My training philosophy is not original. It is practiced and proven.

When working with students on beginning acting I try to balance both naturalism and experimental devised styles; mostly pulling from Uta Hagen and Anne Bogart.

I believe that an actor has three components of their instrument that require constant training: Body, Voice, and Imagination.

Training the Body I subscribe to a number of proven methodologies: Myerhold’s Biomechanics, Grotowski’s Plastiques, Clown, Commedia dell'arte, Lecoq mask training, Anne Bogart’s Viewpoints, Suzuki actor training, and acrobatics.

Training the Voice I work primarily with the Linklater Voice technique and use Edith Skinner for speech and diction work.

Training the Imagination I find comes easy with a foundation in the aforementioned body and voice training. When students have physical and vocal flexibility they are better able to engage with complex pieces of text. I use writes such as: Genet, Beckett, Chekhov, Molière, Shakespeare, Witkiewicz, and others to challenge students open and expand their imaginations.