McEvenue states clearly and honestly in the introduction to her book, "You simply cannot learn the Alexander Technique from a book." Why read it then? More appropriate questions may be: Who should read it? Who can benefit from reading about a method that, at its heart, is rooted in bodywork with an experienced teacher?
The answer is anyone who 1.) has studied Alexander and needs a refresher to remind their muscles of things they once knew, 2.) is beginning work with a certified Alexander teacher and wants to broaden his or her knowledge about the work, or 3.) is interested in learning generally about the technique.
This book will do little for average actors working on their craft alone at home or in a scene study class. Many of the exercises require one or more additional people, and much of the work requires a rehearsal space or studio. Bedrooms or studio apartments can host some of the solo relaxation techniques, but putting much of the contact or group work into action at home is pretty much impossible.
Part One, "The Alexander Technique in the Theatre," breaks the method into understandable steps. McEvenue provides an anatomy lesson to familiarize her readers with the body and then takes us through an Alexander warm-up. Much of this is clear and surprisingly easy to follow, especially to someone familiar with this work, but directions like, "Decrease the pull on the knees, but maintain the elevation of the legs," may leave many stumped.
In Part Two, "Putting the Alexander Technique to Work," McEvenue provides detailed examples of actor exercises. Much of this work requires a partner or an experienced guide to avoid injury, but taken in that context it could prove quite useful. She addresses such common situations as learning to survive a "freeze" (the dreaded tableau most actors have encountered), "status work" (exploring high- and low-class characters), and "spatial awareness" (which encourages actors to claim the space all around themselves, increasing their presence).
Surprisingly, Part Three, "Alexander Technique and Voice Work," is the shortest section, comprising only 11 pages, perhaps because, as McEvenue makes clear, vocal benefits from this method come through learning good physical habits, not through manipulating the voice itself. She writes briefly about musical theatre actors and opera singers, but she mainly provides firsthand accounts of actors working with the technique.
Part Four, "The Alexander Technique and Acting Challenges," provides many more specific cases and firsthand accounts of the method's usefulness for character work, playing the opposite gender, mask work, injuries, and aging actor. These stories are interesting, but many are so specific that they don't provide useful general instruction.
Considering how much this book relies on descriptions of physical action, McEvenue does a fine job of painting clear pictures. Her airy writing style is pleasant and easy to read, making many complicated ideas simple to understand. As she again states in her epilogue, actors cannot learn Alexander from a book. However, McEvenue provides a low-cost way to dabble in and open oneself up to a potentially life-changing method of bodywork.
Palgrave, 2002, $15.95.
—J.A. Eliason