Portfolio (SHR5C004A~001) by Mae Howell
Introduction
This portfolio is an opportunity to delve into the marketing materials I have developed and the reasons behind them as well as my key learning experiences from year 2. My marketing resources have been informed by what is desired from industry professionals such as agents, casting directors and creatives and how they will view these documents. I want to ensure these show off my personality while remaining professional. I will also discuss what I am to do to further my understanding and place within the industry.
Through a consistent and analytical process of reflections I ensure to support my growth and my understanding of the industry as it changes to allow me to maximise the jobs I audition for and to see my place in a competitive professional environment (Uta Hagen, 1991). Additionally, this will ensure that my choices, whether in headshots, CV, or performance, are aligned with professional expectations, giving me a stronger position when navigating auditions and agent interactions.
The UK acting industry continues to face challenges such as ‘a 4.5 percent annual decline in 2023. This industry recorded approximately 64 thousand jobs, denoting a decrease of three thousand jobs compared to the same period of the previous year.’ (Statista, 2023). Recognising this, I have focused on creating strong materials, developing performance versatility, and building practical skills for auditions, both on stage and for screen work.
Importantly, my work this year has been informed by practitioner work as seen in Appendix 1 and industry awareness. The work of Stanislavski, Uta Hagen, Anne Bogart, and Laban has shaped my understanding of performance and connection, while my engagement with industry expectations has encouraged me to think critically about employability, branding, and professional identity. As a result, I now view my training not only as creative development but also as preparation for a sustainable career within the acting industry.
Industry Research
Self-Tapes
The acting industry is very competitive and constantly evolving. One of the most significant developments in recent years has been the increased reliance on self-taping. This means that actors must take responsibility for both the technical and performance aspects of their work. We looked at this in our screen lessons where initially, I focused on performing, but after evaluation this highlighted technical issues such as framing and lighting. I realised that even a strong performance could be undermined by poor production quality. This reflection has prompted me to integrate technical awareness into my preparation, ensuring that each self-tape is both technically clear and emotionally compelling which can be seen in Appendix 2.
Industry advice emphasises that casting directors are looking for natural character and connection rather than overly rehearsed performances. This aligns closely with the principles outlined by Stanislavski in An Actor Prepares, where emotional truth and genuine intention are central to performance.
Appendix 2
Online Presence
Professional visibility and social media presence are other key aspects of the industry. Platforms such as Spotlight are essential and maintaining an accurate and up-to-date profile is crucial. I have identified that my current profile (see Appendix 3) requires updating in order to better reflect my skills, experience, and casting type, which is an important step in preparing for professional work.
Reflecting on this, I plan to update my profile to reflect my versatility and range, including highlighting my strength in accents and my experience in both comedic and dramatic roles. This aligns with the industry advice that an actor must actively manage their personal brand.
Networking
Networking is also an increasingly important part of the industry. Through research and artistic development class discussions, I have learned about communication with casting directors and agents, including how to approach emails and maintain a professional tone which I have experimented with drafting (see Appendix 4 & 5). I have also engaged with industry advice through social media platforms such as Instagram and TikTok (see Appendix 6), where casting professionals share insights into audition processes and expectations. This has helped me develop a broader understanding of how actors can create opportunities for themselves. My evaluation is that consistent engagement and follow-up are necessary to maximise opportunities.
Agents
Industry research has been a consistent aspect of Year 2. I investigated casting directors, agencies, and companies producing work aligned with my personal aspirations. Key examples include Bloomfields Welch Management who ‘are dynamic and forward thinking with the professional qualities, contacts and clout of a major league player; yet with the intimate virtues of an exclusive agency’ (Bloomfields Welch Management, 2025) which is really important to me as I want to have a close and communicative relationship with my agent.
Following actors with careers similar to my goals, such as Kiera Milward who I saw perform in the Hunger Games Stage Show as Katniss Everdeen, led me to agencies like Gavin Barker Associates who pride themselves on helping graduates navigate the industry as well as having long term relationships with clients. Also their management team has been through the drama school process so are aligned with the experiences I may have when graduating. I also explored smaller agencies such as AKM Talent Management who are ‘a female led company and champion diversity and freedom of expression while representing fresh new talent’ (AKM Talent Management, 2026). These agencies are based in London which is near where I am from so it is easy to commute to as well as they focus on the type of work I would love to be a part of such as period pieces and tv & film.
These organisations offer the opportunity to develop close working relationships and gain experience across a range of productions. Understanding the structure of these agencies has helped me reflect on how my skills, personality, and work ethic fit into the professional world.
Other Research
Online research has also been vital. As mentioned previously I have followed casting call accounts on Instagram and advice accounts on TikTok (see Appendix 6), watched online showcases, and studied self-tape techniques (see Appendix 7). Early attempts at self-taping revealed areas for improvement. Reflecting on these experiences has allowed me to combine performance skill with professional presentation, making my auditions more compelling (Spotlight, 2019).
Headshots and Personal Branding
Headshots are a fundamental aspect of an actor’s professional identity and often form the first impression for casting directors and agents. Through research into headshot companies such as AKTA, Yellowbelly and Tabitha Heidi-Brown, I have identified that effective headshots prioritise authenticity and characterful images (see Appendix 8).
A key aspect of my personal branding is my auburn hair, which I consider a distinctive feature. Evaluation of colour and styling led me to think about backdrops and wardrobe choices that highlight auburn tones and freckles such as dark green and warm red tones (see Appendix 9, 10 & 11), which complement my appearance and help create memorable images.
I aim to produce a variety of headshots that reflect my casting potential, including a sporty image, a school look, a period drama image, and a natural, friendly portrait that represents my personality. This approach reflects my versatility as an actor while still providing clarity for casting directors. Each image is designed to give casting directors a clear sense of who I am and the type of work I can deliver (Uta Hagen, 1991; Bogart, 2001). Reflection on headshot research also extended to evaluating the impact of body language and subtle expression (see Appendix 12). I have learned that even minor adjustments in posture or facial expression can significantly affect casting perception. This awareness has informed both my headshot planning and the importance of presentation in every professional interaction.
Reflective Practice on Performance
American Project
One of the most impactful experiences in Year 2 was performing the role of Wilma in The Rimers of Eldritch for our American play. This project required emotional depth, strong character relationships, and consistent accent work. As accent captain, I took on a leadership role, supporting other actors and ensuring consistency across performances. This experience strengthened my technical skills and my confidence with collaboration. Reflecting on this project, I recognised the importance of preparation, self-awareness, and adaptability (Spotlight, 2019).
Shakespeare Project
My Shakespeare project further developed my vocal and physical control, as well as my ability to work with heightened language. Engaging with complex text required a deeper level of analysis (see Appendix 13) and a greater awareness of rhythm and intention.
Portraying Viola in Twelfth Night brought unique challenges and rewards. Viola’s character requires a balance of emotional sincerity, comedic timing, and physicality. Initially, I struggled with the duality of her persona and how to convey vulnerability as Viola while maintaining the confident disguise of Cesario as well as maintaining clarity while conveying emotional truth. Evaluation after rehearsal revealed that I had a tendency to over-enunciate the plosives and so disrupted the natural flow, this may link to the fact I was playing someone who was portraying a man. Drawing on Stanislavski and Uta Hagen, I reflected on objectives and given circumstances to ground my performance. Applying Stanislavski’s methods helped me identify Viola’s motivations, her internal conflicts, and her arc (Konstantin Stanislavski, 1936). I explored physicality through the efforts to distinguish Viola through Cesario (Rudolf Von Laban and Ullmann, 2011).
Animal and element studies inspired playful, grounded choices for my version of Beatrice in our dance assessment, helping me to stay physically and emotionally connected throughout the performance. Reflecting on rehearsal notes, I recognised how essential it was to trust my instincts and risk bold choices, particularly in comedic or emotionally charged moments.
Achieving a strong grade in this project demonstrated my ability to adapt to different performance styles and meet the demands of classical theatre. Importantly, this demonstrated that technically demanding material benefits from evaluation and ongoing adjustment.
Comedy
The comedy block challenged me to step outside of my comfort zone. This process required openness and a willingness to fail, which I initially found difficult. However, it helped me understand that risk-taking is essential for this style of performance and that connection with the audience is a key element of comedy.
My work has also been influenced by Uta Hagen, particularly her emphasis on emotional authenticity, as explored in Respect for Acting (see Appendix 14 & 15). This has helped me to create the world around me so not only I can believe it but the audience too. Additionally, I have explored the work of Anne Bogart, particularly the concept of Viewpoints (see Appendix 16 & 17). This approach has increased my awareness of space, timing, and physical relationships within performance and the space, allowing me to make more dynamic and responsive choices (Bogart, 2001).
Movement
To elaborate on my movement work mentioned in my Shakespeare section I have drawn on the work of Laban, particularly the efforts to explore physicality in character development. Using Laban’s movement qualities has allowed me to experiment with different dynamics, such as weight, time, and flow, helping me to create more physically detailed and expressive characters (Rudolf Von Laban and Ullmann, 2011).
Furthermore, I have used elements and animal studies as a way of developing character. Exploring physical qualities inspired by animals or different levels of emotions through the elements. This has encouraged me to think more creatively and physically about characterisation.
Physicality is something I can feel stuck with so these methods have opened up so much possibility for me. Evaluating my experiments revealed that while exaggerated physicality can create distinct characters, it risks overshadowing vocal clarity or emotional connection. Consequently, I refined my approach to balance physical with narrative.
Skills and Strengths
Evaluation of my skillset has highlighted key strengths, one of them being my versatility. I am able to adapt to a wide range of roles, including comedic, dramatic, and more maternal characters. This flexibility allows me to respond effectively to different performance styles.
I am also gaining stronger skills in listening to my scene partners, which enables me to respond authentically. This has been particularly important in developing naturalistic performance. This was something I focused on during The Rimers of Eldritch because I felt as if some moments of mine lost what they originally had but our director Jess reminded me that ‘listening is the willingness to be changed’ (Alda, 2005) which I now take with me into all my acting.
My accent ability is another strength. As accent captain during my American project, I demonstrated both technical skill and leadership (see Appendix 18 & 19). This is a valuable asset within the industry, as it increases my range and enhances casting potential (Spotlight, 2019).
In addition, my physical stamina, developed through regular exercise, supports my ability to sustain energy and focus throughout rehearsals and performances as well as demanding physical classes which I may encounter in future productions such as period pieces where I may come across dance or more action based shows.
Areas for Development
Reflecting on my weaknesses is important for progression. A key area for improvement is making bolder choices. At times during comedy, I held back due to fear of failure, which perhaps was due to the pressure of those lessons being labelled as the comedy block creating certain expectations, however this can limit the impact of my performance so is something I am working to overcome. I recognise that taking risks is essential for growth.
Another area for development is maintaining a full character journey throughout a performance. Feedback from the American project has highlighted the importance of sustaining intention, energy, and emotional progression from beginning to end (See Appendix 20). To address this, I will focus on more detailed script analysis and tracking my character’s objectives and transitions even if they are not directly involved in the dramatic plot while also thinking more about their entire life journey.
I am also continuing to develop my confidence in singing. While this has previously been a challenge, I have made noticeable progress and intend to continue improving this skill to enhance my joy within it as well as open up a new casting bracket.
Addressing my weaknesses will further align my practice with industry expectations and in turn make my auditions stronger.
CV
My CV was designed to balance clarity with personality and memorability. My headshot and name are positioned prominently to ensure these are quickly picked up on. The use of colour and background that you can see in Appendix 21 was something I wanted to include to show more of my personality while remaining professional with the ability to stand out when read among other CVs. My credits were selected to reflect the styles and genres I enjoy and aim to work in such as period/classical, contemporary, comedy, and physical theatre. Overall I think my CV reflects me as an actor very accurately and this is something I will keep up to date as I progress further.
Biography
My biography (see Appendix 22) communicates my personality and working style while highlighting my strengths. I used terms such as ‘versatile’ and ‘collaboration’ to give casting professionals a sense of how I work, both in rehearsals and during the final performances. Also projects I have contributed to are listed alongside the skills I applied, providing context for my experience.
Drafting multiple versions allowed me to refine my bio and ensure that it accurately reflects my experiences, aspirations, and individuality (Bogart, 2001). Reflecting on the draft versions, I made sure that the biography communicates my openness and readiness for both stage and screen while making sure my personal brand is clear and memorable.
Summative Statement
Year 2 has been a truly transformative period in my development as an actor. I have developed a deeper understanding of my strengths, my areas for improvement, and the expectations of the professional industry.
Firstly, preparing myself and seeing my place to enter this type of industry has been really important due to the fact it is now a lot less daunting but I can visualise where I fit in and I have clear thoughts of my goals, this has solidified my love for acting even further.
My ambition is to create performances like those in Bridgerton, Stranger Things: The First Shadow (stage show), and Little Women, as well as visually distinctive work like The Grand Budapest Hotel or verbatim productions. These influences reflect my interest in both contemporary and period storytelling, as well as my appreciation for visually creative and character driven work.
To support my progression into the industry, I plan to continue developing my self-taping skills, update my Spotlight profile, invest in professional headshots, and actively seek opportunities for performance and experience. I also aim to continue engaging with theatre, particularly Shakespeare and performance involving music, as this will support my overall development as a performer.
Ultimately, my reflective practice has allowed me to take ownership of my growth and approach my work with greater awareness and confidence. I now feel prepared to take the next steps towards a professional career, with a clear understanding of my goals and the commitment required to achieve them. Reflective practice will remain a key strategy for skill development and career navigation as I move into Year 3 and beyond (Bogart, 2001; Uta Hagen, 1991).
Conclusion
I have used this portfolio to express the challenges I’ve faced this year as well as to discuss my strengths and weaknesses but also to put all my work into perspective and show myself that I am prepared to tackle this industry. This year has reinforced the value of reflections in observing growth and professional readiness. I have learned to analyse performance, understand the industry, and make strong choices in auditions and when marketing myself. Continuing this approach will help me adapt to new challenges, maintain boundaries, and approach future opportunities with confidence and self-awareness (Esper and Dimarco, 2009; Rudolf Von Laban and Ullmann, 2011). Finally, I will use the methods mentioned above to remove my fear of failure and focus further on my whole character journey while also keeping my social media presence and marketing materials up to date.
