Actor Awareness workshop

actor

Actor Awareness are holding a workshop and networking event. The workshop will be 2 hours led by Sarah Victoria experienced actress and instructor

Workshops are costly for any Actor. Like a athlete that goes to the gym, actors must go to classes to flex their muscles. The evening will be improv and duolouges. Then the chance to mingle and have a drink at the end. A chance to meet fellow creatives and broaden your network of people

We have 40 places available

BOOK HERE: https://www.eventbrite.co.uk/e/actor-awareness-workshop-tickets-27579401733

Theatre4Thought

logo

 

Theatre4thought are a new collaboration from actors Stephanie Silver (me, I write this letter, cheeky plug) & Emelia Marshall Lovsey.

The Play

It tells the story of two nurses working for the NHS: Emily, an optimistic newly qualified nurse and Sally an exhausted nurse in charge, both at polar opposites in their careers. The story follows Sally and Emily’s memories of nursing up until one fateful day that changes both their lives forever. Set in the present day, at a time when the NHS is short staffed, forced to make cuts and constantly under scrutiny. Where nurses are penalised, criticised and told by the government that they’re not doing enough after another long day. When you’re getting paid £11 an hour to do someone’s last offices, when you’re telling a mum their baby’s passed away or when you’re the newly qualified nurse on her first day, with little support and no time for error- how is anybody supposed to cope?

The Show’s EDFRINGE2016 Poster is below with all the details

Book your tickets here: https://tickets.edfringe.com/whats-on/monologues-of-a-tired-nurse

poster proper

If you are not going to Edinburgh catch it August 3-4th, 7pm, at TheatreN16, Balham, London.
BOOK VIA WWW.THEATREN16.CO.UK

SEE YOU THERE!

Angel Theatre Company

Eavesdropping

Angel Theatre Company will present a new and unique piece of theatre titled Eavesdropping at Barons Court Theatre, 5th – 16th July 2016.

Angel Theatre Company is an organisation dedicated to providing recent graduates with the opportunity to perform professionally within their first year of leaving drama school. They aim to produce challenging, character driven plays, selected specifically to showcase actors’ individual talents. Cast members work under the guidance of experienced industry professionals and are given a rewarding first taste of a career in the theatre.

The Company’s first production, Can’t Stand up for Falling Down, played at the New Wimbledon Studio Theatre in July 2015 to great critical acclaim, achieving 4 star reviews. Top industry professionals attended the performances and each cast member found the experience the perfect opportunity to make the transition from training to working!

Their latest production, Eavesdropping, is a new and original piece of theatre. It consists of a variety of scenes, each varying in length. Unlike most plays which are either scripted or devised, Eavesdropping is unique in that it is neither! The piece is created by a company of actors who spend several weeks covertly recording real people engaged in genuine conversations. These recordings are then scripted, explored and reinterpreted through rehearsal to find their dramatic potential. Each vignette is a miniature work of art in itself and offers the audience a great insight into the world around us. A more honest, poignant, funny and genuine reflection of society than most conventionally written plays could hope to be! In working on the pieces (which have no link other than they are all real dialogue) the creative team follow certain rules, including:

  • The people recorded must be complete strangers to the company and unaware they are being recorded.
  • Any names must be changed to ensure the anonymity of those who were recorded.
  • The actual recorded words are not to be altered in any way.
  • In shaping the scenes, the creative team may change the location of action, characters, relationships, add pauses/silences etc to enhance the theatricality of the scene.

The concept for the production comes from experienced actor and director, John Patterson, Artistic Director of Angel Theatre Company. He said, “In piloting the idea over the past few weeks, we have been fascinated at our findings. The pieces we have so far explored range from the deeply moving to the hilarious! These raw, revealing observations of real life are more genuinely reflective of the world around us than much conventionally scripted drama! Each vignette is a miniature work of art in itself, but when presented as part of a sequence, the piece promises to take its audience on a unique, entertaining, emotional and amusing journey.”

Ron Phillips, Artistic Director of Barons Court Theatre added, “This is one of the most original concepts for a theatrical piece we have ever heard of and it promises to be a fascinating production.”

For their latest venture, the company has grown from three actors to ten and includes recent graduates from Arts Ed, Italia Conti, ALRA and Drama Studio. Including Stephanie Manton who has just graduated from Italia Conti Academy of Theatre Arts., below she gives us a quote.

“Working with Angel Theatre Company has been a fantastic experience! The project is so interesting and has been a real creative challenge to bring the pieces alive without any prior knowledge of who the characters are or what they are talking about. The company ethos is what initially attracted me to working on the piece and I urge everyone to come see the show and support a group of talented young actors!” Stephanie Manton

Headshots

ap wilding

AP Wilding Photography

“Try before you Buy” Mini Sessions

July 9th 12th 19th 23rd 29th

No payment up front.

Studio Location: Hackney, London

 Assistance with styling/hair/make up. Relaxed, fun session – great for ‘headshot phobics’! Contact AP Wilding for info/times or to be added to her waiting list for future availability/promos.

apwildingphotography@gmail.com

Max Edwards – http://www.maxedphotos.co.uk

max edwards 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

You will receive retouched images in black and white and colour, Costume/Top changes if needed in a relaxed Environment.

20% off for students 21 & Under/Extra retouches £10

VANESSA VALENTINE

 van offer

I am very happy to bring you a discount for the fabulous photographer Vanessa Valentine. Her normal rate is £320! But she is giving our readers a discount at £270 if you quote ‘Actor Awareness’

A headshot is the first thing that lands on a CD’s or Agents desk, so it is important to invest some money and Vanessa Valentine gives the headshot that could book you an audition.

http://www.vanessavalentinephotography.com/

Gavin  Thorn – execheadshots.co.uk/actor-headshot-photography-surrey/

actor-headshot-guildford-1029

A 2-hour session with 5 hi-res digital images are just £150. If you share with a friend it works out as £75 each and they’ll add an extra image to make it 3 images each!!

UNDEREXPOSED

underexposed

How did Underexposed come together?

I had written a short play that happened to explore the idea of a certain underexposed stereotype. From this, I had the idea that underexposed stereotypes in general was an interesting subject matter to reflect on and one that had a lot of scope. There didn’t seem to be anything on the theatre scene that quite pertained to this idea so I decided to produce my own theatre festival under that theme because, well, why not?! It was a big undertaking but one that I knew would be fruitful and it felt good to be doing something so proactive. The next thing I needed was more plays so I put some feelers out there and ended up getting a huge number of excellent submissions from friends, friends of friends, acquaintances and total strangers! I selected the ones that I felt would worked best in the festival and alongside that developed another couple of my own pieces with the underexposed theme in mind. A meeting of all the writers took place shortly before Christmas with each one being given the autonomy to select their own crew and run their own show (as it were). There was still plenty of orchestration to be done and the small matter of my own three shorts to be cast and rehearsed (with me in them as well) so I had my work cut out for me but the show was definitely on the road by this point (or the engine was on and we’d backed out the drive-way anyway).

What is Underexposed ethos?

Exploring any stereotypes that get less publicity than the big ones, especially ones where stigmatisation is still more or less acceptable. It can be anything from the serious and worthy to the silly and light-hearted as long as it fits the bill. We’ve got everything from post-natal depression and revolution to hyper-spirited artistic types and deliberations over cocks and consequences in this one so it’s a broad church!

What is your current production about?

It’s a collection of nine short plays with each exploring the underexposed theme from different perspectives. They’re a mixture of comedies and dramas, although the balance is towards the former. The serious ones still raise some laughs and smiles and the comedies present some salient arguments so your mental and emotional muscles get a good flexing all round!

Actor Awareness is about creating equal opportunity, how do you guys feel the industry needs to address certain factors such as maintaining a inclusive arts culture?  (big question! sorry)

By avoiding stereotyping! I think it starts with the writing and the casting: have an open mind about what your character is going to look and sound like and don’t be afraid to think outside the box. In reality, people from different backgrounds can, should and do occupy positions in all walks of life and if you can’t reinforce that through art then when can you? So if you’ve written an ostensibly white middle class character – see some working class people for it, see people from ethnic minority backgrounds; if you’ve written an archetypal businessperson – see some women for the part. Will they be any less believable? They shouldn’t be – not if the character’s fully drawn. Still always pick the best actor for the part, don’t anybody any favours – it’s patronising, and don’t discriminate in the other direction – that’s not fair either. Just widen your perspective, challenge your preconceptions and keep your options open. We’re so conditioned to think of certain people looking and sounding a certain way that it’s going to take an enormous amount of reconditioning to change that. If I said to you ‘close your eyes and think of a surgeon’, nine out of ten people will summon to mind an image of a white, middle-class man. Are all surgeons white, middle class men? Of course not. It’s the same across a whole host of professions and ‘types’ of people. It’s the way we’ve learnt to understand the world from when we were babies. Changing laws, launching initiatives is difficult (but doable), restructuring centuries of psychological and societal conditioning – harder. I think that’s the way we have to go though really – rather than writing more plays and films tailored to specific groups of people and then having the main dominated by the same people it always has been. What I’m saying is hardly revelatory and of course it’s already happening to an extent -(although more so on the small screen than the big and not nearly enough in theatre). So, how about making the next big movie a character-driven drama about a business executive who has an affair with another executive (on an equal pay grade) and then happen to cast Idris Elba and an unknown 5ft 3 inch brunette actress like um, me. Sorry!! Couldn’t resist…. There was a serious point in there though.

Shows– 8th and 9th May at The Old Red Lion Theatre in Angel, Islington. 

Performance starts at 7.30pm and lasts around two hours with a fifteen minute interval.

Full details of all the different plays, as well as the writers, directors and actors involved in them can be found on our website at:

www.underexposedtheatre.com

The Mono Box

mono box

THE MONO BOX is a collaborative, not-for-profit project that provides actors and directors  with affordable access to a unique, ever-growing collection of plays donated by industry professionals.

They provide actors and directors access to an extensive collection of plays donated entirely by industry professionals. They support actors to find suitable monologues/scenes for auditions and showcases in a relaxed, informal environment and deliver affordable workshops, direction and Q&A sessions to support actors’ development.

They invite professional actors, directors and playwrights to be in their a collective which fosters and nurtures creative relationships.

Speech Surgeries are monthly events that inspire, nurture and inform actors of the parts and playwrights available to them. Whether you’re looking for a new audition speech or want some advice, Speech Surgeries give actors and directors alike an opportunity to discover plays and ask searching questions in an open, relaxed environment.

NEXT SPEECH SURGERY:  Sunday 10th April  @ 10am – 2.30pm LOCATION: Old Vic New Voices Workrooms, 16 Drummond Road, Bermondsey, SE16 4EE

Or you can have one on one session. They can offer new speech ideas if you’re in need, re-direction, audition technique, advice or just the experience of doing your speeches in front of someone other than your Mum before an audition. Email hello@themonobox.co.uk for more details or to book a session

Check out MonoBox events at  www.monobox.co.uk/#!events/cv9l. They have so many affordable workshops and events by leading industry professionals.

Interview with Jaime Eastlake at Theatre N16

n16

Jaime is a producer, performer, artistic director and executive director of Theatre N16 in Balham. The theatre has moved from Stoke Newington and is becoming a prominent fringe venue for new writing and quality work. Jaime has worked hard and knows the industry well having produced many plays at Edinburgh, as well as up North, he also understands the struggles actors face as he was one once himself. Theatre N16 is a fringe venue that has just signed with Equity @EquityLPNP and in the last 6 months and has paid all his staff a wage, that’s a really positive step forward for fringe theatre. Here Jaime answers my questions.

jaime eastlake

Jamie growing up how did you decide that you wanted to be an actor?

I always knew I was an entertainer, I needed a medium to express myself from a young age and that’s how acting came about. I would however say now I definitely don’t consider myself as an actor and I’ve gave that side up. As a producer and artistic director I see myself as a storyteller now. 

Who inspires you?

So many things and people inspire me. My real love is football and where I’m from, that always inspires me. I’m from the North East where passion comes in abundance. Heart on your sleeve types are the norm. That’s definitely what inspires me most. I just want to tell stories with real fight and against the norm. The individual that inspires me most at the minute would be Michael Harrison who’s one of the producers of Gypsy and The Bodyguard on the West End. We have ties to the same small town theatre where I’m from so to know somebody from home has done so well makes me know I can do the same.

What attracts you to theatre especially ?

I found it the easiest medium to get into so that’s what sort of hooked me. I have a background in filmmaking also, but with filmmaking it always takes meticulous planning and an excessive amount of time micromanaging. With theatre I’ve always had a knack of getting shit done with no money and just real graft so that’s the attraction really. I think i’d be making films if I had loads of cash. Probably because I enjoy watching films more than watching theatre If I’m honest. 

What advise as an actor would you give to other actors 

As a theatre maker I’d advise to mingle lots. Don’t ‘Network’ that words a load of shite, just mingle and see things and do things and meet people and just be nice and not businesey and just nice. Does that make sense? I cast someone on 1/3 talent, 1/3 suiting the part and 1/3 a nice human being who wants to talk about lots of nice things. And is nice. Also work hard, work damn hard. Nobody owes you anything, yes we all complain sometimes about how “difficult it is to break in to the industry” but stay grounded and remember you live in the UK, you’ve most likely got food on your table and your chasing a dream

You have produced many of your own plays at the fringe, how has this developed you as a producer, artist?

I started as a producer on the fringe to basically give myself parts and help people around me so as a producer it helped massively. The best thing is to make a load of mistakes and learn in the worst possible situation. I’ve learned so much from these mistakes and seeing mistakes and how not to do things around me.

What advise do you give companies going to the fringe?

If it’s your first time? I’d say don’t listen to what most people say. Most people will say don’t get pissed and whatnot. I’d say do it, drink every night, go to parties, meet loads of people, see loads of stuff. Chances are you’re not gonna get picked up in your first year, so just really be in the moment and enjoy it. Your part of the biggest arts festival in the world. It’s such a special feeling. Especially the first time you do it, it’s electric. And you just never know who you’re going to speak to a 4 in the morning after your eleventh cinzano and lemonade.

You have a theatre company based at The Bedford in Balham, what made you set up Theatre N16? What is N16 ethos?

I’ve always talked about having a pub theatre for years. I worked for a golf club for years and used to produce theatre in it’s clubhouse so I’ve always known the restrictions and the skillset you need to manage a building that might not necessarily ‘get’ theatre. I worked for another theatre on their management team for a year and decided I’d picked up enough skills and ideas and could do it myself, so that’s where N16 came about. Myself and a few other creatives opened it up for a short time in Stoke Newington (where the N16 comes from) and the idea was to provide a space that kept overheads as low as possible and that’s basically what it’s about. We believe in everyone being paid fairly, all of our staff are paid, we don’t run on volunteers like other places and we signed Equity’s fringe agreement too recently. Again reiterating what I said before, I’ve always had a knack of finding money and making work through hard work. N16 is an accumulation of that.

You promote allot of new writing, what about new writing excites you?

I like text and you just know when you read something that could be brilliant. As a producer on the hunt for the next big thing is an exciting prospect. I want to find the next Luke Barnes or Alistair Mcdowell. (Both Northern lads may I add)

You just signed a agreement with payment for fringe artists , kudos, what other issues do you think are most prevalent in the industry at the moment?

Issues is a tough word isn’t it. I think there’s many problems in the industry at the minute that lots of people are working extremely hard to solve, gender equality being a massive one but that’s obviously not just this industry. If anything I’d say our industry is at the forefront of trying to change things with loud voices speaking out and doing so much to make a difference.

You have been supporting Actor Awareness, firstly thank you and secondly why do you think it is important to offer your support? How do you feel about diversity especially working class actors?

I’m from a real working class area and it’s blindingly obvious that the people currently in power don’t give a flying fuck about any of us plebians. I think pushing working class people and trying to get them on a level playing field is something that has to be done. Diversity across all platforms of storytelling is a must for proper balanced work to breakout. I’m a massive fighter for this idea and will continue to be so. However sometimes if you just step back, see what you are trying to do, realise you’re white, male, live in the UK and look at what’s happening all over the world- it makes you push a little harder and continuously appreciate what you have, over what you don’t have.

Thank you Jaime for your time.

Readers DO go visit Theatre N16, they have fab new writing and plays being produced as well a literacy department for budding writers, where you can get feedback on your play. Jaime is the very essence of Actor Awareness, a northern working class lad pushing for a diverse theatre forefront.

Events

Scratch Night

The LGBT scratch was a great success. A review was written up by @Londontheatre1 here http://www.londontheatre1.com/news/133679/actor-awareness-lgbt-scratch-night/

Big thanks to everyone in the LGBT for making it a success to all the writers, directors, actors, tech team and theatre involved. Time to make it happen again, this time at fab fringe venue in Balham, under the theme of health.

HEALTH NIGHT! Jeremy Hunt, George Osborne and David Cameron are casting a huge shadow on our health system, with ludicrous cuts the NHS, the junior doctors walkout and of course the recent disability cuts in the budget. In light of this, the next Actor Awareness scratch night theme is Health Night. The interpretation of the theme is down to you and an interesting subject to explore, all shows must be no more than 15 mins and the submission deadline is 30th of April.

This will take place at Theatre N16 on the 30th of May. All shows selected for the scratch night will then have the opportunity to develop the show into a full length piece and have a 2 night slot in Theatre N16 in August! So if your an actor, director or writer come get involved and send all submissions to Steph at tanheartssteph@gmail.com please read the rules and regulations before submitting here http://www.actorawareness.co.uk/p/scratch-nights.html

nhs

ACTOR AWARENESS LAUNCH PARTY

LAUNCH

AUDITIONS! So Actor Awareness will be holding the official launch party/ fundraiser and we are looking for a variety of acts to perform in the night. Singers, dancers, comedians, magicians, sketch peices, any sort of act to take part in what promises to be an incredible night. Auditions will be held at The Canal Cafe on May 1st, if you would like to audition and be involved email tomstocks0805@gmail.com

We also have a great competition coming up with CCP so keep your eyes peeled.

Writer’s Nights

These will continue monthly. To be added to the mailing list for notification of time and place please email tanheartssteph@gmail.com. An informal sharing of ideas, plays (stage,film, tv , sketch or radio). Hosted by a guest writer each month. £8 for a session which runs 7-9.30pm. April TBC. Please follow @steffieegg12 for updates or join Actor Awareness group on Facebook.

Interview with Simon Nader

 

simon nader face

So you are a actor/director, when did you realise acting was something you wanted to do? How did you come to direct?

“Well… I was on stage as a little fat kid aged 10 or 11 and hammed the hell out of my role in Rumble wats it name as The King. Thank Christ is was comedy, I learned how much fun it could be hearing other people have fun and that was it! Actor. Job. Done. As for directing, I had trained at drama school in my twenties, done quite a bit of theatre and film work and assisted a few friends before I was offered the chance to direct a play called My Boy Jack by David Haig. As I had studied scenography as part of my degree pre-drama school, I felt it was a good chance to put my skill set  to the test and basically got the gig by being seen on stage as Timon of Athens by the producers. They liked my characterisation so thought “hmm, give him a go as a director!” So I did, and I loved it!


What do you love about theatre?

Well, if you mean creating it, I love the storytelling element, cliched as that maybe! Not necessarily just through the words either as I work quite visually, I am interested in the imagery you can create as a company with movement and the sound and light for me is integral to creating beautiful moments of atmosphere and tension. As an audience member as well as theatre maker, the best bit is always the same though – transporting characters and the audience to other worlds and making them care.


You also work allot in television, what do you like about filming?

Actually, the very thing I hated when I first started – stopping and starting! I love the fact that screen acting has just as much, if not more, technical craft involved to create work that not only is believable, but looks as good as possible on screen at each moment. I’ve been fortunate to work on a lot of big US TV productions and you really learn a lot from American actors and experienced directors as so much dedication goes into the craft to make it look as good as possible. I also love stepping into a huge set and there being just an army of people working together. It’s awesome! Just as in theatre, it’s a collaborative process with a lot of attention to detail involved by a lot of people.

You direct a youth company in peterborough, tell us bit about your role there?

Ok, so I work with The Young Actors Company in Peterborough and Cambridge, we have been going nearly 50 years and I absolutely love it. I treat the students the same way as adult actors, which they not only appreciate, but benefit from. Yes, we have a lot of fun, but we devise work that says “something” and essentially I try and give them a taste of drama school training as we create theatre and practice the various acting techniques to build confidence and hone craft. 

You are currently taking 2 plays to the Edinburgh fringe 2016, a man with many jobs! Can you tell us bit about the plays?

The show I am directing is very exciting – The Monologues of a Tired Nurse, written by an actual nurse who is now also training as a professional actress, will be at The Space. It’s a two hander with very talented actresses playing the nurses and it’s moving and funny, and very raw. We want people to not have a stereotypical view of nursing, but really think about the human condition. The human condition in all its facets – we literally examine it! 
 
I’m also in, and the co-creator of, a ridiculous, spectacular B-Movie homage called (it’s a catchy title): Escape From The Planet of the Day That Time Forgot! Myself, actor/director Katherine Hurst and actor/director Gavin Robertson, both renowned particularly for their physical theatre work, have designed a show that we unashamedly want people to just sit back and enjoy. We are at Assembly Roxy for the whole of the Edinburgh Fringe and it’s our first collaboration since the acclaimed The Other Side in 2009. We’re also touring internationally. Both Katherine and Gavin are award winning creatives so it is always fun and inspiring to work with them.

You have been to Edinburgh numerous times over the years, what advise would you give to people heading there this year?

Save your money in advance, it can get VERY expensive… Also, don’t underestimate the power of marketing and getting the reviewers in early if you can sway people. Be nice to everyone as word of mouth really is hugely important and for God’s sake, don’t take any shows up there you don’t put the appropriate effort into. It can get pretty harsh, pretty quickly and you get out what you put in… don’t just do it to “do the festival.”

What do you like about the roles of actor and director, do you prefer one over the other?

They both have their attractions and in all honesty, it varies job to job. I love the challenge of acting in terms of the characterisation and making people believe what they are seeing and very importantly, to connect with the other actors in a company on stage as if you are really there. It’s beautiful to create emotion and art and I like to play even during a long run, and go with my feelings, instincts and reactions and have that from the others too and see what happens! I love that no two performances or on screen, takes are the same and I love that little choices can alter the fabric of meaning hugely. As a director, I’d say stress levels are much higher, but the payoffs are huge! You get to see other people work up close and to gain inspiration from everyone’s gifts to create great art. I also love seeing someone progress in confidence as we work together and try to tell a story the way we feel it should be done. 

What would you tell your younger self?

Don’t be such a doubter. Don’t try to overcompensate for your lack of self belief by trying to prove yourself. Trying too hard usually results in bad results.

You also coach people on monologues and have sat on drama school panels. What advise do you give those people auditioning for drama school?

Trust that the people there on panels want you to do well. At the end of the day, you have no idea what panels or directors, casting directors for that matter are really looking for from you. If you are worrying about what they are thinking you’re not being yourself and that is your biggest selling point. If you can eliminate that and then work the monologues a little with some outside advice to help make bold choices then you will feel better and have a better chance of doing well. Generally I don’t care how well someone can learn lines. I do care about whether they have connected with the emotion of it and can adapt to direction. You do not need to be PERFECT. It doesn’t exist and you are going to drama school to learn the technical skills as much as anything else. Panels are not looking for a finished article. What would be the point?! I also care about how you come across as a person. Be lovely, just be yourself and make mistakes then recover confidently, don’t be arrogant and defensive.

Who inspires you?

Artists who care about the work, not just the adulation or the money. That goes for people who make great music and other art forms, as well as actors. My students also inspire me. The way young people can be unaware of their instinctual gifts and come up with something that is more honest and clever than the most experienced professional is always an inspiration.

What issues to feel you face most int he industry?

I think it takes time to take your ego out of it for a lot of people. I’ll use myself as an example as for a while, I wanted to be seen a certain way, hard man types and such and such. Sometimes we can be afraid to look weak, even if that is character but of course, that is ridiculous! If that is your type, embrace it. I got hung up on knowing martial arts, being bald so therefore looking a certain way but physically, I’m quite slight and short so I’ll never be in constant work that way! What I have learned to love is playing weakness, weaselly types, even taciturn outcasts or nice guys. So I’d say my challenge was accepting my type!

Do feel the industry is inclusive and diverse? your thoughts?

I do not feel it is as diverse as it should be at all. I have worked in casting and as an agent as well as my work on stage and screen and one thing I’m certain about is that unless roles are specifically detailed as “other” the establishment which is largely white and middle or upper middle class in England see all roles through those eyes unless they are specifically labelled “disabled”, “gay,” “black” or “Arab” etc. I feel that Hollywood does not get off scot-free either because of the very specificity of identity and perception of type. Bad guys are Middle Eastern or Upper Class English! Heroes in blockbusters are all supermodels or body builders. Now this is not necessarily all the fault of the production companies and the industry – there is an element to humanity and we see it reflected in the media all the time, where people want to see the ideal, see what they are not, as that seems to be shiny perfection. So the industry reflects that as much as the industry creates it! So diversity in the industry is an interview in itself…

Do you feel it is important for an actor to do many roles as yourself and be the creator of their own work? 

I think it depends on each person and what they prefer for themselves. Personally, I like creating through devising and writing as much as I like getting work from other sources too, the collaborations are really interesting. But, as I get older I realise that the important things is to enjoy what you do. If you aren’t having fun, you’re doing it wrong!

Ed Eales-White

ed eales
Growing up did you always want to perform?
Yes.  Although it wasn’t overt, I didn’t perform in the school plays or have any drama classes. I used to perform impressions for family and friends, and generally act as a source of light entetainment. I also loved the glory moments of sport. In football I was always searching for that moment I dribbled past everyman on the pitch and scored. So egotistical and ambitious from an early age.
How did acting come about?
I guess as I grew up, it became increasingly inevitable. Drama was the subject that captured my imagination at school and I followed that onwards into A-Levels. I then studied Drama at University, without actually contemplating Drama school. It most definitely took a little while post university to consider myself a fully fledged Actor. I did a short acting class at New York Film Academy, various short courses in London, a bunch of low budget short and feature films, fringe productions and eventually I started to gain confidence in what being an actor meant. Although that hasn’t stopped and I’m not sure it will! I’m continually learning on the job, from rejection, from success and trying to challenge myself.
You also write, when did you decide to start writing your own stuff? 
University. Myself and three others (Ed, Rich & Joe) decided to write and perform our own fortnightly comedy sketch show. It was a great outlet to try things out as a performer and writer. From there I went on to create, write & perform in sketch group Clever Peter (with Will, Rich & Dom) it took us to the Edinburgh Fringe on multiple occasions, critical acclaim and a BBC Radio 4 series (2012).
What do you enjoy about the writing process?
My writing has tended to be on my feet or rather that’s my preferred writing style, as I love the collaboration with other people and find it easier to express ideas by showing rather than writing it out. To date I have not found great enjoyment and enlightenment in sitting down and writing alone, but I’m not discounting the future, who knows.
You have Sketch show ‘Bucket’ Can you tell our readers about your sketch show. When did you start and how did the idea come about? When did you start working with Jon?
Yes. Bucket is a double act sketch comedy show, myself and Jon play stage versions of ourselves intertwined with sketches. We did our debut fringe show at Edinburgh 2015 and have recently finished a run of our show at the Soho Theatre. I’ve worked with Jon on and off since 2009, but this was are first full collaboration together. It’s best described as a very performance led sketch show, both in how it was made and the sketches themselves which tend to be things we have an interest or experience in performing.
bucket
What attracts you to the medium of theatre?
I love the immediacy of theatre. It’s live. There is no escaping what is about to happen, it’s very exciting. I also love the depth of characters that plays explore. Getting the opportunity to play Josh in a brilliant piece of new writing by Jon Brittain called ‘Rotterdam’ was great. I hope to be involved in more theatre in the future.
Actor Awareness is about creating a diverse culture in the arts, how do you feel about the talk of ‘not enough working class actors’. 
Well there’s not enough. It’s fundamentally about opportunity. People just want fairness, to feel like they have the same chance as the next person. Unfortunately, that isn’t the case. I’m not sure some people even register acting as a possibility or understand how they would go about getting into it.  So it can only be a good thing that people are talking and hopefully it will lead to an increase in opportunity, education of those opportunities and support for those that need it.
You have been to the fringe with your show, what advise to you give to newbies venturing to the fringe this year?
Take risks. Listen to your own voice. Don’t be disheartened if you don’t get big crowds, if you believe in what you’re doing then keep pushing and perhaps you will meet someone that lights up a new path.
What piece of advise do you give to any performer? or your younger self even?
Well everyone I’ve worked with is different, so don’t have blanket advice.  To my younger self I would say ‘No one knows what you want unless you tell them. If you’ve got something to show, show it.’