"The WHELAN RECORDING TECHNIQUE is helpful in bringing the necessary battle between instinct and technique to a peaceful accord."
Kelsey Grammer, Star of Frasier

"What is remarkable about this process is that by the time you come to do the lines, you virtually know them. We use this technique for every scene in the play."
Danny Scheinmann, The English Shakespearee Company, London, UK

"Whelan's approach makes eminent sense and his book makes a good case for its use. Highly recommended."
Stage Directions Magazine, review of INSTANT ACTING

"Very rarely does a new idea come along which is so easily adaptable to the classroom. Jeremy Whelan's new book, MOSAIC ACTING takes teachers through to a new way of getting students to perform without making them co-dependent on directors. Jeremy's techniques incorporate not only acting skills, but help build vocabulary, critical thinking, cooperative learning and help expand the emotional development of the student."
Betsy Tuxill, President, Speech & Theatre Association of New Jersey

"Thank you, thank you, thank you! You have provided a tremendous boost to our students as they begin their acting activities this fall. So many students have indicated their excitement to use the techniques and approaches you have used in the workshops and play rehearsals... We no doubt will be using your approach for several years to come in our classes and production work."
John Bidwell, Professor, Theatre Dept., Ricks College, Rexburg, Idaho

"The WHELAN RECORDING TECHNIQUE gets to the core of the creative process in record time."
Robert Yowell, Chair Of Theatre, California State University

"As we (the actors and I) became more familiar with how The WHELAN RECORDING TECHNIQUE worked, we were very excited by the things we were discovering. They experienced 'being present' in the play in many new and deeper ways. I look forward to a stronger understanding of your work. I am excited by it. It is grand to find a new way to move forward."
Sharon Andrews, Visiting Professor, North Carolina School of the Arts
& full time Prof at Wake Forest U.

“Jeremy, it has been a pleasure to have you here again... My trust in the Mosaic Acting techniques continues to deepen and strengthen. The process you have developed for unlocking the personal creativity for actors is exciting and intoxicating. It’s an honor to know you; a thrill to work with your methods and techniques."
Professor Hyrum Conrad, Theatre Department,
Bringham Young University, Idaho

"INSTANT ACTING advocates a rehearsal and classroom technique that invites creative discovery as opposed to the execution of predetermined results. Actors and directors should benefit from taking up your challenge to redefine the rehearsal process."
Mark Majarian, Professor of Theatre, Cypress College, Circuit One Coordinator, Region VIII, American Collegiate Theatre Federation

"Jeremy Whelan's Recording Technique has unlimited potential. It works."
Mel Shrawder, Head Of Performance, U. Miami

"Thank you for the wonderful rehearsal account. It's inspiring to read about this work. I would also add that I am familiar with your books and I have employed the Recording Techniques in my studio classes. I consider the tape work a wonderful innovation. The physical work of our actors has never been better. Your heretical work on emotions is also appreciated. In my case it has crystallized my problems with method approaches, and shown me a way out of that particular dilemma."
Marc Diamond, Professor of Theatre,
School for the Contemporary Arts, Simon Fraser U.

“Jeremy, It has been so much fun these last two weeks. I can’t even begin to tell you how much I have learned. All I can do is thank you for the recording technique, it has given me a whole new level and freedom to acting that I love.”
Tia Fordham, Acting student, BYU Idaho

“Jeremy, It has been so great to work with you these past couple of weeks. I have grown so much as an actress. I have so much more freedom and flexibility with the recording technique.”
Ash Clement, Acting Student, BYU Idaho

"I believe that Whelan's actor training method, as described, is excellent. It incorporates the three basic learning domains of all students, visual in reading scripts and watching the other learners and actors, auditory in hearing the recorded script, and most importantly kinesthetic in moving the body as a learning technique. Whelan's method actually gets the actor's bodies to learn the roles they re performing."
Thomas Klocke, Arts In Education Coordinator, Kansas Arts Commission

" Jeremy, ...It has been such a joy to watch the progression of “Imaginary Invalid” through the techniques that you have taught us. I wish you only the best as you share your gift with the world.”
Kjersti Parkes, Acting student, BYU Idaho

"Thanks for bringing your demonstration of the WHELAN RECORDING TECHNIQUE to my graduate acting students. ...Most illuminating to me as a teacher, was to see the evolution of the scene work through repeated tapings. ... it became clear that my primary error was simply in giving up too soon ... the first couple of times may appear to be steps backward-then the work leaps forward to a new an unexpected level. The students agreed unanimously that it was a session well spent." –
Roxanne Rix, Coordinator of Acting, Villanova University

"Thanks for taking time out of your busy schedule to come to Sacramento and share MAS with us. It seems that many times everyone thanks you for showing them a new technique that works for everyone. We often forget that you were the man who came up with the idea... I can’t wait to go out and share this system with people in Los Angeles."
Nicole Mosbacher, Actress, Sacramento, now Hollywood

"We accomplished worlds in our production, thanks in great part to the WHELAN RECORDING TECHNIQUE."
Steve Neal, Prof. of Theatre, Barry University, Miami Shores, Fl.

"Dear Jeremy, Acting has never been so easy without the WRT. I’ll look
forward to learn from you again."

Lei Pie’Wei, Actress, Teacher, Singapore

"The WHELAN RECORDING TECHNIQUE is a remarkable device for rapid development of skills. Deceptively simple but extremely powerful, it has the potential for turning a good actor into a great one, an average actor into a good one and to give the appearance of talent to someone who has none. Get this book."
Gersh Morningstar, Editor, The Florida Blue Sheet

“I experienced a natural-ness that I have never experienced before, even after many hours of hardworking rehearsals. Just let go and be in character!! I was high for the entire evening... just as Columbus discovered the new world, and Newton discovered gravity, maybe Jeremy Whelan's Mosaic Acting will be just as earth shattering for the acting world."
Fanny Ho, Actor/Director, Hong Kong

"Hi Jeremy, I’ve tried the Recording Technique and it really helps. Thank you so much for teaching me Emotionology."
Natlerie Lue, Actress, Singapore

"I would highly recommend using the Whelan Recording Technique for your rehearsals. The benefits of this system are enormous…The Whelan technique is, in my opinion, the most exciting thing to happen to directing in my 30 years as a director. I used it for the first time about 5 years ago, and I now direct that way exclusively."
George Angel, Chair of Theatre, Hillsdale College

"Thank you for sharing your vast knowledge and experience with us. Your dynamic approach was indeed refreshing and inspiring."
Louis, Actor, Singapore

"Dear Jeremy, Really learned a great deal from your Recording Technique. I can now apply it to my filmmaking. Cool! I like it! "
Li Rearn, Director, Singapore

"Dear Jeremy, Thank you for teaching us how to be real people and not actors on stage. It has been very enjoyable knowing you and working with you."
Dorca, Actress/Teacher, Singapore

"The WHELAN RECORDING TECHNIQUE is superb in its simplicity and helpful to the actor regardless of his or her level."
Stanley Wilson, Producer, Covert Productions, Hollywood, Calif.

“Jeremy, in the past year I have had the great privilege to use the recording technique in my work with Hyrum. Before I used this method I considered myself a fairly good actor. In this short time however, I feel like I have had all pre-conceived notions of my ability smashed into a thousand pieces and put back together again into a comfortable and more effortless creation. I truly feel like the constraints, which I never knew were there previously, have been broken, and I am able to “feel” each role more vividly.. ...I also hope I can learn the techniques more fully, and that I can competently share them with others who wish to break free.”
Jeffery Blake, Acting student, BYU Idaho.

"Tested your techniques and theories out... having wonderful success and creating true ensemble work. This process is truly remarkable. Thanks for sharing. I will never go back to that horse and buggy Director's chair again, now that I have this rocket technology directing technique under my belt!"
Eva Ivanov, Director, Canada Winner Best Director THEA Award 1997 for "Blood Relations" Eva won Best Director again in 1998 & 1999
Her actors got best actress and the show best production.

"I have seen the future. The WHELAN RECORDING TECHNIQUE has really set my classes on fire."
Robert Christophe, Acting Instructor, University of the Arts, Philadelphia, Pa.

"I have used your MOSAIC ACTING TECHNIQUE with my high school students and have had tremendous results! As an educator, I have attempted to expose my students to a variety of acting techniques including Stanislavski, Meisner, Shurtloff and Wolfe. The students tell me that your method works best for them and the administrators at our school have praised the program for the vocabulary it teaches. I have recommended this text to many other theatre educators in Texas." -
Erin Moore, High School Teacher, Texas

"Dear Jeremy: I just want to let you know that the production that I directed using MAS and the Recording Technique closed on March 3. This was an original production written over the last two years, set in Guangzhou China in the 1930s. The play is in Cantonese. With a cast of 31, I cannot tell you how lucky I was to run into you in cyberspace when I did back in November 2001. I want to tell you a few things I am most impressed about and what the technique did for my production.

1) This is the most "even keel" production I have ever seen in Hong Kong. With 31 people, you can imagine the diverse acting background (film, television, stage, some with absolutely no acting experience) my cast has. MAS was able to bring all the actors to a level where they can understand and relate to each other comfortably and communicate effectively.

2) My stage manager said during the rehearsal of a scene for the first time, "Wow, you guys really get into the emotions FAST!"
3) For the first time, actors who did not have any lines knew what they were suppose to do. Half of the cast played minor roles. Still, they were able to relate and stay in character throughout their scenes. They felt as much part of the story as the leads did. During a post-show discussion forum, which we had after every performance, an audience member commented, "Even the minor characters were very good."
4) One of my leads said, "I use to look forward to only about 20 seconds worth of 'truth' in the shows I performed in. In this production, I felt 'truth' about 50% of the time. This is a marked difference. And I enjoyed every moment in every performance ¡V even dress rehearsals."
5) I am amazed at what the actors brought into their characters. Even the crew started to call actors by their stage names and treated them as their characters backstage. Those who originally had no names gave themselves names during the workshop process. The actors had a strong sense of their own characters that filtered into the rest of the cast... AND crew!!
6) Some actors resisted the technique at first and fought me all the way. But the colors they were able to bring to the characters... I only wish they knew that THEY were responsible for that, not me.
7) I didn't nail down blocking until two run-throughs before we moved into the theatre (in Hong Kong, we only move into the theatre a few days opening night). I was worried that the actors would be nervous from all this newfound freedom. But apart from a singular burst of anxiety, they seemed comfortable that I didn't want to nail anything down until we were just about to open.
8) Even though this is not a particularly challenging script (dialogue), I was amazed how few lines were dropped. I believe this is a tribute to the technique.
9) I think finally these actors understand that they are free to do whatever they want. They are beginning to claim back their creativity. I never want to tell the actors what to do ever again.
10) One of my actors came out of her cocoon and became a beautiful butterfly. I heard a comment about her acting, "This is the best I have ever seen her."
11) When I was introduced for a bow on opening night, the actors erupted into thunderous applause. That was when I knew I did the right thing by rehearsing the show with the technique. And when most of the actors hurried to wipe off the tears from their faces before curtain call on closing night, that was when I knew they really enjoyed themselves. And that, for me, a novice director, is the most rewarding and fulfilling moment.
12) I am betting that one my actresses will be nominated next year for an award.

There were many more marked differences rehearsing with MAS technique. I will stop at Number 12. Jeremy, thank you for your work. I can't wait until the next installment of your book. Know that your converts over here are still walking on cloud 9!!

By the way, I am now working on a monologue performance -- I received the script two hours before my first rehearsal and had to hold onto my script during that first rehearsal -- it was the most uncomfortable thing that I never want to do again. I hurried home and Recording Technique myself for the next three days. At the end of my second rehearsal, the director said, "thanks for your hard work". Guess he didn't expect anyone to be able to get off-book on a seven-minute monologue in three days. "
Margaret Cheung, Director, Teacher
The ACTORS Gym, Hong Kong

" I was lucky enough to participate in an MAS workshop that allowed me to throw away all my acting and rehearsal baggage’s. Now I can deal with memorizing a script and blocking, reacting to my fellow actors, waiting to see the entire play, discovering problems during full runs. In addition, I can now understand my character's feelings. It's so simple. I know I'm hard selling but this is important. I hope everyone who participated in the MAS workshops practice hard so that we can change everyone's quality-quantity ratios during rehearsals!!"
Alex Wong, Actor, Hong Kong

"Your exciting (MA) approach has gotten me thinking/reading/seeking again about performance in ways I never did before. Mosaic Acting offers fantastic ways to approach that adventure (for me, directing). "
Jessica Lefkow, Director, Hong Kong

"Jeremy, Last summer I did a show at The Theater for the New City in NYC where I used your MOSAIC ACTING technique... I discovered a lot of good stuff using your work, and had a very different experience creating the character. It didn't feel like an artificial creation, it was like the character" grew from the words. I own Instant acting and MOSAIC ACTING, and would like to use the techniques ore especially the emotion work. I am getting my BFA at Brooklyn College. Thanks for your work!”
John Harlacher, BFA Candidate, Brooklyn College, NY

“ I did a presentation for the high school drama club this past week, and gave them a quick overview of the Whelan recording technique. It went over with a big splash, and the kids really loved it. They had been rehearsing for a play for a few weeks already but where not off-book yet, so the technique really helped them rehearse and learn their lines. They had their performance this last weekend and it went great, and the teacher sent many thanks - by way of me and you - to Mr. Whelan. She has asked me to come again in a couple weeks to do some technique exercises with them, she really wanted to try the pause and over-the-top techniques."
Nick, Acting student at The Academy of Art College, San Francisco.
(Nick took special workshops with Jeremy on one of his visits there)

"Hi Jeremy, It’s been great attending your workshop... By the way, the techniques you taught will be a great help."
Aileen, Actress, Teacher, Singapore

"In a short two-evening workshop, I broke my performing barriers!! I was amazed at the breakthrough my friends were experiencing in a few hours time. MAS enables more interesting, efficient, exploratory and creative acting. I hope everyone who is interested in acting can experience Mosaic Acting once in their lifetime. Acting is really that simple."
Vico Tam, Actor, Hong Kong

"Jeremy! I got a copy of your book and just love it! I have used it in one acting class and found that the students really appreciated your Recording Technique. It's good stuff. I'm one of your big fans and believe that you are making a significant contribution to the professional theatre. You have some good things to say and some creative approaches that need to be taught."
Herb Sennett, Theatre Professor Louisiana College

"Jeremy’s method is innovative and technically advanced. I would recommend it for all serious actors. It will save you many years of frustration.”
Bill Curry, Actor, New York City

"Jeremy’s recording Technique is a fantastic advance in actor training.”
Barry Morse, Actor, Miami, Florida

"I was enormously impressed by the value of the WHELAN RECORDING TECHNIQUE."
Dr. Frank Olley, Director of Theatre, St. Joseph's U, Philadelphia, Pa.

" It (WRT) gave me freedom to follow my instincts. I love it! I’m using it and I’m telling all my friends."
Christina Karman, SAG Actress, Miami, Florida

“I wanted to thank you for the two days you spent with our students at the Shipley Summer Theatre School. The acting workshops you lead were fascinating...Unquestionably, the emotion, energy, and enthusiasm you generated were superb. I was most impressed with your implementation of the Whelan Recording Technique. To witness the technique in action was exciting. I plan to encourage the use of it with our theatre arts department.”
Sandi Richards, Director of Summer Programs,
The Shipley School, Bryn Mar, Pa.

"I think Jeremy Whelan's Recording Technique is a new, refreshing and amazingly effective alternative. I advise other directors to give The WHELAN RECORDING TECHNIQUE a chance, you will be very glad you did."
Paul Cerra, Forest City Regional School Drama Director and
Middle School teacher.
Honored nationally as "Rural Theatre Teacher of the Year 1995"

“Applause Applause. Everyone seemed to really enjoy your workshop, and I think were appropriately inspired.”
Kathy Chilinskas, Moderator, Drama Guild
Camden Catholic High School, Cherry Hill, NJ

"The WHELAN RECORDING TECHNIQUE is pure genius. Thanks for the gift of challenge, change and confidence for my actors and thank you for trying to drag the art of acting kicking and screaming into the 21st century." -
Marjorie A. Durmig, Associate Professor, Theatre Arts, Eastern Illinois U.

"Thank you for an exciting new way of working. The WHELAN RECORDING TECHNIQUE has changed my acting and teaching forever."
Barbara Beatty-Shrawder, Actress/Instructor Voice & Speech, U. of Miami

"Your Recording Technique amazed my students. They found themselves doing things they had never experienced before."
Dr. Roger Ellis, President Michigan Theatre Association,
Associate Professor of Theatre, Grand Valley State U.

"I was extremely pleased with the results of working with The WHELAN RECORDING TECHNIQUE. It makes such an excellent teaching tool. I and my cast felt proud of our production and no small measure of thanks goes to The WHELAN RECORDING TECHNIQUE."
Sharon Kilarski, Director/Ph.D. Candidate, University of Missouri

"Subject: I want more!!!!!!! I am so excited to have come across this information!!!! I am in Grad school and am working on my thesis port-folio... I have been looking for a new approach to creating a "real" comic character. I have been studying the different methods of acting for years and never really felt like they worked for me. .. When I began reading your technique I could not keep myself from shouting, "YES!!!!" This is what I think, too!!!! "PLEASE, Let Stanislavski rest in peace!!!" Your theory on the changing audience is SO true - I just don't understand how more actors cant see this!!!! Since finding your material I have decided to make it the center of my thesis work... I am truly fascinated by what I have read thus far ... Thank you again for offering this wonderful technique for actors! It has been a long time coming!!!!"
Tara Lynn Stewart, Graduate Student