by Bel | Aug 26, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In this week’s Guardian, Christopher Eccleston warned against the waning opportunities for working-class actors. He described this disturbing phenomenon as contributing to a “culture that is resultantly bland”.
Despite recognising the excluding nature of today’s tuition fees, he stated: “It is not essential but my advice would always be: go to drama school, treat it as a trade, study it and then apply yourself.”
In an interview for Ideastap, Luke Treadaway stated that although he did go to drama school, he mentioned: “[When] if I meet young actors, I don’t tell them they have to go to drama school. I’ve met a lot of young people on jobs recently that haven’t been to drama school. I’ve been meeting 18 year-olds that have done more stuff than me and have got an agent from a very young age. I think that’s a great way to go…if you have developed your own contacts and you’re finding ways to get work, why mess up a good thing? Keep going with it, because you only really learn when you’re on the job anyway.”
However, getting the job in the first place is why actors come to Audition Doctor. Those that attend regular sessions are able to clearly chart their progression. Many become confident with Shakespeare which has stood them in good stead for drama school auditions most of which require at least one Shakespeare monologue.
Ideastap wrote: “A lot of [Shakespeare’s] speeches tell a story and, often, it shows the panel the intelligence of the actor, because it is quite hard to get that meter right. Although sometimes those monologues can end up being quite mannered and “Shakespearean” with a capital S.
Actors come back to Audition Doctor time and time again because sessions take away any anxieties and make Shakespearean monologues as exciting and relevant as their Modern piece.
Geoffrey Rush who is going to play King Lear in Sydney stated: “Shakespeare asks all the big questions. And for those who say it’s too much, think of it like a great box set of television which people can watch for 20 hours without getting bored. Lear is curiously entertaining.”
Aside from students notching an apparent upward trajectory in terms of their technical and intellectual development when approaching texts, Audition Doctor also encourages actors to be braver in their choices and not to shy away from inhabiting emotional spaces which might expose their vulnerabilities.
Amy Adams recently stated in an interview: “I’ve worked with a lot of actors who go to places that I can’t even imagine. I so respect them but I’ve always been a little too scared to stay there…I don’t like to use the word “brave” because bravery to me is like when soldiers are brave, I don’t know what the word is for actors, I’ll have to really think about it.”
The willingness to take bold decisions and the adventurous fearlessness with which students come to tackle scripts under Tilly’s tutelage is one of the many reasons for Audition Doctor’s continuing indispensability towards professional actors.
by Bel | Aug 19, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
This week, Lyn Gardner wrote of an experience she had at the Forest Fringe: “I had one of those moments in the theatre when it feels as if you have seen something that was made just for you. They don’t happen often, but when they do, it is as if the artist has glimpsed inside your heart and mind, and made a gift just for you. One that you will carry with you…But it isn’t the case that such a performance will speak to other people in the same way it speaks to you…art isn’t fixed, it’s malleable, plastic and shape-shifting.”
The flexibility and spontaneity that theatre offers an actor is also the reason why actors who are preparing for television or film roles come to Audition Doctor. The live response to their work and artistic choices are an important part of the development of their craft.
In an interview about Robin Williams, Ethan Hawke mentioned: “Some actors have a plan: “This is what I’m going to achieve in this scene” and you can usually smell it which means you’re not watching creativity but a kind of re-creativity. Like “I cry on this line” and sometimes it’s quite good. But with Robin, he had no idea what was going to happen….All the best performers I’ve ever worked with create their own vibration of spontaneity.”
However, Hawke was also quick to say that spontaneity only emerged out of a wealth of preparation and attention to detail.
“Peter Weir used to say that the difference between being good and great is like one twist of the screw but it’s the hardest one to do…so much rehearsal, so much thought needs to go into the tiniest gesture that ultimately needs to be spontaneous and can’t even be planned out.”
Audition Doctor offers this level of both research and rehearsal, which consequently often gives rise to the twist in the screw that Weir speaks of. Furthermore, the engagement of heart as well as head that the sessions encourage mean that the character you create is true to the text.
Hawke said in the same interview: [Every kind of art, not just acting] is like a sailboat, Every true moment, every beautiful thing, every honest thought puts wind in the sail. Every fake moment every cheat, every lie is a little tear. If you have a few tears, the ship will still move. But to make The Godfather…there’s got to be no tears. How many can we get rid of? How much truth can we put in the sail? If we can do that we can make something really beautiful.”
Actors come to Audition Doctor because they find that the more sessions they attend, the fewer tears there are in their performance. Getting rid of them takes regular practice and commitment, however, students find that it pays off because they put themselves in the position where they are closer to giving an audience the experience that Gardner speaks of.
by Bel | Aug 12, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In an interview for BAFTA, Imelda Staunton spoke of the importance, for her, of being able to fail on the job after drama school. Repertory theatre afforded her the opportunity to continue to mould herself into the kind of actor she wanted to be.
“I remember thinking that I didn’t want to go to the RSC and stand at the back. I wanted to be at the front making a fool of myself. I didn’t care as long as I was doing it. I was given a lot of responsibility when I was very young. I was 20 when I left RADA and I went straight into a leading role. I wasn’t very good at it but I was giving it my best shot and really learning my craft. I certainly didn’t come out fully formed when I left drama school.”
Audition Doctor gives actors the similar chance to advance their technique and artistry albeit in a less public setting.
Sarah Frankcom, who has directed Maxine Peake in Hamlet, spoke of the need for actors today to manage their own careers: “[Peake] is part of a generation who are having to shape their work and opportunities in a different way, and that is about taking control rather than serving an industry.”
With the demise of repertory, actors today are increasingly looking towards spaces such as Audition Doctor to avoid stagnation between jobs and to forge ahead with their professional development.
Actors value Audition Doctor sessions because they endow them with the ability to tell a story which, at its most basic definition, is an actor’s job. Tilly’s students are often successful in auditions for simply being true to the part and not embellishing it with any falsity or “acting”.
As Staunton said: “You’re privileged enough to dive into someone else’s life and tell their story. That is your only responsibility; not to make it bigger than it is or more extraordinary than what it is, it’s just what it is…Doing it in the moment is the most important thing.”
Staunton also went onto mention: “ [When rehearsing] Entertaining Mr Sloane the language is difficult and technically it’s quite difficult. I thought [my character] had terrible problems and she needs delving into in my head. That was for me to do work on in my own time. not discussing in rehearsal “Oh what do you think she’s feeling?” That’s my job. I do that privately.”
Audition Doctor has proved indispensable for those applying to drama school who understandably need guidance with mastering difficult texts and also the private work that Staunton speaks of. Audition Doctor’s students have proved that they are remembered in the right way by audition panels – for serving the role authentically and not for any artistic choices that might be perceived as attention-seeking.
Sarah Frankcom said of Maxine Peake: “Her great gift is that she makes you feel like she is going through something. She helps an audience makes sense of what is happening between people.”
This is what Audition Doctor helps all her students achieve and pushes them closer to following Peake’s own mantra about acting: “Just be honest, be interesting, be alive.”
by Bel | Aug 5, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Last week, the Independent featured an article about Benedict Cumberbatch’s upcoming Barbican production of Hamlet. While it acknowledged that “Hamlet stands at the pinnacle of the actor’s art for its emotional and intellectual range”, it focused largely on the 1,480 lines that Cumberbatch will have to commit to memory.
Michael Pennington said: “It is the question that everyone asks at a party. It defines the job; it’s the bare necessity. But it’s still the thing that amazes other people.”
Lenny Henry found writing out the lines of his scene 10 times useful, while most other actors followed the “repetition repetition repetition” method.
Whichever method they chose, all came to the consensus that “the key to mastering lines is not to treat them as lines, but as the ingredients of a character and a story. Grasp the total meaning, and the words will swiftly follow. For Michael Pennington, “You come to know the character that much better. It’s like the engineering of a car: you get to see what goes on under the bonnet. It’s a matter of cosying up the author – you see how they do it, and you develop a feeling for the music of the language”.
Audition Doctor lessons are about getting into the mechanics of the text and to cultivate the linguistic and emotional confidence that comes with spending time living your character. Many Audition Doctor students initially come to Tilly for help with Shakespeare because initially they find it difficult to get to a place where they feel like they are using the language effectively to communicate their character’s intentions.
This week, West End Producer commented on his blog: “One mistake that many new performers make is trying too hard to ‘stand out’ and ‘be different’ so they’re remembered in an audition. Chances are when you do this you stick out for all the wrong reasons, namely for being over the top, desperate, and unnecessary – which is exactly how you don’t want to appear.”
Audition Doctor students have found that sessions have resulted in the right kind of attention at auditions; the work undertaken at Audition Doctor is all about furthering your understanding of the role you are playing, as opposed to yourself.
Bryan Cranston advised young actors: “Know what your job is. About eighteen years ago I had this cognition that I was going into auditions trying to get a job and that simply wasn’t what I was doing. It wasn’t what I was supposed to be doing. An actor is supposed to create a compelling, interesting character that serves the text, you present it in the environment where you audition and then you walk away and that’s it….There’s power in that and there’s confidence in that. Everything else is out of your control.”
Audition Doctor gives students the peace of mind of knowing that they have done all they can to do their job well. Those who come regularly have also noticed that they land jobs simply because the lessons have enabled them to continue their training.
As West End Producer said: “Work leads to work, it really does. That awkward person who directs you in a profit-share show at the Union could one day be running the National Theatre. You never know. And by doing work, you will be surrounded by other actors and meet other creatives – and that’s how you find out about what’s going on and who is casting what, etc.”
The stress on all actors, regardless of whether you are playing Hamlet, is significant and as the Independent article rightly stated: “Every night, [an audience] expects art, practice, training, teamwork and trust to fuse seamlessly into a note-perfect or line-perfect rendition.”
Audition Doctor is popular with professional actors because regular practice and exploration in the sessions takes a large amount of the pressure off.
by Bel | Jul 29, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In the Guardian, actors Rory Kinnear and Anthony Sher discussed their different approaches to playing Iago.
Kinnear commented: “Nick Hytner’s first instinct was always to steer away from racism and examine that jealousy” while Sher decided from the outset: “We definitely wanted him to be racist.”
What is immediately apparent is that the depth of research and rehearsal that each actor undertook led to nuanced and rich performances that differed hugely.
Kinnear said: “With a lot of Shakespeare’s characters, something seismic has happened to them just before we meet them. Hamlet has lost his father. Angelo jilts Mariana in Measure for Measure. Iago suspects that Othello has slept with his wife. As an actor, you have to know who that character was beforehand in order to understand how they’ve changed.”
From both actors’ accounts, the analysis and quarrying of the play to understand Iago’s mental make-up appears to be extensive; there is a constant questioning and determination to drill deep into the character’s psyche.
Sher said: “Words such as “evil” and “villain”, they don’t mean much to me as an actor. They seem to hark back to a time when we knew nothing about psychology, and I’m far more interested in thinking about those people as damaged in some way that leads to their actions.”
Professional actors and drama school candidates attend Audition Doctor sessions because the environment that Tilly provides allows for a forensic exploration of character. It’s a rare situation where you are not spoon fed any “answer”, but are encouraged to organically find your own way into the character.
Lupita Nyong’o once said of her experience of working on 12 Years A Slave: “Every single role brings with it an ignorance and an insecurity, and so you have to approach it with the same curiosity and humility. I’m always nervous. Doesn’t matter how many times I do this. But I remind myself it’s because I care. Steve [McQueen] would say, ‘Fail and then fail better!’ And that environment was so liberating. It’s not about getting it right. It’s about getting it truthful.”
This is the similar ethos employed at Audition Doctor. Students who come to Tilly’s sessions often land jobs or places at drama schools not because their performances in front of audition panels are so polished and “finished”, but because there is always an honesty, rawness and daring in their acting that is unavoidably watchable.
Kinnear said: “You have to implicate the audience. They’ve got to squirm, not just over what happens [in Othello], but because they did nothing about it. They had all the knowledge – this guy was not to be trusted – and they just sat there.”
Students who have trained at Audition Doctor understand this. Sessions push them to reach these stakes and bring a grit and fearlessness to their work.
by Bel | Jul 15, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
When Phillip Seymour Hoffman was asked at in
interview at the Golden Globe Awards what advice he would give to those starting out in the acting profession, he said:
“You have to act wherever you can, you can’t be picky. Wherever you get a chance to act – and it might even be an audition room, even if you’re auditioning for something you know you’re never going to get or you might have read it and you might not even have liked it but you know you have to go, if you get a chance to act in a room that somebody else has paid rent for then you’ve been given a free chance to practice your craft. In that moment, you should act as well as you can because if you leave the room or the theatre or wherever you are and you’ve acted as well as you can, there’s no way that the people who watched you will forget it. That was something that someone told me years ago and I think it’s great advice because it’s always about that, it’s always about the work at the end of the day.”
Actors have found that Audition Doctor is a place where they are able to hone their craft to such an extent that they are able to reach the emotional places that the role requires every time. Consequently, auditioning feels like less of a lottery as students are often in control of their performances; performances that have been rehearsed and considered but without any loss of spontaneity or authenticity. Audition Doctor’s popularity relies heavily on the fact that lessons encourage students to become more independent of thought and more confident and adventurous in their artistic judgements.
Hoffman went onto say that the stature and awards that have become attached to his name mean precious little “If I show up to work one day and the work I’m doing isn’t any good, I’m just a guy who’s not acting well. I’d tell that to anyone starting out: take those words and bring them alive. If you do that, something will transpire.”
Professional actors come regularly to Audition Doctor because every lesson takes away the fear of being “that guy”. The intensity of Audition Doctor sessions also strengthens a different muscle – that of developing an acute concentration.
Last week, Mark Lawson wrote an ode to Maxine Peake in the Guardian in which Steven Moffat spoke of Peake’s ability to maintain focus during TV shoots: “Filming can be tedious and repetitive. But even by the seventh take of a scene, she’s still listening to what the other actor says and responding to it, giving you something fresh.”
This is something else that Audition Doctor develops in every one of her students – the capacity to continuously listen and react in the moment and on the line.
“I’ve done 30 hours of television with [Maxine Peake] now,” says Moffat, “and she has never spoken a line of mine wrongly. There has never been an interpretation that jarred, which is very rare. She has this native actor’s intelligence for what you intended or even sometimes to go beyond that and show you something you didn’t know was there.”
Actors who come to Audition Doctor find that sessions strengthen both their gut instincts and their critical faculties, which means that in the audition room, they often surprise themselves as well as those auditioning them.
by Bel | Jun 30, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In an interview for Film 4, Tom Hiddleston said: “I call acting 3D anthropology or archeology; in the way that you’re out there digging away at the mine shafts of the collective emotions of human beings – in the present and the past. Actors have to bring back their findings and put them in the glass case that is the [performance].”
The process of excavating emotions and exploring which best suits certain interpretations takes time and regular commitment. This is why both the professional actors and drama school applicants that come to Audition Doctor attend regular sessions.
As Matthew McConaughey said: “When it’s wonderful, when it works, you go into a scene and you have 16 different ways of telling the truth. When you’re stuck, sometimes you’re just trying to protect yourself from telling a lie. Sometimes you just feel like you’re just connecting the dots and that’s all I really can do. I don’t have the song.”
Audition Doctor is popular because the work undertaken in the sessions has time and time again helped unstick actors in auditions. Students who come to Audition Doctor give themselves the opportunity for studied preparation and the gift of having thoroughly explored the idiosyncrasies and motivations of their character.
Michael Fassbender commented: “My preparation is the same whether it’s for a $150m film or a $1.5m film or whatever, I’ve got a lot of homework to do. I’ve got to be well-equipped when I come onto the floor and I want to come onto the floor with ideas and I also want to be well prepared so I have the ability to have the freedom to explore any avenue on the day.”
Audition Doctor students will attest that sessions afford them an artistic freedom that sets them apart from others who are auditioning. Students always enter with a spectrum of objectives, intentions and opinions on a character. The flexibility and understanding that characterises an Audition Doctor student is palpable in the auditioning room, especially when being redirected.
Aside from giving students the capability and confidence of making bold and unorthodox choices, Audition Doctor also provides actors with a safety net. The level of preparation and dissection of not only the role but the play itself means that if for whatever reason you falter, you know that, as an actor, you are in possession of a kind of parachute.
For McConaughey, he finds something in the script that is “a real personal politic. It blankets an entire performance and it also gives me something to fly with, something that I can have in my pocket if I get in trouble in a scene. I can go “well I know this man is about this. I know he needs this – throughout – before this story ever started and after this story goes away.”
He described his process now: “I try to get the guy’s monologue then I can get the dialogue.” Similarly, Audition Doctor sessions mainly focus on individual speeches. The honing and moulding of their voice in a particular speech gives casting directors or drama school audition panels the knowledge that they will be able to carry this authenticity through into the wider context of the play.
Students who come to Audition Doctor gain success because the level of research and experimentation undertaken in the sessions mean they never deliver an “act by numbers” performance that merely joins the dots.
by Bel | Jun 23, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, tilly blackwood
In an interview, Jack Lemon spoke of his experience working on Glengarry Glen Ross and working with David Mamet’s text:
“We had about two and half weeks rehearsal…if we had not had it, we would’ve all been fish that were drowning. As great a writer as Mamet is, I don’t think there’s a playwright in the world whose lines are as difficult to learn. They are unique, slightly off. The whole trick is to make them sound like normal conversation…He has another thing in common with other great writers such as Billy Wilder and Neil Simon and that’s what he doesn’t write. He never writes too many words and every single one of those “if, ah, ums” is written…When you forget one it’s like dropping a whole sentence – the whole rhythm goes. David has his own rhythm, each character has his own rhythm and each actor has to find that rhythm.”
For many of Audition Doctor’s students, sessions are focused on finding this rhythm. Similarly to Mamet, Shakespeare is a writer whose characters literally speak in a rhythm. Shakespeare is unavoidable for those who come to Audition Doctor to prepare for drama school auditions. Audition Doctor sessions take the fear out of performing Shakespeare by encouraging students to become comfortable with iambic pentameter. Eventually, the language becomes a tool in their arsenal and students find that the rhythm and syntax actually become an indispensable aid in communicating thought and emotion.
Lemon went onto say of rehearsing for Glengarry Glen Ross: “For the first couple of weeks you go absolutely bananas, not only trying to remember the lines but to make them natural so that you’re not just listening to cues or thinking of your lines but really behaving as a character truly would in life and that is as I am now. I’m not thinking of the words, I’m thinking of the thought I’m trying to get across. When you’re really in the scene, that’s what an actor does.”
Those who come to Audition Doctor regularly over a period of time usually find that finding the thought on the line becomes easier than those who leave extended gaps between lessons. Like with many other aspects of acting, routine and rigorous practice is the key to getting to the emotional and intellectual space the role requires more effectively.
Julie Walters recently described the freedom of working with Stephen Daldry: “He’d just say let’s shoot another scene here now. Let’s say they’re in this room and this happens. We’d just do it. I just love that.”
Audition Doctor’s students, whether professional actors or drama school applicants, all benefit from a similar mode of direction. The spontaneity of the sessions means that actors have the freedom to experiment without too much over-thinking.
Benedict Cumberbatch recently spoke of what it’s like for an actor when there is the right chemistry between you and a director: “It’s a great thing to have rehearsals and to know that you’re coming at it from the same point of view. It just means you can be more free, you can play and enjoy it and I think that’s what elevates good work to great work or really daring work.”
At Audition Doctor, students will attest that Tilly undoubtedly creates this possibility.
by Bel | Jun 16, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In The Stage, Judi Dench spoke about her constant “fear of everything” as an actor – fear “ of not fitting into that slot, of not fulfilling that piece you are asked to do. I get more frightened [the more I do]. The more you do, the more frightening it is anyway as you are much more aware.”
Fear plays an undeniable role for most during auditions, however, at Audition Doctor, much of that fear is alleviated through the progressive confidence that each student gains with each session. Both professional actors and drama school applicants have found that failure is not discouraged at Audition Doctor.
This echoes Colin Farrell’s interview on the BAFTA website where he insisted: “You have to be allowed to fail as an actor because it’s very easy to play it safe”. Like drama school, Audition Doctor sessions are where you are encouraged to take risks and feel safe in doing so.
Audition Doctor sessions involve both discussion as well as performance. The choice of speech always takes perhaps longer than expected. However, Geoffery Colman, Head of Acting at the Central School of Speech and Drama, recently wrote in The Actor’s Handbook:
“The choice of speech preoccupies many candidates, who unearth an astounding range of two minute extracts – often material inappropriately sourced online and disallowing any creative placement of their own heart and mind. And oh, how audition candidates obsesses about contrasting this, that or the other! Just select an extract from a play that is simple, clear, unfussy and – most important of all – one that allows you to enter its world without a fight (and most certainly without the need to show that you are entering it). People bring much worked-upon accents, props, shouts, peculiar moves, glances and screams as though volume alone will do the deal. This should be avoided.”
Both Benedict Cumberbatch and Hugh Dancy spoke of what they looked for in a character in interviews for BAFTA. Cumberbatch stated: “When I look for a role…I think about how important is this character. Not how big but how important, how interesting is this going to be to watch and how interesting is it going to be to bring to life.”
Dancy mentioned: “I suppose I’m looking to be intrigued in some way. Maybe have a question raised that isn’t immediately answered for me. It’s not often necessarily the case that you realise that as you’re reading something. It might be that over the following few days it’s percolating.”
Auditioning, particularly for drama schools, is a long process and you can live with the speeches for up to 6 months. The speeches chosen have to be simultaneously comfortable yet demanding – both emotionally and intellectually. Audition Doctor sessions give you the time and space to fully inhabit the character and really make it your own.
This originality and individuality is what drama schools are looking for because as Dench noted in the same interview: “Don’t let’s fool ourselves – don’t let’s stop for a minute to not remember that right here at my shoulder is someone standing, and behind her is someone else and someone else.”
by Bel | Jun 9, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In an article for Ideastap, Caroline Leslie, Head of Acting at LAMDA, advised those auditioning to “really get inside the mind of your character – think about what they hide and show of themselves, and how they think other people think about them.”
“Choose a piece and a character that fascinates you. You can really tell when someone has chosen a piece that they connect to and auditions almost always work better if the actor has chosen something they love.”
At Audition Doctor, choosing the speech for you is a lengthy yet integral part of the process. Julie Walters has said “In a role, I’m mainly looking for truth and integrity. No matter what it is, even if it’s a comic cameo, there’s still got to be a truth behind it. And I’m not just looking at my character, I’m looking at the whole thing.”
Audition Doctor encourages you to pick roles that are challenging and beyond your reach, however, that will be fully grasped and inhabited by the end of the course of Audition Doctor sessions.
Walters went onto advise: “You want to know who that person is…so I will do my own rehearsals as if I were rehearsing with a director but on my own.” While the line-learning process is often done alone, many professional actors come to Audition Doctor because they desire a more collaborative rehearsal process. Rehearsing alone can be counter-productive if there is no one to tell you which of your interpretations works better and why.
Andrew Buchan recently advised actors when learning lines to “get it in your body, don’t just sit on the edge of your bed because they won’t go in, get it in your muscles.”
Many actors and drama school applicants come to Audition Doctor because they want to get a performance into their muscles, see it up on its feet in front of a professional and to also strengthen their ability to take and act on direction.
Walters said: “I don’t like being over-directed, some people feel that they need to be seen to be directing…All you have is your instincts and they can be interfered with sometimes rather than nurtured and then you begin to doubt them.”
Audition Doctor’s popularity relies on the fact that Tilly only ever strengthens your instincts and simultaneously coaches you to harness any nerves into a truthfully sustained performance.
Audition Doctor sessions, however, are not for those who are unwilling to take risks. In the same interview as Walters, Tamsin Greig urged young actors “to be more brave about failing”.
It is in this willing to not be perfect and to dare to expose her vulnerabilities that Julie Walters has featured in an article entitled “Julie Walters – a heroic talent” in which it says: “She disappears into her characters and gives them hearts so loud you can hear them beating.”
Audition Doctor students have found that sessions have pushed them to do the same and have made them braver and more astute actors as a result.
