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Monologue Coaching -- One Voice, Full Room

Audition monologue, film monologue, stage monologue -- each needs different calibration. I'll coach your piece line by line. We work on breath, beats, subtext, and the moment you stop performing and start LIVING the text. Tip: The best monologue sounds like a conversation with someone who isn't there.

Tango Dance Lesson -- The Scent of a Woman Masterclass

I learned the Argentine tango for Scent of a Woman and performed it blind. Tango is a conversation between two bodies -- lead, follow, improvise. I teach basic tango: the walk, the ocho, the cross. You'll dance in twenty minutes. Tip: Tango is not about steps. It's about the embrace.

Complete Shakespeare (Riverside Edition, Annotated)

My personal Riverside Shakespeare -- every play, every sonnet. Heavily annotated in pencil. Richard III has three colors of markup from three different productions. Hamlet has coffee stains from 1979. These margins contain forty years of wrestling with the greatest writer in the English language.

Accent & Dialect Masterclass -- Rebuilding Your Voice

I don't do accents -- I rebuild the architecture of speech. Jaw placement, tongue position, breath pattern, rhythm. We start with the International Phonetic Alphabet, then move to a specific accent of your choice. By the end, you won't be imitating -- you'll be THINKING in that accent. Tip: Record native speakers and transcribe what you HEAR, not what the words say.

Character Empathy Workshop -- Becoming Someone You're Not

The hardest characters are the ones you disagree with. I teach you to find the humanity in ANYONE -- a cruel mother, a fascist collaborator, a bitter editor. We don't judge characters. We understand them. That understanding IS the performance. Tip: Ask 'Why does this person think they're right?' and you've found the character.

Opera Singing for Actors -- Voice as Instrument

I studied opera before acting. Vocal training teaches breath control, projection, and emotional range that transforms film performances. We warm up with scales, work on one aria, and apply the techniques to spoken text. You don't need to be a singer. You need to be a breather.

IPA (International Phonetic Alphabet) Training Kit

Flash cards, audio recordings, and workbook for mastering the International Phonetic Alphabet. This is the foundation of all dialect work. Once you can READ sound, you can reproduce any accent on earth. I use this system for every role. No exceptions.

Audition Preparation Coaching -- The 3-Minute Performance

You get three minutes to show them everything. I teach you to walk in prepared, grounded, and PRESENT. We work on your specific audition piece -- cold read or prepared. Tip: They've decided about you before you open your mouth. Own the room from the door.

Commanding Presence Masterclass -- Owning Every Room

Whether it's a boardroom, a courtroom, or a battlefield, I teach you to walk in like you belong. We work on voice projection, stillness under pressure, and the art of the deliberate pause. Tip: Don't rush. The audience waits for you. You don't wait for the audience.

Character Preparation Workshop -- Building From the Ground Up

For Malcolm X, I read every speech, visited every location, and fasted for three days. For Training Day, I rode with real narcotics officers. Preparation is the foundation. We build your character's backstory, physicality, and voice from scratch. Tip: Know ten times more about your character than the script reveals. The audience sees the iceberg tip, but they FEEL the mass beneath.

August Wilson Scene Study -- American Master

We work scenes from Fences, Ma Rainey's Black Bottom, and The Piano Lesson. Wilson wrote the poetry of ordinary Black American life with the weight of Shakespeare. I direct these workshops personally. Bring the text memorized -- we're not here to read. We're here to LIVE.

Kung Fu Comedy Workshop -- Fighting and Falling with Style

I'll teach you to take a hit, sell a fall, and make the audience laugh while you're in pain. We use chairs, ladders, and tables as props -- everything in the room is a weapon and a punchline. Tip: Always show the whole body. Wide shots let the audience see the skill. Close-ups are for actors who can't fight.