Freya Tingley
Head coach
Working screen actor. Credits include Netflix productions and on-set work alongside Jean-Claude Van Damme, Bill Skarsgard, and Clint Eastwood.
IMDB → About · Australia
Tingley's Acting Studio
Working actors teaching actors. Head coach Freya Tingley. Credits include Netflix and sets shared with Jean-Claude Van Damme, Bill Skarsgard, and Clint Eastwood. Coaching sessions in Australia run on AEDT / AEST / ACST / AWST.
Video coming soon. Studio introduction, how coaching here runs.
Tingley's is a coaching practice run by working screen actors. Our coaches are not retired teachers or adjacent professionals. They are people whose days, between sessions with students, are spent on sets, in audition rooms, and on the professional side of the industry students are trying to enter. Head coach Freya Tingley brings credits across Netflix productions and on-set work alongside Jean-Claude Van Damme, Bill Skarsgard, and Clint Eastwood. The wider team has worked across feature film, episodic television, commercial production, and theatre. We coach one-to-one, in person and remotely, in standalone sessions and short intensives.
Coaches and acting teachers
Every coach at Tingley's is a currently working actor. You learn from people who are still in the rooms you are trying to enter.
Coach portrait, head and shoulders, natural light.
[Coach two, name pending]
Coach and working actor
Placeholder card. Every coach at Tingley’s is a currently working actor. Name, bio, and credits will be added once this coach is confirmed.
IMDB to be addedCoach portrait, head and shoulders, natural light.
[Coach three, name pending]
Coach and working actor
Placeholder card. Every coach at Tingley’s is a currently working actor. Name, bio, and credits will be added once this coach is confirmed.
IMDB to be addedThe Tingley Acting Method
Craft
The work is the work. Every session is practical. We run scenes, we mark up sides, we put the camera on you and we play the tape back. I do not teach theory without application. The craft you leave with should be craft you can use in a room the same week.
Practice
A career in acting is a long practice of small improvements. Most of my students book work not because they had one transformative session, but because they came back every fortnight for a year and kept sharpening the same edges. I design coaching plans with that long arc in mind.
Honesty
I will tell you what I see. If a choice is not landing, I will say so, and we will find one that does. If a role is outside your current castable range, I will say so, and we will work toward it or work around it. Acting is hard enough without a coach who flatters you.
Training and ongoing practice
Head coach Freya Tingley trained as an actor between 2010 and 2013 and has worked professionally since. She holds SAG-AFTRA membership and coaches across eight performed accents: American Standard, English, Australian, Irish, Scottish, Cockney, Welsh, and Russian.
Every coach on the team maintains their own working practice alongside teaching. That is the condition we hire on. Nobody coaches at Tingley's who is not also auditioning, booking, and shooting as an actor themselves, because the craft we teach is the craft we are using this week, not the craft we used to use.
In Australia, every coach working with minors holds a current Working with Children Check, issued by the state or territory authority (Service NSW, Victorian Department of Justice, Queensland Blue Card Services, and the equivalent bodies in WA, SA, TAS, ACT, and NT). Documentation is sighted before the first session with a minor.
Why I coach
I started coaching because the young actors I met on set were often getting their first real coaching from the person directing them, which is too late. The industry does not build training into its own pipeline in any systematic way. You have to find it. I wanted to be one of the coaches who is easy to find and who knows what an audition actually looks like this year, not ten years ago.
I started acting at fourteen. Most of what I learned in those first five years, I learned by getting it wrong in a room with a casting director watching and nobody afterwards to tell me why. Nobody explained which takes were the right takes, or when a safe choice was costing me the job, or how to hold a read under pressure without making it smaller. What I coach now is the coaching I needed then. If it had existed, I would have booked sooner, stayed in the room longer, and spent less of my early career guessing.
Coaching formats
One-to-one, in person
Select Australia cities on tour. Check availability when booking.
One-to-one, remote
Video session on AEDT / AEST / ACST / AWST. Available anywhere in Australia.
Audition prep intensives
A 90-minute focused session for a specific audition. Usually booked within 48 hours of sides landing.
Block bookings
Packages of eight or ten sessions at a lower per-session rate. For actors committing to ongoing scene study or accent work.
Book a 15-minute introductory call
Free, to discuss your goals and whether coaching is a fit. AEDT / AEST / ACST / AWST.