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I work with:
Photo by Laurence Kesterton
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I believe in your Inside Voice, the voice inside you and only you, and I believe the world deserves to hear it and you deserve to celebrate it |
About me and Inside Voice:
I'm not a very traditional voice teacher. I did not, like so many, come to teaching through work as a professional singer. In fact, when I went off to college, I thought I'd never ever get to sing along happily to the radio without torturing myself and others.
But then something happened. A lot of somethings actually. In my early twenties I trained with two legendary men, Richard Armstrong (Roy Hart Theatre) and Thomas Richards (Grotowksi Workcenter), who with philosophies and teaching styles which could not have diverged more, helped me understand that my voice is not an instrument at all, but simply me. Period. Full stop.
I began feeding my voice (and therefore my self) a steady diet of self-love and curiosity and heard my range expand, stretching from the octave below bass way up to coloratura soprano, all without a “break.” I began to paint with my voice, drawing colors from truly infinite permutations of tone, resonance, and intent, and discovered a whole realm of chorded, broken, visceral, and otherworldly sounds. I learned to sound like my favorite artists, to sound like my favorite animals, to sound like me, all of the beautiful and terrible parts of me. I found songs in me that no one ever taught me, songs from another time and place, that made my whole being vibrate.
As an instructor of physical theatre in the masters program of the Royal Academy of Dramatic Art in London, I began experimenting with other’s voices. I found that all this work on my own voice had taught me a keen new sense of deep listening that allowed me to hear what a voice was expressing and what it was hiding. I began creating exercises that joyfully allowed these secrets to be revealed. Inside Voice was born, and what originated as an actor training model soon became accessible to any human longing to understand and love their voice and their self more.
Once I started working with people in these vulnerable states, I supplemented my background in voice and performance with a wide assortment of modalities, including craniosacral therapy, tarot, holotropic breathing, sound healing, aromatherapy, plant medicine, meditation, visualization, and shamanic journeying. Through these practices, I’ve found that many times, the most significant vocal obstacles I am able to unlock for my clients can happen without them singing a single note.
I'm not a very traditional voice teacher. I did not, like so many, come to teaching through work as a professional singer. In fact, when I went off to college, I thought I'd never ever get to sing along happily to the radio without torturing myself and others.
But then something happened. A lot of somethings actually. In my early twenties I trained with two legendary men, Richard Armstrong (Roy Hart Theatre) and Thomas Richards (Grotowksi Workcenter), who with philosophies and teaching styles which could not have diverged more, helped me understand that my voice is not an instrument at all, but simply me. Period. Full stop.
I began feeding my voice (and therefore my self) a steady diet of self-love and curiosity and heard my range expand, stretching from the octave below bass way up to coloratura soprano, all without a “break.” I began to paint with my voice, drawing colors from truly infinite permutations of tone, resonance, and intent, and discovered a whole realm of chorded, broken, visceral, and otherworldly sounds. I learned to sound like my favorite artists, to sound like my favorite animals, to sound like me, all of the beautiful and terrible parts of me. I found songs in me that no one ever taught me, songs from another time and place, that made my whole being vibrate.
As an instructor of physical theatre in the masters program of the Royal Academy of Dramatic Art in London, I began experimenting with other’s voices. I found that all this work on my own voice had taught me a keen new sense of deep listening that allowed me to hear what a voice was expressing and what it was hiding. I began creating exercises that joyfully allowed these secrets to be revealed. Inside Voice was born, and what originated as an actor training model soon became accessible to any human longing to understand and love their voice and their self more.
Once I started working with people in these vulnerable states, I supplemented my background in voice and performance with a wide assortment of modalities, including craniosacral therapy, tarot, holotropic breathing, sound healing, aromatherapy, plant medicine, meditation, visualization, and shamanic journeying. Through these practices, I’ve found that many times, the most significant vocal obstacles I am able to unlock for my clients can happen without them singing a single note.