The Studio Class · Chubbuck Scene Study · Hackney Central

Small. Intensive. Personal.

The exact class format Ivana uses in L.A. with the A-listers. Monthly, in London.

Her alumni include Sylvester Stallone, Jared Leto, Chris Pine, Beyoncé, James Franco, Jessica Biel and Liv Tyler.

Four weeks. Six actors. A full hour on your scene every week, on material chosen for you. Blocks roll every month, so the work builds instead of resetting.

£195 a month£45 secures your placeMondays or Tuesdays, 6–9pmSix places per block

Book now →

In the room

Sound familiar?

You’ve paid for a class, gone last, and got no feedback.
You’ve had conflicting information from a changing list of tutors.
You over-rehearse and it goes wooden — or you under-prepare and hope.

Get a process you can rely on. Every. Single. Time.

The Studio Class is where you learn the 12 steps, in order, on a script chosen for you — until you can run them yourself, on anything that comes through the door next.

This is a professional acting class. It is intense and intimate. You will work and perform in every class, and rehearse with your scene partner between every class. This is really important for your growth, and for developing the habits that book.

Lizzie Davies — “I still didn’t know where to start.”

Gleb Daniels — “I finally found it.”

How a block works

Four weeks. Two scenes.

One week before your first class, you’ll receive your assignment — a scene and a scene partner, or a monologue. You’re then expected to spend a minimum of six hours rehearsing before and between every class.

Week 1 — The First WorksYou’ll perform the piece as you have prepared it. You get a week to prepare, so bring in your best. Full feedback on your performance and instruction on the application of the technique will be given, as well as specific homework. Then you go away and re-rehearse with the new information and new exercises for week 2.
Week 2 — The Re-worksAfter a week re-working your piece with the new information and exercises, you’ll already be performing at a level higher than you were. Week 2 I’ll be instructing you on how to take your game to the next level. Greatness is in the details. Time and effort are how we get there. At the end of week 2 you’ll receive your new assignment for weeks 3 and 4, so you can put everything you’ve learned straight into practice on another character.
Week 3 — New First WorksA new scene, a new partner.
Week 4 — The Re-worksThen the next block opens, and you decide.

What to expect

When it’s your turn to work.

When it’s your turn to perform your piece, just bring everything you might need with you onto the stage — your script, a notebook. There’s no pressure to be “perfect.” You’ll simply start by running the scene as you’ve prepared it so far.

After that, I’ll ask you a few questions about your choices and guide you through the analysis using the Chubbuck Technique. Together, we’ll begin exploring and applying the exercises in a really practical way.

Once the table work is done, we’ll get back on our feet and try the new choices out loud to see how they feel in the scene. We’ll tweak and refine as we go, so you can feel the difference. This is where we develop your internal gauge — so you know when you’re on, and can start letting go. And that’s where all the beautiful behaviour comes from: the involuntary responses that make a performance alive and watchable.

After class, you’ll receive a homework email with clear guidance on what to focus on between now and next week — so you always know exactly what you’re working on.

You’re here to learn, explore and grow — not to get it “right.” We’ll take it one step at a time, together.

Aneta Bohun — “You will be completely included in this process… all three hours.”

Michael Zgatni — “Rich created a very safe environment for everyone.”

Where the hour comes from

Same technique. Half the room.

Ivana runs twelve actors and six scenes across three hours — around twenty minutes each. That’s how the technique has been taught in Los Angeles for forty years.

I run six actors and three scenes across the same three hours. Same technique, half the room, a full hour on your scene.

In class you will always learn how to apply the process directly to a character. There are no abstract exercises; everything is specific and tailored to you.

Tom Panto — “I’ve gone to so many classes where you run a scene twice. Here we’re on the floor for an hour.”

What you get

£195. Everything that buys.

A thirty-minute welcome call with me before your first class — included
Your scene chosen for you, sent a week ahead — chosen for your growth, so you never walk in blind
A full hour on your scene every week — six actors, three scenes — so you actually work, every session
Your emotional score — you build it, I guide you: a clear process for how to fill in your script. No more difficult scribbles. A clear, worked script, so you know how to get it on its feet
A homework email after every class, and email support in between — so you always know exactly what to work on
A new scene and a new partner every two weeks — film, television and theatre, mixed every class
Social time after class, and seasonal socials — theatre trips, BBQs, the Christmas party, pizza nights — so you’ve got readers, scene partners and people in your corner

£195

per four-week block · Mondays or Tuesdays, 6–9pm

£45 secures your place. The remainder can be paid in full, or in three with Klarna. The balance is due the day before assignments go out.

Miss the balance deadline and it’s next month — assignments go out a week before class.

Current students can reserve their place on next month’s block before it opens to the list.

A block costs less than a day’s pay on a TV job. If you’re a self-employed actor, training in your trade is a tax-deductible expense — keep your invoice.

Book now →

Sylvester Road, Hackney Central, E8 1EP. Read the first four chapters of The Power of the Actor before your first class. 21 and over. Payments are non-refundable; full terms at booking.

How long it takes

Come back to the gym.

Work hard and you can move through the twelve steps in around three months. Alongside a job and a life it takes longer — which is exactly what the monthly blocks are for. Train around your life, and keep building.

Book a job, go away, come back to the gym. Train as much or as little as life allows — no long-term fees, subscriptions or memberships.

Tom committed to every class for a year.

Month two — muscle memory

Six months — casting directors are noticing

One year — playing to win

Want to double the pace? Book both nights — ask me.

In their own words

What actors say about the Studio Class.

Class is so practical and so tailored, you’ll make wins every week.

Guste Vorsaite — trust your instincts, even at the last minute.

Jordan Whitby — “So much more than is in the book.”

Bridget Lappin — “I know I can get there.”

George Hannigan — “I meant what I said.”

Nathaniel Dyer — “It really brought me alive.”

Jade Vertannes — “Steps that genuinely help.”

Katrin Kasper — “I can already see a difference.”

Amelya Goldy — “The best acting experience I’ve ever had.”

Rahima Delvero — using your life as fuel.

Ursula Chesser — “Like having your own personal coach.”

Lizzie Davies — a huge difference.

Almudena Iglesias — “It just flew naturally.”

I’ve just booked my first paid role — having used the Chubbuck method in my self-tape. Thanks for your teaching x

Amelya Goldy

Rich was able to provide individual feedback and help me each time I was struggling to understand. Highly recommended if you want to improve as an actor and you are willing to put the effort in.

Hardeep Singh

Straight answers

I want to book before you announce it.

The only advance you can get on class announcements is to join the mailing list. Everyone gets just as much time to respond. Get the free guide and you’re on the list →

Will I get to work on all 12 steps?

Yes — we begin at Step 1 and build from there. Your work ethic determines your progress. The steps are easy to follow; mastering each one takes time. A block is a month of study, not a stand-alone course in all 12.

I’m too busy to work with a scene partner.

This happens all the time and isn’t a problem. Let me know when booking and you’ll be assigned a monologue — just as vital to your training as a scene.

My scene partner is unreliable.

It rarely happens — but if it does, contact me straight away. Students, just as in L.A., are entitled to fire their scene partners. Tell me so I can rearrange the assignments.

Can I do half a block?

By request, if you have an acting job.

I work hospitality.

Mondays and Tuesdays are the quietest shifts — that’s why those are the nights. If your manager won’t let you off, look at The Private Intensive: flexible training around your schedule.

I haven’t acted in years.

You’ll be alongside actors further along than you. That’s the fastest way to learn, and I’ve taught actors returning after raising children and after whole first careers.

Will I have to cry in front of strangers?

Sometimes the material asks for it, and it’s easier than you’re imagining — a room of six people doing the same work. It’s also the job.

Is this therapy?

No. We work with unresolved issues, not trauma. If you’re receiving treatment for your mental health, speak to your practitioner before booking, and tell me on the welcome call.

I’m neurodivergent and lines take me longer.

So do mine. I have ADHD and dyslexia. I can help you.

English isn’t my first language.

Not a problem. I’ll teach you how to work around it.

What if I book a job mid-block?

Brilliant — that’s the point. Tell me and we’ll work around it.

How many do you need for a class to run?

Four. Below that, you choose: move to the next block, or your money back for any session that doesn’t run.

Are classes recorded?

No. You need to develop your own internal gauge so you can adjust on the fly on set.

Where is it?

Sylvester Road, Hackney Central, E8 1EP. Step-free.