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Pete's Dragon Musical review Part 2.docx

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CPD stands for Continuous Professional Development. This is the term used to describe ongoing job and career-related training during the course of your professional life. It can also describe wider forms of learning not associated with a job but which will boost career development of some kind.

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Starnow signed up at £5 a month

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Craig Poxon is an Actor, Extra and Film & Stage Crew member based in Derby, United Kingdom.

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I have always been keen on acting... never really found the support younger in life and lost me way.... Years later i have returned to acting and once again rediscovered the passion I have for it. Ready and serious about roles and looking forward to challenges that await me...

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IMDB Pro Signed up at £15 a month

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Access IMDbPro wherever you are with the new iOS app

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Musical Piece Review

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Forced Entertainment Review

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Just Give is place to pitch an idea and look for support from public funding. Many amateur groups and director use it as a way to build funds.

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JustGive - Online Charitable Giving for Companies, Nonprofits, Donors

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JustGive, The Destination for Online Charitable Giving, offers many ways for companies, nonprofits and donors to support their causes and make an impact.

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If you are looking for where to source funding for artists, the Paul Hamlyn Foundation have produced a comprehensive list of places that fund visual arts activities.

The website was created to provide a portal for information on funding opportunities for individual artists. As such, it relies on information from readers to remain up to date. If something is missing or needs updating, you can let the foundation know via a link at the bottom of each page.
View the list on Paul Hamlyn Foundation here
The Arts Council also provide a list of sources where you can access funding for artists, aside from their main grants for the arts scheme.

This includes via:

Trust and foundations

Education and training

Business funding

Non UK funding

The Arts Council also include a number of funding resources, which you can access here
View the arts council funding for artists section here

The British Council is also another good place to start when searching for places that offer funding for artists and opportunities for visual artists. They list a number of arts opportunities on their website, which you can access here

Grantspace provide an overview of funding information and resources available to artists on their website. They have selected resources specifically geared to visual artists, such as painters, sculptors and photographers. View the Grantspace website here

SPACE run a variety of initiatives designed to support and promote artists, including funded residencies, bursaries and free professional development programmes for artists.
You can find out more about these activities and how to apply for the current professional development programme via their website here
Go back to other artist resources here

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Funding For Artists | Artist Resources | Creative Future

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If you are looking for where to source funding for artists, the Paul Hamlyn Foundation have produced a comprehensive list of places that fund visual arts activities. The website was created to provide a portal for information on funding opportunities for individual artists. As such, it relies on information from readers to remain up to date.

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Through local councils groups can apply to be funded via an arts grant.

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Performing Arts Courses at Burton & South Derbyshire College, An educational route to gaining qualifications and experience in performing. 

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Performing Arts Courses at Burton & South Derbyshire College, An educational route to gaining qualifications and experience in performing. 

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Burton and South Derbyshire College Tel: 01283 494400

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What You Should Know Before Joining the Actor's Union?

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What You Should Know Before Joining the Actor's Union?

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Should you join the SAG-AFTRA union?

If you just started working in the entertainment industry as an actor, then you may have heard people talking about the "union". The "union" is actually the SAG-AFTRA. According to the SAG-AFTRA website, the union represents over 165,000 actors, announcers, broadcast journalists, dancers, DJs, news writers, news editors, program hosts, puppeteers, recording artists, singers, stunt performers, voiceover artists and other media professionals.

But, what does SAG-AFTRA do for you as an actor? The SAG-AFTRA works like any other union. It is an organization that fights to increase compensation and benefits for people in the union. For example, a union background extra earns approximately 75% more per hour than a non-union extra. Not too mention a bonuses for wardrobe, bad weather, and short lunches.

But, before you sign on the dotted line and join the union. Here are a few things you should know before joining the SAG-AFTRA union:
If I am not a part of a union, can I still audition for union roles?
-Yes you can. If they want you they will file paperwork called a Taft-Hartley which will make you eligible to join. The Taft-Harley period, allows for the actor to work on union projects but the talent is not required to join the Union. During that point it time, they have a maximum of 60 days to work on union productions. But once the Taft Harley expires, the actor is required to pay dues.
Can you join now then leave when you get to Los Angeles so you can do non-union work?
-No. Keep in mind that when you join the SAG-AFTRA union you are now competing with a more talented group of actors, models, and industry professionals for bigger productions. It would only be in your best interest to join the union once your resume and acting abilities can land you several productions.
If it is not a SAG-AFTRA production, can I work on it?
When you join SAG-AFTRA they have a major rule: no contract, no work. If the production doesn't have an arrangement covered by SAG-AFTRA, you can't work on it. So you limit the things available to you, but now you're guaranteed a certain pay rate on things above a certain budget level, you can get residuals, you can become eligible for health insurance if you make a certain amount of money, they have seminars and classes and screenings etc.
If I become SAG-AFTRA would I gain more opportunities?
Yes and no. In right to work states such as Georgia and Louisiana, productions are not required to obey certain SAG-AFTRA rules and regulations. As a result, producers are less likely to hire an individual that is SAG for a role because they will have to pay that actor more in comparison to a non-union actor. However, a SAG actor is able to audition for productions that make more money and entitled to better benefits than a non-union actor.
How do I join the SAG-AFTRA?
In order to join the union, a performer has to work on a SAG-AFTRA production, or if the person is a background actor the talent has worked on three days of work as a background actor. After that you send your application to the Union to be fully investigated for validity. For more details visit SagAftra.org

Do not apply, if you are not local or if you do not fit the description.
Looking for more opportunities? Check out Pro-Cast! Discuss this story with fellow Project Casting fans on Facebook. On Twitter, follow us at @projectcasting. Are you going to apply? Leave us a comment below!

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What You Should Know Before Joining the Actor's Union

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If you just started working in the entertainment industry as an actor, then you may have heard people talking about the "union". The "union" is actually the SAG-AFTRA. According to the SAG-AFTRA website, the union represents over 165,000 actors, announcers, broadcast journalists, dancers, DJs, news writers, news editors, program hosts, puppeteers, recording artists, singers, stunt performers, voiceover artists and other media professionals.

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Just like with majority of other professions, British actors in the UK also have their own union. That union is called Equity.

Joining Equity - UK actors union - is one of the first steps an aspiring professional actor should take. Even though it's not essential, there are several reasons you must do this, and I will outline those below.

But first, what is Equity and what does it do for British actors in the UK?

Equity - Incorporating the Variety Artistes' Federation.

What Is Equity? All About the British Actors Union in the UK

Equity is a trade union in the UK. It represents not only British actors, but all types of professional performers and creatives in the entertainment industry all across the United Kingdom.

The UK Equity union was formed long time ago back in 1929 to protect lesser known actors and other artists in the vastly growing show business. The organization has worked steadily ever since, making sure that every artist trying to make a living would be treated equally.

In the most basic sense, what Equity does is campaign on behalf of British actors and bring all sorts of issues to the UK's government, parliament, and other places of influence. The union also protects your rights as a professional performer when you're looking for, applying for and working with other industry professionals.

When it comes to private sector, Equity is the place you go to about unfair treatment of actors or unreasonable payment structure. They oversee that British actors get paid a reasonable rate and that other rules of fair treatment are followed.

How big is UK Equity? Here's a quote directly from their website:

" Equity's 40,000+ members form a cultural community that is of major importance to the UK in artistic, social and economic terms and Equity works to support them by negotiating their terms and conditions including fee structures with all kinds of employers and employer's groups.

Our 5,000 Student Members are also able to access information and advice to help prepare them for work in the industry. "

Is UK Equity the same as SAG-AFTRA in the US?

Yes, and no. Equity is the same in a sense that it's a trade union that includes actors. However, while the description of their job may be similar to that of SAG-AFTRA, what UK Equity has the power to do differs from American actors union(s).

Even though Equity's function touches upon a much broader audience of working performers than America's SAG-AFTRA (Screen Actors Guild joint venture with American Federation of Television and Radio Artists as of 2013) who's primary objective is to look out for actors working with cameras, Equity seems slightly less powerful in the showbiz of the United Kingdom.

Equity's principal function is to negotiate minimum pay and conditions for its member actors, and make sure that everybody gets paid or receives the material that was promised to them.

How to get into Equity?

Becoming a member of UK Equity and receiving your Equity card is easy for most aspiring British actors.

Compared to SAG-AFTRA in the US, where you need to work harder, longer and pay more to get in, with Equity almost any actor can become a member, which naturally reduces the value of the membership.

As soon as you get into any drama school or even any kind of performance-related course in the university, you can become a Student Member of the UK Equity union. That's your first step towards becoming a full member should you choose to go with formal acting training.

Once you apply to Equity online and pay the dues (£18.25 for Student Membership), you will receive your membership card, and stay a student member until you graduate drama school.

Upon graduation from a drama school, you can (and should) transfer to a Full Membership status.

If you haven't got into any performance-related course in a drama school or university in the UK, then you only need a few performance credits on your resume and you can join too as a Full Member.

What exactly will Equity do for you?

On paper, quite a lot. In reality? Not so much other than make you look more professional. It's like insurance; it's better to have it but you don't want a reason to use it.

With Equity's help, it's potentially easier for actors to negotiate and re-negotiate pays for professional work. Employees also treat actors financial side with more care, knowing that if an actor gets underpaid, it will be taken up with the union.

Ultimately, Equity works more behind the scenes and on the bigger picture to improve the state of the arts professions in the UK. Equity is very proactive at various campaigns for saving theatres and getting better funding.

Finally, Equity often seems to actors like a big brother that you have who's never around. People know about him, so they won't mess with you. But he's not always there when you actually need him.

Now aside from that, UK actors Equity provides job information services, special legal aid, advice on benefits and taxes, insurance services and some other stuff. All of this is quite useful for those who are just starting out.

It's best if you look it up on their website, as the details of their system are too complex to start explaining here. If you're confused, then call them up and you'll get your answer in full detail very quickly.

So should you join Equity?

The bottom line here is that if you're trying to pursue a career as a professional actor in the UK, you have to be a member of Equity.

Even though getting your Equity card won't guarantee you any work, nor do they help you find any, that Equity card you receive with your stage name attached will at the very least give you a feeling of being a professional actor when you're starting out.

Majority of casting call websites allow you to list yourself as an Equity member. If your profile says no, it may or may not affect how casting directors see you.

Even though it's generally assumed that almost all British actors with just a few credits are members of UK Equity, agents, managers, casting directors and other industry folks still pay attention to that. Students, on the other hand, can weigh pros and cons, with the only con being the cost of joining.

Should drama students join UK Equity?

When you're a student on any acting related course getting your degree, I would say it's worth getting your Equity membership as soon as you can.

You want to do this for three reasons:

1. You can reserve a professional stage name so that nobody else can take it;

2. You will start saving up towards your Full Membership cost, which is deductible;

3. You can apply for acting jobs while studying and work as a semi-professional actor.

Many students consider it unnecessary joining UK Equity while they're studying because they're aren't working during their training. As a result, they miss the opportunity to become an older member of the union and reserve their screen/stage name for their future careers.

At £18.25 annual fee for Student Membership, this is less than you spend when going out on a Friday evening, unless you live on a very tight budget.

Just keep in mind that Equity's Student Membership does not provide you with all the advantages of Full Membership. However, you don't necessarily need them while you're training.

How much does Full Membership cost?

The amount you pay for your Equity membership card will depend on your annual gross income. For full pricing broken down by income, see this section of their website.

Here's a quick screenshot:

Don't be misguided though. If for some reason, financial or other, you cannot join UK Equity, you can still get acting work, both in professional and amateur league. Being a member does give you a minimal boost in credibility, but it's not significant when you're just starting.

This is what I meant when comparing Equity with SAG-AFTRA. American actors who are not yet members of SAG-AFTRA have significantly less work available to them from big productions, since most US projects that have a little money in their budget will go under the union, and will want SAG-AFTRA actors.

That is not the case with UK Equity where the rules, benefits and restrictions are much more loose. This may be partially a good thing, but ultimately, SAG-AFTRA's structure is far better in terms of protecting their actors, and providing value to their actors. However, you also pay a lot more ($3,000 at the time of this writing, which amounts to approximately £2,250).

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What Is Equity? All About the British Actors Union in the UK - Acting in London

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Just like with majority of other professions, British actors in the UK also have their own union. That union is called Equity. Joining Equity - UK actors union - is one of the first steps an aspiring professional actor should take.

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Actors without agents tend to lack credibility in the eyes of potential employers. It’s not fair, but it’s a fact. However hard you work at getting to know potential employers, most agents have their fingers closer to the pulse, know what’s coming up, and simply have far more contacts than you can ever have. That’s their job.

Directors and casting directors rely on agents they trust to help in the filtering process of whom to interview. A good agent also understands contracts, knows the ‘going rates’ and has more clout to get money that’s owing.

Useful link to support an actor on becoming an actor and the choice he can make

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There's no one way to become an actor-whether you end up in a West End play, on a television show or on the road to Hollywood, there are many paths your career can take.

"I made some mistakes in drama. I thought the drama was when actors cried. But drama is when the audience cries". So says Frank Capra, director of It's a Wonderful Life. Here he touches upon what is so powerful about being an artist in any form-to have the ability to make an impression on people and influence how they feel. It's a power that many, many people seek via acting as they see it as a glamorous lifestyle, but in truth it's a tough path to tread. It's highly unstable, often badly paid and an open door for criticism and cynicism.

If you're thinking of becoming an actor, don't let that put you off-passion and tenacity will see you through, but do bear in mind it's not straight-forward, and you should be informed about the process before you embark on your acting career.

What do I need to know before beginning my acting career?

Make your own opportunities.
People will always tell you what a competitive industry this is, and I can't emphasise this enough-there are a lot of people grappling for a comparatively low number of jobs. Work won't just fall in your lap. Unless you're one of the lucky ones who is plucked from obscurity, you will need to work to make your own opportunities.

Make your own work.
Write your own plays or short films or sketches-wherever your strengths lie. Call upon your friends and loved ones to help promote your work, just as you in return can help spread the word about your fellow actors' projects.

Find your tribe.
Making it as an actor is often directly linked to remembering that your competitors are also your compadres. So one must keep the mindset that your fellow actors are potential future collaborators. You'll have a better chance of progressing with each other's support.

Work on that stiff upper lip.
If you don't have one already, be prepared to grow a very thick skin. Even successful, established actors will encounter dismissiveness and impatience from people throughout the industry, and you'll have to learn to not only brush off the bad experiences but to learn from them.

Do. Your. Research.
Speaking of the industry: learn about it! With no knowledge, you won't feel like a part of it. Do your research. There are a lot of resources available to you, so if you're serious about the industry you should make it your business to know as much as you can about who is who and who is working on what, otherwise you'll feel like you're on the periphery.

Get an agent.
Finding an agent who works hard for you is imperative. Some will disagree and say this is situational, but if your agent has strong relationships with casting directors you will go out on far more auditions than those who don't. Agents often attend drama showcases and make regular theatre trips on the look-out for clients, but you can't rely on being found on your own. You will need to be proactive about inviting them to shows you're in, or emailing when you're in an episode requesting they tune in, or asking for a meeting via their assistants. However, as with everything there's a fine line between being proactive and pestering people-if they're interested, they will let you know.

Budget for your dreams.
Until you 'make it', you will potentially need to invest quite a lot of money to get there. Putting aside the cost to train if you so choose, you'll need headshots and a showreel before you even begin trying to land auditions, membership to a resource like Backstage so casting directors can find you, quality recording devices and editing software so you can self-tape at home, and of course you'll need to get yourself to and from auditions under your own steam. 99% of actors will need a secondary gig as support between acting jobs, and the nature of flexible work is usually that it's not very well paid, which is another consideration to bear in mind. You might have to accept roles in projects that you don't even like, but that's entirely normal. Christopher Lee was once quoted as saying, "Every actor has to make terrible films from time to time, but the trick is never to be terrible in them".

How do I begin?

Amateur dramatics, the production of theatrical performances by non-professionals, is a great way to start, not just so you can participate in acting projects but so you can also meet fellow actors and potential future co-creatives. It's a great way to hone your craft, learn from your peers and build up your confidence as you develop as an actor. There are resources available online that extensively list drama groups and opportunities, like Acting in London if you're looking in the London area, or Theatre Wales compiles all amateur dramatics societies in Wales, for example-just get Googling, or, of course, visit Backstage to search for up-to-date opportunities by location.

Try to land as many auditions as you can when you're first starting out. If you're invited to audition, then the casting director thinks you have a chance of landing the role, and you will learn from every meeting, even if it doesn't go your way. You won't always be given feedback, but you'll start to become adept at reading people's reactions and tuning into the subtleties of their responses to you, which you wouldn't learn if you hadn't have had that time with them in the room.

In addition to learning what to expect from the audition process, why not create your own opportunities? A way to practice your acting, develop your skills and build your confidence is to write scripts for yourself and enlist the help of other actors to bolster your project. Learning to listen to the feedback is crucial, and performing or screening these projects for your family and friends will ease you into the experience.

None of your friends with 'normal' jobs will understand your lifestyle-only fellow actors will relate to your struggles and often they can provide really helpful insight, so be sociable! Meetup is a fantastic way to find groups in your area specific to actors (or anything else you're interested in) and you never know what can come from the relationships you develop with fellow creatives.

Do I want to pursue theatre /musical theatre, film, or television acting?

Do you have to decide? Whilst perhaps musical theatre trainees are quite specific, going into the industry deliberately limiting yourself is a mistake. With self-tapes and opportunities to cast internationally, you don't need to decide if you don't want to, but be prepared for very different casting processes for each.

Taped auditions.
The key thing to remember is to keep it down. Whilst theatrical productions require you to perform to the back of the room, the camera will pick up on tiny nuances and flickers of action and reaction, so don't overdo your performance. As subtlety is the key here, you are obligated to learn your lines so your head is up for the duration of the taping. The tip of keeping it down applies to the volume of your voice also-you don't need to project any more than you would in a normal conversation. Bear in mind the director is often not in attendance for auditions such as these.

Theatre auditions.
In contrast to taped auditions, it's more acceptable to have your script in hand to refer to during your read, but that doesn't mean you shouldn't prepare - Casting Directors and Directors will instantly pick up on it if you're not familiar with what you're reading, and not everyone will give you another go at it. You'll be expected to demonstrate your emotions in a more obvious way, although often theatre auditions are also in close proximity and you might be sat right opposite your reader and the Director. If you are auditioning for an understudy role, don't be surprised if you're auditioning for the Assistant Director and not the Director.

Musical theatre auditions.
You'll be expected to be at your biggest here - you'll need to project and exaggerate and stand out as best you can! Arrive warmed up, and if there's an accompanist it's likely you'll need to provide them with sheet music. If dancing is part of the audition, you'll be expected to pick up a potentially tricky routine very quickly, perform it back accurately and in time and then somehow outshine your competitors all at once.

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What promotional materials do I need?

Headshots
This is one of the main components you'll need to invest in. Even though, you'll rarely be expected to turn up to auditions with expensive prints these days, you will need to make sure the quality of the photographs are high. If you're fortunate enough to know someone who can shoot you for free, or for a low price, make sure you're still happy with the outcome or else it's a fruitless exercise.

Make sure your headshots do you justice, as they're the first thing a casting director sees.

Don't rely solely on black and white shots; they're aesthetically pleasing, but people want to see you look like, so make sure you have colour shots also, if not entirely.

Overly flattering photos are also a bad idea-you may be tempted to edit your photos on Photoshop or wear a tonne of make-up, or even submit photos from fifteen years ago, but don't! You'll create a dishonest impression, plus you might count yourself out of a job that you're suited to if a casting director deems your photo too generic.

CV
Approach your acting CV as you would any job CV: keep it clear, concise, and professional. List project details transparently and don't over-do the detail. Bear in mind your showreel is where the casting director will get a sense of your personality; your résumé is a reference document. Looking at your CV, a casting director will want to establish:

What acting jobs you have done (preferably listed in chronological order)

If you have any training

A list of special or unique skills (if any)

How to contact you

If you're new to the game you might need to pad it out a bit with school plays or amateur dramatics, which is absolutely fine. Just make sure to edit as you develop and eventually you can take these off when you have more experience to add.

You don't need to list your date of birth-your age range (or 'playing age') is important, as is your height, eye colour and hair colour. We also want to know what accents you can do, and if you're a singer, what your vocal range is.

Be sure to keep your CV down to a single A4 page, which you can staple to the back of your headshot.

Showreel
Your showreel is crucial. Make sure you keep it up-to-date, exhibiting only work that you feel represents you well, and remember to keep it under three minutes. Often, people disagree on what is acceptable and what isn't in a showreel; they question whether montage intros (an edit together of quick clips of yourself as a way of introducing your showreel) are dated, for example, but as someone who works in casting, I personally feel there's room for a bit of creative flair as long as the main point is correctly communicated, and that is your acting ability.

For more information on reels, check out our in-depth guide: "How to Create Your Demo Reel"

Online presence
Having your own website can be a very useful way of collating everything you want a CD or the public to know about you, and you can be in charge of what to include and what you would rather forget! Squarespace is a good option, as it's user-friendly, has professional-looking templates, and offers reasonable monthly rates (between £10 and £20). You can expect a free trial as a new customer, and you can find discount codes by listening to podcasts, which they rely on heavily for advertising (I can always hear Squarespace promoted on the Adam Buxton podcasts for example, worth listening to in their own right as he often interviews actors).

You should give plenty of thought to your social media presence. Twitter or Facebook can be great ways of engaging with the public and expressing your personality, but make sure you are representing yourself professionally. Always bear in mind you're offering information about yourself publicly, so don't let yourself down. It's never a bad idea to share updates about what productions you're in (if you have permission) and you can increase viewership of programs if you Tweet your followers to remind them to tune in.

Always be extremely careful about your social media use on set-a lot of sets are very private and cast members have been reprimanded and sometimes even removed if they take pictures on set and post them to social media.

What are some other good resources to bear in mind?

Publications
Backstage is the premium, trusted, casting platform for actors and performers, casting over 6,000 roles a week, as well as editorial coverage that provides actors and performing artists with a wealth of advice, guides, news, interviews and resources. You can also check out the Opportunities section where you search for jobs by location.

Another valuable resource for UK actors with a well-kept website, The Stage has excellent reviews in particular, although it is more theatre-centric than Backstage.

Also check out Fourthwall and Sight & Sound (BFI)-the articles are well-researched and the website includes a Player section where you can stream BFI films, some for free. Empire has great events listings and is a useful resource for cinefiles in particular.

Workshops
Companies like Casting Workshops sell limited numbers of tickets to actors to spend the day learning face-to-face from casting directors of specific fields, to help hone their skills and get direct feedback, not just on their performances but their headshots and CVs.

What are some key terms I should know?

Slate: If you're filming a self-tape, a slate, or ident, is really useful for a casting director. It's a short intro in which you state your name, agent (if applicable) and height, and often other information the casting director might have asked you to include like profiles (see below), shots of your hands, and possibly experience or skills that you have that are relevant to the project (e.g. if the role involves being on a wire, you could mention any aerial experience you have, or if the part requires you to speak another language you could demonstrate your fluency level with a sentence or two). These are often recorded at the beginning or end of your audition also.

Profiles: Shots of one side of your face and then the other, so the director can see what you look like from different angles.

Sides: The lines or information you're given to prepare for the audition. Most of the time it will be text pulled from the script, unless the contents of the script is heavily protected (you would find this mainly with major studio productions like Warner Bros) and you're given text from another source. It might also contain the outline of a scenario rather than text, and you'll be expected to improvise some action or dialogue around the scenario.

Optioned: This applies most commonly to TV, where production teams have yet to schedule the project but wish you to stay available for a certain period of time in case it does get green-lit. It might be that the first series you participated in is yet to air and therefore they haven't yet been able to gauge its success, and won't know if they wish to make a second season. It might be that the series will go ahead, but they're still deciding upon their schedule or trying to secure a location. There are many reasons, but traditionally you will be given a "pick-up date" (a date by which they have had to decide by), and you should be financially compensated for remaining available throughout this period.

Generals: These are invaluable for actors climbing the ladder. An actor and a casting director have a casual chat with the intention of putting said actor in a casting director's mind's eye. If you are set up on a general with a CD, make sure you research them and their work first, read their signals as to when is an appropriate time to wrap up the conversation, and make sure you show an interest in them and their work-you never know what journey will be kick-started from a short chat. A general will not cost you anything other than whatever you spend on travel to see the CD, and you should not be expected to part with any money for the meeting. You should only expect to part with money at an organised, informative event like a workshop where you would receive some form of coaching.

Where should I consider training and why?

The U.K. is a fantastic location to study acting, if you choose to train, with an abundance of schools boasting excellent educators and extensive lists of successful acting alumni. Suitability should be based on your budget, your objectives and your choice of commitment level, so if you do choose to study it's crucial to do your research. Part of your consideration as to which school should always be, why NOT this school? Lots of establishments are competitive, with high standards and a focus on the "breaking down" of its students with a view to making you a more malleable actor.

Ask yourself what you are hoping to achieve from the training process, and assess whether your expectations are realistic.

Notable UK schools include (but are not limited to):

London Academy of Music and Dramatic Arts (LAMDA)

Royal Academy of Dramatic Art (RADA)

Oxford School of Drama

Royal Welsh College of Music and Drama

Central School of Speech and Drama

Bristol Old Vic Theatre School

Royal Conservatoire of Scotland

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Where should I consider living and why?

Again, this is up to you. There's no right or wrong answer here, and there are plenty of opportunities open to you in any part of the U.K. You might assume London is the obvious choice for actors seeking work, but with self-tapes becoming more acceptable forms of casting, all you'd potentially need to book a job is a smart phone and decent internet speed.

Having said that, if you do choose to live outside the main cities, you should be open to travelling in for castings if that is what is asked of you. There are many actors who settle in rural areas, but you must be happy with getting into town at your own expense if CDs want to meet, which, more often than not, they will. I've never worked on a theatre job that didn't require a face-to-face meeting, as they are always attended by the director so they can assess not just if you're right for the part, but if they want to spend time working extensively with you, as is required in theatre jobs.

Here are some alternatives to London to potentially settle in:
Bristol, England
A bustling city with a similar arts scene to London (just on a smaller scale), Bristol has a fine reputation for theatre and is still within reasonable travelling distance if you are called to the capital.

Manchester, England
Since the BBC moved up north, Manchester has seen a huge increase in TV production and created lots more opportunities for northern-based actors.

Edinburgh, Scotland
Home to the world-famous Edinburgh Festival, it's an amazingly cultural city housing lots of creativity. It's particularly good for those looking to get into comedy.

Dublin, Ireland
The capital of Ireland (and home to the Guinness brewery, as an added incentive!) Dublin is home to some exciting casting directors like Louise Kiely and Amy Rowan.

How do I find roles to audition for?

When it comes to finding roles to audition for, there's no better source than Backstage, especially for early-career actors! If you don't have a manager or agent who's in direct cahoots with casting directors of various acting projects, Backstage is the No. 1 trusted source and top casting platform-for over 50 years-to kick-start your career, land your next (or first!) role, and get discovered. The casting notices on Backstage can help you bolster your demo reel and get you an agent to take your career to the next step. Plus with thousands of vetted casting opportunities across smaller projects like student shorts, web series, and regional theater productions all the way to larger blockbuster features and productions on the stage, you know that with Backstage, you're always getting reliable information and scam-free gigs.

Once you're subscribed to Backstage, you can go backstage.com to edit your public profile. This is the page that casting directors see when booking talent for their latest project, so make sure your headshots and résumé are up to date, and link or embed your reel, website, social media accounts, and other fun extras as you see fit.

Does Backstage work? Academy Award winner Sandra Bullock told us that "Every single thing I have today is because I picked up Backstage every Thursday." And she's in good company! Just ask some of the other stars below.

Scarlett Johanson: "How did I get into acting? Well, I read a lot of Backstage. Everybody got Backstage. That's so funny. Backstage, wow. Doesn't every unemployed actor have their Backstage? That's the first step."

James Franco: "Backstage was one of my first introductions to the business."

Amy Schumer: "Like every other actor in New York, L.A., or Chicago, I have such a relationship with Backstage. As soon as I got out of college, I would go through the magazine and circle [casting notices]... Those taught me so much and they connected me with people that I still work with now."

Kathryn Hahn: "I got my first play in New York from Backstage. It was part of the festival at Theater for the New City, and I got a role in a play called 'Bar None' that starred a woman named Avocado Tit. I'm not even kidding. So I have a long history with Backstage."

Matthew Rhys: "For actors, you know that Backstage is of your own people. It's instrumental."

Here are some other resources to keep in mind:

Spotlight. Most professionals are signed up to Spotlight and it costs around £150 per year. In order to be eligible for membership, you must have had four or more professional credits in featured, speaking roles in film, television or theatre, or else have at least one year's training from a full-time accredited drama school or course.

Casting Call Pro. A really useful tool for actors who are just starting out in particular, as lower-profile jobs are great to build up your CV and help flesh it out whilst you're still finding your acting feet.

Your agent. This is a chicken and egg situation, as you need to be working in order to invite an agent to see and evaluate your work. They really are the best way to inspire the casting director's confidence in you, however, and they will have the best leverage when it comes to getting your foot in the door.

Do I need an agent?

Yes-unless you're Bill Murray, you should have an agent. For every one dubious agent that will take your commission and sit waiting by the phone, there are 20 hard-working, assertive, and motivated professionals who will emotionally share in your successes and failures.

There are a lot of awkward conversations that need to happen in order to book jobs, and your agent is your filter. They negotiate terms on your behalf so you don't have to.

Being represented by an agent who has strong relationships with casting directors will always bolster your chances of getting seen and therefore getting cast, so just as agents will assess what you will bring to their table, make sure you understand their position within the industry.

It's crucial you maintain a good relationship with your agent. You can't expect them to work hard for you if you are not holding up your end of the bargain. Stay organised and on top of your diary, respond to their queries as quickly as possible and don't harbour resentment if you don't get cast-they're there to get you in the room, it's up to you to book the job.

How and when should I create my own work?

There's never a bad moment to be in control of your work. Whenever you have the time, the inspiration, and the wherewithal, is a great time to be creating your own work. If you're experiencing a lull, you have nothing to lose. If you're riding a wave of success, you're more likely to secure funding.

The how is obviously the harder part, but there are lots of resources available for those hoping to pen their own projects. For the early stages of development, Raindance offer one-day writing courses at very reasonable prices (often discounted via organisations like Groupon), as an example, for those seeking help during the creative process.

Once devised, check out BBC Writers Room, to which you can submit original scripts. If they respond to your work highly enough, they will help you to develop the project and get it off the ground.

In between creating and producing, there's the proof-reading, feedback stage, in which you are looking to tweak and perfect your script. Organisations like Actors and & Writers London (AWL) might take your script and perform it using a group of actors, who will provide invaluable feedback and insight into how they perceive it, and where its strengths are or how it can be improved. This is also another great way to meet fellow industry professionals, and is generally considered a fun way to network.

Also, check out the London Screenwriters Festival (LSF) which is an invaluable event for those penning their own film or TV projects and yet another great way to connect with people who will help you in your career.

If I'm an actor from the U.S. looking to head to the U.K., what do I need to know?

If you're not already established, it's likely to be quite tricky. Unless the production is specifically looking for an actor from the U.S., for example, or if you have worked with a dialect coach a very convincing British accent (bearing in mind there are many U.K. accents outside of Received Pronunciation), you're going to find that opportunities are limited. The best advice that comes to mind is to come with your own brand. If you have a strong sense of who you are and what you have to offer, you're more likely to be recognised and remembered.
Now check out Backstage's London audition listings!
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auditions | casting calls | open casting calls | casting call | open casting call

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There's no one way to become an actor-whether you end up in a West End play, on a television show or on the road to Hollywood, there are many paths your career can take. "I made some mistakes in drama. I thought the drama was when actors cried.

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Welcome to The Actors Centre. The Actors Centre is the UK's leading organisation which supports actors throughout their professional careers.

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It's important to start building up a Performing C.V no matter how little the role or whether you worked on a performance in a none acting capacity all experience is vital to your development and growth within the industry. 

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It's important to start building up a Performing C.V no matter how little the role or whether you worked on a performance in a none acting capacity all experience is vital to your development and growth within the industry. 

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In the next few columns are online acting sites where you can apply for acting and backstage or creative roles, advertise looking for roles and build yourself a online profile.

Also a list of UK casting agencies to sign up for.

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Browse Acting Auditions, Acting Jobs & Casting Calls | Casting Now

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Get the latest acting auditions, acting work, acting casting auditions, extras auditions, casting actors, casting agents London, actors auditions, acting agents.

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Gendered Intelligence shares their insight into trans performer rights and what language is appropriate to use in breakdowns and the casting room Trans people and the creative arts are natural allies. As such, Spotlight has been working with Gendered Intelligence to improve their understanding of diverse gender expressions within the arts. It was important for [...]

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Spotlight: Casting Resources for Performers, Agents, and Casting Professionals

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Since 1927, Spotlight has connected performers with roles in theatre, television, and film productions around the world.

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IMDbPro Official Site | Start Your Free Trial

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IMDbPro has exclusive information on over 12 million people, titles, and companies in the industry.

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Find and apply to over 5,000 casting calls, auditions and roles on Backstage, the most trusted platform for actors and models. Start and get cast today!

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apply for the castings with paid works for professional or amateur artists, audition, job vacancies for artists, casting girls, casting kids, casting models, casting actors, casting actresses, casting musicians, casting performers, casting singers, registration is free in castingonline.com

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MIM Agency | modelling, casting, photography, studio, agency, stoke, stoke on Trent

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MIM modelling and casting agency covers all aspects of modelling, TV and voice over work including high street stores, catalogues, in store posters, toy boxes, holiday brochures, magazines, television and cinema commercials etc. We also offer a model portfolio photography service to help you get your modelling career started.

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SEVEN Casting Agency based in Manchester

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Celex Casting Ltd is an agency for supporting artists and walk-ons and is on the BBC list of preferred suppliers. The company was originally founded in May 1999 by Anne Sweeting. Since then, it has grown and flourished each year to become the largest agency in the Midlands, with thousands of experienced and professional supporting artists and walk-ons, registered with us.

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Join a local theatre group and through them build confidence and better understanding of the industry while gaining additional valuable experience.

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Join a local theatre group and through them build confidence and better understanding of the industry while gaining additional valuable experience.

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The Internet over the years had built up a large amount of personal data of actors both successful and unsuccessful that have shared their experiences at first starting out and the trouble and triumphs they had to go through, reading and learning from these is always a great way to understand ones own path. 

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The Internet over the years had built up a large amount of personal data of actors both successful and unsuccessful that have shared their experiences at first starting out and the trouble and triumphs they had to go through, reading and learning from these is always a great way to understand ones own path. 

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Nick Holdburn casting List for BASE-Cinderella, Mellow Dramatics-Dirty Rotten Scoundrels

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Most casting sites have options to filter your search option from male or female roles need, ages 18-24, 25-34, 35-44, and location to be filmed, with my look i can get away with playing a character in my early 20s up to someone in my their early 40s and with make up and prosthetic's older still. 

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Most casting sites have options to filter your search option from male or female roles need, ages 18-24, 25-34, 35-44, and location to be filmed, with my look i can get away with playing a character in my early 20s up to someone in my their early 40s and with make up and prosthetic's older still. 

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I have applied via Starnow for 20 roles and have been cast in 5 of them, playing minor and small roles.

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I'm very open when it comes to selecting to audition for a role, I'me happy to perform in a number of genres. 

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I'm very open when it comes to selecting to audition for a role, I'me happy to perform in a number of genres. 

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On a stronger note I'm very comfortable and can act appropriately and professionally when it comes to more sensitive subjects such as, discrimination, abuse, rape and nudity.

The right role for me is one where I can really develop characteristics.

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From an article in The Guardian, it worries about what the audience wants because ultimately they are the judge of what they want and audiences don't always except what they are given.

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Lyn Gardner: What do theatre audiences want?

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According to David Mamet, the audience is the only judge. But theatres are afraid of asking them what they really think

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Ticketmaster performed an investigation into its theatre sales and the report generated showed that theatre audiences were younger and more experimental as initially thought, I could only agree with this statement, within society the world of bizarre has become more accepted on TV and theatre thank to such shows as Supernatural, American Horror Story. On stage younger audience are intrigued with seeing things with their own eyes, so the popularity of theatre of cruelty, bizarre and technology driven performances have gained a focused art form upon theatre.

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UK theatre audiences are younger and more experimental than is commonly thought, according to new research published by Ticketmaster.

The report, State of Play: Theatre, marks the first major investigation into the sector by the world's largest ticketing company and mixes information from its own ticket transaction data with survey responses from a representative sample of the UK population, as well as a selection of theatregoers from abroad. Unlike previous surveys, it covers theatregoing across the whole of the UK and includes responses from non-attenders.

Key findings include:

Attendance: theatre is more popular than attending sports events or concerts - 63% of the UK population has attended theatre in the last year, compared with 53% for concerts and 47% for going to sporting events

Demographics: 16-19 year olds are more likely to attend the theatre than any other age group

Arts funding: only 26% of theatregoers are aware of it, when watching a publicly funded performance

Taste: audiences want to see new shows (36%) and relatively established ones (43%) over long-runners that have been going for more than two years (21%)

Innovation: more than a third of audiences (39%) love interactive theatre and more than half think live streaming is a good idea

Ticket prices: cost is the main barrier to entry for both attendees and non-attendees

Audience behaviour: nearly one-third of people have used their mobile phone in the theatre during the performance

Restoration levy: 58% think it should be optional and 68% feel theatre owners should be more transparent about what it is spent on

The report also reveals that two-thirds of people want to maintain or increase their theatregoing in the future. The three most recognised shows among theatre attendees are The Phantom of the Opera (94% recognition), Les Miserables (93%) and The Lion King (92%). Interestingly, though, the three shows that have the highest predicted conversion rate (the proportion of those aware of the show who are also planning to attend in the future) are Once (59%), The Book of Mormon (43%) and War Horse (38%). However, long-running shows are likely to fare less well in this statistic as audiences may have already seen them.

Despite only one of those six shows falling into the category, comedy is the most popular genre among theatregoers, with 42% choosing it as their favourite.

Sophie Crosby, vice president of insight for Ticketmaster International, said it was releasing the report because "information and insight about theatregoers' habits and attitudes, compared with Broadway or the film industry that regularly share data in trade publications, is surprisingly under-utilised".

She said Ticketmaster had decided to undertake the research after noticing a trend within their transactional data, which appeared to indicate that theatre bookers were getting younger. This has been backed up by the report.

Crosby added: "We looked at theatre bookers for the last few years and we saw a trend that was emerging and was quite clear year-on-year towards a younger and less affluent customer base. Immediately, we wondered whether that was just because the shows we were selling tickets for had changed. But we've seen that on long-running shows - such as Phantom and Wicked - that trend is clearly stated in those single shows as well."

For more infographics on the report, click here

Ticketmaster's report offered a range of insights into the behaviour of theatre audiences, we pick out some of the highlights:

How do audiences choose to see a show?

The content - 51%

Reputation - 16%

Price - 13%

The venue - 8%

The cast - 5%

Availability - 4%

The theatre company - 3%

How do audiences find out about a show?

Word of mouth - 28%

Venue or event website - 26%

Newspaper / magazine - 13%

Ticketing company - 8%

Event poster - 8%

TV commercial or programme - 7%

Artist or performers' website / mailing list / social page - 4%

Other - 2%

Facebook - 1%

Radio - 1%

Other social media - 1%

Blogs - <1%

Twitter - <1%

When do audiences book to see an event?

Day of event - 3%

Week of event - 18%

Up to two months before - 53%

Two to five months before - 21%

More than six months before - 5%

Which audiences are most likely to attend (percentage of the age group indicating they attend theatre)?

Aged 16-19 - 87%

Aged 20-24 - 82%

Aged 25-34 - 79%

Aged 35-44 - 72%

Aged 45-54 - 66%

Aged 55-64 - 71%

Aged 65+ - 72%

Are theatres under-using social media?

Social media is hugely popular among theatre audiences. Nearly a quarter (24%) tweet about the performance they are about to see or have already see. Among 16 to 19-year olds this rises to nearly half (47%). Meanwhile, around one in five theatregoers are using social media to write reviews about what they have seen. However, only around 3% are currently getting their information about theatre through social media - this could indicate that theatres are not using social media to its full extent to market shows.

What do audiences think of restoration levies?

Roughly equal proportions of people are for (30%) and against (31%) restoration levies. The rest are indifferent. However, most (58%) think they should be optional and a clear majority (68%) think that theatre owners need to be more transparent about what the charge covers.

Awareness of government subsidy

Just over one in four (26%) of theatregoers recognise that have been to a publicly funded theatre. This is only slightly higher among UK residents (29%). The highest region by awareness of public subsidy is the north east (47%)

To read the report in full, http://blog.ticketmaster.co.uk/state-of-play-theatre-uk

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Ticketmaster report: theatre audiences getting younger and more experimental | News | The Stage

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UK theatre audiences are younger and more experimental than is commonly thought, according to new research published by Ticketmaster. The report, State of Play: Theatre, marks the first major investigation into the sector by the world's largest ticketing company and mixes information from its own ticket transaction data with survey responses from a representative sample of the UK population, as well as a selection of theatregoers from abroad.

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Broadway just concluded its highest-grossing season on record. Some of this success is thanks to inventive productions like "The Curious Incident of the Dog in the Nighttime," which makes novel use of technology to put the audience into the mind of an autistic teen. But also booming are revivals of old musical favorites like "On the Town." Even in many smaller theaters, ticket prices are sky high. So what are theaters big and small doing to keep seats filled? A conversation about trends in American theater and what's drawing people to the theater - from regional shows to Broadway - today.

Guests

Seth Greenleaf Tony Award-winning Broadway producer. Recent credits include "Disgraced," "The Glass Menagerie" and "Matilda."

Ben Brantley Chief theater critic, The New York Times

Jeff Lunden Freelance performing arts journalist; frequent contributor, NPR

Maggie Boland Managing director, Signature Theater

Video: Cabaret

Wesley Taylor stars in the Signature Theatre's production of Cabaret in Arlington, Virginia.

Video: Diner

An excerpt from "Diner" at Virginia's Signature Theatre.

Video: "Disgraced"

This New York Times clip takes a look at Ayad Akhtar's drama "Disgraced."

How to watch theater, from The New York Times' Ben Brantley

So you've never been to Broadway. Here are some tips to help you dive in.

Topics + Tags

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What's Drawing Audiences To Theater Today - Diane Rehm

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Broadway just concluded its highest-grossing season on record. Some of this success is thanks to inventive productions like "The Curious Incident of the Dog in the Nighttime," which makes novel use of technology to put the audience into the mind of an autistic teen.

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But Every Demo Graphic is different, as well as every location, here in Burton Upon Trent its Brewhouse Arts Centre often hosts some touring companies throughout the year to mixed results, its biggest audiences from a larger demographic come from touring well known comedians and speakers, their other biggest shows are family driven shows such as pantomimes and musicals which from week long performances can be performed for up to 1500 people.

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Childrens Festival | Brewhouse Arts Centre

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Brewhouse Arts Centre Union Street Burton upon Trent DE14 1AA

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Pro's to joining a Union

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Benefits to being apart of the Actors Union.docx

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Many Actors go on to have good careers in Acting without joining the union.

With joining the union there are initiation fees and due fees.

Once an AEA actor, you’re limited to performing in shows that offer Equity contracts. You can audition for a non-Equity theater, but if you are offered a role the theater must negotiate an agreement with Actors' Equity.

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Caught on Camera 5 Benefits to Being a Member of Actors' Equity Association

If you are contemplating joining the union, there are five things you should know.

Actors' Equity Association has been around for 114 years. Representing over 50,000 actors and stage managers, you may have heard the phrase "I'm Equity." If you're an actor or stage manager, you may have been urged to join the union.

AEA President Kate Shindle-the youngest in the organization's history-stopped by the Playbill offices to talk to us about her time in the national tour of Fun Homeand what actors, stage managers, and audience alike should know about the union.
Read More: HOW DID ACTORS' EQUITY PRESIDENT KATE SHINDLE BOOK THE FUN HOME TOUR?
In the video above, Shindle offers five perks of joining Actors' Equity. Do you know them all?
Want to know more about Equity? Watch the quick video below for some basics:

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5 Benefits to Being a Member of Actors' Equity Association | Playbill

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Caught on Camera 5 Benefits to Being a Member of Actors' Equity Association If you are contemplating joining the union, there are five things you should know. Actors' Equity Association has been around for 114 years. Representing over 50,000 actors and stage managers, you may have heard the phrase "I'm Equity."

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Join online casting to agencies and start building up acting credits

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Join online casting to agencies and start building up acting credits

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Starnow signed up at £5 a month

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Craig Poxon is an Actor, Extra and Film & Stage Crew member based in Derby, United Kingdom.

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I have always been keen on acting... never really found the support younger in life and lost me way.... Years later i have returned to acting and once again rediscovered the passion I have for it. Ready and serious about roles and looking forward to challenges that await me...

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Join a local company of amateur performers and build your stage experience and knowledge of the arts and Industry.

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BASE - Burton Amateur Stage Entertainers - Pantomime in Burton upon Trent | Burton Amateur Stage Entertainers

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