by Bel | Feb 4, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Headlong’s Artistic Director, Jeremy Herrin, whose production of The Nether is in the West End, gave his advice on auditioning in this week’s Ideastap magazine:
“Choose a piece that suits you in a profound way: either you might plausibly be cast in the part or know you have a clear way of transmitting that character. Avoid speeches that are too obvious, i.e. try and avoid those 101 Audition pieces anthologies. The panel don’t want to sit though “I left no ring with her, what means this lady?” more than six times that morning. Why not try something contemporary? Start early and read widely.
This is why for those applying to drama school, most come early in the year for their Audition Doctor consultation sessions. Students who come later in the process sometimes underestimate the amount of preparation that is needed. Aside from picking the right speech, Herrin advises to “Study the whole play and get a three-dimensional idea of the part. Make sure you understand and, crucially, can pronounce every word you have to say. Get good help with rehearsing it, so you know how you’re coming across. Think about what the character wants, and how they counter any obstacles in their way. Where is this speech on that journey?”
Both professional actors and drama school candidates have found that Audition Doctor has been the “good help” that Herrin speaks of. Audition Doctor’s success lies in probing and extracting your unique perception of the character so that you deliver a performance that is wholly yours. However, some of those who have directed themselves prior to going to Audition Doctor have found that their intentions behind the text have not translated in the acting of it. This is why Audition Doctor has often proved to be crucial even for those who decide to come at the eleventh hour.
The character’s desires, obstacles and motivations within the speech are inevitably informed by the wider content of the play itself and its historical context. The decisions behind every beat is crucial and can have a drastic impact on how you play the role.
Maxine Peake’s interview in today’s Guardian illustrates this. Speaking of her portrayal of Hamlet at the Royal Exchange, she mentioned: “I was 28 when I did Ophelia at the West Yorkshire Playhouse with Christopher Eccleston. In a strange way she’s slightly more complicated than Hamlet. I thought she was slightly mad from the beginning because she’s in this oppressive regime and then she completely loses her grip on reality by the end of it. When I did it, it was all about her heartbreak. So I was blown away by what Sarah [Frankcom] and Katie West did in our production. I realised – maybe because it was a female director or because Polonius was Polonia – it’s because she’s lost a parent. In the production I did with Christopher Eccleston, it was all about Hamlet’s rejection that sent her mad, which I found difficult.”
Finding the right motivations that you believe in and can support textually is something that Audition Doctor concentrates on. However, the brilliant thing about Audition Doctor is that different avenues will be tested, worked on and analysed before discarded. This means that when you are redirected in the audition, there will be fewer surprises and you will be able to give the panel a host of equally believable alternative interpretations. The ability to to show this level of flexibility and artistic nuance is the reason why Audition Doctor sessions have proved so invaluable to professionals and drama school applicants alike.
by Bel | Jan 28, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
All freelancers speak of the importance of self-discipline – reserves of which have to be plentiful particularly during periods of unemployment. For actors, the continual need to exercise technical, creative and literal muscles requires an inordinate amount of practice and commitment. Professional and aspiring actors have found that Audition Doctor has been the place to practice either between or during jobs.
With practice inevitably comes failure. Helena Bonham Carter spoke of this recently when she said: “Allow yourself to make mistakes. You can be bad, you can act badly, it’s not going to kill anyone…I spent so much time thinking “I was crap in that” and I just made myself worse.” Audition Doctor sessions are in demand because actors have found that lessons are a practical way of avoiding useless negative thought and to simply become better through practice.
James McAvoy spoke in the Telegraph: “People seem to find the rehearsal room liberating, with the freedom to fail, I say… “Whereas I’m like no! I failed!” Many actors between jobs and those applying to drama school don’t have the luxury of experiencing the either liberating or restricting nature of the rehearsal room. Audition Doctor, however, does offer this. The freedom to be bad, fail and consequently progress is something that Tilly encourages.
Although Bonham Carter speaks of how it’s okay to act badly, obviously most actors can’t afford to experiment and fail on the job. Furthermore, her assertion that she learnt “just by doing it” is easier said than done. This is why Audition Doctor has become the space where actors can really be daring and innovative in the way they approach their work. It’s where they can be free to experiment and road-test decisions before an audition.
Ethan Hawke recently said that to be an actor “You need concentration, imagination and relaxation. I know it’s sounds corny but it’s what Stanislavsky said. I read it when I was 16 years old and I still think of it everyday.” Audition Doctor fosters all three requirements; the unpressurised yet focused environment that define the sessions mean that actors always find that they are pushed to the limits of their creativity. Audition Doctor sessions, like rehearsals, are sometimes difficult.
However, both Jamie Lloyd and James McAvoy “embrace this discomfort. “I hope that theatre is more than just coming along for a jolly nice night, something you do just before you go and have dinner,” says Lloyd. “I’ve been thinking about this quote from Nureyev, that expresses what I’ve been trying to articulate for the last five or six years,” says McAvoy. “It’s that people don’t come to see us dance, they come to see our fear. And they don’t come to see us act, they don’t come to even see the story, they come to see something dangerous.”
While Audition Doctor is a safe space, the work that comes out of the sessions is often challenging. However, it is this dangerous element that makes Audition Doctor students stand out and consequently land the role.
by Bel | Jan 21, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting
When Rufus Sewell was interviewed by BAFTA, he cited the main reason why he went to drama school was because “[he] had no idea what you were supposed to do.”
He said: “I didn’t know any actors. The great thing about drama school was that, as well as three years of practice, there was someone there to tell me what to do next, as in who to audition for et cetera…”
Aside from this more practical view (that the mentors and contacts that drama schools offer are often the launchpad for students’ careers into the industry), drama schools are also places where risk and curiosity are encouraged.
Sewell went onto say: “We suffer, as human beings, from taking onboard other people’s descriptions of the world around us without questioning. I think it’s very good to be curious and I always think it’s good to reexamine not only the world but the things about you. In the end, I learnt at drama school by surrendering all my oddities, but also that the one thing I had was my oddities. By the time I found them and were in contact with them again, I fought for them very strongly. So I think the best thing you can do is retain what it is about yourself that makes you you because in the end that’s all you have to work with. Don’t give it away.”
Drama schools are sometimes accused of churning out self-conscious and homogenous actors, just as much as they are praised with fostering originality and supplying quality training. However, it is inarguable that there is a fundamental level of knowledge and technique that all actors must achieve; only when these are mastered can you bleed your own imagination and experience into a role to make it wholly original.
Professional actors and drama school applicants come to Audition Doctor precisely because Tilly tirelessly pushes her students to develop creativity as well as craft. Your idiosyncrasies are strengthened while bad habits are ironed out so auditions become a much less stressful process.
This week in Ideastap, Tamara Harvey who is directing Hello/Goodbye at the Hampstead Theatre, said: “In an audition there are lots of things the actor can’t control. You can’t control whether you match with someone I’ve already cast, for instance. But what I do look for is a willingness to play. Whenever I’m auditioning, I will always get the actor to read or perform more than once so I can see how they react to a note or a suggestion. It’s got far more to do with their willingness to take something in a new direction or try the unknown than it is about particular note.”
There is no typical Audition Doctor student, however, the one thing that they all share is a willingness to play. Audition Doctor sessions are about risk, daring to fail and always striving to surpass limits into the unknown. This is why Audition Doctor has become increasingly indispensable.
by Bel | Jan 14, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Today’s interview with Frances Barber in the Guardian discussed the unnecessary obligation that actors sometimes feel to “act”. Barber spoke of how the text was compelling enough to sustain a performance and how any extraneous “acting” was unnecessary, particularly in the works of Shakespeare, David Mamet and Patrick Marber.
“All is required is the sense, it doesn’t require your embellishment. David Mamet has this rather po-faced attitude towards acting and he has this kind of strange theory that when you are in one of his plays, he hopes that you’re wondering whether you’re going to have fishcakes at the Ivy while you’re in an emotional scene. I’m not quite sure I subscribe to all of that but I think I kind of know where he’s coming from, which is don’t embellish what he, the writer, has given you…It’s anti Victoriana and anti showing off and being rather indulgent in having pyrotechnics in your performance which I really do subscribe to. I don’t like that I want to see an actor’s personality within the character but I don’t want to see an actor showing off because he’s a clever clogs and he can do all sorts of things to fascinate me. I don’t want that because I’ve come to see the play. Mamet has a very valid point and I bet Shakespeare would be on Mamet’s side. He’s given you everything, you don’t need to do more than that, you just need to say the words. When I played Goneril I didn’t have to [signal] “I’m the Wicked Witch now, look at this”, it’s in the words….You can do it in a myriad of ways but I don’t need to come on as the Wicked Stepmother with lightning and pirouette across the stage…because it’s all done in the writing and the rhythm.”
Professional actors and drama school candidates realise that Audition Doctor sessions always steer them away from pyrotechnics and embellishment and towards using the text as a means of authentically portraying a character. However, students find the requirement of “just [saying] the words” is often harder than it sounds because the desire to “act” often dominates the desire to pare down. This is why most students come to Audition Doctor at the beginning of the audition process so lessons can focus on building the character from the ground up, as opposed to focusing on unpicking the theatricalities that may have creeped in.
Coming to Audition Doctor at the start of the process is often useful in terms of picking speeches. As Barber’s interview shows, the speech you choose is hugely important. For drama school auditions especially, there is a fine line between showing ability and showing off. A perfect speech is one that shows off your abilities without you having to resort to showing off yourself.
Clive Owen recently said in the Independent that for him, the most important thing was the text – “The reality is that when as an actor you come across a piece of material that sets you alight and reminds you of why you do what you do, that’s the be-all and end-all.”
Coming to Audition Doctor at the start of your audition journey gives you time to find the right speech and really inhabit the character so that just saying the words is enough.
by Bel | Jan 7, 2015 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
When Eddie Redmayne was asked what advice he would give to those starting out in the acting profession, he emphasised the importance of “finding a sort of constancy and rhythm of your own because it’s a world in which you retain very little control. As an actor, everyone else is in charge so you need to find your own sense of control.” As with any freelance job, there can be unavoidable expanses of time between each job. Redmayne described the acting profession as “one of incredibly intense experiences followed by weird lulls.”
Audition Doctor is a where actors come to ensure that the weird lulls are put to good use – where technique and imagination are equally prioritised. It’s a place where professional actors and drama school candidates have found a sense of control. Most students eventually attend regular sessions because they find that the progress that results from experimentation and rehearsal at Audition Doctor is ostensible. The fallow periods become rewarding and students realise that they succeed in tackling language or emotional terrains they previously thought unreachable.
The actors who come to Audition Doctor are varied in terms of where and if they trained. However, whether or not they attended an accredited institution or not, what is undisputed is the fact that in a profession which is famous for its lack of stability, they recognise that it is integral to continually exercise their craft. Audition Doctor has become an alternative as well as a supplement to the conventional route of drama school.
This week in the Guardian, Emily Blunt said: “Drama school gives you a place to screw up and fuck up, and it gives you room for self-discovery and technique. I’ve also seen how it crushes people’s natural ability, and how it creates a space where you just overthink everything and become this neurotic performer. I’ve seen it both ways with friends, so I don’t know how it would have affected me. I just tried to sponge it up, to learn from everybody I was around.”
Blunt learnt on the job which was effectively an apprenticeship. However, for many aspiring actors, jobs are hard to come by without training. Consequently there aren’t many situations where you have the privilege of learning from active professionals. This is something that Audition Doctor does provide.
Aside from technique, students find that coming to Audition Doctor is also about exercising other qualities. Blunt spoke of how acting was “the ultimate expression of empathy” and the importance of curiosity – both qualities which are needed when exploring different characters.
Jake Gyllenhaal said something similar when he acknowledged that the profession could rightly at times be described as “an incredibly immature, selfish profession, but on the flip side of that, it helps you practice empathy. When you do your research, you see what real people are doing in the world.”
by Bel | Dec 24, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In the second part of his interview with BAFTA, David Morrissey spoke of the process of preparing for a role and the diverse exigencies that different roles had on actors. He spoke of time being a crucial factor in determining how he prepared. He mentioned that if he was given the luxury of time, he’d unleash his “inner geek” and would do in-depth research.
“I have to find the idiosyncrasies as a character. Sometimes there’s physical work, sometimes there’s accent work as well. You have to do all of that before you walk onto the set or stage because you want to be forgetting about all of that when you’re doing the job itself.”
Actors and drama school applicants who come to Audition Doctor usually attend bi-weekly sessions if they have the advantage of time prior to an audition. Regular sessions allow you to incrementally and organically build authentic characters. Idiosyncrasies are not merely tacked on to seemingly seek attention from the panel, but genuine singularities of the character are unearthed that can be textually supported. This is due to the forensic research that is undertaken at Audition Doctor.
Sessions focus not only on the psychological exploration of the character but also weave historical context into your performance.
As Morrissey advised: “You have to put yourself in their head. If you go further back into Tudor times, you have [to be aware of] strange things like life expectancy have a weight on you that you have to carry. The comfort of life that we have, you have to make sure that your characters don’t have that surety. Also the expectation of life in the sense that if you say the wrong thing to the wrong person then it’s your head on the block literally. So that fear that you’re working in, you have to make sure that is inside the [process of your] decision making.”
It is this commitment to creativity and unswerving drive to drill deeper into the core of human psyche that has made Audition Doctor indispensable to actors. It is also these particular qualities that differentiate the practitioner from the artist.
Lisa Dwan – who recently performed in Beckett’s Not, I – wrote in the Guardian about her recently departed friend and mentor, Billie Whitelaw:
“Billie lifted the lid on all of [Beckett’s] well-worn notes, especially his instruction Don’t Act: “No colour”. She was adamant not to let me emulate her performance or veer towards a surface “Beckett-style” reproduction, but wanted instead for the work to connect deep within the performer. She explained that Beckett dealt with such truths that he had no room for an actor’s craft. He did want emotion, only he wanted all of it – the real stuff, the guts – not some polished fool’s gold…She taught me that truth has a sound, a timbre.”
Audition Doctor sessions are sometimes difficult and demanding – but every single student leaves knowing that no pathway, however difficult, has been avoided in the pursuit of the truth, of which there may be many. The difference is that Tilly encourages the unusual and the ambitious – “the real stuff, the guts” – which means that even just one session at Audition Doctor usually changes not only the way you approach a character, but the way you approach the wider craft of acting itself.
by Bel | Dec 16, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In an interview on acting for BAFTA, David Morrissey recounted how he ended up at drama school. “I did a TV drama when I was 17. I was very lucky and it was about two Scouse lads who had run away to Wales and funnily enough I was a Scouse lad myself who had been to Wales so I had a lot of research already on my plate. There were adult actors on that show who advised me not to go to drama school. But there one actor called James Hazeldine, who became a mentor to me, told me to go to drama school because it will give you a career or you can play Scouse lads for the rest of your life if you want to but this will give you an ability to do other things, theatre, different accents, work on your posture, all those things. I went to RADA and found drama school really valuable.”
Aside from professional actors, Audition Doctor has a large number of students applying to drama school. With drama schools receiving such a high volume of applications, the need to show yourself to be a candidate who is emotionally literate, open to direction and willing to take risks has never been greater.
Tom Hanks said of his early acting: “I operated on instinct and energy. I was just loud, I was just fast. I would just swamp the process with this blind accelerated pace – that was the only speed I knew how to operate even after I came out of repertory. I could have learned earlier on how to take your time and do the interior work that you can do alone just by studying the text. Before that I would just learn the text and then do it as opposed to planning out a mode of attack.”
Students who have been to Audition Doctor never enter an audition room and rush through their speeches – as is so often the case. An audition speech is regarded as the apparatus with which to show off your abilities. The extensive interior work done at Audition Doctor means that you give the audition panel an authentic character, as opposed to a nervous speed read. Audition Doctor sessions effectively give students the time to strategise and make bold and interesting choices with their character. Preparation at Audition Doctor means that the performance students give in auditions is most often impressive and considered.
One reason for Audition Doctor’s popularity is people’s fear of Shakespearean language. Anthony Sher’s web chat in the Guardian this week said: “I, like many other actors who have joined the RSC, used to believe that there is a prescribed way of playing Shakespeare. There isn’t. Each generation devises their own way dependent on how audiences want to receive Shakespeare. Earlier generations of audiences were happy to hear him almost sung or performed in a very grand operatic manner. Modern audiences want him to be done more realistically, they want to recognise the characters on stage as people they know in their lives. So it will keep changing, but there are some basic rules about playing Shakespeare that it is best for actors to know about even if they then choose to discard them. Playing Shakespeare in a totally naturalistic way with the mumbling of modern speech, the tendency to fall away towards the end of a sentence, this simply wouldn’t work when speaking Shakespeare verse.”
Audition Doctor’s high demand rests on the fact Tilly ensures that every applicant performs their Shakespeare speech with exactly the same vitality, authenticity and conviction as their modern speech. The basic rules are taught but what is the most important is that the language is never thrown away and always harnessed to communicate emotional honesty. Audition Doctor sessions make Shakespeare less of an obstacle to be overcome and more of an ally, which is why more often than not, Audition Doctor students gain places at drama school.
by Bel | Dec 10, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In the Telegraph this week, Judi Dench questioned the at times bleak nature of the acting industry towards its newest recruits: ”There are no reps anywhere any more. There’s very little work, young actors have to get something and hope that it’s a success. They go to an audition and now nobody ever writes afterwards to say, ‘It was a terrific meeting, I’m so sorry it hasn’t worked out this time.’ There’s a complete silence. What is your encouragement as a young actor? Where do you go to learn? Where do you get to make the mistakes?”
Luckily for both professional actors and drama school applicants, Audition Doctor has proven to be that place. Audition Doctor is where actors are encouraged to take big risks, fail and subsequently become better.
Lyn Gardner wrote recently about how theatre should be a risky business and how venues should not be afraid of making choices that could alienate their established audiences. Playing it safe, in both programming and performance, betrays a lack of creativity. As Gardner states: “In fact, there is no such thing as “an audience”; only a collection of individuals sitting in a shared space.”
Audition Doctor sessions are sought after because Tilly discourages students from being risk-averse. The choices that students end up making are often daring and different. Drama schools are looking for those who are fearless in defying convention in favour of the unexpected. As Gardner states: “An audience that is up for being challenged and surprised, when it comes down to it, probably won’t like everything it sees.”
Many speeches that students rehearse at Audition Doctor – particularly for drama school – are well-known. Often they are part of a literary canon and have been performed by stalwart actors. Consequently, many people find it difficult to break away from how they preconceive the character to be, whether it be the thoughts behind the lines or even how the line sounds. On the BAFTA Acting Guru site, Idris Elba gave his advice to young actors starting out which is also encouraged at Audition Doctor: “It’s important to have an open mind, you are the vessel and on top of which and added onto are these personalities that you have to portray. [Have] a blank sheet and throw away any ideas and build from the beginning.”
Similarly, in the Guardian, Lenny Henry spoke of his process to approaching Shakespeare, which closely resembles the way text is approached at Audition Doctor: “Think of long speeches as a series of connected thoughts, not one big clump of dialogue. Each thought, each sentence, is a separate piece of your armoury. Think through each sentence: about how you glue it together; what it means; how you feel when you say each thing. You’ll find it comes together like a kind of delicious soup.”
Audition Doctor is about building up an arsenal of authentic emotional responses through risk and failure. Consequently, Tilly’s students get parts and places at drama schools because their performances challenge not only themselves, but also whomever is watching.
by Bel | Dec 3, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Drama schools have long been been accused by critics of being middle-class enclaves. This is perhaps understandable with actors such as Benedict Cumberbatch, Tom Hiddleston, who yesterday won the Evening Standard’s Best Actor award, and Damian Lewis recently dominating the Culture section of the papers. Actors such as Judi Dench and Julie Walters, themselves drama school graduates, have also been voicing concerns over how tuition fees at conservatoires are preventing those with talent from entering the industry.
It is therefore reassuring to know that The Stage has published findings that show that 80% of students at drama schools are state-educated. Furthermore, despite the fact that drama school and indeed all higher education is expensive, drama schools such as LAMDA have “strong scholarship and bursaries programmes”.
Despite the criticism levelled at drama schools, however, they are just as oversubscribed as ever because students know the value of investing in practical conservatoire training.
Simon Russell Beale stated in the Guardian: “The actor’s primary responsibility is to make the text understandable at first hearing. That’s quite a big thing, and quite difficult, especially if it’s a fairly complicated text. Know the rules about verse-speaking. After that, I don’t care whether you break those rules – just make me understand what you’re saying, the first time you say it.”
The reason why drama schools, like Audition Doctor, are popular is because they are one of the few places where you are given sufficient time and guidance to push yourself emotionally and intellectually. A sizeable number of Audition Doctor’s students are professional actors who have had professional training. In spite of this, they understand that in order to achieve longevity in the profession, their training requires upkeep and continual progression.
Simon Callow spoke of the crucial process that students go through at drama school, which is not at all dissimilar to a regular student at Audition Doctor: “The important thing about training is that it buys you space – three years, ideally – in which to make an absolute and total berk of yourself, in front of your fellow actors, who are going through the same thing. It’s a controlled environment in which you can slowly unpack your own neuroses, your inhibitions, your resistances. And if it’s a well-devised course, you can slowly – having, as it were, disassembled yourself – reach back towards the light.”
Training, whether you do it at drama school or at Audition Doctor, will cost you – both financially and emotionally. However, actors who are lucky enough to have experienced these unique and demanding environments usually have the knowledge of what is required to take the audience by the hand and lead them into another world. This is why actors who come to Audition Doctor know that their success lies not only in the solidity of their training, but also in the work they do with Tilly.
by Bel | Nov 26, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Judi Dench recently spoke of how uninspiring teaching led her to a mental stalemate with regards to understanding some of Shakespeare’s plays early on in her career. She credited seeing the plays performed on stage, as opposed to reading “six lines each in turn, regardless of who was saying them”, with igniting her passion and understanding.
Speaking of the reluctance of many to engage with Shakespeare, Dench said: “It’s a fear, there’s a terrible fear about Shakespeare that it’s a language we don’t understand. [But] it couldn’t be easier. It’s the prejudice of things. Somebody telling you it’s hard, and the fear that you’re not going to understand it. You’re not going to be able to understand? Well that’s up to the actor.”
Gregory Doran, artistic director of the Royal Shakespeare Company, also said: “If you’re reading Shakespeare you can get baffled by the language, but if you see actors deliver it with passion and engagement, even if you don’t pick up every word, you can follow a story and be transported to a different world.”
The importance that both place on the actor is why Audition Doctor is sought out by professional actors and drama school applicants alike. Audition Doctor students succeed in landing jobs and places at drama school because the sessions places such importance on unpicking the text. Once the language is understood, there’s a framework within which to experiment. Audition Doctor sessions encourage students to explore the myriad of ways to play the scene and students often experiment in ways that oppose one another. However, as Indira Varma said of her time rehearsing with Pinter: “If you’re truthful, nothing you do is wrong.” Of course, that has to be within the limitations of the play but it was the most liberating thing to be told.” There is no right or wrong at Audition Doctor, but Tilly will guide you to the option that shows you to be bold and above all, the one that rings the most true.
Another reason why actors, particularly those in TV, come to Audition Doctor is because of their lack of rehearsal time. Imelda Staunton spoke about the problem in this week’s Telegraph:
“That’s the thing that’s disappeared unfortunately with television is a terribly old-fashioned word called ‘rehearsing’. As if it doesn’t mean anything – ‘It doesn’t matter, you don’t need it’. Well, you do need it! And I think you need it for everything, particularly this, and thank goodness we got it. There’s no way we could have done it without. And we all mourn the days of – they were awful the BBC rehearsal rooms in Acton – but you rehearsed. You did The Singing Detective – you rehearsed it and then you did it. Like any piece of work you do, whether it’s a play or theatre or film, you don’t just turn up and go, ‘That’s what I’ve done, I’ll do that’. And it was very valuable for this and I wish more people would think about putting an extra two bob in to allow people to have a bit of time. We live in a world where we want instant things. ‘Just do it now! We want it instant, we want it good and we want it successful’. Well, the best things take time, whether it’s a very good stew or a show. The best things take time to cook and develop and I think people underestimate that. No one wants to rehearse to waste time, it saves time.”
In today’s unforgiving climate, Audition Doctor has become a rehearsal space where actors have the time to work on their parts and develop their craft. The instant success that Staunton speaks of is nigh on impossible to achieve without professional direction, hard graft and time – all of which Audition Doctor provides.
