Headshots

MAXEDPHOTOS

max d photo

OFFER

Head shots or Portfolio Session:

2 Hours : £99 instead of £150

Outside session:

Contact sheet within 24 hours

All Photos in 72 dpi (approx 150)

5 Retouched Images of your choice

Will recieve retouched images in black and white and colour

Costume/Top changes if needed

Relaxed Environment

20% off for students 21 & Under

Extra retouches £10

http://www.maxedphotos.co.uk

The Below Headshot photocopier is offering £50 Headshots on their studio in Kensington. Get in touch!

Les headshots petit

Theatre on The Cheap

n16

Theatre N16 have Loads of plays that will be worth a trip.

Monday 18th April – Thursday 5th May (No Fir or Sat) £8-£14

Theatre N16 produce the premiere of Martin McNamara’s play.

1974

IRA bomb London Pubs. Paul Hill arrested. Miscarriage of justice. 

His story.

Thanks to London Metropolitan University  ‘Archive of the Irish in Britain’, from the Irish Studies Centre.

Directed by Jamie Eastlake

Don’t Miss THIS!!!!

‘Danny and The Deep Blue Sea’ 3rd April – 14th April @7.15pm, £12/£10

From the writer of the Tony award and Pulitzer Prize winning play Doubt. A fierce dance of the displaced, Theatrum Veritatus brings an explosive, deeply affecting study of alienation and the redemptive power of love.  Two castaways fight their way to each other and cling violently in a sea of hardship for a chance at the happiness afforded to most but denied to them.

Hampstead Theatre

‘Reasons to be Happy’ 17th March – 23rd April, £10-£35

written by Neil Labute, Directed by Michael Attenborough

reasons to be happy

Three years after a difficult breakup, Steph and Greg are wondering if they can start over again. The trouble is, she’s now married to someone else and he’s started a relationship with Carly – her best friend. Meanwhile, Carly’s ex-husband, Kent, wants her back, even more so when he hears about her new romance with Greg – his best friend.

With emotions running high, all four soon find themselves entangled in a web of hidden agendas, half-truths and confusion as they desperately search for that most elusive goal in life: happiness.

Grab a £10 ticket and watch Neil Labute’s tribute to ‘Reasons to be Pretty” Collaborating with the reknowned Attenborough again, it’ll be worth the trip.

The Bush

right now bush

“Right Now’ 30th March-16th April, £15-£30, Saturday Matinees (2,9,16th) £15

As Alice and Ben settle into their beautiful new flat they realise that the family across the hall hope to be more than just good neighbours. 

Soon, Juliette, Gilles, and their son François are wearing out the welcome mat; suggesting drinks, hors d’oeuvres and dancing. Things begin to heat up as innocent invitations lead to passionate encounters and unsettling revelations.

Written by award-winning Quebecois playwright Catherine-Anne Toupin, Right Now is a play with a dark heart, a disquieting exploration of one woman’s crisis and darkest desires. It walks a delicate line between playful laughter and deep trauma, teasing and thrilling audiences from beginning to end.

Directed by Michael Boyd, former Artistic Director of the Royal Shakespeare Company.

Royal Exchange Theatre, Manchester

nothing

‘Nothing’  14-17th April, £10/£6

When teenager Pierre Anthon cheerfully announces that nothing in life has meaning, his friends decide to prove him wrong. Fearful he might in fact be right, their desperate actions spiral out of control and lead to terrifying consequences.

Following the sell-out success of BRINK, the Royal Exchange Theatre Young Company returns in collaboration with director Bryony Shanahan and writer Amanda Dalton. Powerful and unsettling, this brand new adaptation of Janne Teller’s novel is a UK stage premiere.

Written in 2000 and translated in 2010, NOTHING caused widespread controversy in its native Denmark, receiving great critical acclaim, winning numerous awards, and simultaneously being banned in many schools and libraries.

BOOK TICKETS: Box Office 0161 833 9833

theatre4thought

Last but not least, I thought I’d tell you about a play that I have written and will be producing with my partner in crime Emelia Marshall Lovsey. We formed our theatre company at the beginning of the year and our first play will be shown at Theatre N16 in Balham for 2 nights (3,4th August) as Edinburgh previews. We then take the play to Edinburgh 21-27th to be performed at The Space UK, Surgeons hall.

Theatre4thought’s aim is to produce thought provoking provocative theatre, we aim to not shy away from the things that people feel they shouldn’t say and look to examine people and relationships at a raw human level. When you leave we hope you leave thinking.

‘The Monologues of a Tired Nurse’ is a play based around 2 nurses at polar opposites in their careers. It links the nurses stories together around an event that changes their lives forever. A true honest look at the NHS from the inside out showing, how cuts run deep.

Please support our new theatre and come see our play!

Tickets available here :   http://www.theatren16.co.uk/#!Monologues of a Tired Nurse/zoom/cpax/dataItem-imnnjs60

Rosemary Akinola

 

rosemary

South Londoner. Will work for food. Favourite colour red. Loves dogs more than cats. Kinda funny.

I first met Rosemary in the halls of Rada, while we were paying our extortionate fee to stand in front of 2 people for about 10 minutes, we bonded over perspiration and sheer love of our craft and also a determination that drama school wouldn’t stop us doing what we love. I’ve been following her and recently saw her face adorning Tricycle theatre. Here Rosemary answer some questions.

When did you first realise you wanted to be an actor ?


Probably when I was around 7 when I did a school play. But I didn’t really take it seriously until I was around 19. Then I was like OK this is the career I want to pursue.

What inspired you ?

That’s such a big question. Urm lots of different things. I guess the main thing that inspires is the love for what I do. I think people, experiences and stories inspire me. There isn’t just one thing.

What excites you and attracts you to theatre?

The story. The performers. The set. I think I’m always interested to see bits of theatre that have a provocative story or if the direction is innovative.

As an actor what qualities do you think are imperative ?


A Peaceful Mind – because this business of acting can be stressful. Keep Calm.

Courage – because it requires you to WORK, FAIL, LEARN and REPEAT.

Entrepreneurship – because being an actor is being self-employed so know your damn business and know what you are selling!

Self Awareness – check your wellbeing: mentally, spiritually, emotionally and financially. Take care of yourself. Your journey and is your own and no one else’s so be kind to you.

You were recently at the Tricycle theatre performing can you tell us more about that? 

Yes so it was an immersive show called Switch. The story is about a post-apocalyptic world where people can no longer thrive on earth so they are choosing to be plugged into a virtual world. I think the development show was somewhat difficult at the beginning because it was a devised as well as immersive with a cast of about 22 people. The process literally was something like: Devise it. Write it. Create it. Play with it. Rehearse. Cut. Edit. Rehearse. Rehearse with audience. Cut. Change. Rehearse.  Create. Rehearse. Rehearse. (Panic – that was me). Perform!

The ending changed every night because it was based on the decision of the audience. It was an incredible experience because the audience where so engaged in what was going on and the feedback was brilliant. We learnt a lot during those audience runs. We were so happy that our audience felt encouraged to participate. It sold out so fast so we’re putting it on again in the summer!


As a black actor what challenges do you face? 


I feel that Black women are constantly in a fight to be seen for roles where the colour of the character is unspecified but don’t get the chance to audition, or go up for those roles because the default race to any unspecified character is always white. I probably don’t get as many opportunities for jobs and auditions as my white counterparts. I think Colorism is another issue I guess. Sometimes they would cast a mixed or lighter skinned black actress who has more European features because they fit the “beauty ideal”. Also having to play stereotypes that are perpetuate a negative image of black women grinds my gears – like I don’t mind playing a bad character but the story has to be there. I don’t want caricatures.

What are your views on drama school training? It is a expensive and competitive avenue, what is your advise and opinion for those who don’t get in? 

I did a year course at Rose Bruford but I haven’t done a three year degree and I was only able to go on a full bursary. I think it is expensive and it is competitive but I wouldn’t rule it out. I think make sure you know why you’re going, what you plan to attain, and understand that it is work like anything else. It’s a good way to learn and grow as a professional but it’s not the only way. There are so many places to train that have courses that are part time, full time and seasonal. There are masterclasses, workshops, seminars, talks, events. I mean there are opportunities to development outside of “drama school” if you look for them. There are teachers at drama schools who work freelance so they are probably teaching in other places as well. I think once you’ve done your research and spoken to a lot of people you will find that there are a ton of resources out there especially in a city like London.

More and more actors are writing and producing their own work, do you think this is the way forward?

I think that’s the way it going – creating your own content. It’s the way to be heard, seen and not bored to death. As an actor you don’t really get that much creative control and a lot of it is waiting around but when you write or produce, well, then you get to tell your own story which is very empowering as a performer and keeps you proactive. Yeah, do it! Make it!


What work would you love to create? Or projects your have at the moment ? 


Possibly a one woman show at some point. I wanted to make a short film about a piece of bacon and an egg on the run from being eaten, but then I realised I was hungry and hadn’t had breakfast!! but wouldn’t that be an awesome debut?!

Actor awareness is about Diversity, with the media and our ethos empathising ‘not enough working class representation’ what are your thoughts?

I think the initiative is great. Acting, like any art, is not about class. It’s for everyone.

Leo Butler

boy

‘Boy’ 

Tuesday 5th April – 28th May

@ Almeida Theatre

Are there playwrights that inspire you or other artists that inspire your work?

Charlie Chaplin, Laurel & Hardy, Lennon & McCartney. A lot of film-makers too – Stanley Kubrick, Woody Allen, Akira Kurosawa, Werner Herzog, Martin Scorsese, and Alan Clarke. Oh, and I love the big American TV shows like The Walking Dead, Mad Men and Game of Thrones.

As for playwrights, too many to mention, but Beckett has always circled me, and I always go back to Shakespeare. Debbie Tucker Green and Caryl Churchill are pretty special aren’t they? When I was teaching at the Royal Court, I had the fortune to work with some amazing playwrights in their home-countries. Blessing Hungwe from Zimbabwe, Neil Coppen in South Africa, and Bosco Israel Alvarez in Chile – to name just three – they’ve all written these amazing plays that haven’t been produced in the UK yet.

You have written a steady stream of plays, many produced at fantastic venues such as The Royal Court and The Finbourough. Your plays have diverse themes, where do you start in the ideas progress?

I just try to be as honest with myself as possible and trust my instincts – and my instinct usually manifests itself in images, moods and bits of dialogue. It’s rare that I begin with a topic or a political agenda, that’s something that evolves as I’m writing. BOY began with a series of unrelated scenes and images of a teenage boy wandering around different locations in south east London. I knew I wanted to write a play with lots of scenes, following around this lonely kid, but it took a while for any themes to emerge. I don’t like beginning a play with a concrete theme as it can put unhelpful limitations on my imagination, I prefer to let it develop in parallel with the story.

‘Boy” is a recent play being produced at the Almeida, can you tell us abit about this play? What was the hardest part of writing ‘Boy’?

It’s about a 17 year old kid who’s left school with nothing, who doesn’t have much to look forward to, and who isn’t being supported by the world around him – family, friends or the state. Over a couple of days we see the world through his eyes as he struggles to find something to do with his day – and, in the wider context, his life.
One of the most challenging aspects was writing the appendix of characters and scenes that surround Liam on his journey – some of which we use in the production, some stuff we’ve left out (although it’s in the published text). The first appendix was longer than the actual play, but a lot of it I’ve shifted in the main text as I didn’t want it to seem separate from the ‘main’ play. The other characters – whether it’s a Professional Middle-Aged Man or a Homeless Teenage Girl – are just as important to the story as Liam is.

Faces in the Crowd was a play that was quite hard hitting in the face of reality, is Boy another piece along the lines of getting people to look at Britain today?

Yes, that’s the aim, I’d rather my plays were hard hitting than soft stroking (I reckon there’s a time and a place for that!) But, saying that, I’m not a journalist, and I imagine the play can be watched as a purely emotional experience regardless of any political context. It’s also quite weird and dream-like – which I also like. It doesn’t matter if you agree or disagree with the play’s political message or gesture or whatever, you’ll still get something from the play.

You have been working alongside creatives at the Almeida, has this be a good process? Sasha wares who directed ‘Game’ is taking the Directing helm, what has she brought to your vision/writing?

Sacha’s amazing and, honestly, she’s one of the hardest-working directors in the business. She’s the one who brought it to Rupert Goold at the Almeida and made it happen. And her vision for the production (along with designer Miriam Beuther) has definitely influenced some of the later rewrites. Way before the production we’d spend these long afternoons in coffeeshops discussing and questioning and working through the play – she’s a great ‘trick’ and ‘cheat’ detector, so you can’t get away with sloppy exposition or convenient events to push the story along as nothing gets past her. So, yes, she’s been a great collaborator and any playwright would be lucky to work with herButler_Leo

What do you enjoy when working with other creatives?

Writing means working on your own 95% of the time, so you relish the times you can work with other people on a production. And it’s especially magic when they take ownership of it. With BOY we’ve got an amazing creative team and it’s magic to watch them put their creativity and imagination into the show. And then there’s the actors, all twenty six of them, who are the life and soul of the play. They bring your words and characters to life, and they do a far better job of it than you imagined on the page, and so it makes the weeks and months of (often torture) at the writing-desk all worth it.

In the press at the moment working issues and actors is a hot topic, it says issues and actors from working class backgrounds aren’t being fairly represented. How do you feel about this?

At the end of the day, an actor shouldn’t be judged on his or her class. But there is a dreadful imbalance in diversity because it’s very difficult for working class kids to afford to go to drama school, so they can’t follow the traditional route of drama school, showcase, agent, unemployment (and, if you’re lucky, a job).
This isn’t helped by theatre programmers who may have been reluctant to stage working class dramas in the last few years because they don’t want to risk alienating their core audience or to seem to appear unfashionable.

The government are constantly cutting funding and taking artistic subjects out of school, if you could do one thing for children in schools right now what would you do?

Invest in state schools for more teachers and better facilities and put art & creativity, alongside science, at the heart of the curriculum right the way through primary and secondary education. Music, drama, and art should be valued as much as physics, biology and chemistry.