I Don't Need an Acting Class

Have a question for Milton? Email him at [email protected]

Hello friends, listeners, actors and artists. Today we're making a small request that you rate and review the podcast if it has helped you in any way. This simple gesture will help us return with a fifth season and continue the show indefinitely. Thank you in advance! 

Milton reflects on his recent theatre trip to London. 

*We may continue to bring you some short bonus episodes during our summer hiatus. In order to ensure we can keep the show going, we only ask that you subscribe, rate and review the podcast if it has helped you in any way. That's all! Milton and Walker send you much gratitude for all your continued support, and hope you're having a wonderful summer.

Dear listeners, We're gonna take a short break before we return with Season 5. In the meantime, please keep your acting questions coming. You can email Milton at: [email protected] Thank you so much!

WANT MORE? Become a subscriber for bonus content!

⁠⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠⁠

Whether you’re in an audition, in rehearsal or standing on stage during a performance, most of us know what it’s like to have a scene partner who gives you absolutely nothing. The unfortunate news is that we can’t blame our performance on our scene partners. The good news is: we can’t blame our performance on our scene partners. As actors, we have to take responsibility for everything we do, and that means using the power of our imaginations to make choices, not only for ourselves but for whomever we’re playing opposite. Also included in this episode: some tips on how to deal with actors who try to direct you or impose their process onto you. Have an acting question for Milton? Email him at [email protected]

WANT MORE? Become a subscriber for bonus content!

https://podcasters.spotify.com/pod/show/actingclass/subscribe

This week, we take a break from script analysis, and Milton shares a private coaching session with a new student. He covers some fundamentals such as talking out in order to grasp the sequence of thoughts, and take ownership of the text so that everything you talk about is filled and you’re not just spouting empty lines. Have an acting question for Milton? Email him at [email protected]

Tennessee Williams was keenly interested in outcasts, artists and wounded people like himself. He also wrote about the south and regardless of where his character’s find themselves, the mentality of the south looms large, whether they are holding onto their heritage or pushing it away. As Milton looks at his play The Glass Menagerie in this episodes, he allows himself to swim through it, giving us an example of how one might begin the process of working on it. “You have to allow yourself to wander,” he says. “This is my period of letting myself go where the hell I want.” Have an acting question for Milton? Email him at [email protected]

This episode begins with Milton giving general notes on plays, and then gets more specific to the work of Tennessee Williams. The world of Tennessee Williams is one of fantasy and escape because of the characters’ inability to face reality. The create and live in their own world because as Stella Adler said of Tennessee’s characters: “they are people at their end of their ability to cope.” Have an acting question for Milton? Email him at [email protected]