[Skip to Content]

Our People

An intensely dedicated faculty of professional artists is devoted to developing within each of our students the emotional and technical skills that are essential to the successful actor.



About Our Faculty

Patricia Delorey

Patricia Delorey is a Certified Associate Fitzmaurice Voicework Teacher with an M.F.A. in Voice and Speech from the Moscow Art Theatre/American Repertory Theatre Institute for Advanced Theatre Training at Harvard University. She has taught voice at the Moscow Art Theatre School in Russia, the University of Bologna in Italy, Texas State University, and was an instructor of Voice and Teaching Skills at Harvard's Bok Center for Teaching and Learning. Recently, Patricia published in VASTA’s Voice and Speech Review, with co-author Dr. Debra Charlton: “Negotiating the Corpus Callosum: A Whole-Brain Approach to Teaching Shakespeare”. Patricia has worked extensively as a voice and dialect coach including Bonnie & Clyde directed by Jeff Calhoun, 12 Angry Men directed by Frank Galati, Phaedra 4.48 directed by Robert Woodruff, Studio Six’s production of Plasticine directed by Dmitry Troyanovsky at the Baryshnikov Center, Saturday Night Fever for Royal Caribbean International Cruises, and the world premieres of Steven Drukman’s The Innocents, and Adam Rapp’s Nocturne directed by Marcus Stern.

Jonathan Epstein

Has performed on and Off-Broadway, in London’s West End, and at dozens of regional theatres across the country, but is best known for his 25-year association as actor, director and teacher with Shakespeare & Company in Lenox, Massachusetts. His roles with that company have included everything from kings to clowns – Lear, Macbeth, Richard III, Feste, Touchstone, Dogberry, Puck, Benedick, Bottom and scores of others. He was text and sonnet teacher in more than 30 of the company’s month-long workshops for professional actors. Directing credits there include Henry V, Coriolanus, Women of Will, The Hollow Crown, The Pretext and The Verdict among others. He has served as visiting professor in Theatre at MIT and in Rhetoric at Boston University School of Law and has led master classes in Shakespeare performance at such companies as Berkshire Theater Festival, Orlando Shakespeare Festival, The Intiman, Seattle Shakespeare Theatre, Boston Theaterworks as well as at colleges and universities including Harvard , Cornell, Amherst, Dartmouth, Smith, Western Michigan and Wake Forest. His other performance credits include: Broadway/National Tour: (A Meeting by the River, Man of la Mancha, Dirty Dancing) American Repertory Theatre (Merchant of Venice, Paradise Lost, Phaedra, Picasso at the Lapin Agile), Berkshire Theatre Festival (Amadeus, Cuckoo’s Nest, Caretaker, Via Dolorosa, Rat in the Skull), The Shakespeare Theatre (Taming of the Shrew), Intiman (Cymbeline), Theatre for a New Audience (Merchant of Venice), Orlando Shakespeare Theater (King Lear, Titus Andronicus), The Young Vic (Faust), He is a two-time recipient of Boston’s Elliot Norton award. He holds an AB from Harvard University, where he studied Elizabethan and Jacobean drama under Gwynn Blakemore Evans, William Alfred, and Harry Levin.

Eliza Ladd

Eliza Ladd is a performer, director, stage writer, song maker and choreographer from NYC. She has taught Acting at Marymount Manhattan College, The Function of Theater at Kingsborough Community College, Ensemble Body Practice at Terry Schreiber Acting Conservatory, and Movement for the Actor at Naropa University and Shakespeare and Company. Eliza has created original multi-disciplinary work at PS 122, Dixon Place, Movement Research, the Knitting Factory, Joyce Soho and The Berkshire Fringe. She has performed at La Mama, the Kitchen, NY Theater Workshop, St. Ann’s Warehouse and with Shakespeare and Company in MA. Eliza is the recipient of a 1998 Franklin Furnace Emerging Artist Award for her original performance work, a Puffin Foundation Grant in support of her Live Sound Action theater training, and the Audience Encore Award for her ensemble musical, Elephants and Gold, producedat the 2007 Boulder Fringe and the 2009 Berkshire Fringe.  Eliza was last seen in On Est Déshabillé, a comedy about death at the United Solo Theatre Festival and The Berkshire Fringe. In addition to extensive training in Clown, Improvisation, Primitive Voice, Developmental Movement and Shakespeare, and as a percussionist, singer and actor, Eliza holds a BA in Comparative Religion from Harvard University, an MFA in Theater: Contemporary Performance from Naropa University, and she is a certified Body Dynamics™ educator of Movement for the Actor.

Greg Leaming

As Associate Director at Asolo Repertory Theatre, he has directed his own translation/adaptation of Pierre Hennekin and Maurice Veber’s Anything to Declare? as well as God of Carnage, Boeing, Boeing, Hearts, The Imaginary Invalid, The Play’s The Thing and the world premiere of Jason Wells’ Men of Tortuga. For the FSU/Asolo Conservatory he has directed Cloud 9, Pericles, Blue Window, Murder by Poe, The Mystery Plays and Two Gentlemen of Verona. He is the Curator of Asolo Rep’s UNPLUGGED new play series. He was the Director of Artistic Programming for Long Wharf Theatre in New Haven, CT (1996-2001) and Acting Artistic Director (2001-2002). There he directed Arms and the Man, and the world premieres of Going Native by Steven Drukman, Abstract Expression by Theresa Rebeck, The Third Army by Joe Sutton, Syncopation by Alan Knee (also for George Street Theatre and Florida Stage Company), and An Infinite Ache by David Schulner (also for Stamford Theatre Center, Cincinnati Playhouse in the Park and Merrimack Repertory Theatre). While Artistic Director of Portland Stage Company (1992-1996), he directed, among many other plays, the world premieres of Losing Father’s Body and Church of the Sole Survivor (both W. Alton Jones New Play Award winners), and the world premiere of Jeffrey Hatcher’s The Turn of the Screw. He was the Producing Director of Hartford Stage Company for the 1996-97 season, and was Associate Artistic Director for the same theatre from 1984 to1992. Others credits include Contemporary American Theatre Festival, Banyan Theatre Company, Shakespeare Sedona, Southwest Shakespeare, Stage West, Philadelphia Drama Guild and American Stage Festival. Mr. Leaming has devoted much time developing new plays with organizations including New Dramatists, New York Theatre Workshop, New York Stage and Film, Eugene O'neill Theater Center, Cape Cod Theatre Project, The Gathering at Bigfork and Theatre of the First Amendment. He served as a panelist/observer for the Maine Arts Commission, Massachusetts Council for the Arts, Connecticut Arts Commission and the National Endowment for the Arts.

Andrei Malaev-Babel

Andrei Malaev-Babelis the Head of Acting at the FSU/Asolo Conservatory for Actor Training. He is on the board of the Michael Chekhov Association in NYC, and on the advisory board of Stanislavski Centre (UK). He is also a Member of the International Scientific Committee for Arti Dello Spettacolo-Performing Arts (Italy). From 1997 to 2005, Mr. Malaev-Babel served as the Producing Artistic Director for the Stanislavsky Theater Studio (STS), an award-winning company and conservatory in Washington, DC. In 2000 he was nominated for a Helen Hayes Award as an Outstanding Director for the STS production of Dostoyevsky’s The Idiot. His productions were presented at The Kennedy Center and The National Theater in Washington, DC, where he also appeared as a performer. He has also served on the faculty of The Catholic University of America in Washington, DC.
Mr. Malaev-Babel’s reputation as one of the leading experts on Russian theater and acting techniques, have brought him special engagements and commissions from institutions such as The World Bank, The Smithsonian Institution, The Keenan Institute for Advanced Russian Studies of the Woodrow Wilson International Center for Scholars and the Russian Embassy in the US. He is working nationally and internationally, conducting workshops, presenting and performing for conferences, festivals and theater programs, including Russian State Institute of Performing Arts (St. Petersburg), Stanford University, The University of Windsor (Canada), International Volkov Theater Festival (Russia), the Latin American Film Festival (Brazil), The Study Centre for Documentary Research into European Theatre and Opera (Italy), The Odessa Philharmonic (Ukraine), Young Vic Theatre, and The Royal Academy of Dramatic Art (UK) and The Arena Stage Theater (Washington, DC). Professor Malaev-Babel’s film documentary Finding Babel (David Novack, dir.), on the life and works of Russian-Jewish author and playwright Isaac Babel, has premiered at international festivals in the US, Russia, Estonia, Ukraine and Israel, and it won the Grand Jury Prize at the Moscow International Jewish Film Festival. His one-man show, Babel: How It Was Done in Odessa, has been presented by key national and international organizations, including the UN’s presentation in Moscow.
Professor Malaev-Babel is the author of the Guide to the Psychological Gesture Technique published in the 2003 Routledge edition of Michael Chekhov’s seminal book, To The Actor. Mr. Malaev-Babel’s groundbreaking volumes on Yevgeny Vakhtangov’s heritage, The Vakhtangov Sourcebook and Yevgeny Vakhtangov: A Critical Portrait, came out from Routledge in 2011 and 2012. He has co-edited and co-translated an English-Russian simultaneous release of Nikolai Demidov’s theatrical heritage, titled Becoming an Actor-Creator (Routledge, London and New York/Russian University of Theatre Arts Press (GITIS), Moscow, 2016).
Andrei Malaev-Babel is a graduate of the renowned Vakhtangov Theater Institute in Moscow, Russia. He trained and worked under Alexandra Remizova, co-founder of the Vakhtangov Theater, Stanislavsky’s student and Vakhtangov’s protégé. In 1985, he co-founded the Moscow Chamber Forms Theater, one of the first private professional theater companies in Russia.

Mark Wheatley

Mr. Wheatley is an English writer who was brought up in and around London. He took his first degree and M.A. from Cambridge University and began his professional career making documentaries for the BBC. There followed a two-year spell writing for series and serials at the BBC (EastEnders) and some short plays for BBC Education before he began writing for the theatre. From 1990 to 1997, he was the principal writer/adaptor for Complicité and their Literary Manager. He has divided his time between playwriting and screenwriting ever since. He is also a teacher and has taught for many universities in both the UK and the US. He is currently working on a drama for BBC Films and a new play for the theatre.