About  Me

I have been acting for over twenty years in theatre, television and film.  I was trained at the Atlantic Theater Company in New York City and at the Royal Academy of Dramatic Arts in London.  I also studied film and directing at the School of Visual Arts in New York City.  I moved to Los Angeles from New York seven years ago and began coaching and teaching other actors.


When I coach an actor it is a collaboration.  I don't try to get the actor to do the scene the 'right' way, instead I encourage the actor to do the scene their 'individual' way.  Every actor is unique, and every actors' interpretation of a scene will be different.  My job is to inject life, energy and a sense of the spontaneous into your work so that when you go into an audition to do a scene that the casting people have seen a hundred times that day, they sit up and take notice because they've seen something original, unique and alive.  The work is original and unique because it comes from you, I just assist you in finding the original and unique within you and bringing it to life.  Unlike some acting coaches/teachers, I don't think of myself as a guru making proclamations from on high, instead I think of myself as a sherpa, assisting you and easing your burden on your journey to the mountaintop.


The technique that I teach is an eclectic one.  It takes liberally from various acting philosophies that I've studied, from Stanislavski, Strasberg, Adler and Meisner to the Practical Aesthetic, Shurtleff , Chekhov and classical technique.  My approach mixes the intellectual, emotional and the physical to give the actor the skill and craft to accentuate their talent.   only have one motto, that I borrowed from Bruce Lee, "Absorb what is useful, discard the rest".  Bruce Lee was talking about the martial art he created, Jeet Kune Do, in which he took techniques and methods of various other martial arts, like Kung Fu, Karate, Judo, Boxing and Jiu Jitsu and developed them into a 'formless' art.  One in which the student embraces what works for him and his body type and discards the rest.  I have the same approach with acting.  I encourage actors to try my techniques and exercises and embrace what works for them and discard the rest.  There is no rigid form to my approach or adherence to a doctrine or dogma.  There is only the individual actor and what speaks to that actors' creative and imaginative spirit.