The Drama School
“What makes the National great is how grounded it is. It teaches you so many things but most importantly that if you want to work in this industry, you have to work hard and really want it.” Eddie Orton Graduate 2014
Director of Drama
Trent has over 20 years experience in the Australian entertainment industry as an educator, theatre director and actor. He is a graduate of WAAPA’s three-year acting stream, the VCA’s postgraduate directing program and an International Fellow of Shakespeare’s Globe Theatre, London. He also trained for a two year period with renowned Michael Chekhov teacher Daniele Legler.
One of the 12 actors that created Red Stitch Actors Theatre, Trent has performed for Melbourne Theatre Company, Bell Shakespeare, Red Stitch, Railway St Theatre, 45 Downstairs and La Mama theatre. He has also worked extensively in film and television in Australia.
As a director and educator he has worked in both the Theatre and Musical Theatre undergraduate courses at W.A.A.P.A. and V.C.A. Melbourne Theatre Company main stage and Education, Bell Shakespeare, Red Stitch Actors Theatre, Spiegeltent Melbourne, St Martins Youth Theatre, Monash and La Trobe universities and The National Theatre Drama School. He is also a teaching artist internationally for ISTA (International Schools Theatre Association).
His teaching specialties are Shakespeare in performance, improvisation and American text studies.
Danielle Carter is an acclaimed actress with over 35years experience in film, television and theatre and is also a graduate of the National Institute of Dramatic Art. She has also trained at the Moscow Arts Theatre School, MICHA and the Michael Chekhov School in Hudson New York.
She has worked as an on set Acting tutor for various film and television productions, works with professional actors as a performance coach, has written a book for Currency Press called Racing Against Time – an Actors guide for working in film and television and has directed productions for St Martins Youth Theatre and the undergraduate course at the Victorian College of the Arts.
She has a Diploma of Education from UWS and has taught in the undergraduate courses at WAPPA (Acting and Theatre Making), VCA (Film and Television, the Acting and Musical Theatre departments) Federation University, NIDA Open programme, The National Theatre Drama School, 16th Street, Film and Television International and St Martins Youth Theatre.
After training as a Voice and Speech specialist teacher, he was awarded the Dorothy Dwyer Memorial Scholarship by the University of Melbourne, and pursued advanced studies in luminary teachers Greta Colson, Cicely Berry, Patsy Rodenburg and Rowena Balos.
In 1992 he was invited to the first International Conference of Theatre Voice Teachers at the RSC, Stratford-upon-Avon, UK; and in 2010 he presented a seminar-workshop for the British Voice Association on Extending the Actor’s Range.
In Addition to teaching at the National Theatre Drama School, Les has taught voice for the MTC and Malthouse, as well as VCA, NIDA, Federation university and 16th Street Studio.
He has worked as Voice/Dialect coach on many theatre productions, including The Boy from OZ (Todd McKenny tour), Reg Cribb’s Last Train to Freo, Stephen Sewell’s Nil, Cat and Buried, and Marguerite Duras’ Agatha.
For TV he is voice consultant to Fremantle Media Group and works regularly with the actors in Neighbours.
Vincent has been teaching actors, dancers, office workers, mums and dads how to move better and how to perform better for the last nineteen years. He has taught in professional dance and theatre companies in Australia and Europe, Arts training colleges, corporate workshops, boot camps and one-to-one personal training sessions.
His broad range of physical training and performance experience ranges from classical ballet through contemporary dance, contact improvisation, strength and conditioning and the Feldenkrais Method. He has taught movement to actors, dancers and opera singers in both professional companies and tertiary institutions in Germany and Australia. He has been teaching at the National Theatre Drama School Advanced Diploma since 2012.
Having trained as an actor Vincent has spent much of his performance career working in Dance Theatre and Physical Theatre. He has worked in Australia, the US and Europe with companies and artists such as Meryl Tankard’s Australian Dance Theatre, TanzTheater Basel, Salzburger Festwochen, Schauspiel Koeln, Steierischer Herbst, Chunky Move and Force Majeur. He also worked with director Spike Jonze on the Warner Brothers Movie “Where the Wild Things Are”.
He is a founding member of both Splinter Group and Torque Show and has co-created a number of theatre works with these companies including “Lawn”. and “Intimacy”. “Intimacy” was invited to London’s Southbank Centre as part of the Unlimited Festival and won the 2015 Australian Dance award for Outstanding Achievement in Independent Dance. “Lawn” was the recipient multiple Green Room Awards in 2009.
His broad range of physical training and performance experience ranges from classical ballet through contemporary dance, contact improvisation, personal training and the Feldenkrais Method. He has taught movement to actors and dancers in both professional companies and tertiary institutions in Germany and Australia. He has been teaching at the National Theatre Drama School Advanced Diploma since 2012.
A graduate of VCA School of Drama Margaret has performed in over thirty productions with MTC, The Malthouse, La Mama, Belvoir St, STC, Black Sequin Productions, Whistling in the Theatre and Ranters Theatre with such writers and directors as Andrew Bovell, Jenny Kemp, Neil Armfield, Roger Hodgman, Marguerite Duras, Daniel Keene, Raimondo and Adriano Cortese, Melissa Reeves, and Noelle Janaczewska. Credits include The Doll’s House, Angels in America, A Cheery Soul, History of Water, Still Angela, The Black Sequin Dress, Speaking in Tongues(from which Lantana was adapted). She has co-written several produced plays. Her film work includes The Golden Braid (Paul Cox), Bachelor Girl (Rivka Hartman) and the international award winning short film The Other Days of Ruby Rae.
Lisles early career in Australia included joining Stratford’s Shakespeare Memorial Theatre Company (The precursor to the R.S.C.) on their first Australian Tour. After an extended period of work with Gertrude Johnston at the National Theatre he went to Britain in 1958 were he worked extensively as a professional actor and headed the drama department of London’s Arts Educational School for a number of years.
He was then invited to return to Australia to join recently formed W.A.A.P.A. (Western Australian Academy of Performing Arts) first as Head of Acting, then as Head of the Theatre Department. He retired in 1995 and returned to Melbourne (his home town) to live in St Kilda. Lisle’s many high profile ex students include Hugh Jackman, Frances O’Connor (A.I, The Importance of Being Earnest) Dominic Purcell (Prison Break, Blade Trinity) , William McInnes (The Slap, Sea change) and Robert Taylor (The Matrix, Longmire). In 2012, he reestablished his connection with The National Theatre and its greatly expanded drama school as an honorary lecturer.
April is a performer, theatre maker and educator. Her work places an emphasis on mixing theory and practice. I have a strong focus on contemporary European/ Australian theatre and global performance. Theatre with a purpose: to inform, educate, and challenge audiences. I challenge students to articulate and evolve their practice as theatremakers, to look beyond theatre’s trivialisation as entertainment by the media, and ask what is the role and function of theatre in not only their society, but in our modern, global world.
I encourage actors to tell a story with their physical and emotional presence, as well as knowledge and research to help make intelligent choices and see the text as a whole from a director’s perspective. Previous teaching experience includes Victorian College of the Arts – Acting 1- Short Courses, Acting for Musical Theatre, National Theatre Drama School – Devising for Performance, Elements of Theatre 1 and 2 in Advanced Diploma of Acting Degree AIM (Australian Institute of Music)- Cultural Policy, and Creativity in B.A. Arts Management Degree.
Katie began directing in 2002, producing work in Melbourne, Mexico, Darwin, Sydney and Canberra. In 2015 she completed her Masters of Fine Arts in Directing at the National Institute of Dramatic Arts (NIDA), after previously qualifying at the University of Melbourne (Graduate Diploma of Education) and Flinders University (Bachelor of Arts).
She became the Artistic Director of Canberra Youth Theatre in January 2015 and has since directed SKIN, The 24 Hour Butoh Project, The Verbatim Project, The Greek Project – Antigone , poem every day and Filtered with CYT. In 2016 Katie was a awarded a Canberra Critics’ Circle Theatre Award for Revitalising and advancing Canberra Youth Theatre.
Since graduating from NIDA, Katie has also directed short works for Warehouse Circus, The Public Theatre (Design Canberra Festival) and Aspen Island Theatre Company. Katie is co-founder of The Anchor theatre company, which produced its first show, How Are You? at The Public Theatre in 2015. The team are developing a full length version of this work to be performed in Sydney in late 2018.
Joachim Matschoss was born in Germany and now lives in Melbourne/Australia. He is a playwright, poet and Theatre-maker. He is creating work in both English and German. Joachim is the Artistic Director of ‘Backyard Theatre Ensemble (BYTE)’ which create diverse pieces of theatre all across Melbourne, nationally and internationally. He has created theatre in Australia, New Zealand, United Kingdom, India, Uzbekistan, Malaysia, Indonesia, HongKong, Hungary, Thailand and Germany.
Joachim continuously presents workshops and master classes internationally on contemporary theatre, devising and Brechtian Theatre.
Joachim is fascinated by creating work from scratch, starting with a thought, image, or a piece of music. It is inevitable that a piece of theatre will grow, will happen. There is always a story to tell, to listen to. Joachim is less interested in seeing a piece of theatre grow like a flower, but more so like a weed, something raw, something with cracks, and something that challenges both the performer and the audience member.
Peter is a theatre-maker, film director and acting teacher with a Masters of Directing for Performance from the Victorian College of the Arts (Melbourne University), as well as a bachelor’s degree in English Literature and Film (UNSW) and a post-graduate degree in Education (UNE).
Peter has been a teacher for almost 20 years and has taught at Australia’s leading actor-training institutions, including N.I.D.A., the V.C.A., D.H.P.C., Howard Fine Acting Studio and 16th Street Actors Studio.
In his approach to teaching at The National Theatre Drama School, Peter focuses on Text Analysis, with a strong emphasis on an actor being present to their role and their fellow actors in the scene, and to cultivate a respect for text. Peter brings a comprehensive understanding of Stanislavsky-derived approaches to analysis and practice to the work, while also borrowing from his experiences with long-form improvisation (particularly the Mike Leigh method). His passion for the craft of acting and the exploration of text define and characterize his approach in classes across many of The National’s courses.
Peter collaborated with renowned acting coach Larry Moss on the Australian Theatre Company’s debut production Holding the Man (2014), and subsequently worked in Los Angeles with the ATC on a number of other occasions.
Philippa is an executive leadership coach and registered yoga teacher, working with people engaged in beneficial human endeavours and who want to exercise the subtle intelligences that arise in the moving field of action and reflection. She helps people find and play their unique parts well, in service of their work, their ensemble or team partners, their conversations, and even the continuum of their place of contribution.
At the National Theatre she has trained acting students since 2014 and also worked with ballet students, offering a yogic approach to the development of movement, breath and focus. Philippa has taught Yoga since 2006 alongside a professional services business career.
Philippa is accredited with the Institute of Executive Coaching and Leadership (IECL), registered as a senior teacher with Yoga Australia, and holds B.A. / B.Bus. (Management), B.Sc. Hons. (Psychology), and Certificate IV in Training & Assessment. She is a board member at Gasworks Arts Park, chair of a community garden in the City of Port Phillip, and volunteers with Bush Search and Rescue Victoria.
Harry Haynes trained at Drama Centre London, originally from the UK he now lives and works in Melbourne. A theatre maker, Harry worked extensively with theatre collective Dirty Market creating modern responses to classical texts. As an actor he has worked The Almeida, Shakespeare’s Globe, BBC, ITV and FOX. He is passionate about supporting emerging artists and championing new voices in theatre.
He teaches a the work of Uta Hagen which was developed by Doreen Canon at Drama Centre London which further explores the ideas of Action and Objective as conceived by Konstantin Stanislavsky.
Rob has worked in theatre for 40 years, as an actor , director and teacher. As an actor he was a member of the APG
collective at the Pram Factory, Carlton, and went on to work as a freelance actor with all the major theatre companies,
including Melbourne Theatre Company, Sydney Theatre Company, Playbox, the South Australia Theatre Company and Bell
Shakespeare, where he was an ensemble member for three years.
Rob’s teaching practice has developed from his training as a voice teacher with Rowena Balos, and subsequent laboratory
work with Rex Cramphorn, Jenny Kemp, Renato Cuocolo, Robert Draffin and Lindy Davies, as well as 8 years as a lecturer
in acting in the Drama School at The Victorian College of the Arts. He has also directed at both a collegiate and professional
level, as well as devising his own work. Rob works constantly with two major focuses: One, that you are being breathed, and therefore in the moment.
Two, that you are deeply engaged with the words you are speaking. The first implies release and the second, research and then receptivity, together they enable the transformative action of language to mould and shape the voice into a living breathing character, un-judged and uninhibited. The rest is play.