Darcie Mae
Throughout this portfolio, I continually reflect on the challenges I have faced throughout Year 2 and how I have adapted to overcome them. I reflect on successful moments whilst ensuring to portray this year as honestly as possible, drawing on how I have developed from a student to a performer. I am focusing on refining my process, to secure roles across the industry and build a strong skill set for the future. A goal for Year 2 was to try out new styles of theatre and music, using the Shakespeare project as a big stepping stone to develop my comedic acting. I outline connections I have made and how I aim to use them when refining my craft. As I enter Year 3, I know I am interested in classical texts and actor musician musicals and have found potential agencies and photographers to collaborate with me to showcase myself as a well–rounded performer.
I have written two versions of my biography, aimed at meeting different targets. Attachment 1 meets the criteria for a website biography, noting the most impressive credits and expanding on experience and skills. This contrasts to the programme biography (Attachment 2), focusing on securing future acting and actor musician roles. This is a more synthesised biography, structured by presenting my musical skills above the credits to prioritise what I have studied and trained most recently.
Initially, the need to balance personality and experience led to issues when keeping my work under the word count. Using feedback from the artistic development module has allowed me to make my writing more concise.
I have decided to change my stage name to Darcie Mae, with the aim for it to be authentic , memorable and unique. ‘Mae’ is both my middle name and a symbol for growth, something that I aim to do as a performer.
Industry Landscape
Since 2021, I have been represented by Tucker Management, successfully securing auditions and recalls, but I am yet to obtain any professional contract with them. Therefore, I am searching for new representation (Attachment 3).
I have built a professional network of casting directors, facilitators and directors within Yorkshire, and I am considering relocating to the North of England after graduating, therefore looking at Northern agencies alongside agencies based in London.
One of my ambitions is to be cast in Actor Musician plays or musicals, such as Hadestown or Amélie, to showcase my instrumental range and vocal ability whilst acting. I am determined to find an agent who both pushes me as an actor and helps me to secure auditions within the TV and film industry. I have begun to follow top agencies on social media, monitoring their success rate and using their posts to measure and identify successful castings. I have also increased my network by attending self initiated theatre days and workshops, marketing myself as both an actor and a writer.
Nikolai Foster, Artistic Director of The Curve, has been a big inspiration throughout my performing journey, transforming a range of performances into technically testing, remarkable and emotional work. I hope to be cast in touring shows, something that often happens with Nikolai’s work. This would allow me to experience diverse audiences, theatres and locations while helping me to develop into a more experienced and versatile actor. I have connected with Nikolai who knows me and my work to date and continue to stay connected through outreach programmes.
Attachment 4
I have started to compile a contacts list (attachment 4), and am preparing showreels, whilst researching the contacts current work, ready to invite them to my Year 3 performances.
The Archive:
–Voice–
I pride myself in my ability to efficiently and effectively respond to feedback regarding my vocal ability. This is a skillset I am most experienced in due to my singing experience. This year, I have focused on expanding the range and flexibility of my voice, accessing it in a more sustainable way, to sit comfortably within the lower part of my range. I am aware that I have a resonant voice, but sometimes, especially when I actively change the pitch, my sound becomes restricted.
I used Cicely Berry techniques derived from ‘Voice and the Actor‘, listed in attachment 5, and found conducting the pitch and singing the text most helpful when overcoming restriction in the voice. This creates more space in my mouth and stops me from overthinking my mouth shapes. Another technique I found helpful was running around the space and shaking out sound through different parts of the body, creating a freer sound.
Upon reflection, I have discovered that leaning more into a Leicester accent allows my jaw to become relaxed and open, in turn creating a wider and more supported sound. Sometimes this makes my articulation loosen, therefore I have been working hard to keep the crisp diction with the open sound.
Attachment 5
I have invested in my personal and professional development by attending vocal pedagogy classes to understand the theory behind vocal and singing techniques. This combined with the Cicely Berry work we have studied, helps me to understand the importance of accessing the emotional power of language.
–Laban–
Focusing on Laban Efforts in class and reading Vanessa Ewan’s ‘Laban Efforts in Action‘, has enabled me to delve into new characterisations and to successfully ground myself within given circumstances. I initially struggled with blocking off the external environment as I didn’t allow myself to embrace changes and experiment with new internal motives.
I started experimenting with ‘punch’ and ‘float’ as these were the two extremes that I could immediately feel a difference in weight and direction with when walking around the room. I valued the time we spent thoroughly exploring each effort, allowing me to go in depth with motivations and different pathways. I enjoyed finding different emotions throughout the Effort’s as I began to notice there was consistently more than one emotion per Effort. For example, I first perceived ‘punch’ to be angry, yet transitioned into determination or annoyance.
During this process, I frequently reflected on each individual Effort, and, in other classes, used it as a principal tool to show my growth as a performer. Therefore, this allowed me to discover otherwise hidden details within characters, as shown in attachment 6.
To further develop my understanding, I started to explore Effort duo’s, working how to balance two objectives and how it conveys a more ‘humane’ character. Writing, and reflecting on how each Effort made me feel, as shown in attachment 6, was crucial to my development in movement classes. As I move into year 3, I am trying to combine the movement techniques I have studied with my acting practice to create more grounded performances.
–Comedy–
Esther’s directing style consists mostly of questioning the actions, movements and intentions of one’s character. I often struggled with this, as I was focused on the outcome, rather than the process. Exploring the deeper–rooted motions of the objectives allowed me to find more scope within the scene and character, helping me find it easier to change pace, energy, and status.
I often found myself getting emotional in the comedy block, as I felt vulnerable performing to an audience that were expecting and wanting to find humour in the dialogue. I have never opted to be in a comedy before, nor have I volunteered to play a comedic character within a play, due to the lack of control over a scene, which is why I wanted to invest in this genre over Year 2.
A way to overcome my vulnerability was through improvisation. As the text was raw and new, it meant I had nothing to compare it to, filling me with excitement rather than dread. Improvisation has also aided me when finding the truth within a character, demonstrating a complex level of discovery through experimenting with new mannerisms and vocal changes. To continue my development, I am currently working on comedic monologues, which is building my confidence and expanding my casting range.
I am proud of the progress I have made in this block of skills, by stepping out of my comfort zone and applying grounding techniques with a different style of theatre. I have learnt to emphasise the awkwardness by making bigger decisions and understanding the importance of relying on the given text. Throughout this block, I have experienced what it feels like to listen and respond honestly within a scene, using objectives to support each action, which I aim to use within each script I read.
-Music-
This year, I have strived in learning new instruments and refining the ones that I am already comfortable with. Performing within different genres of music has allowed me to experiment with different techniques, successfully incorporating a multitude of acting styles and methods into my performance, pushing me to become a holistic performer.
Learning the cello has developed my musicality and dexterity, using my body and arms as ways to further express pieces of music. In turn, I have also developed stronger aural skills which I have used when playing my other instruments. This helps me notice when I have made a mistake aurally rather than visually.
To open my solo music performance, I used the cello as a multi-purpose prop to mimic the imagery and sounds of a ticket scanner. Using videos, I observed how cellists incorporate their whole body into playing their instrument, as evident in attachment 7, focusing on how his movement is so fluid and agile, complimenting his instrumental playing, meaning there is more to watch than just the sound.
Attachment 7
Despite aiming to show this expression, I felt that the pressure of the assessment and the larger venue change negatively impacted me and stunted my performance. This is something that I will invest to overcome and have started to play more frequently and stop worrying about being perfect, and instead use my acting skills and expression combined to create a performance.
To continue my progress, I am going to take advantage of the facilities at Leeds Conservatoire and experiment with new instruments to refine my skills and keep learning, hoping to appeal to casting directors in the industry.
-Rock ‘n’ Roll Panto-
Learning the material for ‘Aladdin‘ showed me how skilled and determined you must be to perform smoothly and successfully. As ‘Aladdin’ was casted blind, I was given a role far out of my casting bracket – The Dame – giving me both exciting opportunities and challenges to overcome. I have never had to play such a distinct and wild character, and I found it hard to develop my own interpretation of The Dame’s mannerisms and physicality. To overcome this challenge, I changed one thing at a time, with the changes deriving from key skills I have learnt this year, such as exaggerating Cicely Berry techniques (attachment 5) and Laban Efforts (attachment 6) until I found my version of the Dame.
Working alongside choreographer, Lucy Raine, I increased my stamina and musicality, showing expression in the music and the movement around it whilst combining voice, acting, dance, and instrumentation into one performance. I was proud of my vocal health and diction throughout this project, as performing without a microphone allowed me to practice my support and connection to text.
To secure a role in a professional pantomime, something I aim to do post graduation, I am aware that I need to strengthen my dance ability. To aid this I now attend weekly commercial and jazz dance classes. Alongside this, I am trying to learn a new piece of music or a new song each week, to both expand my repertoire but also to train my memory to pick up music quicker.
-Artistic Development-
I have enjoyed experimenting with different styles and forms of theatre whilst beginning to refine my performance aspirations. Wise Children (Emma Rice) is a big inspiration, smoothly incorporating music and physical theatre to effectively demonstrate the story, rather than fill with text. I have auditioned to take part in a Taster workshop ran by Emma Rice, as I am interested in learning more about their style of work.
After watching North by Northwest at York Theatre Royal, I knew that faced-past, high energy thrillers are a genre I was interested in exploring. The trailer (attachment 8) showcases the importance of strong physicality and commitment to character, a huge challenge I am currently working on.
Attachment 8
Currently, there are lots of opportunities for new writers, so I have begun to integrate my passion of performing with my imagination and creativity when writing. I have learnt how to self-promote and enter rooms with confidence, creating better first impressions and showing personality in audition rooms.
To inspire me further, I was advised to engage with other types of theatre, such as audio and screen. I have started to listen to ‘The Archers‘ and focus on their vocal techniques, noticing how they entice the listener with only their voice. I am striving to save money and create a home voice studio, as currently lots of casting directors and directors are looking for this flexibility and professionalism. I want to delve into different character voice types and begin to record different audio files to upload to my spotlight account.
-Headshots-
Headshot 1
Headshot 2
Headshot 3
Headshots 1,2 and 3 were taken in August 2025, by Eleanor Whibley, an independent photographer based in the Midlands.
They demonstrate a contrast in ages and attitudes, however I found that they lacked personality. For my next headshots, I am looking for brighter backgrounds to compliment my skin tone and eye colour. I am aware the use of my hands in headshots can block emotions, which is more staged, and suited to dancers. I favour my headshots that are front facing and include the use of a warm white lighting rather than the harsh lighting in headshot 2 that creates unnecessary reflection.
AKTA photography shows depth and honesty within actors by using creative camera angles and bold background colours. I have contacted my top three photographers individually and AKTA were the most supportive and interested in me as a person and a performer which hopefully will be mirrored in the studio shoot. I have been successful in securing headshots with AKTA on their Pay What You Can Scheme and am excited to see the results.
After reviewing attachment 9, you can see my journey to find appropriate and outstanding headshots. I want my headshots to show a variety of emotions, showing my versatility as an actor, allowing me to secure a wide range of jobs. I will ensure I communicate my goals during headshot sessions, whilst using natural poses and wearing contrasting coloured outfits to stand out. See attachment 10.
-CV-
I pride myself in my proactiveness when updating my CV, showcasing my experience and standards to the best of my ability. I have ensured my name stands out by using a large font. Similarly, attaching a headshot allows casting agents to recognise me. My CV (Attachment 11) is mainly used for vocal teaching, but I have included my spotlight link so potential employers can see my professional experience.
I have separated my credits in my spotlight profile, showcasing my range of experience across media types. I have maintained two professional CV’s but am aware that they are still a work in progress. I am currently working on combining both CV’s, culminating performing and teaching into one page showcasing my determination and talent.
Going into Year 3, I am aiming to frequently update my spotlight CV (Attachment 12), focusing on the ‘About me’ section to convey my upcoming work, supporting me in securing more auditions.
-Summative Statement-
Year 2 has been an explorative, exciting and rewarding year, aiding me to discover my future aspirations and guiding me towards finding ways to achieve my goals. I have successfully increased my networking both internally at Leeds Conservatoire and externally, creating new connections through attending open auditions, taking part in workshops at Leeds Playhouse and contributing at events in and around Yorkshire. As I am not from the North, I have put in a lot of effort to secure jobs and connections in this area, widening my opportunities post-graduation.
I have learnt that the industry is looking for original work, inspiring me to write my own plays, leaning on authenticity in storytelling, empathy and originality. I have learnt how to promote myself successfully, resulting in collaborations with The Royal Armouries and Leeds Playhouse. Developing my ability to devise and create this year has both supported me when trying new things and taught me to not be afraid of rejection.
I have focused on understanding the reasoning behind techniques and movements so I can effectively practice outside of the rehearsal room and use every moment as a time to self-develop. I have efficiently structured a vocal and physical warm up, including a 2-minute meditation that helps me to ground myself before the rehearsals begin. Shifting to a rehearsal room from a classroom during mock auditions has given me the opportunity to make big choices and take risks in a professional but safe environment, improving my confidence as an actor. I received supportive feedback from these panels, recognising the research I had done before entering the room. I aim to feel confident within myself and the work I’m presenting in any upcoming audition, therefore I manage my preparation to ensure I have time to research beyond the script. Upon reflection, not memorising the lines stunted my commitment when being redirected. In response to this feedback, I am currently trying to improve my sight-reading skills in the event I do not have the time to learn a full scene verbatim.
When experimenting with new genres of texts, I had self-requested 1-1’s with directors and lecturers about how I can expand my skills and find ways to ground myself when acting to show the actions are rooted from a place of truth. Esther Dix supported me with my approach to text, casting me in a range of scenes that pushed me to create bold choices, leading to stronger character developments. I have learnt to question responses and feedback, ensuring I truly understand what is asked of me, rather than treating the mark after an exam as final. Similarly, I have developed an appreciation of the subjectivity of feedback, allowing me to develop my skills using the perspectives of others. This mindset has both supported me when venturing out of my comfort zone and allowed me to not be afraid of making mistakes.
I aim to take this mindset with me as I begin Year 3 and enter the casting season, helping me showcase my bubbly and driven personality, as well as my maturity and understanding. I have created a space where I can talk freely and honestly about my auditions and my feedback, which has helped justify choices and overcome rejection.
