Leap of Faith

IntIt’s been a long time since I last posted a blog…since the first week of January to be exact and there are a number of reasons for this. Health. Friends. Family. Work and ultimately I had lost the desire to continue writing.

I don’t think my writing style is the most enticing or what I had to write was very interesting but that is all about to change, maybe, because I quit my job, I left my family home and moved to London to pursue a career in acting and modelling. Yup you read it right. If you’re a friend of mine you’ve probably already aware of what’s going on.

If not then stay tuned.

I could basically fill up this blog with a load of ‘take a chance’ quotes but I’ll save them for my twitter and Instagram, well there might still be a couple..

This move has been a plan of mine for some time now, a lot longer than I realised, apparently since I saw my first West End show back when I was about 9. I got to see Les Miserables as part of a group trip with my drama club, I was stunned to say the least. The lights, the costumes, the harmonies and the stage! It moved! And that was it for me I went home to my mom and dad told them that’s where I want to be and that’s what I want to do.

Which brings us to now. I’m doing it, well kinda. I’m here, in London. For me personally that was half the battle, this year while I was in hospital (after my operation) I had one of those iconic light bulb moments where I said to myself if I don’t do this now I never will.

Now I’m very much a realist, I know this isn’t going to be easy being a freelance artist, I know I’ll compare myself to others succeeding, I know I’ll have to get used to my own company, I’m gunna have to get used to going to the gym more than once a week, I will perfect my craft and go to castings/auditions A LOT of them, but all of this makes me even more curious.

Being in the unknown is pretty scary, but I’m trying to replace my fear with my desire and drive for what I’m pursuing, if nothing else at least I can say I’ve tried.

I’ve only been here about three weeks and so far so good. I’ve had a professional modelling job already, booked in a couple more and applied for dozens of castings so now we wait, I’ll report back when the next exciting event happens. Hopefully that won’t be another 8 months down the line xx

Untitled

I apologise for not posting a blog last week. In all honesty I didn’t forget I seem to be experiencing the dreaded ‘writers block’. I don’t think any inspiration has even come back but I had the feeling that if I just started writing something the words will come…

Yeah that didn’t work.

So I may just ramble a bit and see what happens.

For those of you that have watched fashion shows before you know that when you watch a show we see some of the most beautiful women in the world showing off their spectacular bodies with the confidence that is the envy of many. You might think that you could never be as sure of yourself and your body as they are but many of these models are not all they appear to be. Behind their façade of confidence, many models suffer from severe insecurity.

You Need To Look Better

Imagine for a moment that throughout your life, people are telling you to be thinner, look more tanned, and generally look better. Everyday people are telling you that you can do better, you aren’t good enough. How would that make you feel? People can take the occasional criticism but constant, every day of every year; that is a lot to handle. Many models don’t handle the stress well and suffer from the constant voice in their head telling them that they don’t look good enough. Maybe now we are getting closer to understanding how these seemingly perfect looking models aren’t quite as perfect as we imagine.

Finding somewhere to Belong

The main thing every person craves is to find somewhere they fit in. Being able to relate to other people is key to any friendship. There are not a lot of people in the world with similar experiences to models which can give them difficulty finding that acceptance. When we feel like we don’t belong it can make us feel uncomfortable and eventually leads to us questioning ourselves. Understanding is hard to come by when others think that you have it all. Models are perceived as successful, beautiful and have nothing to trouble them. It is understandable that these opinions from others make them feel unsure of themselves.

Reality is any artist that doesn’t live a normal lifestyle can struggle with day to day activities, I’m not saying this for sympathy or anything like that. It’s just to make people more aware and think a bit that’s all.

Well that blog didn’t turn out too bad. Did it? xxx

Makeup Tips for Headshots

I recently posted a blog which was general tips on how to achieve a good headshot during this I covered clothing, lighting and briefly mentioned makeup. Well since then I’ve had a few lovely young ladies ask me about the make up for a headshot. Fearing that they might look too fake/overdone which unfortunately can happen.

I’d like to point out now that I am not a makeup artist! And I really don’t know too much about makeup apart from my years of getting expensive makeup on the cheap (all thanks to my lovely mother for her staff discount at boots!) and from being on sets and photoshoots. So here is my (non-professional) advice.

Natural Look, not ‘Light’ makeup

For headshots, you want natural look makeup. ‘Light’ makeup is good as long as it is natural and evenly applied. If you apply foundation makeup too lightly, the application tends to be uneven, and you can see a mottled pattern in the picture. To avoid this, use enough amount of foundation with attention to make it uniform. Also, don’t be afraid to use a lot of setting powder, compared to when you are going to, say, a workplace or a party. What you need is good coverage combined with natural look finish.

Always good start is a clean and healthy skin, well moisturized. Use primer where appropriate.

Colour of foundation

Match the colour of foundation to the natural colour of your skin in neck/chest area. Some people (especially with fair skin) often choose a colour darker than the skin tone, and that is fine for social events. However, in photography, always match your foundation colour to the rest of your skin. If you prefer to alter the skin tone in your photograph, the whole skin colour can be adjusted to warmer to make it look most attractive during editing.

The best type of foundation is liquid type. For headshots, oil-free (water or alcohol based) or those that contain just right amount of oil is best. In particular, oil-free matte finish foundation is most common for beauty headshots, but it is a bit difficult to apply as they dry quickly, and it also makes caky look if applied too thickly. Avoid ‘sheer look’ as they have a bit too much oil to give excessive shine in the pictures, but sometimes oil based or silicon based foundation is used with a lot of powder. Powder or compact foundation doesn’t quite give the right level of coverage for photoshoots.

Lips

The colour of the lips should be one notch darker than the best look in person. The lips should be shifted in the direction of darker red. Also, lip gloss is often effective in making the lips fuller.

Eyes

Wax your eyebrows a couple of days in advance. Trying to reshape the brows through retouching process is possible, but costs more time and money than getting them waxed in real life. Fill in your brows, especially if you are not going for a retouching option. Make sure your brows are clear and dark enough when viewed in soft natural window light.

Mascara is also appropriate for headshots. Darker colour works better for mascara, so black is usually the best choice, even if you normally use brown. You can wear false lashes for most types of work other than the actor’s headshot. In photographs, the lashes do not look as long and drastic as you see in the mirror.

For natural look headshots like actress audition or corporate bio, there is no need to use heavy eye makeup at all. But if you are going for more styled photographs, the eye accents should be one notch heavier or vibrant.

Keep this in mind: the photographic lighting biases your face colour to the lighter side, and eyes are where you get the most attention.

Blush

Use blush in one small notch darker than the best look in person. However, please make sure to make a few well diffused applications in small quantities. The first time should be applied and spread in a wide circle, and the second and third in progressively smaller areas. This is to make sure that the edges of the blush are gradual and not abrupt. You can always add more, but once you apply too much in one application, it is hard to blur the edge or remove some.

Powder

Don’t be afraid to use a lot more powder than usual. A lot of setting or finishing powder is routinely used in fashion and beauty photography to reduce shimmer and make the skin look matte. You will realize that a professional makeup artist will keep applying powder every 10–20 minutes of the shoot to prevent shiny skin. You should bring yours and apply extra powder regularly.

For party makeup, shimmer can look great, but in photography, use matte finish.

Hair (also for men)

You may want to use hair spray, gel, and other products to tame frizz and make your hair look healthy. Make sure to avoid products that give a matte look. These are fine for some situations, but not for a photo shoot. Matte finished hair will look dull and lifeless in pictures. Instead, use hair products that enhance shine

Now casting directors can see the best version of you xxx

Actors Convention. Yes they do exist!

Last weekend I had a stroke of luck. Where I accidentally walked into an actors convention. It was genuinely purely coincidental. I happened to be in Manchester for an audition, this audition was being held at the Royal Northern College of music. When I walked in I was confused and disappointed as there was a line of actors going out the door.

Although I was invited to this audition it was being held as an open casting call which I call cattle calls. That's what it feels like herding a load of actors into a cramped space who all have big personalities and even bigger hair.

Anyway tangent over, back on track. Turns out half of the que was to get into the conference itself which I had to get through to get to my audition upstairs.

I already experienced some luck that morning as I was the second one in the audition room, although my time was at 11:30 me and another actor just happened to be sitting next to and talking to the casting director who just brought us straight through.

After the audition I went to see what all the fuss was about downstairs. It was called Surviving Actors, a company that hosts acting conventions and trade shows they hosts several of these conventions but this was to be the final one in Manchester after 6 years.

On today's agenda was a series of seminars and workshops by various actors, writers and casting directors as well as the open casting call and career advice sessions for actors. In between those you could have a walk around, network and visit the stands, which varied from actor training, voice over work, headshots and theatre book stalls.

I found this all really interesting! There's only so much research you can do about the business online but when people are talking to you and explaining what they do, it feels so much more personal, I find comfort in that. You can tell if someone doesn't know what there on about when you’re talking face to face, it's harder to tell over email.

I spent a good couple of hours walking around, talking to people, exchanging details and cards. Abit of good old unexpected networking. I would advise any actor to go to a Network Event like this. I believe Surviving Actors are hosting another convention in February in London, but don't quote me on that double check on their website or with good old Google.

Being an actor can be abit isolating and you can get stuck in your own ways. This is just about exchanging ideas, being open minded and you never know who you might meet ;) xxx

The Headshot

The headshot. It’s easily the single most important marketing tool for an actor, and it’s amazing how many people do it wrong just to cut a few corners. Actors, it’s time to take it more seriously. When that little headshot jpeg pops up on a casting director’s computer, you want them to say, ‘Yes, bring that person in!’ Not ‘Yikes, she kinda scares me.’

Your headshot is your calling card. From which people will hire you, and you will make lots of money for them. It will be sent out and emailed to tons of casting directors and agents, who see hundreds of these every day, on their desk and on their computer. If your headshot is bad, you look bad. You want to be seen as a pro, not an amateur, so the way you present yourself in your picture is everything. If you want people to take you seriously, you must have a good, high quality, killer headshot. Not one taken with your iPhone, not a Facebook photo of you outside with the wind gently blowing your hair, and not a glamour shot with palm trees in the background.

Here is what you need to keep in mind when it comes to your headshots:

1. Go pro. Spend the money. It’s worth it. Go to a professional, who is trained, understands lighting, and takes headshots for a living, not some friend who happens to have a decent camera who ‘sorta knows a little about photography.’ Save those pictures for Instagram, and leave the headshots to the pros. Good headshots are expensive to get them done professionally but there’s always photographers offering discounts and one off prices. In my opinion and experience if the headshots look cheap, they probably are. It makes you look like you don’t care about your career.

2. Go for personality over glamour. Make sure it looks like you. Chill with the airbrushing. Casting directors expect you to look just like your headshot, and will not be happy when you show up looking totally different, or 10 years older. It’s not about looking pretty, it’s about representing your type, your age wrinkles included. It should look like you on your best day and who you are now.

3. It’s all about the eyes. Just like with on-camera acting, it’s all about the eyes, and what’s happening behind them. It’s your close up, your moment. Your eyes should be perfectly in focus, alive, and energized, and not dead and glazed over. There should be strong inner thoughts, implying a backstory and a life behind the eyes. A good headshot photographer knows how to bring this out in you.

4. Pay attention to framing, lighting, and background. In general, a good headshot is chest up with good lighting on your face, and no strong dramatic shadows, unless you are going in for ‘The Phantom of the Opera.’ Three-quarter shots are also good for print, and extreme close ups are good for, well, nothing. Look directly into camera, and the focus should be on the centre of your eyes, not your left ear, or your shirt collar. Maybe the background is slightly blurred, which means it’s shot with a good, high quality camera with a high-depth of field, which makes you stand out.

5. Natural light vs. studio. Some photographers do both, as they offer a different look and feel. Natural light gives a very real, ‘film’ look, which I prefer. Studio lighting tends to be a little more polished, with a more neutral backdrop. Both can be wonderful. If you are more of a sitcom actor, perhaps a good well-lit studio headshot is more suited for you. If you want to look like you are on ‘True Detective,’ then go for the outdoor look.

6. Clothing and props. I once saw a headshot of a guy with a bird on his head. Why? Because he wanted to stand out. I get that but let’s not go crazy here. Keep it simple and classy, and follow the standard format. Professionalism gets you noticed, not desperation. Leave the statement shirts at home. A simple, solid colour shirt with a little texture that fits you well and matches your eyes should do the trick. No graphics or anything you think might distract from your face. And no props! (You know that, right?) If you think you are going to play cop roles, you don’t need to wear the outfit in the headshot. It’s a bit much, and very limiting.  I also have to point out, don’t show a lot of skin! Ladies, this means no excess cleavage. Guys, keep your shirts on. Casting directors want to see you…but not that much of you!

7. Don’t go crazy with the makeup. Yes, lots can be done with retouching. There is no need to put on tons of makeup. As I said earlier you want to look like yourself on your best day, and not look like you tried too hard. Girls, be yourself, do your hair the way you would for every audition. Guys, bring some oil sheets to take down the shine, and maybe use a lightly tinted moisturizer to take out the redness and even your skin tone. Some people spend way too much on makeup, only to have to get their headshots redone afterwards because they look fake in all the photos.

8. Constantly update your headshot, I go for every 12-18 months. Or whenever you've undergone significant physical change, such as weight loss/gain or changed your hair cut/colour.

9. Make sure the headshot looks professional. Usually a standard 8x10. Opt for a matte finish. No fancy fonts here either. Neither the border nor the printed name should draw attention away from your face! The aim of a headshot is to have your face grab their attention.

10. The most important find a photographer that gets you! You have to vibe with the photographer, and that person has to make you feel very comfortable, as you will hopefully be using this headshot for a couple of years and sending it to everyone in town. Research photographers online, look through their portfolio books, ask for a consultation, get a feel for how they photograph your type, your ethnicity, your gender, etc.

Last of all, you may attach your cover letter or C.V to your headshot. Be sure the staple does NOT cover important contact information or your headshot that you’ve worked so hard on. Just go be yourself and show what makes you unique. Capture you xxx

Being an Extra

Bet you’ve all wondered what life is like for an extra! You haven’t? Oh right..well I’m going to tell you all about it anyway.

Ever watched BBC Extras written by Ricky Gervais and Stephen Marchant? Well they pretty much nailed the life of an extra, trying to make the mundane exciting, waiting for the next phone call about the next job and awkward encounters with celebrities and ‘real actors’.

I’ve had a few of my friends ask me what it’s like to be an extra? Who have I met? What exciting places have I filmed? I kinda have to fib slightly because when I tell them the truth they end up looking abit deflated.

Being an extra is not a glamorous job. It’s a normal job, it has it’s perks but at the end of the day your starting from the bottom and hoping to work your way up. Most extras are actors secretly hoping that this will give them the break they need to crack the acting business by meeting the right contact on this job or by being given two lines to speak to a leading actor. 99.9% of the time, this is not the case.

You can work some odd hours, especially if you’re on a location, you usually have to work around the business that is renting the space to you, so if your filming in a shop your most likely there once it’s closed and the customers are gone, same for pubs your usually there early hours in the morning before it opens.

Part of the job criteria is waiting, a lot of waiting. You are either waiting in the green room, waiting for transport, waiting on set to be told what to do/where to stand etc, waiting in between takes while they reset everything, like I said a lot of waiting. So you either have to keep yourself busy with a book (nothing that involves headphones otherwise you might miss something important) or you have to be an incredibly social person and make the group of people you’re working with your new best friends.

Being an extra/Supporting artist/Background artist is exactly what the title suggests. Our purpose is to fill the screen, make situations look busier, look normal, create an atmosphere. Unless you do get given a line or two your face probably won’t even be on the screen, I’ve seen my arm a few times and the back of my head, only really seen a quick glimpse of my face a couple of times.

And yet I love doing it! I like to use this as practice. Practice of working on a set without any of the pressure, the main thing I need to worry about is continuity, whatever I do on the first take, I’ve just gotta repeat that several times over until I’m told to stop or do otherwise. With this practice maybe when I do get the chance to be a lead being on set won’t be as daunting because I should know how everything works and the rhythm of filming.

I also use this time to speak to the other extras to learn about what agencies there with, who they have worked with and take any tips that they offer me. I would do the same with the main actors but we’re usually not allowed to talk to the leading actors, unless in a professional manner, there’s probably been one fangirl who was an extra that hassled an actor for pictures or an autograph and has spoiled it for the rest of us, I am usually quiet good at keeping it cool, but if I meet someone ridiculously famous I can’t guarantee I’d be able to control my inner fangirl xxx

Networking Tips

How many times have you been told that an acting career is all about networking? I’m guessing about a million and one, right? Well, there’s definitely a lot of truth to that statement, and you’d be a fool not to take it seriously.

If you want to be successful, working on your craft should be your number one concern, but let’s face it: Talent is not enough. That’s why you have to know how to network. 

But what exactly does ‘networking’ mean? Some actors believe it’s about going to the right parties so they can meet the right people. Others think it’s all about kissing the right asses. Those are both valuable skills, but sorry, they have nothing to do with real networking.

Simply put, networking is creating relationships with industry professionals who might be able to help you in a direct or indirect manner.

1. Be professional

Adopting the right tone when you communicate is essential, as are correct spelling and grammar – no text-speak or slang. Keep messages brief, polite, professional and to the point.

You will meet thousands of contacts throughout your career, and forget most of them, unless you keep a record. Create a contacts file on your computer, and a profile for each person you have ever met in the business – every fellow student, tutor, playwright, actor, director, etc.; what they look like, where you met them, and so on. Add new people every week, and update once a month.

This isn’t school, where it’s cool to do as little as possible; this is the business where graft counts. To stay in the game for the long term, it’s important to remember to cultivate contacts in the generation before you as well as the established figures you meet. In ten years’ time the fresh-faced wunderkind you vaguely remember could be producing a movie with you in it – if they know who you are.

2. Start with those you know

You already have a network. The people you train with are your most valuable asset – there is a bond there which may survive a lifetime, so stay in contact and share those contacts. This is not just a matter of swapping names, it’s about going to see people in shows, meeting casting directors and writers and theatre directors, and then keeping a log of those you’ve met.

If you hear of a job going for someone you know, tell them. If you can recommend them, even better. Like for you, these initial contacts will gradually widen their own circles of contact and influence. Some of the people you share grotty flats with and see at old school reunions will end up running the very companies you’re both desperately trying to get work with now. Staying in contact with each other and promoting each other throughout your careers is essential.

3. Never turn down an invitation

Most actors tend to isolate themselves when they’re not working, and then reconnect when they are. But it is impossible to tell when you will make a valuable contact – and for that reason you must go to any gathering you can, to learn, and to network. This is especially true of something you’ve actually been invited to, and can gain entry for free!

Get out there, and meet people in the flesh. Go to first nights, to talks, to festivals. If you are invited to a play reading, be there, and stay and talk afterwards. Somewhere out there are people who could employ you, and would do so if they know you existed. Go find them.

4. Be the first to keep in touch

If you go to see a show you like, send a message of thanks to the director. Again, keep messages brief (two lines is good), businesslike and positive. If you get a casting, ditto: a short message of thanks to the director, producer and casting director. Let people know if you have a show on – send emails to everyone on your contact list.

These rules are not to be applied sometime, or next week, or when you feel like it. If you are serious about this career, they should be applied now, today, every day. Your next job may depend on it.

5. However, do not overstay your welcome

Majority of people will appreciate you coming over to pay them a compliment or strike a quick conversation about their work. However, don’t forget to leave them some breathing space and split when you feel the time is right (after making a connection, obviously). Plus, it isn’t such a bad idea to get to know more than one industry folk during these gatherings. Once you have charmed the soul out of that producer, let them miss you while you go and find your next target.

Ever heard the saying ‘It’s not what you know it’s who you know?’ xxx

The Waiting Game

So this week’s blog….it’s kinda work related kinda not, let me explain.

I’ve been off work ill again for the past couple of weeks hoping to return to work this Sunday. Again most people would love a couple weeks off to chill, it’s not exactly relaxing when you’re in excruciating pain.

But for the couple of hours a day I feel more like a human being I am as productive as I can be (I should probably continue resting, but I hate sitting around). So I’ve have some food, a shower, read and then I come on my laptop.

I’ve spent the past couple of weeks updating my portfolio, signing to new casting websites, contacting agents and creating my showreel.

Now I would have be able to complete all these tasks if I wasn’t playing ‘The Waiting Game’.

‘The Waiting Game’, is the state of limbo that I am currently in as I am ‘waiting’ on properties from previous jobs such as; footage from a short film – which I know has been completed, editing from a music video, my voiceover clips from a job, images from a couple of different photoshoots, (One of them the count is currently at 4 months approx., and that’s nothing I once had to wait over a year).

These people are other professionals in the industry and colleagues that I have worked with. I know some things take time and some things are out of the control of my colleagues, like health problems, not being able to finish shooting due to issues with the band, or if I was a TFP job and someone has to prioritize a paid job over me, that’s fine, I do get it and I’m genuinely an understanding person and I don’t usually let things like this bother me but now it’s got to the points where I now need some of these to apply for certain jobs.

Two of what I mentioned above I know I am getting back my work because the people have explained the situations and kept up to date and informed. Unfortunately the rest of what I mentioned I think is a lost cause…

So how much to I continue to pester, or do I give up? Trouble is the longer it takes, the lazier it makes me seem.

This is why I said this is kinda work related and not, because I realized I am playing this game constantly! I am constantly waiting for something or on someone to allow me to do the next thing. Basically I need to change things up a bit, change the plan but not the goal (pretty sure that’s a quote I saw on Instagram). I need to become more reliant on myself, if I can’t update my modelling portfolio edit my showreel, if I can’t do that write some blogs, if I can’t do that I should work, spend time with my family, go the gym, have a social life, travel and live a little.

Life certainly won’t wait around for me, so I’m not going to spend it waiting on anyone or anything xxx

So What If They Didn't Call Back

Early last week I went for an audition for a production of ‘The Importance of Being Earnest’. For the audition I was asked to prepare a light comic speech from any play, (although it was suggested to go with another Oscar Wilde play) and to be prepared to a reading chosen on the day from the play.

In my eyes this was a successful audition. I performed my monologue, got the laughs in the correct places (a couple of unexpected ones too), then I was asked to perform a monologue from the play, which I did a couple of times as the director wanted to redirect it to see how I took direction. We also had a nice little chat once I had finished performing about my previous experience in theatre and my previous employment etc.

Now it’s been about a week and a half. From previous experience if you haven’t heard anything in about a week you’re not going to hear anything…

So how do I feel when I go to auditions/castings and I don’t get that call back? I feel the same way that I feel every day. I feel like I’m part of some inside joke where I watch the entire world get mad over stupid reasons. Why would I care if one casting director overlooked me? Maybe my voice was different to what he wanted or my lack of professional theatre experience was off putting or maybe he had a different look in mind.

At the end of the day I’ve been to model castings where I have seen casting directors being extremely cruel. Even if he calls my teeth crooked, my walk lame, or my fingers too long, I’m still going to be a model. Same for acting. If my accent was too broad or I look to delicate to play the role at some point I still will get paid to display my beauty in front of a camera, whether it’s for photographs or for films. So what if he doesn’t call back; it doesn’t change who I am. So don’t take these things to heart, it may seem personal, but honestly it’s just business xxx

Preparing for an Audition

Auditions are part and parcel of the actor’s life. Whether you’re a performing arts newbie or a seasoned professional, a huge part of your work will inevitably involve showing off your chops to the people responsible for putting together theatre productions (i.e. our director, producer, and casting director friends). It’s easy to see auditions as overwhelming and frightening. Indeed, nervousness before auditions is something that even the most experienced of actors admit to feeling — it’s definitely nothing to be ashamed of.

That being said, there are many tools we can use to get out of our own way and show our best work at auditions, the most reliable being adequate audition preparation. There’s simply no better trick to eradicating fear then to know that you’ve done absolutely everything in your power to give your best performance at an audition. Only then can you let go and let the magic happen!

It’s been a while since I’ve had an audition. A proper audition, so I had to go back to basics and remember some of the rules for how to prepare for an audition. This audition is for a local theatre company called Blue Orange Theatre, the play that will be performing is a classic, The Importance of Being Earnest. So where to start:

1) Find out all you can about the audition. Write it all down if you must. You can never be too prepared! Keep these key points in mind:

•When is it?

•Where is it? Get the address and postcode of the building, floor number, room number. If it's in an unfamiliar city, consider a dummy run to time the journey and find parking spaces/ bus links.

•What is the audition for? Research all you can about the company, production of the show. Not only will this give you a better picture of what they'll be looking for, it shows interest and keenness.

•What exactly will the audition entail? Will there be an audience or just a panel? One single audition or several different sections?

•What you're required to bring or wear. You may be asked to bring head shots, sheet music, history of theatre experience or copies of your prepared monologues.

2) Don't be shy. Allow friends, relatives or colleagues to watch your performance prior to your audition. Like knitting or baking, performing is a skill that takes a lot of practice. The more often you perform, the less nervous you will be each time and honest, constructive criticism is gold-dust. Perform to many different types of people- experts and amateurs. The more advice, the better.

3) Check, check and double check what will be expected of you.

 •Is there a time limit? Strictly time your performance leaving some breathing space. Remember that nerves will normally speed up the performance.

•Is there a dress code? Even if there is, you have to look your best.

•Do you need to submit accompaniments for the pianist in advance or on the day? Do you need to provide the panel with copies of your scores or monologues?

•Are you expected to bring a CV/resume, proof of identity or examination/qualification certificates?

4) Practice, practice, practice! If you can, get a script, and learn the lines of the character you're wanting, or just look though the script. •Actors: research the material and familiarize yourself with it. If you are auditioning for a specific character, spend time thinking about their characteristics and their role in the play.

•Singers: Ensure you can confidently perform scales, vocal exercises and that you have a personal routine to warm up your voice. Be aware that you may need to warm up 'publicly', meaning that there will rarely be a private practice space to warm up. Don't let this intimidate you, make sure you know your specific vocal range. Be prepared to answer questions about your preferred style and part.

•Make sure that the music is well practiced. The only thing you can do for the audition is to make sure that you prepare your music to the best of your ability. Warm up, and make sure that your instrument is swabbed, oiled, or cleaned prior.

5) The night before the audition, gather any materials you may be required to bring with you. Get to bed early in order to be well-rested for the day ahead.

6) On the day, eat a balanced breakfast. Avoid acidic or greasy foods, fizzy drinks, chocolate and coffee as these damage your vocal chords and make it harder to be at your best. If you are a smoker, do your best to put your morning cigarette off until after your audition, especially if you will be singing.

7) Arrive reasonably early to your audition, as there will inevitably be a moderately large amount of people there before you. Also, if you are unfamiliar with the area where the audition will be held, allow time in your schedule to make sure you won't arrive late.

8) Don't chicken out. When you arrive, there may be a large crowd of people, but it's perfectly normal to be nervous. Just remember all the hard work you have put into preparing for your audition and walk in smiling with your head held high.

9) When you're finished...

•Be patient. You may not hear immediately whether or not your audition was successful. It can take days or weeks.

•Try not to over-analyse. You never know what exactly they were looking for - you've done your best and it's all you can do.

•Stay focused and determined. You won't get every part you audition for and this is normal! Remember that each audition you do is strengthening you as a performer and thickening your skin.

10) Remember: Break a leg! xxx

Networking is not Working

Networking daunts most of us, but it is essential in acting/modelling, where the normal career pattern consists of short term contracts for a variety of employers interspersed with meetings which may bear fruit in the future. Once you have met and worked with someone, and you’ve done a good job, chances are you’ll do it again and again.

But networking is how you initially meet new people, and meeting people for the first time is how you get that first, all-important job with them. Nothing will work like personal contacts – by people thinking of you before they go to the casting directories.

But of course, you hate networking. A lot of people feel like this even in the commercial world, but the problem is exacerbated in the arts, where there is a lingering feeling that an actor who approaches their career with a strategy is somehow compromising their artistic standards. This is amateurish rubbish. It matters hugely in this business who you know, not because it is ruled by nepotism, but because personal recommendation lies at the heart of all casting.

Basically, no-one recommends you for a job unless they’ve seen your work themselves, or met you in person. Now networking is something I’m very new to myself. I say I’m new to this because I’ve never purposely gone to what’s referred to as a networking event, until last week.

Last week I was booked for a promotional job through one of my modelling agencies, all I really knew about this job was the name of the client that booked us and what our job role was for the day. Even then when I got there I was still a bit unsure as to why I was there and what I was actually meant to be doing. Turned out it was for a big corporate event run by Headz Up, and this particular event was in aid of International Women’s Day which was very inspiring.

As you can imagine a lot of these women worked within I profession that I knew nothing about and that I was not a part of but what I did notice was there were a photographers taking pictures of the event and interviews were being filmed, there were camera’s, a lot of camera’s. That’s where I saw my opportunity.

When the photographers/cameramen where having a break, or wondering around, that’s when I would talk to them. I didn’t want to bombard the guys with ‘Hi I’m a model! Put me in front of the camera!’ That’s too much. I wanted to be confident not cocky!

That’s when you just strike up a normal conversation, asking people more about their line of work, how they got into this industry, what other projects their working on. I ask these questions because I’m genuinely interested, from there if they have mentioned something which I think I’m suitable for then and only then I mention what I do for a living, what I’m currently working on, my previous experience (kinda like a mini interview, highlighting the best bits).

After exchanging details with a couple of photographers I followed up and contact my new potential colleague within a couple of days. Just as a gentle reminder of who I was, along with my portfolio. Now those photographers might contact me about a job in the future.

The word “might” is a crucial part of that sentence. Not all relationships have a payoff. So don’t spiral into a suicidal depression if a producer doesn’t return your e-mail after you bonded at a party.

We need to realize that networking can help you in both direct and indirect ways. For example, let’s say you created a relationship with that casting director you met after your Pilates class. Assuming it goes further, there are two possible outcomes. The casting director might bring you in for an audition. That would be direct help. The casting director might also get you a meeting with one of her agent friends. That’s indirect help. And they’re both equally valuable.

In a perfect world, every actor would be judged on talent and nothing else. But the business doesn’t work that way. That’s why the ability to network should be right up there with your ability to create a character xxx

Overdone Audition Songs

A few days ago I had a catch up with an old friend of mine who is just as much as a musical lover as I am (maybe even more so). He has even performed in the West End! During our catch we got onto the subject of the audition process, sitting there in the waiting room hearing everyone else that goes in front of you…sing the same songs over and over again.

This got me thinking if we (a couple of amateurs) find this boring and were only hearing about 20 auditions whilst waiting. Imagine how bored the directors and producers get! Keep in mind that audition panels have been listening to actors/singers all day long (or much longer!), and there are many songs they would rather not hear ever done again, even if they are done well.

So I’ve put together a list of what I feel are the top 10 Overdone Female Audition Songs. Before I do put my Top 10 on the screen, let me say this: if you are able to absolutely nail these songs, then by all means sing them! But if you are only okay or good, then please, go for something different…

I will clarify that just because a song is overdone does not necessarily mean that you shouldn’t sing it for an audition. The most important thing is that you find a song that suits your voice, and a song that represents you as a performer. If the song you’ve picked is overdone, but you feel that it is far and away the best piece you can sing, then who am I to say you shouldn’t. They just want to hear you perform, first and foremost. But sometimes a director will tune out if they’ve heard Defying Gravity for the 15th time that day.

So, here it is:

1. ‘Somewhere Over The Rainbow’ from The Wizard Of Oz.

Some noteable octave jumps… Here’s one that you really don’t have much of a chance to settle into, especially if you start from the ‘some … where …’ chorus. It’s a beautiful song, but unless you are Judy Garland herself, leave it alone. Plus, it’s been done and heard a lot … and done and heard badly a lot.

2. ‘I Dreamed A Dream’ from Les Miserables.

OK, so it worked for Susan Boyle. But that’s the problem! People have already been singing from Les Miserables for more than 20 years — but once she became an Internet sensation, even more women went into auditions with this ballad. Not a smart choice. Save it for the shower! If you like singing from big, bold musicals, I suggest you look at Frank Wildhorn shows instead. Scarlet Pimpernel is very similar in style to Les Miserables, but no one ever sings from this show, as it was a big flop! My favourite solo from Scarlet Pimpernel is ‘Only Love.’

3. ‘Good Morning Baltimore’ from Hairspray

This song always seems to pop up in auditions, and I can see why. I love this song, I do. It’s fun, it’s bouncy, and it’s just full of happiness. It’s also so done. Everyone and their mother has sung this song. If you plan on performing this it needs to be a unique performance.

4.’ Don’t Rain on My Parade’ from Funny Girl

Glee has been great for promoting the art of musical theatre, but as a result, certain show tunes have become way too popular at auditions. Belters, we all love this song, but there are so many other great tunes that will let you show off your voice! Try either ‘Look What Happened to Mabel’ or ‘Wherever He Ain’t’ from the criminally overlooked Mack & Mabel by Jerry Herman. Both are incredibly fun and sassy numbers. I promise panels don’t hear them often enough!

5. ‘All That Jazz’ from Chicago

Avoid the ‘rediscover’ trap. No sooner than Chicago was revived on Broadway and made into a hit film then everyone ‘rediscovered’ those songs and now those behind the table are probably sick of ‘All That Jazz.’

6. Pretty much anything by Andrew Lloyd Webber.

OK, let’s get this out of the way. To clarify: even I have two Andrew Lloyd Webber songs in my audition repertoire; ‘There’s Me’ from Starlight Express, and ‘Sunset Boulevard’ from the same-named show. But what we need to realise is that many of his songs have been done to death. People have heard them too much. So unless you’re going to do one that’s a little more obscure (think ‘The Beautiful Game’, ‘Whistle Down the Wind’ or ‘The Woman In White’), look elsewhere.

7. ‘Let It Go’ from Frozen

Ah Frozen. Somehow the hype is still going! Once the hit song ‘Let It Go’ appeared you heard it everywhere…and I mean everywhere. On the radio, in schools, you tubers covering it and now Christmas is just around the corner guess which is the number one film that the kids want to watch (even though it has nothing to do with Christmas). But that’s the thing this is a children’s film, and while there is nothing wrong with performing a Disney song at an audition, just don’t do this one. We’ve all heard that one child screech this song at the top of their lungs. Why would you want to remind the panel of this?

8 and 9. ‘Popular’ and ‘Defying Gravity’ from Wicked.

I have loved this musical from when I first saw the show in London a few years. Popular is funny within the show, which I love, but it’s a tad annoying outside of it, especially when you hear girls trying to go more nasal in an attempt to sound like Kristin Chenoweth. And how many girls have you heard attempt to Defy Gravity and how many have succeeded? I loved ‘Defying Gravity’ the first time I heard it. And the next hundred times after that. But now?  If I don’t hear this song again until I’m sixty, I won’t be too torn up. It’s a bitch to sing, and even if you can hit the high notes, it rarely sounds pleasing to the ears.

10. Anything that you don’t understand what it’s about.

Ok, this is important. You can’t just sing a song in a musical theatre audition – you have to be the character and tell the story of the song. If you want to be in musical theatre, you have to be able to sell and tell the whole situation.

I’ve been heard a few people sing ‘Your Daddy’s Son’ from Ragtime, and absolutely murder it because they don’t understand the content of the song. Even when they’re asked about the song itself, they always give some lame-assed explanation that has nothing to do with the real truth in the song. Please, if you’re going to sing a song from a show, know what it’s about, know who sings it, and know why the song is sung by that character at that point in the show. If you know the purpose, the reason, the ‘why’ of the song, then you will present it far more truthfully…and to be honest, you may find that you shouldn’t actually be doing the song at all, and that you should find something else to learn. Don’t choose a song just because you like it, choose it because you know it intimately.

So, there you go! What are your thoughts? xxx

Do's and Don'ts for writing a Cover Letter for Actors

Personally I’ve been trying to perfect my cover letters for a long time now and I finally think I’ve got it, I’m not saying this is THE way to do it, but the combination of these factors below have got me the most responses. Writing a cover letter to an agent, producer or director is completely different to writing a cover letter for a normal 9-5 job. Here are some of the most common mistakes an amateur (including myself) and sometimes even professionals without agents make while trying to break the ice with the covering letter. Avoid them and you’ll make a good first impression.

Avoid describing your looks. It’s completely unnecessary because you’re sending this letter alongside a resume and headshot. The ramble of ‘I’ve been told I look like young Uma Thurman’ is redundant as well. Many talent agents are against these descriptions and comparisons; it’s unhelpful and just consumes more time to read, which in turn may lower your chances.

You don’t need any space fillers. If anything the shorter the letter, the better. Sentences like ‘I’m a very hardworking actor’ and ‘I’ll be dedicated to improving on everything I can’ truly are flippant in the context of this letter, you should be hardworking and wanting it improve yourself... It will not raise your chances of getting signed by an agent and you might just lower them for sounding like an amateur in this business. Keep it short and get to the point. Don't waste a sentence on the obvious.

Forget all the standards of a regular cover letter. When applying for a regular 9-5 job, it’s absolutely fine to write a solid cover letter with ten paragraphs explaining how valuable you are to the company. The difference here is that such companies do not receive as many letters every week and all year round with no breaks like a regular talent agent does. Stick to one or two paragraphs, three max if you really have something to say.

So what should you mention in your cover letter to keep it concise and germane? Here are some tips:

Always address a person by name. Never, ever open your letter with ‘Dear agency’ or ‘To whom it may concern’. It’s not unprofessional per se, but addressing an agent by their name will greatly personalize your correspondence and attract more focus. Don’t know the name of the agent? Then you have no reason to send a cover letter yet. Do your research first, figure out if this person might be a match. You'll get more responses if they know you did your research. Then, ‘Dear name of the agent’ will do the job, and don’t forget to add Mr or Mrs in front of it.

Highlight your work experience. Any big names you worked with? Festivals or awards? Choose two or three of your best acting jobs, briefly explain your roles (include any reviews of your performance if you can, this shows your talent has been recognised) and explain any jobs coming up. You want to impress the talent agent with the range of roles you have completed.  Don't go into lengthy explanations; remember the talent agent's time is valuable.

Try to address where you are going in the business, not just where you’ve been. What is your ‘niche’ a Broadway musical? Film? A primetime series? Or commercials? Express your enthusiasm, your passion, and your clear focus about what you will achieve. This will reassure them that you are committed to being an actor. To help prove this show them you're in demand. Tell them about the play you're currently working on, and encourage them to come see it. Maybe even throw in some comp tickets? This will show them that there's money to be made if they represent you.

Obviously thank the person for taking the time to read your letter, agents, casting directors and managers are very busy people, if they have taken time out of there busy schedule to read your cover letter, make them aware that it is appreciated! And don’t forget to add your contact information. Just like your C.V you need to include at least your phone number. You never know who may get a hold of your C.V, so it's up to your own discretion if you want to include your home phone or address. If you were to include an email address, make sure it’s clean and appropriate.

Finally refer them to your headshot, C.V and showreel/voicereel. Go in for the kill. Once they see these they'll have a better idea of what kind of actor you are. (And whether you're marketable). The bottom line is use the acting cover letter wisely, and with discretion. The point of a cover letter is to expand a little more on the key factors on your C.V, it should not stand alone but remember the thing that will garner you attention is the work you're doing on stage and screen, not words on a page xxx

The REP Foundry Actors Group

On Wednesday I found myself in a two hour audition for the REP Foundry Actors Group, this is a professional training programme for actors based in the West Midlands. This opportunity sounded too good to be true - Weekly training sessions, a showcase to be held in both Birmingham and London. Oh and it’s free. So of course there would have been plenty of applicants. Honestly I didn’t think anything I would hear anything back from my application.

I was invited to the audition and I was immediately nervous as soon as I received the email which stated ‘You do not need to prepare anything’.

Nothing? Really?!

The typical acting audition usually consists of a performing one or two short monologues, if you perform two monologues they should contrast. These monologues can be performed in front of just the directors or in front of everyone else who is auditioning. So when someone says you don’t need to prepare that means one thing only. Improvising. Improvising is not my forte.

The first hour focused on awareness and breath. Generally speaking spatial awareness is the recognition of the distance between objects. More specifically, though, the term refers to a person’s ability to judge where they are in relation to the objects around them, but it is awareness of the other actors which I find the most important, when you’re improvising a scene with someone you’re not thinking about what is going to happen next but sensing it.

We then moved onto breath, leading to movement. When you control the breath as an actor, you control everything. You control your vocal technique, your body, and your nerves. You’re in control - period. It seems like a simple thing to do - breathe - but it goes further than just the inhale and the exhale. To all of the people reading this that don’t know a lot about acting this probably sounds like a load of twaddle but these two things are fundamental for actors.

The second hour focused on improvising. Here is where my panic struck in.

I lack a certain creativity when it comes to improvising and have a fear of… judgement maybe? Making a fool of myself? To be honest I’m not even sure but I had to keep my nerves at bay. I just kept in mind everything that we had done earlier on, we had done those exercises for a reason, now it was time to put them to use. During the improvisational exercises we were given different scenarios, the scenarios were based on bumping into someone you hadn’t seen in a long time, this ranged from an old friend, an ex and then it was where we bumped into these people, on the street, in a church etc. Whilst these scenarios were playing out other people were introduced into scene to add a new dimension to it.

Regardless of whether I get a call back or not I’m happy with how the audition went and with the work I created. I didn’t feel pressured and nothing felt forced, everything felt quiet natural and I found that the majority of the time, less was more. Well there’s nothing more I can do. Now comes the waiting ….

xxx