I’ve been trusted by:
Ana Lily Amirpour
John David Coles
Bad Penny Productions
Broad Green Pictures
Left Bank Pictures
Sidney Kimmel Entertainment
Manchester Royal Exchange
Old Vic Theatre
Print Room at the Coronet
Rose Theatre Kingston
Theatre Royal Bath
Tobacco Factory Bristol
Wales Millennium Centre
West End - Adelphi Theatre, Phoenix Theatre, Vaudeville Theatre
Young Vic Theatre
In Rehearsal & On Set Support
The most ideal situation when working on a production is being in rehearsal or with the actor on set. It allows for the actors to be warmed-up appropriately, and for discreet notes to be passed along at opportune moments. The actors, director and I develop a working relationship that enhances production’s overall vision in the most seamless way possible.
Productions find that scripts can sometimes change quickly, and I help maintain continuity throughout the process. In the rehearsal room I troubleshoot vocal queries and work on text in a breakout room.
On Set support includes giving notes to the Script Supervisor for the editing room.
Pre-Production Research & Design
Perhaps a production requires a dialect from a past era, or an actor needs to sound like a real-life person. In unique cases a script may require an entirely different language, either real or imaginary.
This is where pre-production research and design comes in. I read scripts and consult with directors / producers on the vocal vision. I may pull recordings from my archive, or create my own.
This allows a production to design the voices and dialects much like any other aspect of a show.
Post-Production ADR Coaching
Film and television usually goes back to smooth out dialogue & sound issues in a process known as Automated Dialogue Replacement (ADR).
I prep actors on the cues before they go to their ADR session, or I am in the recording studio giving notes in real time.
This is useful if production is giving their feedback simultaneously. We work as a team to create the desired sound.
When it comes to difficult scripts or writing, it is imperative to have a dialogue coach in the room to work with the actors on the text.
A director may have a specific vision for the voice or text that can be brought to life through dialogue or text coaching.
Critic Reviews & Testimonials
“Fuzz is played by Ed Skrein who works diabolical wonders with it ... he makes every "f'real" delectable. ”
— Variety's Owen Gleiberman, reviewing MONA LISA AND THE BLOOD MOON
“There’s no denying the swagger brought to the play by its leading man Orlando Bloom, playing a Texas contract killer with a husky-voiced insouciance and pitch-perfect accent.”
— NY Times' Matt Wolf, reviewing KILLER JOE
“Alex Kingston and Sarah Hadland’s American accents communicate the depth of their characters beautifully.”
— London Theatre Review, reviewing ADMISSIONS
“Rebecca has been a revelation for me. Her approach to teaching involves visual, audio, physical, and emotional techniques that have helped me so much and got me to a place where I feel comfortable and confident when on set. She has been irreplaceable … and she makes it fun! Very grateful.”
— Ed Skrein, actor
“She has an intuitive understanding of the balance between what my needs were for the production, alongside the individual needs for each performer. I wouldn’t hesitate to work with Rebecca again.”
— Natasha Nixon, director Young Vic Theatre
“... excellent support performance from a brooding Joe McGann, his Liverpool accent well buried and replaced with the drawl of the American west ...”
— Anne Cox, reviewing FOOL FOR LOVE
“You knew exactly what was needed for this production.”
— Yael Farber, director Old Vic Theatre
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