Henderson Acting Lessons
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Karin H. is currently pursuing her DMA in applied voice from the University of Nevada, Las Vegas. She holds a Bachelor of Music from The Juilliard School and a Master’s degree from the Curtis Institute of Music. She has been a member of the Pittsburgh Opera Young artist training program, singing the roles of Sesto ("La Clamenza di Tito"), Jenny ("Threepenny Opera") Ottavia ("L’Incoronazione di Poppea") and Carmen ("La Tragedie de Carmen"). She has also appeared with the Pittsburgh Opera as the Page ("Salome"), Alisa ("Lucia di Lammermmor") and Suzuki ("Madama Butterfly"
Ms. H. has sung the role of Zerlina ("Don Giovanni") at the Kiev Opera, Miss Jessel ("The Turn of the Screw") at the Chautauqua Institute and Hansel in the Israel Philharmonic Orchestra production of "Hansel und Gretel." With the Israeli Opera she sang the roles of Kuchtík ("Rusalka"), Madelena ("Il Viaggio a Reims"), Curra ("La Forza del Destino"),Innkeeper’s Wife (“The cunning Little Vixen” ,) in the world premiere of Gil Shohat’s “The Child Dreams and the Third Lady in the “Magic Flute”.
Karin is a member of the Avant Gard opera group “Opera Camera” with which she sang the roles of Mr. Smith (“The Bald Soprano”) and Etroga (“The Crook”) all directed by Daniel Ehrlich.
Karin participated in the performance piece “Cabaret Macbeh” as part of the “Nisuy Kelim #8” festival in Tel Aviv.
Recently she took part in Yoav Gal’s 3WEEK OPERA staged reading in New York City.
Karin H. is a recipient of the Baroch Grabov prize for exceptional emerging talent, scholarships from IVAI, as well as other numerous prizes and scholarships.
*** Travel Equipment ***
Piano or Keyboard.
*** Specialties ***
Opera, Classical, Broadway, pop
· Classical Voice · In home
· Singing · In studio
Having spent a lifetime on the stage in many roles, many capacities, I have accumulated a vast amount of knowledge pertaining to all facets of performing; be it theater, television, film. While not subscribing to one particular "method", I stress "reacting, not acting", and believability of performance. All ages and experience levels have benefited from my approach. Whether a student is an aspiring actor, or a working actor sharpening their skills or prepping for an audition, I provide a solid foundation and practical, applicable knowledge and guidance.
I have been truly blessed in my career to have experienced so many highlights; too many to document. From winning an understudy roll in the Broadway Musical "Platinum" starring Hollywood actress Alexis Smith, to performing our National Anthem at events ranging from Major League Baseball to ESPN Boxing to receptions for major dignitaries, to recording 7 albums and a full-length video, to being asked to perform for Mr. Frank Sinatra at the Frank Sinatra Celebrity Golf Tournament, I have lived a full life on stage, learning and absorbing every bit of knowledge gathered along the way.
Now it is my desire to escalate my status as an educator to a more "one on one" experience; availing myself the opportunity to pass along that wealth of knowledge to individual students who aspire to enjoy the entertainment profession as I have, providing them with the skills needed to successfully compete. Or, should it be their choice not to pursue entertainment as a vocation, to gain a working understanding of all facets of their instrument so as to gain a better appreciation of music. Whatever the goal of the student, I feel that I am equipped to provide them with the tools needed to achieve that goal.
*** Lesson Details ***
Content of Sessions
Generally, the first 10-15 minutes of each lesson will be focused on vocal warm up and exercise. (For guitar students, we will review the previous
week's assignment). For Vocal Students, it is understood that the voice mechanism is made up of muscles, and as an athlete prepares for a sporting event, a singer must prepare to vocalize. It is at this time in our lesson when the student will develop good habits of voice maintenance, which will serve them well throughout their careers. The proper care and preservation of the vocal unit cannot be stressed enough, especially for pubescent and pre-pubescent students. Vocal chords in a developmental stage are most susceptible to damage, and because they are particularly sensitive, they must be handled with care. Our warm up regimen is designed to strengthen as well as preserve the singing voice.
I am not an advocate of getting too involved and "bogged down" in the technical aspects of singing, especially with the young students, and
especially early in our program. This is not to say that breath control, tonality, pitch, etc. are not vital to good singing, because these workings are ESSENTIAL, and their application will certainly be incorporated into our studies. Some instructors, on occasion, have a tendency to lose sight of the fact that much to do with singing happens "naturally", and too much focus on the "technical" can actually be inhibiting. This can alter a beautiful, natural tone into one that is unnatural and contrived.
I adhere to the philosophy that above all else, SINGERS WANT TO SING SONGS, and musicians-in-training want to play music. That is our focus, and all of our training is conceived with that objective in mind. All the technical knowledge and coaching serves no purpose without practical application. It is my belief that the most significant progress occurs when a vocalist is singing a song.
Nearly every element of instruction can be utilized in the performance of one song. This is why the majority of our session time will be spent "in song". For the very young student, we will concentrate our efforts with the students choices of favorite and familiar songs. The older students will undoubtedly have favorite songs, styles and artists. Special attention will be paid to the genre most enjoyed by the student, but diversity will be emphasized as well, and a variety of genres will be unpacked and explored. I believe that whatever a student's musical goals and aspirations, it is in their best interest to gain knowledge and insight in all facets of music, singing, and performance.
The most vital pre-requisite for any student is their enthusiasm. My ambition will be to harness that enthusiasm and channel it productively through stimulating instruction. Our sessions will be informative and educational, but always predicated upon "having fun with music".
I am proud to feature a curriculum that emphasizes the entertainment aspect of singing as well as the technical; created to benefit all ages and experience levels, from beginner to seasoned professional. After just weeks of my "Triple Threat Training" a student will begin to see astounding results: vocally, musically, and in the art of performance. I am excited to share my knowledge with you. Let's get started!
*** Studio Equipment ***
My studio is equipped with a full vocal sound system with microphones that I utilize to teach the valuable art of mic technique. Young students enjoy using the mics and hearing themselves sing and perform. Since our lessons are predicated on enjoying the art of singing, this opportunity has proven invaluable. For the advanced performer, studying all aspects of amplification and what a singer should know about their stage sound is a part of our educational curriculum. My studio is furnished with the equipment that is essential to mastering that knowledge.
Since the practical aspect of my course is based on singing songs, I provide all the latest technology required to allow my students the opportunity to sing the songs of their choosing, with and without the lead vocal tracks. I feel that when students are singing their favorite songs, it offers me the greatest teaching opportunities. I make certain the every musical genre can be represented, and feel I have the knowledge and ability to guide the student is whatever their musical tastes. My studio is also equipped with piano (for vocal exercises), and guitars, which gives me opportunity to accompany my students when the musical moment is appropriate. Be assured that all the technology I need to fulfill the educational needs of my students is but a step away!!
· Music Performance · In studio
· Acting · In studio
· Singing · In home
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Learn true analysis to mine the script of every detail you need to make the character come alive. Then activate those given circumstances with personal choices to make the character rounded and real.
About Zeffin Quinn
1) Build a vocal technique that will not fail you
2) Have piece of mind that the SOUND you want to come out of your mouth WILL come out
3) Know that you are using your own 100% authentic sound
...then you have found the right teacher!
🎥 🎶🎙 LESSON DETAILS 🎥 🎶🎙
Most teachers "vocalize" or "warm you up" for 5 or 10 minutes and then the lesson is spent just singing songs with no real emphasis on how to execute awe-inspiring and healthy singing.
Working with me is a truly distinctive experience, much like a workout with a trainer (Don't laugh because I'm a li
🎥 🎶🎙 STUDIO EQUIPMENT 🎥 🎶🎙
Main teaching studio is 14'x14'
800 sq ft recital & class space
Sound System with:
Standard 3.5mm input jack for other phones/players
"Old School" cassette tape recording
Full Library of Classical, Musical Theatre, Pop Music
🎥 🎶🎙 SPECIALTIES 🎥 🎶🎙
✓ I have served as a vocal consultant on many professional recording sessions
✓ I have nearly 20 years experience working in all genres - POP/Rock, Opera, and Musical Theatre. I have a long client list that includes many celebrities all the way to beginners who are dedicated and ready to embark on a systematic process.
✓ In order to gauge your progress, I also provide performance opportunities through quarterly recitals and studio classes.
🎥 🎶🎙 BIOGRAPHY 🎥 🎶🎙
In addition to a rigorous performing career, Mr. H. has also been the principal associate vocal technician to world renowned master clinician Joann C. Zajac for the past fifteen years. Known for unearthing talent; building voices from inception; and guiding and managing the well trained singers through the inherent difficulties of a performing career: ZajacStudio has earned a coveted reputation for providing a meticulous regimen that builds a robust and consistent singer with a "complete package" ready to take on the difficulties and rewards of a major career. Students have traveled from as far as Hong Kong to work with these down to earth and practical technicians, and they encompass every genre including pop, musical theatre, and opera. Using Ms. Zajac's exceptional approach, clients have garnered both critical and popular success working on Broadway, London's West End, and in opera houses all over the world. The ZajacStudio client list also includes recording artists and an extensive list of top celebrities.
Working with the concept that all performance art is pure storytelling, Zeffin is also an accomplished director and acting coach. He is the co-founder of Singing Actors' Lab, the production and group class arm of ZajacStudio. The mission of SAL is to bring the best of both worlds from acting and classical singing to a "no compromises" well-rounded performance where acting choices support the vocal technique and vice versa. SAL has produced many full productions of operas, legit musical theater, also a series of concerts at Le Petit Greek Los Angeles, and a countless array of master classes throughout the country. As a stage director Mr. H.'s productions have been on the stages of Opera Las Vegas; Los Angeles' Dell Chamber Opera; Larchmont Concert Opera; California State University, Northridge; Wichita State University; and also recently at the Off Broadway Theater, The Lambs.
Zeffin has sung over 90 leading roles at many of the country's most significant opera houses including Dallas Opera, New York City Opera, Santa Fe Opera, Opera Pacific, Opera Theatre of Pittsburg, Palm Beach Opera, Opera Delaware, Toledo Opera, New Orleans Opera, Dicapo Opera Theater, and also at Hungary's Szeged & Pecs National Theaters. Mr. H. has had the pleasure of many orchestral appearances as a soloist with the Brooklyn Philharmonic; Lincoln Center's Little Orchestra Society of New York; Westfield Symphony; Palm Beach Opera Orchestra; Duluth Superior Symphony Orchestra; Owensboro Symphony; Bear Valley Music Festival Orchestra and Rome's International Chamber Orchestra. His signature operatic roles include Scarpia (Tosca), Escamillo (Carmen), and Jack Rance (La Fanciulla del West). Mr. H. also represented the USA as John Proctor in the award-winning production of The Crucible broadcast to 46 countries on Mezzo Television.
· Singing · In home
· Singing · In studio
· Acting · In studio
Zeffin Quinn H.
Zeffin Quinn H.
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I've been teaching Acting for 7 years professionally and my students have gone on to be lead roles in feature films, supporting roles in feature films, and cast in stage plays. I am a very hands on teacher. I like to get into the character with the actor. Within the first few lessons, you'll be able to dissect and embody a character and as time goes on you'll be able to perform two one-minute monologues for a TV/Film agent. If you already have an agent you will be coached for auditions. I love working with students of all ages and experience levels and I can't wait to meet you!
Whether you are just starting out in your journey as an actor, or you are interested in refining your skills with relevant and applicable concepts and methods, I will devise a program tailored specifically to your aspirations. Character development, dialogue interpretation, stage movement: just to name a few of the skills we will be studying and honing. If it's Musical Theater you enjoy, we will unpack the elements in that genre, and prep you for auditions. Always, classes are predicated on fun!
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Struggling to find that perfect audition monologue? It can take some time, so be prepared to be patient! Read on as Courtney P., one of our acting teachers in the Orlando area, offers her advice: Let's face it, most actors HATE monologues. They are tedious, and most of the time, it's ridiculously hard to find the right one. Monologues are, however, necessary in the entertainment Industry, and many times your monologue can make or break an audition. The process of perfecting your monologue … Read More