Classes

Sanford Meisner emerged from the Group Theatre alongside Lee Strasberg, Stella Adler, Harold Clurman and Cheryl Crawford — one of the most important forces in 20th-century acting. Meisner went on to develop his own approach at the Neighborhood Playhouse in New York, where he taught for decades.

He recognised that an actor's biggest obstacle is self-consciousness: the tendency to watch oneself, manage the performance, or try to "act" an emotion. His technique gets to the root of that problem. By training the actor to place their full attention on the other person — to listen, respond, and be genuinely affected — Meisner created an approach that moves actors out of their heads and into truthful, spontaneous behaviour.

Everything at Actors East is built on this foundation. All classes lead back to it.

Our two-year actor training programme — the Meisner technique built term by term, with two classes a week. This is serious, sustained work: each term builds on the last, and the group develops together over time.

Entry is by interview with Simon Furness. A small number of places become available at the start of each year.

Five days in the room — an intensive introduction to the Meisner Technique. The fastest route into the work, and a prerequisite for the Full Training and our regular drop-in classes.

Each course runs across five consecutive sessions (evenings or afternoons), in a small group of up to eight. No prior experience needed.

The Repetition Exercise is the engine at the centre of Meisner's technique — a deceptively simple form that trains the actor to stay out of their head and genuinely respond to what's in front of them.

This weekly drop-in is the place to keep that practice sharp. All levels are welcome — you'll work in small groups, and the room moves fast. Led by Simon Furness or James.

A first two hours in the room — an introduction to the Meisner Technique, on us. This is how most people begin. Come and see how we work, ask questions, and decide if it's the right place for you. No experience needed.

Ongoing scene and technique work for continuing students — a room to test, fail and find things. Each session is different. You bring a scene or a problem; we work on it together. The emphasis is on the moment, not the result.

Developing original work — building plays and pieces from the ground up. The Lab brings actors, writers and directors into the same room, using improvisation and live experiment to generate and shape new material.

Movement and physical practice for actors, led by Arinder Sadhra — training the body as part of the instrument rather than as a separate concern. Sessions combine breath work, physical release and awareness, grounded in practice that connects directly to the stage.

Rehearsed scenes brought to a room and an audience — a regular night to put the work on its feet. Students present scenes they've been developing; the emphasis is on what's alive and what's still being found, not a polished showcase.

A working group for writers developing scripts through improvisation, with actors in the room. Writers bring material at any stage — early ideas, scenes in progress, structural problems — and we test them live. The method is direct and fast. You leave with pages.

Hands-on directing practice with actors in the room, led by Tomas Janowski. Directors stage and shape scenes — working in real time, with real actors, making decisions under pressure. The emphasis is on action, not theory.