There's a tendency to complicate our choices by inventing elaborate plots, when simplifying to something specific will bring us to life. Also being more specific allows you to dig deeper.

Building a solid relationship with the partner gives you grounding. Knowing who I'm talking to and what my attitude is towards them opens up what's going on in a scene.

In this video Milton works with Rashaud as he prepares a monologue from The Laramie Project.

Not just unexperienced facts can deaden our work as actors, the need to explain or report the facts can get in the way of our most creative work. Digging down specifically can help this problem.

It's not just enough to be functional or accurate or good enough. There's a road in to our actor work that helps us find extraordinary choices and frees us up to do our best work.

If you think of the play as a continuation of what has already happened, it gives you a sense of how much work you have to do in order to earn the play. Excerpted from my New York class, we continue our work on the Frank Gilroy play, The Subject Was Roses.

Continuing work on the Frank Gilroy play, The Subject Was Roses, this expert from Milton's in-person class begins to explore the road in to building a character with more depth.

Working on a play begins to give actors the foundation of working on any text they get. These are excerpts from my Script Analysis class at The Actor Lab in New York.

We're combining two exercises in this class. (1) Seeing someone 'on the street' and being able to make decisions about who they are, based on their behavio and (2) building an attitude towards them.

Making choices that really bring you to life seems to be a constant struggle. Maybe it's because we're relieved that we can come up with any choice, but the choices must be worth it. They can't be passive.