Lynette Sheldon

These past few months, I once again got the privilege of working with the amazing and inspiring acting teacher, Lynette Sheldon. Previously, she has worked with well-known Australian stars such as Zoe Ventoura (Packed To The Rafters) and Dichen Lachman (Hawaii Five-O, Dollhouse). When I heard she was returning to Sydney from New York, I couldn’t wait to sign up for her classes. It was really exciting to get back to working with her and to see how the work I’d previously done with her had developed and also to learn and grow further.

Lynette is an inspiration. She truly lives and breathes acting and theatre. Her passion and generosity are infectious. Over the period of a class, she gives 100% of herself 100% of the time. The time she takes with each student and the way she seems, as if by some divine intervention, to know exactly what to say or give each individual student at any given time is truly remarkable.

Lynette has given me so many gifts as an actor. I’ve learnt the value of imagination, to be curious about all things, to find the joy in all things big and small, to have a sense of play, to risk and to stretch myself, to trust my instincts as an actor, to trust my body, to go with what excites me, that acting is a journey and a process and to enjoy and relish that, to appreciate all moments, I’ve learnt more empathy and to celebrate all that we are as humans and the power and wonder of the human condition. And it is in saying all this that I believe lies the greatest gift that Lynette gives her students. That gift is that so many of the lessons she teaches us as actors are so appropriate to apply to our lives in general, and it is through this that we work on ourselves as humans and greater appreciate our lives and our humanity.

Since beginning work with Lynette last year, I’ve experienced so much growth as an actor and a person. I feel so much more confident in my work. I feel like my work has so much more depth and colour. I have so many new tools and new ways of approaching the work which all help to gain a greater understanding of the character and the text. I am so grateful for the work I’ve done with her and I’m excited to continue on this journey.
Lynette is currently still teaching in Australia and if you ever get the chance to work with her, I can’t stress enough how thankful you’ll be.

A highlight for me was definitely seeing Al Pacino as Shylock in Merchant of Venice. He is an idol of mine and such an icon and to see an actor like him working on the stage was a joy. He was powerful and emphatic and bold and playful and committed. And he was so passionate. He has always professed of his love for the stage and in particular of Shakespeare. You only need to look at the film which he starred and directed Looking For Richard which is a study of Shakespeare’s Richard III. You can really see his passion and love for Shakespeare and the theatre.

Al Pacino starring in Merchant of Venice

Next To Normal, a musical by Brian Yorkey and Tom Kitt, is an incredible piece of theatre and was the favorite show I saw on this trip. It really shows you the power and impact music theatre can have. It is the story of a family in which the mother has bipolar disorder and deals with how the family handle it. It is raw and honest and heart wrenching. I was genuinely affected by the story and the incredible performances. Particularly the performance of Marin Mazzie, the Tony Award nominated actress.

Ground breaking musical Next To Normal

There were 2 other shows that were really great. One was Bloody Bloody Andrew Jackson, a fantastic, fun, irreverent rock musical about America’s seventh President and the founding of the modern Democratic Party. The cast were brilliant. There comic timing was spot on. It was a ballsy, brave, well directed piece of theatre full of surprises. It was a thoroughly entertaining night out.

The other great show I saw was Time Stands Still, a play by Donald Margulies starring an incredible cast of 4: Laura Linney, Brian d’Arcy James, Eric Bogosian and Christina Ricci. Once again it was wonderful to see well known actors working on the stage. Although I didn’t think it was an amazing play, the performances were spot on. Nothing was pushed. It was just clear, simple, honest work and people just talking to each other. Totally fascinating and invigorating!

I also saw American Idiot, the rock musical based on the Green Day album of the same name. I was very impressed by the energy and effort of the young cast. It did however just feel like a Green Day concert.

Laura Benanti starring as Candela

And the last show I saw was Women On The Verge Of A Nervous Breakdown. This is a musical based on the Pedro Almodóvar film of the same name. Being a fan of the film, I was so excited about seeing this show but sadly it seemed to miss the mark for me. It was quite strange. In theory, the show had everything going for it; great composer in David Yazbek (The Full Monty, Dirty Rotten Scoundrels), Jeffrey Lane as writer, directed by Bartlett Sher (South Pacific which I loved!, The Light In The Piazza), and an all-star cast including Sherie Rene Scott, Patti LuPone, Brian Stokes Mitchell and Laura Benanti. The show however seemed to be a ‘mish mash’ with a lack of clear direction and focus. There were numerous lame attempts at humour and I was disappointed by the performances of the cast. It seemed empty, 2 dimensional and almost seemed like they were going through the motions. The only highlight was the performance of Laura Benanti which was sublime. She was comical, fun, committed, charming, and utterly beautiful.

Seeing theatre on Broadway is always such a great experience. Not every show is perfect and not every performance is amazing but you always leave learning or discovering something. It has always been a dream of mine to work on Broadway and to be there and see and experience is inspires me every time. I can’t wait to get back there!

So far my favourites are Let The Right One In (Swedish Film), Paris, I Love You (French Film), The Motorcycle Diaries (Latin American Film), Volver (Spanish Film), All About My Mother (Spanish Film), Jamón, Jamón (Spanish Film), Y Tu Mamá También (Mexican Film), Amores Perros (Mexican Film), Pan’s Labyrinth (Mexican Film set in Spain), Eat Drink Man Woman (Chinese Film), Raise The Red Lantern (Chinese Film) and the Japanese animated films Ponyo and Spirited Away.

I’m about to watch Woman On The Verge Of A Nervous Breakdown which is an award-winning film by the acclaimed Spanish director Pedro Almodóvar. I’ll let you know what it’s like.

What are some other great foreign films I should see?

Throughout Working With Pinter, the interviews with him were very candid and open. Often Pinter has been seen as cold and unfriendly. I found him to be completely the opposite. He was very friendly. He is a man of the theatre. Loves actors and has a tremendous respect for actors. Pinter talks about them being one of the most intelligent groups of people on the planet. He talks about what a great responsibility actors have in the world today. A responsibility to reflect what is going on in society, to hold a mirror up to the audience, to educate, to inspire, to question, to challenge, and also to entertain.

Pinter had a lot of interesting things to say about acting and theatre. He makes an interesting point about the dialogue in scenes not really for the exchange of information or emotions unless it’s something very basic like “More sugar please”. That is most often used to defend oneself, to defend one’s status or one’s purpose, or to attack somebody else – in some way to define one’s right in the territory one inhabits. This is an interesting point and a great reminder that it is not always about the words. It’s about what’s going on behind the words, the subtext.

Pinter also talks about acting being an intuitive and instinctual process of self discovery. This is so true. It is experiential. In the way that you can’t read a book on swimming and expect to be able to swim, similarly you can’t read a book on acting and expect to be able to act. You have to dive in and follow your instincts and make discoveries and learn through experience.

The other part I really loved on the program was when Pinter talked about the collaborative part of the industry. How theatre and film is a collaboration between directors and writers and actors and what a gift this is. I know from my experience that this is one of the most special parts about the industry. This community that you belong to of creative and inspiring people who work together to tell stories and entertain people. It’s something I always cherish.

In all, Working With Pinter was a fantastic program that really gave me a greater respect for the man. I love that he was a playwright who trained as an actor first. It means he understands actors better. The fact that he has dedicated his life to the theatre and his obvious love for it is inspiring. It’s no wonder that Pinter has won numerous awards throughout his lifetime including the Nobel Prize for Literature. He past away in 2008 and will surely be missed by the theatre and film community.

Acclaimed HBO Series: The Sopranos

Last night I finished watching the final episodes of acclaimed HBO series The Sopranos. Today I am feeling a void that’s been left by one of the most incredible TV series I’ve ever seen.

The show, created by David Chase, centres around a mob boss in New Jersey and his difficulties and struggles with balancing his mafia life and his family life. Throughout the 6 seasons, the stories are compelling, surprising, gritty and totally engaging.

The acting in the show is first class. The performances of the lead actors have been critically acclaimed and particularly recognised. James Gandolfini is incredible as Tony Soprano, the mob boss. An alpha male who does and takes whatever he wants. He does some horrific things throughout the series but you somehow continue to root for him and support him. I saw Gandolfini once on Inside The Actor’s Studio and he mentioned how a key to getting in to the role was putting on weight. It helped him with physicality and the essence of his character, a dominant and powerful man. James Gandolfini has won 3 Emmy Awards for Outstanding Lead Actor in a Drama Series.

Edie Falco is another standout in the show. She plays Carmela Soprano, Tony’s Wife. A housewife, she struggles with dealing with the truth about what Tony does for a living, his infidelity and the constant risk that at any moment, Tony could be killed or put away. Her performance in the show is amazing. She is a visceral, ballsy, vulnerable and brave actress. Watching Falco and Gandolfini in a scene together is a joy and a privilege. Edie Falco has won 3 Emmy Awards for Outstanding Lead Actress in a Drama Series.

Fantastic and award-nominated and award-winning performances are also put in by Lorraine Bracco as Dr Jennifer Melfi (Tony Soprano’s psychiatrist), Michael Imperioli as Christopher Moltisanti, and Drea De Matteo who plays Adriana La Cerva just to name a few.

The writing on the show has also received critical acclaim and been nominated for and won multiple Emmy Awards. It is gripping and surprising and doesn’t shy away from difficult or controversial issues. It is brave writing and because of it’s boldness, really opened up and paved the way for many cutting edge TV shows that have come out since.

The production elements of the show are of the highest level. The sets are detailed and rich. A large number of exterior scenes were filmed on location in New Jersey whilst the majority of interior scenes were filmed at Silvercup Studios in New York City.

The music of the show has also received much praise. Drawing from a variety of different styles, the music has is always appropriate and enhances the story and dramatic action. The opening credits are fantastic with use of the song “Woke Up This Morning” by the Alabama 3.

Although The Sopranos is about a part of the New Jersey mob, the heart of the piece is about family and dealing with regular family issues. I think this is what makes the series so successful and so easy for people to identify with. It is also an illustration of a number of fantastic elements coming together to create an amazing series. Every facet of the show is of the highest quality. It is no wonder the Sopranos is the most financially successful cable TV series of all time and seen as one of the greatest TV series ever made. It is also seen as a landmark piece of television that has given a lot more credibility to the medium and brought are higher level of artistry to it. The Sopranos has really paved the way for many great television series since and is a must-watch for all!

Always a queue at Din Tai Fung Restaurant in World Square, Sydney

Last night I had the pleasure of going to a world-renowned and award-winning restaurant, Din Tai Fung with my family. Originating in Taiwan, the restaurant now has chains in China, Hong Kong, Indonesia, Japan, Malaysia, Singapore, the Unites States, South Korea and of course Sydney, Australia. It was my second trip down to World Square, Chinatown and I couldn’t wait to get amongst the delicious food.

Din Tai Fung is known internationally for its xiaolongbao, a type of dumpling. The dumplings are soft and smooth in texture, almost translucent and they have a have a delicious broth inside them. The traditional xiaolongbao are filled with pork, but there are other variations with various meats, seafood, and vegetables.

We had the pork filled ones, the pork and crab meat ones and the vegetable ones. They were absolutely amazing! What sets apart the Din Tai Fung xiaolongbao is the quality of the products and the skill with which they’re made. The skin of the dumplings is so soft and smooth and thin. It’s firm enough not to split apart but not rubbery. It melts in your mouth. The flavour of the broth is delicious. Just pop it on your spoon, pour a little dark vinegar on top with a few ginger slivers and away you go!

Delicate and Delicious: Silken Tofu with Pork Floss and Thousand Year Old Egg

Next we had the silken tofu with pork floss and thousand year old egg. A very Chinese dish, once again the quality of the products stands out. The tofu is so soft, silky and served slightly cool. You can really taste the soy bean in the tofu. It’s amazing! That, coupled with the salty, sweetness of the pork floss and lovely sauce make for an amazing dish. And who doesn’t love a beautiful bit of thousand year old egg.

We also had a beef brisket noodle soup and minced pork with green beans. The beef brisket was so tender, just pulls apart in little strips. The minced pork was flavourful and an old favourite of the family.

Finally, we had something that I’d been looking forward to all meal. Dessert! I couldn’t wait to have a black sesame steamed bun and some taro ice cream with golden taro bread. I just have to say, Din Tai Fung’s black sesame buns rock! The outside of the bun is soft and fluffy and it’s filled with yummy black sesame paste. The paste is so good. It’s thick, like engine oil, and has this grainy texture to it. So so nice! The taro ice cream is also really good. It’s a subtle flavour, not too sweet but just enough. The golden taro bread is just a bit of taro deep fried golden in batter. It’s slightly crunchy, warm and a perfect complement to the chilled taro ice cream.

All in all, Din Tai Fung was a beautiful restaurant. The service was fast, efficient and we were very well looked after. It was easy to see why the restaurant has been held in such high regard. In November 2009, the restaurant in Tsim Sha Tsui, Hong Kong was awarded one Michelin star by the Hong Kong and Macau 2010 edition of the Michelin Guide. Din Tai Fung was also ranked as one of the world’s top 10 restaurants in 1993 by the New York Times. I would highly recommend it for a great culinary experience.

The movie poster for the film Tomorrow When The War Began

I first read the Tomorrow When The War Began series early in high school. It was one of the most exciting collection of books I’d read. The story was brilliant. 7 teenagers living in rural New South Wales head out into the bush to camp for a few days only to return home and find that the country has been invaded by a hostile foreign force. We follow the teenagers as they attempt to deal with this and work out what to do. The story was exciting, adventurous, dangerous and completely compelling especially for a teenager.

Fast forward 14 years and the film has been made. Naturally, I was incredibly excited. Here it was, an Australian film being made of a great Australian story written by a great Australian writer. I couldn’t wait. I could only hope the film would do justice to the novel.

I saw Tomorrow When The War Began last night and let me just say that I was disappointed. So disappointed! Once again, a film that promised so much failed to deliver. It wasn’t that they deviated drastically from the novel, but more that they totally missed out on the tone and feel of the story. It felt like the filmmakers were trying to give the audience what they thought they wanted instead of just concentrating on telling the story.

The film was a collection of clichés and stereotypes. To start with the characters, whilst it is in the novel that Lee Takkam (played by Chris Pang) is Asian, the first scene in the film is a shot of Lee in his family’s Chinese restaurant with his family sitting around drinking Chinese tea while he plays the piano like a virtuoso. How clichéd and insulting is that?! Next we have Homer Tannos (Deniz Akdeniz), a Greek character. Once again the Greek character in an Australian film plays a car jacking, mischievous rev-head. When was this film made? 50 years ago?! It’s just completely insulting not just to minorities in Australia but to the whole population of Australia. You’d think we’d have grown and moved on as a multi-cultural nation.

The script itself was clunky. Some of the scenes and the dialogue just didn’t pay off and seemed unjustified. There were moments of attempted humour and quirkiness but it just didn’t work. It didn’t fit in with the style and tone of the film.

The acting left a little to be desired. Whilst I didn’t mind the performance of Caitlin Stasey, who played the lead role, Ellie Linton, it seemed like once again a studio has gone with a couple of names (Lincoln Lewis plays Kevin Holmes) in an attempt to boost the film’s profile and turnover, however the story and the acting suffers. Whenever there was any moment of high intensity or high stakes, it wasn’t believable. It felt like Home and Away and Neighbours got together to make a teenage action film.

Some of these issues may also have come from the writer/director, Stuart Beattie. It seemed like the film was a mix of a few different tones and genres. It didn’t have a clear style. It had the potential to be an epic, serious war drama instead of a feature length teen soap.

Whilst some people liked the special effects, I was unimpressed. You could tell that the film had a high budget for an Australian film but that’s not what you want to be able to see. Every explosion was overdone and looked fake. You don’t want to see the effects. You want to believe them.

I suppose that was really a recurring issue with the film for me. You could see everything that was going on. You could see the attempts at humour, you could see the acting, you could see the problems with the script, you could see the special effects, you could see the stereotyped characters. In great films, you don’t see any of these things.

I’ve heard other people’s comments about the film, “..It was good for an Australian film..” Well I say “NO!” That’s not good enough. We have brilliant actors and filmmakers in this country. We have great stories to tell. When are we going to stand up and take responsibility for our industry?? When are we going to stop insulting and underestimating the general public.

Now with Tomorrow When The War Began, I’m not sure where the responsibility lies. Whether it’s with the studio, the director, the casting director, the actor. Whether it’s to do with funding or something that happens in the development process. All I know is that somewhere along the way, a potentially great film got lost and it shouldn’t have.

I believe that we need to get back to focusing on the story. To telling interesting and different stories. To get away from being safe and doing what we think people want to see (to assume that any of us know that is insulting to the audience). I believe that studios need to get out of the way of filmmakers and put there faith in the people they’ve invested in. That casting directors and directors need to open there minds when it comes to choice of actors. That casting needs to be opened up and multi-cultural. That more chances need to be taken on lesser known actors as opposed to just casting the same old soap star.

Tomorrow When The War Began was such a special novel to myself and many other Australians. The film could have been so much but didn’t get there. It is a key example of everything that isn’t working in the Australian film and television industry. The industry needs to change. It needs to be bolder and braver. And until it does, we’re going to keep seeing the same, average films and tv shows.

What do you get when you mix an incredible script with an amazing, world-renowned theatre company? August: Osage County. Last week I went to see this Tony Award-Winning Broadway smash for the third time (I saw it twice on Broadway when I was in New York last!), and it certainly didn’t disappoint. Performed once again by the incredible Steppenwolf Theatre Company, it is an amazing piece of theatre that stimulates, excites and surprises every sense.

August: Osage County was written by Tracy Letts and centres around a family who reunite to deal with the disappearance of their father. The family consists of a pill-popping mother, and three daughters and their respective families and the relationships between them are tense, to say the least.

Tracy Letts himself is a product of Steppenwolf Theatre Company having acted and appeared in a number of their productions. He has won numerous awards for his works. Other notable plays include Killer Joe and Bug. Known for being bold and raw and gutsy, they are a gift for any actor.

The writing is totally delicious. Moments of sheer joy and laughter are juxtaposed with the most shocking and heart breaking moments. The one thing about it is it’s always engaging and entertaining. It really takes you on a journey and you never know where it’s going to go. Charles Isherwood, a theatre critic for the New York Times, describes it as fiery and intense saying, “It is – flat-out, no asterisks and without qualifications – the most exciting new American play Broadway has seen in years.”

The theatre company delivering the wonderful lines is the Steppenwolf Theatre Company and was formed in Chicago in the mid 1970s by Jeff Perry, Terry Kinney and Gary Sinise (Apollo 13, CSI:NY). They are truly a collective, and considered the only true acting company in America. Known for the brutal, fierce, ‘in-your-face’, working class style of acting, they have carved out a reputation as one of the greatest theatre companies in the world.

Deanna Dunagan won the Tony Award for her portrayal of Violet Weston

What sets Steppenwolf apart is that it was created by actors for actors. It is an ensemble of 43 actors, directors and playwrights. The company’s current Artistic Director is Martha Lavey who is a leading actor herself and has performed in numerous productions. Many of the actors have been acting alongside each other for decades which I believe is so key to the success of so many of their productions because when they’re creating relationships onstage as family members or friends, there already exists so much history.

With this particular production, the relationships were so full and rich and developed. All those nuances that exist in family relationships and the behaviour that develops when you’ve lived and grown up with someone your whole life were so apparent. It was so intricate and detailed and layered and utterly exquisite to watch on stage. It really felt like you were watching the lives of a family from middle America.

August: Osage County has won numerous awards including the Drama Desk Award for Best New Play, the New York Drama Critics’ Circle Award for Best Play, the Tony Award for Best Play and the Pulitzer Prize for Drama. Star of the original productions Deanna Dunagan who played the pill-popping mother Violet Weston, also received the Tony award Leading Actress in a play.

August: Osage County is a must see. A gift for an actor. A thoroughly entertaining piece of theatre. It is one of the most invigorating and exciting theatre experiences you will ever get!

When I heard that Cameron Mackintosh’s Miss Saigon was coming to Australia, I was immediately excited. Here was a show that I grew up with and knew quite well. I had seen the Australian production that was on at the Capitol Theatre in Sydney in 1994. and was blown away. “Why, God Why” was a song I sang regularly throughout high school at different concerts and functions. Also, being a Eurasian actor, I thought I would have a good shot at getting an Asian lead in the show.

The auditions rolled around in May 2006 and I went in with material prepared for the character, Thuy, who is betrothed to Kim. I was to sing two numbers in which Thuy is involved in the show. I was ready and rearing to go!

The first audition went well and I got a call back a few weeks later in which I had to prepare the same material plus some extra material that was sung by the Engineer in the show. I had an inkling at that point that they were perhaps looking at me as a possible cover for those roles.

The second audition went pretty well too. It was for a larger panel including the British creative team: Director Laurence Connor and Choreographer Geoffrey Garratt. It was still quite daunting auditioning for an international creative team and a big panel but it’s part of the business. I also did a dance call on the day as well which went really well and I knew I did well in. I was feeling pretty good at this point.

The third and final audition was in the Thomas Mann Theatre in Surry Hills. It was a larger venue and on this day I was with all the other Asian/Eurasian actors who’d gotten through to this point. It was to be a long day of auditioning including a dance call in which we did a martial arts style dance from the show and then a little acting workshop in which we improvised a group of refugees begging for our lives and then a Thai red-light district street scene in which we were hustlers. The final part of the day was a bit of singing from the show. It was a huge day but I felt good about how I’d gone.

Then the waiting began. This is the worst part about being an actor. Waiting to find out whether you’ve got the job or not. And there’s no guarantee that you’ll hear anything at all. It was a couple of months before I found out I’d gotten in to the ensemble of the show. It was exciting and slightly scary knowing I was going to be a part of a long, potentially 16 month run.

It was another 3 or 4 months before I even had to think about the show. The time came round though when I had to go to my first costume fitting for the show. I went in and met with a lady in charge of doing all the shoes for the show. She looked me up. “Mitchell Winter…. let’s see…. GI 9..” GI 9 I thought? I assumed I’d gotten in to the Asian ensemble of the show. I was wrong. I was one of the US soldiers! I was pretty happy about that.

We began rehearsals in February of 2007 in Sydney at ABC studios. It was to be a gruelling 8-week rehearsal process involving 6 9-hour days. The creative team were amazing. Laurence Connor, the director, was so inspiring to work with. He’s an actor’s director. The story is so rich and full and powerful. It was really essential for us to really understand and commit to the difficult and emotional material. And Laurence was able to guide us and help us create this show in an organic way.

Geoffrey Garratt, our choreographer, is another amazing man who was always a joy to work with. We worked hard. He worked us harder. But it was always rewarding and always fun with Geoff. He has a wonderful sense of humour and demeanour.

It wasn’t long before we were on a plane to Melbourne to begin teching and dress rehearsal for the show. It was so wonderful being in the theatre. We were performing at Her Majesty’s Theatre. A beautiful theatre that was a decent size and with the way the seating was, there was still a sense of intimacy which is perfect for the show.

Teching was also tough on the show. It took 10 days to fully tech the show. Cast had to help with certain set moves and it was essential to get them right every time. The set was different to the original production, which had the famed helicopter drop in. It was an amazing moment of stagecraft. The problem with the original set was you needed such a huge theatre to fit the set in that it was pretty impossible to tour. Our production solved this problem with a smoke and mirrors. A screen popped down and a computer animated helicopter flew in to view before the GI’s ran up some stairs and seemingly disappeared in to the helicopter. It was really quite effective.

Teching was followed by 2 weeks of previews, which went fantastically well. It’s always so great when you get an audience. Finally all the hard work can be performed for people as it was intended and you get to gauge how the audience responds to the show and certain moments. Adjustments can still be made and it’s a real chance to iron out any kinks before Opening Night.

Opening Night of Miss Saigon finally arrived. We had a number of industry professionals and personalities in the crowd as well as close family. My parents flew down for the show, which was really exciting. There was a huge buzz backstage and everyone was excited to be finally opening the show. Cameron Mackintosh himself was on hand for the night.

The culmination of about 10 weeks of hard work produced a wonderful production and fantastic opening night. The cast and crew were so proud of what we had achieved and it was time to celebrate the Opening Night party at the Sofitel Hotel in Melbourne. Endless food and drinks and people made it a night to remember and a really special moment in my career.

Over the last few years Lynette has been dividing her time training actors in Sydney, Los Angeles and New York. Lucky for us here in Sydney! She is a wealth of knowledge and she brings all her years of training and experience with her. Her passion and love for actors and life are truly inspiring. She makes actors feel empowered and helps you realise the gift and what a privilege it is to be a part of this art.

Her main way of working with actors is through Stella Adler and Stanislavski techniques. She uses a number different exercises all designed to get you ‘out of your head’ and free you up and help you connect with the script. And let me tell you, they are so amazing to work with.

Some of the exercises we worked with were ‘animal exercise’, ‘clown exercise’ and ‘child exercise’. I had heard of these kinds of exercises before and even done some of them before. But I had never worked with them in the way Lynette does and I had never applied the exercises to scripts before. After spending the first few weeks a little confused and bewildered, I slowly began to trust and fully commit to the exercises and the rewards were well worth it.

Now I had done some training before and I felt like an O.K actor but working in this way gave me some key breakthroughs on my journey as an actor. I found that through the exercises I was able to free up my physicality, to be bold and brave (bolder and braver than I’d ever been before), that I would have some really interesting and surprising organic responses and reactions to things, that I was able to get away from my head and work more from my instincts.

I was completely exhilarated by the work. I had an experience once when I was working on a scene from “Reasons To Be Pretty” by Neil Labutte, where it felt like I was on the crest of a wave and that as the scene went on it just took me. This was so exciting as I was so used to planning everything and working everything out. It was the first time I was open and I had no idea what was going to happen during the scene. I didn’t pre plan in. I was just in the moment. And it made me feel so alive!

I realised how acting in a scene sometimes is like just taking a leap of faith. You still have to do the work and preparation but when it gets to doing the scene, it’s time to live and be in the moment. And go wherever it takes you. It has to be alive and real. You need to forget what you think needs to happen and what you think should happen in a scene.

I really learnt to enjoy the process. And to understand that it IS a process. You don’t have to get the scene ‘perfect’ and ‘right’ when you perform it. You shouldn’t be aiming for a ‘polished’ performance. Those sorts of notions are so limiting and impossible and almost boring. Each time you work is an exploration. A process of discovery. An exercise in truth. A chance to risk. A chance to fail. An opportunity to play. And in the end, your faith and trust in the process and in the moment is where you can discover the magic.