by Bel | Jan 3, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
Last year, when Michael Billington was asked what the best way to get into the business was, his immediate response was: “I would say if you want to act, design or take on a technical role, it’s vital to get proper training at an accredited school. Only directors seem to magically emerge without any proper training!”
He recognised the difficult financial situation students currently face, however, he maintained that receiving professional training was paramount and even urged the national press to take more notice of student showcases at drama school. He declared: “These academies offer the best theatrical value in London: you see unusual plays done by tomorrow’s stars at low prices.” If the country’s leading theatre critic is enthusiastically attending drama school showcases, as well as vociferously shedding light on the high calibre performances, you know that drama school is a safer bet than trying to get your foot in the door on your own. British drama schools are unique places where you receive world-class training and the possibility of getting noticed by respected Industry professionals, who might well be reviewing you later on in your career.
The third year showcases that Billington saw were so “exceptional” that it led him to bemoan the fact that drama schools only let the public watch student productions in their final year. He argued that the earlier students were exposed to criticism, the better they’d be suited to the profession. Furthermore, it would give an insight into how drama school training is imperative if British Theatre wants to conserve its reputation for being the best in the world.
With an average of 3,000 applicants for 30 places, it would be unwise to attend a drama school audition in the hope that you’ll be able to “wing it on the day.” Coming to Audition Doctor means that you enter prepared to not only perform your audition speeches confidently, but also to be redirected. During Audition Doctor sessions, you will have been used to Tilly suggesting you try things differently and experimenting with the text. Everyone knows that auditions are stressful but going to Audition Doctor ensures that you have done all you can to prepare and the candidate that you present to the panel is you at your absolute best. With so few places available, you have to be ready to prove that you will be an invaluable asset to not only the drama schools to which you are applying, but also the wider profession. This is what Audition Doctor can help you achieve.
by Bel | Dec 20, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Lyn Gardner’s piece in the Guardian this week on how the Arts Council’s £11.6m budget cut would undoubtedly lead to “cancelled productions, job losses and boarded-up theatres” was a depressing read – one of many recent articles focusing on the Arts’ bleak prospects and its slow annihilation (despite endless reports that prove that West End productions generate millions for the British economy). However, in another part of the paper, it was refreshing to read Oliver Ford Davies’ theory that 50 years ago, parents used to say, “You must get a safe, secure job: why don’t you go into a bank?” Now there aren’t any safe, secure jobs so that argument has gone; parents say, “Why don’t you give acting a go?”
There is something cheering about the fact that the disastrous state of the economy has effectively levelled out the professional playing field. Every job has a high risk of redundancies, and uncertainty is the prevailing climate in the Square Mile as well as in the rehearsal room. Although the acting profession is infamously known for being fickle and unstable, entering into institutions that used to guarantee stable jobs is now just as precarious.
However, it would be foolhardy to suggest that aspiring actors can just throw themselves into the profession without proper vocational training. Although Rafe Spall recently commented that his failure to get into drama school was a boon – “I had three years’ advantage over everyone else at drama school – I was out there meeting casting directors and acting professionally.” – most aspiring actors don’t have the benefit of a well-respected actor as a father. The majority will rely on drama school show-cases to forge connections with agents and casting directors.
When asked how the Industry had changed over 20 years, Davies commented on how many more people have entered the profession. This is why coming to Audition Doctor is a must, as it has proven itself to be the essential stepping-stone to drama school. Proper training that comprises of voice, audition and movement technique will distinguish the serious professional from the person who is “giving acting a go.” Audition Doctor sessions alert drama school hopefuls on what they need to work on and audition speeches that highlight their natural abilities which inevitably lead to successful drama school auditions. Entering the acting profession is a gamble but going to Audition Doctor gives you the best possible chance of success and ensures that it is a risk worth taking.
by Bel | Dec 10, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In conjunction with last week’s programme ‘Nation’s Best Am Dram’ on Sky Arts 1, the Guardian asked several actors to give advice on how to act. Suggestions ranged from the importance of breath: “If you stop breathing properly, you get a sore throat. And if you stop breathing, you die” (Miriam Margolyes), “Never go dead for a second on stage. Even if you are doing nothing, do it actively. Listen” (Roger Allam) to “Don’t be a twat. There’s always one: make sure it’s not you.” (Julie Graham).
Paterson Joseph mentioned the vital point of “choosing a play you feel confident you understand: liking a play isn’t the same as understanding it.” This is where Audition Doctor is instrumental. Although Tilly always insists that her students must love the speeches that they pick, she always emphasises that the text (and by extension – the character) is fully understood and insists that her students re-read the texts multiple times. Re-readings often unearth subtleties of the character; these are subsequently discussed with Tilly and the resulting interpretation undoubtedly adds depth to your performance. It is these insights into your character which will distinguish you from other drama school applicants.
Another tip that Joseph gave was casting to the performer’s strengths. The initial stages of working with Tilly for drama school auditions involves auditioning speeches themselves. While a speech can be well-written, seemingly the right length for drama school auditions (no longer than two minutes) and the right gender, it simply might not showcase your abilities in the best possible light. Audition Doctor ensures that the combination of your speeches exhibits your natural strengths.
While the flippant dictum “Know your lines and don’t bump into the furniture” has been taken as a general rule for acting, clearly, drama school hopefuls know it isn’t as simple as that. Ralph Richardson said, before you leave the dressing room, ask yourself: “Is it human?” Audition Doctor does just that. Tilly guarentees that each student embodies the character which is what every drama school candidate must prove they can do not just if they wish to gain a place at drama school, but also if they ultimately want to become a professional actor.
by Bel | Dec 3, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
When Hattie Morahan won the Natasha Richardson Award for Best Actress at the Evening Standard Theatre Awards last Sunday, the papers were quick to draw attention to the fact that she had received no formal acting training. Despite her recent success, however, Morahan did intimate that drama school might have been a wise route to take: “Because I didn’t go to drama school, I didn’t start in the business with any toolbox apart from enthusiasm and instinct. I’d throw everything at a part and sometimes realise that I had hit my limits.”
With auditions for drama school looming, many potential students will be debating whether to enter into a profession which Nicholas Hytner this week said was “on a knife’s edge”.
Morahan notes that “fewer films are made, so it’s harder to get on television, because all the film actors are doing TV. And TV budgets are cut…In theatre, it seems that artistic directors spend 90 per cent of their day on bended knee begging either the Arts Council or wealthy people to give them money.” However, it isn’t all negative as she argues that “even in these times London is the most exciting I have seen in years…people are unafraid to push the boundaries, and I keep seeing the most extraordinary work.”
Much like drama school, Audition Doctor provides a relaxed space in which students can have what Morahan perhaps wished she had had before stepping onto a professional stage – the opportunity to test limits and the chance to experiment.
When this weekend’s Observer asked Simon Russell Beale: “Will people continue to go to drama school, given how much debt they’ll now incur?” He replied: “I’m sure they will. But that isn’t a very good answer, is it? I get letters from students wanting money all the time. We all do: ask any actor. It’s heartbreaking.”
While drama school might now seem like a financially dubious choice, like with any vocation, training is paramount. Competition is stiff and Audition Doctor gives you a relaxed space in which to fail, explore and discover. The confidence that comes with being willing to fail and test boundaries is something that Tilly actively fosters. It is this quality that will be sought after not only at drama schools, but also in an industry whose members are currently desperate to prove to the Government that their livelihoods are worthwhile and that their work is not an exorbitant extravagance only to be enjoyed in times of affluence. It has enormous influence on the spiritual well-being of the country’s citizens. Unfortunately, however, as Sarah Sands opined in The Evening Standard: “spiritual health does not come under the Treasury brief.”
by Bel | Nov 27, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
Most actors will cite that one of the main reasons for going to drama school (apart from the training itself) is to get an agent. Contacts states that “A good agent will have contacts and authority in the entertainment industry that you, as an individual actor would find more difficult to acquire. Agents, if you want them to, can also deal with matters such as Equity and Spotlight membership renewal. They can offer you advice on which headshot would be best to send out to casting directors, what to include, or exclude in you CV as you build on your skills and experience, what a particular casting director might expect when you are invited to an audition, and so on.”
As Rebecca Blond from Rebecca Blond Associates contends, the partnership between actor and agent is an important one. Her job is “to introduce the actor to the world” while both actor and agent map out a possible career, as balanced as possible.”
At Masterclasses at the Theatre Royal Haymarket, one of the most common questions put to the actor onstage (frequently in a voice that has a touch of desperate hysteria about it) is “How did you get your agent?” I had the opportunity to ask respected agent – Rebecca Blond – questions which often come up in Q and As and here she gives a unique insight into the Industry from her perspective as an agent.
Does training at an accredited drama school put an actor in a more favourable position when you are considering whether to take them on as a client?
I don’t think that a drama school can teach you how to act, I think you have to have “something” that will then be honed during the course. And indeed they won’t give you a place unless they believe you have potential. But yes, given that it does pull together all the strings and gives an actor the best foundation preparing them for the world of professional acting, I would strongly advise going to drama school. And yes, I think that on the whole having trained is important when I consider representing someone.
In your experience, do you find it easier to get auditions for actors who have trained as opposed to those who haven’t?
I think it probably is, mainly because casting directors will have been to the drama school showcases, so when you’re suggesting a new graduate, chances are the casting director will have a view on them already from the showcase. I have taken on clients who haven’t been to drama school, they might have done drama at university for instance, and in pushing them for auditions, at that point it comes down to my relationship with the casting director as to whether or not they’ll see them. Given that most have us have been “doing business” for years, I like to think that they trust that I won’t be selling them a dud.
How often do you respond to requests from actors hoping for representation to come and see them in a production?
If you’re referring to drama school shows, to be honest I probably won’t respond to each letter because I know I’ll be going to the shows, and they’ll be given the list of who’s in. With actors who are already out there, if I’m interested in the actor who’s writing, I’ll respond telling them I’ll come to the show. If I’m not interested, if we get an S.A.E, we’ll reply. If not, we don’t.
How important is a drama school student’s third year show case for getting an agent?
Crucial, because it’s the shop window for them and is sometimes the only way we get to see what an actor can do before considering whether to take them on or not. If, as an agent, you follow a student through his or her final shows leading up to the showcase, then the showcase will lead to the final confirmation of what you think, as it were. Sometimes however I can’t get to see as many shows as I would like, so there are some colleges where I will only see the showcase and for me that is the only opportunity I get to see the students. With most drama schools, students are not encouraged to sign with an agent before their showcase. This is because the school believe the students should have the chance to be seen by all the agents before making a decision as to who to go with, and they know that the showcase is the moment for the broadest exposure.
What is your opinion of one year courses?
I’ve always enjoyed watching the one year students because alot of the time they’ve been to uni and then on to drama school. They’ve had some life experience which can bring something interesting to their acting. Obviously some one year courses are better than others, but I will cover both the three year courses as well as the one year.
by Bel | Nov 20, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
It used to be that if you were a student at drama school, the presumption was that you were on the three year Acting BA. This is no longer the case, with drama schools offering a miscellany of courses; from six month foundation courses to one year MAs specialising in screen acting. With the acting industry’s seeming obsession with youth and the hike in drama school fees, it’s understandable that hopeful thespians will be eager to “get out there” as soon as possible.
However, at Audition Doctor, Tilly always alerts students to the importance of being aware that such short courses mean that future career opportunities have the potential to be affected. An actor trained only in the art of screen acting might find that chances to tread the boards at the National are slim. The percentage of actors who manage to earn a living in purely one medium is small. A three year course at drama school gives you varied and all-encompassing experience from camera work, stagecraft to voice-over technique.
As the Central School of Speech and Drama states: “In today’s multimedia and multifaceted landscape, it is no longer useful to categorise acting in a single generic or restrictive way – it is not how the industry works and it is not how we want to train you. You will be required to become reslient and resourceful and draw on a wide range of acting processes. We will help you to learn how to frame these with self-determined creative and intellectual strategies, alongside professional career targets.”
Actors who have been to drama school will be trained not only in the art of acting but also how to structure their career; the skills taught at drama school will give them more of a chance of sustained longevity. That being said, the industry continuously proves itself to be unpredictable, with untrained unknowns becoming global “stars” overnight.
However, Ian McKellen this week lamented that the combination of the dissolution of regional repertory theatre and actors being eager to move directly into film and television has meant that Britain will no longer be able to produce high-calibre heavyweight actors such as Judi Dench, Derek Jacobi or Michael Gambon. Like drama school, he credited repertory theatre with the ability to develop his acting abilities.
“The danger is going to be that the current generation of actors won’t develop into good middle-aged performers because they won’t have been able to live from their work…The strength of British theatre should be that these actors in their middle years know what they’re doing and are good at it. Not rich, not famous, but making a living.”
In an industry that no longer gives its young members a chance to train “on the job”, so to speak, it seems clear that for the majority, in-depth drama school training is still the best bet to ensure that they can earn a living out of being an actor. Audition Doctor is the best place to go to seek advice, practical direction and professional opinion, which means your chances of defying Ian McKellen’s assessment of the current acting crop’s woeful future are much greater.
by Bel | Nov 13, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
This year has seen the success of the likes of Tom Hiddleston, Benedict Cumberbatch, Harry Haddon-Paton and Harry Lloyd -all unquestionably talented and all from the same demographic – privately educated and middle-class. One could argue that the theatrical profession was ever thus, with many actors requiring financial support from drama school training to well after the “break-in years”. Even though many drama schools now offer foundation courses, two-year courses and one year MAs, the tuition fees are still punishingly high. Wealthy parents almost seem like a prerequisite to becoming a professional actor. However, there has been a movement within the industry to encourage its practitioners to come from all sectors of society.
David Morrissey and Julie Walters recently raised concerns that sky-high drama school fees and the disappearance of grants were consequently increasing the impossibility of working-class actors to train at drama school. Even the head of the Central School of Speech and Drama acknowledged that there was a risk of drama schools becoming a “repository for the privileged.” As a result, the eminent actress Clare Higgins, has announced plans to open her own drama school that will train actors for free.
“We cannot go on like this any longer where only rich people can afford to train in the arts, so we have to get out here and make it change now. I’m not going to get political about it, but all I am going to say is that there is a dearth of training for people who don’t have independent wealth or rich parents. We are aiming to stop that in its tracks.”
It is inevitable that the social background of drama school graduates will directly affect the type of plays that get put on. Lynn Gardner opined that “the Royal Court writing of the 60s would not have thrived without the influx of exciting actors from less privileged backgrounds coming out of drama schools.”
The view that theatre aims to reflect the human condition and effectively “hold a mirror up to nature” was disproved by one columnist in the Stage who questioned: “How can theatre reliably examine say, Cameron’s cabinet when there are more old-school ties among its members than on his front bench?”
Ultimately, professional training should not be an elitist privilege with opportunities to pursue a career in the arts open only to those with ample means. Yet drama schools are not the only places where training can be offered. Apart from private lessons, Audition Doctor offers group sessions from Meetup to Introduction to Acting and Acting- An In-Depth Approach where fees are reasonable and you don’t have to have a rich parent to receive peerless teaching.
by Bel | Nov 7, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Monday’s article “Man Up!” in the Evening Standard subverted the common perception of drama schools being populated solely by young thespians muttering Shakespeare soliloquies whilst stretching at the barre in black leggings. Instead, RADA played host to a group of businessmen and women and held the increasingly popular two-day “Personal Impact in Meetings” group course which teaches corporate executives “practical physical and vocal techniques to improve communication” and how to be “more powerful, confident and effective in business.”
History has proved that this is not an unusual coalition; actors have often been called upon to advise people in various job sectors on how to effectively communicate. Thatcher’s political strategist recognised the authority and influence that came with being a confident public speaker. He sought Laurence Olivier’s advice which led to Thatcher attending voice coaching lessons at the National Theatre and soon “the hectoring tones of the housewife gave way to softer notes and a smoothness that seldom cracked except under extreme provocation on the floor of the House of Commons.” Whatever your views on the former Prime Minister are, the improvement in her communication skills was unfortunately undeniable.
The rigorous training at drama school equips the actor with the technical skill that is required in holding the attention of an audience. In a business world where promotions hinge on adroit presentational skills and the ability to pitch ideas in an engaging fashion – the professionally trained actor is golden. No other job focuses so intently on the importance of captivating listeners; actors understand that it isn’t just what you say, but how you say it that is important. Breath, posture, voice, eye contact and even attire (or “costume”) affect your ability to communicate.
With drama schools now offering courses to business executives, the demand for an actor’s perspective in the corporate world has never been greater. Audition Doctor has had a marked increase in demand from clients in the corporate sector. Many businessmen and women prefer one-on-one sessions as opposed to the group sessions which some drama schools and companies offer. Private lessons under Tilly’s focused tutelage foster a less self-conscious atmosphere and quicker progress.
by Bel | Oct 31, 2012 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
With the sharp hike in tuition fees and an industry suffering from government cuts, acting hopefuls have to think carefully about whether training at drama school is an advantageous investment or whether saving £27,000 (and chancing it in an industry where notable practitioners such as Miriam Margolyes and Eddie Redmayne are a success without having gone at all) is a worthy risk to take. Bursaries, grants and scholarships are becoming increasingly difficult to come by and with universities and colleges offering a variety of “Theatre Studies” courses, it’s hard to know whether the traditional route of a three-year course at drama school is the best choice. Reality television has also proved that you can be viewed as an “actor” without having ever stepped foot in an accredited drama school.
As theatre producer Richard Jordon stated in the Guardian: “It’s a big problem in the industry that those reality shows make it seem as if being an actor is easy, and that you don’t need the training. But if you’re going to survive, then being properly trained is crucial, not just in acting technique but also in the techniques of getting a job, building a career and surviving in the longer term.”
In other words, it’s not just the vocational training and development of creativity that drama school offers but also the tools with which you can most effectively market your talent. In an industry that is infamous for its precarious employment statistics, the skills, support and advice that drama schools offer seem integral if you want to sustain a long-term career as an actor. Although universities now offer many theatre-based courses, these focus largely on academic theory. While the history of drama is useful knowledge, what drama school offers is performance-based training that is the most applicable and beneficial to someone aspiring to become an actor.
Having trained at the Guildhall School of Music and Drama, Tilly recognises the categorical importance of professional training as a working actress. The high standard of teaching that Audition Doctor provides is incomparable and is an invaluable asset when auditioning for drama schools. The meticulous and rigorous sessions that Audition Doctor offers maximise your chances of gaining a place at an accredited drama school which will ensure, as Lyn Gardner wrote, that young actors will attain “the skills, support and confidence that will allow them to develop as independent artists, make their own opportunities and help broaden the theatre ecology.”
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.
