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AFFORDABLE ACTING CLASSES in LA - open to PROFESSIONAL ACTORS (this is not a beginner's class)

I've audited  quite a few acting classes in LA and I'm astounded by how many people will pay a lot of money to attend 'scene study' classes which amounts to paying to watch other actors work. Here is my very firmly held belief: you should NEVER go to an acting class and not actually get up and do something yourself. It's called an  'acting class' not a 'watching class' for a reason...

The psychology of marketing is that if something costs a lot, it must be good/better than something cheaper. I'm amazed by how many people are willing to pay hundreds of dollars for an acting class simply because it's perceived as a good networking opportunity. Whilst it's true that a lot of work is the result of a personal connection to a director or fellow actors, you still need to be able to deliver the goods at an audition and even more importantly, when you get the job.

Most actors are struggling financially. With this in mind, I'm offering AFFORDABLE yet high quality classes for actors and directors.


Or click on the video link to hear testimonials from current students

Why Be Good, When You Could Be Brilliant?

The difference between a good actor and a brilliant actor

is always the level of detail in a performance.

I've been a director/writer since 1985 and since 1990 I've

taught acting classes, directing classes, writing classes,

comedy improv classes and dance/choreography classes

all over the world. I've been a regular teacher at

The Actors Centre in London since 2006 and teach there

whenever I go back to London.

My acting and directing classes (to teach directors how to

get the best out of actors and create captivating scenes) are based on my research for my MA in Dance Studies, in particular, Semiotics - the study of how we convey and interpret meaning.


All of us are constantly using semiotic indicators every waking moment of every day. All I'm teaching is an awareness of what they are and how, as actors and directors (and Directors of Photography too), can consciously employ what we subconsciously use to enhance our performances. Some people may think this is too cerebral and strips a performance of spontaneity, but it is my assertion that our skill as actors is to make something that has been thoroughly well rehearsed seem as if it is happening for the first time.


My feeling is that unless you're doing a real-time documentary capturing real emotions then you should, as an actor, know what to do in order to get the desired response from an audience. We rehearse in order to find subtlety and nuance rather than hoping that they'll occur by chance. Anyone who's ever done a lengthy run of a live stage production knows that it's impossible to 'feel' it every night. But we can, if we're any good as actors, make an audience believe that we are feeling it. After all, we're not actually in that situation, we are playing at being in that situation - and you still need to know where to stand to be in your light, be aware of your volume and diction to ensure you can be heard at the back, or if you're on a film set, know how to hit your mark, how much to lift or turn your head and which side of the camera to walk to. Yes, some great things can happen by accident/spontaneously but the vast majority of breath-taking performances are the result of practice and a keen awareness of what to do and how to do it.

So, I've devised a methodology to develop this awareness AND how to transform actor tension into a useful devise to channel nervous energy into your performance. For directors, my day-long workshops are very useful as they'll give you PRACTICAL tools to employ on set/in your preparation of your storyboards, or ways in which to adjust things in a rehearsal when a scene is ok but not brilliant.


Wednesday Workout - 6.30pm - 10.30pm every week unless I'm cast in something!

Monthly 1 day, full day introductory workshops - 10.30am - 5.30pm (bring your own lunch)

(Please DO NOT BE LATE - you can't arrive late for a performance, so being on time is a good habit)


We'll work on a variety of performance issues including but not limited to: Warm-up exercises for the body, voice and emotions; developing your voice (vocal range, timbre, clarity, accents, etc); connecting your body to your emotions (avoiding what I call 'empty gestures'); making sense of the script (including cold reading skills and textual analysis); acting exercises; improvisation (improv exercises to sharpen the mind, role playing as a device for exploring character, etc); and scene work (where we work on the acting not producing a mini-play with a full set and costumes and props - it's about the acting not seeing if you have the skills of a producer!). We'll also include song, dance and Physical Theatre work from time to time.

You can bring AUDITION material (monologues or scenes) to work on and we will explore scripts that I will provide, or you can bring scenes you'd like to work on.


There will be opportunities to work on camera too, since most of LA's work is film/TV based.

Some classes will have a greater focus on acting for camera. Despite what some people claim, there is a massive difference in techniques for acting on camera versus acting on stage.

We will work on identifying what works and what doesn't work as well for you on camera (distracting habits like blinking, biting your lip, shaking your head, personal acting 'tricks' that are you default 'go to' habits rather than being considered choices); both basic and advanced camera techniques (hitting your mark every time, dealing with the stress of needing to 'deliver' immediately, acting without a co-star present, etc); keeping track of your own continuity and how to make an editor LOVE you (which will ensure you get hired again and again!); your casting 'types' and branding yourself in relation to what you're likely to get cast as; there will also be the possibility of working on scenes that could be properly filmed as demo reels at a later date (my business partner Warren and I create reels for actors).

If there's a need for it, we'll also look at some of the really basic information about working on set like set etiquette, how to make sure everybody wants to work with you again, the sequence of events (e.g. never starting until the director or 1st AD calls 'action', never stop acting until you hear someone calling 'cut').


If there are any DIRECTORS interested in attending either of these classes, you'll get an opportunity to work with actors and I'll teach both directors and actors simultaneously. Directors will also get tips on how to ensure people want to work with you again too!


Pay for 4 classes in advance (if you miss a class you still pay for it) - $68 - that's just $17.00 per class!

Pay per class (cash only) - $25

One day workshops


$35.00 if you pay one week in advance;

$50.00 if you pay 24 - 48 hrs in advance

$60.00 (cash only, on the day)

Demo Reels - price structure on request


Glendale - you need to contact me to confirm your place in the class BEFORE arriving for your first class. You will be given the exact address when you book and pay - near the 134 & Brand

Suttle Acts COMPANY - Actors Ensemble:

Everyone who attends class will effectively be auditioning for the actors ensemble. There are a number of theatre and film projects I have in development and whenever possible I will cast roles directly from the regular class members. Your attendance, time-keeping, passion, dedication and talent will all contribute towards your being cast. A percentage of your class payments will be set aside to help fund projects.

Acting/Directing classes


Audition Coaching/self-taping

Moving Moments Ensemble

Photos of RKS directing his play, MonoStereo

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