Introduction
This portfolio collates the industry research I have done, my marketing materials and key learnings from this academic year. When making these materials, I reflected on how industry professionals would perceive them, and ensured my methods reflected the artist I want to be viewed as. I plan on using my third year to its fullest extent, working to be cast in plays that help me grasp a better understanding of my place in the industry.
Reflecting on the effectiveness of my marketing tactics will become a habit as I look into maximising the number of jobs I book. I know actors struggle to find work that pays well, as UK Equity “showed that 68% of [performers] made less than £5,000 over 12 months, forcing 66% to take on “at least one additional job.”” (Palmer, 2022). Thus, as I transition into a working actor, refining how I appear to professionals and effectively marketing myself are equally important.
Industry Research
After watching “FEEL ME”, I researched The Paper Birds and noted how the company’s mission, stated by co-directors: Jemma McDonnell and Kylie Perry, reflected the thought-provoking theatre I want to pursue. I delved into similar companies, and at a networking event, I learnt that Cheryl Martin’s plan for Red Ladder Theatre Company was to “[give] a platform to voices that are rarely heard, [and] … challenge the systems that marginalise and oppress” (Red Ladder Theatre Company, n.d.). Similarly, RedBobble Arts strives “to create… transformative projects that connect, heal, and empower” (Arts, 2019). Such commitments to stories reflecting experiences of marginalised groups align with my passion to provide accessible spaces for unheard stories. I look forward to engaging with these companies and reaching out to them.
To further my knowledge of what theatre I seek to make, I looked into commercial, subsidised and independently-funded theatre as they piqued my interest. I specifically researched theatres that produced shows I would want to be cast in. I started with the Royal Shakespeare Company (RSC) as I hope to make Shakespeare more accessible to a modern audience. I specifically looked into UK theatres the RSC partners with in order to gain a better understanding of how Shakespeare is performed and received across the country. One of these theatres caught my eye: the Alhambra Theatre in Bradford. Not only do they advocate for more Shakespeare performances, they also host companies that are currently touring productions that I would want to be a part of (e.g Waitress, Miss Saigon). Thus, I have found a specific theatre that is close to me, and actively celebrates the genres of performance I want to be involved with.
Agents
I began researching Southeast-Asian actresses that share similar upbringingings to me and are currently involved in work I admire. Specifically, I looked into Millicent Wong (see 1), a Singaporean actress who has performed in theatres that I too hope to be in. I researched her agent, Creative Arts Management. I like how they prioritise diversity and how they represent actors that are in projects I would want to be cast in (i.e Les Miserables, Scream, Bridgerton). Also, because I am in close contact with Millicent herself, I will reach out to her and get a better understanding of how the agency works, and whether their work ethic matches mine.
From Millicent’s spotlight, I noted that she has an agent for voiceover work, as this is something I hope to develop in the future, I looked into potential voiceover agencies. For instance, due to my admiration of Katie Leung’s past work, I researched her voice-acting agency (Dean Street Voices) and liked how they represented a vast range of accents, including Southeast-Asian ones. I also appreciate the animation and gaming projects their talents have been cast in (i.e The Witcher, Arcane, Star Wars). Although they represent a good spectrum, they do not currently represent Singaporean actresses, and this may be a chance for me to stand out and join their books.
1:
Headshots
I began with a spreadsheet of attributes I wanted my headshot to showcase and reasons I did not favour certain choices (see 2a ). I created this with my identity in mind because: Casting Director Thom Hammond emphasises how “headshots [are] important as […] that is how you are seen”, and I want to ensure my individualism is celebrated (Spotlight, 2022). In the past, my headshots were dark and serious (see 2b), which is not the energy I want to showcase. So, I want a headshot with a range of colour that reflects my vibrancy.
I looked into Matt Jones because his photography fulfilled my requirements. I admire the range of backdrops and lighting he uses, and these choices complement the unique personalities present in each image. I am certain that with him, my headshots will feel authentic and warm, emphasising my comfortable enthusiasm. His work with people sharing similar eye, skin and hair colours to me (see 2c) makes me optimistic of his experience in making those traits shine. His framing of performers with glasses (see 2d) and the professionalism it exudes is something I want to pursue, especially because I want to work in political theatre. In that genre, being viewed as knowledgeable is important and I want my headshot to highlight that. He also makes excellent use of necklines and colours of clothing to display the age range performers can display. As someone aspiring to develop new work, this will showcase my versatility to play multiple roles.
I also appreciate Matt’s pricing method (see 2e) as it provides me a sense of financial ease. A free 90-minute shoot will help me feel comfortable, and being able to access a full gallery of multiple headshots prevents me from feeling stuck with my choice of edits.
2b:
2c:
2d:
2e:
CV
Many professionals emphasise the importance of a remarkable CV, because it is a “chance to make a great first impression to casting directors [and it presents] who you are as an actor, from your past credits to what you could do next” (Cook, 2023).
Reflecting on my past CV, it was badly organised and long-winded (see 3a). David Patrick Green, founder of Hack Hollywood reminds performers to think “of the person viewing [their CV]. In most cases, they only have a few seconds … If it is crowded and overwritten, it will be hard to latch onto what is relevant” (Strassberg, 2024).
I followed his advice and created a new CV (see 3b). I used Canva so that I can freely edit it, ensuring all information can be updated easily when my career progresses. I ensured my name and headshot were the largest elements, as I want people to remember them. I used a vibrant colour palette that celebrated my dynamic energy. Instead of elaborating with long sentences, I kept my credits short and succinct to prevent casting directors from losing interest. I ensured the credits I chose accurately depicted the type of work I want to pursue – classical, contemporary and devised work. I believe this highlights the experience I have in these specific styles, allowing agents to push me towards similar roles in the future. I then included bold headings for specific skill categories to aid with the navigation of my CV; and added unique skills (like rock climbing and makeup technique) to let more of my personality and interests shine through.
3b:
Biography
In the past, I was taught that an actor’s biography was unimportant. However, I have learnt that a bio is like “the written version of the first impression you’d want to make if you were meeting a director in the coffee line” (Rapp, 2025). This has inspired me to write one that encapsulates my uniqueness.
Looking back on previous biographies (see 4a), neither truly summed up my artistic identity. My first attempt was riddled with vague adjectives. My second showcased my breadth of work but sounded like a list and did little to sell my personality.
When drafting a new biography, I wanted an organised structure so I used the template suggested by The Mandy Network (see 4b). This structure was “professional and cover[ed] key credits… whilst also providing some unique details that [showed] the person beyond the performer” (Clark, 2025). Yet, even though this draft appeared well-written, it did not do my colourful personality justice. Hence, whilst my second draft followed a similar template, I selected words like “authentic”, “dynamic” and “unwavering” to give a better sense of my personality and the type of work I value. I also told mini-stories to frame specific onstage credits and paint a vivid picture that will hopefully stay in the casting director’s mind. The more conversational tone used allows readers to understand how I would speak in a rehearsal room. For now, I am satisfied that my biography reflects the type of artist I currently am, but as my career progresses, I will make sure to amend it accordingly.
4a:
4b:
Marketing myself & networking with professionals
Throughout second year, the importance of being my own cheerleader has been emphasised. Many recommended creating a website as it gives me “control over what [I] share about [myself and it can] expand [my] online presence” (Johal, 2023).
This inspired me to make my own (see 5a). I wanted mine to be an archive of marketing materials. The site’s darker colour palette was selected with comfortability in mind, I wanted viewers to spend more time learning about my experiences without straining their eyes. I included a CV page (see 5b) listing other credits, awards and training experiences. This way, I have a short CV and a more extensive CV in case casting directors want specific details. My experiences are split into “theatre” and “film” categories to avoid bombarding viewers with random credits. I thought a gallery section would showcase my range of performance through visual examples (see 5c).
Although marketing myself through a website was a helpful step, it was still equally vital to understand whom I could contact for opportunities. I created a solar system (see 5d) of people I had contact with in the industry, categorising them geographically. I made sure to not just include actors but also people I could contact for specific skills, like stunt work or photography. With this, I feel better equipped with a foundation I could approach if I wanted to develop certain skillsets or even seek advice.
5d:
Marketing conclusion
The stylistic choices I have made with my headshot, CV, biography and website truly reflect my artistic identity. The main thing I sought to highlight was my individuality. Whether that be celebrating my specific look or using select words to describe my true personality, authenticity is prioritised. I hope to maintain this mindset, although my identity may shift, I will strive to portray myself as accurately as possible.
Summative Statement
Audition Technique
Within second year, I had many opportunities to hone my approach to auditions and how I appear to casting directors. From these experiences, I learnt effective ways in which I can sell my strengths. Also, after reading Michael Caine’s book “Blowing the Bloody Doors Off”, I took away a key learning point: “Don’t let how others see you decide what you can be […] know what you convey and use that to your advantage”(Caine, 2018).
In my American project, our director Jess hosted auditions, and (see 6a) she mentions I came across authentically and took on redirection easily. I believe this was due to my earnest energy which I will bring into future auditions as I want casting directors to remember my enthusiastic personality. Before this audition, I made sure to prepare, using Uta Hagen’s questions to understand the character’s psyche. This level of preparation helps me enter audition rooms with a solid foundation before adding unique character choices. My preparation was observed by Brandon (see 6b) as he noted that during my audition with him, it was obvious I had done the work. This feedback delights me as I hope directors understand how I value their work and want to do it justice. From Jess and Brandon’s notes, I believe my adaptability is a noticeable strength as I remain calm and flexible under pressure. This trait will help in my pursuit of devising new work because versatility is needed when trying new methods of storytelling.
Through these auditions, I also discovered a weakness: my usage of space. As mentioned by Jess, I stand too close to the director, stopping me from using my surroundings fully. This may be caused by a lack of complete physical embodiment which prevents me from exploring the space. To improve, I resorted to my movement training, mixing Eilon’s work on Viewpoints with Carly’s elements. I used shapes and topographies to map out effective utilisations of space, and experimented with elements to unlock a wider range of movement qualities. I believe in my following audition with an internal staff member, I improved and my embodiment was viewed as a strength instead (see 6c). However, during my audition with Suzy Catliff, I approached my character Mowgli with a lot of physicality, and she noted I “did too much”. So, I discovered a healthy middle is required in movement, and in third year auditions I want to strive towards full commitment to physical embodiment without unnecessary actions.
6c:
Finding myself in a character
During my American Project, I struggled to connect to a character (Lena) that was so different from myself. I approached her through a physical lens and discovered how Laban Technique (see 7a) helped me remove habitual ticks and form signature gestures for Lena. However, whilst I felt physically connected to her, I still felt removed from her motives. This was noticeable as my feedback (see 7b) noted inconsistent tactics. Though, compliments my examiner paid to my physical capabilities reinforced my passion for pursuing physicalised theatre. I believe my struggles with Lena arose from seeing her as a caricature and grossly exaggerating her movements instead of playing her honestly.
I sought to right this wrong with my Shakespeare project. Throughout my exploration of Beatrice’s character, I held onto my physical Laban approach, pairing it with an intensive look at how Beatrice’s personality and mine shared many similarities. By rooting the piece in a political context I felt strongly about, the stakes of the scene heightened organically; it was as though Beatrice’s story was also mine. So, whenever it felt like I was generalising any intentions, I rooted my characterisation in my personal motivations. The feedback I received (see 7c) also reflected my discoveries, noting that I fully committed to an authentic performance. This is a great finding for me going into third year and professional career. Now I am confident in using Laban to approach characters physically, and I also know the key to creating an authentic character: finding similarities that connect myself to them.
Understanding my boundaries
It took many lessons for me to identify the harmful mentality I held towards my boundaries. Discussions with intimacy coordinator Leanne Rowley about crafting intimacy scenes, helped me realise why more education regarding the subject is required. Ultimately, “when an actor [performs such] a scene […] there needs to be [a] mental health person available[.] Even though we are only acting we are still experiencing trauma” (Morgan, 2022).
Upon reflection, I realised my destructive habit of telling others that I am comfortable, even when I am not. Caused by my fear of being viewed as a difficult actress, I conditioned myself to work outside my comfort zone. A key moment came when I had to perform an intimacy scene in my American project. Due to vague directions, I felt uncomfortable and instantly conveyed my worries, abstaining from participation. Surprisingly, I was not met with negative feedback, rather I received clarification on the directors intention. This was the first time I firmly expressed what I needed; as I move into more professional settings, I will remember this lesson..
This is especially important as I aim to work with movement-reliant companies (i.e Punchdrunk, Thickskin). I discovered that specificity of movement helps, and having a precise outline of each action within my intimacy scene (see 8) allowed me to be certain of what to expect and deliver. I will bring this practice into my career as it reliably ensures that neither myself or my scene partner stray from intimate actions in any way; preventing any harm that may occur.
Prior to second year, I did not think about how I will present my boundaries within the industry. Now, I am identifying what I am comfortable with in terms of performance and behaviour, and this will help me communicate to agents and intimacy coordinators what I will and will not accept. Before third year, I hope to craft an access rider which will detail my boundaries, and I may request guidance on how to word it clearly and professionally.
Conclusion
Throughout the year, I slowly understood what I want to pursue, who I want to be viewed as, and steps I can take to achieve those goals. I also accrued more knowledge about how the industry is structured and how I may adapt my strategies to authentically represent my artistic identity. Through third year, I hope to routinely update my CV as I attain more credits, and write more fitting biographies if/when I develop more skills.
Currently, my experience with auditions, newfound understanding of characterisation and my exploration of boundaries has provided me with a solid foundation of how I should approach the industry, and what projects I want to work towards. I will continue to research UK companies that are producing seasons that align with my artistic pursuits. I understand keeping up with seasons around the country requires discipline, but I have already begun following specific social media groups and contacting industry professionals, and hopefully this will push me to be more engaged with the industry. As a whole, I will create routines that allow me to stay up to date with my marketing strategies and my knowledge of how I can chase my goals.
Bibliography
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Caine, M. (2018). Blowing the Bloody Doors Off. Hachette Books.
Clark, S. (2025). What Should You Include in Your Actor Bio? [online] Available at: https://www.mandy.com/uk/magazine/article/what-should-you-include-in-your-actor-bio-78955/. [Accessed 21 Mar. 2026].
Cook, L. (2023). How to Create an Acting CV in the UK. [online] Backstage.com. Available at: https://www.backstage.com/uk/magazine/article/how-to-create-a-uk-acting-cv-69511/. [Accessed 20 Mar. 2026].
Johal, K. (2023). Top Tips for Creating a Professional Acting Website. [online] Spotlight. Available at: https://www.spotlight.com/news-and-advice/the-industry/create-an-acting-website-tips/. [Accessed 24 Mar. 2026].
Morgan, M. (2022). Intimacy Coordinators Are Very Important, Actually. [online] www.refinery29.com. Available at: https://www.refinery29.com/en-gb/how-to-become-intimacy-coordinator-career. [Accessed 7 Apr. 2026].
Palmer, B. (2022). How Much Do Actors Get Paid in the UK? [online] Backstage.com. Available at: https://www.backstage.com/uk/magazine/article/how-much-do-actors-get-paid-in-the-uk-74998/. [Accessed 24 Mar. 2026].
Rapp, I. (2025). Your Actor Bio Needs an Upgrade: How to Write One That Gets You Booked. [online] Casting Networks. Available at: https://www.castingnetworks.com/news/your-actor-bio-needs-an-upgrade-how-to-write-one-that-gets-you-booked/ [Accessed 21 Mar. 2026].
Red Ladder Theatre Company. (n.d.). Red Ladder Theatre Company. [online] Available at: https://www.redladder.co.uk/. [Accessed 1 Apr. 2026].
Spotlight (2022). 7 Headshot Tips from Casting Directors. [online] Spotlight. Available at: https://www.spotlight.com/news-and-advice/the-essentials/everything-you-need-to-know-about-headshots/. [Accessed 17 Mar. 2026].
Strassberg, R. (2024). What Belongs on an Acting Résumé, According to Experts. [online] Available at: https://www.backstage.com/magazine/article/what-belongs-actors-resume-9089/. [Accessed 20 Mar. 2026].
