Jamiel St. Rose - Actor, NYC - Mask to Monologue
An acting studio in New York City built on one belief: a repeated, systematic approach to training is how the craft is actually learned. Six-week classes, small rooms, individual attention — work that gives the actor specific tools to recognize what they truly want to do on stage, live moment to moment, and take actions they never thought themselves capable of.
“There is no room on stage for being polite.”
“F#%K polite.”
“It's not about being liked when you get up on stage, it's about putting yourself on the line and DOING what you're inspired to do and do it truthfully.”
Scene work
Each course moves from individual exercises into scenes with a partner, so the technique gets used the way it will be needed: in the room, with someone else.
The process
Having instructed hundreds of actors, directors and performers creating a blend of the Michael Chekhov system and Uta Hagen's foundational work (among other systems), Conservatory NYC has designed a clear and effective process — one that provides the specific tools performers need to live spontaneously and ultimately do what they really want to do: take actions and surprise themselves. Conservatory NYC's ultimate goal is to provide the tools so that you can incorporate them when out in the field, practical work you can apply to your auditions and your work on stage or in film — to "free yourself, from yourself," blast through boundaries and have you take the necessary risks to become a more fine-tuned, specific, intriguing and compelling actor — not just a competent one.
To make our work on stage authentic and alive, we need to connect with both our inner images and our emotions within seconds. For an actor, 80% of the work is concrete imagination: images are the core of creativity and fuel our ideas and emotions. The Michael Chekhov technique connects our imagination to physical reality, creating a world of atmospheres and sensations. The body of an actor can be either his best friend or his worst enemy — by learning and applying Chekhov's tools to text, you will experience a revitalization of the instrument you use to express your art: your body.
Underneath both sits Conservatory NYC's own process: a repeated, systematic sequence built over decades of teaching, so that every actor — at any level — has a concrete path from first exercise to performance. Take big risks. Failing is promoted. Nothing is personal. Alongside it, Uta Hagen's practical realism keeps the work human: substitution, endowment and the object exercises bring the actor's own life honestly into the given circumstances, so that imaginative work stays specific, grounded and true.
A repeated, systematic approach built over decades of teaching — sequenced so that every actor, at any level, has a concrete path from first exercise to performance. Take big risks. Failing is promoted. Nothing is personal.
Chekhov's psycho-physical practice: gesture, atmosphere, qualities of movement, imagination and radiating. The body leads the feeling rather than waiting on it, so emotion is available on demand instead of by accident.
Substitution, endowment, the object exercises and the actor's own life brought honestly into the given circumstances — the grounding that keeps imaginative work specific, human, and true.
Director & Instructor
JD Glickman is a celebrated teacher of theatre who has directed, taught, and built training programs at schools, universities, and theatres around the world.
He received his B.F.A. from New York University's Tisch School of the Arts, beginning his training at the Circle-in-the-Square Theatre Conservatory and continuing at the Michael Chekhov Studio in New York with Beatrice Straight, Joanna Merlin, Ted Pugh and Fern Sloan, and in Los Angeles with Mala Powers and Lisa Dalton — alongside work at The Actors Space, the William Esper Studio, and the Michael Chekhov Association teacher training programs.
Having instructed hundreds of actors, he has blended his own approach with the Chekhov work and Uta Hagen's practical realism into a clear, repeatable process — one that gives the actor specific tools to recognize what they really want to do on stage, live spontaneously moment to moment, and take actions they never thought themselves capable of.
Full biographyFrom the actors
“Within two days I was able to release all tensions and use the emotions I felt in my body. I was able to connect with myself physically and allow my mind to be at ease. We learned to expand, internalize and stay true to oneself. I believe the way Jeffrey teaches is a no-bullshit method. He really wants you to get to the point and to understand what you feel, not on an intellectual level but to simplify so that you can take from it and use it in your work. He instructs you to mold yourself, float or fly and when your body actually does it, the mind follows. He reassures the idea that the body doesn't lie. This workshop really allows you to release any insecurities and makes you feel comfortable. It is a safe space to try new things without judgement. But Jeffrey tells you not to be polite and just go with it and commit. It is a feeling of release to clear the mind and fill the soul. I would recommend Jeffrey's workshop to anyone in the arts, not just in theatre.”
Glickman showed me how powerful the Psychological Gesture(s) truly are. With concentration he gives each actor 100% individual attention and insight. While he taught me about acting he also trimmed off some of the fat (bad acting habits). He always has your best interest at heart and seems to know just how to reach you and make your art better!
He is the coach every actor needs to work with. His trained eye sees your potential and he does not give up — not until you reach beyond your individual limit. He places very high demands on your being involved in the work, just as much as he claims on himself as a teacher.
As an actor who tends to get stuck in her head, I am truly grateful for the chance to learn a method of approaching a character through physical actions. He provides an open and relaxed atmosphere that allows you the freedom to experiment without self-consciousness.
Each 6-week course is designed for those who are serious about developing their craft in a focused, rigorous environment. Whether you're building a foundation or deepening years of experience, our classes emphasize truth and transformation in performance.
Browse the classesThis season
A weekly workshop focused on the application of the tools in the context of scene work — how to prepare independently.
A two-part masterclass on the actor's instrument: freeing the body and imagination, then freeing the voice to carry feeling, character, and intention.
A continuation of the Scene Study work — applying the tools independently and arriving ready to work.
6-week
courses — Mondays & Wednesdays or Tuesdays & Thursdays
NYC
the Conservatory studio, evenings
$350 / $375
2-hour and 3-hour classes · $100 off any two classes
Inside the studio
A few minutes with JD Glickman and the actors — the process as it actually plays out on the floor.
JD on what he looks for in an actor, why polite doesn't survive the room, and what changes when the body leads instead of waits.