Antony Sher Masterclass

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Jonathan Pryce Masterclass
Current mood: productive
Category: Jobs, Work, Careers

Matt Wolf – Theatre journalist acts as interlocutor

MW: How did you come to the decision to be an actor?

JP: I grew up in North Wales – theatre didn't feature strongly and I didn't have the habit of going much. I used to watch plays live on television and occasionally went to see pantomime.

I then went to Art School at sixteen and from there went on to train to teach art. I had to do a subsidiary course and was told the easiest thing to do was Drama (!) Gerry Dawson was my tutor, he ran an amateur company which I started working with . It was through this that the suggestion was put to me to apply to Drama School, particularly RADA. I auditioned for Bristol and RADA and was excepted, I chose RADA because the waved the fees. I really fell into acting.

MW: What did your parents think?

JP: By then I was Twenty one and they didn't object, we didn't really have that kind of relationship.

MW: RADA must have been an introduction to London and London Theatre for you?

JP: RADA was all about discovering theatre and a repertoire of plays. I was raw material because I had never thought about wanting to act, so I had an individual approach.

I had a very bad experience when I played Pushkin (Chekhov) and had tried to discover what the man was about in my interpretation. The tutors tore into me, I almost gave up then but one tutor, John Harrison came and told me I was right to perform it in the way I did and not to give up.

MW: Was RADA a difficult time?

JP: No I loved it. Impro was my favourite subject. Keith Johnson taught me and Ben Benison worked on mime with us. Through Keith's comic impro style I was able to use humour to free me up to approach other work.

I was also trained in RP and so lost the majority of my Welsh accent.

MW: How did you get your first job after Drama School?

JP: I did Oklahoma! At RADA, Tony Haines was MD on the how and he was going on to the Everyman in Liverpool to do the Caucasian Chalk Circle. He recommended me and I went there for that show and stayed for 2 years.

MW: Why has regional theatre changed so much?

JP: In those days you had to go off and do your minimum number of weeks on your equity card. I regret the weakening of the Union in this sense, as regional theatre has suffered as a result. Then theatres around the country: Bristol, Birmingham, Liverpool, Manchester etc is where young actors went too to hone their craft. Aaron Dosser, Artistic Director of the Everyman focused on socialist theatre and all the new plays staged were written with a local, political slant (playwrights such as: John McGrath, Adrian Mitchell, Chris Bond). Richard Eyre directed a play at Everyman and asked me to go to the Nottingham Playhouse – that was the next step for me. Regional theatre was thriving at the time, it provided exciting, radical theatre – then Margaret Thatcher happened and her government had no interest in the arts – huge funding cuts ensued which had a very detrimental effect on theatres around the country. The changes were enormous and celebrity became very important instead of the craft.

I went from Nottingham Playhouse back to the Everyman to direct. I formed and ran a company for 9 months – the company included Julie Walters, Pete Pothelswaite and Bill Nighy – a great group of actors but I never wanted to direct again after the experience!

MW: How did your move to London happen?

JP: I was very happy in Liverpool – London was there for one day but I was in no rush. I did some TV as to supplement the theatre. At that time film seemed to be what other people did.

I had an agent, Jimmy Sharpy, who became my agent when I was working as a dresser fo another actor – he remained my British agent for 25 years.

The show which bought me to London was The Comedians. Peter Hall had introduced a scheme to bring regional theatre to London and so we transferred to the Old Vic. Alex Cohen then took the show and me with it to Broadway.

MW: You won a Tony Award in New York – did you want to stay?

JP: No, from NY I went to LA and went to many, many meetings. All were fairly horrific so I decided Hollywood was probably not for me and headed back to England.

MW: You have since made a lot of films – how did you re-approach  Hollywood?

JP: I did Hamlet and Jack Clayton who was working for Disney came to see it, that got me into films.

MW: Do you enjoy working between New York and London?

JP: Yes, although I did not do so much when my children were young. It is a very different experience, especially when doing a Musical on Broadway , theatre is held up by the community as much more than it is in London – there is also a greater sense of community among performers.

MW: How do you feel about performing American writers on the London stage? You are currently in Glengarry Glen Ross by David Mamet and you also performed in Edward Albee's The Goat.

JP: I have to do work in the theatre that will stand being repeated 8 times a week. Both these plays are incredibly well written and so are enduring and interesting to do. This is also why I enjoy doing musicals – they belong and are meant to be re-done.

MW: Glengarry Glen Ross – you were in the original film, has this been strange doing it in what could be described in the wrong order – film to stage?

JP: Well there were 15 years in between the two. So the play felt like a new experience – it is also quite different from the movie as there was an extra character added for the film version.

Mamet is the nearest thing to a musical without music.

MW: The rhythms of Mamet are quite different from other writers – is this interesting to perform?

JP: Mamet and Pinter fall into that same category, that there is a presumed way of doing them. They both say that what they have written is a guide not a necessity.

With Mamet it really helps if you use those guides.

When I did Miss Saigon I had never done a musical before. You have to follow the structure of a musical – the discipline of this is not restricting it actually gives you more freedom. This is also true of Mamet. There is a security with the words and the rhythms. If you follow Mamet you can almost use the saying Say the lines and avoid the furniture.

Questions from the Audience.

What are the differences between working with British or American actors?

JP: It's more to do with individuals and how they approach their work. It's about the differences between theatre and TV and film. If an American actor has done lots of theatre it is fine – because a stage actor knows how to share with the audience and other actors. If they are mainly a film / screen actor then nothing goes beyond the end of their feet – their performances are not opened up for the audience.

Comments on Improvisation

JP: Keith Johnson taught comedy-based impro. There is also impro around a text – to help you as an actor to open it up using your own words. Impro helps with your inhibitions about performing. In Glengarry Glen Ross we didn't actually do any discussion around the text or about what we were doing on stage because it all just fitted and worked.

Impro people on TV have a huge back catalogue that they can draw on when under pressure.

Have you ever had a dry spell?

JP: No, I've been lucky and always worked.

Do you ever get anxious about what you are doing?

JP: Only if you allow yourself to think too much about it. Don't examine it too much. Remind yourself why the audience is there and what they are getting from it, rather than thinking about what you do.

Do you have a technique or process?

JP: Not really – it depends in the production.

One thing to always do is to LISTEN to the other characters with you on stage, what is said about your character informs your behaviour.

What should you avoid to be successful?

JP: On a more positive – what you should EMBRACE is a real desire, need and what to do it. Mistakes you make inform successes you have later. You must always know it is hard work.

How do you get seen?

JP: Only advice I can give on this is, yes it is hard, but the best advice is to just WORK, whatever it is DO IT.

Do you have a favourite director you would like to work with again?

JP: I can list directors to avoid! Aaron Dosser was a huge influence on my career, he had great vision (former artistic director of the Everyman). It was very enjoyable working with Anthony Page on The Goat, he is very astute.

George Clooney was also an interesting, delightful and clear director (recently directed Jonathan in LEATHERHEADS, out later this year)

How do you make the transition between film and theatre acting?

JP: Louder in the theatre!

Seriously – when performing to camera you need to maintain energy in your body and mind when performing to camera. On camera if you think it, it will happen.

How do you maintain the energy needed for a long run in the theatre?

JP: Well my longest runs have been with musicals (Miss Saigon was 2 years) but there is a different energy needed for a straight play – in a musical you are carried by the rest of the cast, like a train. I think 3 – 4 months is enough for a straight play, it can be very draining in an emotionally challenging role. I met Lee Strasburg years ago and saw him teach (an experience I found quite horrifying). I asked him how one can keep the energy for a long run. His response was " You do it. It's your job". That is the right answer. Unless you keep the energy up it is an unsatisfying experience for the audience and for you.

Have you worked with any exceptionally good / bad actors?

JP: Is this the Madonna questions?! She is good to work with, extremely professional. De Niro was hard-work the first time and then he spoke more the second time!

Generally actors are great people – you occasionally come across an unpleasant person but they are rare.

Best prank in the theatre?

JP: My friend Nick played Pickering in My Fair Lady – every opening scene there was lots of ad libbing and he would say such ridiculous things that I would be almost hysterical just as I had to sing the opening song.

Do you get more out of performing musicals or plays?

I get a lot from both for different reasons.

MW: What about your experiences on Oliver!

JP: I really found Oliver! difficult – I didn't want to do Fagan, I had turned it down. However, I then went to do a film in Utah which was the worst experience I have had filming. It was with River Phoenix, with whom I got on with extremely well, but who then died part way through filming from a drug overdose. The whole experience was so awful I didn't feel like I ever wanted to make another film, so I contacted Cameron Macintosh and said yes to Fagan. A year later when I actually came to play the part, I was over the ordeal in Utah and wanted to be making films again. Every time I performed that part I questioned what on earth I was doing.

Is there a theatre you would love to work in?

JP: I would have liked to have done Miss Saigon at The National, but I will work wherever the work is interesting – if the play is right I'll go there.

How do you keep a sense of humour?

JP: A normal home life, good friends help. I have a lot of friends who are actors who understand. There are extraordinary things about this profession – one of the big downsides is getting the job in the first place. It is frustrating how many people there are don't know what they're doing in this industry. But the best way to keep a sense of humour is to have good friends and keep grounded.

All who attended thoroughly enjoyed Jonathan's Masterclass, he gave an honest, direct insight into his varied and successful career.

The next Masterclass is with RAY FEARON on 16 November at 2.30pm. It is nearly fully booked so go to www.masterclass.org.uk soon to book your place.

We look forward to seeing you at a Masterclass soon!

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Behind the Scenes at The Lord of the Rings
Current mood: creative

The Masterclass team were lucky enough to be given tickets to see the stage production of Lord of the Rings in June. The whole team were completely awed by the scale and spectacle of the production and collectively decided that it would be wonderful to give Masterclass attendees the opportunity to see how a show of this nature is put together. We approached the Lord of the Rings team and were delighted when they not only agreed to give Masterclass an afternoon at Theatre Royal Drury Lane, but to also ask set and costume designer Rob Howell to give a talk to attendees on how he came up with the extraordinary design for the show.

This event took place on Friday 21 Sep – 120 Masterclass attendees were shown the original model box for the production by Rob who then went into detail as to how the project started four years ago and how he aimed to illustrate the journey of The Lord of the Rings without breaking the story. This is where the idea came from for the extraordinary floor – which is made up of 17 different lifts and also rotates to give multiple levels in order to illustrate Tolkien's Middle Earth. Rob explained the design for this technical feat was made possible by using the computer software – Cinema 4-D, which allowed him to manipulate the landscape of the stage by the millimetre on the computer screen and to then program the actual lifts with this technology.

Rob talked about the highly collaborative element to pulling a show of this magnitude together, he worked with the director, Matthew Warchus over the four year period and together they made decisions as to the look and feel of the overall production. An overlying theme was to make everything as magical as the original story – to give the audience the chance to imagine and also to feel part of the experience. A result of this was that Rob made all the predominant elements of the set latticed, i.e see-through, so it gives the illusion of discovery. This was a theme that went into some of the puppets and costumes. The Black Riders are actors on stilts with latticed wire horses heads and long swishing black cloaks, thus giving the idea of a human on horseback. Rob explained that he decided not to give the horses front legs as this hindered the movement of the actor and was also unnecessary as the simple horses head made the black rider clear.

Following Rob's illuminating talk the Masterclass group were then taken on a tour of backstage. We visit Wardrobe Village, which is a long corridor at the back of the stage behind the set. This is where the male actors do all there quick changes, it's an amazingly compact space where Orc costumes hang next to Hobbit stomach padding. A fully made-up Orc (played by Adam Salter, Swing) joined us, rampaging through the wardrobe space which was hilarious and vaguely frightening! The wardrobe mistress, Claire, explained that in order for the more acrobatic orc's to move freely their armor is made from a much softer plastic. She also gave an indication of how rapid some of the changes have to be, so all the cast members have an allotted space in the Village and a wardrobe assistant is always available to help them.

We were then taken to the Wigs department where we were shown the Beard board, every male actor in the production wears a beard or a moustache and often has to change beards to be another character, this means that they aren't glued on as normal but are cleverly attached by thin elastic. Some wigs are human hair and have to be redressed every day. There is a big wig oven in the wig department which is a quick answer to hair-drying the wigs. Some of the elves have wigs which look like hair but are actually hard, like molded helmets to allow them to do acrobatics and not get bits of wig in their eyes. The radio mics are all hidden within the wigs just above the actors' foreheads.

Having had a good look at the wigs, we then went sub-stage to see the inner workings of the amazing LOTR floor. Theatre Royal Drury Lane already had a Victorian water powered floor lift system in place, which had to be removed, but kept safely so that it could be reinstalled after the completion of The Lord Of The Rings. The new lifts (17 in total) are all situated around a central disc which is also a lift and which can go 3ft above and 3ft below stage level. It was fascinating to see the workings of what is an extraordinary feat of engineering.

Finally we were all taken onto the stage and under the show lights, went to Middle Earth ourselves as the stage began to rotate and then sections lifted, while others lowered and the central circle rose up and then disappeared into the depths of the theatre floor. It was almost like a fair ground ride and made it even more clear how amazingly talented the actors who perform night after night on this moving landscape are.

The afternoon was a really fantastic opportunity for anyone who was interested in set or costume design, or who just wanted to learn more about working on a really big scale production. It was extremely kind of the producers, Kevin Wallace, the marketing company, Dewynters and the Lord Of The Rings team to allow Masterclass attendees and exclusive look at behind the scenes.

The next Masterclass will be back at Theatre Royal Haymarket, which is a hive of activity at the moment as the first play of the new Theatre Royal Haymarket Company season, The Country Wife, gets in this week. To find out about how Masterclass is involved in this and what else is coming up visit: www.masterclass.org.uk

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Opening Doors Putting on a Play

Opening Doors – Putting on a Play 2007

Panel:

Producers: David Pugh and Dafydd Rogers
Fringe producing venue: David Babani (The Menier Chocolate Factory)
Executive Director: Griselda Yorke (Cheek by Jowl)

DP - There are tow things you need to be a producer:

1)       A good idea

2)       The ability to raise money

In order to get this money, all members of the panel come from different angles.

As commercial producers DP and DR have 84 INVESTORS

GY – Cheek by Jowl is an Arts Council regularly funded organisation, they were awarded a Grant for the Arts which provided the funding for three years worth of work. They also co-produce with The Barbican which is their London home.

DP - Theatre producing is about raising money and ACE (Arts Council England) can be the best place to start, Cameron Macintosh (a commercial producer) began his career with funding from the Arts Council.

GY – No one should be intimated by ACE, the forms etc are in a language that you just have to get to grips with, if you don't know where to start then ask someone, usually it is best to approach the officer to which you have been assigned. EMMA STENNING is the London rep.

DB – The Menier Chocolate Factory is a full time producing house. It is one of the only venues in London which is not funded or subsidised in any way. Subsidy can be very onerous re: the restrictions it puts on the type of work you can and can't do.

The Chocolate Factory is in a beautiful building with a flexible theatre space, a restaurant and a bar. It uses other streams of income to subsidise itself, ie: the bar and restaurant etc. This means that they can produce the work they want to.  Does mean that it is quite difficult to budget as there has to be a balance between what they make month by month and what they budget for shows.

DP – As commercial producers you have to pay to hire the space and the venue then takes the profits from programme sales, bar etc.

DB – When there is a surplus he is able to put more money into a production. Chocolate Factory do occasionally co-produce with theatre companies and share the risk.

Q: What does an average show cost?

DB – Between £80,000 for a small play and £120,000 for bigger productions such as musicals (ie Tick, Tick Boom) at Chocolate Factory the actors' wage is always £300 a week.

DR – by contrast Equus was £700,000

GY – Cheek by Jowl's most recent show cost £250,000. The venues which they tour to pay all the marketing costs and give the company a guaranteed fee. Cheek by Jowl only go out on guarantee – there is much less risk in this rather than a box office split.

Cheek By Jowl also has a sister Russian Company, based in Moscow which regularly comes over to the UK, this is very expensive to do and so without the subsidy from the Arts Council the UK wouldn't be able to see international work.

DP – What about the British Council?

GY – The British Council promote British culture abroad. It is a council which is very dependent on foreign policy, it is worth checking whether what you are planning to do matches any of their current criteria.

Q: I am producing a show in a couple of months at The Arcola. I need to raise between £6,000 and £10,000. Where should I start?

DP – Firstly be clear of the Rights you hold for the play.

DB – would suggest you put aside £500 or £1,000 on account of royalties, if the show has the potential to go on tour beyond its run at the Arcola.

DP – Will it be a profit share with all those involved covering expenses only? Yes

DR – Find a group of 100 people willing to put in £60 each, then give them 4 tickets to the show each over the run and in your pitch explain to them how they could get all their money back and make a profit. Really sell it to them.

DR – This is splitting a UNIT. By splitting the unit between many investors they could then recoup the money they put in and make some money – it is a gamble. But if you keep it small to start it is easier to manage and to look after your investors.

DP – Lots of people are very interested in theatre so you can sell them the idea and let them meet the actors, come and see the set get in, open up some of the mysticism of theatre for them – people will pay for that experience.

DB – If you are a member of SOLT Society of London Theatres they could suggest your project to potential investors.

DP – Always have business cards on you and be prepared to talk to anyone and everyone about what you are doing and give out those cards!

Q: What are royalties?

DB – A royalty is something which guarantees the writer receives payment for a production. They get a percentage of the box office takings which varies from 4% to 10% depending on where you are performing / the length of the run / the cost of the production etc.

DP – You also have to pay your creative team, so you may create a royalty pool and agree on a percentage to cover all beneficiaries.

Q: What rate do you pay back to your investors?

DP – It is a 60/40 split – 60% to the investors, 40% to the producer

This is standard, but you can change the terms if necessary.DB – A producer's first priority should be to pay their investors back – that is the way you keep investors. You can see your production pieces (such as parts of the set and costumes) off after the production to recoup some money.

Q: As an RFO – does Cheek by Jowl ever make artistic decisions in accordance with guidelines set by the Arts Council?

GY – No never. Cheek by Jowl isn't solely subsidised by the Arts Council and accepts monies from investors and co-producers (such as the Barbican) with no return expected. Cheek By Jowl's programming is in no way affected by the Arts Council's prescriptions. The Arts Council's funding provides about 1/3 of the investment Cheek by Jowl needs. GY looks after her other investors by inviting them to first nights, giving them signed free programmes for shows, keeping them engaged in the production and its process.

DP – When looking for potential investors he wrote to everyone in the Sunday Times Rich List. You really need to keep talking to people and share your passion for projects with them.

GY – Cheek by Jowl has established itself as a known BRAND and people know that the work is of a level.

DB – In the same way the Chocolate Factory is a brand, people may visit it and see things because they like the venue etc. It is useful and clever to market the producer's BRAND.

Q: How do you take work abroad if you aren't well known like Cheek by Jowl?

GY – Do approach the British Council (The Performing Arts Team) and see how or if they can help you.

DB – Every 2 years the British Council showcase British companies in Edinburgh and invite hundreds of producers etc from around the world. Alongside this they run networking events and you can meet foreign companies etc through that and it is good way to make useful contacts.

Edinburgh

DB – Marketing shows in Edinburgh is a very different thing.

Why are you doing Edinburgh? You think you can make some money? Are you looking to make contacts? Are you doing it to see if you could create a tour of the show you take up there?

Learn your market place, do as much research as you can on the area in which you are trying to break into so you really know your market. Immerse yourself in the world in which you want to work in.

Q: Do you get sent lots of scripts sent to you and do you read them? Is it worth sending scripts through to you?

DR – It is a myth that we get sent lots of scripts. They come from literary agents, who read for us. Literary agents work for the writers.

DB – There are lots of venues who will take unsolicited scripts, such as The National Theatre, Soho Theatre, The Gate – they all have literary departments.

DR – Don't be selective about where you send them, if you have a good script – send it to all the theatres who will except them.

DB – If you are an unknown writer it is difficult in the commercial world, you need to make your break off the West End.

DP – If you can find an interesting young director who would like to work on your play, this can make approaching producers easier and more effective.

Q: We have just done a short run of a play, as a theatre company how can we continue to show this piece of work?

DP – If it has had three chances as you say it has, and it hasn't taken off, find another play and get on with it.

DR – It is what you need to be able to do as a producer, if a show isn't going anywhere know when to give it up if it isn't working.

GY – Make sure that if you only have a three week run , that you have invited and canvassed all the press contacts, agents, publicists you can to come and see it during its run.

DB – I won't be sitting here if it wasn't for a great publicist. A publicist will charge you about £600 for a show on Fringe, if they're good, this could really make you and your brand.

DR and DP – Youth is very attractive to all these people. If in doubt ask. If you mess up tell someone because at least you can share the worry. People in this business do help each other out.

DP – Stage One – have a training producers scheme. It is like an internship with a producer.

Q: Any advice for actors, how do we get seen by commercial producers?

DP – Do use your agent, they work for you. If you hear that there is something out there, send your information in even if your agent will do it anyway. A nicely laid out letter and a good headshot is very important.

DR – Get out there and work as much as you can.

DP – Maybe understudy once for an interesting experience.

Q: I'm a director with an interesting piece I want to get produced – how to I go about that?

DB – Get an agent and get them to find the right producers for that piece of work.

Q: How do you start an investors list?

DR – Look at who your friends are, your doctor, your lawyer and find out who is interested in theatre, read the papers and see if someone high profile in the business world has an interest in the arts. Then approach these people and SELL THE IDEA TO THEM.

This was a very in-depth discussion about producing and went in at quite an advanced level – but it definitely offered those present an opportunity to see into the varying areas in which you can produce work for theatre and the risks that you are expected to take.

Don't miss Natasha Richardson's Masterclass on Thu 9 August at 2.30pm: http://www.masterclass.org.uk

7:27 AM - 0 Comments - 0 Kudos - Add Comment

Opening Doors Acting

Panel:

John Wood – Sally Hope Associates

Annie Tyson – BA Acting Course Director – The Drama Centre

Lucy Bevan – Casting Director

Thea Sharrock – Director

Background on the Panellists

Annie Tyson – Started her career as an actress in theatre, film and TV. She has been teaching for 20yrs. Answering questions on drama school entry, auditioning etc.

John Wood – Agent – Sally Hope Associates. Has been an agent for the past 20 yrs. Enjoys seeing young people's careers develop. He said that acting can be a dispiriting profession to start out in. Having an agent isn't the be all and end all, but it helps!

Lucy Bevan – Casting Director. Working mainly on feature films. Lucy started out working in production and then choose casting as her main point of interest. She worked for other Casting Director's almost like an apprentice. She now works freelance, much like an actor, going from project to project.

Thea Sharrock – Director. Thea also works in a freelance capacity. She started as an assistant director when she came out of university. She was fortunate enough to be given the opportunity to put on her first show, Top Girls (Caryl Churchill) at the BAC. She made her contacts through that first experience and then went on to work as Artistic Director at Southwark Playhouse and then at The Gate. She is now freelance and recently directed Equus.

Questions and Answers:

Q: Do Drama schools like you to have a year out or not?

AT: Yes, generally it is a good idea to have a year out to get some life experience. Work and learn to hone your social skills and learn how to manager your time, finances etc. While on your gap year tune yourself up for drama school – check out the Conference of Drama Schools website: www.drama.ac.uk for foundation courses which will give you access to a broad spectrum of activity.

However, if at 18 yrs you are absolutely sure and ready you will get a place at the drama school which suits you.

TS: Found a gap year was a life changing experience and only helped to fuel her passion for theatre.

Q: Do you take general meetings with actors – or do you only meet actors when looking for someone specifically for a part?

LB: Can be very helpful to have general meetings with actors – it might mean that you remember them for a project in the future.

JW: Doesn't have meetings with people unless he has seen their work – he goes to drama schools etc to see actors act.

Q: How do you feel about receiving speculative letters from individuals rather than agents?

LB: If someone doesn't bother to address the letter to her personally then it is going to go straight in the bin. If someone writes for a reason and puts together a concise, well-written letter complete with CV and headshot then she might consider it.

TS: Please think about and spend time over speculative, unsolicited letters you send to directors and casting directors.

LB: Recently cast a girl who had written in speculatively, she had researched the part she was interested in and sent an excellent letter detailing why she wanted the part – so it can work.

AT: Do your research.

Q: Is it sometimes better to write in yourself than to wait for your agent to write?

TS: That suggests you don't have much faith in your agent. You could still write and then the director/casting director will just get two letters.

JW: Would prefer you NOT to write, your agent should know what you should be put up for and will do that for you. However, if you have a specific relationship with the director then do write a concise letter noting that your agent has contacted them with regard to the part.

Q: Will agents and casting directors come and see plays if they are sent information from an actor?

JW: Within reason – possibly if you are performing in London and are in something interesting, but agents CAN NOT get to see everything.

LB: Might go and see things agents have suggested. She also gets letters from actors who don't have representation. She tries to go and see things as much as she can. She enjoys going to fringe shows.

TS: There is a lot of communication within the industry – if an agent / director etc is impressed by you they will tell others about you.

LB: Don't do plays in order to be seen  - do them because you love them and you want to be on stage.

Q: Older actor – should you put that you did your training late on your CV?

AT: Absolutely, celebrate that you have come to acting later on, put down in brief on your c what you did previously. This could be an interesting talking point in auditions etc.

Q: How do you choose audition pieces for drama school?

AT: Choose something you like and identify with, a piece that speaks to you, something within your range (ie your age range), play your own gender.

Then find a contrasting piece. A contemporary classical piece and a lighter contemporary piece or vice versa to show range. Then you can really show your ability to connect with a character.

It is a lot of work – the earlier you start working on it the better – make sure you read the play and know the context of the piece. Be prepared to be flexible. Don't choose something that is too long 1 ½ mins max.

Q: To what extend is persistence a good quality?

JW: Agents can feel stalked! But persistence can be key – if you are persistent and can then ask an agent to see you in something then that can work. No one is going to hand it to you on a plate. Be annoying and talented!

AT: Choose our moment – be canny, keep reminding industry people of your existence.

Q: Do you choose actors on looks so that you have a mixture of 'looks' on your books?

JW: No – it is all about whether you are good or not. Some industry people do box actors – but really it boils down to whether or not you are talented. The characteristics by which you are selling yourselves are what make you unique. Don't go with an agent who tells you - you are their 'blonde' version.

Q: Do you attend showcases or short film screenings?

JW – Send a DVD of the short film – not so likely to attend a showcase. Tries to attend theatre at least 3 times a week.

Q: What do you do if you have had a break from the business and are coming back to it? Do you get 2^nd chances?

AT: Be honest about it

TS: You definitely get to second chances and it makes you slightly different – it is a talking point, you will probably stay in a director's mind because of it.

Q: When working with a producer – who has the final say in casting?

TS – In theatre it is the director who gets the final say.

LB: In film it is slightly different – you have got to have a bankable star to sell the movie and that comes back to the producer who is putting the money up.

TS: It depends on the producer / director relationship, there is input from others but ultimately it falls to the director.

Q: Are actors of ethnic minorities well represented?

LB – It is getting much better in film and across the board.

TS: The Arts Council have policies in place to be inclusive to all minorities and this is definitely visible in the work produced at the National, Donmar, Almeida etc. It is a situation which is always improving.

Q: Should you tell your agent you can do both classic and comedy acting?

JW – Your agent should know, they should have seen you perform and know your range. The agent is working for you and you should have a relationship – they can't represent you if they haven't seen your work.

TS: Your agent is representing you, they are speaking on your behalf.

JW: The relationship is a business one, and you should be able to discuss what it is you are working together for. It either works or it doesn't.

Q: What and where is the most reliable casting information available?

LB: PCR is the only one that is reliable.

Q: If you think you could be considered for 2 different parts in the same play do you submit 2 CV's and headshots?

TS: No send one and express your interest in both parts in the covering letter.

Q: Without an agent what is the best way to find out what is being cast for?

JW: Buy The Stage, Variety, look on What's On Stage get online and do some research.

Q: If your agent isn't working for you how is it best to move on?

JW: Just be honest – it is a business relationship – they are working for you ultimately to make money, if it is not working just be straight forward about it.

Q: If you are the first graduates from a new acting course – how do you get recognition if you haven't attended a major drama school?

AT: Reputation does count, major drama schools with known accreditation from the NCDT do get more recognition from agents casting directors etc. If you are a new cohort you might have to articulate your case a bit. Try and establish the course's identity – think of yourselves as pioneers, think of a strategy that gives what you've done validity.

LB: Don't include sweets or teabags in your letters though – that really doesn't help in making you stand out!

TS: It is all done to luck, timing and persistence.

LB: Don't concentrate on being seen – try and concentrate on being an actor. Get involved in Fringe etc. Try and get out there and act as much as possible.

AT: Find like-minded people to work with. Be proactive.

TS: You might get your break by having to do work for no money – there are lots of stories of how actors do things for nothing and are rewarded in the long run because that piece of theatre gets seen.

A fascinating afternoon which really did open doors into the industry for all those that attended.

Book for Masterclass events at www.masterclass.org.uk

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Dominic Cooke Masterclass
Current mood: creative

Dominic Cooke's Masterclass on Friday 22 June was really enlightening for both directors and actors. Dominic began the class by talking at length about his directorial techniques – he referred to many of his previous productions, but focussed on the three he asked attendees to acquaint themselves with prior to the class: The Pain and The Itch (currently showing at The Royal Court: http://www.royalcourttheatre.com), The Winter's Tale and The Crucible.

Dominic describes directing as an invisible art. He feels his role is to enable others to do their jobs well. Dominic sees the rehearsal process as an exploration of the text, which means that he encourages ideas and intuitive responses from the company. He never feels he has all the answers before he starts the rehearsal process, and is open to making discoveries throughout rehearsal. These discoveries come from the design team and the actors – and Dominic would describe himself as a facilitator, nurturing germinating ideas and asking the right questions, much like a psychotherapist.

Dominic then referred to the rehearsal process of The Pain and The Itch Royal Court production the rehearsal period was 4 weeks. When he has worked on RSC productions the rehearsal period can be as long as 13 weeks, so 4 weeks doesn't leave so much room for experimentation and instinctive response, but there is still definitely room for there to be an OPENESS throughout the process.

Dominic describes himself as a Stanislavskian director. He looks at the ACTION – what the character is trying to DO to another character as one of the first steps to open up the text. To start reh