Rejection is something that most people working in theatre will regularly experience. Whether you are trying to get into drama school, having an audition or interview, getting an agent or just trying to get seen by the right people, you will experience rejection throughout your career. So, how do you deal with it?
Use your rejection as experience. Take on board any comments you may have received and use them to improve yourself for the next opportunity. Go for every experience that comes your way – especially when it comes to auditions or interviews, the more you do, the more you will feel comfortable with the experience. Those who you may look up to in the industry went through a lot of rejection before they got to where they are now.
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Sometimes you may be rejected for something that is outside of your control. It’s not a reflection on your talent, but could be something such as your height which you can’t change. Focus on your strengths and remind yourself of what you are good at and where your skills lie, don’t let the rejection put you off for the next time you have an audition or interview.
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A rejection may not be a completely shut door. You may not have been the right fit for that role or job in that circumstance, but the interviewer may think of you in the future for something else. Each interview or audition is an opportunity to network and meet new people who you may work with further down the line.
Remind yourself of the saying ‘when one door closes another door opens’. A rejection doesn’t have to be the end of the world and another opportunity could present itself that is better and more suited to you. Try not to weigh all your hope on one opportunity, as this puts a lot of pressure on you and this may result in you not performing your best during the interview/audition. Take a look at our blog on How to tackle nerves and anxiety for further advice on this.
If you do find yourself upset at a rejection you have received, then allow yourself that time to feel upset about it and then work out a plan on how you will move forward from it. Give yourself a day to go through those emotions and then think about your next steps; how will you grow and learn from this experience?
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https://www.thestage.co.uk/advice/2016/ul-clayton-how-should-actors-cope-with-rejection/
https://www.huffingtonpost.com/rebecca-strong/on-rejection-and-resilien_b_8648058.html
https://www.youtube.com/watch?v=jzuL4Jsdbdw
Photo: Rose Bruford
Published: 04 March 2019
To work as a freelancer or on a freelance basis means working on a contract basis for a variety of companies rather than being an employee of a single company. Freelancers are often self-employed.
There are many roles in theatre which you may do as a freelancer rather than on a permanent contract. There are lots of benefits that come with being a freelancer including the flexibility to take on the work that inspires you. Before you set yourself up to work as a freelancer these are the four key things you need to know.
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Think of yourself as a business; the product that you are selling is yourself and your craft. Recognise what your strengths are so you know how to upsell yourself, and also understand where your weaknesses lie so you can work on these.
Having the confidence to approach people and discuss opportunities is important as a freelancer. Have a business card with your contact details and a short description of what you do is a good starting point and gives you a reason to approach somebody.
Networking can be daunting, but remember that people are just people and sometimes just having a short conversation and introducing yourself can make a huge difference. If you watch a piece of theatre that you enjoyed and have the opportunity to see the Director, Producer or Artistic Director afterwards then it’s okay to approach them and compliment them on the show. For example, if you are aspiring to be a Lighting Designer, have in mind a section of the lighting that impressed you and why.
Make sure you are professional and don’t gush too much or overstay your welcome when you start up a conversation. Go over with the intention of just saying a quick comment, if they instigate they'd like to continue the conversation then that’s great, but also don’t be offended if they don’t. Your quick conversation can still have a big impact and lasting impression.
Promote yourself on social media. Use Twitter, Facebook, Tik Tok, LinkedIn and Instagram to follow industry professionals and comment on performances you have seen or workshops you have been to etc. If you have met an industry professional and then follow up later with a quick tweet, this can remind them of who you are and what you do.
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In between work as a freelancer is where self-motivation is required. Surrounding yourself with like-minded people and others in the same industry as you can really help. Continue learning and growing with your craft, go to classes or workshops.
When you aren’t working, give yourself a reason to get up out of bed. If you are spending this time adding to your portfolio, practising a song, or sending applications then the idea of doing this from your bed is tempting, however can become a habit which is hard to shift. Set your alarm, get showered and dressed as though you are going to work as this will help shift your mindset into ‘work mode’ and you may feel more productive.
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You will need to register yourself up as self-employed with HMRC in order to pay your taxes. You can do this here. This is compulsory for any freelancer or business. Each year you will submit your earnings to HMRC and they will work out how much tax you owe, or if you need a tax rebate. If you are a PAYE employee then tax will automatically be deducted from your payslip, however when you invoice a company for your time the tax will not be taken into consideration so you need to declare this to pay the right tax. A new website and app has been set up called Sans Drama, this has been created by a Performer and an Accountant to help those working in theatre understand how to file your taxes. Find out more about Sans Drama here.
You can claim for expenses that you have purchased to do with your trade. For example, keep receipts of classes, workshops or any travel you have needed to take in order to complete your job as a freelancer. When you are inputting your taxes into HMRC you can also add in these receipts and claim against your taxes. Some people employ an Accountant to help them input their taxes and expenses into HMRC.
It's ok to have a second job to support yourself, alongside your theatre work. View our 'Misconception Series: If you were good enough you wouldn’t need a day job' blog.
https://www.gov.uk/working-for-yourself
Photo: Arts Educational Schools London
Updated: 12th June 2024
Your mental health is just as important as your physical health. Here are some companies, charities and websites that offer support around mental health aimed at those working in the theatre and performing arts industry.
ArtsMinds is a collaborative initiative from British Association of Performing Arts Medicine (BAPAM), Equity, Spotlight and The Stage to bring together into one place a raft of resources for Performers and creative practitioners facing mental health issues.
https://wellbeinginthearts.org.uk
Wellbeing in the Arts is an organisation that provides resources such as counselling and coaching for individuals as well as services for employers and businesses including workshops, talks, seminars, events, and mental health first aid training.
Be Extra is a resource hub of intersting, fun and easy-to-digest digital resources to help support the mental health and wellbeing of creative minds.
https://www.industryminds.co.uk
Industry Minds was founded in 2018 by Actors Scarlett Maltman and Cathy Read with a goal to better mental health support to those in the creative arts industry. This organistaion offers free one-to-one counselling sessions who need it in the industry.
https://applauseforthought.co.uk
Applause for thought offers one-to-one support, talks, workshops and accredited mental health training courses with the aim to empower individuals and organisations within the industry and equip them with the knowledge and tools surrounding mental health.
Most jobs in theatre are on a freelance basis and you will be contracted for a specific job. There may be times in between contracts, when you want to get another job to earn while you are applying/waiting for the next theatre job to come through. This is perfectly normal and a part of the vast majority of theatre professionals’ careers.
Whatever job you go for, be honest from the beginning about your situation, employers will appreciate that and can also support you. It’s difficult to be in a situation where you are having to lie or keep things quiet to your place of work in order to pursue your theatre career.
Leading workshops and sharing your experience/skills is a good way to earn some extra money and can pay well for your time too (eg. £80 - £150 for a two-hour workshop). Contact local schools, universities, drama schools, drama clubs etc and offer your services. If you are planning on approaching a school, take a look at their curriculum and, if you see that you can create a workshop based off something they are currently learning, then this is a good starting place. Universities sometimes hold workshops/panel discussions for third year students who want to know what it’s like working in the industry and you can offer your first-hand experience. Once you secure and deliver a workshop or masterclass, be sure to ask for some written feedback –this is a great way to book the next workshop as you build up your reputation. This line of work would also be on a freelance basis and may not be very regular.
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Picking up a regular teaching job is another great way to earn and also continue within your field of work. Teaching a weekly class gives you security of regular pay, however this often means that you will need to commit to at least a term at a time, if not longer. You might also be required to have a DBS certificate which allows you to work with children.
Working for companies such as restaurants, bars or gyms that offer shift work can be useful for in-between theatre jobs, as you have guaranteed regular work as well as the opportunity for over-time. You could potentially swap shifts with co-workers if you need a day off for an interview/audition. Many companies enjoy employing those who work in the theatre industry due to the natural confidence and persona you can bring to the role, especially if it is customer facing.
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There are a few temping agencies where you can join who will help find you work. This is on a temporary basis, being placed in a company to deliver certain tasks for a short period of time (eg. one week) to help them out. These can be well paid between £10 - £15 per hour and you don’t have to commit for a long period of time.
Call-centres often have a very large team of employees. This means that if you do need to have a day off for an interview or audition this won’t have a huge impact on the company and they can often be flexible with you. Many of these companies also enjoy employing those who work in the theatre industry due to the natural confidence and persona you can bring to the role.
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There are other companies who like to hire those in the theatre industry and offer flexible work and support your career in the theatre industry. These companies advertise their vacancies on Facebook in groups such as The Hustle, British Actors Network, Actors UK and Bossy. These Facebook groups also provide a network with other industry professionals and emerging companies often put calls out for theatre jobs.
Photo: Shutterstock
Published: 04 March 2019
Drama schools offer a variety of offstage training opportunities for people of all abilities, including theatre design, stage management and theatre directing. Following these easy steps will ensure you are as prepared as you can be to get into the drama school of your choice.
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The best way to have confidence on the day is to make sure that you are well prepared. Know what is in your control on the day and what is not. You want to be able to walk away from your interview and know that you have done everything you can in your power to be the best you can be. The best way to do this is think about the things you can control:
If you have all of these factors in control then you can relax a bit more on the day and concentrate on being yourself, having a big smile and being friendly.
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https://www.coursflorent.education/news/how-to-get-into-drama-school
https://www.spotlight.com/news-and-advice/tips-and-advice/how-to-nail-your-drama-school-audition/
https://www.spotlight.com/news-and-advice/tips-and-advice/how-to-nail-your-drama-school-audition/
https://www.thestage.co.uk/advice/2017/a-beginners-guide-to-applying-for-drama-school/
Photo: Royal Opera House
Published: 04 March 2019
There are many roles in theatre where you can use your maths and/or science skills in your career.
Many of the roles within the administration teams require a certain level of maths skill – especially within the finance department. Some examples include:
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Maths is often used within the customer services team too, especially with the handling of products and money:
There are also opportunities as a Producer or Artistic Director to use your maths skills, as these roles deal with tight budgets and fundraising.
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Science:
There are roles in theatre that use science skills especially within the creative and production teams. These include:
The study of light and sound is often taught in science subjects and can be a useful skill in these listed roles.
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Photo: Royal Opera House
Published: 04 March 2019
National Apprenticeship Week is a great time to highlight one of the most valuable opportunities available to people starting their careers in the arts: theatre apprenticeships. These apprenticeships provide hands-on, on-the-job training, offering an excellent way to develop skills for life while gaining real-world experience in the theatre industry.
In this blog, Get Into Theatre explores what theatre apprenticeships entail, the benefits of starting an apprenticeship in the arts, and how they can help you build the skills you need to succeed in this dynamic sector.
A theatre apprenticeship is a structured training programme that blends work and study. As an apprentice, you’ll get the opportunity to work in a theatre setting while attending classes to develop the specific technical or creative skills required in your chosen field. Theatre apprenticeships are primarily focused on offstage roles, where you can learn everything from set design and lighting to stage management and production coordination. It’s the perfect way to build skills for life in the industry while also making valuable industry connections.
The length of an apprenticeship can vary depending on the organisation or programme. However, most apprenticeships last between one and two years. This period allows apprentices to develop a strong understanding of their field while working alongside experienced professionals in the theatre.
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Yes! One of the significant advantages of a theatre apprenticeship is that it’s a paid opportunity. Most apprenticeships offer a wage that meets or exceeds the National Minimum Wage for the hours worked. This means you can gain valuable training while also earning an income—a perfect option for those looking to kickstart their career in theatre without incurring student debt.
The majority of your learning will take place hands-on, in a real working environment. You'll be immersed in the daily life of a theatre, working with experienced professionals who will mentor you. Some apprenticeship programmes may also involve formal classes where you'll gain theoretical knowledge, which can be applied directly to your role. As you gain practical experience, you'll develop skills for life—skills such as communication, time management, problem-solving, and teamwork—all of which are essential for a career in theatre.
It’s important to note that apprenticeships in theatre are not typical 9-to-5 roles. Many companies expect apprentices to work evenings, weekends, and unsocial hours, as that reflects the nature of the theatre industry. Be prepared to adapt to irregular working hours, which can be both rewarding and challenging.
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One of the most attractive features of theatre apprenticeships is that you don’t necessarily need a degree or prior work experience to apply. Many organisations specifically look for candidates who have a passion for theatre but might not have formal qualifications or hands-on experience yet. If you are eager to learn and ready to dive into the industry, a theatre apprenticeship can provide you with the skills for life you need, regardless of your previous background.
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The qualifications you can gain from an apprenticeship in theatre depend on your level of study, but they can range from basic qualifications to more advanced degrees. Here are the typical levels of qualifications you may receive through an apprenticeship:
These qualifications help boost your employability in the theatre industry and beyond, providing you with skills for life that can be applied across various sectors.
The opportunities after completing a theatre apprenticeship are plentiful. Some apprentices are offered permanent roles within the theatre or company they worked with during their apprenticeship. Others may choose to apply their newfound skills for life and experience to other theatres and companies. Either way, the apprenticeship provides a solid foundation for anyone looking to pursue a long-term career in theatre.
Theatre apprenticeships offer much more than just technical training. By immersing yourself in a real-world theatre environment, you can learn how to adapt to the fast-paced and ever-changing demands of the industry. The skills you gain—from creative thinking and collaboration to resilience and problem-solving—are transferable to many careers outside of theatre too.
If you’re ready to begin your journey in the theatre industry, an apprenticeship is a fantastic way to build a strong foundation and develop the skills that will shape your career for years to come.
If you’re ready to apply for a theatre apprenticeship, start your search on the Get Into Theatre website now! There are plenty of opportunities available across the UK. Whether you’re interested in production, costume, lighting, or stage management, theatre apprenticeships can help you get the hands-on experience and qualifications needed to succeed.
By starting an apprenticeship, you’re investing in skills that will not only help you succeed in theatre but also in a wide variety of careers.
https://www.thestage.co.uk/advice/2017/what-apprenticeships-are-available-in-theatre/
https://www.atgtickets.com/technicalapprenticeships/
http://www.apprenticeshipguide.co.uk/technical-theatre-apprenticeship-2/
https://www.prospects.ac.uk/jobs-and-work-experience/apprenticeships/what-is-an-apprenticeship
Photo: Royal Opera House
Published: 04 March 2019
The cost of undergraduate training is expensive at up to £9,250 per year, along with the added cost of living, leaving many people owing up to £50,000 in student loans. So, choosing the right institute and course for you is important. So university or drama school? Here are some comparisons between the two to help with your decision.
Applying for a university is usually done through UCAS and you will need a certain set of grades to gain a place on your chosen course. Some universities will interview candidates, but most will select based on your grades and personal statement.
Applying for a drama school is different depending on the school; it may be through direct application, UCAS Conservatoires or the main UCAS scheme. Drama schools will likely hold auditions or interviews and focus more on talent and potential than grades. Acting courses at drama schools are the most difficult courses to get into as they can attract thousands of applications for a relatively small number of places.
Universities allow students to take care of their own time management, with a few lectures/classes a week along with research and writing expected to be done in your own time. There is also little to no consequence if you do not attend the contact hours as you are responsible for your own time keeping. This is great experience for self-discipline and time management.
A drama school will have a much more intensive time structure where you will spend most of your time in classes 9am - 5pm, if not longer. The contact hours set are compulsory and there is likely to be severe consequences for missing or being late for a class.
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Universities will tend to offer more of a broad course that will teach a range of skills such as Theatre Arts. This will give students a good insight into different areas within the theatre that you can work in. However, due to it being so broad you won’t receive the same level of detail and teaching as if you were to study only one field. However, there are a small handful of universities who do offer more specific courses.
A drama school will give in-depth and intensive training into a specific area. You will not be taught on the details of the other roles within theatre and only focus heavily on your particular field of study. Due to the small class sizes you will tend to have more one-on-one time with your tutors compared to at a university.
Universities often offer the chance at the end of the course for a public performance where students have a chance to showcase their talent whether on stage or offstage. However the attendance by industry professionals can be quite low at most universities. Personal invitations by a student to professionals can help boost the attendance.
Top drama schools attract a lot of industry professionals to their showcases. Many will actively look out for when the showcases are in order to go along, rather than needing to be persuaded by a personal invitation.
There are more and more opportunities at drama school to train in a postgraduate degree. Therefore, one option is to study a non-theatre related undergraduate degree at university and then go on to train in a postgraduate degree at a drama school. However, there are fewer funding opportunities and financial support for a second degree, so this option may not be readily available for everyone.
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Due to the range of subjects studied at universities you are more likely to come across and/or live with people who are studying different courses to you. You also may have the opportunity to work outside your contact hours and join societies and clubs that don’t necessarily have a link to your course which can offer a wealth of experience. You are more likely to be more independent at university, which can be seen as a good way to set you up for life after studying.
At drama school, due to the specialist studies at the institute, you will only come across and/or live with people who also study at your school. This can be helpful as they will understand your day-to-day life and you will be going through a similar experience, however it can also be seen as a ‘bubble’, which is unlike life outside of drama school.
Take a look at what past students have gone on to do after graduating from a particular university or drama school and see what their progression has been within the industry. It can help give you an idea of how well equipped the course makes you for life after training. Do their careers match the kind that you aspire to?
There are many ways for an institution and a course to be accredited for both universities and drama schools. Take a look at our blog on accreditation here.
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https://www.thestage.co.uk/advice/2017/university-vs-drama-school-right/
https://www.thestage.co.uk/advice/2017/how-university-theatre-courses-differ-from-drama-schools/
https://actinginlondon.co.uk/drama-school-vs-university-for-acting/
https://www.theguardian.com/education/2008/jul/15/highereducation.uk1
https://www.thestage.co.uk/news/2007/competition-fiercer-for-drama-schools-than-for-oxbridge/
Published: 04 March 2019
Updated: Sept 24
There are plenty of drama schools and theatre training courses to choose from, some accredited and some non-accredited, but it can be hard to know which one is right for you, which course to apply for, or what it means when a school is accredited. This blog will delve into what accreditation actually means and look at the pros and cons, so that you can make an informed decision about what is best for you.
There are four principal awarding bodies that offer accreditation and quality assurance of an organisation as a whole:
These awarding bodies offer validation for a specific course within an organisation:
Some schools are part of membership organisations, alliances or groups:
These schools are not accredited or validated by the member organisation, but they have grouped together to agree on certain values and to share best teaching methods. These include:
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Accreditation sets the standard for high quality training of an institution as a whole. It looks at the general standard of training across the whole organisation rather than specific courses.
The Council for Dance, Drama & Musical Theatre – known as CDMT, or previously CDET – is the main awarding body for accreditation for performing arts training organisations. Before CDMT, there was an organisation called Drama UK but CDMT replaced Drama UK’s place when it dissolved in 2017. CDMT took the existing Drama UK schools and also added dance and musical theatre organisations to become CDMT as it exists today. CDMT is a private institution that awards accreditation to those who apply and meet its standards.
CDMT look into various areas to decide whether or not the school that has applied holds the highest standards of professional training. The inspection process consists of a self-evaluation submission by the applicant and a two-day visit to the organisation by three industry consultants.
When you see a school is accredited by CDMT, you know that the organisation will have undertaken full inspection and programme scrutiny by CDMT, to confirm that they meet the highest industry and institutional standards for performing arts training.
QAA claims to ‘safeguard standards and improve the quality of UK higher education wherever it is delivered around the world. They check that students get the higher education they are entitled to expect.’
The process for accreditation by QAA is in the form of a self-assessment from the institution, as well as meetings and an inspection from a review manager. Institutions have to apply annually to keep the accreditation award from QAA.
Ofsted is well known as the government body that inspects the standards of schools. You may have seen them at your primary or secondary school. They are also known to inspect the quality of some drama schools, they will give them a score out of Inadequate, Requires Improvement, Good or Outstanding.
Teaching Excellence Framework (TEF), assesses colleges and universities on their teaching and how well they ensure excellent outcomes for their students in terms of graduate level employment or further study. They will award an institution with either Provisional, Bronze, Silver or Gold awards.
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Validation is different to accreditation and looks into individual courses within an institution. It ensures that a course itself is of a high quality.
Trinity College London is the awarding body which validates Level 6 Diplomas in acting, dance, and musical theatre.
It will look at courses from an institution individually and award each course separately from the next; therefore in one institution one course may be validated by Trinity and another may not have passed the benchmark. It recognises those courses that are the same level as a degree but for a vocational qualification. Trinity College London also provides awards for graded exams (for example; Grade 8 singing exams). Institutions pay a fee for an external examiner to attend a one-off exam for the student/s to be levelled at a certain grade. You may therefore find that an institution includes a logo from Trinity College London even though it does not offer the Level 6 Diploma course.
Ofqual is the government body for regulating qualifications. It publishes guidance that organisations have to follow if they award qualifications to those under 18 that have to abide by the Education and Skills Act 2008.
University partners are another way for a course to be validated. The university will carry out its own assessment to ensure that a course is qualified for the level of degree the institution is offering. There are also some institutions that have been given TDAP (Taught Degree Awarding Powers) so that they can in effect become their own university.
These are organisations who have agreed to come together and share best practice and values.
The Federation of Drama Schools was founded in 2017. It is a group of drama schools that have come together to adhere to certain guidelines and core principles. To be a part of this group institutions must:
Conservatoires UK consists of a range of institutions that deliver a high number of contact hours between staff and students, focus on individual development, and have courses that teach a combination of intellectual and social skills. They encourage students to create and develop their own work for succeeding in the professional world.
Alliance of Musical Theatre Conservatoires (AMTC) is a newly formed group, launched in November 2018. It consists of five drama schools (Arts Educational Schools London, Mountview, Guildford School of Acting, Urdang Academy and Bird College), which say they have clubbed together to share best practice and work together to increase diversity and participation in musical theatre.
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The importance behind your decision on which drama school to choose lies in what is the best place for you. Not only the institution that you will best fit into, but also the right course that will allow you to thrive and succeed within the path you have chosen. Take a look at other areas of the Get Into Theatre site to help guide your research further.
http://www.federationofdramaschools.co.uk/hallmarks/4593630902
https://cdmt.org.uk/
http://www.qaa.ac.uk/
QAA Handbook: Higher Education Review (Alternative Providers)
http://www.conservatoiresuk.ac.uk/
https://www.trinitycollege.com/site/?id=268
https://www.gov.uk/government/organisations/ofqual
https://www.gov.uk/government/organisations/ofsted
Photo: Graeae
Published: 04 March 2019
Khadija Raza tells Get Into Theatre what it is like to be a Set Designer and the challenges she faced when starting to work in theatre. She has worked on shows including Hijabi Monologues at the Bush Theatre, London, and Spun at the Arcola Theatre, London. She was also awarded Best Designer at The Stage Debut Awards 2018.
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Transcript:
My name is Khadija Raza and I'm a Theatre Designer and I'm 23 years old. I was born in Pakistan and I moved to East London when I was 11 and growing up there wasn't really much of a theatre going culture where I was from, neither in East London or Pakistan, so I didn't really get to experience live performance in any sort of way until I was about 18.
At school I studied Biology, Chemistry, English Literature and Fine Art at A-level and I originally applied to do a course in Radiography, but I also applied to do a foundation course in Art and Design, and in the end I kind of just went with what I really wanted to do which was the foundation course, and I went to a little college called The Working Men's College in Camden, and then I applied to the Central School of Speech and Drama to do a BA in Theatre Design.
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Since graduating I was one of the four winners of the Linbury Prize, which is a competition for theatre design graduates and after that I designed the Hijabi Monologues at the Bush Theatre, Mixtape for the Royal Exchange Manchester, Spun for the Arcola Theatre, and Loki and Cassie and Cacophony for the Almeida [Theatre]. And earlier this year I also won The Stage Debut Award for Best Designer.
Between design jobs I usually assist other designers doing model making, research or technical drawings and I sometimes also do design workshops for teachers and students. The first obstacle I faced when I decided to become a theatre designer was convincing my parents that it was a viable option and challenging their perceptions of theatre. The only way I could really do that was to show them what I loved about it and what it was all about. So I took my mum to an open day at a drama school and showed her exactly what I'd be doing and why it's creative and fulfilling and exciting.
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One of the obstacles for me as a Designer is finding the right people to work with and the right projects for me so that I know that I'm not working with people who only want to work with me for the way that I look or because I can tell a particular kind of story, but rather who I am as a designer or an artist and storyteller. And I think another struggle is just surviving as a freelancer and the key to that so far has been keeping myself self-motivated and organised and meeting lots of people and seeing theatre and keeping myself in that world.
Some of the things you can do if you're interested in theatre design and other backstage roles is go to TheatreCraft which is an event that is all about all the backstage roles in theatre, what they consist of and what the job is and you get to talk to lots of people who do this for a living. You can also go to open days for universities, I went to Central School of Speech and Drama and there's other drama schools as well and you should just go and see theatre as much as you can. There's places like Mousetrap who do cheap tickets to see big shows in the West End and it's just a lovely experience.
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Photo: Alex Brenner
Published: 12 March 2019
