What does it mean to make a great acting choice? This week, we challenge the current obsession with being “authentic” and look instead at what Stella Adler demanded: choices that are appropriate to the play, that require the actor to pay a price, and—importantly—that make good theater.

From A Doll’s House to NCIS, we explore why actors have to understand the world and form of the material they’re working on, and why even the simplest line can become compelling when the actor brings something specific and personal to it.

Because ultimately, acting isn’t about being accurate or safe. It’s about shopping for choices until you find the one that makes you think: Oh, I love that.

Actors often do wonderful preparation—and then abandon it the moment they begin speaking. This episode explores how to trust your work, stop explaining the plot, and let your preparation carry you naturally into the life of the scene.

Rushing to make choices means we miss great acting opportunities. In this episode Milton works with one of his students who's going into rehearsals for a play soon.

There's a tendency to complicate our choices by inventing elaborate plots, when simplifying to something specific will bring us to life. Also being more specific allows you to dig deeper.

Building a solid relationship with the partner gives you grounding. Knowing who I'm talking to and what my attitude is towards them opens up what's going on in a scene.

In this video Milton works with Rashaud as he prepares a monologue from The Laramie Project.

Not just unexperienced facts can deaden our work as actors, the need to explain or report the facts can get in the way of our most creative work. Digging down specifically can help this problem.

If you think of the play as a continuation of what has already happened, it gives you a sense of how much work you have to do in order to earn the play. Excerpted from my New York class, we continue our work on the Frank Gilroy play, The Subject Was Roses.