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EVER BEEN preparing for an audition at 11:30 at night, delivering your "Good Fight" guest prosecutor sides to the busted Vitamix on your kitchen counter? Ever found yourself doing an entire Claudio monologue from Much Ado to a photo of your nephew Todd? Yes? Then you’re in the vacuum. 


Acting is a collaborative art form. When we engage it alone, it can frequently throw us into a vacuum of unnecessary and unhelpful self-awareness. And once we're stuck in that, we can have a tendency to enter the audition room with less flexibility and sense of play than either we or those casting would like. Having an objective and experienced eye present during your preparation can help you mine possibilities you may have missed or explore more deeply those you've found.












I've been fortunate enough to have worked in essentially every facet of our industry over the course of my career (see the About Me section for more info). As a result, I've developed an understanding of what each type of job requires from first audition to closing night or the last take. In addition to maintaining my pro-fessional career, I've also been a faculty member of NYU's Graduate Acting Program for the past twelve years. Combine these two elements and you have the third greatest acting coach currently living who can help make you the eleventh greatest actor this world has ever known.*


Fine. Tough to prove. Whatever. That said, I can certainly help you develop a skill set that will allow you to approach auditions from a place of relaxation and ease, focus and excitement. Most importantly, we'll take your impulses and expand on them in a way that creates an audition that is uniquely your own, highly memorable, and leaves you doing an I-murdered-that dance on your way home. And, though I can make no guarantees, I feel very confident that you'll simply book more work. Which is why you're reading this.


The cost of an hour long coaching session is $60. 








I received my MFA from NYU's Graduate Acting Program and currently serve on its faculty. As a result, I have the benefit of knowing how to approach the grad school audition process from both sides of the table and am very familiar with what most grad schools are looking for in their prospective students.  


My goal in working with actors who decide to explore this training route is to help them create an audition that is uniquely theirs and, therefore, unlike the other 1,000 the auditors are going to see but, at the same time, revealing of the openness to training which all schools are looking for in their students.


Disclaimer: though I can guarantee that you will walk into your auditions feeling great about your work and extremely confident, I am unable to guarantee admission to grad school (though they'd be idiots not to take you because you're badass). I am also unable to recommend you to the admissions committee at any school as that would be a conflict of interest. Which, again, is ridiculous. Because you're badass.




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