Kate has an MA (with Distinction) in Voice Studies (2001) from the Central School of Speech and Drama. She has taught Voice and Acting at the Birmingham Conservatory for Classical Theatre at the Stratford Festival, and at the Academy Intensive at the Shaw Festival. She has been on faculty at the National Theatre School of Canada – English Section teaching both Voice and Acting. Kate has been a teacher of Voice at University of Toronto, Humber College, and Mount Royal University, along with leading workshops for the Magnetic North Festival, McGill University, and Nightwood Theatre. During her training Kate was a practice teacher for the MA programs in Musical Theatre and Advanced Theatre Practice at CSSD.
Kate teaches professional development privately as a coach and through her courses: Searching for Hana, Kate’s unique style of voice work, and Shakespeare Text Tools, Kate’s take on text analysis.
Shakespeare Text Tools
Like a music theory course for Shakespeare, this preparatory class unearths all the information on the page and shows you how to apply it: verse/prose structure; complexities of scansion; rhythm and its uses; theories of punctuation; poetic terminology; rhetoric as both structure and action. Working with scenes and soliloquys, around the table and on your feet.
Searching for Hana
Aimed at releasing self-consciousness and intellectual control, Kate’s voice classes integrate the mind, body, and voice. Using exercises that enhance vocal presence through intuitive connections and pre-verbal communication, the actor is able to serve as a vessel for the playwright’s words. Inspired by the work of Barba, Brook, Suzuki, Oida, Hart, Chaikin, and others.
Statement of Teaching Philosophy
I am an actor. I am a teacher.
I teach because I am passionate about my craft in action.
I teach manifestation and liberation. In order to understand their craft, an actor must manifest the parts that make up the whole: voice, body, and mind. Detailed study of alignment, breath, onset, resonance, range, articulation, and text allow the actor an extensive analytical and practical understanding of vocal skills.
The skills of voice, body, and mind, once analysed, must then be synthesised into the acting body. Integrated skills are then liberated as expression and communication. When the communicating path is cleared of all obstructions (physical, vocal, emotional, intellectual), and a free flowing intuitive connection is established, the actor is a conduit for the words of the writer and the expression of themselves as creative artist.
Through a unifying approach, I work to put the actor in the moment; to give the actor the gift of self ; to connect the actor to their body and their physical and psychological environment; to manifest the personal journey of the actor in order to liberate their expression.