A Director's Perspective: Luke Sheppard

Luke Sheppard was the Director of From Up Here, a new musical developed by Perfect Pitch.

Luke reflects on the challenge of lifting a new production from the page and into the third dimension. He shares his thoughts on having a performance filmed and explains why he considers it so important that new writing is supported across the industry.

Filmed by Perfect Pitch.

Director Luke Sheppard
Interview
(2015)

A Writer's Perspective: Aaron Lee Lambert

Aaron Lee Lambert is the writer of From Up Here, a new musical developed by Perfect Pitch.

Aaron shares his experience of writing a new production and suggests that his acting background helped him to achieve a deep understanding of his characters during the writing process.

Filmed by Perfect Pitch.

Writer Aaron Lee Lambert
Interview
(2015)

An Actor's Perspective: Leila Benn Harris

Leila Benn Harris played Emily in Aaron Lee Lambert's musical From Up Here, developed by Perfect Pitch.

Leila reflects on the experience of originating a role, being filmed in performance on stage, and what she considers to be her favourite moments of working on the production.

Filmed by Perfect Pitch.

Actress Leila Benn Harris
Interview
(2015)

Contemporary Performance Practice... On Jerzy Grotowski: An Interview with Paul Allain

In an ideal introduction to Jerzy Grotowski’s work, Paul Allain discusses in detail the various phases from traditional director, through researcher and theorist, and the constant principles with which it is always underpinned. He discusses Grotowski’s influences, practices and lifelong exploration of the ‘total’ act, on his journey towards the development of Poor Theatre.
Contemporary Performance Practice: Paul Allain on Jerzy Grotowski
Interview
(2016)

Key Analysis: David Morrissey

Liverpool Everyman Youth Theatre alumnus David Morrissey returned to the iconic venue to take on the title role in Macbeth. Morrissey considers some of the play’s biggest speeches and explains why time and tempo are so important in Shakespeare’s shortest tragedy.
David Morrissey gesticulates whilst sitting in a brown leather chair in front of several bookshelves filled with books
Interview
(2012)

Key Analysis: Julia Ford on Lady Macbeth

Julia Ford took to the Liverpool Everyman to play opposite David Morrissey in Gemma Bodinetz’s post-apocalyptic Macbeth. Ford considers how Lady Macbeth was able to persuade her husband to commit murder, and explains how she, as an actor, interprets Shakespeare’s words – and silences.
Interview
(2012)

Masterclasses in the Michael Chekhov Technique: Actor Conversation

In this perceptive conversation, a group of seven actors discuss their experiences of working with the Michael Chekhov technique.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Atmosphere

In the eleventh of 12 masterclasses, Ragnar Freidank – a former student of Ted Pugh and Fern Sloan – demonstrates how to work with space, images and crossing the threshold.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Expanding and Contracting

In the third of 12 masterclasses, Lenard Petit – founding member of the Michael Chekhov Association, MICHA – demonstrates how to work with inner movement, inner gesture and action, as well as exploring methods of preparation.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Ghost Exercise

In the last of 12 masterclasses, Joanna Merlin and Ragnar Freidank demonstrate how to work with imaginary scene partners.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Imaginary Body

In the tenth of 12 masterclasses, Ted Pugh – co-founder of the Michael Chekhov School – demonstrates how to work with straight and curved lines, as well as application to characters in Three Sisters.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Imaginary Centres

In the eighth of 12 masterclasses, Lenard Petit – founding member of the Michael Chekhov Association, MICHA – demonstrates how to work with the three centres, the ideal centre and the imaginary centre.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Introduction and Teacher Conversation

Five of the world’s leading teachers of the Michael Chekhov technique – Joanna Merlin, Lenard Petit, Ted Pugh, Fern Sloan and Ragnar Freidank – give an insightful introduction to the series.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Psychological Gesture

In the seventh of 12 masterclasses, Joanna Merlin – the last student of Michael Chekhov still actively teaching – demonstrates how to work with contraction, expansion, and gesture, as well as exploring archetypes in Three Sisters.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Qualities of Movement I

In the fourth of 12 masterclasses, Fern Sloan – co-founder of the Michael Chekhov School – demonstrates how to work with molding, floating, flying and radiating.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Qualities of Movement II

In the fifth of 12 masterclasses, Ted Pugh – co-founder of the Michael Chekhov School – demonstrates how to work with inner activity and inner event, as well as exploring stage business and application to scenes.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Radiating and Receiving

In the sixth of 12 masterclasses, Ragnar Freidank – a former student of Ted Pugh and Fern Sloan – demonstrates how to work with throwing balls, giving attention, the audience and the text.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Remembering Chekhov

In this panel discussion, Mala Powers, Joanna Merlin and Jack Colvin – all former students of Michael Chekhov – discuss their experiences of working with him in Hollywood, California.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Sensations

In the ninth of 12 masterclasses, Lenard Petit – founding member of the Michael Chekhov Association, MICHA – demonstrates how to work with falling, floating and balancing.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: The Four Brothers

In the second of 12 masterclasses, Fern Sloan – co-founder of the Michael Chekhov School – demonstrates how to work with ease, form, beauty and a sense of the whole.
MICHA, Michael Chekhov Association
(2007)
Masterclass

Masterclasses in the Michael Chekhov Technique: Waking up the Instrument

In the first of 12 masterclasses, Ted Pugh – co-founder of the Michael Chekhov School – demonstrates how to work with the three centres, the ideal centre, and also explores the concept of inner movement.
MICHA, Michael Chekhov Association
(2007)
Masterclass

On Acting: Adam Kotz

Adam Kotz starred as Pastor Manders in Richard Eyre's award-winning revival of Henrik Ibsen's Ghosts.

Adam discusses playing a character with a fractured sense of self and a strongly held dogma, and explains how, in giving Manders a complex inability to govern his emotions, Ibsen succeeds in fleshing out the familiar literary figure of 'the Pastor'.

Adam Kotz talks about playing Pastor Manders in Richard Eyre's production of Ibsen's Ghosts
Interview
(2014)

On Acting: Adrian Schiller

Adrian Schiller played Reverend John Hale in Yaël Farber's acclaimed production of The Crucible at The Old Vic.

Adrian reflects on Hale's struggle with Deputy Governor Danforth and the challenge of fighting for the truth within a suspicious and paranoid community.

Actor Adrian Schiller discusses playing Reverend John Hale in Arthur Miller's The Crucible
Interview
(2015)

On Acting: Alex Ferns

Scottish actor Alex Ferns played Lee in Phillip Breen's acclaimed production of Sam Shepard's True West. Ferns shares how his childhood experiences helped him identify with Lee’s wild behaviour and why observing coyotes enabled him to access the character's physicality on stage. Contains strong language.
Interview
(2016)

On Acting: Amanda Drew

Amanda Drew plays Joy, a character whose lacklustre life pushes her to the edge of social and moral boundaries. Amanda gives a frank and detailed account of her work on the part in the acclaimed production of Parlour Song.

Contains references to sex.

Amanda Drew talks in front of a soft focus bookshelf
Interview
(2013)