Introduction
In this document, I have used three main pillars to evaluate the ways in which I have readied myself for the industry in the past year: building my practice, building my brand and building my connections. The first pillar discusses the ways that I have calibrated the skills I have learnt at drama school to create my own personal practice that I can bring into future work as an Actor-Musician. The second explores the brand which I have created for myself, how I market myself as a self-employed artist and advocate for my needs to be met. The third addresses the connections that I have built within the industry to create contacts that I can keep building on when graduating.
Building my practice
Entering my second year, I became increasingly aware of the privilege I had in accessing the conservatoire’s brilliant staff and resources, which have all massively shaped and strengthened my practice. To build on these practises, I chose to channel my time and energy into areas that I knew were slightly weaker than others, either finding them more challenging or not attempting them at all previously. To help structure the document, I have divided these practises into five main technical aspects: vocal, physical, instrumental, directing and writing.
Vocal
Throughout the year, I have had vocal training within the conservatoire, but I have also done work outside of the conservatoire, focusing especially on accents and vocal technique to keep my voice healthy. Last year, we had accent lessons, however I struggled to remember any accent that I was taught (particularly due to issues with my working memory). Because I knew that I struggled with learning accents in a group setting, I started doing my own learning to better my accent catalogue before graduating. The first tool that I used to aid my learning was the International Phonetic Alphabet, particularly the vowel chart showing where in the mouth the sound was made. This tool helped me to visualise where the sounds were produced, and over time vastly improved the accents that I worked on. I also read ‘Accents – a manual for actors’: Robert Blumenfeld, which was recommended to us by the conservatoire. I bought this book because, in addition to including many techniques that help to improve accents, it also provides two demonstration CDs that I could listen to while trying the accent for myself. This dual-learning technique massively improved my accent abilities and is a technique that I will continue when trying to learn any new accent or dialect in the future.
I was also eager to improve my vocal technique, especially due to feedback in my November assessment stating that my voice was not used healthily. I had found the Cecily Berry techniques that we used in class useful, so I read her book, ‘The Actor and The Text’, and I also read ‘Freeing the Voice’ by Kristin Linklater by recommendation of my voice teacher. I found these books useful to provide me with different exercises which would help me strengthen the foundations of my spoken voice: for example, Kristin Linklater provides links between physical bodily tension and vocal tension, stating the importance of relaxation when working with your voice. Following Kristin’s instruction, I tried multiple techniques to release all bodily tension while reciting a monologue, and immediately noted the shift in resonance and ease when doing so.
Physical
The movement lessons that we received from the conservatoire were overall extremely useful from an acting lens, particularly I found the Laban efforts paramount to how I access emotions as a character. However, I am aware that as an Actor-Musician entering the industry, I will be expected to have a certain level of experience in all areas of dance. Because of this, I attended dance lessons at both Yorkshire Dance and the Northern School of Contemporary Dance in styles such as contemporary, ballet and jazz. These lessons helped me to learn different dance styles, and also helped me to increase my confidence when learning choreography. The pace at which I pick up choreography has always been a cause of anxiety for me, as due to my working memory issues, I struggle to retain short-term information such as dance routines; however, through taking these lessons, my confidence has massively grown, and I now feel confident facing a dance call at an audition.
Instrumental
This year, I have improved my instrumental abilities – singing, violin, piano, guitar, saxophone and clarinet – through both private music lessons and through consistent practice. The conservatoire granted me 10 hours of music lessons this academic year, so I chose to split that between the saxophone and the violin. I learnt the saxophone from scratch this year, however having learnt the clarinet last year, I found that many of the skills were transferable. I chose to have violin lessons to improve my technique after not having lessons for over 3 years.
I financed my own singing lessons, knowing that it is my first instrument, and also my strongest asset as a performer. I chose to have lessons with two separate teachers, one who specialises in Musical Theatre singing, and another specialising in Classical singing. This allowed me to retain the classical technique that I had joined the conservatoire with, whilst also growing in my voice within Musical Theatre songs, specifically within my chest voice and belt.
Directing
In addition to expanding my practical performing skills, I strived to broaden my experience in being an industry creative: both writing and directing work. I was chosen to direct our Pantomime project in November, which I truthfully found very difficult. I struggled with becoming quite anxious about this role, due to feeling like I was too bossy towards my classmates, specifically given my lack of acting experience compared to many of them. I found myself overthinking a lot of their responses to my direction, and I struggled to lead the room as a result of this.
In opposition, when I was asked to be Assistant Musical Director on our American project (The Moors) in December, I found myself blossoming in this position, to the point where I am now researching this as a future path for me post graduation. I loved how I was able to collaborate with both the creative team (Sean Linnen: Director & Julian Schwarz: Musical Director), and the class/company to create the music for this play. I led a lot of devising/composing workshops with the class to create the soundscape within the piece. Since leading this project, I have had many discussions with other musical directors (both those on the MA course and professionals), and have provisionally decided against doing the MA when graduating, but am looking at other ways to follow this pathway in the industry.
Writing
This year, I gave time to write (both scripts and songs), as a creative output. I created the philosophy (though I am sure that it is not an original idea) that if a performer also writes, they have a much better understanding of the sort of writing that they would like to perform. I wrote a 5-minute monologue discussing the challenges of living as a teenager with neurodiversity, including instrumentation and song, and performed it at a local Scratch Night in Sheffield. I also wrote many songs this year, and started to record an album of original music. My love for songwriting has expanded to the Actor-Musician course, now using my songwriting abilities within classroom settings. For a music assessment, I wrote four songs from an original musical following the story of Narcissus, and taught the music to classmates to perform. This process confirmed my love for songwriting and composing in a professional environment, and has led me to look at possible career options in composing/songwriting for theatre.
Building my brand
Bibliography
In this portfolio, I aim to introduce myself as an artist in a way that will benefit me when increasing my presence within the industry. The first step of this was to write my biography, highlighting the core of who I am as a performer. I aimed to spotlight my assets, which are most valuable within the industry, and to create a quick snapshot of what I am like to work with.
CV
To start writing my CV, I first reproduced what I had written in my bibliography, and then looked at examples given by peers, teachers and my own research into industry professionals whom I admired. I was aware that my CV would have to stay professional, however I wanted to add my own personality to the document, particularly after feedback to do so. I attempted this by adding my LinkTree, which I could customise to include links to my own original music and social media, giving it a more personal touch, and changing the font and colouring of the document.
My name
When confronted with the task of creating a marketable version of myself before entering the industry, one of the main challenges that I faced was choosing the name that I would go by. I did not want to use my given surname, Bull, as I felt that the connotations of the word didn’t fit the image that I desired. I considered going with my middle name, Lauren Emily, as this is how I have marketed myself within the music and singer/songwriter industry, however I felt that this name didn’t stand out enough as a stage name. I compiled a list of other family surnames, as I still wanted my name to feel personal, and landed on the surname Rees. One that acknowledged my Welsh heritage, and felt like it represented who I am.
Headshots
When initially looking into getting my headshots done, I compiled a list of different photographers that I had heard of via word of mouth/advertising/social media, based in both of my accessible locations (Leeds and London). I then researched these more and shortlisted 7 photographers whom I was interested in working with. I created a spreadsheet and researched their location, packages, price, studio time offered and the ‘look’ of their photos. Based on their ‘looks’ and overall factors, I was most drawn to Andy Brown and Amy Rose Brown. Due to pricing differences, I decided to go with Amy Rose Brown. Around this time, I noticed that on her Instagram, Amy Rose Brown was offering a headshot giveaway, so I entered it in hopes of free headshots. Although I did not win the competition, she offered me a 10% discount, meaning I paid £148.50 for my session, instead of the original price: £165.
Before attending my session, I considered what looks I wanted to show: whether I wanted my glasses on or off, my hair up or down, what colour top/jumper to wear and what textures to wear. I also considered my usual cast type and knew that I wanted to get at least one photo that represented each of these characters. I landed on: happy, smiley love interest/put together professional/mean girl. I also decided to bring in an array of clothing options that displayed an array of colours, textures, necklines e.t.c. I made especially sure to bring in a yellow top as I feel that it makes my blonde hair stand out, and a green top as it makes my eyes stand out. After the shoot, when deciding what photos to choose, I asked the opinions of both my friends who know me well and industry professionals who know the industry well. I decided to have a mix of headshots with and without glasses, as I will, for the most part, wear glasses in rehearsals, but I will not wear them for performances. I eventually decided to pay for 3 extra photos to have more range of choice when going into the industry.
Social Media
I wanted to ensure that when entering my third year, I had a strong online presence to help market myself. I first created a public Instagram account for all of my Actor-Musician related activities/shows, and for agents to contact. I also started to post more on my music TikTok account to reach more people with my original songs, gaining over 1,500 likes across all posts.
I made a LinkTree highlighting both of my social media accounts, and also showcasing the original music that I have released on Spotify and Apple Music under the name Lauren Emily. Although I decided against donning the same name and image in both the singer/songwriter and actor-musician industries, I still wanted people to be able to link the two, hence why I included it on my LinkTree.
Access Rider
When approached with the suggestion of an access rider, I immediately knew that one would benefit the way I work in the industry. I viewed it as a Provisional Adjustment Plan, only professional, which I was very glad and slightly surprised existed in the industry. I considered what to include on my Access Rider: whether to talk about both my ADHD and anxiety diagnoses, or whether to just add adjustments that I may need. I settled on the latter, asking myself what adjustments I would need in the room to be able to work to my full potential.
Building my connections
Networking
When my mindset shifted to finding possible connections within the industry for when I graduate, I looked at possible networking opportunities across Leeds. The first networking event that I attended was ‘Makers in the face of doom’ run by Archipelago Arts Collective. I discovered this event by following Beth Knight’s (Co-Director) social media after working with her twice previously, and signed up to go to Sheffield for the day. The event was inspiring and included breakout conversations, a panel with industry creatives, and commissioned performances. This day built my relationships with artists and theatre companies; for example, through meeting Cheryl Cole (director of Red Ladder theatre company), I was able to establish a relationship where we have had multiple meetings to discuss different projects that I am currently writing.
The second networking day that I created was the ‘Leeds Student Creative Network’, at Slung Low, run by Tyler Pickles (founder of Rebel Roots Theatre Company). The day consisted of two halves: a workshop led by Wrongsemble Theatre Company and an open audition with a panel from Wrongsemble, Tutti Frutti Productions, Bloomin’ Buds Theatre Company and Rebel Roots Theatre Company, and then a series of panel discussions and stalls hosting over 30 local theatre companies. The feedback I received from the open audition was brilliant, and I received a follow-up email from one of the companies to discuss how we could work together. I also gained lots of contact details from the companies on the stalls that may be useful in the future.
One of the companies that I met at this networking opportunity was Theatre North, an organisation that I was already familiar with due to a joint contact. I booked an open audition with both Theatre North and Declan Walker Casting, where I performed ‘Pretty Funny’ from Dogfight, whilst self-accompanying on the piano to showcase my actor-musician duality. This audition was a brilliant experience, despite the lack of any response, as it was a good example of how audition days are typically run, and it was an opportunity to showcase my skills to a new set of industry creatives/directors.
Researching agents
Going into my third year, I was also aware of the need to have prior knowledge of agents that may be attending my shows and agent showcase, in order to connect with them. I compiled a list of agencies that I had heard of through social media, third year performers, friends in the industry e.t.c, and created a spreadsheet where I could organise all that I had researched. I listed the location of the agency (knowing that my bases are in Leeds and London) and the area of the industry where they specialise (mindful that I wanted to specialise in acting for stage when graduating). I also looked at the actors that each agency has on their books, seeing what jobs they were booking, and comparing that to what I would like to go into. This helped me shortlist the agencies to those within a feasible location, who specialised in stage (particularly musical theatre).
I then shortlisted further to find the agencies that I would like to invite to my shows/showcase in my third year. The agencies which I was most interested in were: Crockford Casey Associates, Keddie Scott Associates, Roberts and Day Management, Alex Priestly Talent, The Narrow Road Co. and North Artist Management.
I wrote a list of their contact details to keep on file, and drafted an email that includes my CV and headshot to invite them to my showcase/shows next year.
Conclusion
Throughout the building of my practice, brand and connections this year, I feel that I have created a solid springboard to enter the industry from. By refining my practice, I have made many invaluable discoveries about both what I strive to do in the future and what I would not repeat, and I have managed to solidify my process as an artist and creative. By building my brand, I have created an assortment of self-marketing resources and composed a clearer image of how I want to be perceived. Through building my connections, I have now accumulated an extensive collection of contacts that will undoubtedly prove useful as I enter the industry.
I have found the exercise of maintaining all technical skills at a relatively even level quite difficult throughout the year, specifically given the non-stop nature of the course. However, getting into the habit of consistently improving the areas in which I struggle has vastly improved my confidence, and I hope to uphold that routine moving into my third year.
The ‘brand’ that I have created feels true to myself, and I am very pleased with my headshots and the documents which I have created. My social media is in a strong place, and I plan to keep posting (most likely more Actor-Musician related things) into my third year. The biggest challenge that I anticipate for myself entering next year, and the industry, is advocating for myself when my accessibility needs are not being met. I have had multiple experiences over the past two years where I should have advocated for myself, but instead said nothing due to the fear of being a pain. Going into next year, I want to ensure that I am putting my well-being above all else and courageously looking out for myself.
I have loved making connections within the industry this year, and I want to continue doing so as I enter my third year. I have been battling with the question of: is it worth making connections up in Leeds if I am going to move back down South after the course has ended? However, even if the contacts that I maintain only last another year, I still will have gained so much from them. I feel very grateful that so many industry professionals have given up their time to help me this year, and I hope that in the future I can do the same.
Overall, I am very proud of the way that I have approached my second year, and I have faith that whatever the third year brings, I am well prepared and will face it with positivity.
