Voice & Dialect Coaching

What can a coach do for your production?

The accents, dialects, and vocal mannerisms and nuances of the characters in any production are all in service of one thing: the story. And story is always a curious collision of what’s honest (rigorous, respectful linguistic research into the manner of speaking of real-world users of the accent or dialect), what’s possible (what the actors can reasonably achieve with their own instruments and incorporate into the myriad other choices they’re making in collaboration with the director, designers, and each other), and what’s clear (the audience has to learn to listen to each character’s manner of speaking, however familiar or surprising). A good coach can help a production team triangulate between these elements: showing up with solid, detailed, and discerning research; meeting the actors where they are and working to bring them into alignment with the director’s vision; and listening with the open, as-if-for-the-first-time ear of an audience member.

Testimonials

“Teresa is a dialect coach with whom I am delighted to work. She approaches accents not as a collection of sounds to be memorized, but as part of the actor’s process in creating the role. She delves into the character’s physicality and life history and explores the dramatic content of each moment in the play, making the dialect a part of the whole picture. Actors respond wonderfully to her approach. And she’s a delightful presence in the rehearsal room, to boot.” - Nick Olcott, director

“Teresa is an amazing coach who helps you explore and expand your unique self. She cares about your artistic journey.” - Actor

“I was challenged to deepen my understanding of what an actor must accomplish to be present within themselves, the world of the play, and the other bodies that reside in the space.” - Actor

“Anyone who wants to understand more about their voice in either the regular world, or on stage, should work with Teresa. It was very helpful to me as an actor, and made me think about my own perception of myself.” - Student actor at Towson University

Select Voice Coaching/Teaching Credits

• Certified Teacher of Fitzmaurice Voicework® but not a dogmatist: Teresa’s approach also incorporates wisdom from Kristin Linklater, Patsy Rodenburg, Roy Hart, and her own intuition and experience.

• Steeped in the values and practices of Knight-Thompson Speechwork, a 21st-century approach to speech and accent training that honors linguistic diversity and is rigorously founded in physical skills.

• Assistant Professor of Acting, Voice & Speech at Towson University.

• Select coaching credits:

  • The 39 Steps by Patrick Barlow (Mid-Atlantic, Estuary, Cockney, Scottish, German, Russian)

  • Silent Sky by Lauren Gunderson (Scottish/Dundee)

  • Incognito by Nick Payne (Various London, Welsh, British “Received” Pronunciation, New York, Chicago, Swiss German)

  • Pride and Prejudice by Jane Austen adapted by Christina Calvit (British “Received” Pronunciation)

  • Fallen Angels by Noel Coward (British “Received” Pronunciation, French)

  • Henry V by William Shakespeare (French language)

  • Blood at the Root by Dominique Morisseau (American Lower Southern/Central Louisiana)

  • The Electric Baby by Stefanie Zadravec (Romanian)