Biography

I cannot remember a time when I did not want to be an actor and more specifically on performing on stage - from a very early age this was the only thing that I wanted to do. From creating puppet shows, to being a circus ringmaster in my grandparents house (and using my sister as every act and animal in the circus), the stage was where I wanted to be. From those heady days as a child pretending I was the ringmaster or a swashbuckling pirate or the prince coming to rescue a damsel in distress, this has been a long road. Many times people have said that this is a hard profession and I should go and do something, anything, else.

I can’t argue - this is an incredibly difficult profession to work in and you have a grow a thick skin to deal with regular rejection. However the rewards are immense. Standing on a stage looking out over an audience and drawing them into the world you are helping to create is an amazing experience. Working on new pieces of writing whether on stage or in front of a camera, bringing characters to life, telling a story and hopefully bringing enjoyment, inspiration or just simply moving those who come and see what you are working in is amazing.

I have been lucky to be given opportunities to perform at school, study at university, undertake regular classes and workshops in London, Manchester, Vancouver, Sydney and LA and also to go and complete a postgrad course. Each course, workshop, director and group of actors I have had the chance to learn and work with, helps me to grow and develop both as a performer and as an individual. I don’t believe we ever stop learning. Every job we undertake allows us to learn more from the directors we work with, the actors we are performing opposite, all the technical crew who might be behind the scenes - all of this has, and continues to, shape me as a performer.

I remember my movement teacher, when I was undertaking my postgrad course at drama school, saying that we might not understand some of the things she was trying to teach us at that moment; we may not understand them for a year, five years or even longer. However one day we would be in a situation where one of those learnings might suddenly make total and complete sense and that is so true.

Personally as an actor I have never held to any one ‘method’ of acting - whether that is Stanislavski, Method, Meisner or any of the other teaching we could follow. There are many actors who do, as it gives them a focus and a framework in which to work. I personally don’t believe any single one is perfect for me. I have worked with directors and actors who do hold to certain teachings and I have found elements of each method through the rehearsals process that has been relevant and I carry those with me and I have been able to incorporate into a further project, but I also learn something from every job I am involved with and believe that once I stop finding new things to learn then I should probably get out.