NEW CLASS STARTING OCTOBER 14TH
TUESDAYS FROM 6:00-10:00PM FOR BEGINNERS
Midtown ManhattaN *TAUGHT BY RYLEE MARSHALL
$250.00 / month
About Rylee
When I was 17, I began formally studying the Meisner technique at Playhouse West in Los Angeles. During my 3 years there, I worked on a variety of projects and became well versed in the fundamentals of the technique.
During this time period, I also studied privately under a teacher from the American Film Institute where I worked with many AFI students along with Oscar winning directors.
In 2017 I began studying under award winning director Sal Romeo at his LA based theater company, Friends & Artists. It was here that I first became introduced to The Method and a love for teaching. In 2020, I entered a mentorship with Sal where under his direction, I began to grow as a teacher, learned to guide students through sense memory and help them cultivate their own process.
Along with relaxation and sense memory work I developed an even deeper understanding of the Meisner Technique and how the two techniques often thought to be opposing, commingle together to make an extremely well rounded actor.
Upon moving to NYC in 2021, I began co-teaching with Sal until his passing in 2024 at which time I fully assumed the role of teaching his class. In addition, I grew my own class in NYC where I taught actors in the NY theater community and held private audition coaching, leading to re-occurring guest star and series regular roles.
I’m a life-long learner, and began studying under David in 2024 where I continue to study and base my teaching on The Method.
In addition to my training and teaching, I have booked film and television roles, working with actors such as Tom Arnold, Ron Pearlman, Richard Riehle, Patrick Flueger, Taryn Manning, and Jeremy Davies.
WANT TO APPLY FOR/OR AUDIT A CLASS?
Fill out the form and I’ll contact you for an interview.
*I’m committed to diversity providing a free of judgement environment and I welcome performers of all ethnicities, gender identities, heritage, sexual preferences and abilities.
“The moment you lose communicating with yourself onstage is the moment when experiencing ends and play-acting begins. So however many performances you give, whoever it is you are portraying, you must use your own feelings. Infringement of this law is tantamount to the actor murdering the character he is playing; depriving it of the pulsating, living human soul which alone gives life to a dead role.”
-Konstantin Stanislavski