About Me

The voice is a vessel for energy in motion. That energy begins as a thought, an impulse in the mind, that travels down the central nervous system, activating the breath, vocal folds, and articulators to produce sound. It is a direct and subtle sequence, one that can be initiated with or without conscious intent.

Yet, within this transaction from thought to voice, a shadow lies in wait. This adversary, an ever-present mist of habit and comfort, hovers silently, ready to disrupt the hero’s journey. It watches for the moment when the voice, poised to emerge freely and naturally, falters. When release is compromised, the mind, aware of the body’s previous failure to liberate the sound, tightens its grip, and in doing so, unknowingly triggers the trap of tension: more effort, less effect.

The original energy, once pure and vibrant, begins to lose its charge as it travels through compromised pathways. The cycle of strain and resistance repeats, each attempt more forceful, each result more diminished. Eventually, discomfort surfaces. Muscles ache, the body protests, and the mind registers the need for change.

It is often at this juncture, when effort has met its limit and the voice remains bound, that the student seeks guidance.

I have seen this pattern time and again, and I have lived it too. In one of my favourite analogies, drawn from an episode of Star Trek: The Next Generation, the crew of the Enterprise becomes trapped in a spatial rift. Every attempt the crew undertakes to force their way out drains more energy, until they discover that the only way forward is not through force, but through release. In their case, it was the Enterprise that was trapped; in our case, it is the voice. Strain, rigidity, and over-effort only distance us from our true self and its expression. True vocal freedom comes not from doing more, but from doing less.

My approach to voice work is rooted in this philosophy. Drawing on over two decades of study in the Alexander Technique, I help students unpick habitual patterns and rediscover ease. Through subtle shifts in awareness in the head, neck, back relationship, students learn to engage the voice indirectly; rejoining the hemispheres of mind and body.

I hold a Bachelor of Arts in Acting, a Master of Arts in Voice Studies (Coaching and Teaching), and I am a designated Meisner Technique teacher. I have taught and trained at some of the United Kingdom’s leading drama training institutions, including the Guildhall School of Music and Drama, the London Academy of Music and Dramatic Art, the Royal Central School of Speech and Drama, Italia Conti, Drama Studio London, Rose Bruford College, and Goldsmiths, University of London.

With a professional background spanning theatre, film, and commercial work, I am well-acquainted with the vulnerability that comes with stepping into the spotlight. My teaching is grounded in empathy, insight, and a touch of humour, and I adapt my approach to meet the unique needs of each student, particularly those with specific learning styles. It was during my postgraduate studies that I received a diagnosis of dyslexia, a discovery that deepened my understanding of how important it is to tailor learning to the individual.

Whether you are working toward drama school auditions, refining your public speaking, or exploring greater vocal freedom, you will develop the necessary skills to help you experience a greater sense of observation, practice, and redirection.

Your apprenticeship to proficiency starts here.