CONSERVATORY is an institution committed to extending its experience and knowledge by cultivating and empowering our hard working actors.
Our philosophy is grounded in the notion that a repeated systematic approach to training is the key to learning the craft of acting. Knowing that there is no such thing as two of a kind in this work, we specifically focus on individual growth at the indivdual level, with the direct objective to inspire and release in the actor their true potential and ability - no matter what experience level the actor is currently working at. At CONSERVATORY we work with elements of widely recognized and renowned systems but focus primarily on the practice and research related to Michael Chekhov’s psycho-physical approach and its many forms of application - this focus has been proven to provide the necessary inspiring techniques and tools which can be directly incorporated into the actors work to support their choices. Having instructed hundreds of actors, Glickman has blended different methods together with the Chekhov system to design a clear and effective process for the actor - one that provides specific tools and direct means for an actor to recognize what they really want to do on stage, live spontaneously moment to moment and take ACTIONS they never thought capable.
It's not a mystery that an actor must learn a skill set, practice their craft and ultimately develop their own unique and individual approach to the work. Finding a SAFE and PROTECTED space to get in, ”WORK OUT" and push yourself creatively can be very challenging. CONSERVATORY is that space; a space defined as one of research and discovery where personal development is fostered by the notion of understanding and making the necessary committment to oneself.
Jeffrey is a celebrated teacher of theatre and has directed, taught and developed training programs at schools, university's and theaters around the world. Nothing thrills him more than to witness new and experienced actors alike, begin to understand a process, commit to a system and ultimately make the necessary breakthroughs to achieve their goals of learning the craft - this is what what has him coming back to the space of research over and over again.
He received his B.F.A. from New York University’s Tisch School of the Arts where he began his training at the Circle-in-the-Square Theater Conservatory with Alan Langdon, Jacqueline Brooks, Terry Hayden and Tony Greco & John Malkovich and continued his studies at the Michael Chekhov Studio with acclaimed actresses Beatrice Straight and Joanna Merlin as well as Ted Pugh & Fern Sloan in New York City and acclaimed actress Mala Powers and Lisa Dalton in Los Angeles. In addition, his continued studies included training at The Actors Space with Alan Langdon (NYC) as well as the William Esper Studio with Susanne Esper (NYC), Darryl Hickman (LA), Tony Greco (LA), Jack Stehlin (LA Hudson Theatre Guild) and with the Michael Chekhov Association Teacher and Advanced Teacher Training programs. Glickman has thoroughly enjoyed sharing the power of the Michael Chekhov work with hundreds of actors at:
The Norwegian Actors Center, Oslo
Michael Chekhov Studio West, LA, CA
The Actors Gym, LA, NYC, Milan, Paris, Stockholm
Kulturama, Stockholm, Sweden
Calle Flygare Theatre Conservatory, Stockholm
COCA - Center for Creative Arts, St. Louis, MO
The Royal Academy of Music, Stockholm
Stockholm University of Music & Education
Randolph College, Lynchburg, VA (Guest Director "No Exit")
He instructs the work at Stockhom University of the Performing Arts (Stockholm Dramatiska Högskola) and Actors Studio Stockholm
In addition to instructing, some of Glickman’s notable NYC, Los Angeles and St. Louis stage credits include: : The Enormous Radio: Jack Tate, The Public Theatre NYU Original Play Festival, The Merchant of Venice: Prince of Aragon, The Elephant Man: John Merrick, The Actors Space Theatre, Edmond: Customer and Preacher, Chekhov Studio Theatre, In The Boom Boom Room: Al Royce, Chekhov Studio Theatre, True West: Lee, Chekhov Studio Theatre West, A Weekend Near Madison: Jimmy, Chekhov Studio Theatre, See How They Run: Clive Winton, Webster Theatre, Spoon River: Eugene Carman, Chekhov Studio Theatre, Pillow Talk: Aaron, The Gardner Stage, Waiting for Lefty: Dr. Benjamin, Lillian Theatre, The Authorʼs Voice: Todd, 3rd Street Stage, Neighborhood Crime Watch, Ronald, Webster Theatre, Long Days Journey Into Night: Edmund, Chekhov Studio Theatre. Some of his TV and Film credits include bad TV back in the day ;) Melrose Place, Models Inc., En Pilgrim Död, Below 30/Above 10,000, Coffee Date, Dark Rider and Rosenberg, which he co-wrote and produced and made it’s US premier at the San Diego Jewish Film Festival. His most recent work includes playing the roll of Frank in the new TV series “How To Make It In Hollywood”, TV Series "99 Problems". He is currently working on creating the character of Rudolph Hess in the one man play entitled “Hess”. Jeffrey is a member of SAG.
Voice & Speech
Joe brings over two decades of experience both as an actor and instructor to his work at CONSERVATORY. He has worked with thousands of actors from all over the world, and recently taught a Voice & Speech/Acting intensive in Istanbul, Turkey. In addition to instructing at TAG Studio, Joe teaches Voice & Speech at the Stella Adler Studio of Acting and heads the American Accent Acquisition program there.
Previously, Joe served as the Program Director of Voice Production and Speech at AMDA in New York, and worked as an instructor with the New York Film Academy. He has served as a Dialect/Speech coach for both stage and film, most recently for the Off-Broadway production of Four Last Things. As an actor he trained with the Royal National Theatre of London and the National Shakespeare Conservatory, and has performed regionally on stage in such roles as Hamlet, and John Merrick in The Elephant Man. Television work includes Law & Order, One Life to Live, and Late Night with Conan O’Brien. Joe is a proud member of VASTA, AEA, and SAG/AFTRA.