Jessica Berman is a dialect, voice, text, and acting coach, as well as a continuing lecturer in the Department of Theater, Dance, and Performance Studies. Jessica has worked extensively in the Bay Area and UK, serving as co-head of voice and dialects for Harry Potter and the Cursed Child (The Curran Theatre) from 2019 to 2022. She holds a B.A. from Loyola Marymount University, an M.A. from the Royal Birmingham Conservatoire, and an M.F.A. from the Royal Central School of Speech and Drama.
As part of a Q&A series with our faculty, we spoke with Jessica about teaching in and out of the classroom, and the profound power of voice.
What has been the most fulfilling production you've been a part of?
They're all fulfilling in their own way! The most fulfilling part of working on a TDPS production is working with the students in a different capacity. They're incredibly motivated and always grow immensely through the process, so that's always exciting to see and be a part of. It's wonderful to work with fellow faculty members in our department as well. Outside of TDPS, I've worked on many fulfilling projects, but I might say Harry Potter and the Cursed Child at The Curran—it was an incredibly collaborative and long process, so we were able to achieve a lot.
Why is dialect so important? How does it shape a performance?
Accents and dialects can reveal so much about who we are and where we come from, and are therefore an essential part of the storytelling. We want them to feel authentic, so it's important that we approach them with specificity. When specific and embodied, they can help actors find a way into the character, or unlock something about who the character is.
What is your favorite aspect of theater in the Bay Area?
I think theaters in the Bay Area really push the boundaries in terms of what is being produced, and the new work that comes out of Bay Area theater is quite exciting. We're also a somewhat small community, so I love working with so many familiar faces all the time, and having the opportunity to work with the same actors, directors, stage managers, etc. at different theaters and in different productions.
In addition to coaching, why did you choose to teach theater at the collegiate level?
I loved studying acting, voice, speech, and dialects in college and graduate school. It was thrilling for me to be in that type of environment where there was so much exploration, learning, and discovery happening every day. Teaching in those same environments allows me to continue to be a part of that. It's such a joy to work with students at this stage of their lives, as they're figuring out what they want to pursue and what inspires them.
Do you have any advice for how to find one's own "voice?"
This is a big question. I would certainly advise work on your technique—learning to release physical tension, finding more physical and vocal ease, exploring breath, resonance, and articulation. Understanding the tools required to use your voice in a more full, expressive, and dynamic way is essential. And for an actor, trusting that you have a unique point of view, and are committing fully to your physical and vocal life. This is not always easy, for a variety of reasons, but the more you can practice and find opportunities to use your voice, the easier it becomes.
