

Lane's email address and phone number have been validated.
Lane
- Rate Ksh. 5,179
- Response 1h
-
Students41
Number of students Lane has accompanied since arriving at Superprof
Number of students Lane has accompanied since arriving at Superprof

Ksh. 5,179/hr
1st lesson free
- Theatre and Film
Experienced tutor in Acting in Bayonne, Lane offers private lessons tailored to your needs.
- Theatre and Film
Lesson location
Recommended
Lane is a respected member of our tutor community. He is highly recommended for his commitment and the quality of his lessons. An excellent choice to progress with confidence.
About Lane
Lane McLeod Jackson is a writer, director, and (unless you hear differently) human who has worked professionally in New York, New Jersey, and Ireland. He's the artistic director of Noir Theatre and Chrysalis Staging. He also worked with The Sara & Sam Schoffer Holocaust Resource Center touring two stage adaptations of survivors' memoirs to local public schools. He is also the co-writer to the 2017 independent film "Another Time." He worked from 2011-2017 as the Creative Director of Dark Star Pirate Cruises. In 2018 his full-length environmental parable The Promised Land made its New York debut. He currently works on the narrative team at "Escape the Room" in Long Island City.
Growth and self-awareness. Art is so much about showing your many faces to the world. Helping students/actors/writers find their voice is one of the great joys any mentor can achieve.
While receiving my Master's in Ireland I did acting coaching as a side gig. Once I graduated and returned to the states I taught at Burlington Community College and Stockton University.
- A Master's in Drama and Theatre Studies from the National University of Ireland: Galway.
- Taught Theatre 101 at Burlington Community College
- Taught Creativity in the Classroom at Stockton University
- Taught Introduction to Acting at Stockton University
About the lesson
- All Levels
- English
All languages in which the lesson is available :
English
First things first gotta know your initial goals. Students want to try performance for all sorts of reasons. Some want to practice confidence building, and public speaking while others have had entire careers/lives but always wanted to try or enhance this part of their background. Heck, I had someone who wanted to improve their voices for a Dungeons and Dragons campaign. And yes there are those who want to become performers. All of these different goals get separate strategies.
Next things next we assess your current skill level by going over background. This helps me figure out where you stand on among other things terminology, focus, physicality, dance background, and all that jazz. Now, this is entirely for your benefit. Maybe you've never been on stage a day in your life, or you just finished a tour, either way, I'll try to find the precise approach that will help.
Last things Last: We keep things flexible. Goals change, sometimes a person starts off wanting to try this performance and suddenly realizes this is what they want to do with their life. Or maybe the type of acting focus changes (TV to theatre, that kind of thing). Learning as cliche as it sounds is a lifelong thing and we're certainly not going to be trapped in whatever conversation started the journey.
My students have ranged from young performers in their mid-teens to senior citizens.
Think about a few things to ask yourself in regard to your teacher:
- What "method" do you use?
So less of an absolute concept than it used to be. Still, many actors/directors view themselves primarily through a particular acting lens. It might say this in their bio (trained in Meisner or Chekov for instance) but often times this is left blank. It's important because while all of these can be powerful tools sometimes a particular system is not the right fit OR occasionally it is the perfect style for you. But knowing what background (and ideas) you're learning can be very important.
- Am I a priority?
Now I don't mean the student should be the center of the teacher's life. Trust me, having had enough mentors and mentees that's never the case. But nor should you ever feel like you are not the main focus in your own lessons. Lots of actors/writers/directors teach to support their income. This is fine but also not an excuse to ignore their new charge. Now the vast VAST majority of tutors/teachers/coaches love doing this work BUT be aware and never be afraid to switch should it appropriate. This leads me too...
- Is this the right teacher for this skill?
Depending on your development as an actor you might be looking for a mentor who can go over the basics (and teach you how loaded the term is) or a particular skill set: Are you trying to develop your voice? Increase your range, power, and affinity for accents. Or perhaps you still feel physically awkward on stage. Not every teacher is perfectly suited to teach every skill under the sun... and that's ok. Don't be afraid even if you LOVE your current mentor to search for other professionals in context. This isn't a relationship you're not "cheating."
Wrote and acted in my original play "Kingfish" reviewed here: Kingfish - TheaterScene.net
Performed in the well-reviewed tour of "Etched Glass Decanter"
In the award-winning short film, "Capricies
The production/directing of my original play "The Promised Land" made its off-off-Broadway debut. It was reviewed positively in the DC metro press.
(concealed information)
A few things worth thinking about before reaching out
- How much time do I really have to commit?
This is often the biggest frustration when learning any new skill. But it can be offset but developing manageable goals. Do you only have fifteen minutes a day? Maybe a couple of hours here and there. Communicating how much time you have AND how much time is expected for each task is helpful. Now this will of course depend from person to person (not everyone learns the same skills at the same pace) but will help make sure your not overreaching or getting bored because you can do more.
- What are my "needs?"
This will at least partially depend on your goals. If you are a beginner at least one of your needs may very well be "having some fun." Cause well you're learning how to be silly and spontaneous. Later on, it may become more focused, I "need" to get this audition right, and more focused critique is a part of that. And these will be the same questions. Not to sound too hippy but it starts with examining your emotional responses: If for the last few lessons you've been thinking, "This is a waste of time." Examine why you feel that way, "We're just playing silly games and not doing anything." Then ask two questions. First, what is the best possible reason we are doing this activity or exercise, method, or scene and what can I get out of it? Oftentimes we dismiss (I'm super guilty of this) what we don't immediately understand and then lose opportunities for growth. 2nd question is what would I rather be doing and why? Do you feel your progress has improved enough to add additional challenges... or maybe the class is going too fast and you'd like to refocus on a previous lesson. Once you have both in your mind the discussion with your mentor can be much more productive. "Lane, I understand you have us pretending to be chickens to attempt to get us to focus our body and energy into habit-breaking movement... but I had been hoping to get a better handle on the Shakespearean Language for the upcoming season."
Recommendations
Recommendations come from relatives, friends and acquaintances of the teacher
What I liked: everything
What I didn’t like: nothing
Lane was a wonderful director, genuinely one of best I ever had. I’ve worked with Lane 3 times- 2 plays and 1 small part in a movie. Let me tell you what I’ve learned... Lane expects you to come to rehearsals and performances READY. If you are early, you are on time. If you are on time, you are late. Lane expects honesty from his actors. Honest questions, honest conversations, and honest portrayals. He will not lie to you or mislead you in anyway, so he expects the same in return. Lane has a clear vision, but this does not mean he will tell you exactly what to do. It’s actually quite the opposite. Lane does not want to give you a list of words to say and steps to take. He wants you to bring something to the table. He will let you play and create, then give you feedback on what he sees. Lane is fun, expressive, goofy, and yea- he can definitely be intense. Although intense, he wants you take the lead. Be confident in what you do, because sometimes acting is not comfortable. You will be doing things with your voice and body that you are not used to, that you think is embarrassing. Lane will not judge you. Lane will only encourage you to be weirder. Be the craziest, most inhibited version that you can be. Then you work with Lane to slowly reign it in and watch yourself become an honest character. Lane will help you do this, I promise. He has so many wonderful exercises for voice and body. My diction was always pretty good, but never as good as when I worked with Lane. How is it that a small group of 20-something year old college students could deliver a honest and power performances as a hidden family and Nazis during the Holocaust? You would think it wasn’t possible. Lane did it. Trust me, I was there. He molds you and helps shape you into something beautiful and awe-worthy to behold. I have nothing bad to say about Lane Jackson and I was once asked to leave a show by him. It was a hard thing for both of us to go through, but remember what I said about honesty. You have to be 100% honest with your coach, your director. That’s the only way they can be 100% honest with you. And that, my friends, is how you become a 100% honest character. Because at the end of the day, Lane is rooting for you.
Lane is funny, friendly, and professional. He is always super-supportive and very knowledgable about his art. I worked with him in a children's show (as pirates) and he was always reliable and a joy.
Really emphasizes every single part of crafting a character, a scene, or a story. I remember we even covered how the character would walk and what part of their body they would lead from. Lane makes everything so creative and makes you think deeper into every concept you tackle. Love working with Lane!
Lane is the best director I have ever worked with. He knows exactly how to balance theory and practical advice to get the best out of an actor. He can also see the potential in anyone and knows exactly how to work with them to bring out their best. I highly recommend him as an acting coach to anyone at any level looking to improve themselves and learn techniques that will help them on their journey.
Lane is super passionate about acting and possess an expansive amount of knowledge in it. He helped people overcome stage fright and did it while fostering a fun and educational environment. Truly dedicated to his craft and I would recommend him time and time again.
Mr. Jackson balances focus, attention, and a sense of play that doesn't distract from the work. He encourages exploration and experimentation. Never afraid to try something.
Lane makes acting accessible to even the least artistically inclined. Clear instructions drawn from professional experience from a very pleasant fellow. You can't go wrong learning under him.
Lane was very easy to talk to and it was evident that he knows what he is talking about. He is also very thoughtful in his notes and really takes the time to explain things as needed.
Lane is fabulous. He is able to give constructive criticism in a way that doesn’t crush your dreams.
Lane was able to provide a very trusting work space for even the most delicate of subject matter and scene work. He also was very open to dialogue with his actors about process and character development, something I find that can be delicate with writer/directors developing pieces for performance. Always professional, always kind, always open.
He was very knowledgeable in the subject. He helped guide without forcing me into a specific choice, rather helped me shape my own. He was also very kind to a cast mate who was newer to acting and needed help finding her voice. He was always patient and helpful to us. I would work with him again any time!
View more recommendations
Rates
Rate
- Ksh. 5,179
Pack prices
- 5h: Ksh. 25
- 10h: Ksh. 50
free lessons
The first free lesson with Lane will allow you to get to know each other and clearly specify your needs for your next lessons.
- 1hr
online
- Ksh. 5,179/h
Details
So we have some options here:
The Mentor: 40 dollars an hour.
This is your basic acting coach. The first lessons are figuring out your personal goals. Then we develop personalized acting regimes so you can continue to improve every day (more fun than it sounds). And we continue on the greatest hits: Audition prep, Shakespeare, Scene Breakdowns, cold reads, voice training, movement on stage, and whatever else strikes your fancy. This price point assumes weekly lessons.
Audition Time: 50 dollars an hour (Five lessons)
Ok. You want to get started showing up to auditions. Let's get you ready as quickly as possible.
1st lesson: Etiquette, Type, editing audition piece tactics, and cold reading. Decide on classical monologue for lesson 2.
2nd lesson: Cold Read opening. Work on classical monologue. Pick contemporary drama
3rd Lesson: Cold Read opening. Work Contemporary drama. Choose contemporary comedy.
4th lesson: Cold Read opening. Work contemporary comedy.
5th lesson: Cold Read Opening: Perform and film classical, dramatic, and comedic monologues for students' future use.
Shakespeare: 60 dollars an hour (Sive lessons)
1st Lesson: Go over the basics of the language, iambic pentameter, and tools. Choose a script and character.
2nd Lesson: Discuss overall themes, ideas, and recurring metaphors. Choose Scene.
3rd: Break the scene down, and develop the arc. Choose Soliliqy.
4th: Line-by-line breakdown of Soliliqy.
5th: Perform and film a soliloquy for the actor's use.
Additional notes: Prices are based on the lesson. Willing to host students at my apartment for no additional charge. Online Lessons likewise. If students would like me to travel to them gas and tolls will be included. Or if they want a rehearsal room scheduled the cost will be added to the lesson price. (Usually 45 dollars more)
Similar Theatre and Film teachers in Bayonne
Adélie
Paris 1er, France & Online
- Ksh. 8,894/h
- 1st lesson free
Lee
London, United Kingdom & Online
- Ksh. 43,193/h
Milly
London, United Kingdom & Online
- Ksh. 12,094/h
- 1st lesson free
Jérôme
Paris 11e, France & Online
- Ksh. 10,228/h
Yuri
London, United Kingdom & Online
- Ksh. 11,230/h
- 1st lesson free
Adam
London, United Kingdom & Online
- Ksh. 11,230/h
Axel
London, United Kingdom & Online
- Ksh. 6,911/h
- 1st lesson free
Andrew
London, United Kingdom & Online
- Ksh. 8,639/h
- 1st lesson free
Andrea
Los Angeles, United States & Online
- Ksh. 16,185/h
Liam
London, United Kingdom & Online
- Ksh. 10,366/h
- 1st lesson free
Stu
New York, United States & Online
- Ksh. 7,639/h
Charlotte
London, United Kingdom & Online
- Ksh. 6,911/h
- 1st lesson free
Jesse
Atlanta, United States & Online
- Ksh. 9,711/h
- 1st lesson free
Artur
Icaraí (Niterói), Brazil & Online
- Ksh. 2,538/h
- 1st lesson free
Carolyn
Naples, United States & Online
- Ksh. 12,948/h
Tara
Montgomery, United States & Online
- Ksh. 11,006/h
- 1st lesson free
Clemmie
London, United Kingdom & Online
- Ksh. 8,639/h
Gabriel
República, Brazil & Online
- Ksh. 1,345/h
Michelle
London, United Kingdom & Online
- Ksh. 12,958/h
Ashley
London, United Kingdom & Online
- Ksh. 7,775/h
-
See Theatre and Film tutors
