The Audition Vs. The Shoot

I have been teaching commercial acting for 20 years and auditioning for 38, and have never figured out a way to teach actors how to work on set. I have found numerous techniques to hone their skills in the audition room. I have created technique on how to stand out and be noticed for good solid work. Even found ways to recreate a callback setting so actors can deal with the nerves when a job is at stake.

But being on set is its own beast. I am going to give my sage advice on things to do and things to avoid once you have booked the elusive job.

Let’s start with the fitting.

which is usually the first time you will interact with the director and clients if it is a commercial. I strongly suggest you come dressed in an option for the role. IF they ask you to bring some wardrobe choices to the fitting, bring a few. You don’t need to bring your whole closet, just one or two really strong choices and wear one of them to the fitting. Make sure your hair is washed and you wear makeup or come as if you were going to the callback. I have seen people lose the job after being cast because they are so casual or unkempt and that is not how the CLIENT sees the character. You should always present your most castable self anytime you are around those hiring you.

Often what I wear to the fitting is selected for the job. Make sure you wear nude underwear or things that will not detract from the outfits you will be trying on. I suggest pantyhose for women because they may have you change behind the clothes rack or some other makeshift dressing area.

Great! On to the shoot day

First: Get to the set at least a half hour early. Walk around and say hello to people. Introduce yourself. Have a bite to eat and relax into the setting. Find a place to camp or drop your things in your room.
Note that often nowadays there is rarely separate trailers for actors especially on commercials. Budget cuts and the like have impacted this. So find a spot that you can put your stuff down and travel light. Bring a phone, a book and maybe some comfy shoes… that is it.
Second, Get to know the names of the AD or second AD who will be signing you in and monitoring your where about. Let them know where you are… so they can find you. Nothing irritates them more than looking for you when they need you in makeup or on set. The more you can know names of the folks working on the shoot the better and the more comfortable you will be.
Most likely one of the first things you will do is sign your contract. ALWAYS SNAP A PHOTO OF IT and send a copy to your agent even if you think it is fine. You want the agent to deal with discrepancies not you. You are there to act, to create, to be of service. Let the agents negotiate in your behalf.
Be kind, respectful and professional. Have your photo Id, Passport or Social security card handy for them and any other paperwork you need. Know the address of your agency. You can always download contracts on line and practice filling them out so you look like a pro.

SIT AROUND AND WAIT.

Yes they called you at 6:00 am but don’t get around to shooting you till 3:00 in the afternoon. It does happen. This is where your patience and professionalism must come into play. You CANNOT complain. They are paying you for the day and you are to be ready and energetic when they call you to the set.
Do whatever you have to do.. Walk, exercise, nap, eat, read to amuse yourself and stay focused.
SHOOTING—when the 2nd Ad calls you to the set… be ready to go. First they will do a rehearsal with the director and the Director of Photography (DP) to see how they are going to shoot the scene. Give your all in the rehearsal. This is where they can see what will work and what won’t. Don’t hold it back to the shooting as they may not know to cover it. Drop the ego and listen to what all of the moving parts are. They may need to make changes because of lighting, or cast, or angles, nothing to do with you, but it will affect what you do in the scene.

LISTEN.

Then they may ask you to step away while they light or set up the scene. Stay close by and make sure they know where you are. Keep your energy up and pleasant and respectful of the others doing there equally important work.
They usually start with a wide shot, covering the whole scene. Still give it your all in every take. Be open and available for notes from the Director. Be open to listening to the Assistant Director as well because the Director will frequently tell the AD what they want from you in the shot.

After they have THE WIDE… Then they will come in closer, for perhaps a two shot or just another angle. Things may adjust. They might pullout the table that you had in the scene because they need to get in closer with the equipment. People are all around sticking things in your face, light meters, makeup people with powder puffs or maybe you are sweating and the makeup person is nowhere to be found. Quietly ask the AD if the makeup person is close by.. You feel shiny.
Be open to the notes and when and if they do several… many takes, it is often other factors, lighting , camera, focus that is causing them to do so many takes to achieve the desired effect. You want to keep it fresh and new as if the first time you said it, but unless they suggest it, keep doing what they asked for. If the director seems to be reaching for something for your performance, try this. Repeat what they director said in a playable action. If the director says, let’s speed it up. You can say so more urgency? Or if the director says take more time, you can say, so languish in the moment? In this way you are collaborating with the director and giving yourself something playable to do.
Often the producer or clients will have a way they want to try and it doesn’t mean what you were doing is wrong; they just want to have options to look at in order to pick the right one for the spot/film.

I AM READY FOR MY CLOSEUP.

this is where most actors fall apart. Something about the camera being up close and personal gets them all shook up. Remember who you are talking to and what you want and try to anchor yourself with something or someone.
You might be looking at a blue piece of tape, when before in the wide shot you had an actual person or something real to look at. Now you have to have the same reaction with a piece of tape. Use your memory or emotional recall to capture the picture in your mind’s eye and make it as believable as you can.

Judy Kain is an actress who has appeared in over 400 commercials. She teaches Advanced Callback, A-Z Commercial Class, The Business Of Acting, and Wednesday Workouts.

 

Dropping The Soap Premiere

Judy Kain with Jessica Lynn Verdi at the Dropping The Soap Premiere

I was lucky enough to have recently attended the Premiere of The New Series DROPPING THE SOAP  at the Writers Guild.   I love going to Private Screenings or openings of shows because the energy and excitement from everyone involved is heightened with expectations and hope for the success of the project.  And I always run into old faces make new connections with fellow actors and leave with a sense of inspiration and encouragement.

Dropping the Soap did not disappoint on any level.  First of all the Red Carpet was off the chart! Star studded for sure with Jane Lynch (Producer and star  of Dropping the Soap) Missy Pyle, who plays the French maid in the Failing Soap Opera COLLIDED LIVE; Patrick Fabian, who is hilarious as Lance Dupree; Dot Marie Jones, ( Glee); Carolyn Hennessey‏  (General Hospital, True Blood, Cougar Town, John Michael Higgins  (Wilfred, Tween Fest ); in addition to the amazing cast Paul Witten, Kate Mines and Suzanne Friedline. The cameras were flashing and the interviews flying during the extremely tasteful reception.

We all made our way into the packed theater to find a seat. The cast got up on the stage and thanked the sponsors and all the attendees for supporting the project. Jane Lynch was the spokesperson for the group and started off the screening with panache and humor.

From the moment the series started the theater was laughing. The story follows the cast of a fledgling soap opera as they each try to figure out how they will survive and stay on the show.   A new tough-as-nails executive producer is hired to bring new life to the daytime drama, played by the Lynch, tensions run high and hilarity ensues.

There are 10 six minute episodes and each one is as rich, irreverent and bold as the next. Paul Witten’s performance is far and away some of the funniest stuff I have seen on TV. He is supported by a vastly talented group of stars, each one creating surmounting foils for Julian Draker to try to overcome.  The final episode Julian is faced with a difficult choice and tells the world his secret. I won’t give away the big finish, but will say Witten’s final monologue is worth the wait.

After the premiere, we all filed into the lobby to congratulate the cast and crew for their amazing work, rubbed elbows with the celebs and had one last slice of cheesecake. It was an honor to be there to share in the success.

Check out the trailer here: Dropping The Soap, and make sure to watch the webseries on iTunes, Amazon Instant Video, Google play, or dekkoo.

 Judy Kain is an actress known for The Odd Couple, Hand Of God, and Married With Children. She  opened Keep It Real Acting Studios in 2012. In 2016, she was voted "Favorite Audition Teacher" and "Favorite On-Camera Teacher" In the Backstage Reader's Choice Awards. Judy teaches The Business of Acting Advanced Callback, Commercial A to Z and Commercial Wednesday Workouts.

Sides of Self

Understanding how to use all your “Sides of Self” when preparing for an audition, role or performance.

By: Randall Sims

About 20 years ago I began studying an acting system developed by Judson Vaughn. An outstanding and successful actor for many years in Los Angeles and Atlanta, Judson had begun tinkering with a new process for teaching actors not only how to act better but also how to create original content via a process known as “Fodder with Compounding Obstacles”. There’s not enough time to go in to that wonderful creation here but future articles and classes at KIRA will delve deeply and powerfully in to that process of creativity and imagination.

That process yielded a fundamental building block system for actors known as “The Concepts”. These 30 or so items were all related to the creation process enabling the actor to use all the gifts and resources available to him or her to develop a truly original and inventive approach to auditioning and performing. One of those concepts is known as “Side of Self”.

For years actors have been taught that in order to inhabit the character you’re performing one must dig deep in to one’s own emotional past and dredge up some experience that will aid in manifesting an honest and true performance befitting the description of the character and the story he or she is part of. Known as “the Method” this system still serves as the main creative force behind many successful actors and their unforgettable performances. It does work just not very reliably.

And besides, most of you are not auditioning for the main role in most projects.

Using old emotions to generate fresh and original performances is not a very successful or efficient way to approach the creation process. Old experiences are good for many purposes in life but for acting the best and most interesting results come from what’s happening now to the actor. To that end, I encourage actors to find a side of self or a slightly different shade of YOU, if you will, as the foundation for creating an honest and believable performance for the audience.

If you watch the successful actors in the business, it always seems like they are kind of the same person in every performance even though the characters, circumstances and settings are drastically different and varied. Why does this work for audiences? Well, it works because none of us think Anthony Hopkins really eats people. Nor do we want to think he has experiences in his past enabling him to somehow relate to Hannibal Lecter. What makes the performance an all timer, like many of his performances, is simply the fact that he is still very much his own true self inhabiting an absolutely terrible place and time and doing terrible things.

What makes the actor stand out in an audition setting and on set is his or her ability to make an unreal and fabricated world come to life not only for the audience but for the actor as well. Simply put the only effective way to do that is to always be yourself in whatever scenario you are given. So when preparing for that audition or performance always make sure your foundation is squarely and securely set on YOU and not some forced or made up version of you. The freedom and confidence you will possess knowing that you are enough and every emotion and experience necessary to make the performance work is already inside of you will allow you to explore and find so many varied version of you to make the experience truly memorable and rewarding for you the artist as well as the person.

If you want to learn more about “Sides of Self”, “Fodder with Compounding Obstacles” and the Fundamentals of Visual Storytelling join me for my new class starting soon at KIRA. More details to follow.


About the Author: Randall Sims is an Actor, Acting Teacher and Casting Session Runner in Los Angeles, California. He frequently teaches Wednesday Workouts at Keep It Real Acting Studios.

How To Approach Commercial Auditions

               By: Doug Traer

I’ve been teaching commercial classes to actors of all ages for, well, ages. And I’ve noticed that students consistently ask me many of the same questions.

For instance, I’m asked a few times a year: what can I do to better understand the process of commercial booking?

My answer is always the same:

Put yourself in the shoes of the client.

What does that mean? Think of a commercial client like you would any other employer. For example, if Mr. Smith owns a factory that makes nuts and bolts and he gets a huge aerospace contract, then he has a problem—because the shifts and employees he has can’t meet the production timetable.The solution? Add more shifts and more employees to meet demand.

Likewise, if the Ad Agency has written a commercial featuring a speaking role for it’s

client Coca-Cola and they have given the green light to the project, now the agency’s problem is it must find a performer to fill that role. They hire a casting director who

consults with them on specs and schedules auditions with the actors they think might best match those specs.

Here’s where you come in. You’ve accepted the audition and are studying the script, trying to figure out how to play the character. You put on your actor hat and wrestle with the line “Coca Cola refreshes me like nothing else,”.

Hmmm. How to read that line. The possibilities are endless.

Should I be a shy shrinking violet and barely whisper it to my possible paramour? Should I slink like a Victoria’s Secret model and tempt him/her with my sweet, delicious soft drink? Should I be a hipster, too cool for school, who throws the line away almost contemptuously?

What will help you the most here is a general knowledge of commercial styles today, and a review of some spots they are airing now. To whom is Coca Cola being marketed? Is the pace of their commercials fast or slow? Where do the commercials take place? What is the general tone of the commercials?

Read the script again and make specific choices. Know where you are, to whom you’re speaking, what you want and how you feel about it. If you have answered all these questions for yourself, you will be able to play the reality of the given circumstances. How would you act in the world you have created?

Once you have done your actor research, you will be at a good starting point. Of course, be prepared to change if asked, but the casting director will appreciate the fact that you walked into the room prepared with valid and intelligent choices that served the script. If nothing else, the casting director will see you as a professional actor that they will want to see again and again.

About the author:

oug is an actor, teacher and commercial casting and session director.

He has been in a number of national TV commercials for products such as Mercedes-Benz, Sony Playstation, Sprint, Blue Cross Insurance, Baskin Robbins Ice Cream and Hardee’s Restaurants.

Casting Directors he has recently worked with include:  Paul Ventura, Mick Dowd, Sheila Manning, Beverly Long, Danny Goldman, Jeff Gerrard, Frannie Selkirk, MC Sweeters and Mary Jo Slater.

Doug has taught acting in San Francisco, Chicago, Oakland, Phoenix and Santa Barbara. Most recently he was in Tokyo, where he taught American acting to Japanese students. Doug currently teaches Wednesday Workouts and Teens Commercial Class at Keep It Real Acting Studios.

How To Find An Agent

The Following is an excerpt from Judy Kain's book I Booked It:

Finding an agent.

Do your homework. This is where the business part of acting comes into play for you. Obtain a book on the various agencies in town and find out which ones to target. Ask your friends who reps them. Go on IMDB and search the client list yourself; ascertain what types of actors the agencies represent and where you might best fit in. Before you start submitting or doing workshops, get your act together, literally.

Headshot. The headshot should look like you, on a good day but not on your best day. The chapter on head-shots goes into more detail; review it before you spend your money. Your headshots need to be professionally shot and professionally printed. Argentum Photo Lab or Pixels Digital Imaging both do a good job; their prints are always clear and the color is natural.

Résumé. Sample résumés are in the back of the book. Include both your phone and email and your Representation, if you have one.

Market yourself. Know how you will be cast in commercials. Are you a nice Midwest mom, a character type, or perhaps a hipster? Watch commercials and find yourself in them. A one-day seminar or private coaching will be helpful in the discovery process. Accept and adopt your new castable self before meeting an agent so you can truly market yourself.

Dress for your type. If you’re a character type—an uptight librarian, for example—don’t meet your potential agent while wearing skinny jeans and a tank top. Dress to suggest you know who you are in commercials. If you don’t know who you are, how will they know how to submit you?

Take a class. This suggestion is not only smart but necessary for the actor to present themselves in a good light. It shows you are eager, willing, and ready to be on the team. It is a great conversation starter to say, “Hey, I just finished taking classes at Keep It Real Acting and feel so ready to apply all that I learned and start booking.” Agents respond well to actors who are ready to go out on auditions or who have a proven track record of booking.

Judy Kain has been a professional actress now for 37 years, showcasing her skills and talents in over 350 commercials and in over 80 roles for film and television.  

Some of her more well-known credits include a Television Series Regular on The Jackie Thomas Show and a Recurring role on the Emmy-winning show Mad Men, a role which won her a SAG Award.  Her other favorite recurring credits include The Odd Couple,  Married with Children, For Your Love, Grosse Pointe, and Manhattan, AZ with Chad Everett.  She has done numerous guest appearances on the hit shows Modern Family, The Middle, Bones, Castle, Scrubs, Desperate Housewives, ER, Seinfeld, The District, The West Wing, NYPD Blue, Friends, and The Drew Carey Show just to name a few.  

 Judy opened Keep It Real Acting Studios in 2012. In 2016, she was voted "Favorite Audition Teacher" and "Favorite On-Camera Teacher" In the Backstage Reader's Choice Awards. Judy teaches The Business of Acting Advanced Callback, Commercial A to Z and Commercial Wednesday Workouts.

How To Audition With Confidence

One of the most important skills you can bring into an audition room is confidence. Confidence is being comfortable, willing and ready to share your uniqueness, getting rid of the ugly self- consciousness that sits on our shoulders staring back at us right at the moment we are ready to “do our thing."

A good teacher once said to me, "prepare to be ready for when you get lucky". Instead of wasting time and energy thinking about what you can't change, spend it learning what already makes you great.  Once you can appreciate the things that make you loveable and unique,  you will be able to walk into any audition room and make those who see you, remember you and want to work with you!

SoledadCampos is a bilingual actress, Spanish teacher, casting assistant and dialect coach, who works in both general and Hispanic markets. Her theatre roots, in Washington, D.C., taught her discipline and respect for the craft, and her love for the performing arts led her to create and produce Encuentros: Latin/o America at The Smithsonian. Soledad will be teaching Keep It Real Acting Studios' upcoming Spanish Commercial Class.

5 QUESTIONS WITH SOLEDAD CAMPOS

 

Keep It Real Acting Studios is proud to introduce the newest addition to our curriculum: Spanish Commercial Class! The six week class will be taught by accomplished actress, dialect coach and Spanish teacher, Soledad Campos. We sat down with Soledad to discuss her plans for the class and background in the business. Here is 5 Questions With Soledad Campos:

1. What will we be practicing in the Spanish Commercial class at Keep It Real Acting?

This class will give you a supportive space and plenty of time to work out and master your Spanish, in front of the camera, in various audition settings.  Mastering a language is like building muscle at the gym; repetition and consistency is crucial. We will practice scene auditions, testimonial auditions, interview auditions, MOS auditions, and one liner auditions, in neutral Spanish accent, to prepare you for auditioning for commercials in the Hispanic market.

2. Why is the Spanish Commercial class beneficial for me?

Practice makes things better, a lot better, and most importantly it makes YOU confident.

3. Will I have a chance to meet an agent at the end of the Spanish Commercial class?

Yes! A leading talent agent and manager will attend the final class.

4. Do I get to keep all of the recorded auditions from the Spanish Commercial class?

Yes! You can bring a flash drive to class or purchase one at the studio and we will save all of your work so that you can replay your auditions at home. Watching yourself is a great way to learn and become better.

5. Can you tell me a little more about yourself?

I am a bilingual actress who works in both general and Hispanic markets. I have taught Spanish for 14 years. For the last 10 years, I have been an on set dialect coach to Spanish and non-Spanish speaking actors for Spanish language commercials. I also assist Casting Directors throughout the audition process for commercials in Spanish. My theatre roots, in Washington, D.C., taught me discipline and respect for the craft, and my love for the performing arts led me to create and produce Encuentros: Latin/o America at The Smithsonian. I look forward to working more closely with everyone at Keep It Real Acting Studios.

How to Conquer the dreaded MOS Audition

THE HARDEST AUDITIONS for most actors are those in which you do not speak, commonly called MOS spots.  These are the spots where there is no dialogue, but a specific situation is occurring.  The session director gives you a group explanation and puts everyone through the paces. Many times they are very, very specific about what they want and don’t want.  Then the session director sends the actors back to the lobby and that seems to be where the actors work and preparation ends.

In my classes I always instruct actors to go deeper, to make everything personal and specific, To ask yourself the questions, who, what, where, and why.

Who are you and who are you talking to or looking at? Do you have a history? Do you have a feeling about them right now?

Where are you?  Make it somewhere you know and a re familiar with. What do you see there? Be particularly specific in this regards as it will help you the most with MOS spots in grounding you. Make a quick list on a piece of paper about what is in the environment to look at. I find this the most helpful thing to making my audition feel more realistic and ground myself in the non verbal action.

What do you want?  This is Acting 101. Do you need anything from the other person?  Are you getting it? How do you feel about it?

Ask yourself these questions in the lobby before going in rather than talking to other actors about how many auditions they have or have not gone on.

 Over the years I have found the only way to feel good about the MOS audition is to throw myself 100% into the imaginary circumstances, putting myself in the environment and making it as full and real as possible WITHOUT TALKING. 

HOT TIP:  Sounds are okay. Sounds are free words. An occasional Oh!  Or Wow! Or a well placed AHH! Seem to really fill up the awkward space of not talking.

Try it next time and see how you feel. And let us know how it goes.

Judy Kain has been a professional actress now for 37 years, showcasing her skills and talents in over 350 commercials and in over 80 roles for film and television.  

Some of her more well-known credits include a Television Series Regular on The Jackie Thomas Show and a Recurring role on the Emmy-winning show Mad Men, a role which won her a SAG Award.  Her other favorite recurring credits include Married with Children, For Your Love, Grosse Pointe, and Manhattan, AZ with Chad Everett.  She has done numerous guest appearances on the hit shows Modern Family, The Middle, Bones, Castle, Scrubs, Desperate Housewives, ER, Seinfeld, The District, The West Wing, NYPD Blue, Friends, and The Drew Carey Show just to name a few.   Her teaching career has also lead to immense success, being voted BACKSTAGE WEST'S FAVORITE ON-CAMERA COMMERCIAL TEACHER IN LA in 2010 and 2011.  Her other acting classes have won BACKSTAGE WEST'S FAVORITE IN LA as well, and continue to produce amazing results for her students. She teaches Advanced Callback, Commercial A to Z and Commercial Wednesday Workouts.

How to Rock your Callback

For the actor often the callback, is where they FALLBACK because it is full of unexpected elements and factors completely beyond your control. The copy may have changed, the concept may be completely different from your first audition. They may even have you read for another role you didn’t even know about.  The last thing you want to do is panic or get flustered or worse mad and indignant.

I always say show up to the callback with an expectation that something will be different and  jump up and down if everything is  the same way it was in the first call.

First thing you want to do is Sign in and find a quiet place to sit. I generally avoid the chit chat. Too many chances to come unglued or psyched out. This one actress would always engage in conversation and inevitably find a way to get the upper hand. One time she told me how she had just booked something and wasn’t sure if it would be a conflict for this job… a classic psych for an actor. Still another time right before I was called told me I had a little spot on my shirt.. Tried to rub it out and then said.. oh they will never notice!  There was no spot… But believe me I thought about that spot all the way down the hall.  So Socialize later and discuss the business after your audition.

• Get centered , be  grateful  for being called back and get confident in your choices.

• Be ready for anything, give it 110% and keep your ears open to hear the direction.

Walking into the room when called, is art form.  

• Confident, not cocky,

• Self sufficient, not needy.  

• Ready and prepared,

• Not anxious and flustered.

Leave everything outside the room including coats, umbrellas, &  emotional baggage.  Come in unencumbered, free and ready to play!   

Give up forever from this moment forward the nagging question “What do they want?”  “What are they looking for?”  It is the actor who brings in a solid choice within the realm of what is appropriate for the scene, makes it their own and commits to that choice, who turns the head of the director.   .

The minute you worry about  the Illusive
“they” and what “they” want ,you are giving your power away to the room. I always tell actors to walk in the room already with the job already. Have the attitude of having gotten the call that you booked the job and this is an informal meeting with the director. See how that affects the way you are in the callback room.

Directors often get their inspiration from you! Something you are doing will stimulate them giving you a note  or redirection.  This is a good thing!! It means you are giving them something to play with.

The last thing a director wants to do is have to pull a performance out of an actor. That is exhausting.  They are happy as a clam when you deliver, take after take, keeping it fresh and new but hitting the beats each time.. This is what directors look for.

When a director gives you a note, listen and repeat what you heard them say.. For example, If the director says, “Try it again and this time, don’t pause at the end”

You say something like, “ great so at the end just keep my life going?”

Then they might say.. no, I want you to take the beat just quicker.

“Great, so reaction quicker at the end”.  In the repeating of the direction you have the opportunity to take a moment to process and to allow the note to go in to your body. You will also remember the note more by saying it out loud rather than just nod and say got it… Often we think we are listening but nothing is going in because the nerves are blocking our receptors.

Your attitude and personality are being auditioned, as well as your talent. The director and creative team want to see how you will be on the set ALL DAY LONG. The easier you are to work with and the more you can listen and deliver to the best of your ability what they are asking, the better

A good poker face is handy to have at callbacks, as you never want to leave a room letting them know you did not have the winning hand. Stay pleasant, thankful till you get to your car.

You probably did better than you think. And there is always another audition.

Practice, Practice, Practice is the key. Go to workout groups. Practice copy in front of people and think of yourself as a Booker! Till you are one!

Nothing looks better on an actor than just having booked a job!

Judy Kain has been a professional actress now for 37 years, showcasing her skills and talents in over 350 commercials and in over 80 roles for film and television.

Some of her more well-known credits include a Television Series Regular on The Jackie Thomas Show and a Recurring role on the Emmy-winning show Mad Men, a role which won her a SAG Award.  Her other favorite recurring credits include Married with Children, For Your Love, Grosse Pointe, and Manhattan, AZ with Chad Everett.  She has done numerous guest appearances on the hit shows Modern Family,The Middle, Bones, Castle, Scrubs, Desperate Housewives, ER, Seinfeld, The District, The West Wing, NYPD Blue, Friends,and The Drew Carey Showjust to name a few.   Her teaching career has also lead to immense success, being voted BACKSTAGE WEST'S FAVORITE ON-CAMERA COMMERCIAL TEACHER IN LAin 2010 and 2011.  Her other acting classes have won BACKSTAGE WEST'S FAVORITE IN LA as well, and continue to produce amazing results for her students. She teaches Advanced Callback, Commercial A to Z and Commercial Wednesday Workouts.