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Let’s make your actors sound as good as they look.

In Rehearsal &
On Set
Dialogue Coaching

I’ve been trusted by:


Alfie Allen
Richard Armitage
Zawe Ashton
Orlando Bloom
Sophie Cookson
Sharon Duncan-Brewster
Patsy Ferran
Johnny Flynn
Jerome Flynn
Caroline Goodall
Gala Gordon
Kit Harington
John Heffernan
Ruthie Henshall
Rhys Ifans
Thomas Kretschmann
Raff Law
Jack McBrayer
Joe McGann
Keke Palmer
Mikael Persbrandt
Noomi Rapace
Clive Rowe
Noah Schnapp
Ed Skrein
Meera Syal
Lydia Wilson


Ana Lily Amirpour
Daniel Aukin
Gemma Bodinetz
Giuseppe Capotondi
John David Coles
Ben Cookson
Federico D’Alessandro
Stephen Daldry
Matthew Dunster
Simon Evans
Yaël Farber
Tanya Hamilton
Bronwen Hughes
Vicky Jewson
Neil Jordan
Joshua Marston
Natasha Nixon
Diane Paulus
Lindsay Posner
Guy Ritchie
Michael Roskam
Katy Rudd
Michael Rudman
Christoph Schrewe
Steven Soderbergh
Melly Still
Mike Tweedle
Stephen Unwin


Amazon Studios
Anonymous Content
Babelsberg Studios
Bad Penny Productions
Broad Green Pictures
Goldfinch Studios
Jax Media
Left Bank Pictures
Mammoth Screen
Millennium Films
Paramount Pictures
Sidney Kimmel Entertainment
Sony Pictures
Walt Disney
Warner Bros. Pictures


Arcola Theatre
Liverpool Everyman
Manchester Royal Exchange
Old Vic Theatre
Print Room at the Coronet
Rose Theatre Kingston
Soho Theatre
Southwark Playhouse
Theatre Royal Bath
Tobacco Factory Bristol
Trafalgar Studios
Wales Millennium Centre
West End - Adelphi Theatre, Phoenix Theatre, Vaudeville Theatre
Young Vic Theatre

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

In rehearsals or on set, in pre-production or in post … we can design and execute the sound as seamlessly as lights, camera, action.



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.

Dialogue Coaching



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.

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Accent SOS: What To Do When Nothing Is Working