Equity

Equity is the only Trade Union to represent artists from across the entire spectrum of arts and entertainment. Formed in 1930 by a group of West End performers, Equity quickly spread to encompass the whole range of professional entertainment, Membership includes actors, singers, dancers, choreographers, stage managers, theatre directors and designers, variety and circus artists, television and radio presenters, walk-on and supporting artists, stunt performers and directors and theatre fight directors.

Although it is a Trade Union, Equity is not politically affiliated and so does not make payments to any political party. This puts Equity in the strong position of being able to lobby with impunity governments of all political colours. It is, however, affiliated to the Trades Unions Congress and Equity delegates attend the annual TUC conference as a means of bringing performers’ issues to a wider audience.

What Equity Does

The main function of Equity is to negotiate minimum terms and conditions of employment throughout the entire world of entertainment and to endeavour to ensure these take account of social and economic changes. We look to the future as well, negotiating agreements to embrace the new and emerging technologies which affect performers so satellite, digital television, new media and so on are all covered, as are the more traditional areas. Equity Agreements covers such things as auditioning, minimum rates or pay/fees (“Equity minimums”) health and safety, hours, breaks, holiday pay, grievance procedure and many other items which makes working under Equity terms the best protection an artist can have.

Equity works at national level by lobbying government and other bodies on issues of paramount importance to their membership eg. Agency Regulations, Public Entertainment Licensing, funding for British filmmaking, funding for Regional Theatre and other topics. In addition the union operates at an international level through the Federation of International Artists which Equity helped to establish, the International Committee for Artists’ Freedom and through agreements with their sister unions overseas.

In addition to these core activities, Equity strives to provide a wide range of services for its members and so they are eligible for a whole host of benefits which are continually being revised and developed. These include helplines, Job Information Service, insurance cover, member’s pension scheme and others.

How to Get an Equity Card

To obtain full Equity membership and get an Equity card, applicants have to be able to provide proof (contracts, pay slips etc) of professional employment within the entertainment industry. Entry criteria depend on the area of the industry in which the applicant has worked. There is also a Student Membership Scheme for people on a full-time course of one year or longer at a higher level, which prepares people to work in the industry as a performer or creative practitioner such as a director, designer or stage manager. For full information on joining please visit www.equity.org.uk application forms are also available, or contact any Equity office for a joining pack: London 020 7670 0215, Glasgow: 0141 248 2473, Cardiff: 029 2039 7971, Manchester: 0161 832 3183, Sheffield: 01142 759 746, Warwick: 01926 408 638.

Top Tips for Aspiring Lighting Designers

Here are some useful bits of information in hands bullet point form:

It’s all about experience – what you’ve seen and what you’ve done. See as much performance as possible and be inspired.

Consider all aspects of lighting design, this article concentrates on theatrical lighting (which includes opera, musicals, dance etc), but there are also concerts, television, architecture, shops, product launches etc.

Learn what everyone else on the production team does and how they do it. The production will be at it’s best if everyone contributes rather than contradicts, the lighting design should complement and enhance the production.

The traditional way to a career as a lighting designer is to work your way up through the electrical department of a theatre and then take on the occasional design, all the while gaining more experience. There is no reason why this experience shouldn’t start at school, college or your local amateur company.

Lighting design now forms a part of most drama schools technical/backstage theatre courses. These courses cover all aspects of backstage work and you can then specialise in the final year of the course. Check the college curriculum for more details and it can be helpful to ask the college to put you in touch with current and past students so you can get a students perspective on what the course has to offer.

It is now possible to train as a lighting designer on a specific course, at a drama college or university. These are often degree courses and last 2 or 3 years. However, don’t expect to walk out of the course and straight into the next big West End musical, you will still need to gain professional experience.

Discover, and attach yourself to, the next generation of set designers and directors. This can be easier if you are at college with them. Many directors and designers prefer to work with people they know and if they make it to the top they can take you with them.

The theatre and performance industry is about reputation. Everyone talks about and remembers a good production (small or large scale) and many successful lighting designers have made their name by being part of just one or two outstanding productions. It can work the other way too though!

Only those at the top of the profession can earn a living just from lighting design. Be prepared to supplement your income with other freelance work within the industry, for example fit-ups, followspot work, lighting desk operator. But you can use this as an opportunity to see other lighting designers at work.

Finally, try and meet other lighting designers and consider joining an association (ALD – Association of Lighting Designers or ABTT – Association of British Theatre Technicians). They can offer you valuable advice and help and then point you in the right direction.

Useful web sites

www.ald.org.uk – Association of Lighting Designers

www.stld.org.uk – Society of Television Lighting Directors

www.iald.org – International Association of Lighting Designers

www.theatredesign.org.uk – Society of British Theatre Designers

www.abtt.org.uk – Association of British Theatre Technicians

www.drama.ac.uk – Conference of Drama Schools

www.ncdt.co.uk – National Council for Drama Training

How to be a Lighting Designer

Below are some suggestions and advice on how to go about being a lighting designer. Life is obviously not quite that simple, but hopefully it will give you some idea of the various options and choices you can make. This is a fairly personal view and obviously every lighting designer will have their own take on the best way into the profession.

Firstly, you don’t really need a qualification to be a lighting designer, experience is what really counts and you may have already started gaining that from amateur or school productions. You can add to that by getting involved with local youth theatre groups or other amateur companies, it’s all about being able to show a commitment and enthusiasm.

There are a few ways into theatre. You can pester every theatre company you can find until they give you a job, it might be sweeping the stage or being the follow spot operator for panto but it’s a way in and then you can gradually work your way up. It’s slow and you only gain a limited amount of experience at a time, but it works for some people.

Alternatively you can continue with your studies through A levels and onto university – studying whatever interests you, but also getting involved with any drama or musical or dance groups that are going on. Many universities do drama courses, but they tend to be fairly general and I’m not aware of any that do a specific Lighting Design course. However, many universities have good resources and you will make a lot of contacts – plus you come out of it with a qualification, so if you decide that theatre, or lighting design specifically, is not for you then you have something to fall back on.

Another form of further education is training at drama school, they generally take on students from about 18 years, though they may consider someone younger. The courses cover all aspects of backstage theatre and most last three years, but you will come out of it with good contacts and a good chance of getting work. There is one course that offers a degree in Lighting Design and it is at Rose Bruford. Drama schools offer a good training in how to put on a production and you will get plenty of opportunities to put what you learn into practice in a working theatre environment.

Not many lighting designers have come into the business as lighting designers, generally they have moved on from theatre electricians where they gain the knowledge and understanding of the practical side of lighting design. It is also very difficult to earn a living solely as a lighting designer, there are probably only a handful in this country who can claim to do so, most of us supplement our income with other technical work. But, times are changing and it is now possible to train as a lighting designer which means that if you have the contacts and some experience you can make a career (and a living) as a lighting designer without working through the industry as we had to in the past.

Don’t forget there are other parts of the entertainment industry that use lighting designers – television, film, music, corporate presentations, industry launches, architecture, theme parks, museums, retail . . . . . . and what you need to do is find your niche and go for it.

However, first off it is important to keep studying. If you are still at school or college a few extra GCSE’s and A levels wont do you any harm.

Finally please feel free to get in touch if you need any more help. I can be reached at office@ald.org.uk

Mickey also works in marketing for National Disability Arts Forum (NDAF) on Arts Access UK – the online database of access facilities at Arts venues.

Mickey has raised over £250, 000 for arts projects.

Practical Approaches to Raising Funds in the Arts.

After looking at the arts funding system a number of questions remain unanswered and the major one is:

How practically do we go about raising finds in the arts?

I canít tell you how to fill in an arts funding application form but I can outline some of the issues and techniques. My experience comes from 5+ years working for North West Disability Arts Forum as Training & Development Officer. Obviously my job was training/learning and the arts and education interface but during this time I wrote the applications or delivered the presentations that raised over £250,000 for NWDAF. This came from a number of different sources ñ some were not obvious art funders ñ and for a range of projects.

Honesty and integrity.

This is an absolute basic because the arts funding system works on trust.

- Ask only for what you need

- If you lose your reputation for integrity it is ëgame overí for your career as an arts fundraiser (there are numerous instances of organizations that have collapsed due to financial mismanagement or fraud).

- You should have an allowance in your budget for unforeseen circumstances (contingency) and this is usually 5-10% of the overall budget

- Do not be tempted to pad out the budget in other areas as you need to show value for money.

- Do not ëdouble fundí something (i.e. accepting full grants from two sources for the same project) if this is offered discuss it with the funders.

- Do not underestimate what you need because either the application will be rejected as unrealistic or you will struggle to deliver a project without the necessary finances.

Know what you need.

You must be the expert on the project you are raising funds for. You must know the vision or philosophy of the project and also the financial, managerial and technical detail.

- Know financially what you need ñ you cannot turn around to funders halfway through a project and say ëI made a mistake this project needs more money.í

- Know in detail what you need ñ not simply ë£2,000 for marketingí but what precisely you will spend that £2,000 on. How did you settle on this figure for your marketing budget?

- If you know what you need in, vision of the project, finances and detail then you can be assertive to argue your case. You are the expert on your project and when the funders ask questions you should know enough to confidently state your case.

Maintain a good relationships with the funders.

You hope to apply for future funding so you need to maintain a good relationship with your present funders either for repeat funding or for new applications.

- The arts is a people business. The network of people who know you and trust the work that you do is vital.

- The arts works on gossip ñ both for good as people will hear of successful projects and for bad where your reputation will be damaged by badly delivered projects.

- Persevere with applications ñanything that is turned down you should ask for feedback and make further applications whenever you can. Your name, organization and projects will become a feature in funders mind. If they know of you positively it will make it easier for them to fund you.

- Your reports and accounts for funders should have the same sense of integrity. Do not be tempted to hide a problem with the finances or the project. Honestly detailing a problem ñ perhaps asking the funder for advice ñ and positively dealing with it should enhance your reputation.

- Thank funders and make them feel involved ñ even the smallest ones as acting as a trustee for a small grant giving trust is voluntary and they want to see money they have granted being used properly.
- Do your monitoring and evaluation of the project and flag up success stories. Show that weaknesses in your project are immediately dealt with and your analysis of the evaluation will affect the design and planning of future similar projects.

- Success breeds success so a track record of delivering good projects to the budget will help you to raise funds for other projects.

Sources of funds for your arts projects.

- arts funding system (Arts Council of England)

- local authority

- Co-productions and partnerships using arts budgets and also partner education money such as schools budgets, Learning and Skills Councils of post 16 colleges and higher education funding council money from Colleges and Universities.

- Trusts and funding with socially beneficial purposes if you can show the social benefits of your project. (i.e. not simply ëgive us the money so we can ponce about on stageí but the social and community benefits).

For more information about Mickey Fellowes and what he can do for you visit his website at www.sunsurfer.co.uk

Tony Vincent

Tony Vincent is one of the biggest stars in musical theatre today having taken West End and Broadway leads in We Will Rock You, Jesus Christ Superstar and Rent

We are thrilled to have Tony join our masterclass program.

Here he answers questions posed by members about a career in musical theatre.

How did you get started?

It all started when I heard my first Beatles’ record: Hard Day’s Night. The open-guitar strum at the top of that song stopped me dead in my 4-year-old-tracks and demanded my attention. It was the wake up call that would lead me to being an artist, heavily rooted in music. From that moment, I’ve never once looked back or to another choice of career path.

Rock’n'roll would be a part of my future and I would do all I could to make that happen.

How did you find work?

When I was growing up, I tried to utilize all the opportunities I could find to sing or play in public ñ school, church, anywhere. My parents would even humor me by attending private concerts in the living room! Looking for ways to perform eventually lead me to theatre. Musicals were a medium that would keep me growing as a performer, as well as introduce me to the world of acting.

I always knew that music would be the foundation of my creativity, but acting became something that I really enjoyed and wanted to be better at.

When I was in my 2nd year of college, I started a record company out of my dorm room. At that time I just wanted to create a legit way of getting my own music out to the public so, a friend and I set out a business plan to get on radio, which at that time was still somewhat possible without a major label. After a semester our work landed me a record deal with EMI. I wound up doing two records for them. At the end of the second record, however, I wanted a change so, I moved to New York to find a new home for my music.

Moving to New York opened up the option of doing theatre again. Until my goal to land a new record deal was reached, I saw theatre as a good way of staying in performance while earning a living. I went to an open call for a musical called RENT and wound up touring with a production as well as being a part of the New York/Broadway Company. This lead me to other opportunities in the theatre world and I wound up opening up the Broadway revival of Jesus Christ Superstar. Until this point I had a manager, but not an agent, so I wasn’t really being sent out on auditions. These auditions came by word of mouth– a total blessing.

The chance to audition for We Will Rock You actually came about while I was doing some songwriting in London and the agency that casts for RENT suggested that I be seen. The producers of the show were still looking to cast the lead role and they opened up auditions to New York talent. I had the opportunity to personally audition for Queen, Ben Elton and the show’s producers while they were doing video auditions back in New York. It wasn’t 3 weeks from that first audition that I was moving my life to the west end.

How do you get yourself seen?

When starting out, I think it’s almost always best to make yourself available to be seen as much as you can. Even if it’s not a great project or something that you are a fan of, it’s important to give people the chance to come out and see what you can do. Being too picky or choosy about what roles to audition for early in one’s career isn’t very smart. The more you work, the more you can discern what is best for your career. Few are fortunate enough to be in that position, however.

Still, even in less than desirable situations there can be a lot to learn. You may get the chance to work with another actor who really stretches you. Even if a project isn’t good, there still can be some amazing people to meet and work with. “Bad” experiences can actually be major blessings. I think the best thing is to focus on the desire to want to get better and be a better actor.

What are realistic expectations to have?

A lot of people want to do this. A lot of people want to perform. A lot of people want a piece of this career. A lot of people are good.
I’m sure many people know that the grind is very difficult in this business. Rejection is hard– for anyone, and when you care about what you do as an artist– yet you are still rejected, that blow can feel very, very heavy. I don’t know how many people do it, to be honest. After a series of rejections, it can really take a toll on a person. I know that if it wasn’t for my faith I couldn’t do it. Because my faith is based on god’s acceptance of me, I don’t have to base my value on landing a role or succeeding in a performance. Rejection is still hard to take, but without something else to base my worth on, it would probably destroy me.

What do you think the keys to success are?

I think it’s important to reflect on why we do this– what made us start down this crazy road. For me, I frequently go to that first time I heard the Beatles. How it made me feel– what it did to my insides, my soul.

It’s important to take a step back and look at the big picture and ask ourselves “Do I still love this?” “Do I still want to do this?” if not, that’s ok.

If you still DO want it however, look at what steps you can take to make your talent better. Surround yourself with people that you can learn from– people that are better than you. Take classes in areas where you need practice. Take classes where you DON’T think you need practice. Attend other performances where you see good talent. Watch. Listen. Learn.
The moment we stop the process of learning, I think the initial excitement we once had will fade and eventually burn out completely.

Sometimes the wish not to screw up is overbearing, for example in an audition or speaking to a prospective employer touting for a job. What are the Dos and Doníts to avoid making a mess of things?

(Laughing) I don’t know specific “dos and don’ts”. I do know there are no rules and there’s no one right way. I mean, I’ve been fortunate to have landed auditions by word of mouth/invitation – but you can’t depend on thatóI can’t always depend on that… (That’s one reason why I’ve begun looking for an agent.) I think that if I had one “do” and one “don’t” they’d be this:

DO: work hard. Work at getting better. Surround yourself with great talent and people you can learn from.

DON’T: Don’t sacrifice your character and what you believe in. Don’t put yourself in a position where you are sacrificing yourself for the sake of a role if it contradicts what you stand for and your principlesóregardless of what it could do for your career. If you don’t believe 110% in what you’re doing, it will show and, I personally don’t believe will lead to anything greater. The audience knows if you’re into what you are doing. No matter how good an actor we are, they seem to always know.

What do you do to keep yourself ready to work?

Personally there are a couple of things that directly impact me and my work. Reading, for one. Reading books sparks ideas and stretches my mind. Whether it’s writing songs or creating a character… I didn’t love reading growing up, but in high school, a book called “Red Sky at Morning” birthed a passion for literature. I try to be reading a book at all times. Studying the characters authors write about is like adding colours to a palate of choice you can make as an actor.

The second is probably staying in shape. Being fit has major implications on the way I feel as an individual. I frequently ask myself… “If I’m going on stage tonight, will I feel comfortable in front of people?” “Am I happy in my own skin?” “Do I feel in control of what I’m doing?”

If I don’t feel good about myself it will translate on stage or in an audition. Staying in shape gives me that feeling of having the ability to be strong when I need to be– not just physically, but psychologically as well. It’s amazing what running 4-6 miles, 3-5 times a week can do to a person’s mind. For me, it helps me think clearer. It helps me feel like I’m good at what I do. That, in turn, will create better work. No one is convincing when they aren’t in the moment.

Julie Kinsella

Actor, Writer and Director, Julie Kinsella has been acting, writing and directing for most of her life and has an enviable record of work in film, television and theatre both at home and abroad. Recently she has held positions with the BBC, BD films, Kinetic Theatre Company and the Oxford Shakespeare Festival as well as producing material for her own theatre company Indian Ink.

Most importantly to us though Julie is directing our production of The Witch’s Bogey!

Here she writes for you about exploring and expoliting your talent to the full.

Enjoy!

Another Way

When people ask about my training, I usually say, ìI went to RADAî. I wait for the nod of approval and then add, ìBut they wouldnít let me in.î Neither would Manchester Poly or Guildford. ìCome back next year,î they all said.

I didnít go back, though. Never one to let a refusal offend, I took myself off and persuaded a local theatre company to give me a job. And there I stayed, playing very diverse roles in several TIE tours, pantomime seasons and historical plays. They even let me try my hand at leading workshops in their Drama Summer Schools. It was great on-the-job training.

I think the moral of this tale is: if you hit a stumbling block in your career, donít give up; thereís always another way.

And donít be afraid to diversify. I started out as an actor, and thatís all I ever really wanted to be. My cv now says Iím an Actor, Writer and Director and I guess thatís because Iím Jest a Gal Who Cainít Say No!

I started writing in one of my ìquiet spellsî ñ one of those times when the phone forgot to ring and the letter-box healed over. A friend suggested we write something together ñ and cast ourselves in it! ìYES!î I said, and we did. Another friend saw it and suggested I write a one-woman show for a local touring company. ìYES!î I said, and I did. It never got produced by that company but I decided I quite liked it, so formed my own small company to produce it – and cast myself in it!

I started directing when theatres asked if my company had anything else coming up. ìYES!î I said, and feverishly started to write the next show, and the next one ñ and didnít cast myself in them!

I now write to commission and direct for other companies ñ and as a sideline I produce corporate videos (with an eerily Hitchcock-like tendency to cast myself in them!). Iím glad to say Iím still a working actor, but in the lean times, itís being able to wear those other hats that keeps me in Mars Bars.

What Iím saying here is: we are all creative people ñ Performers, Directors, Writers, Producers, Designers, Stage Managers ñ whatever we do, we all have talents that go beyond our current job description. We should never be afraid to use those talents and to discover and develop new ones. Most people in our business are only too happy to encourage and support each other. Itís a great environment for exploring new directions.

And the best piece of advice I can offer is: Do it now! True success in this business is staying power. If you are serious about your career, then start to think now about how you could use your creative talents, skills and experience to see you through those work-free zones! Donít wait for the next time youíre ìavailableî. Too many arts professionals get sucked into their in-between-jobs job, their career loses momentum and in the end they give it all up and settle for a nine-to-five. What a waste. Thereís always another way: try on another hat ñ you might like how it feels.

Julie Kinsella
October 2003

Fiz Marcus

Fiz Marcus trained at Bristol University. Her experience takes in screen, radio and television and includes roles in Leon The Pig Farmer, Wild West and The Bill as well as acclaimed stage performances both nationally and internationally.

She can soon be seen in the feature film Suzie Gold, scheduled for release later this year.

In addition to acting and directing Fiz is also an accomplished writer and has had five plays published by Samuel French.

Here she offers sound advice on the benefits of acting on the fringe and, most importantly, how to make it work to your advantage.

Fringe Guidelines

Why Do A Fringe Show?

The main reason to do a fringe show is to get an agent and/or get seen by casting directors, so the following guidelines are aimed at maximising your chances .of this happening.

The Play

1.
Try to ensure that the play has a reasonable sized cast, casting directors are far more willing to invest their time if they know that they can see several actors rather than a couple. Plus the fact that other actors have agents and contacts which can also help you.

2.
Do try to pick a show that has not been done to death, who really wants to see yet another production of The Importance of Being Earnest, or Hamlet? Do it by all means if you have a burning desire to play Hamlet, but donít expect to have casting directors flocking to see you.

3.
New writing is more interesting, but do read the script, just because itís new doesnít necessarily mean it is good. Try to find out about the writer. If he/she has contacts with Soho Theatre Company or Paines Plough writers group or Royal Court Young Writers or other established new writing groups, you have a much better chance than if itís a first play by someone who has never written before. Yes, there are exceptions, but you are probably on safer ground if the writer has a track record.

The Part

You are doing this to be seen, itís no good taking a part that will not show you off to advantage.

1.
Is it right for you in terms of age, character type, remember that most casting directors who come are casting for TV, they may be able to see beyond the grey wig, but I wouldnít bet on it. Also an agent will want to see you in the type of part that they could conceivably put you up for.

2.
A small cameo part is fine, but itís very difficult to persuade an agent or casting director to give up an evening if you only have a couple of lines in a crowd scene. It doesn’t give them a lot to go on! Again, by all means do it, but be aware of this.

The Director

Donít forget that you are giving your time and talent, probably for no money, donít be afraid to ask the director what he/she has done in the past.

1.
Before the audition ask around and see if anybody has heard of the director or worked with them, try looking them up on the internet for example through “Google”

2.
If the director has worked at The National, RSC, Chichester etc as an assistant or staff director, itís probably worth working with them. They are going to want to have their work seen by people who can give them work, which can benefit you and it may well pay dividends for you in the future. Be very wary of a director who has never directed before.

The Venue

1.
It is no good choosing a venue miles off the beaten track, you will simply not get casting directors out to the wilds.

2.
It needs to be an established fringe venue, somewhere that has a buzz about it and is pleasant to visit. Venues worth considering include Battersea Arts Centre, Southwark Playhouse, The Bush, The Gate, Old Red Lion, Soho Theatre Co, The Bridewell, New End, Arcola, Kingís Head, Young Vic, Finborough, Tricycle and outside London select venues in Manchester, Birmingham and Bristol.

The Production Company

1.
Is the company established, or is it their first production? If it is an in-house production at one of the above venues that is a plus, they will want to ensure that they get audiences and will make an effort in terms of publicity and quality of production.

2.
How organised are they? Is there a set designer, publicity organised, do they have leaflets printed, posters up. Where is the money coming from? Any grants or sponsors? You can tell a lot from the audition. Are they running to time, is there information about the company available? Go with your gut feeling. If they canít organise auditions in a professional manner, chances are they wonít be able to organise a production in a professional way.

The Run

1.
How long is the show running? If itís less than 3 weeks, the chances of getting reviewed are slim. Itís also difficult to get casting directors in if there is a very limited run.

2.
Time of year is also important. Try to avoid Christmas (pantomime being an obvious exception) people have got other things on their minds. Early Jan is also tricky, bad weather and post Christmas fatigue can be problems. June can pose problems as there are so many end of year drama school shows and agents and casting directors can find themselves booked up well in advance. Mid August is not ideal particularly around Edinburgh, many casting directors and agents are on holiday or away at the Festival.

What Can You Do?

1.
Make sure that you have flyers and info about the show and your part as far in advance as possible. Make a list of casting directors and agents you want to contact. Use ‘Contacts’ for addresses etc, and try to speak to one of the advisors at “Spotlight” about agents.

2.
Talk to others in the cast, it may be possible to pool resources and send out joint information to casting directors. It will save you money and avoid duplication. Be aware that if the show is in North London, it is more profitable to target casting directors and agents who live and work in that area.

3.
Write your own personal letters to people who you have worked with or had an audition with in the past.

4.
Follow up letters with a phone call and e-mail or fax any good reviews as they come out.

5.
Donít leave it until the last moment. Itís understandable that you may feel that you want to see how the show turns out before you try to get casting directors or agents in to see you. However, if you leave it until the 2nd week of a 3 week run or until the reviews have come out, it will probably be too late. If you have done your research on the company before you take the job, you should be confident enough of the quality of the production.

6.
Some companies and venues are quite good about compiling lists of directors, producers, agents and casting directors who have been in to see the show. Make a note of these. If you write to someone for a job it’s useful to remind them that they have seen your work

7.
On a positive note remember that in this business, nothing is ever wasted just by sending out information to people it jogs their memories about you and lets them know you are working. You may think that no one of note has seen the show, but it’s amazing how one day you can find yourself called in for an audition only to find that the casting director saw you in a show years ago. You are also increasing your own personal contacts, among other actors, a good recommendation can be vital in this business.

Finally

A fringe show is an investment both of your time money and talent. Itís flattering to be offered a job, but donít let yourself be tempted into something if you are not sure. Talk it over with friends and weigh up the pros and cons. If in doubt donít! Also be aware that casting directors and agents are very busy. There are some who really do make an effort to get out to see shows and some (who shall remain nameless!) who are simply bone idle and not interested in getting out and seeing more actors! You may have a great part in a hugely successful show and still not manage to get a single casting director or agent in to see you, on the other hand you never know!

Izzy Mant

Top director and producer Izzy Mant joins The PTC masterclass advice programme next month. Here’s a sneak preview of her latest project, the groundbreaking radio drama…

The Dark House

The Dark House is a ground-breaking interactive radio drama in which the audience dictate how the drama is played out. Three people are trapped in a haunted building. As the listeners decide who to put their trust in, they can vote by text message or landline to choose which characterís point of view is heard in this chilling ghost story.

Lucy, a local radio reporter, investigates a so-called haunted flat in Clerkenwell. During her broadcast the lights go out and, assuming itís a set-up, she plays along. Then she loses contact with the radio stationÖ

Lucy hears the voice of a child locked in the bedroom asking to be let out. Then thereís a man at the door who says he looks after the building. Trapped in an increasingly frightening place, Lucy starts to unravel an eerie mysteryÖ

Listeners can vote whenever they like, and as many times as they like, throughout the drama. The phone and text numbers will be advertised in listings and on the Radio 4 website. Text message voters simply text the name of the character whose perspective they want to hear: Lucy, Kelly or Jim. By phone, callers will be asked to press one of three keys for each of the three characters.

Every three minutes the votes from phone and text are collated to determine which characterís point of view is heard next. When the majority vote tips, the drama switches from inside one characterís head to inside anotherís. We hear their inner thoughts with the dialogue and action played out from their physical location in the building.

The interactivity is not about influencing the story, but responding to it and sharing that response with the rest of the listening public. Those who choose not to interact can just sit back and enjoy the drama as it unfolds.

Whatever the listeners do, Lucy, Jim and Kelly are destined for the same fateÖ

The BBC is working with technical partners for the programme’s voting system. This will collate the votes from SMS and phones, and deliver feedback to the producer in studio, to switch the streams, and the webpage where statistics will be updated live.

The Dark House will be recorded using a binaural recording technique. Based on the principals of human hearing, binaural recordings are made by placing microphones near the actor’s ears. Those listening on stereo equipment will experience spatialised 3D sound, immersing the listener in the Dark House.

ëThe Dark Houseí is the brainchild of producers Izzy Mant and Nick Ryan and developed in collaboration with BBC Radio Drama and BBC Creative Research & Development. Izzy Mant is a theatre/radio director, a pioneer of new writing, probably best known for directing Kelly Brookís stage debut at Riverside Studios. Nick Ryan is a sound designer and composer whose credits include soundtracks for Channel 4, LWT, Sony and Odeon Cinemas titles.

The Dark House is written by Mike Walker whose credits include the Sony Award winners Different States and Alpha, plus acclaimed BBC Radio 4 adaptations of War and Peace, The Tin Drum and The African Queen.

The cast includes Claudie Blakley as Lucy ñ perhaps best-known for her roles as Maud in Gosford Park and Kellie in BBC 1ís Playing the Field; Alan Ford plays Jim ñ his film work includes the distinctive narrating voice of Lock, Stock and Two Smoking Barrels and roles in Snatch and The Long Good Friday – TV work includes appearances in Waking the Dead and William and Mary;
Connie Gurie is the child, Kelly. Connie has numerous radio drama credits to her name including Agatha Christieís The Dressmaker’s Doll , The God Of Love and Michael Buttís The Kensington Pilgrims.

Arts Council England and Jemima Lee

Between 2003 and 2006 Arts Council England will invest £2 billion of public funds in the arts in England, including funding from the National Lottery.

The Arts Council England believe in the transforming power of the arts – power to change the lives of people throughout the country. Their ambition is to place the arts at the heart of national life, reflecting the country’s rich and diverse cultural identity as only the arts can. The Arts Council want people throughout England to experience arts activities of the highest quality. They believe that access to the arts goes hand in hand with excellence.

Jemima Lee is a drama officer at Arts Council England. She is extremely helpful and supportive and wants to stress that a lot more information can be made available by contacting the Arts Council England directly than can be posted here. Jemima can be reached on her direct line at 020 7608 4127.

The Arts Council England want to promote the arts in this country so if you have an idea and you want advice or funding get in touch!

Arts Council England Funding

Arts Council England is the national development agency for the arts. Our ambitions for the next three years are set out in our publication, Ambitions for the Arts. We support contemporary interdisciplinary practices in London, including Live Art, Carnival and Circus.

Details of our new, simplified, funding programmes for individuals, organisations and national touring are set out in our Grants for the Arts leaflet. These are open to applications from 1 April, with a single application form and set of guidelines. There are no deadlines; you can apply at any time from 1 April 2003.

To obtain a copy of Grants for the Arts, Ambitions for the Arts, or our application pack and guidance notes, please visit www.artscouncil.org.uk. Alternatively, you can contact our Grants Enquiry Line on telephone 0845 300 6100, or textphone 020 7973 6564. You can also email us at enquiries@artscouncil.org.uk.

Once you have looked through the information pack and have an idea for a project, you may wish to speak to a Theatre Officer for further information and advice. Please contact myself or Jonny Hey on 020 7608 6153 who will then be able to put you through to an appropriate officer for your project.

Mike Craig

Mike Craig was born in Batley, Yorkshire – a fact he will tell you within seconds of meeting. Almost educated at Wheelwright Grammar School, Dewsbury, he’s been a writer, performer and producer since 1964 and until recently held the post of head of light entertainment at BBC radio.

He has been involved in writing or producing over 1200 comedy programmes for television and radio, including shows and series for Ken Dodd, Roy Castle, Rolf Harris, Tony Brandon, Harry Worth, Al Read, ‘Selwyn Froggitt’, Mike Yarwood, Hinge and Bracket, Richard Stilgoe, Des O’Connor, Tom O’Connor, Jimmy Tarbuck, The Grumbleweeds, Bernie Clifton, Jimmy Cricket, Tom Mennard, Gorden Kaye, Su Pollard and Morecambe and Wise (including the classic 1976 Christmas show when Angela Rippon bared her legs!)

He is recognised as an authority on the ‘Golden Age’ of Comedy and because of this he is one of the most sought after After Dinner Speakers in the country.

Since 1983 he has performed his ABC of Comedy to tens of thousands of passengers on the P&O cruise ships ‘Canberra’, ‘Victoria’, ‘Oriana’, ‘Arcadia’ and ‘Aurora’. Fred Olsen’s ‘Black Watch’ and ‘Black Prince’, and Cunard’s ‘QE2′. His first play – The Day War Broke Out, the story of Robb Wilton, had its world premiere in Mike’s home town in March 1998.

Never Let ëEm See How bad You Are

One of the bests bits of advice ever given to anybody! So many people, many of them I know and have worked with, have jumped at the chance to earn big money when they were ill equipped to tackle the role required! I can remember one comedian in the seventies who was very big. He packed them in everywhere and made them laugh. His agent rang him one day and said, ‘We’ve cracked it! I’ve just had ITV on the phone who want you to host this game show. The money is brilliant and you’ll be doing 26 weeks!’ Although a superb comedian, he couldn’t handle people. He was a disaster and soon the phone was ringing to cancel his engagements as a comic! He is still around but he paid the price for not seeing the sense in saying ‘No’ to something which he was unable to cope with.

Donít Look On Radio Work As A Waste Of Time

As a Radio Baby (I used to listen to the radio when the radio used to be on the wireless!) I can assure you that the value of being experienced in radio will stand you in such good stead. I have always encouraged actors and actresses to do radio. First and foremost it’s the best medium in the word, a writer’s medium and an actor’s medium! Secondly, the pressure isn’t as great as performing on TV. Ok, neither is the money, but to have ‘Experienced in Radio’ on your CV is worth a lot. And you get to work with such wonderful people, both on the acting side and on the technical side. There is no better way to learn than to work with experienced people. Another point. Radio listeners tune in because they want to hear the programme. Always best to play to an audience who are keen to tune in.

I shall endeavour to attempt to finish on a laugh. I have worked many times with Eric Morecambe, who was one of the very best timers of a line. In 1976, the year I was on the writing team of their Christmas Show, Eric stayed at my house overnight in Yorkshire. After a superb lunch on the Saturday, we retired into one of my two lounges – ahem! There were three of us, Eric, myself and a bottle of Southern Comfort. As we sat in very comfy armchairs facing each other with a beautiful roaring fire in the grate, I suddenly realised that if any one could define timing, it was Eric. Very hard to define timing, you see, it’s like beauty, you know it when you see it. So, with the Southern Comfort working well I asked him…. ‘Eric, you’re the best timer around, come on, give me some words of wisdom. Define comedy timing for me.’ I can see him now, sipping his drink, smacking his lips and saying – ‘That’s a good question, Mike. Timing. Mmmm. Timing, in my opinion, is Des O’Connor leaving the stage door before the audience can get round from the front!’

Blackout and tabs!