In episode seven of The Green Room, Mik and Nik chat about how they fell into teaching and what they’ve learned across 30+ years in performing arts. They contrast different teaching models (institutions, holiday workshops, agency-style courses, private kids’ schools) with their own performance-first approach: every class needs a clear objective and a real outcome, because the “teaching moment” is the performance itself. They unpack a practical “mud map” of how groups gel over a 10-week term, how to ride cohort ebbs and flows, and how to manage behaviour without shame by using “the work” as the neutral boundary. They argue for flexible tools, authentic communication, letting students build their own toolbox, harnessing neurodiversity creatively, and ending with a debrief week after the show—plus, if you’re not having fun, don’t do it.

A Mik Allen Concepts production

www.mikallenconcepts.com

Mik and Nik reminisce about their training home: Adelaide’s old Centre for the Performing Arts (CPA) on Grote Street, a boutique TAFE acting school set inside a converted teacher’s college with its own theatre. They outline its history while noting how little of this is documented online.

They describe CPA as a rough-and-ready, constantly producing “factory” shared with dance, costume/design, and tech students, where everyone learned practical skills and did public performances year-round. The acting department’s spine was David Kendall’s Laban/Yat Malmgren-based movement psychology, supported by Jen Havelberg’s movement training, and Linklater voice work—designed to create employable, hard-working actors. Alongside the Hogwarts-like chaos (car-park experiments, endless rehearsals, blunt progress panels, staff-and-student pub culture), Nik contrasts the grim, tightly controlled dance program with the more alive acting culture, and recounts switching courses after being told she was meant to be an actor. They shout out key staff like Peter Dunn, Paul Pearce and Chris Iley, mention notable grads (including Nathan O’Keefe, Renato Mussino, Kate Cheel), and end by joking that the CPA barely even had a “green room.”

https://en.wikipedia.org/wiki/Drama_Centre_London

https://en.wikipedia.org/wiki/Yat_Malmgren

Acting the metaphor: the Laban–Malmgren system of movement psychology and character analysis

A Mik Allen Concepts production

www.mikallenconcepts.com

In this episode of the Green Room, Mik and Nik sit down on a scorching Adelaide day to discuss their thirty-year journey as a married couple in the performing arts industry. They recount the highs and lows of balancing their personal lives, careers, and raising a family. From their early days of dealing with ego and competition, to navigating the challenges of becoming parents, and the complexities of working together on various projects, they offer an honest and insightful look into their lives. They also touch on issues like mental health, gender dynamics, and the unique stressors of their profession. The episode concludes with reflections on their ongoing passion for the arts and their hopes for the future, both for themselves and their children, who are also creatively inclined.

A Mik Allen Concepts production

www.mikallenconcepts.com