by Bel | Oct 24, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Auditioning for drama schools for a second time can be argued as being an even more challenging process than when you applied the first time. The stakes are higher. While not getting in the first time could be put down to you using the auditioning process as a litmus test to see whether or not you feel you are cut out for an acting career, the second time can no longer be regarded as a “trial run”. You are now a “veteran” of the process and not getting recalls for auditions can no longer be excused away with the reasoning that you didn’t know what to expect and thought doing two Modern speeches was acceptable as opposed to one Shakespeare and one Modern. Trying to rationalise your failure to get to the next stage in the audition process becomes harder when you realise that if the audition panel didn’t like you last year and proved that they’re still not keen on you this year, the simple reason might just actually be that you’re not good enough for drama school.
Aside from the self-doubt, you are in fact in a more advantageous position the second time round. You’ve been to the drama schools and met the teachers who would be teaching you and you realise that just like the audition panel – you are allowed to have preferences. The stock phrase uttered at every “Welcome To Our Drama School speech”: “Just remember that you’re auditioning us as well” becomes a little more believable.
Having spoken to people who have applied again, it is clear that different strategies involving detailed planning are deployed. From the timing of applications to the spacing out of recalls, drama school aspirants put a lot of forethought into changing tactics to increase their chances of getting in. While this pragmatic deliberation can be helpful, finding the right audition speeches is surely the most important decision. This is where Audition Doctor comes into play. Having a third-party with a professional eye when auditioning speeches is essential.
As Tilly gradually gets to know you better over the course of your sessions with her, landing on the right audition speech becomes easier. Audition Doctor is hugely helpful when it comes to not only helping you with audition speeches but also picking up on the unconscious ticks that every actor who is starting out will have. It’s always useful to be aware of these so you can keep them in check during your audition. More than anything though, it’s also simply reassuring to know that someone apart from your Mum is on your side.
by Bel | Oct 17, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
While audition masterclasses at the Actors Centre are open only to members, Tilly also holds group Audition Doctor sessions which are open to all and attended by a range of people; from professional actors, drama school applicants to businessmen and women who are eager to improve their presentation skills and public speaking. Tilly holds Audition Doctor Meetup sessions in Central London which are perfect for those who want a fun and stress-free atmosphere to work on building confidence and experience performing in front of “an audience” involving like-minded people.
While one-to-one Audition Doctor sessions are preferable if you require undivided and focused attention, sometimes group sessions are a cheaper and less intensive choice if all you want to do is try out your improvisation technique and have an entertaining evening. Groups usually comprise of about 10 people which allows Tilly to give each person an adequate amount of attention and allows students to get to know each other well enough for there to be a non-judgmental and encouraging environment.
At Audition Doctor, there is no pressure to “perform” or have extensive knowledge of Shakespeare. The speeches people choose are varying – from Jacobean tragedy to monologues from contemporary films. This is where being in a group has its advantages. At times, several members won’t even have heard of the play or film. However, others who have will fill them in. Often, discussions will arise about past productions that they’ve seen, whether or not they liked how it was directed and digress so far that you find that you have “wasted” your one fag and loo break heatedly talking about the National’s 2009 production of ‘Mother Courage’.
The group Audition Doctor sessions are fun and stimulating as you get feedback not only from the Audition Doctor herself, but also your fellow classmates. The next Meetup Audition Doctor session is being held this Friday- 19th October at 20 Bedford Street, Covent Garden, WC2. It’s never scary and always a laugh.
by Bel | Oct 9, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
During the build-up to drama school auditions, my focus was solely on the text (As You Like It); sessions concentrated understandably on my individual performance and personal interpretation of Rosalind.
Having watched Helen Mirren play the part in the BBC 1978 version, it was initially hard to shake her impeccable performance from memory and I found it impossible to see the character as anything other than what she had portrayed. My initial Audition Doctor sessions were filled with embarrassingly pale imitations of one the country’s most respected Oscar-winning actresses. It was frustrating as I could envision the drama school audition panel wearily putting their pens down and wishing fervently to forcibly remove me from the building and the profession.
This is when Tilly’s advice became crucial as she reminded me why I had chosen the speech in the first place. We went back to the text and not only analysed the minutiae of the play but also plotted the psychological journey of Rosalind. The resultant Rosalind was not worthy of being televised by the BBC but thankfully it was my Rosalind and not a plagiarised version of Dame Helen’s.
It’s easy when applying to drama schools to only focus on the audition and forget about the workshop. While Tilly’s acting coaching inculcates you with an element of self-assurance, it is unnerving having to work with other drama school applicants during the group sessions. You’re aware that you’re all competitively vying for the same places whilst simultaneously sharing a feeling of camaraderie due to working together in the workshop and being in the same boat during the rigorous process of drama school auditions.
From the energising pre-audition pep talk to the buoying texts of encouragement, Audition Doctor proved to be a godsend during auditions. Wobbly moments and feelings of intimidation swiftly vanish when a text from Tilly pops up with the simple rallying cry: “COME ON!”
by Bel | Oct 2, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
For me, the number of lessons with Audition Doctor depended on the stage I got to in recalls. With drama schools such as RADA and Guildhall, there are up to four audition stages. While the competition gets stiffer with candidates of equal competency and talent battling for limited places, it became increasingly more vital to try and show flexibility. Regular lessons in between recalls at Audition Doctor gave me the secure environment to do this.
Working on an audition speech from ‘Cock’ by Mike Bartlett was an eye-opener; the speech was a young woman’s angry indictment of what she saw as her future father-in-law’s hypocritical and false leftist ideals. My initial shallow interpretation was basically quite shouty and accusatory with no varying shades of tone or emotion which made it generalised and quite frankly exhausting to watch. Tilly and I then looked closely at the text and “actioned” it which involved assigning a transitive verb for each line. Initially it was difficult to recall each verb for each line and when I did it again I felt like a car continuously stalling. However, not only did this process ensure that I became more aware of the character’s thought process but also gave the speech far more intensity without resorting to deafening the audition panel.
At drama school auditions, it was interesting to note that different drama schools had varying requirements for performing audition speeches. Most informed you that they didn’t want you to direct the speech at the panel as they would be jotting down notes during your audition and therefore didn’t want to be a distraction if they failed to react to your speech. Others however, stipulated that acting was not a solitary process and interaction was cardinal and therefore preferred you to direct your speech to them. Some drama schools even provided an existing student for candidates to say their audition speeches to. I directed most of my speeches to the bookshelf (more specifically a collection of wartime poetry) just above Tilly’s head which meant that it wasn’t as intimidating for me when asked to look the audition panel in the eyes during my speeches.
While rehearsing audition speeches alone in your bedroom is undeniably a prerequisite to attending an audition, performing in front of an audience is equally important. Acting in front of friends or parents can be excruciating, which is why lessons at Audition Doctor are indisputably beneficial. Apart from her twenty years of experience in the acting profession, her invaluable support and guidance, Tilly is also- to put it bluntly- a person in the room.
by Bel | Sep 27, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
The process of getting into an accredited drama school has become synonymous with adjectives such as “tough” and “challenging”. It requires not only creative ingenuity but also pragmatic organisation over a period which can span over six months. The very nature of an audition is stressful, with your performance dependent on innumerable factors which are out of your control- from the time of your audition, your nerves on the day, to whether the Northern line was part suspended due to planned engineering works. However, there are aspects that you yourself can plan that don’t involve Transport for London.
Many drama schools will assign an audition date as early as two weeks after having received your application form. This means you must already be confident enough to perform your audition speeches by the time you send it off. It’s also worth noting that drama schools have different audition requirements, with some stipulating one modern speech and one Shakespeare, others requesting three speeches and some such as The Central School of Speech and Drama providing a list of speeches for candidates to choose from. Reading the small print has never been more critical as I disquietingly discovered at East 15 when asked to do my second modern speech and had only Hermione from ‘The Winter’s Tale’. Despite the audition panel being obliging, this is a situation that could have been easily avoided. Tilly’s peerless acting coaching furnished me with unparalleled positivity and confidence, but it requires a whole other kind of audacity to feel poised and centred when in this position, which even she cannot provide.
Over the course of auditions and hopefully recalls for drama schools, audition panels will give notes as to how they think a speech could be improved or done more interestingly. Often notes from different drama schools will be contradictory as each panel will have varying tastes. This means that your audition speech will evolve even after Tilly’s acting sessions. Personally, I found it helpful to have “top-up” sessions at Audition Doctor, as this gave me time to discuss my audition, and workshop the panel’s suggestions. Furthermore, drama school auditions are staggered over a length of time and acting sessions at Audition Doctor are useful to ensure that the speeches don’t appear to be over-rehearsed and tired but fresh and original.
by Bel | Sep 24, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
The most exciting parts of the following sessions were when audition speeches were approached in different ways. It was exciting to realise that sometimes the ambiguity of the text actually encouraged the freedom to experiment; audition speeches worked equally well when performed in totally contrasting ways. Even when a speech didn’t work, Tilly and I analysed why it didn’t and it revealed subtleties of the character that were previously not apparent. The “failed” attempts actually meant that my understanding not only of my character but the play was far more profound and I avoided any superficial decisions. Eventually after trial and error and through Tilly’s acting coaching, it was reassuring to know that at the drama school auditions I had a backup of alternatives. This versatility gave me confidence which was instrumental in ensuring that I wouldn’t be caught off-guard if the audition panel chose to redirect me.
In addition to character analysis, Tilly also focuses on physicality and vocal proficiency. You will find this preparation indispensable for drama school auditions. It is crucial not only for your speeches, but also for the workshop part of the audition where you are closely observed in movement and voice sessions.
In the beginning, Tilly is indeed what she claims to be- an “audition doctor”. As you perform your speech, she will stop you and dissect precisely why you have chosen to make certain choices and both of you will continue to analyse the language and plot. This is invaluable during auditions when at times the panel will question your decisions. Having done such detailed research, you feel like you can respond to the panel confidently which is a real boost during the uncomfortably nerve-wracking process of auditioning for drama schools. Gradually, the speech begins to flow and she stops you less and less. Soon, your familiarity with the character, coupled with all the work you have done together percolates and you realise that you are inhabiting not the one-dimensional character that was present at the beginning of your sessions, but an authentic human being.
by Bel | Sep 6, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, help with auditions, tilly blackwood
Applying to drama school is undoubtedly an exacting journey that can span over the course of several months. Every applicant will be constantly reminded of the punishingly unfavourable odds of successfully securing a place. I wanted to seek professional advice from someone who was experienced in coaching actors for auditions. I looked through dozens of acting coaches on the internet and Audition Doctor was the only website that distinctly stressed how Tilly Blackwood ensured that every student that she took on benefited from intensive classes that were specifically tailored to each individual. Already feeling like a very small fish in a sea of 4,000 applicants, I thought it would be a wise idea to get in touch. Her warm and approachable manner combined with her enthusiasm and thoughtful advice allowed me to start the process with structure and confidence.
As Tilly stressed, investing time to pick speeches that show off your strengths as well as your potential is key. Depending on how many drama schools you apply for and how successful you are in getting recalls, the odds are that you’ll be doing the same two or three speeches twenty times in auditions, not to mention using lines from them during audition workshops. Knowledge of the play as a whole is vital for when you are hopefully redirected. It puts you in a position to be able to make intelligent decisions and justify them. The ability to analyse and articulate thoughts on character is rooted in a deep understanding and familiarity with the text.
Going into Samuel French or Waterstones and being faced with seemingly unending bookshelves with centuries worth of plays is, without question, intimidating. There are some reassuring guidelines that help narrow the search such as “Modern” being rather arbitrarily defined as being post 1956. Certain drama schools such as the Central School of Speech and Drama have a list of audition speeches that you must choose from. RADA offer helpful criteria such as advising candidates to pick speeches that feature characters that are close in age to them and not picking modern speeches that require an accent that isn’t your own. As some people found out, some drama schools are averse to certain audition speeches. With Shakespeare, this is clearly unavoidable, however, Tennesse Williams, Steven Berkoff and Chekhov were at times deemed to be “overdone.”
I bought a selection of plays. (As long as you are careful not to bend the spine and smear the pages, Waterstones allow you to return “unwanted items” and obtain a full refund within 21 days. I would advise only doing this a maximum of two times as you will be strictly reprimanded for “using the bookshop as if it’s a university library, which it isn’t” and banned from purchasing not only books but also stationary for a month.) I auditioned them with Tilly and it was immediately clear which speeches were not suitable and which were real contenders. We did this for about 3 weeks until we narrowed it down and when the final 2 were chosen, I felt a bit like I had climbed Everest as the general consensus is that when you’ve chosen your speeches, you’re half-way there. Little did I know it was only Base Camp.
by Bel | Aug 25, 2012 | acting classes, acting classes london, audition classes, tilly blackwood
What was your first job and was it what you expected?
My first job was at the Regent’s Park Open Air Theatre playing Hero in Much Ado About Nothing and Calpurnia in Julius Caesar. After the initial excitement of getting the part wore off, it was sobering to realise that the small and secure environment of drama school wasn’t an accurate representation of the Industry; and not having a roof was interesting! Working with experienced actors, most of whom had left drama school a while ago, made me realise that I still had a lot to learn.
I also had the expectation that the job would lead me immediately onto more auditions and it took longer than I anticipated for me to feel that I could make a living out of being an actress.
How do you deal with the inevitable tough competition and rejection that characterises the Industry?
No matter which drama school you went to or how many auditions you attend, every actor will experience the disappointment of not having got the part; even harder when there are bills to pay. However, maintaining a sense of perspective is key. It’s important to recognise what is within your control. Researching and analysing the text is something that you can always do and if you have feedback from a casting director- learn from it. When you do suffer from a setback, it’s important not to be self-indulgent, change what is within your control and move on. Also, if possible, have a plan B.
How important do you think your training at Guildhall was and do you think if you hadn’t gone to drama school that you would be as employable?
Drama school has been crucial, as the training continues to be invaluable to me as a working actress. Yet I know that it’s not the only route and some actors have been successful without having gone at all. What drama school gave me was focus and time. A lot of people are impatient and keen for immediate success. Personally, the time to explore and fail without doing it publicly was hugely important. Additionally, drama school equips students with a variety of tools- specific classes on movement, improvisation, voice and classical texts are indispensable and are vital for every actor. The detailed and rigorous technique that drama school instilled in me, made me less self-conscious and more confident as an actress. The training that I received at drama school is indisputably the bedrock of how I approach the creation of a character today.
by Bel | Jul 19, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
I have been a professional actress for over twenty years and during this time I have had some fantastic jobs and met some wonderful people along the way. After I left drama school I have always continued to train by doing classes or one to one with a coach. I have enjoyed these sessions over the years and definitely felt that there was an improvement, however, in between I have felt very low about my ability- especially in the area of television and have often felt that I am missing something.
Then by lucky chance I came across Tilly Blackwood. Tilly is without any doubt the best drama coach I have ever worked with. Tilly has an incredible ability to help you find the truth in what you are doing; her methods are subtle yet very effective. In one of our sessions I found myself so deep in character, that it took me a while to recover. I was able to trust what Tilly gave me and go with it- pure joy. I also have felt incredibly motivated since Tilly became my Coach. Although I have enjoyed Shakespeare in the past, now I love it and find myself seeking it out wherever I can. Suddenly my ears have been opened and I am able to truly enjoy and appreciate it.
I have also noticed a 100% improvement in performances in my auditions and film work. I did some filming the other day and for the first time I arrived feeling confident in my ability. I was able to go for it and not feel worried and the result was clear for all to see.
I cannot recommend Tilly highly enough- she is a very special and talented person who is able to share her gift with her students in a very positive way. I am just so happy that I have found her now.
by Bel | Jul 11, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, News and Events
Students come to you with scripts from all mediums- television, theatre, film- does your approach to each of these differ?
It doesn’t differ at all- all of them require an intricate analysis of the text. The luxury of having an entire script is rare in television and film. Nowadays, not only are you quite often given the script at the very last minute but usually only the scenes in which your character appears. This means that you have to understand your character very quickly; big decisions have to be made in a very short amount of time and you have to be open and malleable because there are so many different ways to play the character. This is where your drama school training becomes invaluable because you have had the benefit of three years of constant experimentation and trial and error.
With television you might not have the luxury of time, so I think it’s very important to explore every avenue; which is what I encourage my students to do at Audition Doctor. Often students pick a route which is completely justifiable, but when I steer them down a less obvious path they quickly realise that, that choice is also equally valid. What I aim to do is to show them that there are far less constraints in acting and so many more interpretations than they think, and the more ambiguous ones are often far more interesting as sometimes they suddenly have these seismic shifts in the way they perceive the text.
Was it daunting when you first got out of drama school after having been in such a structured and intense environment?
I was lucky enough to be offered a professional acting job before my training at drama school officially ended, so I didn’t have that feeling of disorientation and displacement that a lot of graduates can experience. Although I still had the structure of daily employment, it was very new working with people who were complete strangers and not my fellow students for the past three years. It was exhilarating to get a foot in the door, but at the same time that feeling of achievement was slightly marred by the nerves that are not unusual for any inexperienced actor on their first acting job. During the rehearsal process, in my head I was constantly questioning whether I could pull it off.
How and when did you get your first agent?
I got my agent in my last year at Guildhall and I definitely wouldn’t have had the opportunity for so many casting directors and agents to see me if I wasn’t at a drama school. As with any industry, the acting world is closely- knit, which means word of mouth spreads very quickly; such wide exposure to all sorts of people from the acting world is something that only drama schools can provide. I played Nora in ‘A Doll’s House’ and it was flattering that a couple of agencies wanted to take me on. Getting professional approval outside the confines of drama school was thrilling. I remember thinking that the acting world wasn’t as closed and exclusive as I previously thought and excited that there might possibly be a place for me in it.
