Rick Lipton
Dialect Coach

Dialect Dialogue and Voice Coach

*Rick Lipton is a dialect coach has 20+ years of experience, with thousands of actors from all over the globe.

*He specializes in American, British, international and foreign accents of English.

*For up-coming film, television or theatre projects in the US, the UK or in Europe, please feel free to contact Rick via his agent, Sarah Upson.


Agent email: sarah.upson@voicecoach.tv
Below you will find Rick’s selected film, television and theatre dialect coaching credits, some actors he has coached, and the accents and languages he has taught. There is also some background information about Rick, an article on accents he wrote about British actors using American accents in American projects, and some guidance for those seeking private accent sessions with Rick.


  • (2021) UNCHARTED Dialect Coach (American, Australian) / dir. Ruben Fleischer / Sony Pictures
  • (2021) CHAOS WALKING Dialect Coach to Tom Holland, Cynthia Erivo, Demián Bichir (American) / dir. Doug Liman / Lionsgate
  • (2020) CHERRY Dialect Coach (American) / dir. Anthony and Joe Russo / AGBO
  • (2020) THE DEVIL ALL THE TIME Dialect Coach (West Virginia and Southern Ohio) / dir. Antonio Campos / Borderline Films / Netflix
  • (2020) HELL ON THE BORDER Dialect Coach to David Gyasi (African American) / dir. Wes Miller / Sweet Unknown Studios
  • (2020) ONWARD Dialect Coach to Tom Holland (American) / dir. Dan Scanlon / Disney Pixar
  • (2020) MIDWAY Dialect Coach to Luke Evans (American) / dir. Roland Emmerich / Lionsgate
  • (2019) SWEETNESS IN THE BELLY Dialect Coach (RP, Yorkshire, Ethiopian English, Amharic, Arabic) / dir. Zeresenay Mehari / Parallel Films
  • (2019) THE SEVEN SORROWS OF MARY Dialect Coach to Ellie Bamber (American) / Pedro Varela / Belladonna Productions
  • (2019) SPIES IN DISGUISE Dialect Coach to Tom Holland (American) / dirs. Nick Bruno, Troy Quane / Blue Skies Studios / Twentieth Century Fox
  • (2019) SPIDERMAN: FAR FROM HOME pre-production / on-set / post-production Dialect Coach (NYC and American)/ dir. Jon Watts / Sony Pictures
  • (2019) ANNA Dialect Coach to Luke Evans (Russian) / dir. Luc Besson / Lionsgate
  • (2019) AVENGERS: ENDGAME Dialect Coach to Tom Holland (American) / dirs. Anthony Russo, Joe Russo / Marvel Studios.
  • (2019) FISHERMAN’S FRIENDS Dialect Coach to Noel Clarke (American) / dir. Chris Foggin / Fred Films
  • (2018) THE SPY WHO DUMPED ME Dialect Coach post-production to Carolyn Pickles and James Fleet (Russian language and American accent) / dir. Susana Fogel / Lionsgate.
  • (2018) AVENGERS: INFINITY WAR Dialect Coach to Tom Holland (American) / dirs. Anthony Russo, Joe Russo / Marvel Studios.
  • (2018) BILLIONAIRE BOYS CLUB Dialect Coach post-production to Taron Egerton (American) / dir. James Cox / Good Universe
  • (2017) PROFESSOR MARSTON AND THE WONDER WOMAN pre-production Dialect Coach to Luke Evans (American) / dir. Angela Robinson/ Sony Pictures
  • (2017) BLADERUNNER 2049 Dialect Coach to Carla Juri (American) / dir. Denis Villeneuve / Alcon Entertainment
  • (2017) FLATLINERS Dialect Coach to James Norton (American) / dir. Niels Arden Oplev / Sony Pictures
  • (2017) SPIDER-MAN: HOMECOMING dialect coach to Tom Holland and Abraham Attah / American Accents
    director: Jon Watts / Producers: Mitch Bell, Kevin Feige, Amy Pascal, Patty Whitcher / distributor: Sony Pictures
  • (2017) GHOST IN THE SHELL pre-production Dialect Coach to Peter Ferdinando (American) / dir. Rupert Sanders Mitchell / DreamWorks / Paramount Pictures
  • (2017) RUSSIAN AMERICAN pre-production dialect coach to FKA Twigs / American Accent / dir. David Gutnik / Phiphen Productions
  • (2017) BEAUTY AND THE BEAST pre-production Dialect Coach to Ewan McGregor (French) and Josh Gad (mid-Atlantic) / dir. Bill Condon / Walt Disney Pictures
  • (2016) THE GIRL ON THE TRAIN dialect coach to Luke Evans / American Accent
    director: Tate Taylor / Producers: Celia D. Costas, Jared LeBoff, Scott Pilgrim, Marc Platt / distributor: Universal
  • (2016) THE FOREST dialect coach pre-production, on-set, and post-production / American Accent
    director: Jason Zada / Producers: David S. Goyer, David Linde, Tory Metzger / distributor: Grammercy Pictures
  • (2016) FALLEN Post-Production Dialect Coach / American Accents
    director: Scott Hicks / Producers Claudia Bluemhuber, Mark Cardi, Gordon Gray, Kerry Heysen, Bill Johnson, Lauren Kate, Ted Malawer, Todd Y. Murata, Jim Seibel, Michael Stearns, Kevan Van Thompson / distributor: TBA
  • (2016) TARZAN dialect coach to Margot Robbie / American accent and Lingala language
    director: David Yates / producers: David Barron, Mike Richardson, Alan Riche, Jerry Weintraub, David Yates, Nik Korda / distributor: Warner Bros.
  • (2015) POINT BREAK dialect coach to Ray Winstone / American accent
    director: Ericson Core / producers: John Baldecchi, Michael De Luca, Broderick Johnson, Andrew Kosove, John McMurrick, Chris Taylor, Kurt Wimmer, David Valdes /  distributor: Warner Bros.
  • (2014) INTERSTELLAR dialect coach to David Gyasi / American Accent
    director: Christopher Nolan / producers: Jordan Goldberg, Jake Myers, Christopher Nolan, Lynda Obst, Emma Thomas, Kip Thorne, Thomas Tull / distributor: Paramount
  • (2014) THE HUNGER GAMES: MOCKINGJAY dialect coach to Natalie Dormer / American accent
    director: Francis Lawrence / producers: Nina Jacobson, Jon Kilik / distributor: Lionsgate
  • (2014) UNBROKEN pre-production and on-set coaching / American accents
    director: Angelina Jolie / producers: Clayton Townsend, Matt Baer, Erwin Stoff / distributer: Universal Pictures
  • (2014) EDGE OF TOMORROW casting, pre-production, on-set, ADR coaching / Appalachian and African American accents, Japanese English
    director: Doug Liman / producers: Erwin Stoff, Jeffery Silver, Gregory Jacobs, Tom Lassally, and Jason Hoffs / distributor: Warner Bros.
  • (2013) BEAUTIFUL CREATURES casting, pre-production, on-set and ADR coaching / South Carolina accents, Yoruba language
    director: Richard LaGravenese / producers: Erwin Stoff, David Valdes, Molly Smith, Andrew Kosove, Broderick Johnson, Brad Arensman / distributor: Warner Bros.

  • (2008) JOLENE pre-production coaching with Rupert Friend / Louisiana accent
    director: Dan Ireland / production company: Next Turn Productions / distributer: Entertainment One
  • (2008) YELLOW HANDKERCHIEF pre-production coaching with Eddie Redmayne / Southern American accent
    director: Udayan Prasad / production company: Arthur Cohn Productions / distributer: Samuel Goldwyn Films
  • (2007) THE KILLING GENE pre-production, on-set, and ADR coaching / American and African American accents
    director: Tom Shankland / production company: Vertigo Films / distributer: Dimension Extreme



  • (2021) JUPITOR’S LEGACY Dialect Coach to Ben Daniels and Andrew Horton (American accent) / dir. Steven DeKnight. / Netflix 
  • (2019) FOR LIFE series 1 pre-production Dialect Coach to Nicholas Pinnock (Bronx accent) / dir. George Tillman, Jr. / Sony / ABC
  • (2019) THE NEW POPE (4 episodes) Dialect Coach to Jude Law / dir. Paolo Sorrentino / Canal+ / HBO
  • (2019) THE FEED (3 episodes) Dialect Coach to Nina Toussaint-White (American) / dir. Carl Tibbetts / Amazon Studios
  • (2017) BLACK MIRROR: USS CALLISTER dialect coach (American Accents) / dir. Toby Haynes / Netflix
  • (2017) THE GREATEST. OF ALL TIME. pre-production and on-set and post-production Dialect Coach to Noel Clarke (Mohammed Ali), Osy Ikhile (African American) / dir. Ben Palmer/ Sky
  • (2017-2019) A SERIES OF UNFORTUNATE EVENTS pre-production Dialect Coach to Louis Hynes (American accent) / var. directors / Netflix
  • (2017) THE ALIENIST dialect coach / Upper Class NYC, NYC, Irish, Hungarian, German / TNT / Netflix
  • (2016) KAREN CARPENTER: GOODBYE TO LOVE pre-production Dialect Coach to Adele Keating (Karen Carpenter) / dir. John Holdsworth / Channel 5
  • (2016) CLOSE TO THE ENEMY Dialect Coach to Charlotte Riley (period American accent) / dir. Stephen Poliakof / Little Island Productions / BBC
  • (2015) CONTAINMENT dialect coach to David Gyasi, and post-production dialect coach / American Accents
    director: David Nutter et al. / Showrunner: Julie Plec, Producers: Doug Orenstein, Cyrus Yavneh, Ani Arutyunyan / CW Channel
  • (2014) INTRUDERS dialect coach to John Simm / American accent / directors: Daniel Stamm, Eduardo Sánchez / producers: John Martini, Rose Lam, Julie Gardner, Glen Morgan, Angie Stephenson, Jane Tranter / BBC America
  • (2012-) ELEMENTARY dialect coach to Natalie Dormer / American accent / director: Seith Mann / producers: Geoff Hemwall, Robert Doherty / CBS
  • (2006) BILLY THE KID pre-production coach / American accents / director: Tim Robinson / BBC
  • (2006) CUSTER’S LAST STAND pre-production coach / American accents / director: Dave Stewart / BBC
  • (2006) THE GUNFIGHT AT THE OK CORALL pre-production coach / American accents / director: Dave Stewart / BBC
  • (2000) HEADLESS pre-production Dialogue Coach (American accent) / dir. Tony McHale / Channel 5


  • (2018) ONE FLEW OVER THE CUCKOO’S NEST Dialect Coach (American accents) / dir. Javaad Alipoor / Sheffield Crucible
  • (2018) RASHEEDA SPEAKING Dialect Coach (Chicago) / dir. Jonathan O’Boyle / Trafalgar Studios
  • (2016) ANNIE GET YOUR GUN Dialect Coach (Midwestern, Mountain South, NYC)/ dir. Paul Foster / Sheffield Crucible
  • (2016) TROUBLE IN MIND Dialect Coach (NY standard, African American, Dublin, Deep South)/ dir. Laurence Boswell / Ustinov Studio, Theatre Royal Bath
  • (2016) ONCE IN A LIFETIME Dialect Coach (mid-Atlantic, NY Standard, period NYC, LA)/ dir. Richard Jones CBE / Young Vic
  • (2016) THE ENCOUNTER Dialect Coach (Seattle)/ dir. Simon McBurney/ Theatre de Complicite
  • (2016) BREAKFAST AT TIFFANY’S Dialect Coach (East Texas, NY Standard, Brazilian American, period NYC)/ dir. Nikolai Foster/ Soho Theatre
  • (2016) WEST SIDE STORY Dialect Coach (Puerto Rican, NYC)/ dir. Matthew White / Kilworth House Theatre, Leicestershire
  • (2016) BUG Dialect Coach (Oklahoma, Colorado)/ dir. Simon Evans / Soho Theatre
  • (2016) HAND TO GOD Dialect Coach (Houston)/ dir. Moritz von Stuelpnagel / Vaudeville Theatre
  • (2015, 2016) THE ROYALE Dialect Coach (African American, period NYC)/ dir. Madani Younis / Bush Theatre
  • (2015) THE HAIRY APE Dialect Coach (array of period NYC accents)/ dir. Richard Jones CBE / Old Vic
  • (2015) HIGH SOCIETY Dialect Coach (transatlantic accent, Chicago accent)/ dir. Maria Friedman / Old Vic
  • (2015) LEGALLY BLONDE Dialect Coach (Boston, NYC Standard, LA) / dir. Mitch Sebastian / Kilworth House Theatre, Leicestershire
  • (2015) DEATH OF A SALESMAN Dialect Coach (period NYC accent)/ dir. Gregory Doran / Royal Shakespeare Company
  • (2015) BEAUTIFUL Dialect Coach (NYC, accent)/ dir. Marc Bruni / Aldwych Theatre
  • (2015) THE PRODUCERS Dialect Coach (American, German, Swedish accents)/ dir. Matthew White / UK tour
  • (2015) THE LAST OF THE DE MULLINS Dialect Coach (Edwardian RP)/ dir. Joshua Stamp-Simon / Jermyn Street Theatre
  • (2014) SPEED THE PLOW Dialect Coach (LA accent) / dir. Lindsay Posner / Playhouse Theatre
  • (2014) INTIMATE APPAREL Dialect Coach (African American, NYC Yiddish accent, Bajan accent) / dir. Laurence Boswell / Ustinov Theatre / Park Theatre
  • (2014) DIRTY ROTTEN SCOUNDRELS Dialect Coach (French accent, Spanish accent, American accent) / dir. Jerry Mitchell / Savoy Theatre and UK tour.
  • (2014) CAT ON A HOT TIN ROOF Dialect Coach (period Southern class accent) / dir. James Dacre / Royal and Derngate / Northern Stage / Royal Exchange Theatre
  • (2014) CALAMITY JANE Dialect Coach (Western accents) / dir. Nikolai Foster / The Watermill Theatre and UK tour
  • (2014) A STREETCAR NAMED DESIRE Dialect Coach (period Southern class accent, New Orleans accent) / dir. Benedict Andrews / Young Vic
  • (2014) DAYTONA Dialect Coach (NYC, American, German)/ dir. David Grindley Park Theatre / Haymarket Theatre Royal
  • (2014-16) BAD JEWS Dialect Coach (educated comtemporary NYC accent, western Connecticut accent)/ dir. Michael Longhurst / Theatre Royal Bath / St. James Theatre
  • (2014) SISTER ACT Dialect Coach (American accents) / dir. Mitch Sebastian / Kilworth House Theatre, Leicestershire
  • (2014) A STEADY RAIN Dialect Coach (Chicago accent) / dir. David Grindley / Ustinov Theatre
  • (2014) THE BIG MEAL Dialect Coach (American accent) / dir. Sir Michael Boyd / Ustinov Theatre
  • (2013) MY FAIR LADY Dialect Coach (Edwardian RP) / dir. Mitch Sebastian / Kilworth House Theatre, Leicestershire
  • (2013) WEST SIDE STORY Dialect Coach (Puerto Rican, NYC) / dir. Joey McNeeley / Sadler’s Wells tour  
  • (2013) FIDDLER ON THE ROOF Dialect Coach (Russian accents) / dir. Craig Revel Horwood / Menier Chocolate Factory
  • (2013) THE COLOR PURPLE director: John Doyle /Georgia accents / Menier Chocolate Factory
  • (2013) FIFTY WORDS director: Laurence Boswell / General American accents / Ustinov Studio / Theatre Royal Bath
  • (2012) GLENGARRY GLEN ROSS director: Kate Wasserberg / Chicago accents / Clwyd Theatr Cymru
  • (2012) TOP HAT director: Matthew White / period Standard American, New York City, Italian / Tour and Aldwych Theatre / Kenny Wax Ltd.
  • (2012) ALL NEW PEOPLE director: Peter DuBois / American and RP accents / Tour and Duke of Yorks Theatre / ATG
  • (2012) SOUTH PACIFIC director: Bartlett Sher / Arkansas, Standard American, period NYC, Cleveland, Texas, French, Tonkinese English, Tonkinese French accents; French language / Barbican and Tour / Ambassador Theatre Group
  • (2011) CRAZY FOR YOU director: Tim Sheader / Standard American and period Nevada accents / Regent’s Park Open Air Theatre and Novello
  • (2011) LEGALLY BLONDE director: Jerry Mitchell / Boston, East Coast Standard, LA accents / Tour and Savoy Theatre productions / Ambassador Theatre Group
  • (2011) TERRIBLE ADVICE director: Frank Oz / American accents / Menier Chocolate Factory
  • (2010/2011) BROKEN GLASS director: Iqbal Khan / Tricycle Theatre / period NYC accent / Vaudeville Theatre
  • (2010) ASPECTS OF LOVE director: Sir Trevor Nunn / RP accents / Menier Chocolate Factory
  • (2010) THE PRISONER OF SECOND AVENUE director: Terry Johnson / NYC accent / Vaudeville Theatre / Old Vic
  • (2009) THREE DAYS OF RAIN director: Jamie Lloyd / Standard American / Apollo Theatre CPM Limited




Gillian Anderson, Dame Eileen Atkins, Ellie Bamber, Robert Bathurst, Daniel Brühl, Tom Burke,
Asa Butterfield, Santiago Cabrera, Natalie Casey, Noel Clarke, Sophie Cookson, Alan Cox,
Viola Davis, Peter Davison, Ben Daniels, Joe Dempsie, Zoey Deutch,
Natalie Dormer, Franz Drameh, Jennifer Ellison, Tom Ellis, Taron Egerton,
Luke Evans, Dakota Fanning, Rupert Friend, Josh Gad, Gareth Gates,
Domnhall Gleeson, Rupert Graves, David Gyasi, Kit Harington, Johnny Harris,
Tom Holland, Sam Keeley, Rhys Ifans, Jeremy Irons, Carla Juri,
Vanessa Kirby, Elisa Lasowski, Jude Law, Robert Lindsay, Faye Marsay, Kris Marshall, Chris Mason,
James McAvoy, Alastair McGowan, Ewan McGregor, Kim Medcalf, David Morrissey, Emily Mortimer,
James Norton, Jack O’Connell, Sophie Okonedo, Ann Ogbomo, Nicholas Pinnock,
Caroline Quentin, Jesse Plemons, Ray Quinn, Eddie Redmayne, Shane Ritchie,
Charlotte Riley, Margot Robbie, Craig Roberts, Emmy Rossum, Harry Shearer,
Sir Antony Sher, John Simm, Stellan Skarsgård, Gregg Sulkin, Claire Sweeney, Juno Temple,
Emma Thompson, Harriet Thorpe, Callum Turner, Harriet Walter,
Ashley Walters, FKA Twigs, James Wilby, Ray Winstone, Samantha Womak.



Standard USA (Mid-Atlantic, New England, New York, Mid-Western, Southern, Californian)

Inland North (Buffalo, Chicago, Cleveland)

Mid-Western (Ohio, Indiana, Missouri, Kansas)

Upland North (Minnesota)

New England (Boston, Down East Maine)

New York City (period, Jewish, Italian, Latino)

Mountain Southern (Kentucky, West Virginia, Tennessee, Arkansas)

East Coast Southern (Virginia Piedmont, South Carolina, Georgia)

Gulf States Southern (Texas, Louisiana, Mississippi, Alabama, Florida Cracker)

African American (NYC, Pittsburgh, Louisiana, Georgia, South Carolina, Chicago)

Western (California (LA), Nevada, Wyoming)

Canadian (Toronto, Newfoundland)

England (Generations of RP: Contemporary–Conservative–Period, Estuary, London, Cornwall, Manchester, Liverpool, Accrington, York, Nottingham)

Northern Ireland (Belfast, Derry)

Scotland (Glasgow, Edinburgh, Outer Hebrides)

Wales (Cardiff)

Republic of Ireland (Dublin, Galway, Cork)

Croatian, Russian, German, Spanish, Mexican, Puerto Rican, French, Japanese, West Indian

AFRICAN (Yoruba, Lingala, Amharic)


EUROPEAN (French, German, Polish, Russian)


A native of Cleveland, Ohio, Rick has experience in all aspects of film and television dialect coaching, including auditions, pre-production, on-set, and ADR. He is known for his ability to teach convincing American accents to non-Americans. In film, television and theatre, he has worked with thousands of actors individually on 200+ projects since his training in 1996. Not only does Rick have knowledge of all native and foreign accents of English, he has the skills to approach any spoken or linguistic requirement of a script. Rick has dual American and British citizenship and full work privileges in both.



I was recently asked to write an article comparing the trailers for GRACEPOINT the American remake of WHITECHAPLE, and the trailer for SELFIE. I was supposed to criticize the actors’ accents and describe their faults. I felt uncomfortable with the task, and I decided to write an article to support them rather than take them to pieces. Needless to say, it wasn’t barbed enough to be published, but I thought I would share my thoughts with you here!

In order to compare the two trailers for these series, I think you have to look at the context of where they are in the shoot. First of all, a project evolves over time. There is the version of the script that attracts investment to get commissioned. Then, pre-production, it is then reworked to sharpen it up and get it ready to shoot. It goes through the film shoot with yet more revisions, and then it is then completely reworked with more dialogue added in the editing process. The script that gets commissioned gets numerous rewrites, sometimes 10+ revisions per episode, sometimes on a daily basis once the project is shooting. Some scenes are prepped over time with coaches, some are reworked on the day. Series are shot in blocks, with the first episodes being shot and edited, sometimes with a hiatus, and then the second block is shot. There can be lots of prep for the first block and none for the second. Plots can change, and the whole outcomes of characters can entirely shift from the pre-production phase. The teasers we just saw could have been assembled at any point of the production, with varying levels of prep time with the dialect coach. Sometimes it takes a week or two on the set for the actor to feel comfortable with the accent. The trailer may be assembled with footage that ultimately does not make the final cut of the show. By the time the edit is locked, the episode will have had ADR (automated dialogue replacement), and the dialect coach may be involved in fixing certain lines for accent. The PR department my have chosen segments with sound that will ultimately be changed by the time it goes on the air. What you see and hear in the trailer is not necessarily what you’re going to get.

Then there is the subject of what footage is chosen. I have been present for whole shoots, every spoken take, keeping a log for editorial of where to source a clean version of the accent. This is helpful because the takes that are good for acting may not be the best for accent. The camera might not even have been on the actor when they finally got the accent right. The dialogue editor can skilfully insert the right vowels even when the actor got it ‘wrong’ in the take that was chosen. The production has to commit to that level of accuracy but it is not uncommon. When it comes to the trailer, there may not be time for such a luxury. Ultimately, what sells a show is a high quality connection between the actor and the material. If an actor has to power down the acting to achieve the accent, there is little of value left. Of course a bad accent jars the audience, but a good accent is only a small part what makes a performance whole. The best performances have accents that no one notices. I think we are focusing on the accents because we know how David Tennant and Karen Gillan sound. So people delight in waiting for them to ‘slip up’.

So my feeling is that there are some bumps in the GRACEPOINT trailer, only a couple, and none of them are deal breakers. I looked at all of the comments (500+) and there were some negative comments about the accents, but there were an equal number in support of the accents. Most people love David Tennant and are excited to see him in the show. There are a lot of people wishing he used his native accent. Is it a forensic match with that town in northern California? I would say no more or less than is the norm in Hollywood. In many shows, when a family sits around the table, the mother, father, and children each come from different places, and it is something we just accept. If we take the family in Blue Bloods as an example, the grandfather is from Winnipeg, Canada, the father is from Detroit, the brothers are from Boston and LA, and it is set in NYC. These men work very well as a unit—and we buy into the world of the show that they create. That kind of forensic detail isn’t required. What shows need are actors with the charisma, and in that regard, the trailer works for David.

I think the SELFIE trailer has a couple of bumps in the road too, but none of them are deal breakers. The comments from that trailer are centered on the content of the show and feelings about attaching Karen Gillan to this project. But I think you cannot fault what we are hearing. I hear in the feedback a loathing of people who talk like her character, but that is the whole point of the show—someone who speaks and acts a certain way learning to speak and act in a new way, to good effect. In essence, the people who criticize her are not the kind of people who are interested in the journey of the show and won’t watch it anyway.

As a final thought, why would American shows want to cast non-American actors in leads and featured roles? As someone who spends his entire professional life working with British and international actors working in American roles, I think the reasons are obvious. They bring a completely different energy to a piece. If you need a character to be an outsider, one who feels ‘other’, sourcing your actor from Britain or abroad is a really good idea. Choosing an actor from Britain, the acting tradition, training and craft are world class if not set the global standard. London is the blockbuster capitol of the industry at the moment—the acting talent can and does support it.

These two actors are assets to these new series, and bring integrity and grounding to the proceedings. Could other actors play these roles: yes. But the creative teams on these shows chose these specific actors for the energy, quality, experience and fan base that they bring to the project. I think they do it very well indeed.


Thank you very much for your interest in having sessions with Rick, and here are some thoughts moving forward. If you have already landed a role or you have a script in hand for an audition, by all means, enquire here sarah.upson@voicecoach.tv.