Richard Delaney - Acting Coach

One of the things that gives a conservatoire its life is when the relationships formed inside the building extend beyond it — and that’s exactly what happened recently when a number of third year students from at were invited by director to join an early exploratory session for her new company, Verve, as they begin to feel out the shape of their inaugural project.

These were students Rachel had worked with on Grimm Tales — the first public production of third year — and it was that experience of working together that brought them back into the room at this very early stage.

There’s a proper R&D and a production journey still ahead for this project, and we can’t say much about it yet — but watch this space.

What matters here is the continuum: a practitioner who works with students, believes in what they bring, and then opens a door into her professional world. Huge thanks to Rachel for bringing this work into the building, and to the students who showed up with creativity, enthusiasm, and real professionalism.

I’ve been reflecting on a conversation I was fortunate to be part of back in March — ’s first symposium, ‘Why don’t you just try acting?’: The Theatre of Marginalised Communities and the Encounter between US and UK Actor Training.

I was on the panel for Stonewall to Soho: Transatlantic Exchanges in Q***r Theatre and Performance, in conversation with the brilliant and . We were joined in the session by Phoebe Patey-Ferguson, Alejandro Postigo, and Edu Diaz — colleagues whose work I find genuinely energising to think alongside.

My contribution focused on modes of training that don’t fixate on a predetermined aesthetic — and the argument that practices which do tend to embed erasure within their very thinking, particularly for the marginalised actor in training. It’s a line of inquiry that sits at the heart of much of my current work, and having the space to develop it in dialogue with others working across transatlantic contexts felt valuable.

What a treat it was. Still thinking about it.

Second year students from at recently joined director Ned Bennett for an R&D process exploring staging and design ideas for a new production of The Curious Incident of the Dog in the Night-Time, to be produced by and — working alongside Lighting Designer Laura Howard and Set and Costume Designer Eleanor Bull.

This was a knowledge exchange project built around the sharing of skills, expertise, and inclusive practice, with value flowing in both directions. Ned had previously worked with the cohort through the programme, and it was that existing relationship — and his sense of their creative range and our commitment to access and inclusion — that made this the right group to bring into the room.

Students gained rare access to a professional R&D environment at an early stage in their training, and the creative team brought into the room a group of devisers whose skills and perspective made a genuine contribution to the work.

Grateful to Ned, to Central’s Amy Ryall, and to Principal Josette Bushell-Mingo, who met the proposal with unwavering enthusiasm and support.

Today’s the day.

So proud of our third year students.

This afternoon they take the stage at for their showcase — two performances in front of an invited audience of industry guests.

They’ve worked incredibly hard, guided throughout by the ever-brilliant , and today they get to step out and show the industry exactly who they are — with all their creativity, range, and talent.

I couldn’t be more proud and am truly excited to see what the future holds for them beyond walls!

What an epic joy to see our second years on share their work this evening - an adaptation of The Road developed with director Ned Bennett. They showed extraordinary courage, commitment and creativity, telling the story with absolute focus. Each performer was utterly committed to their part of the whole whilst caring for each other throughout.

Huge thanks to Josette Bushell-Mingo for coming to watch and cheer on the students - your presence and support meant the world to all involved.

This genuinely felt like one of those moments where we remember why we do what we do. I couldn’t be prouder.

Today marks a huge milestone for our 3rd Year CDT company as Grimm Tales moves into the theatre to begin Tech. After weeks of content generation, dramaturgical exploration, grit, determination, craft, and passion, it’s extraordinary to see this work arrive on its feet.

This has been a demanding and deeply rewarding process for everyone involved. The company has thrown themselves into old source material while rigorously unpacking what it means to tell these stories today. Devising in a group of 19 is no small task—especially when you’re asked to bring all of yourself, political opinions included, into a space that dares to say something new.

I couldn’t be prouder of each and every one of them. Their courage, generosity, and artistry have shaped something truly special. And all of this has happened under the exceptional care, rigour, and guidance of their director, Rachel Valentine Smith.

Onwards to Tech.

I don’t usually share personal matters here anymore – I’ve chosen to keep this space focused on my professional work and development. But I wanted to mark the passing of Andrew Jarvis, who was Head of Postgraduate Acting during my time training at .

His legendary Shakespeare classes weren’t just about technique – they were about generosity of spirit, rigour, and genuine love for the craft. So many of his insights have stayed with me, finding their way into my own practice.

His generosity extended far beyond the classroom, always willing to offer guidance and continue the conversation long after graduation.

What a legacy you leave, Andrew. Thank you. Rest well.

It was a real treat to visit yesterday and deliver workshops for their Foundation students, who are currently preparing their drama school applications. It was fantastic to meet such engaged and open groups across the sessions and to share a little about the Contemporary and Devised Actor Training taking place at .

These moments of cross-pollination and collaboration always remind me how vital it is for training institutions to see one another as peers rather than competitors. I truly believe this spirit of exchange will become ever more important for the future of actor training.

Delighted to contribute to the latest episode of This Is A Voice with the ever-brilliant Dr Gillyanne Kayes and Jeremy Fisher ()!

Sharing some thoughts on student burnout, uncertainty, and assessment fatigue in creative education - issues those of us in the HE sector are all too aware of and must be deeply vigilant about.
As I mention in the podcast: none of this is personal failing, but systemic.

If you haven’t encountered This Is A Voice yet, I can heartily recommend it!

Link in bio 🔗

I was delighted to contribute to the latest episode of This Is A Voice (S12, E2: Student Burnout, Time Poverty & The Perfectionism Trap. With Dr Ayan Panja & Richard Delaney), with the ever-brilliant Dr Gillyanne Kayes and Jeremy Fisher.

It was fantastic to share some thoughts about the issues that we within the HE Sector are all too aware of and must be deeply vigilant of: student burnout, uncertainty, and assessment fatigue. This feels like one of the most vital considerations we need to navigate as educators currently. And, as I mention in the podcast, none of this is personal failing, but systemic.

If you haven't encountered This Is A Voice yet, I can heartily recommend dipping in!

Student Burnout, Time Poverty & The Perfectionism Trap. With Dr Ayan Panja & Richard Delaney Podcast Episode · This Is A Voice · 28/10/2025 · 28m