Portfolio (SHR5C004A~001)

Introduction

This portfolio contains marketing materials, the choices that have informed them and key learning moments from second year with my development plans going forwards. As stated in the article ‘Building Your Brand as an Actor’ by Anita Gilbert and Letty Butler (Year unknown), an online brand is “creating a narrative that aligns with your professional aspirations”, therefore I have justified my materials by reflecting elements of my personality that I want Casting Directors to get a sense of. I have outlined pragmatic strategies that I will use to reach my goals and cement my place within the industry as an actor and voice over artist, as seen in appendix 1. Continuous reflection after completing my training is vital to develop as a jobbing actor, focusing on audition technique and building my network.

Appendix 1

Vocal Development

I want to explore voice acting post training, so this year my goal has been to expand my vocal range and explore how I can manipulate my voice to fit different characters.

Upon reflection, the module on impersonating in an American accent taught me about key areas to focus on for my goal. Studying Andie MacDowells speech was challenging, because although breath and rhythm seemed obvious to me, I never considered focusing on jaw and tongue movement before this module (appendix 2a).

Appendix 2a

I find accents challenging and during this module struggled to find an authentic version of the speakers Southern American voice, however focusing on tongue placement helped me to create a more accurate sound, therefore moving forwards I will ensure that I make this a key research area when I am required to do accents. As noted in my reflections (appendix 2b), I realised that I struggle to produce vocal sounds without using my whole body and facial expressions, which is useful to know because while recording voice overs the space may be restricted and I need to ensure that I don’t cause background noise that could interfere with the recording, therefore I will work on minimising physical gestures particularly when doing vocal work to prepare myself for the industry.

Appendix 2b

Appendix 3

Laban for the Booth

I then read ‘Laban For The Booth’ (Cole, 2020) (appendix 3) where I discovered that Laban Efforts are not only used for movement but can be applied to voice in a similar way. I experimented with using Laban Efforts during The Rimers of Eldritch (Wilson, 1967), our American project, where my key learning was that applying different efforts forced me to make new vocal choices, which gave different meaning to the text. This is something I will continue to use to keep scenes fresh. (appendix 4)

Appendix 4

Another goal for second year has been to build my online brand and test potential careers. I co-founded the Spotify podcast ‘In The Spotlight’ with Mae Howell (2025) (appendix 5), which gave me an understanding of the time and planning involved in making work, allowed me to feel more comfortable hearing my own voice and has grown my confidence in promoting my projects, by making posters and sharing content with peers. I created my podcast as a conversation starter and to share who I am as an artist with agents.

Appendix 5 Appendix 6

Although podcasting is not directly linked to voice acting, both require an understanding of how to sound enthusiastic and engaging with only your voice as a tool, which has forced me to explore different vocal qualities and find out their impact on listeners. Upon reflection I realised that I have a habit of speaking in a rhythm, which can be disengaging, therefore I have been trying to break the rhythm and vary my speech patterns, which I hope will soon become a subconscious choice. Initially, I recorded with an at home set up, before moving to a purpose-built studio. This gave me an insight into the variety of ways that voice over artists work in the industry, and I have found that recording from home suits me best, as I feel more relaxed and at ease. I took advice from ‘Voice Acting Mastery’ (Freeman, 2011), specifically episode 11 and 12 on microphone basics (appendix 6) to build an understanding of the equipment that I may need to invest in (appendix 7).

Appendix 7

Building My Brand

Headshots

Deciding aesthetic choices to create my brand is vital, therefore I researched headshot companies before choosing, making notes on each (appendix 8). I found examples of creatives with similar skin, hair and eye colour for an accurate representation of what my headshots would look like.

Appendix 8

To market myself I want headshots that show me as a professional actor. My preference is vibrant backdrop colours, specifically blue and pink, as these create warm tones, draw attention to light hair and compliment blue eyes. My goal is to show my personality as a playful, friendly actor, while maintaining a natural look, so I documented stylistic choices (appendix 9). Upon reflection headshots with objects in shot take away from the performer and create a distraction, which I noticed in Yellowbelly headshots, so I removed them from my potential options list.

Appendix 9

Through research I learnt that clothing and hair choices influence how versatile I appear, effecting the work I may be considered for, therefore I mind mapped potential outfit ideas. I spoke to Richard Galloway during a visiting artist session about my casting types to aid my ideas (appendix 10). I noticed that although Tabitha Heidi Brown headshots allow for a range of outfits, the style and poses lack variation, meaning clients fit into only one casting type, and because my goal is to explore a dynamic range of roles post training, I ruled this out.

Appendix 10

I am most interested in AKTA and Emily Goldie due to the vibrant backdrop options, natural character look and price. They capture personality and ensure that key features remain defined and prominent. Headshots with these qualities will highlight the eccentric, bubbly presence that I bring, while also showing a range of characters such as school prefect, jock and younger sibling. I have many career goals including; working in theatre, TV and film, exploring a variety of genres, and to feature in contemporary and period pieces, and I believe these headshot options will give casting directors a sense of those roles.

Online Brand

After reading ‘Top Tips for Creating a Professional Acting Website’ (Johal, 2024), where she states “creating a website is simply another way to expand your online presence and give casting directors a visual representation of what you have to offer” I investigated this further. Creating an online brand is important because it boosts publicity and showcases who you are, so my aim is to create a broad and dynamic online presence. I learnt from the article that “capitalising on the rise of social media” is a helpful way to get your work into the industry, and following Johal’s steps to creating a minimalistic, easy to use website, I made my own that I will continue to develop (appendix 11).

Appendix 11 Appendix 12

I then looked specifically at voice over actors, an area I am keen to explore, and Nancy Carwright’s website stood out to me (appendix 12). I particularly like the colourful style, incorporating cartoon images and the informal structure, because these elements show her personality as a performer for children’s TV and animation. However, her online brand contradicts Johal’s advice on keeping it simple, so I created two Pinterest boards inspired by each to compare (appendix 13a&b). Upon reflection, although I like that Cartwrights stands out and is unique, it lacks professionalism and maturity, which are qualities I want to show, so I kept my original design. I incorporated a section with relevant job titles, inspired by Cartwrights website, because my goal is to explore many avenues within the industry and using my website to express these is useful. I also made my social media links into buttons of the platform logos to add a playful feel, while tying them in with the colour scheme for elegance.

Appendix 13a Appendix 13b

Biography

Appendix 14

My initial draft was written in first person, with skills at the top and previous credits underneath, with no personal information or other interests (appendix 14). I found the limited word count and how to market myself challenging, so I looked at some graduate biographies for inspiration. From this I noticed that many included adjectives describing the performer, giving me a sense of who they are beyond being an actor.

Upon reflection, I was keen to add this to mine because I aim to show casting directors my personality and unique selling points, including clowning and my passion for coming-of-age stories. I realised that I needed more advice so read ‘How to Write an Actors Bio’ (Gilliss, 2022). I learnt that I needed to use the pyramid structure and write in third person, for a more formal layout. I highlighted parts that I wanted to keep from my initial draft and then rewrote it, using an example as a template.

Although I liked the focus on previous credits, this version still felt impersonal and had no mention of special skills. My circus training is my unique selling point, and I want to market myself as a multifaceted artist, so I found another example that suited this style, using it as a guide to create my final draft (appendix 15).

Appendix 15

CV

I read ‘How to Create an Acting CV in the Uk’ (Cook, 2023), using their example as a guide. My headshot and name are clearly visible at the top because I want that to be remembered most prominently. I opted to use my stage name, although it does mean that I will need a new email address. I have prioritised recent credits to show that I am actively performing, with headings in bold to ensure all information is clearly visible. The credits reflect the style of work that I want to pursue: immersive, contemporary and classical, giving agents a sense of my interests. I also have a section on other skills which was vital to show that I am a dynamic actor with something to offer. Upon reflection, I noticed that my accents section is minimal, this is something I want to develop over summer to be more versatile and desirable to casting directors, as mentioned in appendix 22. I plan to watch shows in a variety of accents and research linguistic features of different American accents to aid my development (appendix 16).

Appendix 16

Business of The Industry

Agencies

I curated a list of agencies that caught my attention, split into three categories. Blue being my desired agencies for immediately after graduating, orange being agencies for my five-year plan (appendix 17) and unhighlighted being ones that I will contact but are not my priority (appendix 18).

Appendix 17 Appendix 18

From looking into graduates, Roberts & Day management drew my attention. The company was founded by performer Matthew Roberts, meaning he understands the industry from the actor’s point of view, which assures me that the clients are their priority. Clients are split into three sections on the website: Screen, Stage and Voice, making all performers easily visible to casting directors. I like the boutique nature and clear formatting, which may seem like an insignificant detail, however it eliminates the risk of getting lost amongst other clients. A handful of Leeds Conservatoire graduates are signed with Roberts & Day, which is reassuring because the standard of work that they have produced has been exceptional, and it shows that they have an interest in Leeds Conservatoire actors.  

After watching Jacqualine Leonard in Coronation Street, I researched her other work and agency. Her career has been varied, with roles in soaps, horror, crime and drama, alongside voice over work. She is with Red Door Management, which interests me because clients can be signed for multiple areas of their books. My goal is to have a screen/stage agent and a voiceover agent, and with Red Door Management I could be signed for both. They also offer a Home Studio section for clients, which appeals to me because I could explore my interest in voiceover work from home, while being put forward for other acting jobs. A key learning moment this year is that I need to improve my time management to ensure I can nurture my passion projects alongside working as an actor, therefore recording from home would be ideal.

Networking

Taking advice from Artistic Development sessions, I have been building a network by exposing myself to agents, directors and companies that I am interested in working with. I attended Rebel Roots networking event ‘Leeds Student Creative Network’ where I spoke with Red Ladder theatre company, The Royal Armouries and playwright Chris O’Connor. I listened to talks by industry professionals and introduced myself to each company and artist individually, giving them my Spotlight profile and signing up to workshops. I have worked with Red Ladder previously by taking part in a new work scratch night, and collaborated with the Royal Armouries in first year, having kept a friendly relationship via email and attending events ever since. I also regularly attend scratch nights and from this have discovered new artists that I would like to collaborate with, including actor Thom Hallows and playwright Cameron Strefford, who featured in ‘Foundations Volume 4 Scratch Night’. I will continue to build my network by nurturing relationships, regularly checking in with people, and signing up for rehearsed readings to build new connections. A weakness of mine is not being able to approach strangers confidently, however this year I set a challenge to introduce myself to three new people at every event, which quickly eliminated my fear.

Companies

Appendix 19

From personal reflection my career aspirations are now clear. I made a spreadsheet of work I am interested in (appendix 19) and have put steps in place to reach my goals.

I want to predominantly work in comedy and drama screen acting. Inspired by ‘Adolescence’ (Barantini, 2025) and ‘Punch’ (Graham, 2026) I am interested in shows based on true events and contemporary themes surrounding young adults, where I can draw on real people to inform my character choices. After listening to ‘The Circus of Love with Zack Zucker’ (Compton, 2025) (appendix 20), I am also drawn to physical comedy work, inspired by Rowan Atkinson in ‘Jonny English’ (Howitt, 2003), and ‘Charlie Russell Aims to Please’ (Russell, 2022), a one woman comedy show by a creative associate of Mischief Theatre.

A long-term goal is to work for Mischief Theatre, however a closer goal is to be cast in the comedy play in my third year season to put my skills into practice and show agents that I am capable of comedy acting, taking inspiration from Leeds Conservatoire’s version of ‘One Man Two Governors’ (Carter, 2026). I have started to pursue these goals by watching interviews of professional clowning (appendix 21) and reading the autobiography ‘A Del of a Life’ (Jason, 2020), which has useful advice on sitcoms and comedic timing.

Appendix 20 Appendix 21

Summative Statement

Casting Types

A key learning point was during The Rimers of Eldritch’ (Wilson, 1967), when I challenged my casting type by playing a 50-year-old mother that loves to gossip and overcame my fears of playing a character that is so far removed from myself. I solidified my acting process by putting it to the test. I discovered that my initial process has flaws because some methods only work if I am playing a character similar to myself, for example Uta Hagens emotional recall was proving challenging because I couldn’t find any parallels to draw from. After reading “occasionally, the term emotional memory is interchanged with sense memory, to me they are different” (Hagen, Respect for Acting, 1973, p. 46) I attempted to use sense memory instead, which I found more accessible for the role of Martha than emotional memory had been. This highlighted that my process needs to be more adaptable, because a weakness of mine is not being willing to change my approach.

The quote “those characters embedded themselves so deeply in the publics imagination that people struggle to think of the actors behind them as anyone else” (Jason, A Del of a Life, 2020, p. 237), shows that I could become stuck in a certain cast type, and because my goal is to experiment with a range of roles, having a flexible acting process will enable casting directors to see my capabilities in a variety of roles. To aid my development I plan to find audition material for roles that I shy away from, such as the hopeless romantic, a general American text and an emotionally deep piece, finding which acting approach best suits each (appendix 22).

Appendix 22

Working for The RSC

I developed significantly during my Shakespeare assessment. I initially read ‘Shakespeare on Toast’ (Crystal, 2016) to get tips on how to perform Shakespeare, and the modern interpretation the book gives made me less daunted to attempt the role of Beatrice. I hadn’t previously considered exploring classical, but my opinion changed when learning the Elizabethan dance in the context of a Shakespearian masked ball. Finding my Elizabethan body while maintaining a character was challenging and highlighted that I am not a natural confident mover, so I will attend period dance classes over summer as part of my development plan, to improve my ability to maintain a character’s posture and gesture while executing choreography to a high standard. This will give me more confidence to audition for classical pieces post training and will develop my ability to pick up basic dance moves quickly. After watching ‘Romeo & Juliet’ (Cuthbertson, 2026), a long-term goal is to perform at The Globe and work for the RSC. Upon reflection on what I accomplished during the Shakespeare module, where I received a first in all three sections, this goal feels more achievable than it did at the beginning of second year.

Becoming a Voice Over Artist

Appendix 23

A vital moment in my training was realising how challenging it will be to reach my goal of developing enough vocal range to play characters of different archetypes. To uncover my weaknesses within voiceover acting, I adapted the radio play ‘Stone’ (Stone, 1954) (appendix 23) featuring as two of the character voices, casting myself in contrasting roles, a police detective with a soft, trusting, RP voice and a young male, who is the perpetrator, with a gritty vocal quality.

Appendix 24

However, after listening to ‘5 Essentials Steps for Voice Acting Beginners’ (Freeman, Voice Acting Mastery, 2011), where Freeman states ‘You must discover your character voice’ I reflected on my attempt and my mistake was that I hadn’t figured out what qualities my natural voice has (appendix 24). This is crucial for beginners because it sets a solid foundation to build upon.

When reflecting, I noted that both characters in ‘Stone’ sounded too similar, with nothing but accent setting them apart, because I was not using my strengths vocally to support my acting, so I mind mapped vocal qualities that I have and qualities that I plan to develop throughout third year (appendix 25).

Appendix 25

Appendix 26

To further my understanding to reach my goals, I listened to a variety of radio play genres on BBC Sounds (2018) and made notes on each (appendix 26). A key learning moment was identifying when articulation and vocal clarity were lost, making the scenes difficult to understand, therefore over summer I will create a voice acting specific warmup utilising exercises from ‘Finding Your Voice’ (Houseman, 2002) on jaw release and articulation to ensure that I avoid making this mistake. I also noted that reactions must be heightened vocally with gasps, sighs and groans, which can feel over dramatic but appear natural in radio plays.

Conclusion

I have developed my understanding of how the industry is structured and where I fit within it, embracing my aspirations and interests. The fast-paced nature of theatre and screen means my branding must be accessible and stand out, which I prioritised when creating my CV and Biography, using colour and clear titles. I will update these every couple of months throughout and after third year to keep them fresh and current. Key learning from this year including; embracing Shakespeare, developing in dance and delving into voice over work have set me up for third year and has given me the tools that I need for entering the industry. I now have clear career goals in place and will continue adding to my development plan to help me reach them. I will ensure that I keep up to date with the evolving industry, by attending networking events and building my connections to artists, agents and directors. I also now have key areas of development to focus on as I enter third year, where I aim to continue exploring who I am as an actor.

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