Spotlight & Actor Awareness present ‘Intergenerational Night’

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Monday, 15 August 2016 from 19:30 to 21:30

Spotlight UK – 7 Leicester Pl, London, WC2H 7RJ

Our first Spotlight sponsored event is coming 15th August. Spotlight are even giving away free tickets to those registered with them. So go to the eventbrite link and book your ticket now for a awesome night of new writing!

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Spotlight are supporting us with this exciting new project . This is an integration of younger and older actors learning off of each other and tackling the issue under-represntaton of older actors in the industry. So please come and support these incredible new short plays.

Plays

Our Father by Stephanie Silver
37 by Nick Mwaluko 
Safe Word by Ribs Norman
Joan and Oliver by Nicola Amory

Spotlight members can attend for free, so you will need to show proof of membership (Spotlight profile or card) on the door, non members pay £8.

BOOK

https://www.eventbrite.co.uk/e/actor-awareness-intergenerational-night-tickets-26419573656

Actor Awareness Events

LAUNCH

The Actor Awareness Launch went off with a bang. After 2 years in the coming it was finally a proud night for Tom to be able to officially launch his campaign. I am a proud part of the campaign and the launch just showed the talent was off the chart. We had amazing poetry , comedy, singers and plays that showed a diverse range of talent. We unfortunately didn’t have a photographer to show pictures, so next time just make sure you’re there!!!

Hosted by Helen Scott

ACTS

● The cast of Tolkien- A New Musical
● Scooter by Paula Connolly
● Joe Bo- working class poetry
● The Monologues of a Tired Nurse by Stephanie Silver
● Johanna O’Brien – Singer
● Alice Marshall- Comedian

● Love And All That Crap by Oliver Retter
● Birth of a Nation by David House
● Ionica Adriana – Singer
● Netflix and Chill with Bae by Tom Stocks
● MDs Comedy Revue by UCL Hospital Medical Students

class night

The Class night was @GuildfordFringe on June 30th.

The Plays that have been chosen were staged:

Auf Achse (On the road) 
By Joe Staton & Patrick Renton

THE ROBBING CLASS 
By Michelle Payne

Fresh With Promise 
By Felicity Huxley-Miners

CLASSIFIED
By Jayne Woodhouse

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Our Health night was a raging success and each show from the night has been giving a evening slot in August to produce a 40-60 minute show of their original scratch piece!!!! So remember to keep following and grab your tickets when you can. Being part of our scratch nights is about progressing and improving and a big thanks to Jamie Eastlake for given everyone this opportunity. The shows in include

The Endo Me by Ed Keates

In The Dollhouse by Spark Assembly 

The Staffroom by Michelle Payne

The Mds Comedy Revue Sketch Show 

The Birth of a Nation by David House

We also having amazing news regarding two big projects!! So please please follow us on Twitter and Facebook! Or your miss out @actorawareness

Free Rayne Artists

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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

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

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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

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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.

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!!!!!!!!!!

Bread and Roses Theatre Extravaganza

So cheap Theatre I hear you cry. Well I am here to save the day. Bread and Roses Theatre Clapham have a fantastic selection of theatre for the Month of February! Bread and Roses is a fantastic fringe venue that produces work by new writers, actual new writers, showcasing such a variety of work!! Smack bang in Clapham it is a hub of creativity.

Bread and Roses hold writers events for people to mingle and get feedback on scripts as well as other events such as Platform which is all about getting new, innovative, provocative theatre out there!!

1 BillionRising Festival

     festival bread and roses

This Month they bring you 1 Billion Rising Festival, Sunday 7th to Sunday 14th February with several events each day!! The festival is delivering a diverse line up of plays that covers the topic of violence and women. 1 in 3 women are raped on the planet during their lifetime, with a population of 7 billion, this adds up to more than 1 billion! This festival is a shout out to stop violence to women, come listen and spread the word! It’s time to open your minds and your hearts and see theatre that matters, theatre with a message, theatre that can make a difference. There is also talks, exhibitions and workshops.

Full lineup and details http://www.obrfestival.uk. Tickets from Free to £15. 20% discount when booking for several events.

See Bob Run

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Tuesday 23rd to Saturday 27th February at 7.30pm

Bob is on the road. Bob is on the run. But from what, or whom, is she running? Follow Bob as she hops from car to car telling her story to unsuspecting drivers as she tries to put her life in the rear view mirror. Will she make it to the destination? And what will she find when she gets there. A play by Daniel Maclvor and performed by Louise McMenemy.

Tickets: £9  Concession: £7. http://www.breadandrosestheatre.co.uk/see-bob-run.html

Last Orders

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Tuesday 1st to Saturday 5th March at 7.30pm

Albert productions brings ‘Last Orders’ written and directed by Lucy laing. On the anniversary of his death, a decade after the event that stole their last christmas together , 3 friends meet to commemorate the life of the one they lost. Last Orders explores the loyalty of childhood friendships and how we all grow-up to be something we weren’t.

Tickets: £12  Concession £10. http://www.breadandrosestheatre.co.uk/last-orders.co.uk

A Series Of Unfortunate Break Ups

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A Series of Unfortunate Breakups
Written by Lucy Burke
Directed by Imogen Beech

What sounds better than a play about relationships, break ups & makes up! sounds like my life! Well check out the fab show ‘A Series of Unfortunate Breakups’, It looks like it’s set be a top bloody show, so get reading then get booking your tickets.

If you want a chance of winning some FREE tickets (I did say free, you’re right) Tweet @actorawareness #UnfortunateBreakups with your funniest breakup in 6 words or less!!!

‘Some Riot Theatre’ presents ‘A Series of Unfortunate Breakups’, a new comedy about love, loss and Harry Styles.

“Being a teenager is hard enough, but it’s even harder if your soulmate is a global superstar who doesn’t actually know you exist…”

Watch three young couples try (and fail) to battle their way through the modern world of sex and dating with catastrophic yet hilarious results. Fresh from a sell out run at Camden’s Etcetera Theatre, ‘A Series of Unfortunate Breakups’ explores what happens after the happily-ever-after and is truly a show not to be missed if you want to learn what NOT to do in the big, bad world of love.

Robert Ansell and Katie Dalzell

The play was created by writer Lucy Burke. After graduating from Mountview Academy of Theatre Arts in the Summer of 2015, Lucy went on to create ‘Some Riot Theatre’ a new company made up of drama school graduates dedicated to creating, producing and performing new works. The play is the company’s debut play. It is currently being previewed in selected venues around London, before going on to the 2016 Edinburgh Fringe Festival.

Upcoming performances:

A Series of Unfortunate Breakups Valentines Day Special
Sunday 14th February at 20.00

Venue: Camden Comedy Club,100 Camden High Street, London, NW1 0LU.

Tickets £7 (£6 concessions)

WIN TICKETS BY TWEETING @SomeRiotTheatre @actorawareness and in 6 words describe your funniest breakup

SEE YOU THERE

Laura

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Twitter: @LauraWOK
Laura you grew up in Ireland, what is the arts industry like over there?
Is it evolving?
Ireland’s arts scene is similar to London. It is bursting with incredible artists who are thriving and surviving and doing anything they can to tell stories. Ireland is bursting at the seams with great stories and great makers so a lot of Irish artists end up in London. Or New York or any of the other great artistic centres.
Is it evolving? Of course! I believe our industry is one of the best at adapting to the needs and desires of a current climate. Because it is run on passion and curiosity and the pursuit of community or rather, the pursuit of  togetherness.  Our industry, the Arts does more than evolve, it excels.
You trained at drama school, what advise do you give actors who can’t get accredited training ?
Work! Do anything you can to be in a room of artists making work. Make tea, paint sets, write, hand out flyers, ask for interviews, usher, monologue slam, do student film, do Masterclasses, go to NT platforms – the list goes on. Do anything you can to be part of the conversation.
The majority of my training was done on the job. Drama school is an incredible experience but it’s not for everyone nor does it guarantee success.
What did I learn at East 15? Be the person they want in the room, deliver on each performance and if you need help or advise, ask for it.
Do you mean why are artists important? If so….
Artists, actors, theatre makers, writers, TV executives are all important because the world needs to be told stories. “A nation without stories is a nation without history.” Our cultural and individual identity is interwoven into the stories we share and listen to. During times of unrest and upheaval, the nation’s theatres are full of romance and happy ever afters and vice versa. Stories and story tellers are essential to humanity because they remind us what it is to be human.
You are a writer, actress, producer, with your own shows. What do you love about making your own work?
I get to share what I think is important with a room full of people. I’m not brave enough to let the world alone yet. I am sometimes afraid and angry and nervous about the things that happen everyday, the stories in the news, the stories we hear on TV and the stories we don’t hear. Sometimes I feel overwhelmed and helpless and I don’t know how to help but I can. Action is simple. Tell someone about it. Stand up for something. Stand up in a room of people and tell them. Let them laugh about it or cry or grow angry but tell them and they might want to do something too. My last work BRIEF was about the illegality of abortion in Ireland. This results in 12 women a day travelling to the UK and other countries, to access safe medical care. It costs €60,000 a week meaning that appropriate medical care for females is exclusive and economically prejudiced.  I spoke to women and men about it. Then I wrote about it.BRIEF carries their stories and shares them with anyone who will listen. It mightn’t have changed anything yet but it is a beginning.
What advice to you give other artists wanting to develop their own work?
Find your true artistic voice before you go after funding or support. I spent so much time pursuing venues to put on work that wasn’t fully developed. Take time. Take your time with the idea. Develop the idea fully, research it, start conversations about it, get mentorship, read about it, go see other shows about it then and only then start thinking about producing it. You will break your heart trying to sell half baked ideas.
How do you and the arts cuts affecting you?
I have only recently begun to receive funding so it hasn’t affected me.I became very resourceful very quickly. I learnt to make work on a shoe string. I learnt to prioritise what was important and of course I had a really generous network of artists that believed in my work and were willing to work for a reduced/deferred fee or sometimes for a skill swap i.e. I acted in their film and in return they filmed my performance. It has been challenging but its made me value my work and my skills as a practitioner.
What work have you got on at the moment?
In September I was commissioned by Hab Arts and ACE to make a sound installation for DOMESTIC, a live arts festival in Manchester. Pillowtalk is about a woman suffering from early onset dementia. It’s a piece written for my grandmother. I’ve struggled watching her grow old, losing parts of her. I suppose I want her to know she is important, that her life has meant so much. Pillowtalk reminds us that no life should be forgotten. At the moment? I’m looking for the next home for Pillowtalk.
What issues are do you face the most and an artist and how to try overcome them
Finding the time to develop an idea and the financial support to produce the work. At the moment I have several ideas that are ready to go into research and development but I spend most of my time sourcing funding and support. Self funding through part time work, writing residency applications or applying for grants is a craft in itself and one that is absolutely essential. But it does get easier.
Thank you Laura for answering our questions. You are a inspiring actor and creator of theatre that the industry is lucky to have. Laura is not only a great artist but she is a good friendly, generous person. Check her Twitter out and keep un to date with her shows, she is a thought provoking actor with incredibly passionate and touching stories to tell.

Scratch Night

Actor Awareness is all about finding talent that hasn’t had the chance or opportunity of finding its way to a stage or screen to show the world their story.

Several plans are in action to get people’s stories heard, scratch nights are something that is awesome for new writers and actors to be part of so they can grow their ideas, have a platform and get feedback.

The first scratch night is being held at The Canal café, this alone is awesome. Here at Actor Awareness we are fortunate to have the theatre interested in giving us space so the first night can forge forward. So if you are a budding writer with material that you feel you want to get feedback on, send your submissions into tomstocks0805@gmail.com or actorawareness@gmail,com. Submissions for December’s scratch night are till 7th November, the theme is working class.

The night will be 15 minutes slot for each act and at the end there will be chance for feedback from the audience, you can stick around after for a drink at the bar for more questions or praise ! In your submissions send your script, any props or stage set up that you would require, the more basic the better, but if you have something you think can work don’t be put off, but do look online at the space so you know what you’re working with.

http://www.canalcafetheatre.com

Get submitting!!!!