In our one-on-one acting class we’ll use a release-focused approach to acting based on the Alexander technique. You will be guided to act on impulse, from your personal deepest truth and intelligence.
After a short customized warm up employing breath, voice, and speech work, we’ll focus on material (selected by you or me) and find a balanced sense of physical precision and relaxation to achieve maximal fun and impact in your craft,
My hope is to help actors access liberty in their expression.
One session – $50 / hour
Package of three – $120
Book at firstname.lastname@example.org
“Ben Gassman invited me to preview a run-through rehearsal of his new play, Botte di Ferro … directed by Tara Elliott and starring (the inimitable) Jess Barbagallo as “Him” and (the incomparable) Layla Khoshnoudi as “Her” … To be fair, both actors deserve profiles of their own (on this show and both of their ever-deepening artistry) … But while their curiosity, rigor, interrogation of perspective, and mindful skepticism of industry protocols may have factored into interest in a site-specific project off the (pre-pandemic) beaten path, it is their stage dynamic and magnetic connection that is worth the price of admission. They are asked by the script to carry the show, and they do it handily … Add in the meta-thrill that is Jess Barbagallo playing the romantic male lead (Barbagallo is trans-masculine) alongside Khoshnoudi (she/non-) playing the female, and everything just feels right in the universe for a split second. “ – Frank Bourdreaux, CultureBot
“Abby Rosebrock’s morbidly charming “Dido of Idaho” at Ensemble Studio Theater … Under Mikhaela Mahony’s direction … the wonderfully inelegant Ms. Khosh — is a delight.” – Maya Phillips, New York Times
“Mac Wellman’s experimental plays tend to go by in a mystifying blur, and “The Offending Gesture” at the Connelly Theater is no exception . . . Hitler, here called Noble Wolf (which is what “Adolf” means), is played hilariously by Layla Khoshnoudi with a combination of stridency and idiocy that would fit a lot of world leaders, then and now. . . . Mr. Wellman’s eclectic works are often hard to penetrate, but Meghan Finn, the director, has gotten the most out of this one.” – Neil Genzlinger, New York Times