Tag Archives: acting industry

Top Schools ‘Too Dominant’ In Acting

Posted on by

Sir Peter Bazalgette, the chairman of Arts Council England, has said that the British film and TV industries are ‘too dominated’ by actors who have gone to private schools and that state school pupils have too few opportunities to have a career in the arts.

He told the Sheffield Doc/Fest: “I personally don’t see why all the male actors getting Baftas should come from Eton, Good for them, and great actors, but why should they all come from Eton?”

HOMELAND_series 2

Damien Lewis went to Eton.

 

Actors who went to Eton include Damian Lewis, Dominic West, Tom Hiddleston and Eddie Redmayne. Actors who went to other private schools include Rory Kinnear, who went to St Paul’s, Benedict Cumberbatch, who went to Harrow and Hugh Bonneville, who attended Sherborne.

 

12 Years A Slave actor Chiwetel Ejiofor went to Dulwich College – where Sir Peter went to school.

 

“Seven per cent of the population go to private schools, and in those private schools they get an absolutely, crackingly good education in the performing and visual arts. Ninety-three per cent don’t go to those private schools and, in some state schools, people get a wonderful education in visual and performing arts as well. But in quite a lot of them they don’t.

 

Visual performing arts have been marginalised in some areas in the curriculum as the curriculum becomes more instrumentalist and focused on what’s known as the Stem agenda – science, technology, engineering and maths. If there is one message, we say Steam, not Stem – put the ‘a’ for arts in.”

 

Dame Helen Mirren also recently warned that acting was becoming the “prerogative only of kids who have money”.

 

Check out Frost editor, Catherine Balavage’s, new book, How To Be a Successful Actor: Becoming An Actorprenur, which tells you how to become an actor, no matter what your background.

 

What do you think?

 

Mark Ruffalo ‘I Auditioned 800 Times Without Booking A Role’

Posted on by

For tmarkruffalohose outside the acting industry it probably looks easy, but what isn’t easy is finding work. This is proven by Mark Ruffalo’s interview in Interview magazine. Here is a highlight:

 

“In 2000, playwright-cum filmmaker-Kenneth Lonergan’s quirky little sibling drama You Can Count on Me broke out of the festival circuit and went on to be nominated for two Academy Awards (for screenplay and for actress Laura Linney’s star turn). Its success was powered, in part, by the electric performance of a virtually unknown 32-year-old leading man. By the time he booked the part, Mark Ruffalo had already given up on acting at least once, in the mid-’90s, heading home to Kenosha, Wisconsin, to work for his commercial-painter father. But he came back, again and again—auditioning, he once said, 800 times without booking a single role.”

 

Wow. That is impressive perseverance. Ruffalo also had to deal with his brother being murdered and having a benign brain tumor removed.

 

Mark Ruffalo is an amazing actor and I am just happy he kept at it. Read the amazing interview, he is interviewed by Julia Roberts and on a shameless self-promotion note: If you are an actor then check out my book How To Be a Successful Actor: Becoming an Actorpreneur. It is available in print and in all eBook formats on both Smashwords and Amazon.

 

 

Vanessa Bailey & Richard Perryman on Three Days Film | Film interview

Posted on by

When I interviewed Vanessa Bailey and Richard Perryman about their new film, Three Days, we had so much fun and laughed so hard. Vanessa has co-written and is starring in the age gap romance alongside Richard who is fresh out of drama school. Vanessa is beautiful and talented but doesn’t seem to know it, as is Richard. They are both also wonderful company and building quite a following for their film which will start shooting early next year. To find out more, read on….

;

Tell us about your character.

Richard Perryman: ‘I am playing James, a recent graduate, a young guy who does odd jobs. He is flyering for a jazz club and has a care-free lifestyle. He is not really looking for love but just by chance it happens. We were talking about this earlier. It just happens and he is not looking for a long term thing. It just happens to him and he can’t really get away. [laughter]

Vanessa Bailey: [laughing] He can’t really get away! These two characters are not the two people you would expect to see in a relationship. Not just with the age gap, which does sometimes happen, but also with their personalities. She is no a cougar, she is not predatory. She hasn’t been walking around looking for impressionable young leafleters to drag back to her hotel room. He’s not a lad.

;

Richard: It’s not a trophy for him.

;

Vanessa: It is just a sexual connection between them.

;

Richard: Well, not the main one.

;

Vanessa: [laughing] No, not the main one. It is about two real people. It is about finding what that connection would be and how it would work out in real life. They are not caricatures. It is not about romantic cliches. If two people really did connect, how would that work. Can it work?

;

Richard: Can that relationship last or is it just a fling?

;

Vanessa: And we don’t know the answer yet.

;

Richard: I think they are probably both going into it thinking it is just a fling. And not expecting to find that they actually fall in love.

Age gap relationships are popular in film at the moment. Why do you think they are popular and what is your favourite?

Vanessa: I really liked the ITV one, Leaving, although I kinda thought they had stolen our thunder because we had written the script before it came out. What appealed to me about that one, and about Three Days, is most of the other films, the age gape in The Graduate isn’t that big. There is only six-years between them because they are playing up and down. So what I really liked about the ITV one was that they had Helen McCrory who is really gorgeous. They were able to make the audience believe. It was a slightly different story and it was about self-improvement. That one would be my favourite because it was anchored in real life. You can recognise it in real life. Whereas with the other ones, they are lovely stories, but they are not real.

;

Richard: I have only seen The Graduate. I think with that one he has that relationship thrust upon him. It is much darker. She is more of a cougar and she reels him in. This is more of a chance. It is a more filmic story.

;

Vanessa: It is more of a romance. It is not dark in any way. Which is more challenging. There is no gender game. It is more, ‘why has this happened and what should we do with it?’.

;

Why do you think there is still a stigma attached to the older women/younger man thing?

Richard: There has been a rise in those type of films. I think there is a stigma attached but it is becoming less and less. There is still that taboo and it is still fine with older men and younger women.

;

Vanessa: Again, we were talking about that earlier. I think with the older man and younger women, largely they are a physical manifestation of his success and being sexually attractive to women. It is more of a trophy thing. It is interesting because, as you said, the storyline is really popular. We have 1,300 people following us on Twitter. We have no media, no trailer, nothing really about the film, but I think the story has lots of appeal. We have a lot of different people following us. Younger girls, 17 or 18 years old and older men.

;

We had a guy who said when I was in my 20s I had a relationship with a women who was 20 years older than me because it is common. See I am 43.

;

Richard: And I am 22.

;

Vanessa: Oh my god it has gotten bigger! What is that gap?

;

Richard: 21 years.

;

Vanessa: Yes, 21 years. That is quite a big gap.

;

Richard: It’s not that big.

;

Vanessa: Oh, bless you. We can make it work. But I think people are really fascinated by that. I am not going to name names but I had a lot of people say I had this relationship with this women who was 20 years older than me. It is really interesting. It does actually happen but I don’t think film shows that as much as the older guy.

;

Another issue with younger men with older women is the fertility issue….

;

Vanessa: Yes, I think that is true. It doesn’t work quite as well from a family point of view, biologically the other way around. Maybe some women are at the point when they don’t want to have kids.

;

Richard: I think going into that relationship they won’t really think about it and then when they did the pressure would start adding on to it. Like, ‘what do we do?’

;

Vanessa: I was talking to some friends about it and they were like, ‘lucky you’ and then I was thinking, no, because in reality when you are an older women it is hard. You have insecurities.

;

Richard: Yeah, you were saying to me that when we go out people will be like, ‘Your son is waiting for you’ or ‘Is that your mum?’ or something. Which would be really tough.

;

Vanessa: [laughing] There is always a 21-year-old girl around the corner and you are getting older, and you look older, and the point of this, of Three Days, is also when older women are portrayed in films they don’t look their age. They have had all of that plastic surgery and they don’t look their age. I do look my age [she doesn’t] so it is not like, yeah, she is a hot 43 but she looks 33. She is just 43. So there is that whole physical insecurity.

There is also this myth that is spread that men get better looking as they get older but women don’t. It places a lot of pressure on women and it also happens a lot in film. Then when you do get a part it is not a really good part. In this film it is a women in a really good role, which could actually have a lot of significance.

;

Vanessa: And that is the great thing about indie film. You have raised a great point actually and that is the good thing about Three Days. There are not the parts out there that actresses my age necessarily want to play. You get typecast in commercials and then you have to wait until you are 75 to play a dowager in Downton Abbey. There is a massive gap in-between. You are just wandering around wondering what you are going to do. A few of us do have a natural look so you are not going to get the barmaid parts or the cougar parts. So I kind of wanted to come up with a part that a lot of women my age would want to play because it is interesting and it is fun. There is a massive gap for older actresses.

;

How did you come on-board

;

Richard: I didn’t really do anything.

;

Vanessa: That is the joy of Twitter. I am going to write a book. Instead of the Joy of Sex I am going to write The Joy of Twitter, and [to Richard] you are probably too young to even know the book. It was out in the 1970s. [to me] You know the book? [Yes, I know the book] See, women know the book.

;

So, Twitter, we were looking for someone. I was looking at showreels because I love watching showreels. I saw Richard’s headshot and someone tweeted a link to a short film he was in called Emmeline, which was gorgeous. So I stalked him. I asked him to be in a film with me.

;

Richard: I got an email asking me if I wanted to be in the film. We met up for a coffee. Then I wanted to do it. She reeled me in. We were both on the same page in terms of character and what we wanted for the film.

;

Vanessa: What clinched it was that halfway through we were talking about the dialogue and how we wanted it to be really natural, and be very real and he said it should be like ‘Before Sunrise’, which is my favourite film. At that point I was really hoping he wanted to be in the film.

;

So it was the power of Twitter and short film. And the mocha that I bought him that I then drank.

;

Richard: Yeah, I had a latte and she had my mocha.

;

Vanessa: Start as you mean to go on.

Tell us about the process of the film so far.

Vanessa: It has been a long time actually, nearly a year. I wrote it. I wrote a really bad script originally. I sent if to Jon Rennie, our director, and basically what he did was he rewrote it from a cinematic point of view. Jon said he liked the story but this is how he thought the physical journey of the film would go. We have beautiful locations we are filming in. Then he gave it back to me to fill in the dialogue. We knew we had Huw onboard who is just phenomenally good.

;

The film is quite like Notting Hill on acid. Huw Walters (Cinematographer) and Jon and myself all worked on Bubbles [an excellent short film. See it] Our composer had seen Bubbles and asked us if we had a composer. Then I looked at his credits and I was like, wow. He has worked with the BBC, with Tom Jones, with loads of people.

;

Our hair designer, Jason Hall, also asked to come onboard and he had done London Fashion Week. He was also from twitter. He contacted us and asked us if we needed a hair stylist.

;

The producer, Sam Smith-Higgins, was following the film since it started on Facebook and she said she would really like to collaborate and asked if we had a producer. She has an entire production company that she is bringing with her. The Executive Producer, Suzie Boudier, has been a constant source of inspiration.

;

The great thing about this film is that everyone has come on-board because they really want to make this film rather than just a film. It has been a really long process. I am really excited.

;

How did you approach funding.

Vanessa: We will be crowd funding in February. Consolidating everything in March and then we are shooting in April. We are looking at different crowd funding options at the moment.

;

Tell us about you.

;

Richard: I just graduated from E15 from a contemporary theatre course. I set up my own theatre company with a couple of friends called Antler. We took two shows up to Edinburgh.

;

Vanessa: Who have got some amazing reviews. Should I quote some of them? Richard excels in dry humour. That is what it said.

;

Richard: We got some lovely reviews. Since then I have done a short film with the same company. I was lucky to be a part of that. And from that I got this. Which is great and exciting.

;

Vanessa: I am completely different. No training. I am a teacher. A music specialist whatever that means. I came out of it after I had my children and decided I wanted to be an actress. So I did a lot of background work just to get into the scene and I was lucky to break that rule that you never become an actor after being an extra. I managed to get there. I have managed to blag my way to some good jobs so far.

;

You are so self deprecating

Vanessa: Yes I am. But I have no reason to be here. Once I got Spotlight and a DVD I sent it out and Sam [Samantha from Simon & How, out mutual agent] was the first person to give me an audition. I absolutely love it.

;

Do you think the age of the actor is dead and you have to be an actorpreneur and do your own projects.

;

Richard: I have only ever done my own projects. So I think, yes, you can’t really trust anyone else to do anything for you. You have to do it yourself. If you are lucky enough you will be handed lots of jobs. It is the luck of the draw. If not you have to go out and do it yourself. [to Vanessa] Like you are doing.

;

Vanessa: All actors know that it is a really small pool that people fish from. Especially in television. It is hard and it is not going to talent unfortunately. You see people who work regularly who are not good and lots of people who are very talented who don’t get any work. So, yes, I do think you have to be an actorpreneur.

;

Richard: I am very bad at selling myself because I am not on Twitter.

;

I often lose roles to people who are more famous or someone’s girlfriend.

;

Vanessa: Yes, that is frustrating. I can see the other side of that. We all work with people we know because it is better the devil you know.

;

Richard: Then that creates those little cliques who work with the same people and you can’t break into it.

;

That is why I left Scotland. I had to commute from Glasgow to London because there was the group of Scottish actors who always got work and I could not break into the industry.

;

Vanessa: There are a couple of casting directors who fight it. A casting director said to me that he was sick of seeing the same faces in television over and over again.

;

And you do. You see the same faces over and over again. We need pioneers who are bringing new faces in and trying to get people seen.

;

Richard: But we are a little family. [We all have the same agent. Samantha at Simon & How]

;

That’s right.

So is the process to make a short and then a feature film.

;

Vanessa: I would love to. I would love to make a feature. Are you playing footsie with me Richard?

;

Richard: Yes, I am getting into character.

;

Vanessa: Two things with the short film. Firstly, I would like it to get into festivals. But also it is like a calling card. Hopefully people will see this. When we had one of our first meetings with Jon and Huw you could very much see the potential of the film and the ensemble cast. I would love to make a feature film.

;

Richard: It has the potential to be a great British film.

;

Vanessa: I am such a champion of British film so I would love to make it into a feature.

;

What are you shooting on?

;

Vanessa: I’m not sure. I have left that to Jon. Not film. Because it is too expensive. We want to do a few different takes on this film and we don’t want to worry about how expensive it would be. I know Jon was talking about filming on mono. So a combination I think.

;

What’s next?

;

Richard: I just graduated. I am not sure what is next. I am just putting myself out there.

;

Vanessa: You are developing….

;

Richard: Oh yeah, with my company, Antler, we are constantly developing work. Putting things together and trying out new ideas.

;

Vanessa: Everything at the moment is Three Days. Then hopefully after that it will be the festivals. [Vanessa also has a lot of acting work coming up. Including a part in Southcliffe and some short films]

;

Thanks Vanessa and Richard.

;

Director: Jon Rennie @jon_rennie
Writers: Vanessa Bailey, Jon Rennie @vbaileyactor @jon_rennie
Producer: Sam Smith-Higgins http://www.redbeetlefilms.co.uk/ @SamSmith-Higgins
Executive Producer: Suzie Boudier @Superboooo
Cinematographer: Huw Walters http://vimeo.com/user4428776 @huwcamera
Composer: William Goodchild http://www.williamgoodchild.com/ @WGoodchildMusic
PR: FireflyPR http://www.firefly-pr.com/ @FireflyPR

Hair Design: Jason Hall http://www.jasonhallhairdressing.co.uk/ @Jhhair

The Unpaid Acting Work Dilemma by Professionally Resting.

Posted on by

Casting call: ““Unfortunately we’re not able to offer a fee on this occasion.”

Sadly this type of casting call is one that I’m all too used to seeing. At least 75% of castings will
contain the above sentence or a wonderfully inventive version of it (such as the incredible ‘This is
a no-pay experience!’) It’s unfortunately become a fact of acting life and I’ve become as skilled as
sifting through castings as I have at rifling through sandwiches for rogue tomatoes. Directors will try
and soften the blow by telling you that you’ll get a credit to put on your CV (gee, thanks) and that
they’ll be providing you with food on set. On-set catering can be a thing of beauty (pizza) but it can
also be an utter horror made of stale sandwiches. Apparently actors can live on credits and bread
alone. If only landlords, phone companies and councils could be fobbed off in the same way.

Unpaid work has become a rather aggressive disease in the acting world. What was once the domain
of film students and wannabe filmmakers; it has now entered the world of television. And this is
a worrying development. I understand that however much they’d like to, students and smaller
production companies can’t always afford to pay people. The ethics bother me because I believe
that if you can’t afford to pay everyone then you probably shouldn’t be making the piece in the first
place but that’s an argument for another day. Unpaid work happens and sadly, just like the damp in
our flat, I have to deal with it for now and watch it ever so slowly ruin me. I should also admit that
I’ve taken on my fair share of unpaid work in the past. Unfortunately there are times when you have
very little choice and so you can either do nothing or take on some unpaid work in the hope that
it might just get you spotted. It won’t, but you never know when that top agent is going to turn up
at a secondary school in Northampton to watch you prance about telling kids about the dangers of
heroin. But now the bigger companies have jumped on the bandwagon and suddenly everything is
starting to topple over.

There have been a string of very high-profile companies that have recently started advertising
unpaid or expenses only work. And when I say ‘high-profile’ I mean the type of companies
that produce widely watched primetime programmes that air on terrestrial channels. These
are companies that clearly have plenty of money, or at least enough cash to make sure that all
performers are fairly paid. When they start offering unpaid work, what kind of message does that
send out to all the other companies? Apparently it’s now perfectly acceptable for these businesses
(one of whom made a profit of £471m last year) to get performers to work for free. But these
companies forget that actors often have a lot of time on their hands so it doesn’t take too long
before they’re ousted via the beauties of social networking. But what happens when they get found
with their devious trousers around their tight-fisted ankles? Well, what has happened recently
is that they make like George Osborne and u-turn. However, they don’t then promise to do the
honourable thing and actually pay actors. Oh no. Their reaction is to say that they will instead be
casting friends, family or employees. That’s what this profession has been downgraded to. Actors
are now regarded so poorly that we can be instantly replaced with the make-up artist’s cousin and
the focus puller’s university mates the second we start to complain. We find ourselves so low on the
career ladder that we’ve now been downgraded to the lackey that just holds the ladder and watches
everyone else climb up it.

So what this means is that actors will yet again be forced into unpaid work as they desperately try
to keep hold of a career that’s more slippery than a greased-up seal. We continually find ourselves
being held to ransom where we can either ‘shut up and put up’ or keep fighting and risk the chance
of never working again. Just like the next actor, I’d love the exposure that a primetime programme
would offer but never at my own expense and certainly not just so an exec can save a few precious
pennies and ensure that their bonus is intact for another year. Why should they get to go on exotic
holidays when I’m left wondering how to survive for the next week on a tin of chopped tomatoes
and a rapidly ageing nectarine? It’s at its lowest, meanest level and until all actors make a stand against these companies, all we’re doing is encouraging them to turn our already fragile
industry into a laughing stock.

Professionally Resting Interview: Lifting the Lid on Acting.

Posted on by

The talented actor behind the blog Professionally Resting first caught my eye on Twitter. She is brave, witty and accurate about the downside of the acting industry. As an actor myself I just read her tweets/blog posts and nod. I just had to interview her for Frost, so here it is! I also have a guest post coming from her soon, so look out for that too.

What made you start your blog?

I’d been reading a few other acting blogs online and I soon realised that none really covered what it’s like to be an actual working actor. Many are written by actors who are constantly in work and that was something that I just couldn’t really identify with. Most actors I know spend a great deal of their time resting and I wanted to create something fun and supportive for those of us that regularly find ourselves within the unemployed majority. I also wanted to use it as an excuse to keep busy. There are days when there’s very little work coming in and having a blog to think about really keeps me feeling like I’m at least doing something creative.

Tell us a bit about yourself (without giving too much away)!

It’s always tough answering these questions without sounding like you’re on Blind Date! I’m in my late twenties and have been acting (on and off) since graduating from drama school in 2006. I had a break for a couple of years after getting a bit trapped in a temping job that became permanent. It was a horrible job but it meant I could have a couple of years actually earning money and being able to buy things that had previously been a luxury like food that isn’t on the reduced shelf. However, there’s nothing quite like a miserable job to remind you exactly what it is that you really want to be doing and that was the catalyst to making me find acting work again so that I could finally escape.


What do you think of the acting industry?

It’s very much a love/hate relationship. I regularly complain about it on Twitter and on my blog because it honestly drives me insane. It can feel that it often has more to do with luck than talent and you are completely at the mercy of those in control of the work that is out there. It often feels like many companies and channels operate a closed shop policy and I think many of them are guilty of working with the same very tiny gang of actors time and time again. I read an article recently that said there was a very small pool of talent out there which simply isn’t true. There’s an absolute ocean of clever and gifted people out there but they often get ignored as there are other names and faces that are deemed more popular. Unfortunately viewing figures and ticket sales are placed about creating quality work and while I accept that many of those performers that are used time and time again are very good at what they do, a bit of variety really wouldn’t go amiss!
However, having said that, there are very industries that would pay you a month’s rent to mess around as a time-travelling police officer for the day and that’s why I’m still slogging away at it!

What is the worst casting you have ever seen?

There are so many to choose from! The reason I started tweeting about castings was because people were so shocked at just how insulting and offensive and downright baffling they often were. Ones such as ‘No pay unfortunately but you will get to ride in a white stretch limo with a midget and the band’ and ‘She looks a bit like a trollop but tries to dress a bit classy’ have been incredible finds. However, I think the worst has to be one that I saw recently asking for actors to play characters in a sweatshop and the company (a very well-known TV channel) were only offering expenses. I thought I was past being shocked by castings but this one was offensive on so many levels that I genuinely had to keep re-reading it just to make sure that I was seeing it properly. Sadly I was.

What was the catalyst behind you starting your blog?

As I said, it was because I felt like I couldn’t relate to the other acting blogs out there and I felt that there needed to be a voice that represented normal working actors who often find themselves out of work. However, although I knew that it was something I wanted to do, it took me a while to actually get it started. It only happened when I was coming back on the train after a month performing at the Edinburgh Festival. I’d stupidly forgotten to bring a book and my boyfriend and I were unable to sit together so to keep myself occupied, I just started writing. After nearly 4 hours of solid writing, I realised I had a lot to say on the subject of acting and after a bit of encouragement from my boyfriend who’s also a blogger, the blog was born.

What can be done to improve the kind of roles women get?

It has to start with the writing. There is not a day goes by that I don’t see at least one casting where a woman isn’t required to either be a stripper or a prostitute and although I often make a joke of it on Twitter, it is very worrying too. There is such great writing out there for men but female roles are so often overlooked. So many times I read castings where all the male characters are given weird and wonderful characteristics while the women are just written to look nice. There are some incredible writers out there who are really trying to make sure that there are strong, interesting roles for women but they need support from the major producers for their work to get made and seen. I do think that it’s changing and television and film is starting to listen but it feels like a very slow process that needs to speed up a little!

What is your favourite, and least favourite, thing about the industry?

Let’s start with my least favourite and get the negative stuff out the way. It has to be the lack of good, paid work out there for actors. So many companies expect actors to work for free and although I completely understand how difficult it must be working on a tight budget, it’s tough when you’re faced with it day after day. Acting is something that I stupidly want to do for the rest of my life but it’s hard when people seem to think that by offering you a limp cheese sandwich and £5 to cover your travel expenses, they’re doing you a favour. I’ve done jobs in the past where I’ve essentially been paying to be part of them and that’s when you know that something has gone wrong.

And my favourite thing about the industry? It’s that you just don’t know what’s coming up next. A few months ago I was whinging on Twitter about how there didn’t seem to be any work out there and literally minutes later, my agent was on the phone with an audition for an incredible part in a feature film. I didn’t get the role but I do love how your luck changes from one minute to the next. Although it can be pretty unnerving at times, especially when you’re going through a particularly quiet spell, it’s incredibly exhilarating too. I think it’s a little bit addictive which is why actors put themselves through such torment.

You blog and tweet under a pseudonym, do you believe it would harm your acting career if you didn’t? Can you be critical?

The decision to write under a pseudonym was made so that I could be openly critical about the industry. As an actor you have to be so careful because you never know who you’re going to be working with next and I think that means a lot of actors are worried about speaking out about how infuriating this industry can be. Writing anonymously gives me the freedom to be brutally honest about the problems I face without jeopardising my acting career. Although there are days when I wish I could just tweet under my real name, I’m sure I’d have been in a fair bit of trouble for some of my comments, especially about casting calls and auditions.

What was your favourite ever job?

Despite going on about getting paid, my favourite job was one when I didn’t receive a penny. It was one of the first jobs I did after graduating from drama school and was a devised piece. It was pretty shambolic most of the time and we didn’t even get expenses but it was incredible experience seeing a project from the first meeting where we had some terrible ideas to the final night of performance. We barely sold any tickets (mainly because it was listed incorrectly meaning that most audience members turned up about 5 minutes before it was about to end) but it was great fun and real learning curve for me as a new actor.

and your least?

A summer-long Shakespeare festival. It was fun for about a fortnight but after three months away from home on only £25 a week, I was a state. The plays were performed outdoors and it was a particularly bad summer which meant that we spent a lot of time performing in soaking wet velvet dresses. British audiences are incredibly resilient and would determinedly sit there huddled up in anoraks and shelter under umbrellas while we battled with wind, rain, thunder and lightning. Because I was earning so little money, I was mainly living off value bran flakes and tomato soup so I ended the three months malnourished, exhausted, utterly sick of the sight and sound of Shakespeare and with about £4 in my bank account. That was something they really didn’t warn me about in drama school!

You can read the Professionally Resting Blog here and follow her on Twitter.