I design each class to suit the individual needs of the students. My voice and accent coaching is a combination of all methodologies I have studied from world renowned teachers. Acting coaching is grounded in clown training and Shakespeare.
I have been performing & teaching for 50-odd years, trained with world renowned acting and vocal coaches. My students have entered Acting Colleges, performed on stage and screen, my private clients have delivered at seminars and conferences around the world.
My rates are the same for all students and clients. I charge £10 per hour for travel if I come to your home. I have a strict policy of a minimum of 24 hours notice of cancellation or postponement.
Flloyd Kennedy (Ph.D Theatre), Australian-born actress, writer, director, singing clown, and voice/speech/accent and acting coach, took part in the British folk revival in the 60s, performed street theatre, cabaret and fringe theatre, and was founding artistic director of Golden Age Theatre (Glasgow). She performs, directs, writes and teaches voice and acting skills at colleges and universities in the UK, US and Australia, specialising in Shakespeare performance, currently at Manchester School of Acting (part time), most recently at MGA Academy of Performing Arts (Edinburgh) and E15 Acting School (Southend). Through her private practice Being in Voice Flloyd provides coaching for student and professional actors, private individuals and community and corporate groups in the studio and online, and also supervised MA/MAV SIP dissertations for RCSSD. She is an Associate Artist with ISAAC (International School for Acting And Clown).
In 2014 Flloyd gained her PhD (Theatre) from the University of Queensland, and teacher certification with Knight Thompson Speechworks. She is artistic director of Thunder’s Mouth Theatre (theatre of poetry, passion and philosophy) and her solo performance piece Yes! Because… is currently touring.
British Actors Equity MEMBER NO: M(concealed information)
VASTA (Voice and Speech Trainers Association of America – Editor, Workshop & Events Page)
CSPTQ (Communication, Speech & Performance Teachers, Queensland)
ISAAC (International School for Acting and Creativity) - Associate Artist
WORK EXPERIENCE – TEACHING
Voice and acting coach/lecturer
1985-current – Being in Voice (Voice, Accents, Acting, Public Speaking, Clown)
2017-current – Voice Tutor (p.t.) Manchester School of Theatre (MMU)
2016-current –MA and MAV SIP dissertations supervisor, Royal Central School of Speech & Drama
2017 Voice Tutor (p.t.) Royal Welsh College of Music and Drama
2016-2017– MGA Academy of Performing Arts, Edinburgh – Voice tutor
2015-2016 – E15 Acting School, Southend (voice tutor (deputising for Head of Voice)
2015 & 2016 – Qld University of Technology BFA program (Voice and Accent Tutor)
2012 – 2015 Film TV Studio International Brisbane (Voice and Accent Tutor)
2003-2013 – Qld University of Technology BA Performance Studies, (Lecturer, voice and acting tutor)
2006 – University of Queensland (tutor, Introduction to Drama)
1992-1996 – Coatbridge College, Langside College, Glasgow Scotland (voice lecturer)
1991-1992 – Royal Scottish Academy of Music and Drama, Glasgow (verse speaking tutor)
2015 and 2016—Royal Central School of Speech and Drama (Practice as Research for MA, MAV)
2011—Arizona State University MFA students (Archetypes for the Actor)
2007 and 2010 —University of Otago BA program (Shakespeare’s Voice)
2006—Rutgers University BA Creative Writing (Voice for Acting)
1997 and 2005—Australian Catholic University, Brisbane, BA Theatre (Voice for Acting)
1996—La Salle University, Singapore BA Theatre (Shakespeare performance)
Workshop/Masterclasses (a selection)
Being in Voice
Expressive Voice, Voice of the Clown (your playful voice),The Acting Class, Dr Shakespeare, Archetypes and the Actor, How to Acquire Accents, Vocal Gym, Love to Sing! (Hate to be Heard?)
International Drama Academy, Southend (Vocal Gym); Fife College Diploma in Physical Theatre (Clown); E15 Acting School BA World Performance (Archetypes & Text); Qld Narrating Service (voice over/narration); VASTA Conference 2012 (Early Learning and Voice Training); Shakespeare Globe NZ National Schools Production Week (Shakespeare performance), Arizona State University (Archetypes & Text), Studio5, Brooklyn NY (Archetypes & Text); Playback Theatre, Brisbane (intro to Voice); Fusion Festival, QUT/UQ (acting); Edinburgh Youth Theatre (acting); Cumbernauld Youth Theatre (acting); Mascot Youth Theatre (Bellshill) (acting); Drama Worker for Port Glasgow Association of Tenants’ Groups (you name it); Columbia (USA) Festival ‘Homecoming Project’ community workshops
Toowoomba Eisteddfod 2015
Lismore Eisteddfod 2008
Accent and Dialect Coach
Show cover – E15 Acting School (Southend Campus) 2015 - 2016
THAT Production Co; Queensland University of Technology Built Environment (accent modification for lecturers for whom English is a second language); Vena Cava; Theatre Activ8 (the nest); Perth Repertory Theatre (Scotland); Cumbernauld Theatre (Scotland)
Director (a selection)
Fractions (Marcel Dorney) Thunder's Mouth Theatre (staged reading)
New World Suite No 3 (Robert Bringhurst) Qld State Library (staged reading)
All’s Well That Ends Well (Shakespeare) Thunder’s Mouth Theatre, Brisbane
A Winter’s Tale (Shakespeare’s Globe NZ, Schools Shakespeare Festival,condensed version)
Brave New World Order (Heath/Evans) Dianne Gough Productions; Brisbane
A Life in the Theatre (Mamet) Trocadero Productions, Brisbane
La Serva Padrona (Pergolesi) Music by the Sea Festival, Taabinga Music Festival
Madame Butterfly (Puccini) Operatif, Radio 4MBS Festival of Fine Music.
Scenes from ‘An Imaginary Life’ (Kennedy, devised by the company, adapted from Malouf) Vena Cava, Brisbane
All’s Well That Ends Well (Shakespeare) Queensland Youth Theatre
Le Nozze di Figaro (Act I) (Mozart) UQ School of Music
The Visit (Dürrenmatt) Edinburgh Youth Theatre – Edinburgh Festival Fringe
Faith Hope and Charity (Von Horváth) QUT (Creative Industries) BA Performance Studies, and Coatbridge College, Scotland
Golden Age Theatre (Artistic Director)
Pericles (William Shakespeare); Edinburgh Festival Fringe
Iphigenia in Tauris (Johann von Goethe); Scottish Tour
The Loneliness of the Long Distance Runner (Sillitoe/Brennan); Mayfest, Scottish Tour
The Promise (Alexei Arbuzov); Scottish Tour
The Golden Age (Louis Nowra); Cumbernauld Theatre
Closer Than Ever (Maltby & Shire); Golden Age Theatre, Glasgow, Edinburgh
Stars and Biscuits (devised), Cumbernauld Children’s Theatre Festival, schools tour
“Shakespeare and the Actor’s Voice: Close Reading of the Live Performance” Australian Studies. Ed. Elizabeth Schafer. Vol 6 (2014).
“The Challenge of Theorizing the Voice in Performance” Modern Drama: Listening Rooms: A Special Issue on Voice and Performance. Guest Ed. Allan C Pero. Vol 52, No 4, Winter 2009.
“Breath, Voice, Word: Exploring the Trinomy of the Performing Voice” The Voice and Speech Review: Essays on Voice and Speech, VASTA, 2009.
“The Voice as Historiography” Capturing the Essence of Live Performance: The Challenge of Intangible Heritage. SIBMAS Conference proceedings 2008.
“Meta-Performativity: Being in Shakespeare’s Voice” After-Proceedings of the 2006 Conference of the Australasian Association for Drama, Theatre and Performance Studies: (concealed information)
“Voice as Event/s” antiTHESIS University of Melbourne July 2005
(runner up AEE Pearse Essay Competition).
Conference papers presented
“Presence, The Holy Grail of Acting” ATHE, Performance as/is Civic Engagement: Advocate, Collaborate, Educate. Washington DC 2012.
“Shakespeare Voice: Whose Voice is it?” VASTA, Original Voices. New York, August 2009.
“The Fall of June Bloom: A Modern Invocation” Performing the World. New York, 3 October 2008.
“The Voice as Historiography” Capturing the Essence of Live Performance: The Challenge of Intangible Heritage. SIBMAS Conference 2008. RSAMD, Glasgow 25-29 August 2008.
“Where does practice live? How a ‘Magdamodel’ helped develop a sense of belonging between practitioners and academic researchers”, ADSA, A Sense of Place. Dunedin, NZ July 2008.
“June Bloom: A Wintry Tale” ADSA, A Sense of Place. Dunedin, NZ July 2008.
“Will the Real Constance of Denmark Please Stand Up” Rapt In Secret Studies: ANZSA Mini-Conference For Postgraduate And Emerging Scholars, July 2006.
“Meta-Performativity: Being in Shakespeare’s Voice” Before - During – After Australasian Drama Studies Association, University of Sydney, July 2006
“Whose Voice is it Anyway?” WIP. Belonging. University of Queensland September 2005
“Voice as Event/s” antiTHESIS The Event. University of Melbourne July 2005
Monograph Shakespeare’s Voice: A Theory of the Voice in Performance. Uni of Qld. PhD Thesis.
The Shish Mahal Cook Book. Alloway Press, 1983.
Arts Writer and Critic Artshub (2013-15;) Critical Mass (2011-13); The Stage and Television Today ∙ The Daily Record ∙ The Scotsman ∙ Glasgow Herald ∙ Scottish Theatre News (1985-1996)
Playwright – Yes! Because…; The Fall of June Bloom (or What You Will); Scenes from An Imaginary Life – adapted from the novel by David Malouf; Blame it on Your Mother – a play with music for two women
2014 PhD (Theatre) University of Queensland, Brisbane, Qld, Australia
2004 B.A. (Hons) Drama (valedictorian) University of Queensland, Brisbane
2002 B.A. (Music and Philosophy) University of Queensland, Brisbane
1953-59 St Anne’s Girls School, Townsville, Qld.
Certified Teacher – Knight-Thompson Speechworks 2014
ASDA - Speech and Drama of Australia (AMEB) 1966
Voice (a selection) –
Valerii Galendiev, (Maly Drama Theatre of St Petersburg); Eugenie Galendiev (Theatr Institut St Petersburg) Anna Petrova (Moscow Arts Theatre School); Cicely Berry; Patsy Rodenburg; Kristin Linklater, Rob Pensalfini; Frankie Armstrong; Harriet Buchan, Enrique Pardo, Marya Lowry, Richard Armstrong (Roy Hart); Catherine Fitzmaurice, Aole T Miller (Fitzmaurice Voiceworks); Joan Melton; Philip Thompson, Eric Singer, Andrea Caban, Julie Foh (Knight-Thompson Speechworks); Marcia McCallum (AMEB);
Acting (a selection) Lev Dodin (Maly Drama Theatre of St Petersburg); Ira Seidenstein (Clown); John Britton; John Wright (Archetypes, Clown); Andrei Serban; Lewis Hancock (Original Shakespeare Co); Andrei Sadowski (Mandala Theatre Co, Poland); Krszysztov Miklaszewski (Cricot 2Theatre); Alan Coleman, Sue Manger (TV casting); Aole T Miller (mask); Andrea Moor (Practical Aesthetics); Valerii Zsvordychkin, Gwen Hardie (classical ballet); Jonny Potter, Alan Caig (Lecoq), Pat Keysell (mime), Jane Simpson, Cheryl Strong (contemporary dance)
Singing: Frankie Armstrong, Mark Meylan, Tim Smith, Patricia McMahon, Mark Jowett, Eleanor Mazza,
Skills : Music – sing folk, jazz, light classical; play spoons, folk guitar, ukulele
Accents and dialects of English
DIRECTOR - PRESS CUTTINGS
A Life in the Theatre (Trocadero Productions, Princess Theatre, Brisbane)
“ . .. you have to admire the courage of a company who produces professional quality work without any government funding, and admire them I do.” Time Off
Madame Butterfly Puccini (Operatif - 4MBS Festival of Fine Music)
“When an opera audience gives a standing ovation and most have been moved to tears, someone is doing something right. The intimacy of this production by Operatif - directed with economic yet pointed detail by Flloyd Kennedy ... gave it a poignant edge mostly missing in blockbuster operas.” Courier Mail, Brisbane
“this scaled down production did confirm that it is possible to present first rate opera that captures an audience musically and emotionally” The Review, Brisbane
“Here was opera at its most basic yet most potent, intimately and simply staged, beautifully and dramatically sung…” Patricia Kells, Opera Magazine
“...director Flloyd Kennedy must take a major credit for intelligent management of play-plus-opera” Val Vallis (former opera critic with The Australian and Opera UK)
SCOTLAND – Golden Age Theatre Company
Closer Than Ever Maltby & Shire (Mayfest and Aberdeen) Golden Age Theatre
“... swept away by the sheer musicality and integrity of this show... cannot be recommended enough” Aberdeen Press & Journal
“excellent musicianship, slick staging, ritzy choreography...” Glasgow Herald
The Promise Abrusov (Scottish tour)
“a haunting quality piece of theatre” St Andrews Citizen
“Very much an ensemble piece... deserved better than the small audience which turned out”
Iphigenia In Tauris Goethe (Scottish tour) Golden Age Theatre
“phenomenal skills of the cast and the lucid precision of the direction.. without the clutter of props and machines to distract from the poetry of the drama and the dynamics of the characters' emotions” The List
“tightly paced direction, a pared-down set, eerily effective lighting and music…” The Herald
Pericles Shakespeare ( Edinburgh Festival Fringe) Golden Age Theatre
“audience left shocked to realise Shakespeare could be this good ... enthralling… nifty choreography... excellent acting ..action packed show - I loved it” Edinburgh Evening News
“...small space proves no restriction to Golden Age Theatre's robust energy... they outreach their immediate environment to create a visually charged wider world... strength of the performances, tightly choreographed scenes, highly efficient lighting, striking use of music with a haunting score... truly absorbing” The Herald
The Loneliness Of The Long Distance Runner Alan Sillitoe adapted by Steven Jamieson and Paul Brennan (Mayfest, Edinburgh Festival Fringe. Scottish Tour and secondary schools tour)
“Superbly executed... performed with wit and raw energy” The Independent
“... highly charged and compelling performance” The Scotsman
“powerful and poetic script, stark staging and talented commitments... “ Dundee Courrier
“...quality production...poetry in motion” Edinburgh Evening News
“Minimally yet imaginatively staged and confidently performed ... a funny, furious and passionate piece of drama” The List
The Golden Age Louis Nowra (UK premiere, Cumbernauld, Scotland)
“The cast are excellent, the music, sound and lighting unfaultable” Scotland on Sunday
“the company's integrity and careful preparation shine through ... superb physical and spoken acting” The Scotsman
“one of the most absorbing, moving and uplifting theatrical experiences of the year... “
Cumbernauld News & Chronicle
Perfect! Flloyd is a very experienced actor and vocal coach who helped me find my voice and find the confidence to speak publicly after only a few lessons. She is happy to teach at a comfortable steady pace for the student and does so in a very relaxed and friendly environment. Flloyd takes a genuine interest in improving her students and is both patient and encouraging. Thank you Flo!
Kirsty is a charming young woman, very responsive and willing to engage with the principles and to work on her techniques in her own time.
Flloyd’s knowledge and understanding of the voice is extraordinary. Her approach focuses on the uniqueness of each voice, its quality and potential. The relationship between voice and body is developed through an awareness of breath, body alignment, vocal exercises, and an understanding of how the voice works. Flloyd's processes are both challenging and revelatory. Since working with Flloyd I have a greater sense and appreciation of my voice, and how it can be developed and used to effect. The unexpected outcomes of working with Flloyd go much deeper – after a few sessions I noticed my breathing seemed easier, I felt more confident when speaking to an audience and, experienced a clarity in my voice I didn’t have before. Flloyds one to one sessions and group workshops are real, challenging, effective and fun. One of the best things I ever did.
Patient, encouraging and a highly effective teacher with great experience and knowledge. I can't recommend her enough. After a couple of sessions and the daily ritual of Flloyd's vocal exercises, I noticed changes. I found I could get through public speaking without freezing and without life and death panic. Incredibly I have found my voice, or rather found a confidence to be in voice. All thanks to Flloyd!
â€œIt is my pleasure to highly recommend you as a speech trainer and accent therapist. Coming from a German-speaking background and not having a particularly strong voice I realised the necessity to engage someone with the necessary skills for me to overcome these hurdles. I am very glad that it was you who was recommended to me. Since taking lessons with you, others comment on my significant improvements. What I very much like about your style of teaching is your enthusiasm and the rare
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