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					SEPTEMBER 2010
Gari Jones
Storytelling and Devising
September 2, 3
Course: A13
This explorative workshop will spend two days looking at storytelling and devising. Story is at the core of
what we do, the oldest and purest art-form, whether from fragments or moments, and from varied
perceptions. We will use storytelling to develop devising ideas and techniques, create scenes, character
and moments, as well as looking at responses and perception of the work. An interesting and exciting
workshop, participants will need to be open-minded and collaborative.
• Gari has created work at theatres in the UK and abroad, as well as a lot of site-specific work. He
collaborated with Pinter for many years; directing him, his plays and working alongside him as his
associate on works including Celebration, The Room (Almeida and New York), The Caretaker (West End,
NT and ETT), No Man’s Land (NT), The Dumb Waiter (Soho), Sketches (NT) and Monologue (NT and
New York).

Scott Williams
The Meisner Technique
September 2, 3, 6, 7, 8, 9
Course: A14
An introduction to the famous Meisner Technique as taught at the Neighbourhood Playhouse in New York;
whose alumni include Robert Duval, Sidney Pollack and David Mamet. Created by Sanford Meisner, this
off-shoot of Stanislavsky‟s method uses three basic exercises to get at the core definition of acting: „acting
is living truthfully under a given set of circumstances‟.
• Founder of the Impulse Company, Scott works with actors, writers and directors to create vibrant and
dynamic theatre. As a director, his work has been seen all over the world.

Rikki Beadle-Blair
In the Room
September 5, 12, 19, 26, October 3, 10
Course: A15
An inspirational course to help identify and maximise career strategies. We will take an holistic approach
to building a personal identity as both an artist and a committed working professional; capitalising on
strengths and tackling weaknesses, finding inspiration, building confidence, focusing energy, honing
audition technique and developing networking skills – all the tools needed to develop a personal vision
and pursue the individual passion of the actor. An intense six day course that will get you 'In the Room'
you've felt excluded from, the room where your career is. Participants must attend all six days.
• Best known for writing and directing the channel 4 series Metrosexuality, Rikki Beadle-Blair wrote the
screenplay for the feature film Stonewall, as well as several short films for the BBC and Channel 4. He
has won several awards including the Sony award, Outfest's Most Outstanding Screenwriting award and
Best Short at Soho Shorts. He has also worked extensively as a playwright.
Chrys Salt
I Was Brilliant in the Bedroom: Workshop and Showcase
September 6, 7, 14, 21, October 11, 14, 20, 21
PERFORMANCE: October 21 at 6.30pm
Chrys Salt‟s showcase workshop has been a sell-out class at The Actors Centre for a number of years. As
a result, many members have found representation and developed flourishing careers. Not only does the
course address everything you need to know about finding work and refining your marketing package, it
culminates in a high quality showcase which has become increasingly popular with agents and casting
“This course re-arranged the way I perceived this much valuable information along
with the support in identifying my strong suits. By the time we got to the showcase I thought „This
is already worth-while even if nothing else comes out of it‟, but not only did I get new
representation (I was lucky to have quite a few offers), I came out energised and focused about
driving forward my career with a new headshot and attractive CV...lo and behold, I just got my first
West End job!” (Noa Bodner, former workshop participant)
Bring an audition piece you feel comfortable with, your CV and photograph, pencil and paper, and a 60-
word biography on the first day (for details of earlier classes visit
• Chrys is an award-winning theatre director and writer. She has written many books for actors on
auditioning and on the business of acting. She directs extensively in theatre and sound and has directed
many of the country‟s leading actors.

Niki Flacks
Acting with Passion
September 13, 14, 15, 16
Course: A17
There is nothing more exhilarating than feeling totally alive in every moment on stage. Can you count on
this feeling every time you act, at auditions, first preview, take after take? Acting with Passion is unlike any
acting class you've ever done. After only four very intense classes you'll unlock all the talent you know
you possess and find yourself acting with the joy and ease that often seems out of reach. Niki Flacks' work
is based on the mind/body concept that our emotions are trapped in subtle muscular tensions which cause
us to feel tight on stage. Instead of “being in the moment” we find our heads taking over with non-stop
critiques and we are consumed with effort to “make things happen”. How many times have you left a
rehearsal knowing you are working too hard, pushing feelings, intellectualising like mad and totally unable
to do anything about it? Give yourself a gift, sign up for Acting with Passion and bring along two
monologues securely memorised. This course is open to newcomers and those who have worked with
Niki previously.
• Niki Flacks' long and varied career has in recent years taken her unique approach to actors throughout
the UK, Paris, Israel, New York and Berlin. She also directs frequently in England as well as in the US.

Kevin Tomlinson
The Artist’s Way
September 21
Course: A18
Ever wanted to create your own show, write a decent monologue that you could use at an audition, or
devise a show with a co-creator? Does your inner critic cause you to doubt and block yourself? Then this
is the workshop for you! Loosely based on the work of Julia Cameron, the day will be spent releasing the
creative artist within you; writing, improvising and stimulating ideas for shows. Over 20 creative exercises
will be undertaken and ideas - no matter how small - will be brought to life, within a safe, supportive
environment, aided by an objective and experienced director.
• Kevin Tomlinson has directed over 25 plays and won the Rose Bruford Trust Director's Award, having
trained at the Royal Court International Summer School. In the 1990s, Kevin worked as writer-in-
residence at the Royal Theatre in Northampton where two of his plays received world premieres. In 1994
he won the Sunday Times Playwright Award and since then he has taught over 1000 workshops all over
the world. Considered as one of Europe's leading mask and improvisation performers, Kevin has been
invited to perform all over the world. Previous to this, Kevin performed alongside the cast of Whose Line is
it Anyway? and Hollywood actor Jonathan Pryce in the Royal Court Theatre show Micetro at London's
Hackney Empire, directed by the legendary Keith Johnstone and Improbable's Phelim McDermott.

Michael Fitzgerald
Advanced Scene Study – Night of the Iguana
September 23, 10.30-17.30 and September 24, 14.00-17.30
Course: A19
Tennessee Williams' The Night of the Iguana is one of his most beautiful and haunting plays. Written as it
is with an almost incandescent poetic sensibility, it contains a great many of his most frequently visited
themes such as loneliness, human fragility and mortality, social disconnection, pity, fear and of course,
love. Actor Michael Fitzgerald will lead an in-depth scene study of this great play and its playwright,
reading it and finally working on individual scenes and monologues. Participants should bring a copy of
the play and be prepared to work on a speech or scene of their choice. In scenes, the other required
characters will be chosen from those participating.
• Michael has over 30 years‟ experience as an actor appearing in such films as Love Actually, Intimacy,
Kingdom of Heaven and Wilde. His television credits include Doctor Who, Midsomer Murders, Prime
Suspect 2, Edge of Darkness and A Wanted Man. He recently appeared in the West End in Donkeys
Years and Beckett. Other theatre credits include 4 years at the RSC and for the RNT, The Madness of
George III and The Invention of Love.

Cartoon de Salvo
Long Form Improvisation
September 24
Course: A20
Having been exposed to stories all of our lives, we actually all have a very developed sense of what
should happen next. This workshop will look at what it is to make a new piece of theatre live in front of an
audience without any pre-planned place, genre or time. Rooted in Keith Johnstone‟s improvisation
techniques we will be exploring where stories come from. It will be a challenge but we‟ll make it safe and
• Cartoon de Salvo's cocktail of script-defying improvisation, live music and exceptional storytelling has
won critical acclaim and a devoted following. On their quest to mess with the live theatre experience, the
Salvos make theatre that wears its heart on its sleeve, that likes an adventure and that never forgets that
the audience is the number one reason for putting on the show. Previous work includes Hard Hearted
Hannah, Pub Rock, The Sunflower Plot, The Ratcatcher, Meat and Two Veg and Chaingang Gang. Hard
Hearted Hannah will be touring to the States in autumn 2010.
Clare Davidson
20 Century Classics – The Glass Menagerie and The Real Thing
September 27, 28
Course: A21
This two-day workshop will look at and explore the profound stylistic differences between the plays of
Tennessee Williams and Tom Stoppard. As foremost 20 century playwrights these two literary giants
epitomise the vocal rhythm of their different cultures through their writing. Read both plays and come with
a working knowledge of two speeches, one from each play. These will be worked on in class, as well as
the reading of chosen scenes, taking The Glass Menagerie on the first day and The Real Thing on the
second. Do not worry about using a southern accent for The Glass Menagerie, unless it comes easily to
you. There will be time allocated on the second day to compare and contrast both plays.
• Clare Davidson trained as an actress at LAMDA and has directed for the last 40 years. Her credits
include Little Eyolf and Miss Julie in London‟s West End, Waiting for Godot and Candida Off-Broadway, A
Doll’s House in Holland and Hedda Gabler in Norway. She has coached many actors including Brian Cox,
Pierce Brosnan, Francesca Annis and Orlando Bloom.

Jeremy Stockwell
Happy as Larry
September 8, 9, 10
Course: L5
What stopped the clocks and why are the doors all bolted? Nothing seems to‟ve changed since the old
days, „cept the mirrors never used to face the wall and we didn‟t have these dust sheets on. Should we
open the curtains now and let some light in? They‟ve been sewn together. Close your eyes and you can
almost smell his tobacco and hear the band play. He looked good in tights pulled up over his belly and
cracking nuts round the back of his knees to amuse us children. Walnuts, pipe, and his flatulent hound still
haunt my memory. Let some light in and this vile stench out. Decay, lost love, the stink of memory. And
the music played and there was laughing and there was dancing and we was merry. We told jokes. I liked
it under the table. You could see the grown-up knees and where the hands went. The phones are down.
Should we get the fire going? You never know what might be lurking in the shadows. Black shutters
painted over. Were they lighter then? Blue. Or was that the sky? Can‟t budge them anyhow. Why have
they called us here? Tonight of all nights. We could try shouting altogether - but who‟d hear us in the
woods? The table‟s set for supper. Does anyone know any jokes? Looks like we're in for the night...
Jeremy Stockwell leads this devising project towards an informal showing on the final day. The work is
intriguing and experiential, using sound, silence, movement, stillness, scraps of memory, invention, found
objects, truth and lies. Happy as Larry is investigative, challenging, playful, and unique; provoking visually
poetic, dream-like theatre. As with some of Jeremy‟s previous Actors Centre courses over the years -
Quiet, Please, No Snow and The Macbeth Project - it is hoped that Happy as Larry with be developed into
a touring production in due course. Please apply with a CV
• Jeremy Stockwell was a founder member of the innovative Alice‟s Diner theatre company and Artistic
Director of The Conspirators of Pleasure (formed with members of the Actors Centre). He devises and
makes new work extensively all over Europe and has directed for the National Theatre, BAC, RADA, and
the BBC. Jeremy is a TV acting coach and his recent series The Speaker was seen on BBC in 2008. For
more information visit
Al Nedjari and Colin Mace
Our Country‟s Good and the Theatre of Transformation
September 9, 10, 11
Course: L6
The convention of switching character is of course an established part of contemporary theatre. Nobody
questions it when in A Midsummer Night’s Dream the actor playing Theseus later shows up as Oberon.
Many of us have seen productions in which the actors rapidly switch from one role to another in order to
tell a quick changing story. In this context, the device is used as a theatrical gambit in its own right,
celebrated for its „cleverness‟, the actors for their virtuosity. But how might the device become more than
just an entertaining trick? How might the language of transformation become an intrinsic part of the
theatrical fabric, such that the device itself enriches the central concerns of the material? During this
three-day workshop we explore and question the theatrical language of character transformation. This will
be an opportunity for actors to enjoy (and be challenged by) the sheer athleticism of transforming between
characters mid-scene. Many of the exercises will be based on scenes from Timberlake Wertenbaker‟s Our
Country’s Good, which is itself a celebration of the transformative effect of theatre; a world in which people
(the actors) reinvent themselves through play. Please apply with a CV or Spotlight link.
• Al Nedjari was the co-founder of theatre company Gecko, for whom he co-directed and performed in four
shows, including Taylors Dummies and The Arab and The Jew. He has worked extensively with Mike
Alfreds‟ Method & Madness ensemble and is most widely known for his performance as the Moroccan
character, Samir Rachid, in Coronation Street.
• Colin Mace has worked as an actor for over twenty years including spells at the National Theatre, the
Royal Court and the RSC. Al and Colin met in 2008 whilst performing in the National Theatre‟s production
War Horse.

Charles Harris
The Mental Game for Acting Success
September 14, 15
Course: L7
The best actors develop their mental game as much as their acting skills. Many actors have excellent
technique and yet fall apart at auditions, or are afraid to push themselves forward. Pressure of needing
work can lead many actors to fall short, while less skilled actors who can manage their emotional states
sail past and get the jobs. Even when a talented actor has got the job, the pressure of the work can inhibit
performance or lead to difficulties in collaborating. In this two-day workshop you will learn many powerful
exercises to help you develop the mindset you need. You will learn effective psychological techniques for
motivating yourself in all situations, controlling and focusing your emotions, discovering inner resources
that you already have, working with others and releasing your full creativity. Specially developed for the
Actors Centre, the two days are high-energy and fun, drawing on skills Charles has taught to a wide range
of actors, writers and directors, with consistently strong results. You will leave energised, motivated and
committed to excelling at your craft.
• Charles has been directing, producing and writing for over 20 years and has won international awards.
He has directed TV drama and documentary, theatre and cinema, helped found the Screenwriters
Workshop and teaches at the London Film School. He is also a qualified practitioner and trainer of NLP.
Tricia Hitchcock
The Colour Model – Working with Behavioural Styles
September 28, 29
Course: L8
Learning a technique that uses a colour code to understand behaviours can underpin your character work
and support you as a life skill, becoming a clear tool for you to use as little or as much as you need. Are
you a strong red? Is green your guiding style? What percentage of your overall behaviour is defined by
blue? How big is your dollop of yellow? As actors we strive towards being the character, but how? That‟s
the fun and the challenge that makes acting an art. Blending the colour-behaviours gives you a process to
follow that takes away your own idiosyncrasies and allows you to fully embrace those of the character. It
triggers your instinctive creativity and responses. It gives you a head start in how to use your own
emotional history to best effect. It provides clearly defined choices producing entirely different results. As a
life skill, understanding the behaviours will improve your impact in auditions and first meetings. It will take
the stress out of „difficult‟ relationships, and it will throw light on why one person is so „easy‟ to work with,
and why another may be our worst nightmare.
• Tricia Hitchcock trained as an actor at the Bristol Old Vic Theatre School. She has worked in theatre,
television and radio and works as a teacher and trainer, and has extensive experience in the corporate
sector. Tricia is delighted to be able to bring learning from the corporate environment back to actors to
provide a tool that works brilliantly in character development, that helps us get the best out of auditions
and castings, and that works as a life skill to enlighten our relationships.

Luke Dixon
Shakespeare Squad – Macbeth
September 13, 20, 27, October 4
Course: SH6
Four fun sessions exploring a Shakespeare play with a sharing at the end of the final day for friends and
colleagues. We will work through scenes and speeches, cast so everyone has meaty things to do (if
necessary across gender) and bring the text alive in lightning speed. 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 Macbeth.
• Luke is internationally known for both his innovative productions of Shakespeare and his site-specific
performances. His productions for Theatre Nomad, of which he is Artistic Director, have been seen around
the world from the Rocky Mountains of America to the plains of Siberia. Luke‟s „Good Audition Guides to
Shakespeare‟ are published by Nick Hern Books.

Matthew Lloyd
September 16, 17
Course: SH7
The purpose of the workshop is twofold: firstly, to equip actors for the audition process for the many
different productions of Hamlet that can and will take place across the spectrum of British theatre (open
air, traditional, relocated in period or place, site specific, commercial tour etc); secondly, to understand
and feel at home in the world of the play, one of Shakespeare‟s most complex and ambiguous. We will
simulate a variety of casting interviews and assess audition technique. We will examine issues of
interpretation and contemporary relevance. And, of course, we will do close work on the text – always the
actor‟s fail-safe anchor in Shakespeare. Each actor should look at two roles they might audition for in the
play – one larger, one smaller. Prepare a speech or a short scene for each character – there‟s no need to
be off the book.
• Matthew is the Artistic Director of the Actors Centre and the Tristan Bates Theatre. Recent freelance
work includes Duet for One at the Vaudeville Theatre, and Timberlake Wertenbaker‟s new play The Line
at the Arcola Theatre. He has directed over twenty premieres of new plays and his freelance credits
include the award-winning The Pitchfork Disney at the Bush Theatre, as well as productions for the
Almeida, the Theatre Upstairs, Glasgow Citizens, Off-Broadway and Parco Theatre, Tokyo. Other
freelance work includes A Midsummer Night's Dream (Leicester Haymarket), A Doll’s House (West
Yorkshire Playhouse) and Hedda Gabler (West Yorkshire/ Liverpool Playhouse). Matthew is the director
and originator of many innovative enterprises in actor training and the creation of new work at the Actors
Centre including the Skillset Film Lab, BBC Talent Boost and Ignition.

Jennie Buckman
Classical Surgery
September 21, 22
Course: SH8
A group class for those who wish to develop their Shakespeare work. The workshop will aim to improve
your presentation, audition technique, characterisation and handling of the verse. Please bring a learnt
monologue of no more than 2 minutes. Alternative pieces will also be supplied and audition speeches
• Jennie has been Head of Acting at RADA since 1986. She was the director of Common Stock Theatre
Company for six years. She now writes plays, mostly for BBC Radio. Jennie has recently directed Richard
III for RADA and an RSC tour for the Complete Works Season.

Participants can take away a copy of their footage if they bring a blank DVD to their TV class. (Bring a DVD-
RW, +RW for John Melainey’s classes, and a DVD-R for all other TV classes.) Please let the camera operator
know that you wish to record your footage before the start of filming. All recording of footage is done during
class, it cannot be transferred to tape or DVD afterwards.

Robert Bierman
A Close-up on Screen Acting
September 7 or September 8
Course TV16 or TV17
Two separate workshops aimed at improving screen presence and screen acting. 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.
• 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).

Sarah Punshon
You Already Know How to Act on TV
September 10
Course: TV18
For actors with mainly stage experience; this class will give you the chance to gain confidence, whilst
working with an experienced theatre and TV director, to transfer the skills you already have to acting for
the camera. We'll work on short scenes with close direction, with the opportunity to discuss particular
problems and air concerns. At the end of the session we'll review and assess the scenes we've recorded.
• Sarah Punshon is a freelance theatre and TV director. Since training in 2006 at the BBC Drama
Directors Academy she has directed Eastenders, Doctors and Emmerdale. Theatre directing includes
productions for Salisbury Playhouse, West Yorkshire Playhouse, New Vic Theatre, Theatre by the Lake,
Manchester Library Theatre and Creation Theatre Company. Her short film, This Way Up - a UK Film
Council/Screen Yorkshire production - premiered at Palm Springs International Short Film Festival in June

Chrys Salt
Your Showreel – A Tool for Success
September 17
Course: TV19
Wondering where to begin? Unhappy with your showreel? Chrys will tailor each session to suit your
needs, offering honest criticism, advice and support. We'll look at low cost examples, advice on your
casting profile, filming scenes from scratch, the marketplace and how to use your showreel as a tool for
success. Bring your current show reel and/or relevant clips from work on screen on CD (however bad you
think they are!). Private hour-long sessions.
 • Chrys is an award-winning theatre director and writer. She has written many books for actors on
auditioning and on the business of acting. She directs extensively in theatre and sound and has directed
many of the country‟s leading actors.

John Melainey
Improve Your Chances
September 20
Course: TV20
We will look at the dos and don‟ts when casting and auditioning for commercials, film and TV. How can
you improve your chances when you never get to see the video played back, never see how the others
read for the part, never get feedback from the director and never get the script in time to be off the book?
John will guide you on the way to improving your chances of a successful audition.
• John has been running casting sessions for Hubbard Casting for the last ten years, as well as being an
actor and director.

Paul Cawley
Why Don’t I Get Commercials?
September 22
Course: TV21
„It's only an ad‟, „I mean it just isn't proper acting‟, „It can't be hard, I mean they're only 30 seconds long‟,
„Still the money would be handy‟, „I'm just not the sort of actor that gets commercials, you need to have a
certain look, don't you?‟ Heard, or even said, any of the generalisations and misconceptions above? This
workshop aims to show you that getting a commercial is as much about you and your attitude as your
ability. In the second part of the workshop you will get the opportunity to work one on one on camera with
commercial scripts, and get to see what improvements you can make. Demystifying the process through
understanding what's really going on at a casting, using commercial scripts to show what acting skills are
required, and a Q&A with Paul, who has made five commercials in the last six months, this workshop will
enable you to handle your next commercial casting with a little more knowledge and a lot more
• Paul has been a professional actor for over 20 years. He has worked at the National Theatre, Chichester
Festival Theatre and made several West End appearances in work ranging from Greek tragedy to modern
comedy. Since 2005 he has been one of the three Skillset/Equity Careers Advisors, delivering one-to-one
sessions and holding group workshops all over the UK.
Mark Street
One-to-One Camera Tuition
September 24
Course: TV22
These one‐to‐one hour-long sessions are top up courses for actors with some camera experience who
feel they need to clarify aspects of their camera technique or for the actors who feel they are not
performing to their full potential when in front of the camera. Using his experience as both a director and
acting teacher, your sessions will be tailored to your individual needs, highlighting ways in which you can
adapt your own acting training and technique for working in front of the camera. You will be asked to
prepare a monologue for each session so we can use it to help define the areas that need work. We will
look into various aspects of the craft including your use of character objectives, the inner monologue,
active listening, reactions, playing the real space whilst maintaining connection with your emotional centre
and how best to alleviate tensions through concentration and focus. The aim will be to give each actor a
clearer insight into their camera technique for that next audition or next paid job.
• Mark began his career as an actor winning an Olivier Award during his training before working
professionally on both stage and screen. As a director his plays have toured the UK fringe circuit while his
films have previewed at many of the international film festivals with his latest short film picked to play at
The Prince Charles Cinema in Leicester Square. He was the co-founder of Forbidden Theatre Company,
104 Theatre Company (with which he won an Edinburgh Fringe First Award) and From The Streets
Productions. He teaches acting and camera technique at many of the top drama schools including
Central, Mountview, E15 and Italia Conti. He is currently editing his latest short, about to shoot another
and in development for a full-length horror.

AJ Quinn
The Cagney Principle - Four to One
September 28
Course: TV23
A J Quinn offers the opportunity for groups of four actors to work with him on-camera in an intensive
ninety-minute session. A chance to do it „for real‟. „Learn your lines, hit your mark, look the other fellow in
the eye and tell the truth.‟ - James Cagney. Two separate sessions; please specify your preferred time
when booking.
• Anthony has directed in theatre, radio and TV. His credits include the BAFTA-nominated children‟s
drama series Barking!, Wire in the Blood, and The Bill Christmas Special.

David Tucker
Eighteenth Century Period Drama
September 30
Course: TV24
This workshop will concentrate on handling period language, social and political context, manners and
etiquette, creating character, balancing the requirements of period with contemporary sensibility,
physicality, listening and playing in the moment, and technical proficiency in front of the camera.
Focussing on the eighteenth century, participants will perform scenes from recent adaptations of Jane
Austen (Pride and Prejudice, Sense and Sensibility). Please include a CV and photo when you book. You
will receive scenes in advance to learn in preparation for the workshop. This class is for actors who
already have some experience of acting for the camera.
• Among David‟s screen credits are A Very Peculiar Practice (BAFTA nomination, Best Series), A Very
Polish Practice (British Comedy Awards nomination, Best Single Film), Behaving Badly (International
Emmy Awards nomination, Best Serial) and The Gravy Train (RTS nomination, Best Series). More
recently his directing credits include Lark Rise to Candleford, Dalziel and Pascoe, The Last Detective,
Born and Bred, Midsomer Murders, Grafters, Bramwell, Rhinoceros, Stanley and the Women (Best Serial,
Banff International Festival), Miss Marple and EastEnders. As a theatre director credits include
productions for the RSC, Bristol Old Vic and Liverpool Playhouse.

Sarah Esdaile
An Exercise
September 3
Course: TB3
An exercise that will change the way that you work, access your creativity and help you to identify the
things that hold you back. You need to know nothing more. Bring a scarf, an open mind and be prepared
to push your own boundaries. Latecomers will not be admitted.
• Sarah has just directed Death of a Salesman for West Yorkshire Playhouse. Other work includes Cling to
me like Ivy (Birmingham Rep) co-directing His Dark Materials with Rachel Kavanaugh (Birmingham
Repertory Theatre/West Yorkshire Playhouse co-production and tour), Drowning on Dry Land (Salisbury
Playhouse), The Horse Marines (Theatre Royal Plymouth), Kafka's Dick (Watford Palace) James and the
Giant Peach (Bolton Octagon), Lysistrata and Compact Failure (Arcola Theatre), Pictures of Clay (Royal
Exchange), Coyote On A Fence (Royal Exchange and Duchess Theatre) and Nicky Silver‟s The Maiden’s
Prayer (Bush Theatre).

Robert Bowman
NLP and the Actor
September 11, 14.00-17.30
September 12, 10.30-17.30
Course: TB4
NLP has been described in a number of ways; the one that I choose to use is „the study of the structure of
the subjective experience‟. Started by Richard Bandler and John Grinder in the mid-1970s, NLP set out to
study the „science of success‟. NLP today represents the exercises and techniques that they, and others,
have developed over the intervening years. It is non-judgemental and practical work. It is not scientific but
the number of people around the world who ascribe to its benefits reaches into the millions and it has long
been used to inspire people to perform to their very best. Some of the areas we will be covering include;
Rapport – how and what are we communicating; VAK – Visual, Auditory and Kinaesthetic – the main
receptors we use to take in the „real‟ world. How are we „seeing‟ the world, how are we „hearing‟
someone‟s remark, what is your „gut feeling‟ about a certain situation. Learn to use all of your creative
powers; Anchoring – how to anchor „ideal states‟ for your work and for your life. Robert will be combining
NLP with exercises from Michael Chekhov, Sanford Meisner and Konstantin Stanislavski. Please notify
the Actors Centre before taking the course should there be particular areas you would like to address
during the seminar.
• Robert Bowman is an actor, director and teacher of Acting at St David‟s University College, Carmarthen.
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.
Marina Caldarone
September 23
Course: TB5
“If you want to act, or act better, actions will take you a long way on the journey to excellence” - Terry
Johnson. Actors need actions, they cannot act moods, they need to be doing something with every line,
they need active verbs, they need an aim to achieve and an action selected to help achieve that aim.
Marina Caldarone, co-author with Maggie Lloyd Williams of the best selling Actions – The Actors’
Thesaurus 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.
• Marina is a freelance theatre and radio drama director who has been actively involved in actor training
for the last 25 years. She is Drama Director for Crying Out Loud, a Voice-Over CD production company
and lectures on contemporary and Elizabethan theatre. She also compiles monologue and duologue
collections for Nick Hern Books and Methuen/A&C Black.

Frances Parkes and Mitch Mitchelson
Laban and Voice
September 27
Course: TB6
Actors have benefited enormously from the insight gained from Laban‟s theories of effort and space.
Laban's theories of space will open up and expand an actor's sense of their role and the relationship their
character has with the environment both vocally and kinaesthetically. Laban‟s effort theories will inspire
gesture, speech patterns and dialect. When experienced, these theories, coupled with the resulting voice
and speech changes, opens up a world of discovery for the actor and their role. Mitch Mitchelson and
Frances Parkes will guide you through the day's Laban and Grotowski inspired exercises with material
from modern and classical scripts to illustrate their use. In this workshop the actor will gain a freedom of
expression that can be applied to any role whether it is in theatre, TV or film. You will gain new skills to
help you in auditions and castings and your heightened awareness immediately communicates itself to an
audience. Please bring any material with you that you wish to work on and wear clothes that you can
move around in.
• Mitch is a director, teacher actor, and circus practitioner. He has directed for companies as diverse as
Graeae Theatre Company and Scarabeus and taught and directed at leading drama schools. He has
developed workshops with the RSC and the National Theatre and recently collaborated with the Turner
Prize-winner Jeremy Deller in the enactment of comedy routines on the beach at Folkestone for the
Folkestone International Triennial Festival. Mitch is currently Head of Performance for the degree
programme at the Circus Space where he teaches, directs and develops independent projects that
synthesise theatre and text with circus.
• Frances has worked extensively in film, TV and radio. She lectures at the University of London on Voice
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.
Lara Parmiani
One-to-One Voiceover Sessions
September 8, September 22
Course: RV1
Would you like to work in voice-overs but don't know where to start? Are you planning to record a demo
but not sure what kind of material to select? What is it that your voice can really sell? And are you sure
you know what this market is really looking for? In these 45-minute private sessions, Lara can give you
advice on how to break into the lucrative world of voice-over, where the main sources of work are and how
to produce a successful demo with tips on advertising yourself on the internet. Feel free to bring previous
recorded material (CD or tape). If you bring CD's that have been burned by home computers, or not
produced in professional studios, or copied from another CD, please make sure the tracks are saved in
either CD or MP3 format and not in CD DATA, WMA or WAV (you can check formats by inserting the CD
into a computer, right click on the tracks and select Properties). If you have CD's saved in DATA format or
containing WAV/WMA files please bring your laptop along as they could only be read by a computer.
• Lara is a voiceover actress who in 1997 won the Paola Tovaglia Award for best female voiceover artiste.
Her international experience includes work for MTV, Discovery, Paramount, Channel 4 and BBC

Lara Parmiani and Guy Michaels
Voiceover for Real – Commercials
September 16
Course: RV5
This workshop offers a unique opportunity to work with both an experienced voiceover artist/coach and a
leading voicereel production company. In addition to learning how to master the voiceover approach, the
group will be guided on microphone technique and receive plenty of invaluable feedback and advice on
the industry. This workshop will look at commercial voiceovers. Each participant will have the opportunity
to explore various styles and be entitled to redeem £45 off either package 2 or package 3 when booking a
Voicereel with Round Island. Visit for details and you'll see this represents an
unbelievable deal.
• Lara is a voiceover actress who in 1997 won the Paola Tovaglia Award for best female voice-over
artiste. Her international experience includes work for MTV, Discovery, Paramount, Channel 4 and BBC
• Guy Michaels worked as an actor, director, voice coach and vocal technician before moving to Round
Island to run their voicereel department. Round Island was established in 2002 and provides actors with
all the marketing tools they need to approach the business.

Marina Caldarone
The Voiceover CD
September 23
Course: RV6
Marina will lead a practical workshop on the voiceover CD, based on her experience as a recipient of
unsolicited CD's, a radio drama producer, drama director of a voiceover production company and
researcher in the field on behalf of The Stage newspaper. She will make clear what the CD is and the
voice clip for Spotlight - what needs to be on it, what left off, what the relevant markets are, how copyright
operates and how to define your voice in this sector. You will need to bring a piece of narrative fiction,
which you think best exemplifies your natural voice.
• Marina is a freelance theatre and radio drama director who has been actively involved in actor training
for the last 25 years. She is Drama Director for Crying Out Loud, a Voice-Over CD production company
and lectures on contemporary and Elizabethan theatre. She also compiles monologue and duologue
collections for Nick Hern Books and Methuen/A&C Black.

Elspeth Morrison
Tools for Learning an Accent
September 15
Course: VC6
Learning a new accent for a role? Chances are you will be given very little time with an accent coach and
will have to struggle on your own. This workshop will give you techniques for working by yourself on any
accent, breaking down the various components of accents so that you have a better chance of hitting the
right notes all by yourself.
• Elspeth is an ex-BBC producer who escaped the Corporation to explore her passion as an accent coach.
As well as still putting in time at the BBC, she is Head of Voice at Arts Educational and other work
includes the BAFTA award-winning series, Faking It.

Terry Besson
The Play’s the Thing – Rehearsing with an RP Accent
September 21
Course: VC7
A workshop to help you sustain an authentic accent throughout the rehearsal process. We will look at how
the accent affects the style, finding the rhythm, the changes in flow, where the power lies, the subtle
changes of speed, finding the energy of the piece and the energies of the characters from the piece. This
is an exciting and interesting move on from the one-to-one sessions; putting the work in to practice over a
sustained period, finding clues from the text and using the accent to develop character. We will look at the
following plays: any and all of Noel Coward and Oscar Wilde; Tom Stoppard's New Found Land,
Rosencrantz and Guilderstern are Dead, Jumpers, Travesties, Hapgood; Peter Shaffer's Equus,
Amadeus; George Orwell's Animal Farm, Nineteen Eighty Four; James Saunders Bodies; David Hare's
The Secret Rapture, Arthur Schnizler's Anatol. It would be best if you can bring your own copies of the
scripts listed, but some photocopied scenes will be provided.
• Terry Besson is one of the country‟s leading Accent and Dialect specialists. His vast experience gained
over 30 years working on film, TV, radio and theatre projects has given him a unique approach to the
vocal and physical changes needed when approaching acting in another accent. His work has been
honed over time with his work at many of our leading drama schools and colleges. Recently he has
worked on such diverse projects as the films Awaydays (Red Union Films) and Clubbed (Formosa Films),
the TV series Poirot (ITV) and The Lee Nelson Well Good Show (BBC3) and is currently voice consultant
at London Zoo.

William Trotter
Vocal Truth for Stage and Screen
September 23, 24
Course: VC8
It‟s easy to underestimate the voice and speech demands of screen work, and to rely on the microphone
to do it all for you. Quite often good performances are undermined by speech that lacks dynamic and
truth. Screen work can have a cramping effect on the voice, and this can become a problem when you
then go into theatre where the danger is that in finding size you lose truth. These things matter for career
progression and this workshop will focus on them closely. A by-product will be the continuing development
of the range and expressiveness of your voice. It will also troubleshoot problems and re-charge your
warm-up routine. Last time we did this workshop it was half the length: the increase this time will give
more opportunity for work with individuals. Bring a couple of script-extracts that you‟d like to work on.
• William has worked on voice for shows at the Arcola, BAC, Riverside, Lyric Studio, Menier and others.
He has taught at ArtsEd, Central, Drama Centre, East 15 and LAMDA. Much of his one-to-one private
work is to do with promoting actors‟ continuing vocal development, and he is on the training working party
of the British Voice Association.

Gari Jones
Private Audition
September 1
Course: PA5
One-hour private sessions on delivery, timing, focus and attitude. Bring your own piece and/or something
new to experiment with.
• Gari has created work at theatres in the UK and abroad, as well as a lot of site-specific work. He has
directed at the Almeida, the National, in the West End, in America, as well as in car-parks, crypts and

Sarah Esdaile
The Audition
September 6
Course: PA6
A look at the whole process of auditioning; from build up anxiety, through to preparation and the meeting
itself. This will be a confidence building examination of the whole process and how to get the most from
the experience. Please read The Crucible and bring a copy with you.
• Sarah has just directed Death of a Salesman for West Yorkshire Playhouse. Other work includes Cling to
me like Ivy (Birmingham Rep) co-directing His Dark Materials with Rachel Kavanaugh (Birmingham
Repertory Theatre/West Yorkshire Playhouse co-production and tour), Drowning on Dry Land (Salisbury
Playhouse), The Horse Marines (Theatre Royal Plymouth), Kafka's Dick (Watford Palace) James and the
Giant Peach (Bolton Octagon), Lysistrata and Compact Failure (Arcola Theatre), Pictures of Clay (Royal
Exchange), Coyote On A Fence (Royal Exchange and Duchess Theatre, West End) and Nicky Silver‟s
The Maiden’s Prayer (Bush Theatre).

Tilly Blackwood
Preparing for Auditions
September 10
Course: PA7
In an entirely un-pressurised environment, these 45-minute, one-to-one sessions will provide you with
time and space to prepare for auditions whether for theatre, TV or film. What is expected? What to
expect? How to refine speeches or work with scenes/sides that have been sent in advance of a meeting?
Alternatively, with more experienced actors, you may feel stuck in a rut after a succession of failed
auditions that have made you lose confidence. The aim is to encourage a self-belief that has its eyes set
on the main prize – securing the job. If you know which speech you want to work on, please email it to the
Bookings Office in advance.
• Tilly is an actress who has worked extensively in theatre, including work at the National Theatre,
Chichester, Regent's Park, the RSC and in the 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 Denison Bender in Absolutely Fabulous.

Sarah Hughes
TV Drama Castings
September 29
Course: PA8
A chance to talk about how TV auditions work and how to make them work better. We will look at some
typical TV drama scenes. Participants will be filmed and then we will watch the scenes back and discuss.
We will talk about TV drama castings and how best to prepare for them and how to overcome the "blocks"
that sometimes prevent us from doing our best on the day.
• Sarah Hughes was Alan Ayckbourn‟s Casting Director for 17 years before he stepped down as Artistic
Director of the Stephen Joseph Theatre in April 2009. She has worked for the last eight years as a
freelance casting director for the BBC, where shows include Pulling, Love Soup, Rock and Chips, Two
Pints... and the forthcoming second series of The Old Guys. Her freelance theatre casting includes shows
for West Yorkshire Playhouse, Theatre Royal Northampton, Birmingham Rep and the Orange Tree, and
she recently cast Othello and Frankenstein for Frantic Assembly. She is happily continuing her working
relationship with the SJT, and this summer cast Alan Ayckbourn's new play Life of Riley.

Sarah Hughes
Casting Advice Session
September 29
Course: CA3
This session will deal with practical matters; CVs, photos, audition technique and writing letters, as well as
looking at the mental blocks that sometimes prevent us from doing our best in auditions.
• Sarah Hughes was Alan Ayckbourn‟s Casting Director for 17 years before he stepped down as Artistic
Director of the Stephen Joseph Theatre in April 2009. She has worked for the last eight years as a
freelance casting director for the BBC, where shows include Pulling, Love Soup, Rock and Chips, Two
Pints... and the forthcoming second series of The Old Guys. Her freelance theatre casting includes shows
for West Yorkshire Playhouse, Theatre Royal Northampton, Birmingham Rep and the Orange Tree, and
she recently cast Othello and Frankenstein for Frantic Assembly. She is happily continuing her working
relationship with the SJT, and this summer cast Alan Ayckbourn's new play Life of Riley.

Mark Brailsford
Writing Sketch Comedy
September 8, 15, 22, 29
Course: WR3
An introductory 4-week course designed to equip writers/performers in the principles of writing and
performing sketch-show comedy. The writer/performer workshops are designed to be a broad-brush
introduction to the techniques involved in writing and performing live sketch show comedy. The classes
are tailored to performers who wish to learn how to write and for writers who wish to learn how to perform
their own material. The course covers basic comedy writing techniques, tips and tricks on how to create
characters and deliver a comedy performance. The workshop culminates in an informal showing to an
invited audience.
• Mark is currently the director and lead performer of The Treason Show in Brighton. His directorial debut
was in 1991 with Buddy Can You Spare a Song, which transferred from The Kings Head Theatre to The
Arts Theatre in the West End. Other credits include Deckchairs at the Kings Head, Newsrevue, London's
longest running comedy show, and founded The Treason Show in June 2000. As a writer, Mark has
written for Weekending (BBC R4), a comedy drama series, BBK, the sit-com pilot Sex Lives and
Videotape and sketch shows, all for cable TV. Mark is also the director of Treason Films which launched
in November 2005 with the premier of The Golf Widow at the Odeon Cinema, Brighton. Visit for further details.

Alison de Burgh
The Essentials of Stage Combat Every Performer Needs to Know
September 21
Course: SC1
Learn the moves you need in the real world. Are you a Lara, Bruce, or Old Boy? Learn from the legends
as Alison de Burgh helps you copy the fighting styles of these movie fighting heroes. Previous combat
experience is recommended, but not required. It is not necessary to be a great fighter in order to be able
to look like one; so banish your combat fears by becoming a combat legend for a day.
• Since becoming Britain‟s first ever female fight director Alison has regularly worked with the Royal
Shakespeare Company, National Theatre, Royal Opera House, and on numerous West End shows;
building a reputation and CV which seals her position as one of Britain's top Fight Directors.

Mark Carr
Pain Free Tax Surgery
September 15
Course: AD2
Individual free advice and information from qualified certified accountants. Bookkeeping advice, both
computerised and manual. How to keep and store your accounting records. Taking the right steps for your
tax affairs. What role should the VAT man play in your life? The Pain Free Tax Surgery does not allow for
detailed study of individual records and the advice given cannot therefore be comprehensive. Half-hour
sessions. If you book an appointment and fail to attend, or do not cancel by noon the previous working
day, you will be charged £10.
• Mark Carr and Company are chartered certified accountants and registered auditors specialising in the
entertainment industry.

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