Theatre on the cheap

The Royal Court Theatre

i see you

The helm of new writing and one of my favourite theatres in London brings the play ‘I See You’

I SEE YOU by Mongiwekhaya – Genesis Foundation Project

“I don’t need your sorries white boy, yes. You heard right. You know white people think we are the same? We both look black. But only one of us is black”

Post-Apartheid South Africa, after dark.

Ben meets Skinn for a night out. But the party is interrupted by the police. Ben, a young student who doesn’t know his own history, is accused of a crime he didn’t commit. And Officer Buthelezi, a former freedom fighter, can’t let it go.

Based on a real encounter.

“Speak to me in your mother-tongue and I will let you go.”

Noma Dumezweni makes her directorial debut. After its run in the Jerwood Theatre Upstairs. So don’t miss out and book your ticket pronto.

Southwark Playhouse

Orphans– 10th Feb- 5th March

Start Time 8pm, Matinee Starts 3.30pm, Running Time 135, Price £20 | £16 conc. | £12 previews

The Story

Deserted in childhood by their father and the death of their mother, two orphaned brothers find themselves neglected and forgotten living in a decrepit house in North Philadelphia. Surviving as a pickpocket, the ruthless and violent Treat provides for his naïve and feral younger brother Philip; keeping him sealed off from the world, encased in an eternal childhood filled with Errol Flynn movies and Hellman’s mayonnaise.

Upping his game, one night Treat kidnaps wealthy Chicagoan Harold. With motives of his own, this charming and mysterious man adopts the boys, becoming the father they never had. Harold soon stirs tensions between the two brothers, changing forever the delicate power balance of their relationship.

Book Now: southwarkplayhouse.co.uk/show/orphans/#booking

Theatre N16

n16

A great venue that supports new writers and their work, run by the lovely Jaime Eastlake. This month they have several good shows taking the stage ‘Can’t Stand up Falling for Down’ ‘The Rules of inflation’.

N16 is a great venue that champions new writing, you can send in your work for scratch nights or full plays to their literacy department. They also put up castings on their websites for inhouse productions. Jaime Eastlake the AD is an accomplished producer, director and forward thinking man, trying to create a creative industry which provides a fair platform for people from all walks of life. Go see any show in their fantastic space and support an up and coming Theatre company with real ethos and passion.

http://www.theatren16.co.uk

Theatre 503

thetre 503

Another of my favourite theatres in London. A place of fab writing and never a dull performance.

Theatre 503 bring ‘FourPlay’ by Jake Brunger, Directed by Jonathan O’Boyle

16 Feb – 12 March, 7.45pm (Sundays 5pm),

£15/£12 (Pay What You Can Sundays)

Rafe and Pete have hit a rut. After seven and a half blissfully happy years, their lack of sexual experience is driving them apart. When they proposition mutual friend Michael to help out with their problems – knowing full well Michael has his own partner Andrew – what seems like a simple solution quickly spirals out of control. Four Play is a new comic play about sex and commitment in the 21st century.

Events

 lgbt

LGBT Scratch Night at The Bread and Roses Theatre

So every month we hold  a scratch night of new material, actors, writers and directors get a chance to showcase their work to an audience. At the last few scratch nights we have had directors, agents and producers come and the interest in the events is gathering momentum. If you follow our Twitter @actorawareness or our Facebook page, you can keep up to date with the next scratch nights, submission opening and deadlines.

LGBT night we have a line up including comedys, musicals and even a victorian piece

Book Tickets now:  http://www.breadandrosestheatre.co.uk/actor-awareness.html

Writers nights: Held every month in various locations. This is a informal forum for people to gather and generate ideas. It is a safe environment so people can bring an idea, a script, we can read material out or discuss ideas. Places are £8, please email tanheartssteph@gmail.com for a spot

Cabaret Night- More detail to follow but we have a very exciting event coming up!!

Film- we have several film ideas n the pipeline that hopefully we can tell you about one day soon, so keep your eyes peeled

Proforca

 proforca

Proforca creative is a brand new non-professional theatre company based in London. It was formed in late 2014 with the idea to create a new and dynamic projects which are more accessible than the average amateur theatre company. They want to create a group of talented creatives united by their love of theatre in a warm, welcoming and encouraging environment.

Proforca want to create great quality theatre to a very high standard, and it is their mission to provide opportunities for writers to have their work performed, actors to showcase their talent and to promote the work of the very hardworking people behind the scenes in the very important technical roles and provide them with a “stage” to develop and gain experience as well as put their talents to great use. By keeping it “small and friendly” is the way to go, which means creating fringe productions which will excite and challenge audiences with something new.

As a non-professional theatre company, performance is their passion, but also a way to channel talent from their “day jobs” in a new and exciting way. Within our Proforca there are artists, performers, designers, writers and other creatives, by combining these skills with  professional abilities (Marketing, Operations, Project Management, Finance, Communication, IT etc,) Proforca are able to create something interesting, dynamic, and perhaps a little bit different to the norm. Theatre allows them to step away from the office, put away the work email, (even if just for a little while) and go on those adventures which you just can’t have as part of the 9 – 5!

Proforca are always interested in meeting new and interesting people who would love to come on this new journey. If you are interested in getting involved with Poforca, please visit their website at http://www.proforca.co.uk or send an email to hello@proforca.co.uk

THE PLAY

    proforca poster

Proforça Creative presents “If I Go”
Ye Olde Rose & Crown Theatre, Walthamstow E17
Wednesday 4th – Saturday 7th May 2016
(Performances at 7.45pm, Saturday at 2.30pm and 7.45pm)

“This thing that the two of you have, it’s an illusion, and it can’t be this way forever…”

It’s been this way for years. Matt and Becky have lived together forever. In a parallel universe they’re probably married, except Matt’s going out with Danny. Then of course there’s Will, who been in love with Becky for the longest time, if only she’d be nice to him long enough to notice.  Can one phone call be enough for Matt to make the biggest decision of his life, and in turn, change everything for all of them forever?
Proforça Creative presents a brand new comedy drama written by James Lewis and directed by David Brady about moving on, moving out, drifting apart, and the people we can’t bring ourselves to leave behind.  (Please note the production contains strong language and audience discretion is advised)
Tickets are now on sale for all performances, priced £12.00
For more information, exclusive behind the scenes content and for tickets for this new production visit http://www.proforca.co.uk and for special offers follow us on Twitter @weareproforca, Facebook & Instagram @proforcacreative

Actors Awareness Special Offer: Use the code BLACKBERRY at checkout for discounted fees on tickets for any performance (subject to availability, offer expires April 30th )

John Byrne

john

You are a performer, agent, coach and writer, that is a lot of hats, what do you love doing the most?

I think for anybody working in the arts, having to juggle a number of jobs has always been an issue-although, due to both technology the current economy it has now become something people in all walks of life have to do. For me the common factor in all the things I do is using my communication skills to help people to break through the barriers that might be holding their own artistic development back, whether that’s a kid in one of my shows who thinks he can’t draw, or an actor at one of my workshops who thinks they can’t plan their business.

When you were growing up what influenced you towards the arts?
I was always keen on books, comics, stage and screen, but I think the book which really ‘flipped the switch’ for was a book I read when I was about 13 on the making of the original Star Trek TV series. It had interviews with actors, writers, set designers…all very commonplace in books these days but a revelation back then….and I suddenly realised that a) real people made these productions and b) I could be one of those people. I’ve been involved in many and various radio, TV and stage productions since then but I sometimes still feel like that 13 year old who is in wonderment that he is now behind the scenes like the people I used to read about.

What excites you about theatre?
Even with all the advantages of new technology, there are still a lot of practical hoops to jump through to get work on screen, whereas not only is there something very collaborative and ‘instant’ about theatre-even when it has been in rehearsals for weeks!-but it has the magic that it is different every time you do it.

What do you feel is a real and current issue within the industry right now? You have been supporting Actor awareness, firstly thank you and secondly what do you feel about Actor Awareness as a campaign?

For me, inclusivity is the biggest issue in the industry right now… but to be honest I think it has always been an issue, it is just that the internet and new media has given it a voice. As Lucille Ball (who most people remember as a comedian but who was also the first woman to ever head up a major American production company) said ‘Ability without Opportunity doesn’t amount to much.’ I don’t think it is an ‘anti-posh’ or ‘anti-men’ or ‘anti-white’ issue I can think of many ‘posh white male’ actors who are deservedly successful because they are undeniably talented, who work hard and who give back, and fair play to them-the problem is more that the initial opportunities to get going in the industry aren’t as easily available to some as to others, and I think this is the area where we all need to work towards a positive expansion. For me one of the most encouraging developments of the Actors Awareness campaign are initiatives like the scratch nights, so that as well as raising the issue of opportunity, the campaign is actively creating opportunity.

When you coach actors what’s your top tip?
Every actor is different but one of the really important steps for all of us is to work out what in our careers is inside our control and what is outside and making the commitment to work consistently on the stuff we have control over, while forming positive alliances and relationships to help get some leverage on the rest.

What do you feel about drama schools, the inequality (in some peoples opinion) in uni trained and drama school trained students? Drama school fees? Drama school showcases? The fact more and more drama school want to drop out of the accredited system, meaning finance will be available to less?
I always say that while training of any sort never guarantees success in this business, and there have always been successful ‘self taught’ actors, it’s a hard enough business at the best of times that proper training is big advantage-so not having access to training is by implication a disadvantage. Talent is obviously an accident of birth, which actors don’t have control over, as indeed is the social and financial situation they are born into. Hard work is something they do have control over, and in the movies that should be enough in itself to achieve their goals, but in real life , we still need to work towards a more level playing field to enable every actor to have an equal chance of benefitting from their hard work in both the training and career situations.

Thank you John for you time, here John has given us lots of words of wisdom and food for thought.

Adam Morley

Adam Morley Photo.

Adam is an award winning Director/Writer/Producer Artistic Director of The Regional touring company Baroque Theatre and is the Associate Director of the Canal Café Theatre in London, home of the Guinness Book of World Records holder world’s longest running live comedy show ‘Newsrevue’ which he has directed many times in London.

His work in film and advertising has twice been nominated at Cannes Lions winning in 2006 in the same year he was named as one for the creatives of the year in creative review magazine. He won an Editor’s Choice Award as Artistic Director for best new venue, Edinburgh 2008. He directed the winning show for the national new writing competition for Writers Avenue (Seconds) which received a transfer to the Pleasance Main House. He was awarded “Best Director for Theatre & Film” at the Fringe Report Awards 2012. Adam also directed an acclaimed UK tour of ‘Great Expectations’ for the bicentenary of Charles Dickens birth .

He directed ‘Dracula’ in the West End in a limited sold out run starring Andrew Lee Potts (Primeval). He has also directed Lady Windermere’s Fan and new writing based on the life of Woody Allen at The Pleasance Theatre staring James Phelps (Fred Weasley, Harry Potter film series), as well directing for the University of Cumbria and various Drama Schools across the UK . Adam has directed Moliere and Lorca in French and Spanish language for the sold out five star seasons at The Barons Court Theatre and internationally. Further credits include The Birds by Conor McPherson from the story by Daphne du Maurier.  Inspector Morse “House of Ghosts”, “The Haunting of Hill House”, “Up Pompeii” and many others for Baroque Theatre Company.

He is now joining Actor Awareness as our executive producer!

So Adam you are firstly a great director, I’ve had some first hand experience. What draws you to directing?

Thank you I am blushing, I love telling stories in a variety of ways using a wide range of methods, I enjoy very much working with actors and tech, my training was very practical, there is not a job in film or theatre that I haven’t done professionally and I always wanted to direct to use the talents and energy of casts and crew to tell great stories.

You’re director who really understands actors and works with them, what do you think a good actor offers a director?

Great actors offer me options as a director, no one wants an actor to just stand there and say “direct me”, we want creative minds and people prepared to take risks and experiment, look ugly and be beautiful.  I want an actor who has great personal discipline and a joy and hunger for what they do, someone who brings ideas and enthusiasm into the rehearsal room and is prepared to match my energy and commitment to any given project.

What makes an actor stand out for you?

Someone who treats the industry and themselves like a business rather than a hobby, unfortunately I do come across some actors who aren’t prepared to even do the bare minimum or present themselves badly, don’t read a brief properly or simply expect something handed to them with no effort. Talent isn’t enough you need to own your art and self, be prepared to sacrifice and do your research, constantly be working to improve yourself .

When casting a show for actors, can you give our readers some tips on answering an ad.

Yes, firstly actually read it properly….Don’t skim read, all the information you need should be in a well written ad and it is normally not much to read. Also do your research, find out about the project and the people involved, don’t just cut and paste a standard covering letter. Once you have done that ask yourself the question do you actually want to apply, is it the right thing for you, are you available? if yes then write a personal short and professional cover note stating your suitability relevant experience and knowledge of the piece and or the people.  If you are Dyslexic like I am have someone proof read it. No more than a couple of short paragraphs, as casting is a time pressured event people may not have the time to read a long detailed letter.

What excites you about theatre?

I love the immediacy of the theatre. The linear aspect of it; the excitement of an audience entering an auditorium before curtains go up. I love the feeling of captivating an audience and feeling the energy created by cast and spectator. The fact that no two nights are ever truly identical and different audiences see a show differently, find new elements funny or moving it keeps you on your toes.

What do you think as a director is your best asset? 

I am an actors director and what I mean by that is I feel I can communicate across concept and enthusiasm clearly and effectively to create a shared vision. I also understand tech and design which helps create the world of the show and I like to work  collectively as part of a company. Over the years I have gained enough experience to work smart and fast allowing for strong time management  and people skills. My shows I am pleased to say are generally happy ships. I lead by example using my energy and enthusiasm to motivate my teams.

You are a avid supporter of Actor Awareness, what drew you to being part of the campaign?

I strongly believe the Arts should be the leaders in helping to create equality and diversity. We have a duty to help raise awareness and create opportunity for education, this promotes and ensures a rich tapestry for our society. Actor Awareness  is striving to do just that and has grown so much in a short space of time, we don’t just talk about inclusivity we actually do something about it and get off our own backs without funding.  My personal goals and those of Actor awareness were well matched. I have always operated a blind casting policy for example (Where I have been allowed to sometimes right holders won’t allow it) and have actively fought for and tried to address the imbalance in the industry in my own small way. Actor Awareness has helped me reach more people and actively create more opportunity.

You are now executive producer of Actor Awareness, what do you want to do within your role?

I am delighted to have a more formal relationship with Actor awareness and I hope to be able to provide even more support for Tom and everyone involved.  It means I can help with fundraising and profile raising. We have a shared goal and I can now wrap up even more work and events with Actors Awareness, there are some very exciting developments and opportunities being created so watch this space.

In your own theatre company you are very adamant about highlighting gender equality and women voices, what do you think about both issues and representation in the industry at current?

They are appallingly represented. There is far too much discussion without anything actually being done to tackle the problems. The fact that Women especially are so under represented at every level is ridiculous and the mainstream top end of the industry must do more to address this.  Writer’s producer’s directors and casting directors we need to do more to get away from traditional gender stereotypes and start focusing on the human story regardless of gender. I understand there are commercial concerns but we must trust our audiences more that they can easily cope with gender reversal or blind casting. We need more female roles we need better female representation at the top end of the industry, enough now it’s 2016, the time for change is upon us not in five years’ time but now.

You often talk about not being pretty on stage, being truthful, what do you think about beauty and image in the industry at current?

The focus can on beauty especially body and weight is very worrying. Women are being objectified and considered more for their outfit then their character. I have created an actors bootcamp keep fit for performance. It is about Strength endurance and flexibility not about weight; you can carry weight and still be fit.

I often see in students or new graduates so much fear in their performances that hold them back because they are scared to look ugly on stage.  You can’t be beautiful on stage without allowing yourself to be ugly as well… Don’t hold back let go and allow you the physical and emotional expression needed to fully realise a character. We are all ugly, good looking, fat, thin, unique, the same…we need to get over ourselves and allow freedom of creation to occur for real truth on stage.

What do you feel about uni trained and drama school trained students?

I feel that the main difference is not one of talent but opportunity and technique. What I mean by this is at most drama schools your week is structured with long days working on a variety of techniques i.e voice and speech, movement etc. At University the contact and face to face time is much less.  Drama schools of a certain level have higher profile showcases and therefore more chance of getting signed by a top agent thereafter. Part of the remit of a university student is research and self-learning. This is very difficult in terms of the core fundamentals but not impossible. I feel the tide is turning and the days of snobbery towards University graduates as opposed to drama school ones is changing. I have employed both and find little or no difference. Ultimately your training should never end, there are financial and time factors to consider but there are ways to continually improve yourself. Sight read every night, practice cold reads, warm up properly, exercise read and watch plays, work harder.

What do you think about drama school training at current in todays industry?

Like with any training providers some are excellent and others not so much. I would suggest if you are considering the investment in drama school training do your research. Find out what they do and who runs them, who teaches on them, do they have a specific approach and what is it.

How do you think the arts cuts are affecting us? The government are cutting creative subjects in schools and reducing maintenance loans for students, eventually the divide in working class actors and those in a wealthier positions will be wider, do you agree with this?

Yes the gulf is increasing and this is having an adverse reaction to the industry. We need to find a sustainable model, we can’t just throw money at the problem we need to tackle the wider issues and consider funding and application. However there is a real danger of completely shutting out the working class from any form of artistic expression that is not directly relevant to an area of arts funding that needs a box ticking. The industry as a whole needs to examine where money is going and must help create business as well as supporting the unheard voice. Art and finance can co-exist they are not mutually exclusive, my company does not take a penny of public funding we survive via our commercial and creative ability and this is something that perhaps needs looking at and can be taught. Commercial does not mean bad and is often unfairly maligned. The way arts funding is awarded in my opinion needs a serious review to ensure transparency and consistency, the fact that there are specialist form filing producers who’s only task is to decipher funding applications suggests to me that perhaps the applications and requirements are incoherent and therefore not necessarily in every case going to where is best needed. It’s not about putting values on creativity, more considering the needs of larger publicly funded organisations and perhaps helping them diversify their income streams to free much needed money for other causes.

 

Thank you Adam what a pleasure!!!!!!!!!!

Instinct Theatre

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Lily Driver

Lily founded Instinct Theatre in 2014, directing and producing the companies sell out run of No Exit. She continues to co- run the business with Felicity Huxley Miners, and is delighted to be acting in their project ‘The Shakespeare Collections.’
Lily has recently co-written and will be acting in contemporary dark comedy, ‘Stench’. To run Feb 10th -12th in The London Theatre in New Cross.
Before Instinct theatre Lily involved herself in short acting courses at Lamda and studied acting at Italia Conti Academy. Lily is currently with 1st Talent Agency. She has been in several productions, her favourites include playing Eva in Accrington Pals and Ariel in The Tempest. Lily has also completed her 8 Lamda exams, including a distinction in Grade 8.
Felicity Huxley-Miners

Felicity played Inez in Sartre’s No Exit in 2014. She now co-runs Instinct Theatre with Lily Driver, acting and producing in The Shakespeare Collections. Felicity then went on to co-write ‘Stench.’ To be performed in New Cross at The London Theatre.
She trained at The BRIT School studying Musical Theatre before spending a year training at Italia Conti in Acting and is a member of the National Youth Theatre.
She has worked in a various theatre productions from Shakespeare to modern immersive and has also done a variety of film work. Favourite credits include a campaign for Vauxhall, Martha in The Cat’s Pyjamas with The London Showcase and corporate work for the RAF and NHS.

Instinct Theatre’s play Stench is about Kate, Beck and Tilly. They are three young women in their twenties, planning a quiet night together in their flat. However when Kate’s brother turns up and invites an unwelcome guest into their midst they really get the party going and things rapidly spiral out of control. As the second act opens events take a turn for the worse and soon the dynamic shifts, revealing far more about each character than they intended.

Instinct theatre also run ‘The Shakespeare collections’

The Shakespeare Collections are workshops and revision classes that focus on the GCSE Shakespeare plays. Each workshop is 90 minutes, and studies the text from a practical approach. Activities include focusing on the plot, key characters, and exam questions, and Instinct Theatre performing key scenes in classical text and in the modern translation

LIly and Felicity’s Theatre company, ideas and goals are growing, 2016 hopes to be a fantastic year. They our offering our Actor Awareness readers a offer on booking for their new play ‘Stench” please follow my page @steffieegg12 for the theatre discount code which will be available soon.

BOOK TICKETS for Stench with their 10% discount code. Go to the day which you want to book through correct link and claim your discount for some top theatre.

Wed 10th- http://www.wegottickets.com/sct/U3h5jcaA3X

Thurs 11th http://www.wegottickets.com/sct/gpYcRvBzZj

Fri 12th   http://www.wegottickets.com/sct/GGdSv9WKyA

Sat 13th (matinee) http://www.wegottickets.com/sct/3BVXrUTMbg

Sat 13th   http://www.wegottickets.com/sct/jmRajhCkzP

 

Events!!!!

Scratch Night

Every 6 weeks we put on regular scratch nights where 6 short 15 min plays are put on but for new diverse writing, actors, directors etc… to get involved and finally create work. So every 6 weeks we would change the plays/ writers at the scratch night along with the actors and crew to get a good turnover of diverse professionals in the industry. Every scratch night will have a theme such as disability, race, sexuality, etc.. this is giving a plethora of experience, diverse story telling and that opportunity for a professional credit with a chance to showcase ourselves. Also this is building the platform for the festival.

The first scratch night for Actor Awareness took place at The Canal Cafe. A big thank you to Adam Morley yet again for his help. Many people made this night possible.

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Check out more photos a review at theblogoftheatrethings.com/2015/12/21/review-actor-awareness-scratch-night/

The night was so positive, Actor Awareness has been asked to come back in February to do another scratch night, would you like to be involved? I’m looking for 6 new 15 minute shows to put on in February at the Canal Theatre. There has been a huge out cry of various gender issues within our industry so I thought this theme would be perfect. So the next theme is “Women’s Night” the only 3 rules are…

1. Just women writers and directors can take part
2. Do not exceed 15 minutes
3. Submissions have to be in by the 24th of January
Interpretation of the theme is down to you, all you have to do is email your new bit of writing by the 24th to tomstocks0805@gmail.com how does that sound?
Writers Night– January 22nd
Venue- Theatre Deli @7pm-10pm
This evening is where people can come and share stories, stage or film. The way we run this workshop is by letting each person discuss or read some of their play or script for feedback. There will be some actors to help with the read outs. Host tbc.
With the writers night we want to help people develop stories (any genre) to generate new ideas and hopefully even progress stuff through to the scratch nights.
Pls email tanheartssteph@gmail.com for confirmation of a place

Alexander Technique

Alexander Technique

Frederick Mattias Alexander is the pioneer of the Alexander technique which is taught throughout drama schools and conservatoires and is deemed essential to any actor who wants to work within theatre, especially Shakespearean actors. Frederick lost his voice and through self observation and self correction he found re-aligning his body, correcting habitual bad habits and habitual bad posturing, his voice returned. This is probably a rather simple explanation but what Frederick found was that the voice could be improved through correcting breathing problems that had been developed over the years. Alexander technique requires a journey of self discovery, it is a skill that will help you develop as a actor, singer or just in life, getting rid of tension and stresses of daily life.

Stanislavski understood that excessive tension interferes with creating the spiritual life of the character in performance, the Alexander technique deals with this directly. Often people are inhibited or impeding their progress in developing as an actor and the technique allows you to become aware of your tensions, allowing the you to develop new ways of performing.

The Alexander technique improves posture and movement, which is believed to help reduce and prevent problems caused by unhelpful habits. During a number of lessons you’re taught to become more aware of your body, how to improve poor posture and move more efficiently. The Alexander technique is used and taught by classically trained vocal coaches and musicians. Its advocates claim that it allows for the free alignment of all aspects of the vocal tract by consciously increasing air-flow, allowing improved vocal technique and tone. Alexander realized that people who had been using their bodies wrongly for a long time could not trust their feelings (sensory appreciation) in carrying out any activity.

If you have had no training and want to improve the quality and efficiency of your voice, finding cheap and good classes to help you improve your voice could give you the confidence to go for that role, whether it’s a Shakespeare play or a theatre role that interests you.

CITY LIT are based in Covent garden and they have plenty of reasonable courses. They provide 3 Alexander technique class options for around £100-150. The Academy is well respected and you will get your value for money in quality.

http://www.citylit.ac.uk

Headshots and Photography

This week I am bringing you a photographer that I met whilst in the Apple store pursuing MacBooks, the mecca of all writers dreams, caressing computers and feeling euphoric at the thought of retina displays. After talking he let slip he was a photographer and Ta Da here is his fabulous offer for our readers. Take full advantage! He can offer a arrange of different styles from standard headshots to styled shoots.

http://www.mekxphotography.com

 

OFFER

1 hour photo session

1or 2 backgrounds
Studio or Location
5 images retouched (further images are charged at £14.99 per image)
20+ unedited images
Make up artist available for an extra (£20)
Images will be made available to you via a dropbox link for download (Please note that all images have to be retouched before they are available to download)
All of the above for £95 Available till 15 Jan 2016 (Normally £199)
To book a session please email hello@mekxphotography.com with ref – AA2016
ALSO CHECK OUT  https://headshots.pedro-antunes.com for discounted offers till end of the month