Every time I design a new course or come up with a new idea, it’s always in response to listening to actors talking about things they’re struggling with or frustrations about the industry. I’ve seen a lot of headshots over the years. Some great and some really, really poor ones. When an actor joins this industry, how do they know what is good or not? How do they know how to prepare themselves properly for the shoot and do they even know themselves well enough to be creating their sales pitch in the first place? It got me thinking. 

I approached my really rather talented cousin James of Shift Focus / James Green Photography to see if he wanted to join forces to offer headshots to actors training with us at Both Feet. He was totally game. And what a wonderful treat for me - I only have three blood relatives left and he’s one of them so getting to bring together our two lives/major passions is really quite special.

James is technically a phenomenal photographer, he absolutely knows his stuff. He is most definitely an artist rather than someone who’s just bought a nice camera so I knew our skills would be a perfect match.

The biggest hurdle with headshots is providing a space where an actor can be themselves, which means it needs to be safe. I figured if I’m working with actors who I’ve been training, they already trust me, they already know the space will be safe. Plus I know them well enough to be able to coach them on different looks and through any struggles they might be having and push them to be simple but bold and brave.

I’m a firm believer that we’re better together. So, instead of doing solo shoots I wanted to run a whole day shoot with up to 8 actors. This would mean everyone would have time to change clothes and hair etc without a load of pressure but most importantly comradery would lift spirits, ease nerves, offer inspiration and raise the bar. 

James and I ran our trial shoot in January and I’ve got to say, we’re both pretty chuffed with the outcome. Always learning and ready for what's next, we’re now planning our next Headshot Day and designing a similar set up for Showreels - very exciting!!

It’s worth saying that I have zero interest in going into headshots and showreels but I do have a deep rooted investment in the actors I work with so, what James and I are offering will only be open to actors training with Both Feet. ​

See you soon?
​Steph x

Despite Stephanie Morgan being pregnant for 7 months of 2019, having major surgery and then gaining another baby to be a little brother to Fox and Adam Stadius creating and launching the brand new Musical Theatre BA at Leeds College of Music conservatoire and losing our Leeds space twice we have somehow managed...

• 31 evening classes
• 7 Intro to Meisner courses
• 5 Core Intensives
• 2 Transferring to Camera courses
• 1 Emotional Preparation, Monologue and Audition course
• 4 Tech Gym intensives
• 3 Scene Study Intensives
• 1 Intro to Meisner, Voice and Movement Intensive
• 1 Core Intensive with Voice and Movement
• 1 Barbara Houseman Voice Intensive
• 1 Audition Gym
• 1 website overhaul
• 1 R&D using the exercises to assist new writing

Really what is more important is that we are building actor training that is trusted by actors and other industry experts. Trusted for quality. Trusted for honesty. Trusted for a technique.

That list also doesn't represent everything the actors who have been training with us have achieved, the auditions attended, parts and credits gained, the drama school acceptance letters received and the many hours of mentoring we have offered. It also doesn't show the millions of beautiful moments of failure and honesty that we have shared in our spaces.

Every actor we meet and every class we run we are learning from too and we love it, deeply.

Thank you for trusting us. Thank you for being part of our journey and letting us be a part of yours.

2020 is going to be a big year for Both Feet. It will see the return of many courses plus newly designed ones, a retreat studio space with accommodation in North Wales, new relationships and collaborations (coz that's what it's all about, right?!), performance platforms, headshots and showreels collaborations and so much more.

We're even kicking off the first couple of weeks with 2 sold out Intro to Meisner courses and a brand new Into Your Body and Out of Your Head series - which makes our hearts sing.
​
Join Us as we jump feet first into a new decade.

I'll be honest (that's what Both Feet classes are all about, right!?) when Steph asked me to team up with her to do this ‘Into the Body and Out of the Head’ series of workshops, my imposter syndrome kicked in. That negative voice I've managed to tame since I started classes with Steph, cried out, 'What do you have to offer? You're a student of Both Feet, no one will want to learn from you!'. But I took a breath, thought 'trust' and said 'Hell yeah, I bloody love movement!'.
 
Ironically what brought me to Meisner training was to get away from my physicality and focus on the simplicity of truthful acting. I'd got into a pattern of doing very physical roles and approaching characters in the same way. But I’ve come full circle and realised simple truthful acting includes physicality and the body. Our bodies never stop moving. It doesn’t matter if it’s close to my natural state or a dramatised version of an animal for a children’s show, every character I play demands my body to know how to move. 
 
I really want this series to be PRACTICAL and USEFUL, so actors can take away skills they can use for the job (including auditions). I've done physical workshops before where I think, 'how can I use this in my work?!' and left feeling frustrated. Our priority will be finding what works for you. I'm passionate about making sure everyone can take steps forward, no matter where you’re at with the connection to your body. For me, the most mesmerising and believable actors are those who are fully connected to their voice, mind and body. That’s why I think movement training is as important as voice and text work. Movement is increasingly becoming recognised as vital in the arts; movement directors are now a staple part of many creative teams. There are physical theatre companies devising brilliant work such as Frantic Assembly, RashDash, Paper Birds and Complicite to name a few. I've picked the best methods and exercises (from these practitioners and more) that have helped me connect physically. Steph will be there too (thankfully!) with her holistic approach of making sure we are mindful and truthful. The aim is that we have fun and keep aware to protect ourselves as well as unleash ourselves!
 
If this interests you, here’s a little more on what to expect and why:
 
Part One: Exploring Laban & Multi-roling 
(Thurs 9th Jan)
Every session will start with a warm up in order to stay safe and learn ways to keep healthy before an audition or show. More and more cuts in the arts are leading to smaller and smaller casts, which leads to actors being required to play numerous characters in the same show. In a two hander once, I played the sister, girlfriend and male best friend to the other character. It was in a small intimate space; I'd have seconds to shift into a contrasting character in front of the audience. There was nowhere to hide. I found the Laban efforts super helpful with quickly getting into a different energy. Rudolf Laban created a movement language perfect for the actor, combinations of his 8 basic efforts describe the full range of the human condition. When we explore Laban’s efforts, we discover our own natural energy and play with opposing energies so that we can move, sound and feel like the character. For example, I previously struggled with finding calm and centred characters who have a high status, Laban’s ‘floating’ effort was the key for me. 
 
Our Laban exploration will lead on to multi-roling, we will look at playing a whole variety of characters in order to feel ready for anything thrown at us.​

Part Two: Meeting the Physical demands of auditions
(Thurs 23rd Jan)
Another pattern I've noticed: longer audition workshops are becoming popular. They can be between 1 hour to full days. I once did a 2-day workshop audition, they really put us through our paces; devising, improvising, singing, playing games. When I studied Le Jeu (The Game) with clown master Philippe Gaulier, I realised the importance of play. Gaulier sees the actors as players and theatre as the game. Some people think games are a waste of time, but I think they help connect us to our inner child. When you watch a child play, they hardly have any inhibitions and are free to be completely in the moment. When we play fully and freely it helps us share beautiful idiotic moments. Often in auditions and rehearsals, directors will ask you to play games. This shows you can work in a team and that you don't take yourself too seriously. Also, in these workshop auditions they'll sometimes give you a task such as devise a piece of movement or share your story telling skills. During the day, we'll play games and devise in a similar way to the workshop auditions I’ve experienced. This way you can feel confident when put into these situations and most importantly get some feedback. 
 
We’ll also spend part of the day looking at quick changes we can make to our bodies to help us with the directorial demands that often come with auditions. This will link nicely on from the previous workshop if you do that one. ​

Part 3: Exploring Given Circumstances 
(Thurs 6th Feb)
This workshop will be looking at how the given circumstances (that come from a text/text analysis) can be explored and translated physically. Actors tend to go one of two ways: either by over complicating this part or doing nothing at all. Steph and I will guide you through a simple and easy process to character work which you’ll be able to use anywhere. 
 
We either decide given circumstances on the day, or if there's a circumstance you’d like to try, we can explore that too. Who knows, maybe Steph will throw a curveball your way by giving you scenarios that will help you find something new. I've found breaking out of my typical ‘casting’ (small child or animal!) has been the most rewarding work I've done, it’s good to open up your casting options. Is there a type of character you want to play but you’ve never had the chance? Is there a dialogue that excites you that you’d like to try out? This is the supportive space to bring it and make some discoveries.​

One last thing, these classes are OPEN TO ALL (as long as you’re an actor or seriously working towards an acting career) so please share with friends who could be interested. It’s a great way to get a taste of Both Feet training and for regular students, it’s always nice to work with fresh faces. Not only this, you get 2 for 1; Steph being an acting coach and me being a movement director means we can look at all aspects of your performance.
 
Both Feet classes were a game changer and helped me to get out of my comfort zone. I've never experienced such a supportive learning environment, it makes us all thrive. It’s also really exciting that we’re creating a collective of kick ass, lovely actors. 
 
Post-Christmas blues are real and January is usually a quiet time in the 'business’. I don’t know about you, but sometimes the New Year can feel daunting rather than exciting. Instead of finishing off all the left-over chocolate, let’s get together and start 2020 as we mean to go on!​

July last year Nicki Davy cautiously made contact with me (we knew each from another life time) saying she thought she wanted to be an actor. She'd had zero training, just a suppressed hunch that this is what she should be doing. 

After discussions she signed up to our Foundation training and by the end, despite being terrified of this giant leap she had quit her job, booked headshots and started to apply for roles. Lucky for us she's done almost every course we’ve ran since and been mentored by me along the way. She has not floated into this industry, she has bulldozed her way in. She has worked hard. She knows the development of her instrument and craft is essential to her success. Alongside our training she’s gone to dance classes, voice 1:1s, Play With Fire Productions’ Scene Studies and probably more.

Over the last 18 months she's done loads of script in hand nights, research and development projects, Slung Low Shorts, done student films, worked with Northern Film School, the bread and butter school theatre work and no doubt loads more that my baby brain has forgotten. Over the last couple of weeks she's been in her first two full length plays. 

I managed to drag my sleep deprived self to King John by Cream Faced Loons on Sunday night in Manchester to see how she was getting on and I'm so glad I did. 

I have a funny relationship with the word "proud" because it rings of ownership, maybe that's just a weird hang up I have. But it is the only word I can use to how I felt driving back home to Wales. She was unapologetic for taking up space in the room. She watched attentively. Listened acutely. Her huge chunks of text were powerful and human. She was present and honest and raw and unafraid. 

Is she at The National being reviewed by Time Out? No. Not Yet. But she will finally be on Spotlight in the new year and then she can get an agent so she can be taken seriously as an actor (don't get me started on that entire statement). 

I put this in a blog because she's an incredible example of what actors should be doing. I see far too many actors floundering and/or waiting or being too scared of failure to be all in. Be all in. No excuses. You might just be brilliant. 

I am not taking ownership of her "exceptional" performance, as I said above, she's jumped into other training over the last 18months but I do feel like Adam and I have had a decent amount of input into the tenacious and open actor she has been developing (and continues to develop). 

Proud? Yup. 

Steph x

Recently I've had a few students who have now started at some of the top Drama Schools in the UK/world get in touch to thank me for the training we provided them and how thrilled they are that Meisner is being taught where they now are. This makes my heart sing. 

For as long as I've been training in and teaching this work it has felt quite underground. The majority of actors I met along the way (The North being more behind than London) either saying they'd never heard of it or they'd heard the name but didn't know what it was. But recently there's been a shift which is seriously exciting. 

There could be many reasons for this but my reckoning is based on the rise of mental health awareness. 

Everyone teaches this work differently, of course they do, because no one is Sanford Meisner apart from Sandy himself but there are some key principles that I'd like to believe go wherever the training is:

• Listen with your gut, not your head
• Learning to be better at seeing and listening
• the most important thing about me, is you
• What happens to me depends on you
• It's not about the past or the future, it's about the now
• The foundation of acting is the reality of doing

Until I discovered The Meisner Technique I believed the only way to be truthful as an actor was by experience, therefore I relied heavily on emotional recall - because that'd what I'd been taught, even from a very young age. But here's the thing, if you've not had the training and grounding to trust yourself and be safe in the knowledge of all those beautiful emotions you're full of, how could recalling the most traumatic event of your life (for example) for the good of your role be good for your mental health? My mum died in 2014. The last week, the last day, the last hour, the last breath was horrific, I had nightmares for months. Is it a good idea to replay that over and over again in order to bring sadness or rage or guilt or relief to my character? I don't think so. 

The fact is, I am made up of hundreds of thousands of experiences and memories and they fill me. Someone could stroke my face how mum once did and that feeling would rush through my veins like lightning. Because it's always in me, it'll never go away. I don't need to go digging for it, it's all there, available to me, if I let it. 

Money is tight. Headshots are important, an investment, your marketing material. Yet for some reason I see so many actors be unprepared when it comes to choosing photographers and attending their shoot.  Here are a few thoughts from me on making every penny count.

1. What do you need?
   A question I ask in the training room and rehearsal room a lot but it’s also relevant here. I do mean literally - are these your first headshots or are they top ups? What kind of pictures do you need? But I also mean what do you need to make you feel good, to get the best out of the session? I believe as an actor, knowing what you need is your best tool. 
2. Choose carefully
   Take your time and research properly, don’t be lazy. Find actors you know and look at their head shots. Are those pictures a true representation of them? Is there a good range? Are they over edited or are they real? If so, see who the photographer is. Just because someone gives you a recommendation, this doesn’t mean you should just book them. Everyone is different. 
3. Trust your gut
   A good headshot photographer will make you feel comfortable, and this should be reflected in their communication with you beforehand. If your gut is questioning your choice, listen to it. 
4. Before you go
   Don’t get carried away in the beauty salon. Of course if you want to do the usual, do it but remember these pictures need to be a true reflection of you. So going and getting a mega fake tan, inch long eyelash extensions and/or your nose pierced the morning of the shoot to make you feel more confident may not be the best plan. Same with clothes - if you're not used to wearing those shapewear knickers or that woolly jumper, now might not be the time to rush out and buy them - think carefully about what items you choose - you want to exist in front of the camera with as much ease as possible. 
5. Be ready
   What can you do with clothes, makeup and hair to give yourself as many basic options as possible? Of course you can’t do all options but what small changes can you make to encourage a casting directors imagination? Make sure you think about this before you go so you’re fully prepared. Beard/no beard. Slick back hair/free down hair. Glasses/no glasses. Hoodie/shirt. Be clever. 
6. Enjoy yourself
   I don’t actually know many actors who like getting in front of a camera so check in with yourself - what small things can you do to allow yourself to be open and to make it an enjoyable experience? Is it that you need to arrive early to grab a coffee? Smells can have a profound effect on our senses and state of mind, use it to your advantage with a spray of your favourite perfume or a few drops of lavender. Might music help, on your way there and/or during the shoot? Even though shoes won’t get seen in the picture, they can have a huge difference on how we feel so why not take a couple of options? Work with the photographer, don’t rely on them to do everything, they don’t know you like you do.
7. Be honest
   If I trust anything it’s that honesty reads better than bullshit. Once you get there if you’re feeling nervous, don’t hide it. Let it be a part of the moment. If you’re shooting different ‘looks’ don’t fake it, feel it - use preparation techniques you’ve tried and tested during your training or work.
8. Most importantly, you are who you are, you have what you have
   These pictures are a marketing tool for you. You are enough, just as you are: your colouring, size, shape, lines, curls, markings are all you. Celebrate it all. Be kind to yourself. Maybe it’s the bits you’re less fond of that’ll get you the role so let them be seen.

Since writing this blog we've actually started to run our own Headshot Days with me (Steph) coaching and James of Shift Focus behind the camera. Find out more HERE.

Just a wee update for those who have entered the website and are new to us. 

You may have gone to the Dates page to see we don't have any courses in the diary at the moment apart from our weekly classes in Leeds. There's a simple explanation for it...

I (Steph) had my second baby, Pip, in July (yay! Zzzz!) so I'm just figuring out life with two small people and how I can gradually build running my courses back into it. Pip and I have already co taught the Voice, Movement and Meisner Intensive together in Leeds in August so I know we can do it, I just need to make sure I can still be the acting coach I want to be whilst also being the mum I want to be. Ah life, it's a constant balancing act ay? 

On Tuesday I packed my bags and headed off for (the not so sunny) Leeds for a 4 day Vocal Intensive with the wonderful Barbara Houseman, completely unaware that I’d leave feeling like I’d found another part of me. It was so brilliant that I have to write about it.

We learnt the intricacies of our bodies and how every little thing is connected to your voice, from bad experiences to where you hold your head. On Tuesday, we started with the basics of how to breathe, which was a biggie for me as I tend to hold my breath for stupidly long periods. On Wednesday, we moved onto resonance and taking up space, which is something I’d never want to do in any situations so I’d hide behind my voice, or lack of. There’s something about hearing yourself speak so freely and clearly whilst everyone is listening to you. On Thursday we began looking at our texts and using different vocal exercises that we’d learnt to feel connected to them. And then Friday rolled around quicker than ever and we watched how much everyone had changed. I was (and still am) so full up with emotion by the time Friday was coming to an end with how much I’d learnt and allowed myself to know that it is okay to not care so much. It was such a pleasure sharing the room with such beautiful people and watching everyone on their own journey in discovering, you learn so much from other people and everyone was so so open. ​

All the while we had a very special guest in the room, little Pip. I am so amazed at the wonderful woman, Stephanie Morgan,  who introduced us all to Barbara and made it all possible. There’s not a lot of people who can say they’ve given birth to a human in the space of 6 weeks and was still so present and invested in the process. I think everyone in the room can agree that Pip brought a sense of joy and freedom to the week as he is truly the pinnacle of not giving a single fuck. And I got to have a cuddle for a which was bloomin lovely (and I usually don’t like babies). There’s not a lot of teachers out there that I’ve met who trust the people they work with so much, and makes such a safe environment to learn and fuck up. ​

I wanted to write this post to remember how I felt yesterday on the journey home from Leeds. And how I still feel now the day after. And hopefully, how I can continue to feel for as long as I can. I never knew that when I started acting that this would be the journey I’d be going on, or the journey I didn’t know I needed to go on. Especially as someone who hasn’t yet done and might not do their 3 years training at drama school, there’s always this feeling of not being good enough or worthy enough to be in this industry. But when it comes down to it, we’re all as fucked up and clueless as eachother – some are just better at admitting that than others. This training, and my training with both feet is definitely shaping me into the actor (and the person) that I want to be.
Loving yourself isn’t easy. As Barbara had said, just start by being kinder to yourself. The rest won’t be far behind.

Pinched (with permission) from Rhia's personal website.

What a phenomenal week it has been - not many pics as I've had a baby on me a *lot* plus I was far too busy soaking up all the learnings but grateful I got a few :-)

Thank you Barbara Houseman for being such a generous, knowledgeable, practical, funny, inspirational lady - I'll hedge my bets and say I reckon every actor will have left today full of gratitude for what you've gifted them this week sprinkled with deep sadness that they won't be in your company tomorrow.

Actors - thank you for being ready and open and willing to dive into the unknown whilst supporting each other in the process. What beautiful work you all did.

Remember, look back on your notes. Choose the exercises which worked for you and find a routine.
Be kind to yourselves. It's not selfish, it's self compassion. You deserve it.
You can't Do a Don't. So... you might as well just Do. Receive your breath, don't take it.
**Don't be afraid to take up space. You are a gift.**

See you all soon we hope, at the next one?
Steph (& Pip) x
​Ps thanks so much for welcoming Pip into the space with such openness. What a lucky little boy :-)

Wow, what an incredible week: Voice and movement classes intertwined with our Meisner teaching.

Two groups of actors discovering and exploring what it is to be present, physically,vocally & mentally. Newbies learning from regulars and regulars learning from newbies.

Thank you for such generosity and openness to our process, to each other and for the ever changing dynamic a 5 week old baby brings to the space.

Thank you Patricia and Bella for your inspirational teaching. We have loved working with you.

You are who you are, you have what you have, right *now*.
Be kind to yourself.

Now, go and find an ice cream, a cold beer or a [insert cold item of your choice] you deserve it!!!
Huge smiles,
​Steph & Adam x