Actors, Singers, Musicians

“The hallmarks of the Alexander Technique are creativity, spontaneity and adaptability to change.”

— A.R. Alexander

Sarah: “As a touring solo actress I spent years dealing with first night nerves, adapting to different spaces and performing to a new audience every night. By the end of the season I had lost my voice and reignited my lower back pain.”

The Alexander Technique taught me how to:

  • let go of excess tension
  • be more coordinated and integrated in my movements
  • free my voice from undue tension
  • open up my voice to a greater range
  • be more available and responsive to myself, others and the script
  • be more skilled at embodying different character’s body shape
  • become more present and available
  • clarify my intention for performing
  • redirect nerves that were debilitating into useful energy

These skills can be learnt and I teach them to actors, singers and musicians. The Alexander Technique can be learned through exploring your particular art form whether that be through:

  • a monologue
  • a character
  • singing
  • moving
  • playing your instrument

I am also available to teach in groups. For example come to your rehearsal space and work with your cast on movement, character and text.


“Working with Sarah Cathcart felt like coming home to my body. She provided a fantastic learning environment and tools for me to create greater awareness of my physical habits/patterns and therefore be able to work on them. I still use her insights and teachings daily, as her teaching process is so practical and applicable. Plus she taught me how to run!! As basic as that sounds it’s been a priceless lesson for me run with ease and no tension.”

– Jessica, Melbourne Actor

“I absolutely love working with Sarah! Her incredible knowledge and experience in both movement and the Alexander Technique has encouraged me to explore new areas in my work as an actor. Learning to release tension has helped me to be grounded, have a greater sense of self-awareness and has enhanced my ability to be present with my fellow actors.”

— Jess, Melbourne Actor

“As long as you have this physical tenseness you cannot even think about delicate shadings of feeling or the spiritual life of your part. Consequently, before you attempt to create anything it is necessary for you to get your muscles in proper condition, so that they do not impede your actions.”

— Constantine Stanislavski, An Actor Prepares