Transatlantic Mid-Atlantic Accent for Actors
The idea of a “neutral” English-speaking voice has long been a fixation for many English speakers, whether they've learned English as a Second Language, have a strong regional accent from where they grew up, or work in theatre or film, and feel the necessity of having "no accent."
The First American "No Accent"
Possibly the first example of a supposed neutral or non-accent is the Transatlantic (or Mid-Atlantic) accent—a deliberately cultivated way of speaking that once dominated elite education, theatre, and early film. Speaking with a Transatlantic accent for actors was definitely a skill that was expected for early film.
Transatlantic or Mid-Atlantic - what I'll now mostly call TMA (Trans-Mid-Atlantic) - is often spoken of as an accent created for early film as a "neutral" accent.
In reality, TMA or something very much like it actually existed "in the wild."
TMA has many elements of New England accents or Boston accents, but largely a more posh or elite version of those accents. Both of these accents were heavily influenced by settlers from the southern part of England, which is the big influence on the non-rhotic or R-dropping nature of those accents - and TMA. You can hear these elements in RP or Standard British accents.
Katharine Hepburn is typically held up as an iconic speaker of TMA and is discussed as someone who learned it for her film work. The reality is that she was born and raised in Hartford, Connecticut, and likely grew up speaking this "elite Northeastern" accent.
She wasn't the first, by any means, but she is an excellent example of people who genuinely spoke this way, rather than being someone who learned it on purpose for performance.
Early Stage Speech in America
The rise of Transatlantic as a purposefully learned accent - as opposed to its origin of simply being an accent some East Coasters grew up speaking - is closely tied to the early days of American theatre and film. It was likely used to some degree in pre-20th century theatre as a supposedly neutral accent.
In the early 20th century, formal speech training began to be a standard part of an actor’s training. Influential teachers, such as Edith Skinner, codified what she called “Good American Speech.” This system emphasized clarity, precision, and elegance—qualities that translated well to the stage and, later, to early sound films.
It was built on the work of William Tilly, but Skinner became the more famous teacher, eventually publishing a very complete speech drills book in the 1940's: Speak with Distinction. The book came out just as the accent was beginning to wane as the preferred accent for film. But it kept its hold on theatre training for some time, fading significantly by 2000.
The Rise of Transatlantic for Film
Hollywood quickly adopted the accent as a kind of default for leading actors in the early days of film. During the 1930s and 1940s, many major stars spoke with this cultivated voice, which audiences came to associate with intelligence, wit, and glamour. It was especially prominent in screwball comedies and high-society dramas, where rapid-fire dialogue and sharp delivery were essential.
In theory, the twang quality of the accent worked best for early microphones. I still find twang serves when I'm listening to an audiobook or podcast in a louder place. The twang really cuts through the noise and makes it easier to understand the speaker.
For modern performers studying a transatlantic accent for actors, these films remain a valuable resource—not just for sound, but for rhythm, pacing, and style.
The Fall of Transatlantic for Film
However, the popularity of the Transatlantic accent began to decline during and after World War II. Cultural attitudes in the United States shifted toward authenticity and relatability. Audiences increasingly preferred voices that sounded natural and regionally grounded rather than trained and elevated.
This kind of "everyman" Midwestern accent sound was common in the 30s and 40s as well - Jimmy Stewart, Gary Cooper, and Ginger Rogers didn't tend to default to that posh sound.
Method acting, which emphasized emotional truth over formal technique, further contributed to this change. As a result, this Mid-Atlantic accent gradually faded from mainstream use.
Mid-Atlantic for Stage Acting
It continued to have some life onstage, often used for "no accent" plays, like Shakespeare in the US, or for translation pieces, such as Chekhov, where a Russian accent wouldn't really be appropriate.
Despite its decline, the accent never truly disappeared. It has remained a powerful tool in certain contexts, particularly in period pieces, theatre, and voice work. Today, actors who learn a Mid-Atlantic accent can tap into a unique vocal palette that instantly evokes a specific time and social milieu. Whether portraying a 1930s socialite, a classic radio announcer, or a stylized modern character, the accent offers a level of recognition that few others can match.
Learning a Transatlantic Accent
In the video above, I go into some of the history I discussed here, and I also explain the basic elements that make the accent similar to RP (Standard British) and the things that differentiate it.
I go into much more depth, including drill materials, training monologues, and links to additional examples in my Generican accent materials on the Accent Help website, where I also go into what I call Relaxed Generican, Elevated Generican, and even RP just to help learn some of these elements.