Review of Juilliard

Updated: May 13

Widely considered by many as the top acting school in the world, here is an in-depth review of my alma mater!

If you're an auditioning drama student about to audition for schools, here is what you need to know about Juilliard’s B.F.A. and M.F.A. actor training program.

NOTE: Whenever this article refers to "Juilliard", it means the Drama Division, not any other division.

FULL DISCLOSURE: I attended Juilliard and graduated with a B.F.A. in Acting in 2009.

Let’s dive in!

What Juilliard says about Juilliard...

According to their website, actors come to Juilliard to:

  • strengthen their capacity for expression in both body and voice

  • practice bringing vulnerability and empathy to their understanding of character

  • to develop an approach to storytelling that includes careful attention to text and engagement with the world

  • study with others who share intellectual and imaginative daring, generosity of spirit, and a fierce commitment to truthful play.

I would agree with that.

Couple of big picture things about Juilliard:

  • It’s a 4-year program and right around 18 students get accepted each year.

  • Out of those 18, some are getting their B.F.A. and some are getting their M.F.A. Obviously if you’ve already gotten you’re B.F.A., you’ll be getting your M.F.A. If you don’t have your B.F.A. yet, that’s what you’ll be getting when you graduate. Regardless of which degree you’re getting, you’re all taking the same classes except one class (read on...)!

  • The only difference in curriculum between the 2 degrees is that B.F.A. students have to take an additional class called Humanities (which is academics) 3hrs a week. In this Humanities class, it’s cool because you’re with dancers and musicians, and you read great classic literature (like Tao Te Ching, Sylvia Plath, The Odyssey and more) and write a paper on them every 6 weeks or so. THAT'S IT. Otherwise, there are no other academics. You’re in a rigorous actor training program with your class and nobody cares who’s getting what degree.

  • As far as WHO gets accepted, it’s diverse. A Juilliard acting student from decades ago who works with current students made a positive comment on “...the racial, cultural, and age diversity of the students coming in every year. In my class, the oldest person was, I think, 22 years old at the start, and most were a year or two out of high school.” There is not a prescribed amount of any particular person they’re obligated to accept (age, race, sex, background, etc). Also, good academics (like a certain GPA or standardized test scores) are NOT required to get accepted to Juilliard.

How much do actors perform during the 4 years?

You work on high quality literature (from brand new plays all the way back to the Greeks) and you perform in at least 3 plays every year. You get cast by the faculty, no auditions ever.

In the first 2 years, you have what are called “Showings” or “Rehearsal Projects”. These are plays that have a full rehearsal process and are shown for a few performances to a limited audience. Showings are not open to the public. They are only open to faculty and invited guests, like family and friends. My class had some awesome Rehearsal Projects in the first 2 years, which included:

  • All My Sons by Arthur Miller

  • The Greeks, 3 plays

  • Uncle Vanya by Anton Chekhov

  • Richard III by Shakespeare

  • Brand new plays from the Juilliard playwright’s program.

  • Street Scene by Elmer Rice And more...

In the last 2 years of the training, you are performing for the paying public and they are full-on professional productions (with hired directors and designers on the show.) Sometimes they’ll even hire a guest actor to join the production. I remember my acting teacher was hired for one production and it was cool to watch her act. The last performance you do is an industry showcase at the end of your 4th year and you’re let off into the real world. Some of the productions we did were:

  • As You Like It by Shakespeare

  • ‘Night Mother by Marsha Norman

  • Joe Turner's Come and Gone by August Wilson

  • Under Milk Wood by Dylan Thomas

  • The Misanthrope by Moliere And more...

The Training & Faculty


Juilliard does not focus on one specific acting technique (like Meisner or “Method” etc).

The acting teachers have decades of experience working with actors to improve their overall storytelling skills. They are always helping you approach your craft with the most powerful and timeless acting pillars:

  • Raising the stakes

  • Listening and responding

  • Living in the unknown

  • Operating in the given circumstances

  • Making bold choices

Getting great at those is a lifelong journey anyway, so you’re creating a great foundation in class and it’s always challenging. The acting teachers always encourage the students to bring something into class that reflects what they want to work on for their growth, and you usually go up in class twice or three times a month with a scene before moving on to the next one.

The faculty is dedicated, available, talented, empathetic, qualified, and very enjoyable to be around...most of the time. :)


There is a heavy focus on fundamental breathing techniques, speech work, physical expression, stamina and energy.

Juilliard dives deep into all aspects of the actor’s full instrument. Unlike the acting training, Juilliard DOES subscribe to specific techniques here. For example, when it comes to energy work and alignment, Juilliard students are taught the Alexander Technique. When it comes to speech, it's Speak With Distinction by Edith Skinner (a former Juilliard faculty member).

All technical classes get you more in touch with your full instrument and allow you to harness everything you’ve got in order to excel in any role.

I can say that many of these techniques and practices still live in my body and continue to serve me not only in acting but in many aspects of my life including personal well-being and business success.

There are coaches in the rehearsal rooms. So when you’re rehearsing, you’re getting acting notes from the director as well as vocal notes from the vocal coach and energy notes from the Alexander coach.

Some students enjoy this, some don’t. It’s true that sometimes you feel like “I don’t want vocal notes, I’m trying to act.” But other times you’re like “That’s a really good note and it freed me up.” So I personally wouldn’t change it, but it’s definitely pretty hands-on for all 4 years.

Faculty Reviews

Four times a year, you sit down across from each faculty member and get feedback on your work and progress. Yikes!

Sometimes these reviews leave students super stressed (for obvious reasons), and sometimes super encouraged. Either way, it's a dedicated moment for you to talk with each faculty member individually about how you're doing, and the intention is to ultimately gain clarity and move forward powerfully.

I'll put it this way. In one faculty review, I was relaxed and dancing and laughing. In a