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 from 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. 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.
media
acting coaching for singers
I offer coaching sessions for professional and amateur singers (18+) wishing to build on their connection with acting through sung and/or spoken text.
Professional companies have left the 'park and bark' days behind. A well trained, reliable voice is essential, but often 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.
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 to discover for ourselves how to 'act' in the scene beyond the absolute basics of 'the director has said move there, look sad, then raise my arm'. We need to discover: 'what does my character want in this moment of sadness, 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.
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! Sessions take place either in person at my private studio near Reading, or on Zoom. If you're preparing for an audition or performance, or just want some guidance and practice, please get in touch.
***OFFER!***
*ONLY THREE SPACES REMAINING*
I am excited to offer five new 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 or social media. If you are happy to, small soundless clips from your session may also appear in a new promotional video. 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
There is absolutely no pressure to become a 'regular' and attend sessions weekly/fortnightly. However, if you have a specific goal in mind, you can book multiple weekly sessions and save! 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 weekly sessions for £150 (£50 per session)
5 weekly sessions for £225 (£45 per session)
Skill exchange
The world is now officially crazy. Lots of us do not have a large amount of expendable income to spend on something as frivolous as *acting* (even though we know that creativity is an essential part of life). I am beyond pleased to therefore offer skill exchange as a form of full or partial payment for solo sessions and packages. If you happen to want acting coaching and you're a professional voice practitioner/rep coach/massage therapist/PT/nutritionist/beauty therapist/reiki or Bowen practitioner/anything else you can pitch successfully to me, I'm open - let's talk.
"Jenni is a brilliant person to help improve your acting. She knows how to describe the process and method of bringing a character to life and quickly applied it to the material I brought to the lesson. She specialises in acting for singers and was able to improve my delivery of the story within the song a huge amount in just one lesson. She was supportive and enthusiastic throughout, I felt I could flourish in the teaching environment she created. I wholeheartedly recommend her if you are looking to improve your acting ability, especially if you are a singer. She is the “secret weapon” for my performances!"
Karen Speight - Mezzo-soprano
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 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 have several years of teaching and directing experience within professional touring theatre companies, schools and amdram groups, including acting workshops, LAMDA classes, and one-to-one tuition. I am an acting coach - I will not be specifically focussing on your singing technique, however I do have a sound knowledge of classical and MT techniques, 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.
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 like 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 or piano accompaniment 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. 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 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's radio-mic'd and 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 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.
Is there a particular acting technique you use?
I work mainly with Meisner, but do pull things from other approaches when useful.