A bit about me

I have always been a chatterbox; much to my school teachers’ delight, my passion for voice and communication has been there for as long as I can remember.

I’d spend hours recording “audiobooks” onto cassette tapes; I even had my own very earnest version of The Archers (I can only hope this never sees the light of day). That love of storytelling eventually led me to train as an actor at LIPA. I’ve spent the last 14 years working across theatre, television and voice-over, exploring the endless ways voice can bring stories and characters to life.

I also know what it’s like to lose the ability to communicate freely with the world around me. Sustaining my own vocal injury profoundly shaped my understanding and appreciation of voice. This personal experience only served to strengthen my passion for helping others express themselves with confidence, ease and freedom.

Today, I bring together lived experience, over a decade of professional performance experience, and a First Class MA in Voice Studies from the Royal Central School of Speech and Drama.

Person with red hair and plaid skirt holding another person with a denim jacket on their shoulders, standing by the water with a sunset sky and an old pier in the background.

A woman is looking into a mirror while applying makeup, with her reflection visible. The scene appears to be a backstage or dressing room setting with bright lights around the mirror. A person with braided hair, wearing a black and red shirt with a clown face and the words 'Theatre' visible, is sitting in front of the mirror. The countertop has makeup items, hair strands, and a mug on it.

My approach

My approach is grounded in evidence-based voice work, shaped by the realities of the industry, and delivered with plenty of curiosity, playfulness and practicality.

Clowning formed a huge part of both my training and career, including work with Spymonkey and Mischief, and it continues to shape the way I coach. In clowning, we celebrate “glorious failure”- embracing mistakes, taking bold risks, and discovering what happens when things go hilariously wrong. It taught me to trust myself, follow instinct, and celebrate the wonderful ridiculousness of being a human.

And so, I create spaces where you feel safe to trust your impulses, be bold and take some risks. You’ll discover what feels alive, connected, and uniquely yours. Voice work isn’t about getting it “right” - it’s about freedom, connection, and celebrating what only you can bring into the room.

Group of five people, four young adults and one older man, practicing or rehearsing a dance or theater routine in a studio with large windows, hardwood floors, and exposed brick walls.

Industry savvy

It’s through my own experiences on stage, on set, and in the booth that I’ve learned what a difference vocal technique can really make - in real time, in the messy, unpredictable moment.

Across a varied career as an actor- from dozens of audiobooks and video games, to falling through windows as Annie in The Play That Goes Wrong, competing with a live steam engine as Phyllis in The Railway Children, to cutting my teeth on set with a Cambridgeshire accent in Grantchester- I’ve discovered what actually works, and the importance of staying flexible, responsive and fully present, no matter what the job throws at you.

That’s exactly what I bring into my coaching: preparation that holds under pressure, real-world adaptability, and a space where no question or worry is ever too weird!

Credits include

On Stage
Southwark Playhouse, Mischief Theatre (The Play That Goes Wrong – West End & UK Tour), Arcola Theatre, Finnborough Theatre, York Theatre Royal, The Mill at Sonning, Kings Cross Theatre.

On Screen
Grantchester (ITV), Sister Boniface (BBC)

Voice Over
Lead roles in Doctor Who (Big Finish), 20+ audiobooks and multiple video games including Baldur’s Gate III.