As an actor, Joshua graduated from the University of North Carolina School of the Arts and studied at the American Academy of Dramatic Arts and Judith Blazer’s 2005/2007 company of the Artist’s Crossing.
Performance credits include roles in The Trojan Women, Godspell, Burn This, Comedy of Errors, Children of Eden, Othello, Show Boat, Sunday in the Park with George, The Chosen, Sweeney Todd..., The Laramie Project, and Les Miserables to name a few.
As a director, Joshua directed three sold out productions of Hedwig and the Angry Inch in NC and DC, received rave reviews for his work with Neil LaBute’s Some Girl(s), and just completed production for a series on the making of Oklahoma!. Other sporadic credits include Duets for the DC Fringe Festival, a number of independent films and countless readings, workshops and concerts.
Joshua has worked as a Musical Director for many shows within the NY/NJ/DC tri-state area and coaches a handful of select students. The musical play, Definition of a Housewife, conceived and written by himself and Jeffery Self had a workshop production in the summer of 2006 at Columbia University.
Most recently he appeared in Arena Stage’s production of Fiddler on the Roof, directed the DC premiere of Madhuri Shekar’s In Love and Warcraft and will next be appearing in Signature Theatre’s production of Soon by Nick Blaemire. He is also attached to a new musical (A House of Glass) about Tennessee Williams in which Joshua will be playing the prolific writer.
Joshua is the Artistic Director of No Rules Theatre Company based out of Washington, DC and Winston-Salem, NC and sits on the board of the Artists Crossing in NY, NY.
*** Lesson Details ***
I believe that all singing comes from the same place, technically (Opera, Musical Theatre, Pop, etc.). I work more on building a strong foundation from which everything else comes. That includes breath, placement and the stripping away of bad vocal habits that inhibit us from making healthy productive sounds. A strong foundation does usually mean having a stronger sense of your "legit" voice because it takes more work to involve your palate and breath which makes Musical Theatre/Pop seem like a piece of cake. I like to work with dedicated students who are open to challenging themselves and exploring other schools of thought in order to take themselves to the next level.
With my actors, I start from building a foundation of a sense of truth which is inherent in all of us. We talk through/explore a number of "approaches", in order to find the individuals process. From there, we begin work on how to approach text (actions, objectives, targets, meanings, etc.)
**Prospective students should be aware that lessons for speaking voice are geared more toward theatre training, rather than speech therapy. **
*** Studio Equipment ***
A space for lessons with a large library of music/plays. An upright piano.
*** Specialties ***
I only work on a flex schedule with my students, so when booking lessons- rather than selecting a specific day and time for lessons, we schedule each lesson from week to week as we go. I have lots of open hours for teaching, though they are not reflected on my calendar, as my schedule tends to fluctuate.
I have a strong background in musical theatre but believe that it all comes from the same place. Good technique is good technique which stems from more of a "classical" background. Bel canto, if you will. It's like dancing. Dancers who study ballet are much better dancers than those who don't because they have a strong foundation from which to work.