What We Teach
Each program builds toward a live industry showcase — where students perform in front of a real casting director or manager. Every week is preparation for that moment.
First class. Trust games, ensemble warmups, learning to be comfortable being watched. Your body and voice are instruments — this week you find out what yours can do. No scripts, no characters, just being present in a room full of people. The foundation everything else builds on.
Breath, projection, pace, pitch — taught through games, not drills. How do you fill a room without shouting? How does your voice change when you're scared versus excited versus keeping a secret? Every exercise connects sound to feeling.
Hogwarts or a galaxy far, far away — kids pick their world. Same exercises either way: who is your character, how do they move, what do they want, what are they afraid of? Harry and Hermione want different things. So do Luke and Han. Discovering that is the whole lesson. Characters built this week carry into Week 5.
How do actors feel things genuinely rather than pretending? Short Pixar clips at the start — kids identify what the character is actually doing. Then they do it. Exercises in accessing honest emotion through imagination. Nothing performed, everything felt.
Every Marvel hero has a physical signature before they say a word. Black Panther doesn't move like Spider-Man. Captain Marvel doesn't stand like Wanda. Kids explore how status, power, and vulnerability live in the body — then apply it to their own character from Week 3. Physicality as performance.
The camera changes everything — smaller is bigger. A tiny eye movement reads louder than a shout. Kids learn the basics of screen acting and shoot a short piece each. We watch back together. This clip starts their showreel.
How do actors play scared without it looking fake? The moment before the scare is where the performance lives. Coraline is studied as a masterclass in dread, curiosity, and courage. Short spooky scenes taught through stillness, timing, and reaction — never scary, always thrilling.
An instructor gives a note. The student tries it. Tries it again differently. This is the skill that separates good actors from great ones — genuinely hearing a note and applying it, not just repeating the same thing. Pairs work on scenes from previous weeks with active direction throughout.
Each child picks their showcase piece from whichever world or scene they connected with most. Full run-throughs with individual director's notes. Polish, confidence, intention.
Parents invited. Full performance of each student's chosen piece. Every student receives a personal written note from their instructor. Showreel clip from Week 6 shared with families. The beginning of their acting life.
Cold reads, ensemble exercises, trust work. What does genuine listening look like on stage and on screen? The difference between performing at someone and performing with them. Sets the standard for how the room works for the next 10 weeks.
The Stranger Things cast are young actors who listen like professionals. We study what makes their ensemble work — then recreate the dynamic, not the lines. Exercises in genuine group listening, playing fear honestly, and understanding that the scariest moments on screen are almost always the quietest ones.
The difference between indicating emotion and living it. Meisner repetition, emotional specificity. Instructor uses short contemporary TV clips — what is this actor actually doing? Then students do it. Nothing generalised, everything specific.
Marvel works because the characters have real psychology underneath the spectacle. Scene work built around high-stakes moments — not the action, but the conversation before the action. Who are you when everything is on the line? Status, power, and vulnerability through a superhero lens.
What a character says and what they mean are almost never the same thing. Scene work focused entirely on subtext — the real conversation happening underneath the dialogue. The best screen performances live in the gap between the lines.
Horror is the best genre for learning screen technique because you cannot fake it — the camera catches every lie. We study how these performances work: breath, stillness, the eyes. Then teens shoot their own tension scenes. Direct preparation for the self-tape week.
The self-tape is the modern audition. Setup, slating, eyeline, framing, scaling performance for a lens. Every student shoots a self-tape — informed by everything learned in Week 6. Watch back together, specific notes on playback. This footage becomes their showreel.
Contemporary teen drama — the genre closest to what they'll actually audition for. Three tone options: dark and sardonic, emotionally raw, or tender and real. Sides given 10 minutes before. Perform cold, take a redirect, perform again. Direct preparation for Week 9.
A casting director or manager joins the class. Teens perform their prepared piece, receive a real redirect, and perform again. Genuine industry feedback from someone who casts for a living. This is what the whole program has been building toward.
Refined self-tape delivered as a finished showreel — theirs to keep and submit for real auditions. Short parent showcase of best moments from the program. Individual closing notes from the instructor on each student's genuine next steps in the industry.
No audition required. Classes in Austin, San Francisco, Los Angeles, and online.
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