Interview with Cicely Berry

A wonderful interview, Jane Boston (Royal Central School of Speech and Drama) talks with Cicely Berry, legendary voice coach and human being. What do you do when you have different directors with different idealogical approaches to the work, for example Trevor Nunn, who looked for “depth of feeling within characters”, or Terry Hands who focussed on the story-telling aspect, calling for “faster and louder”, while John Bardon looked to “honouring the structure of the verse” “I had to find different strategies to help actors to find their own response, and yet honour what the director wanted” And so much more…Enjoy!

More Thoughts on Phil Willmot’s article

On further thought, after reading some comments made on Phil Willmot’s article in The Stage, I’d like clarify what I think about his dismissal of any acting training apart from Stanislavski, I would say that depends on what your understanding of “Stanislavski” training is.   If it includes all of his later work, in which he encouraged a highly physical approach to acting, then any additional techniques such as Laban or Meissner should integrate well with this. These techniques are, after all, exercises designed to help you to develop your sense of physical, Interoceptive and emotional awareness. They are not ‘how to act’ any more than knowing where the knives are kept in the kitchen and being able to manipulate them is knowing how to cook. Thorough Stanislavskian …

What a Casting Director wants from a Graduate Actor

Here’s a great article from The Stage, in which award winning director, playwright, (and much, much more) Phil Wilmott sets out his wish list. I agree with everything he says, except the part about daily voice and physical training being tedious. In my opinion, if you find your voice and/or physical training tedious, there is either something wrong with the training, or something wrong with your attitude. Obviously, if you are not enjoying this aspect of your process, you won’t engage with it thoroughly. That means you won’t become the highly skilled creative artist you could be. I’m not saying it should be easy, it should definitely challenge you in every way possible. I AM saying the challenge should be …

Clown Actor Workshop in London

Come and play for 4 hours, on Wednesday 5th April, 12 noon to 4 pm. I’ll be in town with Dame June Bloom, performing in the evening, so I’d love to spend some time exploring all aspects of our creativity. From Red Nose to classical Shakespeare performance, who nose better (or whose knows is better?) than the clown how to play? Bring a text, a story, a song, an instrument, an idea or just bring yourself. We’ll work with Ira Seidenstein’s Quantum Clown: Slapstick to Shakespeare techniques to free up a few silly cells in our bodies. Let’s play! Share this Post

Not Another Post About Warm Ups!

Oh yes! Because you can never have enough ways to warm up, and to challenge yourself to understand why the Warm Up is essential. Why warm up? Why not just rock up to class, or rehearsal, or the performance and just do the thing? Can you, indeed, switch from your everyday ways of moving, sounding, thinking and being in your normal life to ways of moving, sounding, thinking and being AS IF you lived a different life, for the purpose of inviting an audience to share in aspects of that different life. In my book, the answer is always No. You can’t. Nobody can. You can get better at making the switch as time goes by, make it in less …