The Drama Coach Podcast

In this episode of The Drama Coach Podcast, Lisa is joined by actor, writer and certified Chubbuck Technique coach Eric Geynes to explore what really helps an actor move from “performing” a scene to genuinely living within it. Eric shares his unusual route into acting after years as a competitive swimmer, the discipline he carried from sport into his training at Drama Centre London, and why the hardest part of acting preparation can sometimes be learning to let all that preparation go. Together, Lisa and Eric explore the Chubbuck Technique, character psychology, scene objectives, action verbs, movement psychology and the relationship between inside-out and outside-in approaches to performance. They also discuss how actors can work with emotionally demanding material safely, why emotion should be a result rather than the goal, and the importance of understanding what your character actually wants from the other person in the scene. Eric shares practical advice for self-tapes and screen work, including: Finding a clear scene objective Using playable actions rather than chasing emotion Creating a strong moment before Allowing the character to exist beyond the first and last line Using simple physical “doings” to make a scene feel lived-in Avoiding anticipation and staying genuinely responsive Letting accidents and unexpected moments become part of the performance Knowing when to stop analysing and trust your preparation The conversation also moves into Laban and Yat Malmgren’s Movement Psychology, performance capture, working without physical sets or props, and how physical choices can sometimes unlock a character from the outside in. Finally, Eric discusses the idea behind his forthcoming book, The Constant Actor, and what performers can do when they aren’t currently employed as actors. From creative practice and collaboration to training, career development, consistency and looking after your mental health, he offers a practical reminder that being an actor is about far more than your latest credit. A brilliant episode for actors who love exploring technique - but also need the reminder that eventually, you have to trust the work and let it go. Find Eric: Instagram: @ericgeynesCoaching: @ericgeynescoach Follow Lisa and The Drama Coach on TikTok, Instagram, YouTube and Facebook at @TheDramaCoach. Subscribe to The Drama Coach Podcast so you don’t miss the rest of Series 3 - The Performer’s Toolkit. Intro/Outro Music: Nastelbom - Soft Music 295878 from Pixabay

How do you know when it’s time to move on from something that isn’t actually bad? In this solo episode of The Drama Coach Podcast, Lisa shares a recent decision from her own acting career - changing agents - and explores the much bigger lesson behind it: how to leave well. There was no dramatic falling out and no terrible experience. Lisa’s previous agency had supported her, submitted her for work, secured auditions and offered brilliant communication. But Lisa had changed. At this stage of her career, she realised she needed something different from representation - more direction, strategy and honest conversations around casting, positioning, materials and the bigger picture. And sometimes, that’s reason enough. In this episode: How to recognise when something that was once right no longer fits Why gratitude doesn’t have to become obligation Positive feedback vs directional feedback What you actually need from an agent at different stages of your career The difference between a rough patch and the wrong fit Why clarity about where you’re heading makes decisions easier How to move on without unnecessarily burning bridges Why you don’t need to make the old thing wrong to make the new thing right Questions to ask yourself if you’re wondering whether it’s time for a change And this isn’t just about agents. The same questions can apply to acting classes, drama schools, teachers, theatre companies, jobs and other parts of your creative life. Sometimes moving forward doesn’t mean rejecting what came before. It simply means recognising that you’re ready for what comes next. If this episode resonates, Lisa would love to hear about your own experience of knowing when it was time to move on. Find The Drama Coach on Instagram, TikTok, LinkedIn and Facebook. Email: [email protected] If you’re enjoying The Drama Coach Podcast, follow the show, leave a rating or review, and share this episode with another performer, parent or teacher who might need to hear it. Keep learning, keep growing and keep telling stories that matter. Intro/Outro Music: Nastelbom - Soft Music 295878 from Pixabay

What does it really take to keep showing up when you don’t feel motivated? In this episode of The Drama Coach Podcast, I’m joined by dancer, performer and teacher Ned Drew to talk about discipline, professional training and the mindset behind developing as a performer. Ned shares his unconventional journey from football into dance, training at Bath Dance College before moving to London to study ballet and contemporary dance at Rambert. We talk about the realities of full-time professional training, why motivation alone isn’t enough, and what young performers can learn long before they ever reach drama school or professional training. We also explore the impact of phones and social media on focus, finding a routine that works for you, balancing training with actually having a life, and what Ned learned when injury forced him to sit on the sidelines. There’s also a brilliant discussion about comparison and casting - including why being in the ensemble is never “less than” getting the principal role, and why every performer has their own journey and their own time. In this episode: Why discipline matters more than waiting to feel motivated Ned’s journey from football to professional dance training What a typical full-time training week really looks like Managing phones, social media and distractions Showing up even when you’re not performing at your best The difference between training for fun and training professionally What injury can teach you about your attitude to training Finding a balance between hard work, friends and life outside training Why open classes can help performers develop Comparison, casting and learning not to measure yourself against somebody else Why the ensemble can be just as important as the principal roles Building habits that work over the long term Remembering to enjoy performing while you’re young One of the biggest messages from this conversation is that progress isn’t about being perfect every day. It’s about continuing to work at something over time, learning what works for you and showing up. And, as Ned puts it, your journey doesn’t have to look like anybody else’s. Find Ned on Instagram:@NedDreww Follow The Drama Coach for more acting tips, industry conversations and practical support for young and emerging performers:@TheDramaCoach Intro/Outro Music: Nastelbom - Soft Music 295878 from Pixabay

In this Series 3 solo episode, I’m pulling together some of the key advice that has come up again and again in my conversations with agents across The Drama Coach Podcast. Agents may all work differently, but there are some clear themes that keep returning: professionalism, curiosity, self-awareness, resilience, useful materials, strong self-tapes and learning how to meet your agent halfway. This episode isn’t a rule book, and it definitely isn’t a “do this and you’ll get signed” guide. Instead, it’s a performer’s toolkit - a practical, grounded look at the habits, mindset and working skills that help performers become easier to support, easier to submit and better prepared for the realities of the industry. In this episode, I talk about: What an agent actually does - and what they can’t control Why getting an agent is the start of a working relationship, not the finish line The importance of professional curiosity and understanding the industry Why actors need to watch the kind of work they want to be in What makes a self-tape clean, simple and useful Why truth matters more than perfection on screen How readers and parents can support a tape without taking over Why endless takes can work against you The shift from parent-led support to performer ownership What “readiness” really means Why useful headshots, showreels, profiles and skills matter Self-awareness around casting, playing age and what you can truthfully carry Training as part of the performer’s toolkit Resilience, consistency and curiosity as long-term acting tools Why performers must not tie their self-worth to the outcome How parents can support older teens and emerging actors with more independence This episode is for performers who are starting to take their acting seriously, young actors building their careers, parents supporting older teens, and anyone trying to understand representation in a more realistic and professional way. Because representation is not just about being chosen. It’s about being ready - ready to work, ready to learn, ready to communicate, ready to handle the quiet patches, and ready to keep going without losing yourself in the process. You can also listen back to previous agent conversations across Series 1 and 2 of The Drama Coach Podcast for more detailed advice on approaching agents, self-tapes, profiles, Spotlight and building a professional relationship. Find out more The Drama Coach:https://www.thedramacoach.co.uk The Drama Coach Blog:https://www.thedramacoach.co.uk/blog/ The Drama Coach Podcast is available on Spotify, Apple Podcasts, Amazon Music and YouTube. Music: Soft Music 495878 by nastelbom from Pixabay.

Movement is not just for dancers. It is one of the most powerful tools an actor has. In this episode of The Drama Coach Podcast, I’m joined by movement practitioner, actor and highly experienced teacher Pat Garrett to explore the role physicality plays in creating truthful, believable characters. Pat has taught movement for actors across drama schools and colleges and has worked within repertory theatre, the National Theatre and the Royal Shakespeare Company. She also spent more than ten years as a senior examiner for Trinity College London, assessing professional diplomas in Drama, Dance and Musical Theatre — so it is fair to say, she has seen a lot! Together, we discuss why an actor’s physical choices matter, how movement can reveal character before a word is spoken, and why performers should develop greater awareness of what their bodies are communicating. This is not about choreography, complicated routines or learning how to dance. It is about using the body with purpose — and adding movement to your own Performer’s Toolkit. Why movement is an essential acting tool The difference between simply moving and making purposeful physical choices How posture, pace, gesture and tension communicate character What an actor’s body can reveal before they speak Why movement work is not just for dancers or musical theatre performers How physical choices can support emotional truth The importance of observing how real people move Developing greater physical awareness as an actor How movement training can help performers avoid repetitive character choices Using the body to create more specific, confident and believable performances Your body is already telling the audience a story. The question is whether you are making those physical choices consciously — or allowing habit, nerves and your own everyday movement patterns to make them for you. Movement does not need to be big or theatrical. Sometimes the smallest adjustment in posture, rhythm, focus or physical tension can completely transform a character. Choose a character or scene you are currently working on and explore: Where does the character hold tension? What part of their body leads them into the room? How much physical space do they take up? Do they move quickly, slowly, directly or hesitantly? What changes physically when their circumstances change? Try the scene again after making one clear physical choice and notice what it unlocks. Pat Garrett is an actor, movement practitioner and experienced teacher who has taught movement for actors in colleges and drama schools. Her career includes work in repertory theatres, at the National Theatre and with the Royal Shakespeare Company. Pat was also a senior examiner for Trinity College London for more than ten years, examining professional diplomas in Drama, Dance and Musical Theatre. “Movement isn’t just for dancers.” Movement for actors, physical storytelling, actor training, character physicality, body language, movement practitioner, performance techniques, acting exercises, screen acting, theatre training, The Performer’s Toolkit In this episode, we explore:Key takeawayA tool to tryAbout Pat GarrettEpisode quoteKeywords