I teach at various institutions as well as working freelance as a coach. For 15 years I have been teaching both undergraduates and graduates at Goldsmith's, University of London. While my main specialities are Stanislavsky, Viewpoints and Voice/text, I also teach the Method, Stella Adler and Meisner techniques, Brechtian acting, and Shakespeare for performance. I have also given sessions by invitation at RCSSD, RADA, and East 15. 

I am professionally trained in ballet, acting, voice, speech and drama, teaching, coaching, NLP, hypnosis and EFT. I have also followed less conventional interests in the theory and practice of body/mind approaches, and practised tai chi, chi gung, yoga, Alexander Technique, and Feldenkrais. 

I have worked in a variety of fields with the common theme of performance. In particular I have been – and continue to be - a therapist, using NLP, hypnosis and EFT to assist individuals and groups; a voice coach, both for personal and professional development; a teacher of personal presentation and communication skills specialising in neuro linguistics and accelerated learning techniques; a study skills coach teaching Accelerated Learning, Mind Mapping and self-devised learning strategies evolving from the underlying principles of NLP and the work of Gregory Bateson; and an actor, in repertory and on the London fringe. I am an extreme systemiser with a personal interest in variations of sensory perspective such as dyslexia, dyspraxia, ADHD and Asperger’s.

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I have worked as an actor in various contexts, including the London fringe, short films and most notably in good old-fashioned three weekly rep in Nairobi, Kenya. There, as well as acting in anything and everything, I was dialogue coach for Shakespeare productions, ASM, assistant director, and mistress of a warehouse full of costumes and props.

I found my academic aptitude later in life, as I didn’t go to university until I was nearly 40. Since then I have been able to integrate my interests both theoretically and practically. Now I have completed my PhD, on Stanislavsky’s acting exercises, and have developed my own system-behind-the-System.

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The essence of this system is that we, as human beings, are leaking information about what we are thinking, feeling and experiencing.  The job of the actor therefore, is to leak the right information. My job is to help them do that, and I do so by using my new terms of reference to work directly with the unconscious process of the actor, giving clear, unambiguous guidance.

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