Linda Slade

Biography and Resume

Linda Slade's acting, directing, producing and teaching career spans many decades and locations. She brings a diverse range of experience and talent.

Acting Resume and CV

Linda Slade is an actress who has worked in Europe, the UK and the USA for over 30 years. Normally based in the USA, for the last few years Linda has returned to the UK where she has been filming ‘The Beholden’ in which she plays Helen Brady Chief of Police for London. She has worked on devising performance pieces with Off Piste Theatre Company in Bristol (Absent Fathers) and a UK tour with The Nigel Havers Company with Theatre Royal Bath – in which she covered the role of Amanda in Private Lives.

Of her recent theatre work much has been in the States: Playing such roles as Beth in Otherwise Engaged by Simon Gray at the Asolo Theatre in Sarasota Florida, Triptych by Edna O Brien playing the role of Clarissa opposite the Emmy award winning actress Susan Clark for the Nomad Theatre Company in The Matrix Theatre on Melrose, Los Angeles, and 8 playing Dr. Nancy Cott, at The Borgnine Theatre in California. A play by Dustin Lance Black retelling the historical trial that overturned proposition 8 preventing marriage equality for the gay community in America.

Other theatre roles have included Miss Fischer in A Picasso for Stageworks in Tampa, Scotland Road, for the Sugden Theatre in Naples, Florida, and The Turn of The Screw in which she played the Governess – originally performed at The Tampa Bay Performing Arts Centre and then transferred to the UK performing at Berkeley Castle and finally The New End Theatre, Hampstead. She played Medea at the Dublin Arts Centre in Medea opposite Geoff Minogue, and Phaedra in Hippolytus for the UK touring company Theatre Melange. Shakespeare includes Olivia in Twelfth Night (Sierre Madre Theatre Company, California,) Lady Macbeth (Macbeth) and Gertrude, twice, in Hamlet, at The Met Theatre in LA and in Rosencrantz and Guildenstern are Dead – also in LA. She is currently a member of the LA Opera at The Dorothy Chandler Theatre in LA having appeared as The Queen Of Austria with Placido Domingo in Nabbucco, and a dancer in Rigoletto.

Linda’s UK television work includes roles in Wycliffe, Casualty, A Mind to Kill, Nuts and Bolts, A Trail of Guilt and for BBC Children’s TV Mud and Return of The Psammead. She has also appeared in a guest lead role (Detective Inspector Evans) on the soap Fair City in Ireland. American television includes Call 911, I Didn’t Know I Was Pregnant, LA Paranormal, and Heroes: The Takezo Kenzei Sword. Film work includes leads in The Last One, Chapped Lips, Hollywood Confidential, and Masterless.

Linda trained in voice at The Royal Central School of London (University of London) under the mentorship of David Carey. Combined with her degree in drama and education from Homerton College, Cambridge University, and a one year post graduate acting training at The Drama Studio in Ealing, London, Linda was able to teach acting, classical performance, radio technique, voice, public speaking, text analysis and accents at numerous universities and drama schools around the world: These have included Cal State Fullerton, New York Film Academy, Welsh College of Music and Drama and the Academy of Live and Recorded Arts, London. She has been part of The Rodenburg Agency in Voice and trained with Barbara Houseman, Cicely Berry and Mark Meylan. She is trained in Laban, Alexander work, and the work of Augusto Boal, Etienne Decroux, and Stanislavsky, Brecht and Meisner.

Linda has always had a passion for Classical Theatre: she started her professional career at the age of sixteen when she was cast as Titania in Midsummer Night’s Dream with The Young Shakespeare Theatre Company in Stratford. After having trained in the first folio technique with Patrick Tucker and specialized in classical acting at The Drama Studio she has been teaching and performing Shakespeare ever since.

Linda moved to the States in 2011 performing at The Asolo Theatre in Sarasota, The Tampa Bay Performing Arts, The Long Beach Shakespeare Company as well as with Stageworks in Florida where she won best actress in Tampa. She was picked up by an agent and invited to LA to work on the tv series: Heroes Evolutions: The Sword Saint playing Professor Karen Chamberlin. Still maintaining a connection with Europe and Scandinavia she went on to tour her one woman shows there: The Little Mermaid and The Yellow Wallpaper.

When not working as an actress Linda works as a Voice Coach in LA coaching classical text and accents, particularly the Royal accents, in films such as Lifetime’s William and Kate, in which she also played the voices of all six female reporters in the film.

Having spent two years working with Theatre Melange – an intercultural explorative physical theatre company based in the UK, Linda combined her vocal training with her knowledge of physical movement based on numerous methodologies such as that developed by Michael Chekhov and Rudolph Laban. She specializes in working with the breath and the body, to access a variety of vocal and emotional expression in performance as well as teaching a solid technique to strengthen the voice and connect to the authentic vocal sound of the individual. She has written five short books on Amazon about the voice (The Easy Voice Book Series) and her latest book Stand and Deliver is currently with a publisher and due for release in 2025.

Linda has a Masters Degree in Spiritual Psychology with an emphasize in Consciousness Health and Healing from The University of Santa Monica. This has enabled her to work at a deeper level with her voice and speech clients, especially those who have specific vocal issues following ill health or psychological trauma. During covid Linda researched and worked with patients suffering from aphasia, dyslexia, parkinsons and stroke victims and now has clients whom she regularly supports in reclaiming their ability to express themselves and communicate effectively after medical illnesses. She has also worked with politicians, ministers and business professionals in effective communication, presentation and public speaking.

Linda is an accomplished television and theatre director:- She was
recently nominated as best director for her production of Echoes by Henry Naylor at the Hollywood Fringe. She has directed numerous Shakespeare productions, plays, musicals and opera – both professionally and within the education system. Her opera production of Amahl ran for two Christmases at The Hollywood United Methodist Church performing to sold out houses. Linda was also the ‘hidden’ director on many of the Noel Edmunds Gotcha’s for the BBC’s Noel’s House Party that ran for years on Saturday evenings in the UK to much acclaim. Recently, Linda’s play:- ‘Who was Harriet Brown?’ has been commissioned in Sweden and will be touring Europe, the US and the UK in 2025.

Linda also has a Masters Degree in Film Production from The University of South Wales and has produced one movie: ‘Dawn of the Dead’ and two tv episodes, ‘Yucky Da’ and ‘Haupt Air’.

Linda believes it is important to develop confidence and communication skills with her clients and to create hope and educational opportunities for young people worldwide. Her charity International Mother Earth Foundation, as well as providing clean water systems and building homes and schools, has developed drama educational programs in numerous countries such as Uganda, China, Peru, Fiji and Italy. In these countries Linda has trained local teachers to integrate performance skills into the main curriculum to develop opportunity and leadership skills in their students.

Linda has had the opportunity to work with the best, studying with Pinter, Tom Stoppard, and attending lectures by directors Spielberg and Jane Campion. She has worked alongside actors such as Patricia Hodge, Nigel Havers, Placido Domingo, Susan Clark, (Theatre), directors such as Sam Mendes and Robin Gammil, and film actors such as Richard Riele, Vernon Wells, Joe Estevez, Russell Tovey and Jimmy Williams (TV/Film). To name a few.

It is Linda’s intention to continue working with inspired groups of artists, to collaborate, perform and educate through the medium of performance and the works of great writers and musicians.

In her spare time Linda volunteers at a wildlife sanctuary in Los Angeles where she oversees the enrichment program of 27 lions and tigers.

Voice and Dialect Coaching

Voice awareness and good vocal training is, in my opinion and experience, the key to truthful acting. Working initially with relaxation, posture and breath, this combination leads to accessing vocal and emotional truth.

I teach diaphragmatic breathing as this enables access to deeper emotions as well as supporting the voice. It is the breath that is the root of thought and behavior. Later training moves into further supportive breathing to enable the student to extend the breath for long poetic sentences, singing or deep emotional release. Gradually the student develops an awareness of how the abdominal muscles support both breath and emotional access.

“I came to train as a voice coach due to my own insecurities in my vocal abilities as an actor: Was my voice powerful enough to fill the big theatres of the West End? Could my breath support carry my words through to their completion when tackling the long poetic thoughts of a Shakespeare script? Was I annunciating clearly enough for my work to be understood in radio and film? Did my voice reflect the truth of my character or was it hindering it?

As a teacher it is my intention to support every young actor as they develop their voice to fulfil the technical demands expected of them as professional actors. But as a coach I also enjoy working with business professionals who are required to stand in front of others to speak with expertise and confidence, with those who have vocal challenges such as stuttering (childhood – onset fluency disorder) or aphasia after a debilitating illness such as a stroke, or others who simply wish to reduce or strengthen an accent for personal reasons.

With regular vocal and physical exercises the student learns to free the sound, range and strength of the voice – thereby connecting to something greater: The Spirit of Truth. To communicate with authenticity the words of great writers such as Shakespeare or Shaw, enables the individual to connect to the geniuses of our time; channeling the thought and language to communicate ideas, brilliance and truth.

As one masters the technicalities of the voice one becomes the master of storytelling – the personal story and the story of others. Breath, thought, body and voice align and the professional actor emerges with presence and confidence.

Mastering my breath and voice was the key to stepping into my power as an actor”.

I believe in working voice with movement and not in isolation. This encourages an awareness of muscular tension and its effect on the voice. My student will improvise, play and dance, discovering why they need to speak, to utter sound at all, and where that physical need comes from. Through this movement work the student will develop an awareness of the correlation between muscles, emotional access and vocal freedom supporting their work as an actor. As students become more confident. I encourage them to explore sound in different spaces, to consider the impact and demands on the voice when placed in different acoustical spaces.

I also find movement with voice work an enjoyable way for students to discover the power and creativity of their own voice. Intense physical movement and deep breathing can often unblock psychological issues impeding the natural openness and ease of a fully supported and centered voice.

In movement work I include yoga, pilates, contact improvisation, free dance, aerobics and some of Michael Chekhov’s work. I also use many of Growtovski’s exercises and when working with posture refer to the Alexander technique.

From a creative aspect I am fascinated by the relationship between Laban’s ‘Qualities’ and how time, physical weight and flow effect the breath, voice and emotional energy. This exploratory work is excellent for the student when exploring character work.

I consider myself at my best when working with students on text, specifically that of the classics and poetry. Having been a classical actress myself for twenty years and working on the classics with an international physical theatre company I am fascinated by the vocal movement and rhythms in text: In particular the challenge of the performance of poetic text in modern media such as film. I particularly enjoy the Greek classics, Shakespeare and many of the Jacobean Plays and have spent years working as a director/actress and voice coach on Shakespeare productions as well as lecturing on numerous Shakespeare plays. The ability for a student to reveal their thoughts in the moment on the breath and to have an awareness of iambic rhythms, pacing, inflexion, and the support of structured language is essential for any classical actor.

My work in speech and articulation is based on IPA. Working in LA I have spent much time working with international students. Consequently a lot of my vocal work has been to support the student to develop a Standard American sound or at least to acquire clearer articulation. I have developed my own approach to teaching phonetics that involves physical dance in the learning of each phonetic symbol and sound as a means of keeping this work more creative rather than a science. In working with the articulators I look to increase the muscularity in order to develop cleaner and more precise articulation as well as focusing on the placement of vowels for a more open sound which, when supported with the breath, provides power in projection. I also encourage releasing emotionality through the weight placed on the vowels and the muscularity of the articulators. We study tongue twisters, The 4 voices of Roy Hart, and all the many rich sounds unfamiliar within our own accents.

When teaching accents I focus on teaching the tools to support the learning of all accents and then encourage the student to apply these tools to support them in learning the individual accent of their choice. I am particularly interested in the psychology of an accent which includes the attitude, physicality and cultural identity that can accompany and affect the sound of an accent, as well as the combination of placement and vocal differences found in the vowels and consonants. I specifically encourage ear training so the student can become more aware of their own individual accent and the adaptations they need to make in order to acquire a new vocal sound.

I cover ‘Alba Emoting’ in my work (altering the breath patterns to trigger emotional responses) and teach a couple of classes in this work as an alternative technique to accessing the emotions via Meisner exercises or Stanislavsky’s emotional memory work.

In addition to the above voice and movement work I also offer workshops and lectures on the history of theatre and the study of the different  approaches to acting, vocal and movement styles as dictated by the popular theatrical medium and philosophy of any given period.

My voice training is specifically influenced by Linklater, Cicely Berry, Patsy Rodenberg and Barbara Houseman all of whom were my voice teachers at The Royal Central School Of Speech and Drama in London. I have also worked with Andrew Wade at the Royal Shakespeare Company, Catherine Fitzmaurice and singing with Mark Meylan.

In addition to voice I have trained with Mike Leigh in improvisation and have also worked with the ‘Cardboard Citizens Company’ in London working with many of Augusto Boal’s principles in the ‘Theatre of The Oppressed.’ (I have studied two courses in this technique with Brent Blair at USC. I can also teach the basics in singing work. I was a professional musician and have directed numerous musicals. I have an advanced MA in Spiritual Psychology with an emphasize in ‘Consciousness, Health and Healing’, from The University of Santa Monica, and I find this training supportive when working with students on psychological aspect of acting/voice work.

It is my belief that voice work is one of the most important tools an actor can study. I believe the teaching of voice should always be linked to the creative process rather than in isolation.  By using movement exercises, creative text, and the freedom of vocal expression, students learn the correlation of breath and muscular tension on the voice and the impact it has on their ability to be free in their creative expression. Rather than focusing on any one vocal technique I introduce the student to many, with the aim of matching the individual with the exercises that works best for them. As well as the above mentioned mentors, I also reference the work of Lessac, Turner and Morrison. Ultimately, the objective with any vocal training is to provide the student with an open free, and supported voice, encouraging confidence and bold exploration in their creative choices, whilst maintaining a healthy vocal apparatus.


I have been directing my whole life starting as early as in primary school directing my fellow six-year-olds in a play about the Black Plague of London, designing stuffed rats on a fishing rod to run across the stage, leaving us all in terror. Or later helping my classmates to learn French while directing them in a play about how to order a cake and coffee at a French Cafe. Here lies my real passion: Both French cakes and the role of the director!

From pantomimes, musicals, and cabaret to Shakespeare the classics, and television when I am creating the medium to tell a story to inspire and uplift others – that is when I am truly in my zone. It is as a director that my love of acting and actors, voice coaching, choreography, musical skills, producing, and writing truly come together.

As a Director I am responsible for the vision of a production from beginning to end – whether it be theatre, radio, television, or film. I love to research and understand the historical context, style, themes, and background of a story: To encourage the creative collaboration of the artistic team and lead them on a shared vision so that all production elements work together to bring the story alive.

Producing and Managing

I studied at The University of South Wales for a Masters Degree in Producing to ensure that I have a good  knowledge of all aspects of developing a film or television production – whether it be putting together a pitch to attract investors, budgeting, scheduling, managing casting, locations, marketing, risk assessments, and most importantly having a good grasp of copyright and legal responsibilities

I am also currently studying for my PMP qualification in Project Management to enhance my producing and management skills to support other industries beyond the world of film and television.

General Teaching Philosophy

Although I am trained as a Middle School Teacher from Homerton College, Cambridge University, I have also studied as a teaching in my voice training at the Royal Central School of Speech and Drama, as an English Language tutor (TEFL) and later as a counselor/mentor from my studies at The University of Santa Monica in Los Angeles.

I have taught most subjects at Primary School and Middle School, (Math, History, Geography, English, Music, Science, Religious Studies, Sport, Art, Drama) but also taught at The University level both BA and MA students in Voice and Drama.

The core skills I aim to develop in all my students is that of motivation, inspiration and to think creatively out of the box! That, coupled with research skills, creates a classroom where  the world becomes an emporium of discovery.

Having had the joy of working for thirteen years privately home schooling a boy and a girl (twins) from the ages of 5 – 18, I understand that one teaching methodology does not fit all . A good teacher needs to be adaptive and prepared to meet the educational needs and capabilities of their students, and from there to inspire them to follow a path of discovery, learning and application throughout life.