How I Teach.

That’s a good question and one I’ve never tried to answer before.

I would say I’m a modern acting teacher.

By that I mean that my own experience as an actor – along with what I’ve learned from the many teachers, actors, directors and other artists I’ve worked with - has been assimilated into how I teach.

Taking the best from the best and my own ideas and personality has formed how I teach.

Practically speaking, my on-camera classes are a two-camera shoot. Each actor is recorded separately and a “switcher” allows the viewing participants to watch both actors work.

The work is done in the two-hander scene study format. I use typical TV scenes as the core material for my work.

The fact that the class is called “on camera” can be misleading as the camera is actually recording your acting – not trying to shoot a scene. My emphasis is not on marks, lights, blocking, continuity or shot size.

My classes are acting classes, first and foremost. Pure acting classes.

I usually don’t try and put up the scene as written and as used in that particular series with its own genre. The scenes are devices to get you up and working so we can both see what is working and what needs work. 

TV and film need you to deliver recognizable human behaviour. Naturalistic acting in a realistic setting. We want to see you.

Working a scene, I try to get you to do something simple and playable - as you.  

I work with each actor at their own level. Sometimes I’m coaching individual actors and other times I’m teaching to the whole class.

I do text work, some shooting exercises, improvisations, my exercises, immediate response - imagination and emotional memory.

In my Semi-Private Sessions there are no cameras. It is an opportunity for you and one other actor to be in the room for an hour and a half and able to pursue any question in detail with no time pressure. With only three of us and no cameras the peaceful atmosphere allows for more space.

Scenes from feature film screenplays are used in my Intensives and the Semi-Private Sessions. The opportunity to work with the best classical Hollywood narrative scripts is a key in deepening your ability as an actor.

The Work itself leads my work. What I see you doing gets me teaching. 

I always ask you to comment on your work and the work of the others but never critiquing their work – that’s my job. I want you to learn how to best use class. Proper practice that consists of quantity – how much time you practice and quality – your willingness to let us see you. I talk of the differences between practice in class, auditions and working on set. 

Some of my watchwords are: You learn by doing. Don’t come to class to have a good class – just show up. You’re building your conviction. Try not to draw any conclusions. Don’t get overwhelmed – you will take in what you take in – leave the rest. With consistent practice breakthroughs will occur, but don’t set out to have one. There is no quick fix. Understanding requires conscious participation; an act of finding out. Your work and that of your colleagues is precious; guard it as such. Just keep going – take it easy.

I don’t have lesson plans. 

The story goes that I was with the great acting teacher Janine Pearson on the banks of the Avon River in Stratford one day discussing teaching and she recounted her story on graduating from the Central School of Speech and Drama when the Head said it’s time to hand in your lesson plans. “Oh, no,” said Janine, “I don’t make lesson plans.”

I liked that as I never make them either. But then Janine went on to clarify. She said she doesn’t “wing” it but is always thinking about it. I’m the same and I let my mind do the work and that is how I come up with what I call - little diamonds - ideas of what to do in my next class.

Looking back on my notes over 30 years of teaching, I notice that I say the same things now as I did then. The issues that you face are essentially the same and the struggle for you to reveal yourself and speak the truth in a scene remains the same.

Reading my Tips & Insights will also help to answer the question as to how I teach.

As a graduate actor from The National Theatre School of Canada I had three years of classical training and that formed the basis of my practice and thinking.

If I only had one thing to say it would be – It’s your space. Take your place.