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

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

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

Different Types of Actors

When you have spent the majority of your education and free time rehearsing and training with actors you tend to find that there are a few you keep meeting over and over, this is because they are hitting the criteria of a stereotype for an Actor. Here are a few types of Actors I have had the joy of meeting (this is not meant to offend this is just a bit of fun)

1. The Theorist

‘It was good, but….’tend to be the first words that the theorist will say after watching a performance, giving constructive criticism, usually followed by ‘It was an interesting choice’ or ‘It’s just not at all what I expected.’ As annoying as this habit is they tend to right 99% of the time and they don’t mean anything by it, it’s just their opinion, and it’s valid as the Theorist genuinely knows what they are talking about, they are the quieter ones that spent their time at University actually doing the recommended reading and you can’t complain too much considering they are so genuine and when it’s done with grace and tact unlike….

2. The Pretentious One

For some reason, the Pretentious One feels that it is necessary to rip out obscure theatrical quotes and references at really inconvenient times for no other reason than wanting to draw attention to themselves. They’ll say something abstract and then just pray that you turn around and ask them where the quote was from so they can then continue to figuratively flap all over you and your ignorance. And of course they know everyone, but what use is knowing people if you can’t name drop. It doesn’t matter who wrote, directed or performed in the play. That is their claim to fame. The playwright could be an unknown, obscure Swedish hypnotist that grew up in West Africa and yet you would still hear, ‘Oh, them? We studied together/worked on a show together/had a thing once.’ Sure you did, buddy.

3. The Free Spirit

Ah the free spirit, they are a breath of fresh air because they love life! They are the drama student that never grew up. More often or not they are the life and soul of the party and they embrace everything, they also tend to be impulsive by dying hair, getting new piercings/tattoos on a whim. They dance across the room or start singing because the moment felt right and they couldn’t contain themselves. This person has creativity naturally flow through them, and this makes them the perfect person to work with.

4. The Druggie/Drunk

Narcotics tend to full this persons creativity, they often found at the local open mic nights testing their new material, which to be fair, is always pure genius. Even though their breath is boozy, their manner can be arrogant and they speak in an endless trail of unnecessary theatrical jargon, they are impossible to resist, I kind of want to shut them up by violently smashing my lips against theirs. As much as I hate that stupid blazer that smells like jaga and old people, I kind of want to rip it off and see the remnants heaped helplessly on my bedroom floor. Even though they criticise everything I do, I kind of wish they were naked while doing so.

5. The Diva

The Diva views the world as her oyster and herself as its pearl, the crowning achievement of the evolutionary process. She craves attention and she will have people look at her no matter what, she will achieve this by singing at the top of her lungs when nobody hummed a tune or creating a very melodramatic scene where she accuses the customer designer of trying to sabotage her performance because the dress a quarter inch too long. (Yes I have seen that happen) If the Diva isn’t happy, nobody is. 

6. The Brooding Artiste

He is generally an actor, occasionally a director or playwright, never a techie. Plagued by existential angst, the Brooding Artiste has a hyper-romantic view of the cosmos. He has been known to sabotage his personal relationships because he can’t reconcile his romanticized notions of how things ought to be with the prosaic reality of dealing with another deeply flawed human being. Although the Brooding Artiste tends to drink too much and write poetry alone in his room to still the raging maelstrom of his thoughts, he is one of the most intelligent, compassionate, well-intentioned, and trustworthy people you will encounter in theatre.

7. The Charming Sociopath

The Charming Sociopath’s twin goals in life are to get ahead and to get laid. If he can do both simultaneously, the better. He is remorseless in his seduction methods: Facebook-friending 17-year-old stagehands, spouting bullshit about Brecht and Ionesco that he just looked up on Wikipedia that morning, and serenading young and susceptible ensemble members with romantic ballads. His eyes are bloodshot from excessive weed use and he has elevated the one-night stand to an art form.

8. The Class Act

The Class Act is a performer as talented as he is humble and an endangered species amongst actors; you are more likely to encounter a unicorn grazing in the green room than a Class Act. The Class Act is both extraordinarily gifted as an artist and extraordinarily likable as a human being. He is that mythical creature who learns his lines, takes his notes without complaint, hangs up his costumes, thanks his stage manager and never misses a cue. He has no idea how spectacular he really is he considers himself an average actor and puzzles over his raving reviews, feeling in no way deserving of any of them. The single most trustworthy and admirable figure in theatre, the Class Act somehow manages to hold down a full-time job, maintain a stable family life, accumulate numerous acting awards and maintain emotional equilibrium.

Alas it is true, I do love me a group of Actors. Theatre people, as a general rule, are walking caricatures of themselves, complete with idiosyncrasies that would put an Oscar Wilde character to shame. What theatre would be complete without some of these characters to make the drama behind the scenes almost as worthwhile as what you see on stage xxx

Review on Sweeney Todd

I might be lucky enough to attend the theatre a few times a year. That’s not too bad considering I’m poor and forgetful. It is sad that it’s such a rare occurrence when I get to go to the theatre, but when I do it’s always a memorable experience.

On this occasion I had the privilege of watching Sweeney Todd: The Demon Barber Of Fleet Street (A Musical Thriller) performed by the Welsh National Opera. I have never seen a musical performed by opera Singers before. This intrigued me, mainly because I have seen this show before performed by a Musical Theatre company as one would expect.

The story follows Benjamin Barker, a barber who's wronged by a powerful judge who lusts for Barker's wife. Barker is sent away for life for a crime he did not commit, 15 years later he makes his way back to London where his overwhelming thirst for vengeance leads him to commit a string of murders with the aid of his associate Mrs Lovett, who promptly disposes of the corpses by baking them into pies to sell in her shop.

This was performed by an ensemble of approximately 40 opera singers who project their characters and Sondheim’s clever lyrics more convincingly than their musical theatre colleagues. Of course the singing especially the harmonies were more than impressive, in particular the sopranos who hit some extraordinary notes.

Director James Brining ensures the pace never lets up, from the imaginative opening scenes and the set (which the ensemble would change in plain view, but in a very creative manner) is very effective. The set is the day-room of a psychiatric ward with steel containers that open to show Todd’s bare barber’s shop, Johanna’s bedroom and Judge Turpin’s study, complete with Mrs Lovett’s meat-pie stall centre stage.

All the cast are excellent but a special mention for Janis Kelly as Mrs Lovett with her fine comic timing turning the musical thriller into more of a dark comedy, whether that was intended or not I’m not sure, but it works, that I am sure of. I have to mention the duet of the young lovers Anthony and Johanna, as Jamie Muscato and Soraya Mafi performed my favourite song from the musical ‘Ah Miss’ perfectly, it was sung beautifully.

To summarize if you are partial to a show tune, a bit of blood and gore, some dark comedy and mesmerizing talent Sweeney Todd is the show for you! 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