Introduction
As I approach my final year of training, my focus has shifted towards preparing for entry into the professional industry. While my practical training has developed my confidence as an actor-musician, I identified significant gaps in my industry knowledge. Given the increasing competitiveness of the industry, it is essential to imagine myself not only as a creative but as a marketable professional that has to be strategically presented.
This portfolio critically evaluates the steps I have taken to address these gaps, reflecting on key learning and outlining how this has informed my approach to marketing myself within the industry.
Industry Research:
At the start of year 2, my industry knowledge was very limited, I have never performed outside of acting based courses and groups where any work is unpaid. I knew that I would eventually have to get an agent, network, make self-tapes and a spotlight account, but the thought of actually doing all that was very daunting. Upon reflecting on my past progress within the industry, I have recognised some habits in myself is that were stunting my progression. For example, one area that needed development was that I tend to remain passive, and not actively seek out opportunities, despite knowing that work wouldn’t just appear for me. I think this was a result of not actually knowing how or where to find these opportunities. Therefore I have put a lot of research into opening these doors for myself as I will never get work if I don’t do the work to put myself into the industry. This shift from passive awareness to active engagement displays a shift in my professional mindset. Rather than waiting for opportunities, I am now beginning to understand the importance of doing the work myself.
What is out there?
As a starting point it’s very important that I know what areas of the industry I would like to get into, as this informs both my artistic and professional development. Through researching different types of theatre (Appendix 1), I have recognised an interest in Commercial, Subsidised theatre and independent work.
I enjoy high production values whilst also being affordable. I think Subsidised especially fits into this, it attracts high quality of acting and production whilst also still being reasonably priced, however I am really inspired by independently funded theatre as that is how I will most likely start out professionally. I enjoy how independent theatre isn’t something that is board run and has a lot more freedom, I appreciate the smaller venues and more intimate feel which feels a lot more authentic to me.
Commercial and Subsidised appeal to me, with subsidised theatre in particular balancing affordability with quality of work. Despite this, I do recognise that independent working is probably going to be my first step into the industry, with it being the most accessible.
This understanding allows me to take a more strategic approach to my career, focusing initially on independent and regional work to build experience before progressing towards larger scale productions.
Companies:
A theatre company that I am especially interested in is Frantic Assembly. Frantic is a subsidised theatre company, I know this as I looked them up on the Arts council website where it is stated they receive £225,250 in NPO funding (Frantic Assembly, 2019). I am really drawn to this company because of their use of physical theatre and integration of that into text, as well as their focus on ensemble work. As an actor musician, I am interested in storytelling in ways that go beyond word, so as a result their physical approach feels very exciting. Based on the research and interest I have done into Frantic, I have found more companies that are similar to this (Appendix 2.) I want to have as many options that I am interested in as possible so that I can keep my options open whilst also making sure it is the right fit for me. This research has made me realise there as so many more theatre companies in the Uk, even local to me, than I thought, which makes me feel more confident about finding a company to work for.
Expanding Contacts
The easiest way to get into the industry is through who you know. By establishing a good connection with other creatives, you are more likely to receive offers due to your positive reputation, you are also more likely to be reached out to with offers of work that you didn’t even apply for. Originally, I assumed my connections were very limited but after spending some time researching who can be a connection and how to maintain them, (appendix 3) I realised I have a lot more than I thought, I just haven’t nurtured them well enough. This led me to create a spreadsheet including all of my connections including, what area of the industry they are in, how to contact them and why they’re useful. (appendix 4) I have found this especially useful as this forces me to be more proactive in my development, I’m not longer able to assume that I don’t have enough outreach to start marketing myself. I recognise that old connections isn’t sustainable enough, this list needs to be continuously growing. To address this, I plan to attend industry events, such as scratch nights, engage with other artists online, and develop a professional social media presence. However, this approach relies heavily on consistent engagement. Without regular communication, these connections risk becoming inactive, which highlights the importance of maintaining professional relationships rather than simply establishing them.
Agencies
As a result of my research, I have identified that the majority of agencies don’t explicitly specialise in actor musicians, instead the focus is on musical theatre (if any music is involved.) While this may seem like a limitation, in my opinion I believe this sets me apart from other performers as my extra abilities would be very desirable to agents.
As part of my research I am going to create a continually growing list of agencies that I would like to be represented by, (appendix 4) I want to make sure that I am applying to enough to increase my chances of getting an agent but I also need to make sure they are right for me and can meet my needs. Any agencies on this list, I will be either inviting them to showcases, sending future spotlight accounts to, or keeping them in mind for the future.
I am very interested in being represented by a Northern agent, as I don’t want my regional identity to be lost or overlooked. I would also liked to be considered for multiple areas of performing, theatre, film/tv (including commercial), and voice work, so getting an agent that would be able to represent me for all of these would be ideal. Whilst being in the early stages in my career, I find the idea of being represented by a boutique agency very appealing as they typically represent a smaller number of clients, that are a perfect fit for them, and can therefore offer more personalised support. Despite being selective with their intake, I have found that they are more open to attending showcases and taking graduate performers. I plan to build experience through this type of representation before progressing to more specialised agencies, reflecting a structured approach to career development. This approach allows me to prioritise my development and understanding of the industry over trying to immediately access high-profile work, which I will benefit me most overall.
Headshots
For my headshots I wanted to find a photographer able to capture my range as an actor whilst also displaying my outgoing, approachable personality. To start my research into what photographer I’d like to work with, I started by researching former graduates and my 3rd years for what their headshots look like and which photographer they used (Appendix 5). I stuck to look at female headshot that’d a similar, complexion, head colour, and casting type to me, which meant I could find a better fit for myself. I found a lot of them worked with Aktaphotography, I liked how they offer a range of services and they seem to be able to work well with actors to show them off in the way they’re after. They also provide a ‘pay what you can’ system (minimum £80) which I have applied for. I was worried about the financial aspect of getting headshots so this was very reassuring. They are definitely my top choice however I also like the look of James Melia, if I am unable to get the pay what you can headshots. The headshots are very reasonably priced and they’re northern based (Manchester). I did think that the style of the headshots were quite neutral for the most part, with some elements of colour which I would prefer, so I would enquire about that before applying.
For my headshots I plan to have one showing my bubbly, outgoing personality, one presenting me as a ‘confrontational northerner’, as this is the type of roles I would like to go for and believe suit me very well, and one looking more serious and mature to show versatility. I plan to not wear much makeup, keep my hair down, alternating between having my fringe out and not and I would like to incorporate the colour red as I think it really suits me. I previously had another headshot (appendix 6) but I wouldn’t continue to use this as I look way too young, I no longer have braces, I would prefer my headshots to show more than just the tops of my shoulders and have more of an interesting background that compliments me. The most relevant information is at the top including, my name, headshot, contact details and representation. This process demonstrates an increased awareness of personal branding, ensuring that my headshots align with my casting type and industry expectations.
CV
I already had a CV from having to apply to jobs so I know how to present myself professionally and how to layout a CV but I had never made an actor’s CV before.
My CV was designed to be clear, and concise, with an easy to read font, and dividers between sections. Key information is positioned prominently, including my name, headshot, contact details and space for representation. I made the background slightly off white to give a warmer feel. I have included a range of credits to show my versatility as well as including which instruments I can play and which accents I can do. This reflects an understanding that casting decisions are often made quickly, requiring immediate clarity and impact, I need to be eye catching. Appendix 7 shows my finished CV.
Biography
When writing my biography I wanted to be as clear as my CV as I wanted to include part of it in my CV. I wanted to open it by including positive statements about myself as a performer and what I am mostly drawn to, to establish personality. I then included my skills as I don’t want whoever is reading to be waiting till the end to get to information as important as that, as they might move on, being a musician is also one of my most desirable attributes to help me stand out. I concluded my biography with a couple of my credits, not too many as they are in my CV too but enough to appear versatile, and a section for upcoming work, which I will fill in once I am cast. I opened every section with my name so that it stays in the mind of whoever is reading. This structure reflects an understanding that casting professionals prioritise clarity and efficiency, ensuring that key information is immediately accessible while still conveying personality and range.
Appendix 8 shows my final product.
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Summative statement:
This year has been very transformative for me and how I view myself as an actor and musician. What I believed to have been my casting bracket has completely changed, by experiencing my training and projects which has massively affected how I want to portray myself within the industry. I also view the industry very differently now too, I thought I had a rough idea of how the industry works and how to get into it, but this year was extremely eye opening, I had a lot more to learn than I thought.
This realisation started with our panto project; Aladdin, which gave me a whole new perspective on my ability. I was cast as one of the Aladdins and this specific role was very daunting as it meant that I got a song, which despite having sung at gigs before, I had never sung for an audience on stage, this was very new territory for me. I was required to work on my stamina as I had to sing, dance and act at the same time, which, for an asthmatic, was quite difficult at times, but I knew that this was something that I would have to improve on for the industry, so I put a lot of effort into practicing my song as much as possible whilst dancing to improve my stamina. In term of musicality, I had never danced with my instruments. I am not the most coordinated but, like my stamina, I realised this was something that I’d have to improve on if I want to be in actor-musician pieces. Therefore I spent a lot of time going over choreography whilst playing, especially the opening number Uptown Funk. I noticed significant improvement, so I am looking forward the musicianship and choreography assessment as I will be able to improve on this further. This process has made me consider getting some intermediate dance classes, so that I am able to pick up choreography quickly. I had never really considered being a part of a pantomime before this project, I didn’t even know Rock and Roll Pantos existed however, thanks to this experience I would be very interested in reaching out to my new industry contact Rob Salmon, for potential opportunities in the future.
Another pivotal moment for me was during my American project, The Moors by Jen Silverman, which opened my eyes the possibilities of my casting type. I was cast as Huldey, an immature minded, obsessive woman who ends up killing her sister. I was cast in the first half of the play where she meets the governess which includes some very emotional scenes from Huldey. I was originally very worried about playing her as I had never played a character like her before, and I have always had the mentality that I’m not good at making bold choices or playing larger parts. This is the mentality that I went into rehearsals with, I struggled to find a starting point for her which meant I found it even harder to make bold choices. My hesitation to fully commit suggests a lack of confidence in taking creative risks, which could limit my employability if not addressed. After a lot of character work, I found that what helped me the most was using Laban’s techniques. I read ‘Laban for all’ written by Jean Newlove and John Dalby to gather more knowledge (pages 209-225) about physicality and I have found that what helps me the most is Laban’s efforts. For Huldey, I based her around ‘Wring’ to help show her anxious excitement and to help me feel the constant overwhelming obsession that she feels. Despite this I still felt anxious to fully go for it with a character so big, but an eye opening moment was hearing my director ask us multiple times to be bigger and do more. I realised that I am not going to stand out in the industry if I don’t go for it, which will really negatively affect my ability to get jobs. This experience has been very fundamental to my development and how I view the industry, I now realise that I have to market myself so much more than just someone who can act, but also someone who can offer choices and play.
Having had many successful job interviews and receiving multiple drama school offers after auditions, I believed I was in quite a good place audition wise, I thought I knew what to expect. After having mock auditions as part of Artistic Development classes, I found that I was very much mistaken. We had a brief to prepare an audition for Leeds Playhouse, so I prepared a monologue that I thought reflected Playhouse well, it was about someone addressing being part of an audition with undertones of her missing her brother who passed and issues of drug addiction. I chose this as it was by a contemporary British writer and had socially relevant topics which are things that Playhouse use when showing pieces, I also looked into some of what Playhouse had coming up to prepare myself. The audition went horribly, the monologue was less prepare than I thought and I stumbled over the questions I was asked, which I later realised I wasn’t fully prepared for. I was asked which play at Playhouse I am interested in and which contemporary British writers I like, my mind went completely blank for both questions despite looking forward to multiple plays and knowing many writers. I believe this was because I was not fully prepared for the concept of there being questions, it surprised me, despite it being quite obvious that there would be question. The embarrassment of messing up was very eye opening, and exactly what I needed, I can confidently say that I will never go into an audition again without feeling as prepared as possible for any questions that I could be asked. This failure was a critical turning point, highlighting that preparation must extend beyond performance to include industry awareness and verbal articulation.
Conclusion:
This year has been extremely transformative for me as an actor. I have grown much more self aware of my progress, I am also able to hold myself much more accountable when I don’t do my best and can recognise when this isn’t industry standard. I feel much more secure in my acting process and how to throw myself into a project, I feel like a have a full repertoire of skills that I am able to use to create an authentic performance. In terms of the industry, I feel so much more prepared, I have a list of contacts, I have theatre companies and agencies that I am interested in and I can appropriately market myself with my CV and biography but, most importantly, I know more about what is out there, my understanding of the possibilities of what I am able to create has expanded massively. I also feel so much more confident going into auditions, I am so much better as choosing appropriate audition pieces and being able to properly present myself in the room, personally I found the mock auditions incredibly useful and am grateful to have been offered them.
