Studying Shakespeare: the Broccoli of Acting or Something More – Why Study Shakespeare in LA?

Guest Post by Diana Jellinek

I get it.

This is L.A. The pressure is on to get going with your acting career. Living here can make you feel like you’re in a race to “make it” before you get too old, too broke, or too cynical. You’ve got to be at the top of your game at all times: trained, represented, available, confident. And so, to keep all these balls in the air, you go to the gym, you keep your wardrobe spiffy, you network, and you keep training – all while finding myriad ways to pay your exorbitant rent and keep your car running so you can get to the audition to book the job to pay your rent and pay for more classes to get you to the next audition. It’s exhausting. And difficult. And expensive.

So why, with the long list of classes we can and should take as actors, would we take a class on acting Shakespeare?
Two words: mad skills.

Benedict Cumberbatch as Khan in Star Trek Beyond
Classically-Trained: Benedict Cumberbatch as Khan

Granted, playing Shakespeare may seem like the broccoli of acting; do your Shakespeare so you have a nice balanced diet of contemporary and classical roles in your repertoire. And let’s face it, most of our English teachers did us a disservice by asking us to drudge through reading one of the plays in the canon – a process sure to discourage even the most enthusiastic among us into any further study. And then there’s the prospect for employment – it’s not like Shakespearean actors are in high demand for high paying roles.


Or aren’t they?


When you think about really great actors that you admire in contemporary film and television, chances are they’ve done some Shakespeare. In fact, more and more, casting directors rely on those British thespians with a background in the Bard for coveted roles. Here are a few you may have heard of:

  • Ben Whishaw (Q in Skyfall)
  • Jeremy Irons (Alfred in 2016’s Batman v. Superman: Dawn of Justice)
  • Tom Hiddleston (Loki in The Avengers and Thor)
  • James McAvory ( Steve McBride in Shameless, X-Men)
  • Alan Rickman (Harry Potter)
  • Emily Blunt (Girl on a Train)
  • Clémence Poesy (Fleur in the Harry Potter films)
  • Patrick Stewart (Professor Xavier in X-Men films, formerly Jean-Luc Picard)
  • Felicity Jones (Theory of Everything)
  • Benedict Cumberbatch (Khan in Star Trek Beyond – sorry, spoiler)
  • Judi Dench (former M in the James Bond franchise)
  • John Hurt (Harry Potter films, Hellboy II, the last Indiana Jones)
  • Maggie Smith, Emma Thompson and Kenneth Branagh (Harry Potter)
  • Anthony Hopkins (Odin in Thor)
  • Ian McKellen (Magneto in X-Men)
  • Helen Mirren (RED & RED 2)
  • Kenneth Branagh (director, Thor)

So what are these “mad skills” I am suggesting you develop by learning to play Shakespeare? Without launching into a tome, here are the three biggest:


We are becoming increasingly accustomed to language short hand – as if texting has seeped into our verbal communication and renders us unable to articulate a full, complex, and emotionally-rich thought. ICYMI. OMG. WTF? ROTFLMAO! Just getting my students to fully embody the interjection “OH!” can be incredibly challenging.
Fact is, we just don’t have a rich tradition of rhetoric in America. The seeming inability of our current political leaders to deliver inspirational addresses is yet another example of our shift away from practicing and honoring the deliciousness of language.

Acting Shakespeare demands that an actor operate at the highest capacity of intellect, emotion, and vocal and physical expressiveness. His characters are intelligent and complex, his themes cover the breadth of humanity’s extremes, his words are evocative, colorful, descriptive and alive in their mere vibration. It’s our job as actors to reach out with those words and grab the audience and, as the great Shakespearean director and co-founder of the Royal Shakespeare company John Barton reminds us in the brilliant series Playing Shakespeare, we must MAKE them listen.


Most actors have heard Sanford Meisner’s definition of acting: to live truthfully under imaginary circumstances. And there is no greater playground of imaginary circumstances than Shakespeare’s plots. They are jumbo blockbuster movies, colossal melodramas full of heroes and villains, intrigue, danger, deceit, love, hate, clowning, slapstick, twists, monsters, and magic. Learning to give yourself over to, and splash around in these extreme circumstances and bring them to life is one of the true joys of being an actor.

Patrick Stewart once explained how Shakespeare prepared him for his career: “I think that the experience that we get in making a 400-year-old text work is exactly what you need for giving credibility and believability to fantasy, science fiction, and the like.”1 It’s quite an artistic stretch to get related to a circumstance, like Titania’s in Midsummer Night’s Dream, where she, the queen of the fairies, falls madly in love with a “rude mechanical” (laborer), Bottom, who has the head of a donkey. Or Lavinia’s predicament in Titus Andronicus, where she is violently raped and butchered (tongue cut out and hands cut off) after her lover is murdered. We must “live truthfully” under these circumstances if we are to bring these characters to life for our audience. It’s a tall order indeed.
Let’s remember, too, that Shakespeare’s plays during his time were created upon a bare stage, with minimal props and only functional set pieces. Creating an island, or a majestic throne room of a palace had much more to do with the actors use of their vivid imaginations and language to bring the audience into the setting with them. This skill serves an actor well today when an increasing amount of film work will be acted in front of a green-screen, with digital effects added long after the acting has been captured. An actor’s ability to bring to life what does not exist in reality is vital to a compelling performance.


As fantastical and outrageous some of Shakespeare’s plots and characters may be, the reason they still resonate 400 years later has to do with their deep understanding and reflection of the human condition. Famed Shakespearean director Trevor Nunn, in an interview with The Telegraph, even argues that the Bard’s themes resonate more than religion: “Shakespeare has more wisdom and insight about our lives, about how to live and how not to live, how to forgive and how to understand our fellow creatures, than any religious tract. One hundred times more than the Bible.”2

Certainly today, any theatergoer experiencing Henry V can feel the reverberation of the consequences and cost of going to war. At the same time, the play Julius Caesar reminds us how the fears of the masses can be exploited and manipulated by unprincipled leaders (presidential politics). Even our teenagers, whose first foray into Shakespeare is most likely Romeo and Juliet, recognize the fatal consequences of feuds and unwarranted hatred between and among human beings (immigrants and refugees).
An actor’s journey, though very personally enlightening, is also demanding in a more universal way. We are the harbingers of humanity’s empathy. We must be willing to explore, discover, and understand the depths of the human condition if we are to invite our audiences to open their eyes with us. If our profession is to be anything more than vanity, we must embrace our role in opening their hearts and minds.

For more information on Shakespeare classes for Hollywood-minded actors, see EMAS’s Playing Shakespeare workshop.


1. “Patrick Stewart Explains How Shakespeare Prepares You For Science Fiction Acting,” Charlie Jane Anders, Gizmodo, 29 Apr 2010
2. “Trevor Nunn: Shakespeare is 100 times more relevant than the Bible,” Hannah Furness, The Telegraph, 17 Mar 2014

diana jellinek, shakespearean actors and coachNow based in LA, Diana Jellinek is an actress and an acting coach with extensive experience on stage and screen. Learn more at:
Diana Jellinek’s Website
Diana Jelinek’s IMDB Page

Elizabeth Mestnik Acting Studio adds Tony Award winner Chris Bensinger to Faculty

Bringing Broadway craft to Hollywood actors

tony award winner Chris Bensinger to teach musical theatre classes at emas LALOS ANGELES, Sept. 8, 2016 /PRNewswire-iReach/ — The Elizabeth Mestnik Acting Studio (EMAS) is adding “Singing Performance” to their fall schedule taught by Tony Award winning producer of American Idiot and Book of Mormon, Chris Bensinger. This is an 8-week class beginning September 26th. The class runs 8 consecutive Monday evenings at 7pm.

In light of the increase in television and film productions in which singing is a required skill, (Empire, Pitch Perfect, Glee, La La Land) this class has been developed to fill a gap in the Los Angeles acting community for professional singing performance instruction. Limited to 10 students, each singer will work every class. Singing training/experience is strongly encouraged, as this is not a class where students learn to sing, but rather where they strengthen the performance aspect of a song. The final class will be a performance night for invited guests.

Tuition is $420 with a 50% deposit required for registration. Students can can read more about the Musical Theatre class here, and register at

Actress Juliana Mendez on the Meisner Program

Guest Post by EMAS alumnus Juliana Mendez

Before the Meisner program, I felt like I was stuck in my head and wasn’t able to fully let go. I was intrigued by the Meisner technique’s emphasis on moment-to-moment work. I heard about the Elizabeth Mestnik Acting Studio (EMAS) through a couple of friends and they both had great things to say about the studio and the Meisner program. My curiosity grew each time they talked about it and wondered what they meant when they said it was ‘hard’. Up to that point I had been lucky enough to have had excellent acting teachers who demanded a lot from their students, but I never considered acting ‘hard’. The more I heard about the program, the more I wanted to see what it was all about. I told myself that I would wait until I was done with school to continue my acting training. Then, I saw my friend in a short film and was blown away by how much her work had grown within just a few months of training at EMAS. I had to check this place out ASAP!

My plan was to do the Meisner summer intensive since I was off from school and then enroll in the 2-year program the following year once I graduated. Ha! Plans changed because I was completely hooked. I learned a lot about acting and life in just those five weeks and was dying to learn more. I finally understood what other students meant when they said it would be hard. This program requires discipline, determination, and the courage to let yourself be seen at your most raw and vulnerable moments. In my experience, the people that leave the program or have negative things to say about it are the ones least willing to be vulnerable and put in the work, which makes them feel attacked when asked to do so. There is no ‘hiding’ behind other characters since you’re basically taking in and experiencing everything as yourself under the imaginary circumstances crafted.

First year is brilliantly designed to help you learn about yourself and your unique point of view. Through the exercises, you develop the highly important skill of listening, the ability to behave truthfully and spontaneously, and the strength to both stand up for yourself and allow yourself to be vulnerable. You become more emotionally available and more confident in your craft. What more could you ask for? If you put in the work, you’ll gain the necessary tools that’ll allow you to do consistently good work. I am now a few months away from completing second year which consists of character work where you learn to adopt different points of view and do impediment work. You get to let your imagination run wild and really have fun! The program also includes on-camera work, the business side of acting, and a showcase at the end to which industry people are invited. The Meisner program has been life-changing and it’s crazy to think that it’s almost over!

But I can’t wrap this all up without talking about the Fitzmaurice voice class which I just finished taking with the incredible Michael Yurchak who is certified in the technique and studied with Catherine Fitzmaurice herself. I am so glad that they added this 12 week course option to my Meisner training. I never really received notes about my voice per se, but I wanted to incorporate this class into my training in order to keep my instrument sharp and have a more conservatory style of training. After all, the Fitzmaurice technique is also taught at NYU, Julliard, and Yale so it clearly has it’s merits. I went into this class not expecting much since it was ‘just’ a voice class, but man, I was wrong! In class you are guided through the sequence, which is a series of positions that usually produce tremors. You ‘destructure’ and ‘restructure’, which allows you to access your full voice without excess effort and tension so that it is more expressive and resonant. The Fitzmaurice class feels like a yoga class except for the fact that everyone is making sound and some people end up having strong emotional reactions (crying, laughing, etc). The sequence helps shake up ‘emotional goo’, as Michael says and is highly effective. It works so quickly, that I always left class feeling grounded, extremely relaxed, and with a more resonant voice. There is a lot to be gained from this class both technically and personally, and it complements the Meisner program nicely.

Overall, the classes offered at EMAS are phenomenal and all of the teachers are amazing. They truly care about their students and everyone is really supportive. You also get to meet a lot of other great people, especially at EMAS events, such as the monthly staged readings, which gives students and alumni a chance to act, direct, and get familiar with more plays. Taking classes here has been one of the greatest investments I have ever made for my career and has been worth every penny!

actress Juliana MendezAn alumnus of Elizabeth Mestnik Acting Studio’s Meisner program, Juliana Mendez is an LA based Actress currently making a name for herself in film and on stage.

What to do with a Spark? An Actor’s take on the Importance of Training

Post by Jordana Oberman

I’ve been teaching for about 15 years and I recently got into a conversation with someone who asked, “Why bother training? Isn’t that what instincts are for?”

To me that‘s like asking a spark why it needs kindling to create a fire. Training is your fuel as an actor. The genius of being an artist is that different fuels create very different fires – you the artist must know what the moment demands and then serve it.

The only way to know how different fuels affect you is to try them on for size. This is where I believe the foundation of acting technique is a must for any actor to explore. As new actors begin their journey into their craft how can they tell if they want to study Meisner, Stanislavsky, Stella Adler, Strasberg, etc? Well, they can read about each and every technique out there. Okay, but that’s book smarts. How will you know which affects your fire and sends you soaring? The only way is to try the techniques on for size.

This is why Elizabeth, Michael Yurchak and I created a curriculum developed for this exact exploration. We want to give students a chance to test drive different techniques to see how they work. In our Foundations classes we explore Strasberg, Stanislavsky, Improvisation, Fitzmaurice Voice Technique and Rasa Aesthetics – just to name a few. We ask students to try them on, work within them and then move onto the next. This is a class specifically about trial rather than mastery. We teach individual exercises created to employ aspects of each technique, which allows our actors to actively apply them to scene work. We wouldn’t ever expect a new painter to jump into the Sistine Chapel – but rather to explore their mediums: oils, watercolor, acrylic…are you into realism, pointillism, abstraction?

In this exploration we hope that every actor feels like this is a place where it is safe to fail and to fail brilliantly. They need that safety net where one misstep won’t lose them a job or affect the next moment in their career. They need a place to spread their wings and make mistakes. I truly believe that every mistake or failure is a beautiful opportunity for growth. Mistakes are our greatest teachers. We fix those mistakes through repeat practice. Most of the time when everything clicks into place for an actor and you ask them, “What happened?” Their response will undoubtedly be “I don’t know.” So we have to create a muscle memory in the studio of what works vs. what doesn’t. Our class is where student actors can rehearse techniques over and over again. That way when the lights are on and the camera is rolling our artist instincts can click in and we can surrender to the ride.

Once a student has experienced all the different exercises and techniques we teach, then they can decide if there is one they would like to explore in more depth. In the end all the techniques work on each actor differently. We are all artists with our own points of view and this uniqueness is what makes each of us extremely castable. We just need to develop our tool-box to call upon whatever the moment demands. And the only way to build those tools is to train. Training is the kindling that lights the flame.

jordana oberman acting instructorAn alumnus of EMAS LA, Jordana Oberman currently teaches the Meisner Technique at the studio. Jordana’s career as a working actor has taken her back and forth between New York and Los Angeles working in Theatre, Television, and Film. See her staff bio here, or see more on IMDB

EMAS Acting Teachers give their Oscar Picks

academy award candidates

The Oscars are almost here – a time of year when everyone looks back takes some time to contemplate on their favorite movies and performances of the past year. From academy members to cinephiles to casual moviegoers, everyone has their own opinion about which work merits recognition.

Getting in the spirit of things, we asked our staff of acting instructors to share their thoughts on which films and actors impressed them the most in 2015. Below are their votes for the 87th  Academy Awards:

Jordana Oberman, Technique instructor

Best Leading Actor: Eddie Redmayne
Best Leading Actress: Brie Larson
Best Supporting Actor: Mark Rylance
Best Supporting Actress: Kate winslet
Best FilmSpotlight
Best Direction: The Revenant Alejandro G. Iñárritu

Sandy Egan, Meisner Instructor

Best Leading Actor: Leonardo Di Caprio – just for shooting conditions alone (I also really liked Matt Damon)
Best Leading Actress: Saoirse Ronan – a beautiful heartfelt performance
Best Supporting Actor: Mark Ruffalo – I like him in everything
Best Supporting Actress: Rooney Mara is the very soul Carol
Best Film: Spotlight – it worked on every level
Best Direction: George Miller – a great achievement so late in a long career [Mad Max: Fury Road]

Thom Rivera, On-camera Instructor

Best Leading Actor: Leonardo Di Caprio or Michael Fassbender
Best Leading Actress: Brie Larson
Best Supporting Actor: Mark Rylance
Best Supporting Actress: Alicia Vykander  or Kate Winslet
Best FilmThe Revenant
Best Direction: Alejandro Iñárritu

Ken Weiler, Meisner Instructor

Best Leading Actress: I’m going with Brie Larson. She won the Golden Globe for Room. Her performance was raw, and powerful. She’s new, even though she’s been working for over 20 years. Ha! Room is just the sort of movie the Academy gives Oscars to.
Best Leading Actor: I’m going with Leonardo Di Caprio. He’s overdue. His body of work is remarkable and he hasn’t won an Oscar yet. And he was incredibly good in The Revenant.
Best Film: The Revenant, Alejandro Iñárritu won last year for Birman and, as crazy as it sounds, I think he could win again.
Best Direction: Alejandro Iñárritu, The Revenant is just so cinematically magnificent and, like Birdman,left me asking “How did he do that?”

Elizabeth Mestnik, Founder & Director of EMAS

Best Leading Actor: Leonardo Di Caprio
Best Leading Actress: Brie Larson
Best Supporting Actor: Mark Ruffalo
Best Supporting Actress: Alicia Vikander
Best Film: Spotlight
Best Direction: Alejandro Iñárritu


Have your own thoughts on who did the best movie work of 2015? Let us know what you think!

EMAS Is Moving to a New Studio Location

Elizabeth Mestnik Acting Studio (EMAS) has announced that on February 22, 2016 it will move from its current location to a new studio located in North Hollywood, Los Angeles.
The new location’s address is:

Elizabeth Mestnik Acting Studio
11423 Moorpark Street
North Hollywood, CA 91604

The upcoming move coincides with plans to increase the number and variety of classes and seminars offered to acting students. According to Elizabeth, “EMAS is excited to offer more supplemental workshops, such as our on camera classes, commercial technique, and personal audition coaching. Furthermore, for the first time, we’ll be offering a musical theater class which will be taught by the Tony Award-winning producer, Chris Bensinger.”

Any inquiries regarding the new location can be directed to Elizabeth Mestnik by email ( or by calling the studio at (323) 528-6280.

EMAS LA’s New Location:

There’s No Place Like Home – An Actor’s Search for the Right Acting Class

Guest Post by Aisha Lomax

I needed to find a class. After spending almost three years at The Elizabeth Mestnik Acting Studio, (EMAS) (Summer intensive, two years of Meisner and scene study), it was time for something new. At least, that was what I had been told. All of the online acting forums informed me how imperative it was to not stay at the same studio for too long, lest I stop growing as an actor. I definitely didn’t want that to happen, so the search for a new Los Angeles acting class began.

This is what happened:

Class 1: The class started almost 30 minutes late, which was a red flag for me. The teacher was there, but a lot of the students weren’t, and the ones who were there didn’t seem to be in any rush to start class. They were chatting and playing around with one another and not ready to work. This was supposedly a “master” class, by the way. This studio used a hybrid of techniques, but the teacher really liked the Meisner repetition exercise. When he found out that I had studied Meisner, he invited me up to practice repetitions with the other students. Cool. I get up there and do the exercise with about five of the students. After about 15 minutes, I was exhausted and frustrated. Repetitions do that to you, but I was more upset by the fact that it was evident that the instructor hadn’t fully explained the point of the exercise so it went nowhere. Absolutely nowhere.
By the time that they were ready to put up the scenes, everyone seemed to check out, including the instructor. I decided to keep looking.

Class 2: Right away, the instructor informed the auditors that students don’t work every week. They only work when they are “ready”. What does that even mean? And who determines when the student is ready? Why would I pay my hard-earned money to maybe put up a scene once a month or so? Okay, I get it. There is a lot that can be learned from just observing and watching other actors work, but you mostly learn by doing. Final verdict: not for me.

Class 3: After doing research on their website, I discovered that that instructor didn’t allow audits. You had to have trust in the teacher and trust that he would be fantastic and that you would automatically jibe with his teaching style. Great.

These are only three examples of what I came across but, trust me, I could go on and on. Los Angeles is filled with dozens of acting classes, and I choose to believe that, for the most part, you will avoid situations like this. But, statistically speaking… well, you know, someone is filling those classes, I just didn’t want it to be me. I found myself back at EMAS one day watching the scene study class, the one I didn’t take because I thought I needed to “spread my wings”, wishing that I were on that stage, exploring a new character. And then the thing that Oprah calls an “ah-ha” moment hit me. I’d spent so much time and energy trying to find a studio to replicate what the Elizabeth Mestnik Acting Studio does so well, and it’s the reason why I decided to make EMAS my acting home in the first place.

Every single instructor has so much passion for what they do, and it’s refreshing and reassuring to walk into one of their classes knowing that fail or fly, you’re going to leave that class with a valuable piece of information to make your acting that much better. And the students are there to work. Elizabeth has fostered such a sense of community and family, and upon meeting the incredible teachers and students, you can’t deny it. It’s why I continue to go back for the mixers, staged readings and, realize that in the New Year, this is the place I need to be. Some people may truly need to change schools to get all the training they need for this industry, but that’s just not the case for me. Far from stunting my growth as an actor, I feel like I’ve found a creative home that challenges me and hones my process. I don’t really need to look any further.

actor aisha lomaxAisha Lomax is a 2014 graduate of The Elizabeth Mestnik Acting Studio’s Professional  Meisner Training Program. She is currently making strides in the commercial world; you can see her racing across town from one audition to the next!



“It takes 20 Years to become an Actor” – Reflections on my acting training.

By Ken Weiler

Sanford Meisner is famous for saying that “It takes 20 years to become an actor”.  So now, 20 years after graduating from Rutgers University’s MFA Acting program, I am reflecting on what I learned there and realize that there are many lessons I learned while training that I take into auditions and performances today.

One of the most important things you learn while attending a conservatory is to rehearse. It sounds so obvious, but an actor must prepare. It’s almost common knowledge now with the popularity of books like Malcolm Gladwell’s Outliers and the “10,000-hour rule,” (the idea that it takes approximately 10,000 hours of deliberate practice to master a skill) but you learn that you just have to put in the time. There’s no way around it. A musician spends hundreds of hours practicing scales, a doctor spent years in medical school, and so the actor must rehearse, rehearse, rehearse.

For me rehearsal and preparation are synonymous. You can’t escape the need to give yourself as much time as it’s gonna take to prepare for a role or for an audition. Sometimes you get material that’s in your wheelhouse or fits your temperament, and then it may be easier or less time-consuming. But to pull off a powerful or hysterically funny performance is not a simple task. It’s achieved through great effort and work, though the performance itself should appear effortless. As Hamlet said, “Therein lies the rub.”

If you ever studied with Bill Esper you heard these words asked of you a thousand times, “What are you doing there?” In this question lies the cornerstone of technique. I constantly ask myself this question when I read a scene for an audition or am preparing a role for a job. It may be one of the most important elements in creating truthful behavior and it’s at the core of realism in acting. Bill stuck very closely to Meisner’s straightforward definition of acting which is “Living truthfully under the imaginary circumstances of the play.” In Bill’s book he went so far as to change it to “DOING truthfully under the imaginary circumstances…” Stanislavski delved deeply into actions and objectives in his approach for the actor. And, I am constantly asking myself, “What am I doing? What do I want? How am I gonna get it?”

Finally, to keep from sounding too intellectual or clever, perhaps the most important lesson I learned relates to spontaneity. I have to stay playful. I have to stay almost childlike in my imagination and willingness to improvise. I have to stay open, loose, and relaxed. This is a part of your performance and preparation that is not intellectual. It’s an oversimplification to be sure but, simply put, I have to have fun. I have to play.

actor & teacher ken weilerKen Weiler received his MFA in Theater Arts from Mason Gross School of the Arts under the tutelage of William Esper and Maggie Flanigan. He has taught The Meisner Technique and Auditioning at EMAS for the past 8 years. He’s worked professionally for over twenty years with appearances in dozens of films and episodic television shows including Criminal Minds, Friends, The West Wing, Desperate Housewives, CSI, Bones, and currently recurring in the STARZ series Blunt Talk starring Patrick Stewart.

He is also an accomplished musician, performing with his band The Four Postmen at various L.A. venues

Should Working Actors Continue Their Training??

Guest Post by Matthew Jaeger

Matthew Jaeger HeadshotMatt Jaeger is a 2014 graduate of The Elizabeth Mestnik Acting Studio’s Professional Meisner Training Program. He is currently starring in Chinglish by David Henry Hwang at East West Players. Other credits include Recurring and Guest Star appearances on Criminal Minds, Switched at Birth, CSI and Grey’s Anatomy. See Matthew Jaeger on IMDB.

When I came to Elizabeth Mestnik Acting Studio, I’d already been a working actor for four years. I worked primarily in commercials and television, doing the occasional film and the even more occasional theatre project. I came to EMAS because of one these more occasional theatre projects, a play called Short Eyes, where I played the title role. It was an incredibly demanding role, and I found I hit a wall when trying to access certain emotional parts of myself. I would get to a point and then just… nothing. It was scary and incredibly frustrating. So I faked it when I needed to, and got through the run. But afterwards I was left with the feeling that I should have gone farther, made the role not only deeper but given it more levels and color. My girlfriend (now wife) suggested I look at Elizabeth Mestnik’s Meisner Summer Intensive when it came around that summer. So I did.

To make long story slightly less long, in that short intensive, I dug deeper than I ever had before. I liked what I found, and what it did to me as an actor. So I joined the full Professional Program. What followed were nine months of some of the hardest work I’ve ever done as an actor. Remember, I make my money acting, so I was very nervous to mess with my process or give anyone else input as to how I approached my craft. But the more I relaxed and opened up, the better things got. It was SO much work, but every minute was worth it. I continued on into the 2nd year’s advanced work and my confidence grew as I solidified what I learned and absorbed it into my daily work.

In going through the 2 Year Meisner Program, I not only grew as an actor, but as a person. I made lasting friendships and came to know myself in ways I never thought I would. It was great. But if you’re like me, you want to know, bottom line, “Did the acting get better?” Aka “Did you start booking more?” Well, I’m about as anal retentive as they come and I actually track my booking percentages, so I can answer that question.


I started class in 2012. My stats for that year were:
Callback: 20.7%, Booking: 8.8%
(I told you I was anal retentive)

During 2013 I was changing my process and rebuilding my craft, and the numbers dropped.
Callback: 10.4%, Booking 5.2%
Needless to say, it took some real trust to keep with it when my stats dropped by half. But I believed in Elizabeth, Jordana, and Ken. And like I said, I could see my growth as an artist. And most importantly, I was ENJOYING acting more.

By the time I graduated, in June 2014, everything was back to normal. My stats for 2014 were almost identical to 2012:
Callback: 20%, Booking 8.6%

Today I’ve had a year to settle into my new process and really put what I learned to work. It’s the first complete year of acting work I’ve had since graduating, and my stats have definitely improved As of November, my 2015 stats are:
Callback 25.4%, Booking 19%

That’s right, my booking ratio more than DOUBLED in my first full year after graduating from the EMAS 2 Year Meisner Program. And my callbacks have increased as well.

Also, before and during the class (2012-2014) I averaged working 18 days a year. For 2015, I’m on track to work 91 days. True, this probably would have been a good year anyway, part of the ebb and flow of any career. But it could never have gotten this good without EMAS studios. My training there has upped my game to a new level.

So, to sum it all up, only someone as anal retentive as me can tell you, with objective proof, the Elizabeth Mestnik Acting Studio works.

Most Googled TV Shows on IMDB – Summer 2015

For every blockbuster star, their are a hundred actors who practice their trade on the “small screen.” With the productions from cable channels such as HBO, and the expansion of online streaming sites into the creation of their own “TV” shows, the quantity and level of quality on display in today’s series has increased tremendously. Season premiers now frequently generate more buzz than premiers on the big screen.

Wit that in mind, we thought it’d be interesting to take a look at what shows people have been looking up on IMDB this summer (through Google). The word cloud below illustrates the most-searched series in mid Summer of 2015.

infographic most searched tv series on imdbIf you have aspirations to act these or other series, check out our scene study/on camera acting classes.

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