The biggest part of my teaching work is to give the participant the confidence to develop an instinct for performance and a generosity to develop ideas.
I prefer to teach en route during a production so that students can see the value of the disciplines they are presented with immediately and directly. I am not interested in the master class approach. Everything is based on what we find out during the work.

I have a wide curiosity in theatre practices and I am not a disciple of any particular method. I am most interested in the point where theatre principles coincide. What single theatre practice can possibly cover a work like Angels in America or a play by Shakespeare? These works demand more of us. They ask us not to be followers of any theatrical dogma but to use our instincts from a broad base of curiosity and experience.

I am interested being the devils advocate with students, especially encouraging them to question whether they are playing with technique in a void or if they are actually engaged in using technique to realise the stories and ideas they are preparing for performance.

Hope Street, Liverpool: Workshop teacher,

Director of Princess Iyona and Mab.

Manchester Metropolitan University: Directed Look Out Here Comes Trouble, The Mysteries, Sisterly Feelings

Newcastle Metropolitan University: Series of Workshops

Liverpool Institute of Performance Art:

Ran course on acting for Community Projects

Lancaster University: Ran course on Street Theatre

West London Institute Workshop Teacher

Contact Theatre, Manchester: "Lavinia's Dream"

Escola Superior de Música e das Artes do Espectáculo (ESMAE), Portugal:

"Titus Andronicus"

With the staff Escola Superior de Música e das Artes do Espectáculo