SINGLE-CLASS: $65 to attend with a scene. Limited to 12 actors with scenes.
AUDIT: $20 to audit and participate in discussions with up to 15 audit spots open per class.
DURATION: Approx 2.5 - 3 hours

Chemistry
A lot of people feel like there’s chemistry, or there’s not. I believe we all have some kind of chemistry, it just comes in different flavors. Let’s explore those different flavors, how to choose the right one for a scene, and little tips and tricks to maximize each flavor.

Romantic Chemistry
Building further on our general chemistry class. Let’s help you nail that rom-com or steamy drama, and find mental tricks that work for you specifically, to find that romance.

Eye Contact
I’m not kidding, I’d like to spend an entire class on just eye contact. There are some tried and true ways to use eye contact or lack thereof to your advantage, which we will explore, and it’s also important to be very aware of how we use our own eye contact to convey emotional moments. Let’s find a balance between what’s unique to you, and what translates to most audiences.

Memorization
Locking down jargon or a vernacular is tough, and tougher still if rote memorization isn’t a strength of yours. Let’s talk about different memorization techniques, explore what works for you, and what to do if you absolutely have to keep the page handy.

Nerves
They affect all of us differently. The goal of the class is to find that discomfort, analyze how it lives in our body specifically, and explore methods to work with our nerves instead of against them. It’s important to prepare for them instead of trying to squash or dismiss them.

Accents
Let’s play around with different accents in order to get in touch with the fine motor muscles of our mouth and throat, and learn what works for us. Whether you’re looking to perfect an American accent or try something different than your own, the goal is to explore not just the specific accent, but what to listen for and how to train your muscles to do something different.

Body Inertia
This is one I’m excited for and find difficult to explain. If writing can have a “tone,” I’m excited to explore how we might change our body’s tone. Think of a person who moves slowly, is it lazy or is it methodical? If someone buzzes around constantly, is it anxious or is it excited? Let’s explore all of that acting that happens below the neck, and how we can change the inertia of our bodies to match the character or project.

Physical Idiosyncrasies
Much of the character's communication is outside of dialogue. Let's discover physical choices that are comfortable in our bodies, and how we can align that with physicalities that are honest to the life experience of our characters. Does your character have a twitch, an injury, a distinct way of walking? Let's work through representing and embodying characters' lives at the top of our intelligence, in a way that is natural and honest within our bodies.

Action in Self Tapes
I’m not here to teach you stage combat, but let’s explore what works when you have action in a self tape. Let’s talk about the elements that are important to include and what can be tossed, and how to create workarounds for yourself when they want you to do something that’s not physically possible when standing in a three by three square.

Joy & Anger
Two of the biggest emotions, each an umbrella under which we can find many many more. Do you laugh when you’re enraged? Do you go quiet or get loud when you’re excited? Let’s figure out where these emotions live most naturally in our bodies, and how it feels to modify it for a character.

Emotional Spectrum
I believe that intentionally identifying your emotional toolbox is one of the most advantageous things an actor can do. In this class we will work through our most comfortable characters, zeroing in on the tone, cadence, rhythm, and headspace of these characters, and then compare that to our actual, real-life conflict response. I’m not looking to meet anyone’s conflict response in class, but I would guess that many times, our most comfortable cahracters and our real-life conflict responses, live at the opposite ends of our individual emotional spectrums. I want to talk about how to find the ends of our own emotional spectrums, and then use that knowledge to find the many colors within that range that are natural to you. My theory is that by establishing our individual emotional spectrum, we can start to see all the colors in between that are unique to us, and identify our strengths.

Zoom Auditions
On Zoom, let’s discuss how to use your space. We’ll get practical with literal examples of framing, lighting, sound, background, etc. and we’ll also talk about how to maximize and use the frame to your advantage. We can also discuss Zoom and live audition etiquette and pitfalls to look out for.

Actor’s Choice
Do you have something specific to work on? I’d like you to bring it to class and let’s troubleshoot.

COST: $450 for six (6) weeks. Limit 8 people per class
CLASS DURATION: Approx 3 - hours, once a week.

Practice makes Permanent
Whether your scene needs to be explosive and triggering or an easy wave of charm, what we practice and how we practice is the best indicator of our final product. We’ll break down the phrasing and dynamics of a scene, how to connect each beat intentionally and explore what specific emotional touchstones you need to build for yourself, in order to set your scene up for success.

Finding the Love
Every story is about love, whether it’s pure and free or twisted into loathing, whether it’s aimed at another person or at the world as a whole. Let’s discuss how your character’s wants and needs were built by their relationships, and how those relationships present in your scene. This class is twofold – how to ensure you’re gathering as much information from the scene as possible, and how you specifically can deepen each relationship to strengthen your character’s journey.