I am an international acting practitioner with a proven record of developing curriculum for leading conservatoires across Europe. My extensive experience and ongoing research inform a dynamic, adaptable approach that consistently meets the evolving needs of today’s actors in training.

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Reflective Practice

I nurture actors to have agency, autonomy, and self-worth and reliance. This involves honouring background, celebrating cultural heritage, and creating a culture where actors feel able to bring their whole self to the space. These actors then enhance rooms, make their own original work and thus thrive within, and contribute to a modern industry.

Poetry

Working with poetry as part of daily craft involves engaging with language, using the power of employing spontaneous thought, embodying the text, accessing themes, and allowing words to authentically come from you.

Serious Play

devised with Jonathan Oldfield

A bold and innovative practice that combines self-reflective work with the art of clowning. Through practical engagement with failure and radical care, actors redefine the relationship between safety and risk, fostering equitable creative collaborations.

Michael Chekhov

I have developed work that reimagines the revolutionary techniques of Chekhov for the modern actor, and applies his principles of the psycho-physical imagination, ease, space and ‘meeting the other’ to their craft. Through this work, actors have a deeper understanding of themselves as artists, and will be able to use relevant and impactful techniques to create compelling, authentic work, and tap into new creativity.

Shakespeare

With extensive theatrical experience working with classical text, I frame work for the modern actor to access the heart of the verse. This involves work with space, text, rhythm and physical stretch to get out of the head and into the body, and make the text come alive.

Entrances & Exits

By highlighting the craft of the entrance, actors are encouraged to examine their relationship to space, to beginnings, to the risk to make a change. Exits hold us in an ending.

Language of Touch

Inspired by the teachings of Ita O’Brian, I have developed work to exercise consent, physical freedom, risk and radical care in the rehearsal room. This results in spontaneous, alive storytelling where touch is owned.

Write like an Actor

As an actor, our subconscious is a powerful tool. By putting pen to paper, we commit to our inner-thoughts. To bring those words out into the space requires a high level of bravery and craft. With exercises in creative writing, poetry, prose and spoken word, I work with actors to free their creative voice, delve deeper into the character, work from self to reveal who they are.

Thresholds

My recent masters thesis, 'Thresholds: the tension between identity, safe space and effective actor training’ named the threshold space associated with social, psychological and physical aspects of actor training in 2022. It examines the tension between identity and ‘safe’ space’, in response to lived experience of the crisis in higher education institutions training modern actors, where preoccupation with identity and safety can obstruct connection. Driven by care for the actor, and in pursuit of effective actor training, this enquiry aims to make explicit the scaffolding by which practitioners can build agency around the crossing of thresholds and the development of creative identity, without causing harm to themselves or others.