Private coaching is an excellent way to improve your acting skills or prepare for a big audition. Working together, we can help develop and expand your repertoire, finding you the perfect monologues, songs, and sides. If you need to prepare for a specific audition, we can work so you feel prepared and comfortable to have fun and do your thing in the room. We will work to make you more confident in your natural abilities, to improve your technical skills, and to allow you to kick ass and have fun!
I have specific experience preparing students for their college auditions. My coaching students have received acceptances to NYU Tisch, Syracuse University, Oklahoma City University, Elon University, Marymount Manhattan College, University of Miami (with full scholarship), Emerson College, Rider University, The Hartt School, Point Park University, Montclair State University, University of the Arts, Muhlenberg College, and others, as well as callbacks to Julliard and NYU's Graduate Acting programs.
I always work out of professional studio space in Manhattan. This helps ensure a productive and safe working environment.
As an actor and member of Actors' Equity, I have performed in national tours and in the city both Off-Broadway and Off-Off Broadway. I have also worked behind the scenes on Broadway. I am a working actor, who understands the current audition scene, and can help you prepare accordingly.
-Coached students for college auditions who received acceptances to NYU Tisch, Syracuse University, Oklahoma City University, Elon University, The Hartt School, University of the Arts, Muhlenberg College, and Rider University, among others.
-Coached students for graduate school auditions who received callbacks to Julliard and NYU's Graduate Acting Program
-Recruited students to and taught multiple 10 week sessions of advanced improvisation class focusing on long form improvisation.
-Designed and maintains website for the business.
-Responsible for creating and executing curricula for multiple acting and improv classes.
-Collaborated with head of program to direct and produce performance of one-acts rehearsed in class.
-Instructed students ages 8-22 in successfully understanding and applying Practical Aesthetics to scene work.
-Engaged with parents to keep them updated on students' progress.
-Responsible for directing and producing full-scale musical and dramatic productions with children ages 6-18 in as little as 24 hours of rehearsal time.
-Coordinated assistant directors, choreographer, musical director, and technical designers to ensure success and continuity of productions.
-Adapted or wrote several productions to be performed as world premieres.
-Created and executed curricula for a variety of theatrical classes including scene study, improvisation, script analysis, mime, voice, and speech.
-Led revamp of theater class structure and curricula.
-Lived and worked closely with children as camp counselor, ensuring that each child had an exceptional experience at camp.
-Responsible for assisting director on production of Crazy for You and Willy Wonka.
-Worked together with producer, director, choreographer, and music director to cast show.
-Led group exercises to help students discover character and connect to historical context of Crazy for You.
-Worked on Tony Nominated Broadway production rehearsing with an understudy.
-Responsible for helping actor to show significant improvement under short deadlines.
-Maintained open communications with Stage Management and Associate Director to keep them updated throughout rehearsal process.
-Helped director and music director on production of Urinetown at The Computer School with middle schoolers.
-Worked closely with principals and ensemble on acting, stage presence, and memorization techniques.
-Assisted director in teaching choreography.
-Worked with head of program on creating and executing weekly improvisation classes.
-Directed and choreographed Free to Be...You and Me with second and third graders.
-Created and executed lesson play exploring Greek mythology through theater games.
-Responsible for directing The Wizard of Oz with children ages 6-11.
-Collaborated with head of program to plan weekly rehearsals, cast show, and to make artistic decisions.
-Led improvisation and vocal exercises to help immerse students in the world of the play.
-Directed Oliver! at the Tarrytown Music Hall in Tarrytown, New York with children ages 7-17.
-Responsible for creating blocking and choreography and maintaining its integrity across four separate casts.
-Worked closely with producer, choreographer, musical director, and technical designers to collaborate on artistic choices for the production.
-Assisted director in producing workshop of You're a Good Man, Charlie Brown with elementary aged children.
-Worked closely with actors, coaching them to find freedom, confidence, and energy in their choices.
-Founding member of theater company-member of ensemble of inaugural production.
-Served on the literary committee of the company that was responsible for reading and selecting works to be produced by the company.
-Helped to organize reading of original play at local coffee shop.
-Participated in marketing and fundraising campaigns for several productions.
Actors' Equity Association, founded in 1913, is the labor union that represents more than 49,000 Actors and Stage Managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society.
· Acting · In studio
This past summer, I had the opportunity to work with him once more, this time in a musical, 9 to 5, while again being taught by him in Improv Troupe. As I had grown as an actor in the past year, I expected to have a different dynamic with him as my director. Not only did he recognize my growth and adjusted his teaching style accordingly, he pushed me further and further, never letting me settle until I reached my full potential. The same occurred with Improv Troupe; because so many of the members this year were the same as last year, he was able to build upon his teachings, and give us more complex exercises to test our skills and help us grow as improvisers.
Of course, I consider Aaron more than just a teacher: I consider him a friend as well. He is always more than willing to set aside personal time to talk and joke around once the work has been completed. Some of my fondest memories of Aaron are chatting after rehearsal, asking him for advice, or just having a laugh. This past summer I even got to coach several monologues with him privately, and I personally believe that I approach some pieces completely differently now because of his training. Aaron stops at nothing to foster growth in his students, while still fostering friendships with them. If I were to describe him in one word, it would be this: non-stop. He has an unstoppable drive that makes him one of the best acting, improv, and comedy teachers I've ever had. I can give no higher recommendation.
· Improv Comedy · In studio
· Acting · In studio
· Acting · In studio
· Acting · In studio