Voice is physical, good posture is essential for a healthy voice, and so I coach my clients to understand the processes involved in speaking and expressing themselves clearly and creatively. They are encouraged to advance at their own pace.
I am an experienced voice/acting coach & professional actress, having worked in the UK, USA and Australia for many years, teaching and performing. I offer tools to develop a strong, flexible, effective and creative speaking voice and powerful communication skills.
I have a strict policy of payment in advance requiring 24 hours notice of cancellation
WORK EXPERIENCE – TEACHING
Voice and acting coach/lecturer
1985-CURRENT–Being in Voice (voice/acting/accent/PS/clown coaching)
2018 – 2020 – Visiting Lecturer, ALRA North (voice/poetry)
2017-2018 – Manchester School of Theatre (voice tutor)
2017 – Royal Welsh College of Music & Drama (voice tutor)
2016-2017 – MGA Academy of Performing Arts, Edinburgh – Head of Voice
2015-2016 – E15 Acting School (Head of Voice (deputising)
2015 AND 2016 – Qld University of Technology BFA program (Voice and Accent Tutor)
2012 – 2015 Film TV Studio International Brisbane (Voice and Accent Tutor)
2003-2009 – QUT (Creative Industries) (Lecturer in Voice, voice and acting tutor)
2006 – University of Queensland (tutor, Introduction to Drama)
1991-1996 – Coatbridge College and Langside College, Glasgow Scotland (voice lecturer)
1991-1992 – Royal Scottish Academy of Music and Drama, Glasgow (verse speaking tutor)
2015-16 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 & 2005 – Australian Catholic University, Brisbane BA Theatre (Voice for Acting)
1996 – La Salle University, Singapore BA Theatre (Shakespeare performance)
Workshop Leader (a selection)
Being in Voice—Voice of the Clown: Your Playful Voice, The Acting Class, Love to Sing-Hate to be Heard?, Dr Shakespeare, Archetypes and Text;); WHISC Liverpool (Intro to Voice), Fife College Diploma in Physical Theatre (Clown); E15 Acting School BA World Performance (Archetypes and Text); Qld Narrating Service (voice over); VASTA Conference 2012 (Early Learning and Voice Training); Shakespeare Globe NZ National Schools Production Week (Shakespeare performance), Arizona State University (Archetypes and Text), Studio5, Brooklyn NY (Archetypes); Playback Theatre, Brisbane (intro to Voice); Fusion Festival, QUT/UQ (acting); Gympie Gold Rush Festival (clown); All Hallows School (Shakespeare); Grafton Arts Festival ; Society of Speech & Drama Teachers of Qld (warmups); Festival of Australasian Student Theatre (acting/directing); Southbank TAFE (voice); Brown’s Mart Community Arts Centre (Darwin Fringe Festival (Archetypes & Text)); 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 voice and movement 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)
Published Journal Articles (peer-reviewed)
“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).
“Fully Integrated Voice Training” Voice Foundation Annual Symposium 2019, Philadelphia USA 2019
“Voice of the Clown – Literally” Clown Symposium, Edgehill University, UK 2018
“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
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
Other Training (workshops)
Voice (a selection) –
Valerii Galendiev, (Maly Drama Theatre of St Petersburg); Eugenie Galendiev (Theatr Institut St Petersburg) ∙ Anna Petrova (Moscow Arts Theatre School); Knight Thompson Speechworks, Cicely Berry, Patsy Rodenburg, Barbara Housman, Frankie Armstrong ; Harriet Buchan, Enrique Pardo, Marya Lowry, Richard Armstrong; Catherine Fitzmaurice ∙ Aole T Miller; Phil Thompson, Eric Singer, Andrea Caban; Kristin Linklater, Rob Pensalfini; Marcia McCallum; Joan Melton
Acting (a selection) Lev Dodin (Maly Drama Theatre of St Petersburg); Andrei Serban; Lewis Hancock (Original Shakespeare Co); John Britton; Andrei Sadowski (Mandala Theatre Co, Poland); Krszysztov Miklaszewski (Cricot 2Theatre); Alan Coleman, Sue Manger (TV casting); Aole T Miller (mask); Andrea Moor (Practical Aesthetics)
Clown –I ra Seidenstein (Quantum Mechanics, ISAAC); Angela De Castro, John Wright
Movement - Valerii Zsvordychkin, Gwen Hardie (classical ballet); Jonny Potter, Alan Caig (Lecoq), Pat Keysell (mime), Jane Simpson, Cheryl Strong (contemporary dance)
Frankie Armstrong, Mark Meylan, Tim Smith, Patricia McMahon, Mark Jowett, Eleanor Mazza
Music – sing folk, jazz, light classical; play spoons, folk guitar, ukulele
Accents and dialects of English
ISAAC (International School for Acting and Creativity) - Associate Artiste
British Actors Equity MEMBER NO: M(concealed information)
MEAA (Media Entertainment & Arts Alliance) MEMBER NO: 4406336
VASTA (Voice and Speech Trainers Association – Editor, Events Page)
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
Thanks to Flloyd I came to the auditions for NIDA, QUT and VCA feeling confident and well prepared, and was accepted into the 3 year acting course at the VCA school of drama. After 3 years of training with some of Australia's best acting and voice teachers, I can now fully appreciate Flloyd's range and depth of experience and skill. I credit her with giving me my foundation of experience and understanding of the actors instrument – the fully engaged, spontaneous, imaginatively embodied voice.
I would like to thank you for your guidance along the way and incredible support. I am very proud to have made it the final rounds and am very happy with my accomplishment as a young aspiring actor. I thank you for all the support. I really appreciate your teaching
I have attended the Being in Voice classes over the past 12 months and have found them in valuable as an actor. The classes helped me to be more aware of my body, voice and breath on a number of the archetype and working with the archetypes, has given me the opportunity to be more flexible as an actor. It gave me the tools to explore characters, and opened me up to a more exploratory process. It gave me the opportunity to open up to more choices
Thank God for Flloyd and her classes! Inspiring, fun and challenging. She's made acting make sense to me. I've rediscovered my playful spirit, curiosity and passion for theatre and gained confidence and grounding through the solid vocal and physical training she offers. I would recommend these classes to any actor
Thank you so much for being absolutely bloody fantastic.
I am NOT sorry!!! I have gained sooooo much from you, I can't thank you enough.
Hey Flloyd, guess what? We're focussed! Thanks for all the advice throughout the week - it will be into practice for many years to come.
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