about
An intuitive and generous actor, and a highly versatile and dedicated vocalist, Jenni has performed professionally around the world.
From appearing in five-star reviewed, award-winning London shows and headlining cabarets on board world-class ships, to teaching in her private studio, she has a deep love for her job and immense gratitude for the places it takes her.
Career highlights to date:
2018 - Professional debut. Following four first-place wins at the International Gilbert & Sullivan Festival, Jenni was invited to join the innovative and award-winning Forbear! Theatre in their production of The Sorcerer. 2019 - Principal debut, as Archibald Grosvenor in Forbear!’s UK tour of Patience - the first ever female performer to play the role. 2021 - Soprano soloist for the National Gilbert & Sullivan Opera Company. Angela Black for ITV/Netflix. 2024 - Lead vocalist for TUI/Seachefs aboard Mein Schiff 6, sailing from Italy to Singapore. Jenni had her own solo cabaret show onboard, as well as appearing as a soloist in main-stage productions. She also choreographed numbers for the seasonal shows. 2025 - Péas-Bal in Forbear!’s London Pub Theatre Award-winning production of The Mikado. Set in a fantasy-inspired world, the re-imagined production garnered rave reviews and later transferred to Forbear!'s sister company in New York City, Utopia Opera, where Jenni made her off-Broadway debut in the same role. 2026 - The Mikado nominated for Best Production at the Off West End Awards.
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acting coaching for singers
I offer coaching sessions for professional and amateur singers (18+) wishing to build on their connection with acting through both sung and spoken text.
Sometimes as singers - and I've been here many times myself - we are just given blocking, with little or no character direction. We are therefore left wondering what our characters are meant to 'feel' and 'act' beyond the absolute basics - in relation to the scene, the other characters, the whole plot! I can help you discover this for yourself. It's not just: 'the director has said move there, look sad, then raise my arm'. It's discovering: 'what does my character want in this moment of sadness, and why is this giving them the impulse to move?' Developing emotional cues alongside musical and physical cues can elevate our performances to a vastly different level.
Professional companies are leaving the old 'park and bark' days behind. A well trained, reliable voice is essential, but no longer enough in our highly competitive world - companies look for versatile actor/singers with nuance and truth at the heart of their work.
Amdram groups want their members to enjoy their craft. A huge amount of fun and fulfilment can be found in going beyond the blocking and the lines to find the heart of the character and what makes them tick.
Whatever your experience, background and identity, if you feel excited about accessing more depth and connection within your performances, without compromising on vocal technique, then I would love to work with you.
***OFFER!***
I am excited to offer five clients a FREE 55-minute solo session (worth £55) in exchange for a written or filmed testimonial (your choice) that will be published on this website and social media, and, with your permission, small clips of your session appearing in a new promotional video. For those that miss out on this offer, I am also offering a further five clients a discounted rate of £40 in exchange for a written testimonial. Use the contact form below to register your interest and I will get back to you. First come first served. I look forward to working with you!
PRICES
Solo session
One person
55 minutes
£55
Covers any one of the following:
Introduction to acting through song - The best place to start. Bring a song from a musical or opera that you love, and discover how to connect to it on a deeper level.
Singing through text - Intensive work on a single song or aria. Includes context within the musical/opera, lyric analysis, character objectives and finding what is at stake.
Monologue coaching - As above, but working on spoken text within the book/libretto. Dialogue can be a source of anxiety for singers. I'll teach you a workable method to ensure your spoken performance is as memorable as your singing.
Duo session
Two people
55 minutes
£70 (£35 per person)
A session for two actors, to work on duets or scenes of dialogue.
Solo packages
Book multiple sessions and save! Packages are perfect if you have a specific short-term goal in mind. You might have an audition coming up that has asked you to present multiple pieces. Or you may have just been cast in a role and want to fully explore your character as you prepare for rehearsal or performance.
3 sessions for £150 (£50 per session)
5 sessions for £225 (£45 per session)
Sessions take place either in person at my private studio in West Berkshire, or on Zoom. If you're preparing for an audition or performance, or just want some guidance and practice, please get in touch - I'd love to help you feel confident in your acting abilities!
FAQs
Do I have to be a singer to work with you?
Working with singers is my speciality due to my own background as a singer, but I'm also happy to work with actors on monologues.
What genres of singing do you cover?
I primarily work with singers from opera or musical theatre backgrounds, but am happy to work with singers from any genre who want to learn more about acting.
What level of singing do I need to be at to work with you?
If you bring a song or aria to work on then I expect you to have had some singing lessons and/or performing experience, whether professional or amateur. Because this is an acting session you will be responsible for your own vocal warm up before the session begins. If you are a complete beginner I recommend seeing a qualified vocal coach to start your singing journey safely.
Can I ask you about vocal health concerns?
If you have any concerns around your vocal health I strongly recommend you see a qualified vocal practitioner with advanced knowledge of vocal anatomy and pedagogy.
What should I bring to a session?
General: If you bring a song or aria, please note I do not play the piano as you sing - I need to be wholly concentrating on your acting, and I can't do this stuck behind a score! Therefore you will need to provide a backing track/piano recording on a phone or tablet which if necessary can be connected via Bluetooth to a speaker.
In person: Please bring a copy of the material you would like to work on, even if you are off book. This must be in a format you are able to take notes on e.g. pencil and paper, tablet and stylus. If lyrics aren't in English please also bring a translation.
Zoom: Please ensure you have a reliable internet connection, a good speaker and a professional space (i.e. not a bedroom) to work in uninterrupted.
I'm new to acting technique, will I be out of my depth?
I totally get this worry. So many of us from a musical background are taught that acting is to 'do' or 'show', and that therefore acting, especially through song, is supposed to be difficult. But 99% of the work behind a (truthful) performance is simply about listening and reacting, not 'acting'. Most of us are simply working too hard! I'm here to encourage you to 'do' less and 'be' more.
Will a more 'truthful' approach to a piece compromise the quality of my singing?
As you begin to connect with emotional truth this can cause 'stuff' to come up to the surface which often as singers we are encouraged to mask. Sobs, laughter, anger - these all affect vocal production. Whether this needs recalibration depends entirely on the requirements of the piece you're working on. If it's a musical that is heavily focused on the emotional intensity, that is radio-mic'd and that requires authenticity above all, then some of this will be fine, even actively welcomed. If, however, you are an opera singer required to carry over a full orchestra with no amplification, consistent vocal technique becomes a non-negotiable, and we must communicate your emotional impulses in a different way. That's what lessons and practice are for. My studio is a safe space. By allowing whatever comes out in the early stages of preparation and rehearsal to happen, we give ourselves more choices as performers. It is far easier to access something and then pull back from it, to refine it, than it is to keep pushing for something we haven't yet discovered. Accessing emotion in key moments can, with practice, become part of your 'score', just as much as the music and blocking.
What relevant experience do you have?
I was lucky enough to learn from the best, training at two of the most renowned acting conservatoires in the world - RADA and the Royal Central School of Speech and Drama, where I received the Embassy scholarship and graduated with Distinction from the Masters course in Music Theatre. I also have lots of teaching and directing experience within theatre companies, schools and drama clubs, including acting workshops, LAMDA classes, and one-to-one tuition. I am a performance coach - not a vocal coach or practitioner. I do however have a sound knowledge of my own personal vocal technique, having learnt from multiple highly qualified and experienced coaches in both the opera and musical theatre industries. I hold an enhanced DBS and have Public Liability Insurance.
Is there a particular acting technique you use?
I'm trained in Meisner, but do pull things from other approaches when useful.