Matthew Godfrey

Residencies Past

International School of Budapest - Hungary

Colegio Franklin Delano Roosevelt, Lima - Peru

The Village School, Houston - U.S.A.

Mission Viejo High School, Mission Viejo - U.S.A.

Santa Margarita High School, Santa Margarita - U.S.A. Campbell Hall , North Hollywood  - U.S.A.

Australian International School - Singapore

American School of The Hague - Netherlands

Frankfurt International School - Germany

Hands for Hope  North Hollywood - U.S.A.

Western International School of Shanghai - China

British International School Budapest - Hungary

Branksome Hall Toronto - Canada

International School of Kuala Lumpur - Malaysia

Singapore American School - Singapore

Shanghai American School - China

Lankershim Elementary - U.S.A.

United World College South East Asia - Singapore

Calderdale Theatre School - England

Gardiner Street Elementary , Hollywood  - U.S.A.

Uskudar Academy - Turkey

I like to work one day at a time and I love my job. Your school or institution hires me for a day at least and during that day you can plan whatever combination of workshops I have on offer or you may request that I devise a series of bespoke workshops which work to augment, compliment or be completely novel to  what you are teaching.  In my opinion, since you have me for the day, use it.  I am the same cost weather I work 4 hours or 8 hours and I love to do what I do.

I travel for work and am often in different hemispheres. We can figure it out.

Me, My Nose and Meisner
It’s all gibberish.  Communicating in the Clown world is exactly the same as what Sanford Meisner referred to as “living truthfully in imaginary circumstances”.  This workshop brings these two theatre practices together to liberate the actor from their mask while giving the clown a voice.  This workshop can be taken as an extension of Red Nose Clown or can be taken as an introduction to Meisner.

The Actor’s Six-Pack – A Boleslavsky Breakdown
What do all these drama exercises mean?  Why do we do them? Concentration, memory of emotion, dramatic action, characterization, observation and rhythm form the 6 pack of a performers core.  Acting is an extreme sport.  Pump it up!

Offered as an intensive one off or as a 7 unit course.

Accidentally on Purpose
There are no accidents on stage.  The actor is always in control of the chaos and the audience cheers when the actor’s goal is achieved despite everything having gone wrong.  This workshop will throw a monkey wrench into the simplest of tasks to ensure maximum chaos is encountered along the way to achieving a goal.

Grotesque Clown
Grotesques challenge the audience to think.  They mutter and shout uncomfortable truths about the world around them while keeping the audience on the edge of their seat.  Not for the faint of heart this workshop asks participants to physically and vocally embrace and express their rants and raves through their inner Grotesque Clown.

Bad Acting
Recognize it.  Own it.  Control it. Destroy it.  We know it when we see it, but are we guilty of it.  By playing with the worst habits and bad choices actors make we can embrace them, laugh at them and with any luck avoid them in the future.


It all started around a campfire.  Using elements of Boal, Greek Chorus, Improvisation, Stage Pictures, Personal Narratives and Ensemble this workshop plays with the need to tell stories and how we can do it as a community.

It’s Alive: Animating the Inanimate
Externalize your focus and breathe life into inanimate objects while endowing them with personality and motive.  Combining skills derived from Mask, Puppetry and Laban this workshop drives to understand and execute the individual’s role in the collective agreement of a production’s artistic vision through the emotive expression of inanimate objects.

Words, words, words.  What matters is the meaning beneath those words.  Students become captivated by the drama when it is connected to their own lives.  Rapid-fire lines from Shakespeare’s plays connect the participant to their meaning on their own terms.

Stop Thinking!
Improvisation teaches us many things but at its core there is a simple lesson, which extends beyond the drama class:  Learn to accept someone else’s idea and build upon it.

Entrances and Exits, Performance and Direction

Movement commands the audience’s attention and all entrances and exits require movement. Examine physicality, before/after moments, completion and audience sight lines.  Performances are made or destroyed as the actor enters and exits.

You’re Gonna’ Be a Star Kid: Auditioning for Commercials, Film and TV

Next! You’re up and you have ten seconds to nail the part before the producers make a decision. Stars are born in the audition room.

The Nose Knows: Red Nose Clown
AH HA! This shoe is a boat! Clowns make us laugh, cry and be very afraid. This workshop has nothing to do with the traditional big-haired, big-shoes, squirting flower circus clown.  Create characters that react to any stimulus, experiencing moments of truth, vulnerability and comedy that are your inner clown.  This workshop can be offered as an intensive one off taster clown boot-camp or it can be extended into a full unit.

How it works

Workshops on offer

Basic Philosophy

The study and practice of the art of performing can elevate one’s life experience and increase self-esteem while expanding compassion and empathy.  It is essential learning for students of any age.  Drama class is not just for the expressive, overly dramatic child who does not prefer to do sports.  Drama class is the class, above all others, that will teach them how to creatively interact with the rest of the world no matter what they do with their lives.  Drama teaches them to confidently express their ideas and to create a work environment whereby all ideas and individuals are respected and listened to.  This simple life lesson will benefit, not only the future actor, but also the future lawyer, doctor, CEO, manager, teacher, police officer, politician, diplomat, scientist, volunteer or parent...etc.