Applying For Drama School Summary

1. IS THIS FOR ME?

Before you even begin to consider what is coming next, you HAVE to consider ‘Is this really for me?’

If you are wavering, half convinced or just think you fancy being on TV or famous, then forget it! A career in the Theatre will be arduous, intermittent and full with rejection and near misses. Neither are you guaranteed wealth or fame, just the opportunity to meet interesting people, hopefully doing quality work that matters.

Theatre school training is precisely that, training for the theatre. They will stretch you mentally, physically and emotionally and you have to be ready for this. Drama School days are long and hard. They start at nine and finish around six thirty, often working on a Saturday. There is no tolerance of lateness or illness.

There are about three hundred places per year on offer from the top few schools. There are up to five thousand people applying for audition. The odds are not good. Are you prepared to try for drama school over a number of years? Most people don’t make it the first or even second time. You are probably too young anyway if you are under 20. They like to see seen people with some life and work experience. Having said that, Godalming College has an excellent track record with applicants in the 18\19 year old age range for drama, dance and performing arts vocational courses.

The point is that you have to be determined and tough to get through the audition process. Which can go on until July with recalls. Competition is fierce - just as fierce as it will be for you as a jobbing actor. That’s IF you actually make it to drama school, last the course, manage to get a half-decent agent and then do well enough or be lucky enough at auditions and castings to actually get some work.

But don’t be put off, somebody has to get in, with the right attitude, hard work and some degree of luck, that person could well be you. If you have done your preparation well, then the odds improve dramatically for you.

2. WHICH DRAMA SCHOOL?

Get on the internet. Try the Stage newspaper website (www.thestage.co.uk) and the National Council for Drama Training site (www.ncdt.co.uk). These will give you all the information on schools that you will need. Don’t narrow your options. Research all the schools, even if they are ones you don’t fancy. The most famous are not necessarily the best (or best suited to you and your needs or temperament). Order prospectuses and check them out properly. What does each school teach, and how? What ethos do they have? They are all different with their own character and atmospheres.

Don’t be elitist or snobbish. Going on the notion that you probably will not get in this time anyway, you cannot afford to ignore less favoured choices. With this in mind, don’t just apply to a couple of the (apparently) best schools; apply to as many as you can afford. Try to get later dates for your absolute favourites, so you can at least get some experience of the shock of bombing at an audition at the places you’re less interested in.

3. THINGS YOU NEED TO HAVE READY TO AUDITION

This could well be the only tip – PREPARATION. Too many people apply for drama school with only a minimum of preparation and as a result are very quickly disappointed and out of the running for want of a very few simple things.

Lets get this straight from the start, preparation means work! It is absolutely no good applying before you have even thought about reading a few plays, exploring 10 to 20 possible pieces and thoroughly researching the schools which interest you. It is quite possible to send in your forms and be summoned a week later. If you have not prepared you will be wasting your money and their time.

Acting pieces:
You must have chosen a Modern and a Classical piece (e.g. Shakespeare, Molière, Johnson, Tourneur, Webster, Calderon, Racine, Aphra Benn etc). They must contrast each other.

You should also think of a backup Shakespeare/Classical piece as many places ask for a second piece -especially on recalls. Also certain Drama Schools require you to choose a piece from a list they give you. (This currently includes Central & LIPA). Check their prospectus and/or website for advance details.

You also need to sort out the paperwork:

Application forms:
Different schools use different systems. At the time of writing this, applications for the Drama Centre, Central, E15, LIPA, Rose Bruford and ALRA are exclusively through UCAS. So get cracking on your UCAS forms. Usually UCAS will send your details to the school and then the school will contact you with their own form, except for ALRA who will simply give you a date straight away. It may be that we don’t cover the application forms or prospectuses for the school that you want. The careers room may prove useful.

C.V.

Your c.v. (curriculum vitae) should contain personal details and history of your education and theatrical and other experience. This not only looks professional and organised, it will also save you having to fill in the education, work and acting experience details on each school’s application form. You just need to put “please refer to CV” on the forms.

Photos
Most Drama Schools require a photo and some, such as GSA, require a full length picture. If you want proper photos to send with your applications, this will need to be sorted. We can usually put you in touch with someone who is reasonably priced.

Personal statement
Many places want a personal statement as well, so think about what you might want to say and try a few dry runs first; we are more than happy to watch your work.

Check your availability
Tell them dates which you cannot make for audition on your application form. It saves a lot of time and hassle. Some schools have started to give a list of preferred dates for you to choose from. Watch out for holidays, exams, trips, rehearsals etc.

YOU MUST BE READY AND BE PREPARED! AUDITION DATES CAN COME BACK WITHIN A WEEK OF YOU SENDING OFF THE FORMS!!!

4. WHICH ACTING PIECES SHOULD I CHOOSE?

Make sure you know exactly what all the schools require of you for the audition. Check then double check.

Schools will want you to prepare a minimum of three pieces including one Classical (Shakespeare, Marlowe, Webster, Tourneur, Benn or European counterparts Molière, Calderon etc.). They have varying stipulations as to what constitutes a modern piece (some say post 1960’s, others mid 19th Century). You may be required to do a workshop at the first audition and prepare a song. Others don’t need your song until a recall. Some schools publish a list of pieces they want you to choose from. You cannot then re-use these pieces at other schools, because they won’t want to see hundreds and hundreds of versions of the same recycled piece. That’s why it is best to have up to four classical pieces under your belt and at least two modern. Lots of work! This is a serious business, and nothing like the amount of work you will do if you get in. Be warned!

It is very difficult to do research and find characterisation from just one page of material. In fact don't do it at all. Everyone else will be doing it!

If possible try not to choose your piece from a book of monologue extracts. It is very difficult to do research and find characterisation from just one page of material. In fact don't do it at all. Everyone else will be doing it! Find something different. Read a few plays, then read some more. You may well find stuff that the people who publish audition speech books have missed.

Here’s a tip: if you go to the theatre regularly look out for pieces in the shows you see, especially in fringe shows and new works. If you can prepare and perform something that might not have been seen very much it will be to your advantage. It will be fresh to the audition panel and may just grab a little more of their attention. I'm pretty sure that examiners must get weary of seeing the same old chestnuts roasting away before them. This of course won't affect their judgment because they are pro's. It’s just that they are likely to see regular favourite a couple of hundred times a year so something new will be that little bit more exciting. This will also add to their perception of you as someone who is prepared to go the extra mile. Every little thing helps in this very competitive arena. In the same vein, choosing a non-Shakespeare Classical piece may also be to your advantage.

Don't go for something which is merely sexy or heroic. Quite often there are greater possibilities in more low key extracts which may well have a quirky charm. Don’t be drawn by uber-tragic pieces either. They are not necessarily the most dramatic. Look for balance within the piece so there is a journey of emotion or mood for the character, and therefore yourself, to make. All shouting high energy from start to finish might not allow you the space to do yourself any favours. Remember, there should be room somewhere in the pieces to show some sensitivity. If the movement of emotion in the piece is all on one level, think carefully. I'm not necessarily saying don't go for it, but consider your part in the contrasting piece and ensure there is enough in it to counter the first. (See the next page.)

When you find something you really want to do, for whatever reason, you are allowed to do a bit of cutting or editing in order to lengthen, join or shorten pieces. However, the end result must make complete sense to an audience and to the meaning and continuity of the play as a whole.

Try to keep the part reasonably within your age and playing range.

Most importantly, go for something that resonates for you. Something you feel an affinity for. It should speak to you.

5. PIECES THAT ARE DONE TOO OFTEN IN AUDITIONS

6. PREPARING YOUR PIECES

7. FIRST IMPRESSIONS AT YOUR AUDITION

Don't set out thinking ‘I have got to get into drama school.’ Don’t make this your goal for the day. This will make things desperate. Sure, this is your aim, but really what you want to be doing is preparing yourself to do your best work when it counts most. If you let anything get in the way of that after all your hard work, you are a mug. Don’t party the night before… (you’d be surprised!) Spend the night re-reading their prospectus so that the place and what they are about is clear in your mind and you can answer questions such as ‘why do you want to come here?’ You should have read and understood what they want from you ages ago from their letter. If you don’t it is too late now.

Dress properly in working clothes, it is not a fashion show! All schools stipulate sensible clothing. No piercings. Never go with a dreaded tongue piercing in!

When you arrive you will usually be met by staff and students already at the school. They are all there to help you, guide you and relax you as best they can. They want you to do well. They will be trying to get an impression of you as a person also. The best impression you can give of yourself anywhere is an honest one. You may well be given a talk on how hard the profession and the training will be and then maybe a tour. Some places make you do your pieces in front of all the other students being auditioned, most will call you in one by one. If you do them in public, make sure that this does not faze you. Stay open and generous, even positive, especially when you step up to do the same piece for the third time in a row. It does not matter! You are there only to make sure you do YOUR BEST WORK! That’s all you have to do, let nothing spoil that!

There may well be waiting around to do. You will be with other nervous people, so don’t buy into their fear. Be nice and sociable. People say things when they are nervous. Some may be saying they have just had a recall for RADA. Good for them, be pleased for them, but don’t let it affect your thinking, even if they are going in just before you. It is all good and nothing bad. Forget about them. Just focus on doing your best work and making the conditions possible for you to do that. Similarly someone may come out of the audition room and say “oh no that was terrible”, “that was brilliant”, “God, they are in such a bad mood”, “they were really awful to me” (rare), or even sometimes “they were lovely”! In any cases just say to yourself ‘it’s all good and nothing bad’. You are there to do your best work. Let nothing get in the way of that. “It’s all good and nothing bad.’

A word on nerves and fear: You are going to be nervous. You are going to be afraid. There is nothing you can do about that so embrace the nerves and make fear your friend. That way they will work for you and not against. Nerves are what acting is all about. It is part of the thrill, the adrenaline. It is natural. Let nothing get in your way, you have come this far, now go for it!

When you get into the room look around get the feel of it. It may be huge. It may be tiny. It doesn’t matter you are here to do your best work. Bear in mind that the panel are not ogres. They WILL want you to do well. They WILL be looking for potential, energy, plus a creative and active imagination. They mostly want to have a nice day, meet some keen, articulate people and see some good work. They may be friendly (and usually they are) or indifferent, or tired, or quiet, or jolly, it doesn’t matter - you are just here to do your best work. They may well look down a lot and be writing. They may be writing good things, they may be bad. What does this matter to you? You are only there to do your best work! They may laugh, they may not. It doesn’t matter! Mostly they will be concentrating, and listening. The panel just the same as us. Nobody starts out by wanting to be awful, intimidate people and see bad work. They may chat with you before or after your speeches, it doesn’t matter. They may not chat at all. This too means nothing. I have known people get recalls from going in saying their name doing their stuff and leaving. Others get chatted to, redirected, even shouted at. It doesn’t matter its all good and nothing bad. Just go WITH whatever happens. My rule is that you are open, focused, and brave and that you show some talent and most of all potential. Then all you have to do is to be yourself… and positive. 

8. THE INTERVIEW AT YOUR AUDITION

9. LIKELY QUESTIONS OR TOPICS AT INTERVIEW

These are not in any particular order but they are likely to chat with you about the plays, the character and some of your ideas first.

HOW DO YOU THINK THAT WENT? (your pieces) HOW DO YOU FEEL?
WHY DID YOU CHOOSE THIS PIECE AND THE CHARACTER?
WHAT ABOUT THE BODY LANGUAGE OF THE CHARACTER?
TELL ME WHAT THE PLAY IS ABOUT?
WHAT CAME TO MIND WHEN YOU FIRST THOUGHT OF YOUR CHARACTER?
IF YOU WERE DIRECTING THIS SPEECH, WHAT WOULD YOU SAY TO THE ACTOR?
HOW HAVE YOU APPROACHED THE CHARACTER?
WHAT CHARACTER DECISIONS YOU MIGHT HAVE MADE?
WHEN YOU STARTED THE SPEECH, DID YOU HAVE A REASON?
WHY DID YOU CHOOSE THESE PARTICULAR PIECES?
ALSO QUESTIONS ABOUT THE CHARACTERS YOU’VE BEEN PLAYING AND THE PLAYS THEY COME FROM.

WHAT HAVE YOU BEEN DOING WITH YOURSELF LATELY?
WHAT’S ON AT YOUR LOCAL THATRE? WHO IS IN IT? WHO IS THE DIRECTOR? WHO IS THE DESIGNER?
WHAT’S ON AT THE ROYAL SHAKESPEARE COMPANY / NATIONAL THEATRE? DIRECTOR? ACTORS?
WHAT INTERESTS YOU IN SHAKESPEARE?
IS THERE ANY ACTOR YOU’D LIKE TO BE?
WHAT WAS THE LAST PART YOU DID?
WHY DO YOU WANT TO GO TO DRAMA SCHOOL?
WHAT DO YOU WANT FROM TRAINING?
DO YOU CONSIDER YOURSELF CRAZY TO WANT TO BE AN ACTOR? (What are they asking?)
WHAT COLOUR WOULD YOU ASSOCIATE YOURSELF WITH?
WHICH SHAKESPEAREAN CHARACTER WOULD YOU MOST LIKE TO PLAY?
IF HAMLET WAS AN MP TODAY WHO WOULD HE BE?
DO YOU THINK ACTING IS IMPORTANT?
WHERE ELSE HAVE YOU APPLIED FOR? (Be honest)
HOW DID YOU GET ON? (Be honest and positive)
WHY DO YOU WANT TO BE AN ACTOR?
ARE YOU A DISCIPLIINED WORKER?
DO YOU THINK ACTORS ARE ALWAYS SEARCHING FOR SOMETHING INSIDE THEMSELVES?
WHAT IS THE PURPOSE OF STUDY AND TRAINING?
WHO IS YOUR FAVOURITE ACTOR/ESS? (They mean stage not screen usually)
WHY DO YOU WANT TO COME HERE?
WHAT CAN WE OFFER YOU?
HAVE YOU READ OUR PROSPECTUS?
MANY QUESTIONS MAY BE BASED ON YOUR CV APPLICATION FORM AND PERSONAL STATEMENT.
(So keep a copy and read it just before you go.)
WHAT CAN YOU OFFER US?
WHERE DO YOU SEE YOURSELF IN 10 YEARS TIME?
WHAT PLAYS HAVE YOU SEEN RECENTLY?
WHAT IS THE FUNCTION OF THE THEATRE?
WHAT’S THE WORST EXPERIENCE YOU’VE EVER HAD?
WHAT WILL YOU DO IF YOU DON’T GET IN?
HOW DO YOU INTEND TO PAY FOR THE COURSE? FUNDING?

10. RECALLS

If you are fortunate enough to be offered a recall… well done!

But you are nowhere near home yet. A recall can only be treated as a good sign. Read their letter and understand it. Recalls are different in every school. You may have to do your song this time, or a workshop with others, movement classes, or some voice work. Just make sure you know what is coming and prepare.

They may want you to do a new piece. They may want you to think about what they said to you on your first audition about the pieces they’ve already seen. The first recall might be part of a longer process with several more. This can take a long time. You need stamina and you need to stay fresh. At this stage it is very easy to go off the boil, start to tire of the process, get complacent and worry less. But THIS is the time for the real hard work. You are so close but could be so far. It is still a test of your will and how much you want it.

GOOD LUCK