Headshots

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

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

 

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/

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!!

Theatre Review

by Charlene James at The Royal Court

(First produced at the Young Vic.)

This powerful, heartbreaking and haunting piece of theatre begins as a seemingly innocent, upbeat and sweet story about how two teenage girls become friends. This deception which lulls the audience into a false sense of security makes the rest of the play all the more devastating and shocking because this isn’t another ‘nice little’ story. This award winning play by Charlene James, instead broaches the difficult topic of FGM (female genital mutilation) in the UK, and gets it absolutely right. James dedicates the play to the staggering 500,000 girls and women in Europe that Amnesty International estimates are suffering from the life-long consequences of FGM. The play with it’s sharp wit and clever writing is fuelled by a sense of urgency and an anger that will eventually bring any unsuspecting audience member to tears by the end.

It is refreshing to see two female actors on stage, playing complicated and compelling females not stereotypes, whilst taking on the huge demands of the play. Adelayo Adedayo gives an outstanding performance and the acting from the small cast made up of Adedayo and Tsion Habte is brilliant throughout. Adedayo plays Muna originally from Somalia, a feisty, street smart and popular teenager who loves Rihanna and her little sister. Habte plays Iqra, a mild mannered, naive and shy teenager who recently moved to England from Somalia following the death of her family. The two teenagers who at first seem to be opposites, happen to connect and realise they share the same secret: they are both victims of FGM. Muna is scared her little sister will be mutilated meanwhile Iqra believes it is the only way for a girl to become a woman, the only way to be pure for their future husbands, a tradition that must continue…

The imposing set, made up of a concrete block of stairs, is effective in making the audience feel alienated and distanced. This adds to the sense of unease and discomfort we feel as the story unfolds.  That is until the last moments of the play, when the set turns sinister and almost becomes a graveyard for many young girls that are victims of FGM. This eloquent production from Gbolahan Obiesesan and striking image to end is enough to leave the audience thinking about FGM for a long time to come. The message is simple: the estimated 137,000 girls and women living in the UK with FGM (*1) cannot be ignored any longer. Since 1985, FGM has been illegal in the UK and since 2003 it has been illegal to take a child out of the UK to be cut (*2). This alone however, as clearly illustrated in this production, is not enough to stop FGM and more action needs to be taken.

In this harrowing and devastating piece of theatre, we begin by laughing with two school girls and end up weeping as their lives are shattered. The ending of the piece does not particularly come as a surprise, perhaps because of the inevitability of FGM for girls born into this culture. The piece begs questions such as: ‘how is this happening in the UK?’ ‘How can we stop it in the UK until it is ended worldwide?’ ‘Why is this even happening at all?’ This production highlights that FGM has more to do with community, culture and tradition than anything else: “We do it because we have always done it”, “It is who we are” and “We do it because it is our culture.” It seems so impossible and so unjustified that this is happening that the haunting thought: ‘What will make them stop?’ floats in the air like a bad smell as the lights go down. Unrelenting, emotional, moving and intensely uncomfortable: book your tickets for this show now because this story needs to be heard and change needs to happen. Prepare to be haunted for some time after the show.

Emelia Marshall Lovsey

Sources:

https://www.nspcc.org.uk/preventing-abuse/child-abuse-and-neglect/female-genital-mutilation-fgm/fgm-facts-statistics/  *1

https://www.theguardian.com/society/2014/feb/06/female-genital-mutilation-foreign-crime-common-uk *2

http://www.who.int/mediacentre/factsheets/fs241/en/

Osman Baig

‘Recently appeared in ‘Boy’ at the Almeida Theatre

Growing up did you always want to act, what inspired you? 

To be completely honest, no. I never harboured ambitions of being an actor growing up. I was never interested in school plays, nor was I even aware of the professional theatre on offer in my hometown of Bradford, Yorkshire. I’m aware that confessing such a thing is cavalier when being interviewed about a precious and burgeoning new career in acting, but please bear with me…I come from an impoverished, working-class family of four. Growing up, money was definitively tight. My parents moved to the UK from Pakistan in the 1960s with nothing to their names. They suffered through acerbic poverty and brutal discrimination – and were quite simply determined that their children never suffer the same shameful fate. So, long before “New Labour” extolled its virtues via slogans and soundbites, Dr. and Mrs. Baig were there to instill in me the paramount importance of “education, education and education” – above all else. Ergo, my nascent horizons were defined by the merits of sterling grades, university prestige and vocational ouvres in fields such as medicine, law and accounting.Acting wasn’t even near enough upon the horizon to be a joke. Of course, no-one is laughing now..!

 What draws you to acting?

 People. The quotation “be kind – everyone you meet is fighting a hard battle” is attributed to Plato, but it has lingered with me for much of my adult life.

I often felt like an outsider growing up. As a poor, Asian child reeling in the wake of Thatcher’s Britain, there were intrinsic barriers to everyday life: materialistic sacrifice was a norm; racism was unavoidable and evergreen; personal sensitivity was a luxury. I grew up feeling like an outsider looking in. And painful though it was to come to terms with my own identity, the process taught me the immeasurable value of being an “observer”. Yet by comparing and judging myself against others, I came to the conclusion that we are more alike than we are different – a realisation which was affirmingly human.

Acting allows me to draw on that endless well of human community on my own terms. By channeling my own doubts and demons into characters I can showcase on a stage, I both expiate my own wrangling insecurities while championing the vital and communal values of the wider human struggle. In essence, the personal becomes the universal. We all face the same challenges, deep down, whatever our circumstances – acting is just honest about it.

 You came to acting slightly later than most, what made you make the definite change?

I come to acting having worked as journalist for ten years: initially at a local Bradford newspaper (the Telegraph & Argus) then – following a scholarship that propelled me to London’s prestigious City University and its world-class journalism school – at Sky News, BBC News, Al Jazeera and most recently CNN, where I continue to work as a writer and producer in addition to acting. Many have asked me why a journalist would be drawn to acting. My answer is simple: at the heart of both industries is storytelling. Whether you’re playing a soldier fighting for the uncertain future of his nation, or interviewing a young girl who has risked her life and future to escape North Korea, the values of each craft is the same: to honour the voice of someone who has no other opportunity to express it. I adore journalism and am so grateful CNN has supported me as I’ve pursued my acting career, continuing to offer me work despite my taut and evolving schedule. Special credit must be given to my bosses and contemporaries there: Rob North, Sara McDonald, Alireza Hajihosseini, Vicky Bennett, Charlotte Parson, Connie Lee, Clare Hayes, Leroy Ah-Ben, Zharina Arnaldo, Melissa Mahtani, Nina dos Santos, Maggie Lake, Luke Henderson and Gayle Harrington for their patience and understanding. But proud though I am of the stories I can showcase as a journalist, acting allows me to truly get under the skin of other people’s stories. Journalism is by virtue impartial and objective: acting is wild and personal – and I relish its imperfectly real qualities.

 You recently appeared in Boy at the Almeida. This play has quite a honest look at allot of peoples lives that doesn’t often get portrayed, what relevance do you feel Boy has in the current climate?

Boy has given a voice to the voiceless. Through the story of Liam, playwright Leo Butler and director Sacha Wares have penned something new: a ballad of the unknown metropolitan soldier. He moves through our world, silent but solitary, unknown and undemanding, fierce yet fragile. He is a part of us all, yet a part we don’t always want to acknowledge. He is, as Oscar Wilde said, “Caliban in the mirror” – the reflection of a society we will one day be ashamed to have harboured.

 What drew you to Boy? what do you think the message audiences take away?

 It’s truly an honour to be part of this story. This spectacle heralds a brave new era in theatre: one defined not by narrative harmony or aesthetic mores, but by truth: a truth that can be ugly, accountable, unapologetic and political. It’s exactly what drew me into theatre in the first place – to lay bare the plight of the unsung warriors – the unsuspecting walking wounded – who stagger among us all.

 The play has a fab diverse cast which represents the society we live in, do you feel as a actor of ethnicity that you get the same casting opportunities as some of your counterparts?

 Growing up, seeing an Asian actor on mainstream television was so rare that, when it happened, it would be accompanied by a confused flurry of excitement as the entire family gathered around the television to witness such a vague breakthrough. Things changed in the 90s with shows such as Goodness Gracious Me and the introduction of Asian actors on soaps like Eastenders. But ultimately, those roles were defined by ethnicity. Even now, some of my friends – educated and internationally-minded people though they are – assume that I am certain to default to “terrorist” roles in terms of casting.

 I would have believed them too if it wasn’t for Sacha, who cast me in five roles in Boy – none of which were defined by skin colour. And enormous credit too to the show’s brilliant casting director, Amy Ball, for doing something I would once never have imagined possible: casting a diverse and unique company of actors in a play that does not centre on race. Together, I believe they have broken new ground – and if nothing else, they have inspired me to believe that I can be worth more as a performer than the myopic limits of casual precedent. Hopefully this can signal a new and more inclusive era in casting.

 Arts in schools is currently being taking away and reviewed by the government and their is a disparty in what children will have access to, what would be your message to keep arts as an intergal part of the curriculum

 My message is simple. For all those who may doubt the merits of the arts – who may indeed denounce creative endeavour itself as futile in an increasingly competitive world driven by technology and finance – please remember that imagination is more important than knowledge. Knowledge polices the present, but imagination liberates the future. Imagination is the first step towards human betterment. New realities begin with new dreams. And the arts do something no other field can possibly do: they support those dreams. The arts are the scaffolding of the dreaming mind, the closest thing mankind has to peering into his future and determining his place therein.

You attended DSL, what do you think about the situation of young people not being able to afford audition fees? Do you have any thoughts on the current situation of drama school audition fees?

 It’s unacceptable. Rising and exorbitant fees are an intergenerational crime. Is there no other way? The only way I was able to pay for training at Drama Studio London was because I had saved perniciously over a decade and was willing to sacrifice a mortgage for the chance to pursue a wily but unrelenting new dream. I supported myself, to the last penny – but I had to wait ten years to achieve that. I don’t come from the kind of background which would have invested thousands in acting training – let alone continuing that support as I looked for work after graduation.

People often say the fees are less here compared to America – but where are the scholarships and support mechanisms to match the U.S.?

 We need more respect for arts training at a governmental level to truly support underprivileged new artists.

 Obviously having had the experience of training at a top London Drama school, what advise would you give to other actors looking to train or auditioning.

 Training is not always essential, and it certainly won’t make you a more talented actor, but it can help hone technical skills. Training is respected in the industry – but if it’s too expensive or prohibitive, there are alternatives – such as joining Casting Call Pro and working on student films to build up a showreel to approach agents with. But ultimately, we need a culture that doesn’t idolise full-time training – that can offer more respected, part-time alternatives to talented students.

 What keeps you motivated as an actor in this tough industry?

There is no plan B. And I am not just doing this for me – but for people who may one day look up to me and say, “well, he did it – so can I!”

Little Pieces of Gold

What inspires you about new writing?

I love it.  We hunger for stories and voices that resonate with and validate our own inner lives. New writing does that. It’s an opportunity to see ourselves and our concerns reflected. The new writing scene is vibrant and continually growing and a fantastic opportunity for writers – new or established – to get their work seen and to engage with a community of like minded souls.

Why do you think theatre is important?

My god we need theatre!  It gives space to the grey areas. It’s a container for the shitty, muddled up areas of our lives. It can ask all the questions and doesn’t need to give the answers.

What excites you about theatre as a medium?

The aliveness of it; its ability to transport you; the utter passion, dedication and commitment of those involved; the idea of an audience coming together to find something new.  It can also be very frustrating. Lack of good roles for women, lack of female playwrights on the main stages, the ‘exclusivity’ in terms of lack of access to job opportunities and bloody West End ticket prices!

How did Little Pieces of Gold start?

LPOG started in 2010.  As a writer myself I wanted to collaborate with other theatre makers and make theatre instead of waiting around for something to happen.

What is your aim with Little Pieces of Gold?

Our overall aim is to give a platform to as many new writers as possible and to act as a catalyst for their writing and theatre making careers.  As we’ve grown LPOG has also become a launching pad for directors and another outlet for actors to do what they’re brilliant at.  Through LPOG I’ve been able to meet and produce the work of some very brave and thought provoking playwrights.  For example, last year we produced Sarah Hehir’s first full length play, Child Z about the Rochdale child grooming scandal. And for 2017 we are aiming to produce a new play by award winning Jaki McCarrick. It’s the true story of Eleanor Marx’s relationship with the trade unionist Will Thorne whom she taught to read.  Jaki has called it a feminist ‘King’s Speech’ since Will Thorne had dyslexia and it was Eleanor who helped him to negotiate that in order to read and rise through the ranks of the trade unions. What’s so exciting is that this full-length production evolves out of the short that we commissioned Jaki to write for our recent ‘Class Ceiling’ production.  Going forward LPOG aims to do more of the same but funding is always an issue and much good work just doesn’t get made.

Tell us how Little Pieces of Gold works?

We produce regular new writing nights throughout the year and we normally run an open submission which is advertised on BBC Writersroom and social media.  Sometimes we run themed submissions or I might ‘commission’ a collection of plays from playwrights with whom I’ve worked with previously. We generally receive around 300-400 plays which are all read and then shortlisted. The shortlist is then read by our team of directors who decide which play they wish to take forward. Casting, rehearsals etc is then down to the individual director.  Our shows have a great reputation for the high quality of the writing, directing and acting.  Like all other new writing nights we all work for free. No-one makes any money from these productions.  But it’s a much needed showcase for creatives to hone their skills, network and build up their CVs.   We’ve worked at various venues including Park Theatre, Southwark Playhouse, Theatre 503 and the Bread & Roses.

What advice do you give writers submitting to LPG?

Read as many plays and short plays as you can. Attend new writing nights. See for yourselves what makes a good short play.

What do you look for in writing, what makes you keep reading?

The twenty-four million dollar question! You know it when you see it.  But … a strong writer’s voice that comes through on the very first page; un-cliched writing; a unique take on something;

How do directors get involved in LPG?

Check out our website and send in your CV.  I will then arrange to meet with a new director to see if can go forward. The directing team for each showcase generally changes so we’re always looking to meet new directors. 

Actor Awareness is a campaign fighting for diversity in actors from working class backgrounds or low income backgrounds, how do you feel the industry stands at present?

This industry is no different from any other. Access to opportunities is hugely unequal. It is not class envy to say that the dice is loaded. It’s never been any different and it’s getting worse. Getting into a London drama school and paying London rents is one thing. But then afterwards it comes down to having to juggle day-jobs to pay the bills with acting jobs and auditions.  To do this requires an inordinate amount of energy, hope and faith.  And a photographic memory when an audition comes through for the very next day with the expectation that the actor needs to memorise a whole chunk of text.  There is no need for this when audition schedules and spaces are booked in advance. It’s disrespectful towards actors and it perpetuates a situation whereby only actors with the time and resources can give their best.   I love what actors do.  Working class or low income backgrounds or gender and ethnicity should not exclude actors – or writers and directors – from pursuing their chosen career paths.

Theatre Review by Emelia Marshall Lovsey

Meelia Marshall Lovsey

Reviewer for Actor Awareness

We have a new column in this months newsletter. I welcome Meelia onto the team as Actor Awareness official Theatre buff and reviewer. She has a kean eye for detail and this month she reviewed ‘Boy’ at the Almeida theatre.

‘Boy’ Almeida Theatre

• Written by Leo Butler
• Directed by Sacha Wares

As you enter the auditorium, the actors are already in character and busy at work on the stage which is made up of a rotating travellator. Everyone is too busy dealing with the stresses and tasks of their own lives to pay any attention to ‘Boy’. The play begins with him walking into the doctor’s office, except half the audience haven’t noticed him and are still talking.

‘Boy’ actually called Liam is played brilliantly by Frankie Fox. Liam is an inarticulate, isolated and awkward 17 year old boy who doesn’t seem to really know anyone, or know how to get what he wants or needs. He speaks (and mumbles*) in a mixture of confused multi-cultural jargon and London slang, which makes it difficult to understand what he’s saying. It equally helps him blend in and avoid difficult conversations. Much of the story is Liam listening into other people’s conversations with a lack of ‘drawn out dramas’. Despite this, the audience still feels empathy for Liam as he eats someone’s thrown-out-left-over chips and gives his half sister a pack of Doritos which she’s saving for breakfast. Although we never meet Liam’s parents, he does mutter something about them being on ‘zero hour contracts’. It suddenly doesn’t seem as ‘clean-cut’ as blaming Liam’s situation on abusive parents or addicts, it’s just hard to make enough money and survive, especially in London. Maybe they’re just too busy working?

The strong cast which is made up of a large ensemble is refreshing. It’s not in every show that you see such a diverse spectrum of actors from all different ages and backgrounds. There is no better way to represent London accurately. This means we get to see the struggle of many other characters including people sleeping rough, disabled people who have had their benefits taken away, struggling parents and punished dole applicants. Essentially the future looks bleak for anyone who doesn’t have a lot of money. This definitely isn’t a play that makes you feel particularly good or hopeful about the world, it’s scary to acknowledge that what is happening in this play is happening in our country and capital.

The unrelenting set which rotates round on a travellator is constantly being made up and then, almost instantly, picked apart. It transforms into different locations (anything from a park, to a street of houses to J.D Sports and so) as Liam walks aimlessly through the streets of London. The set is both clever and at times very distracting verging on irritating. It’s easy to get carried away watching the set being built in front of you and all together forget about Liam or ‘Boy’, which is who the audience have paid to watch. It is unclear whether this is something intentional or not, regardless when the show is finished one message is clear: ‘Boy’ is easily missed by anyone and everyone.

Though not quite as gripping, thrilling and heart breaking as Gary Owen’s production of ‘Iphigenia In Splott’ which is a furious call to arms, performed at The National Theatre earlier this year; this is still a worthy production. A great sense of empathy for Liam (and other’s) isolations and bleak futures was achieved. This play feels very current and necessary: things cannot continue as they are because the Liam’s of the world need our help- grab your ticket while you still can!

*A clear and appropriate character choice.

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

Free Rayne Artists

So firstly there is 4 of you involved in the theatre company, how did it come about?

Well, ever since meeting at High School, Rebecca and I (Matthew) had always joked about starting our own Theatre Company. After going our separate ways, graduating from different Drama Schools and meeting Olivia and Leanne, we felt that now was an appropriate time to form a Company. We believe that there is an undying need in this industry for the platform and showcase of new writers, actors and directors. 

Why are you passionate about new writing?

We are passionate about new writing for various reasons. Firstly, we believe that new writing is the future of our industry. With countless revivals happening at any given time, we feel that there is always a need for new writing from the playwrights of today. We feel that new playwrights SHOULD be given a voice and should be given a platform in which to tell their stories. It is also a great opportunity to Produce new work that no one has preconceptions of… Giving us ‘Free Rayne’ over these pieces. 

What inspires you to make theatre?

First and foremost, we are inspired to make theatre in order to give a voice to playwrights, actors and directors who may not necessarily be given the opportunity otherwise. We are story tellers and wish to communicate with an audience, be that through laughter or tears, we want to take them on a journey. 

Where do you source your writing material?

We source all of our writing material through social media. We created a Website and Twitter Account advertising for material, actors and directors. We were overwhelmed by the quantity AND quality of submissions; which made our jobs extremely difficult. NEVER underestimate the power of social media! 

You have a new writing night coming up at Theatre N16, which is a great Theatre (Actor Awareness love Theatre N16). The theatre is a champion of new writing. Tell us a bit about your first night, any teasers?

It’s a very quirky and intimate Theatre, isn’t it? We are thrilled that the premiere of ‘Spiral’ is taking place here. Without giving too much away, you can expect to be taken on 7 thrilling journeys by some of London’s finest up and coming writers, actors and directors. 

Actor Awareness likes to address different issues that we feel the industry is lacking to address on a wider scale. In regards to working class actors and people from low income backgrounds furthering themselves in the industry, what do you think are stumbling blocks, issues? any thoughts welcome, shoot…..

To start with, getting the funding for Drama School can be a HUGE stumbling block. It’s so expensive. Unless the training and Drama School is part of a University, where student loans are available, it is extremely difficult and unaffordable for many to attend. Therefore, for the unlucky ones who don’t receive bursaries, it can be an impossible situation. Another issue is the extortionate living prices in London, the hub of the performing arts industry. How are Actor’s expected to pay incredibly high rent whilst also trying to invest in their careers by taking regular classes, having head shots taken and seeing as much Theatre, Film and T.V. as possible? There needs to be more financial support for those wanting to train in this industry. 

Tell us whats in store for Free Rayne Artists?

You can expect more short play nights coming very soon. We are entirely committed to new writing and hope to produce our first full length in the not too distant future! Be sure to follow us on Facebook (www.facebook.com/freerayneartists) and Twitter (@freerayneartist) for upcoming projects, announcements and opportunities. Stay tuned! 

Tickets for ‘Spiral’ can be accessed through the link on our website: www.freerayneartists.com and/or directly from https://www.ticketsource.co.uk/theatren16

The 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

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.

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.

Interview with Simon Nader

 

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!