Coaching

Private coaching for Auditions and Booked roles is available on a Sliding Scale.

$75-$150/hour depending on the project/client.

You can also drop-into my THE AUDITION FORUM class on Wednesday's.

Please contact me to discuss further. 

Auditioning

Auditions are a great opportunity to practice craft. They are also the way an actor gets to earn a living. I’ve learned that trying to identify what producers and casting want and attempting to give it to them only takes one so far. There's a lot on the line for us when we audition as each audition has the possibility of drastically changing our lives, however, is it possible for the stakes of the character to be higher than the stakes of the actor? Can the actor experience the character's stakes as their own and in the audition room, fight for their lives? Our job is to experience the most important moments of our character's lives and spontaneously live through them, not pretend or repeat what we’ve seen.

Our work together will involve detailed analysis and deep personalization of every image and word so that the actor and character become one thing. Casting will see YOU as the character and have no other choice but to hire you. This involves rooting out our ideas of how it “should” look or sound and make real connections with what’s most important to us. Once made, these connections will be there for you in the room and auditioning becomes fun, easy and anxiety free. We find we are saying the words of the script, but we are really talking about the things nearest and dearest to us. Nothing is more exciting to an actor. Even if we don’t get the part, the process of auditioning becomes a healthy part of our lives.

Booked role

Much of the work is the same for auditioning as for when we have the role, but we will focus on finding the larger arc, breaking down all the beats into manageable bites and finding the through-line and container the character inhabits. We will also break down the entire script and relationship to all characters, identify the “traps” of the piece and move towards what scares the actor the most. We tend to want to keep our performances within our “wheelhouse” and stay in control. Our work is to push the actor into that uncomfortable place where they are not in control. Where we move away from performance and into experience. We won’t know the camera is rolling or that we're being watched. We will organically live out the struggle of the character, transcend it and heal our common wounds. We do this through analysis, body work, voice work and dream work. Each actor has a different temperament and responds to different stimulus. We find whatever works to safely push the actor into the experience of the character. Even working outside-in can be helpful. Finding the right accent or belt buckle can suddenly stimulate the actor into creativity. It’s a job and we get paid, but it’s also play.