I have worked professionally as an actor and singer for over twelve years, having performed on Broadway in Lincoln Center's Tony-winning Revival of "South Pacific" and toured the county with Rob McClure and Anika Larson in the First National Tour of "Avenue Q." I have an MFA in Performing Arts from Savannah College of Art and Design, graduated summa cum laude, and was the only female recipient of the Presidential Scholarship for Vocal Performance. My BA is in Arts and Education from Hobart and William Smith Colleges. I'm currently signed with Roth and Associates East and continue to work professionally.
Acting is such a broad term! What are your goals? Do you want to be in films? Do you want to do Shakespeare? Do you want to be in a sit com? Depending upon what your interests are and where you want to go, we will build a plan together. My philosophy on acting techniques is that they are tools to help you, not tests you pass if you're a good actor and fail if you're a bad one. Different techniques work for different people and it is our job to find out what inspires you.
I've worked as a professional actor for many years, was an assistant director to Tony-winner Sharon Ott, and have written and produced my own work. I have experience in both stage and camera acting, which have specific technical differences, but are both a lot of fun once you get use to the medium. Audition technique, preparing monologues, and creating promotional materials are also things I can help with. Anyone who wants to be a professional will need these things in addition to acting training. Being good and showing people in a short time that you're good aren't necessarily the same skill.
I've taught private lessons for many years and would love to see if our styles mesh!
It depends upon which thing we are talking about... When I'm working live on stage, I love that we start the story and take the audience on a journey that doesn't stop until the end of the show. The energy I feel from being in front of an audience is a rush, a heightening of senses, that I don't think is like anything else. In terms of film, the intimacy you need to be effective, requires a stripping down that is both scary and satisfying. The other thing I have discovered in film is that I really love writing my own projects. It allows me freedom to be creative, to literally tell my own story. We are lucky to live in an age when almost anyone can get their hands on the resources needed to make a film. Producing my own work has also given me insight into the entire process that has made me a better actor, both on camera and behind the scenes. It's all about connection. When I perform live I feel connected to the audience, when I make a film, I feel connected to my team.
Rebecca’s knowledge of the singing voice is amazing. Her ability to bring out a voice’s strongest qualities is a gift not many teachers possess. During our sessions together,Rebecca always made me feel confident with material that we were working on as well as relaxed in a very welcoming environment.
We have a phone consultation so I can get to know you better! What are your goals, short and long term? What do you hope to learn? Why do you want to do this? Do you have previous experience? What have you learned from other teachers or classes? Is there anything you wanted more or less of in other teaching settings? Do you have any immediate needs, like an audition for a show in a few weeks or college auditions?
I don't see a need to break anyone down, like some techniques, but to get a good idea of where you are at and build from there. It's my job to introduce you to techniques and new ways of seeing things, and help match these resources to what I think wil speak to you and serve the goals you've laid out. It's your job to get to know yourself, be honest with yourself, and put the effort into trying new things. We will work together to make you the best version of yourself.
Working as Assistant Director to Tony Winner, Sharon Ott, was one of the best ways for me to learn sceen study, acting, and teaching people who are on a variety of proficiency levels. She let me rework scenes that needed tweaking and I coached some of the actors one on one, doing different exercises to open them up and help them find the performances our show required. One of the best lessons I learned from her though was when I finally figured out what was blocking a certain actor's performance. I told her everything I had observed and expected her to beam at my brilliance! She told me that that actor couldn't handle knowing what I had rightly assessed and the conversation was done. What?! The strangest part of this craft is that while there are techniques and methods, it's not like science. How we feel about what we learn and how we learn it actually matters a great deal. Some techniques are brilliant for some people and useless to others. Sometimes we as human being aren't emotionally mature enough to deal with certain realities that this craft shoves in our faces and respecting that is part of the teacher's job.
Considering my professional experience, my formal training, and my commitment to finding quality material for each and every student, my rate is $50 per hour. Compared to coaches with comparable resumes, this is on the lower end. I have a family to support but I also think the arts should be accessible to as many people as possible.
I've been teaching since I was a teenager because I love kids and I love performing. Over the years it has grown into professional coaching as I have grown as an artist myself.
I've worked with kids as young as three, with preteens, teenagers, and adults. I've also been a life coach to a young woman with special needs. I taught preschool the first year I was out of college and still doing community theatre. Some of my students have been beginners and some have been quite advanced. I coach working professionals as well.
I just saw the revival of Torch Song Off Broadway and I loved it. It was funny most of the time, but also heartbreaking. Michael Urie is fascinating, hilarious, captivating, and it's just awesome to see him go toe to toe with Mercedes Ruehl. There's nothing like seeing masters sparring!
Honestly, you have to like them. You have to feel comfortable with them. I have worked with brilliant people who terrified me. It was never my best work and I didn't enjoy it either. I do this because I love it and walking on eggshells around someone who I think doesn't believe in me, makes me shrink into myself and makes it harder for me to take artistic risks, which is what great acting is all about.
Also, some people are very set on one type of technique. If that view works for you, go for it! If it doesn't, don't be afraid to look for a different method. Meisner isn't better than Method isn't better than Suzuki, etc. They are just different SUGGESTIONS. They are meant to help you unlock things inside you. They aren't more important than you are. Anyone who uses them to intimidate you or to make themselves feel important, is someone I would be wary of.