – One-to-One Sessions
Darren R L Gordon
April 20, May 19, June 22
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.
PARTICIPANTS: £34
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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. Sessions will be led by Neil Rawlinson from our Membership
Department.
→ Neil Rawlinson trained at Central and is an acting coach/mentor and director. He was Associate Director of DNA
Performance Resource in Manchester before moving to London. His ongoing professional experience lies as a director,
agent, casting director and work with numerous production companies. As a performer and director he has worked with
companies such as Punchdrunk, Ambassador Theatre Group, ENO, The Think Collective, Tom Spindler Presents and StandBy. As an acting coach/mentor and project manager, Neil has worked with companies such as Arts Ed, The Brit School,
Shena Simon College of Performing Arts, Point Blank London as well as the UK Government. He specialises in the
development of emotion and truth in performance and professional practice/development of the actor. Neil took over as
Membership and Creative Projects Manager of The Actors Centre in October 2011 .
PARTICIPANTS: £FREE (These sessions are booked via reception only: 020 7632 8002)
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 [email protected].
All sessions take place at the Actors Centre or by Skype if applicable.
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OTHER IN-HOUSE OPPORTUNITIES
GREEN ROOM PROGRAMME
The Actors Centre’s Green Room (café and bar) is an ideal space for a performance such as storytelling, cabaret and solo
work. We are keen for actors and other artists to use this space at no cost to develop their work and provide opportunities to
present both scratch performances and fully developed pieces. Members will get priority consideration and booking. For
further information please contact 020 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]
TRISTAN BATES THEATRE
The TBT, part of the Actors Centre, offers great benefits for members. These include concession-rate discount tickets for all
productions over a packed year-round season, half price opportunities for showcase hires, and a week's work of priority
programming in supported slots every season for shows by members. www.tristanbatestheatre.co.uk
Supported Companies
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 45
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.
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April - June at the Tristan Bates Theatre
Three new writing premieres; an Athol Fugard revival; plus the return of ImproFest and interactive
company 101.
April-June sees another packed programme in the TBT, from Festivals to new work and drama school
showcases. The season features the return of ImproFest for its 2015 outing of international improvisation;
innovative one-on-one interactive show One By One by pioneering company 101 Theatre; and extended
runs of new writing by Odessa Celt – Game Theory – and a rare revival of Athol Fugard’s blistering drama
My Children! My Africa! Remember Actors Centre members get concession priced tickets starting from just
£7, so do check out the programme at www.tristanbatestheatre.co.uk
GAME THEORY (31 March – 18 April) is a double bill exploring the moral and scientific questions faced by
two patients about to undergo cosmetic surgery. MUTINY follows two new parents grappling with whether
or not to produce a genetic sequence for their baby; and MEMBRANE portrays an Arab woman considering
hymenoplasty on the eve of her second marriage. Presented alongside a series of discussions and events
with members of the scientific community, Odessa Celt’s new plays promise to challenge and explore the
emotions and ethics of controversial media practices.
MY CHILDREN! MY AFRICA! (28 April – 16 May) is the first UK revival of Athol Fugard’s acclaimed play since
it was staged at the National Theatre in 1990. Sick of seeing lives blighted by an inhumane system that
denies opportunity and hope, a teacher in a township school thinks he sees a way forward – working in
partnership with a white school to show the country another way is possible. But will his star pupil go along
with the idea? Best know from Master Harold and the Boys, Sizwe Bansi is Dead and The Road to Mecca,
Tony, Evening Standard and Writers’ Circle Award-winner Athol Fugard is one of the defining voices of
South Africa during Apartheid, dubbed “South Africa’s greatest ever playwright” by The Guardian.
From 19 to 25 April it’s a welcome return for IMPROFEST, the UK’s flagship festival of improvised
comedy. Following last year’s hit festival at the TBT, the line-up includes festival favourites
Upstairs Downton, plus the internationally renowned Andy Smart’s Improv Allstars (“some of the
finest improvisers in the world” – Eddie Izzard) and a Saturday lunchtime edition of Jonny Freeman’s Family
Friendly Impro.
Other highlights include premieres of social comedy LEFTOVERS (1 to 6 June) by Hew Rous-Eyre, following a
young British man who arrives fresh-faced in Nairobi for his first job at a defunct NGO. Originally
commissioned by the Xavier project, supporting refugee welfare in Kenya and Uganda, all proceeds from
the play will go to the charity. And from 22 to 27 June, Neil Anthony Docking’s double bill BARREN /
REVLON GIRL are two new plays inspired by real-life events as a village comes to terms with the Aberfan
mining disaster and two parents take the first steps on the road to adoption.
And if that’s not enough, from 4 to 9 May we welcome back interactive company 101 with their brand new
show ONE BY ONE. You are cordially invited to test a brand-new data security programme. It promises
absolute cyber freedom and the right to assert and control your online identity - but once the test begins, it
becomes rapidly apparent that the system has already been corrupted. A 'you' already exists. Suspend
disbelief and join a dystopian future: audience members have been hacked, and must embark on a hunt
around central London to track down the doppelgangers and reclaim their identities before it’s too late.
'One By One' is an interactive hour-long promenade journey, exploring the disconnect between online and
offline identities and inspired by the right to be forgotten. All journeys begin at the Tristan Bates before
setting out into the West End, and are for one audience member at a time.
Full programme details can be found online at www.tristanbatestheatre.co.uk
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Courses for Non – Members
Get Into Acting
May course dates
May 2, 3, 9, 10, 16, 17, 23, 24, 10.30-17.30
June course dates
June 6, 7, 13, 14, 20, 21, 27, 28, 10.30-17.30
Have you ever dreamt of becoming an actor? If so, our Get Into Acting course is perfect for those who are both inquisitive
and serious about a future career in acting. These courses act as both a taster of drama school training and as a broad
and basic introduction to the craft of acting, for anyone who is interested in becoming an actor. Get Into Acting is aimed
at those currently outside the industry. The course runs regularly throughout the year - each course lasting a month,
running over 4 weekends. Content includes key elements of actor training including voice, movement, character, scene
and text work (classical and contemporary), improvisation and audition technique. The course culminates in an informal
performance of work to invited guests. All workshops are taught by tutors from the Actors Centre's regular programme
for professional actors. All participants on the Get Into Acting course have the opportunity to apply for Standard
Membership of the Actors Centre on completion of the course. Actors Centre Standard Membership is for actors still
making secure professional links with the industry and/or building their CV through professional work. This membership
type is suited to emerging or returning actors, or those with limited experience. To be considered for Standard
Membership you must tick the relevant box on the application form. Standard Membership will be offered to those who
meet a level of ability, professionalism and potential assessed by our tutors.
Visit www.actorscentre.co.uk for details on how to apply or contact [email protected].
PARTICIPANTS: £500
Audition Bootcamp – supported by Spotlight
May 26, 27, 28, 29, 30, 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
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Get Into TV Presenting with Kathryn Wolfe
May 16, 17, 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
April course dates
April 7, 8, 9, 10, 12, 10.30-17.30
May course dates
May 26, 27, 28, 29, 30, 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 forwarded to you.
PARTICIPANTS: £400
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NOTES
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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 67 – 68.
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
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Courses for Non – Members

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