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Theatre Credits

My most recent work, and an interesting challenge, was for the Ramshorn Theatre's production of The Playboy of the Western World, requiring an unusual and strongly-flavoured West-of-Ireland rural accent. Earlier I coached their production of A Streetcar Named Desire, requiring New Orleans accents.
Before that I coached the Giffnock Theatre Players' production of The Crucible, which was performed with a mixture of southwest England and old-fashioned American accents, suggesting the colonists' comparatively recent arrival. My previous assignment for the Giffnock Theatre Players was to coach their 2006 production of Sunset Song, a gritty story of farming life requiring rural North-East Scottish accents.
"It has been a pleasure to work with you - the Doric accent was always going to be a tough one, but you've given us a beautiful, lilting speech that adds to our performance." - Cast of Sunset Song.

"I think that the work you have done with the accents, and the willingness of the company to learn, listen, and take on board what you are telling them, is simply quite excellent and helping to make this production quite special." - Walter Paul, Director.
In Summer 2007 I coached the Ilkley Players' production of John Steinbeck's Of Mice & Men, requiring accents suitable for southwestern United States ranch-hands of the 1930s. The production later went to the Minack Theatre, Cornwall.

"I was afraid that there would be a lot of cod American accents on show, but I was really surprised by the authenticity of the voices" - Theatre professional, Cornwall.
I also ran an accent workshop for the Ilkley Players' production of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, requiring Texas accents.

"The deep-South accents are warmly authentic". - Ilkley Gazette
My earlier work for the Ilkley Players includes Ben Elton's Popcorn, requiring Californian, Mid-Western and New York accents.

"A couple of not-quite-genuine Hollywood accents...!" - Bradford Telegraph & Argus.
I recently performed 17 different accents when recording English-language test material for Marlins, the training company. The 17 accents were: Yorkshire, rhotic Lancashire, RP, Midlands, Standard Southern British, Cockney, New York, General American, Thai, generic Scottish, Indian, Dutch, Polish, Russian, Italian, French and Greek.
I coached the Glasgow Orpheus Club's production of Carousel, which ran for seven performances in the Theatre Royal, Glasgow. This powerful Rodgers & Hammerstein musical drama required a well-defined Maine (New England) accent. My other work for Orpheus Club includes Show Boat and Guys & Dolls, both running the the Theatre Royal, Glasgow. These productions used Southern United States, General American and downtown New York accents.
"Your accent coaching was superb, and certainly helped to establish an authenticity in the production." - Walter Paul, Producer, Show Boat.
For Glasgow University's Cecilian Society (amateur music and drama group), I coached the Frank Loesser musical How to Succeed in Business without Really Trying. Scottish and English students in this production successfully portrayed an all-American cast.

"The accents were impressive. The actors must have had good coaching." - Greg Hemphill, actor, comedian and 183rd Rector of Glasgow University.
My earlier work for the Cecilian Society includes Bugsy Malone, requiring Brooklyn and General American, and the Cole Porter musical Anything Goes, needing upper-crust English of the 1930s.
For eight years now I've run a free accent and foreign pronunciation workshop as part of the Glasgow West End Festival. Recent workshops have included New York, Cantonese, Tyneside and Swahili.
I've also worked with West End Theatre (Glasgow) Ltd., the Scottish Community Drama Association in Aberdeen and Larbert, the Minerva Youth Theatre, Pain and Panic, and the Bearsden club Musical Branches.