We have many different actors come through our (Both Feet's) doors. Some who have been in the business for years, some who have just finished drama school and are wanting to continue their training, some who are gaining experience before applying to drama school, some who have been trying to live a life without acting/theatre and can no longer suppress the burning fire inside of them and have decided sod it, life is too short. Nicki Davy falls into the latter category (you can read her previous blog here). 

Nicki contacted me in July 2018 asking if she would be eligible to train with us. My question was... do you fit into our criteria of professional actor or seriously working towards an acting career? She said she thought so but she was terrified and could she try it, just to see. At this point, I have to listen to my gut - our class sizes are small and so I need to make sure that each person in our space is a good fit which means not everyone is invited to train with us. I trusted my gut told her to get signed up. 

By the time she had completed the initial 2 day Intro to Meisner in August she had quit her full time job and signed up to the next part of the training. By the time she had finished The Core 6 day course in September she had booked a hair appointment to help with her "castability", booked headshots, gotten her CV together and started to look for opportunities. She has attended every class we've ran since then including intensives and weekly classes, she's also completed a month of Scene Study with the lubbly Daniel Bradford over at Play with Fire, Manchester, gotten Christmas acting work, gone to several auditions, and been cast in several roles and done a couple of ADP Scripts Aloud nights (and probably much more!). Some "actors" don't to that amount in 2 years let alone a few months. She is a sponge when it comes to learning/honing her craft and it's awesome. 

I've spoken with Nicki a lot throughout and about her journey so far, in particular the plight with Spotlight. So I asked (seen as she's so wonderful at writing!) if she'd do a blog about it. Perhaps you've been/are in the same boat? Perhaps you've got a solution/an idea? Perhaps you'd like to take a punt on her? Perhaps you are Spotlight and would like to change your mind? We'd love to hear from you. 

Everyone has to start somewhere. Give a determined, hardworking, talented lady a break, eh?

Steph x

When I quit my full-time job to pursue a career in acting, I knew that it would be hard in lots of different ways. After all, even if an actor is lucky enough to get to auditions, there may just be someone more suitable, more qualified or better prepared that you are up against on that day. This is the business and I’ve learnt pretty quickly that a rejection for a role is not as simple as a rejection; it’s just part of the game. What would be the point in wasting energy fretting about it?  
Having said that, what I wasn’t prepared for was rejection before I’ve even got started. Rejection before I even get into the room. A Whole New World of rejection, if you’ll allow me a spurious Disney reference. 

As anyone in a similar position will know, this type of rejection is not a lot of fun.

Over the last 4 months, I have applied twice for a Spotlight account and received the same ‘Unsuccessful Application’ email both times.

Quite frankly, I don’t blame them at all for turning me down the first-time round; I would have laughed in my own face had I been sent my own application. But since then I have trained non-stop, been to auditions, secured roles across different types of media, worked for Equity minimum rates on 2 jobs. So, when my second application was turned down with the same template email that I got the first time round, it left a bit of a sour taste in my mouth.

On the basis that I have very little to lose, I rang them to plead my case.

During the conversation with the poor woman who was unlucky enough to pick up my call (she still didn’t accept my application, just FYI) I was told 3 things that really stuck in my throat:

1.‘If you were under 25 or you had been to drama school, we would accept you without any experience’
It’s hard to know what to say to this. As I’m nearly 10 years past this arbitrary cut-off point, there’s very little I can do to change the year that I was born. It turns out that the fact I didn’t have the insight to start my career 15 years ago is an instant mark against my name. Talk about kicking me when I’m down.
 
2.‘We can see that you are working, but we can’t accept any of your credits’
For me (ie. middle-aged, non-drama school alumni) it turns out that to be accepted onto Spotlight, I need to have 4 professional credits in ‘named, speaking roles in full-length theatre, film or television’. As such, the paid promenade work I did before Christmas doesn’t count; neither does the web series that is an ongoing project over the next year; nor does the full-length but unpaid play that I’ve been cast in for later this year. Apparently, not all work is created equal, and the irony of this eligibility criteria hasn’t escaped me: I can’t get access to ‘worthy’ castings without already having had access to ‘worthy’ castings and secured ‘worthy’ jobs – probably via Spotlight – which I can’t get access to because I haven’t had any ‘worthy’ castings… Crikey. Ultimately, if I was being cast in ‘professional, full-length theatre, film or television’ productions then I wouldn’t be tearing my hair out to get access to castings, no…?
 
3.‘Sorry, but we do have to keep a certain level of eligibility criteria. Everyone is in the same boat’
I was already on the edge by this point; this just pushed me over it.
Because by virtue of the conversation I had just had, quite clearly not everyone is in the same boat.
Did I go to drama school? No, so I’m not in the same boat as everyone who did.
Am I under 25? No, so I’m not in the same boat as anyone who is.
Am I working? Yes, absolutely. And I’m getting castings off my own back, without an agent.
Oh, you mean am I working in the things that Spotlight deems worthy? Erm… no. Sorry.

Don’t get me wrong: in no way am I suggesting that I am somehow more worthy of getting auditions than any other actor. On the contrary, I know and work with dozens of wonderful actors who are so deserving of all their success. I know that everyone out there has worked ridiculously hard to get to where they are, whatever their path has been, and I would never begrudge another actor for getting a job over me.

But the frustrating thing is that me and all the other people ‘in my boat’ (ie. the boat full of over 25s who haven’t been to drama school and are working but not working in the ‘right things’) are starting at a disadvantage. Despite working hard, securing paid work, throwing myself at this industry with everything I’ve got, I’m still not deemed ‘eligible’ to pay for the same service and be put up for the same castings as other actors.

So, what to do? Clearly everyone in my ‘boat’ just needs to continue doing what we can, making connections where we can, hoping that someone somewhere will give us a punt and lets us into an audition room when they can. Because I’d like to think that once through the door I can prove that I’m worthy of doing this, that I am wholly committed, that I will be a positive energy in a rehearsal room. Let’s just hope someone takes that punt one day, eh?

In the meantime, at least I’ve saved myself 154 quid of my hard-earned money in membership fees. Beers are on me. 

​Nicki x

The day before and the day of my first day training with Both Feet I was beyond nervous. Like proper nervous!!!
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What was I getting myself into?
What if everyone thinks I’m terrible? (I definitely used another word)
Do I even belong in a place like this?
Who am I to call myself an ‘Actor’? (I mean I have a headshot and professional credits so that counts right?)

Impostor Alert!!

And then all my worries and self deprecating thoughts kinda disappeared, if not just temporarily!
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Throughout the first part of my training it was as if I’d finally found my ‘thing’. I haven’t been to drama school, to cut a long story short - I got in but just couldn’t afford to go which for awhile was harder than I imagine getting an actual no. This then meant I spent a lot of time wondering what type of training was out there and what would help me progress as an actor - Both Feet was everything I wanted and more.

I’d never felt as free before, to just ‘do’ and not expect an outcome or have any specific expectations. 

Having had all kinds of exercises with emotions flying all over the place (one fiery and anger fueled exercise in particular sticks to mind) the thing I find the most cathartic is having the ability to sit back down to watch other fantastic actors work and not still ‘feel’ after, what I felt in those moments. I could leave it all behind in the work.

And speaking of jobs, I am currently working at the Leeds Playhouse on ‘Airplays’ which was due to Steph recommending me to the director. I was and still am hugely grateful to Steph for putting her neck out for me as I believe recommendations are a big thing to live up to! And also the fact that Both Feet can potentially be a place for you to get work opportunities from is amazing.

​I could describe my experience within an inch of my being but for you to really appreciate and experience the Meisner Technique with Both Feet, you have to be in it. 
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I’m so excited for what else training with Both Feet will unlock and if you have the opportunity to do so, don’t hesitate!! 

~ Alyce x

Recently, our teaching practice was questioned (via social media, the standard way to challenge people these days) over a photo which, to this individual didn’t look like “traditional Meisner”.  It was a strange instance because I find it very hard to look at a photo and gain the exact context of when it was taken, what was happening, what stage of training it was etc.  If you were to think of rehearsal photos in a theatrical programme, what may look like an actor deep in thought about their craft, or deep in thought within a scene may in fact have just been a great candid photo of an actor choosing between Pret or Nando’s for lunch.  Without context, we’ll never know!  In any case, the apparent misunderstanding was cleared up and on we all went with our lives, happily until I had the idea to write this blog, not based on challenging the person who questioned the photo, that’s irrelevant, more on the idea of “traditional Meisner”.
 
Nobody teaches The Meisner Technique 
Whenever I teach this work, I make a very keen effort to stress that we do not teach “The Meisner Technique”, in fact, our website sub heading is ‘Meisner BASED training for professional actors’.  To go further than that, I would suggest that only one person ever taught the Meisner Technique and that was Sanford Meisner himself.  Those practicing today teach their interpretation of the work, probably based on how it was taught to them plus a refined process of their own experiences whilst teaching the work, wider reading and research.  I have my own ways of explaining concepts, my own examples of exercises and acting/life circumstances. Whilst the sequence of exercises, the bricks we add in building up actors brick-by-brick to become truthful and authentic humans/actors is incredibly faithful to Meisner’s work, my teaching is my teaching, and that’s really how it should be.  To call oneself a “purist” is a little tricky in that, if you were trained by Meisner himself and you’re a purist, that’s great, but are you regurgitating his words without really getting to grips with or grasping the concepts and the ideas of it?  Or even further, if you are a purist to a teacher who isn’t Meisner himself, are you being pure to Meisner’s technique, or the technique taught to you by your own teacher, who in turn probably had their own interpretation of the work.
 
I believe that knowledge passed down through generations should not only be enriched by experience but also the current day needs of the actor, and what’s going on in the world today.  For instance, there has been a ton more research in to the way in which the human brain and body respond to situations and trauma, the functions of various parts of the brain and so on.  Knowledge and research which Meisner wouldn’t have had access to at the time.  I’d be careless not to now include that in the work as I can give my students a different level of understanding.  Thus enriching the work, rather than diluting it.  
 
Our influences 
At Both Feet, our training stays faithful to the core principles of the technique. We feel we have a responsibility to the work, but also to actors coming to us to train in The Meisner Technique.  We have a common teaching influence between all of us in Scott Williams.  Scott trained with Meisner himself and successfully teaches the work in the UK and abroad with the Impulse Company.  What makes Scott an exceptional teacher of the work is that he has taken what he learnt from Meisner and refined/synthesised the work in to a crystal clear, no nonsense form which is exactly what most actors need in today’s industry.  He doesn’t simply regurgitate Meisner’s work verbatim, he is his own teacher.  Our work is primarily influenced by Scott however, we all have a series of other influences to draw upon between us including working with Moment to Moment Acting, The William Esper Studio and The Neighbourhood Playhouse.  Therefore to say we teach purely “Meisner’s way” is a falsehood, we have a load of influences, never mind our own journeys in teaching the work which shape how we do things today.  I feel no shame in saying I was not trained by Meisner himself, in fact, I’m blessed to have such a wide pool of influences to draw upon so that, when a student has a problem one language can’t fix, I have something else in back up.  Not only that, but I have training in other ways of working, beyond the Meisner Technique, which can become useful if a student is struggling.  The wider your toolbox as a teacher, the more tools you can give your students.
 
Collaboration
Speaking of a widening toolbox, we are huge fans of collaboration.  In the last year we have been working on integrating the practices of The Meisner Technique with Fitzmaurice Voicework, in collaboration with Fitz teacher Matthew Dudley and the results have been phenomenal.  There are a load of other practices out there in the world with which I want to experience and attempt to twin up with this work.  Meisner didn’t own the market on good and truthful acting, there are other ways, and I’m excited about all the things we can explore alongside our practice.  Other things which can enrich and push the boundaries further, ‘to boldly go where no one has gone before’ to borrow a phrase.  Whilst this might scare traditionalists, I am nothing but excited at the potential.
 
Meisner spent 55 years at the Neighbourhood Playhouse refining his work, in that time I’m sure he tried new exercises, failed a ton, tweaked, played, tinkered with all aspects of his work.  If I am still regurgitating the teaching I am doing now in 55 years, I dread to think how bored I will be of myself saying the same words, our aim at Both Feet is to drive the work forward and that is what we are trying to do, consistently.  It’s the search for perfection, that keeps the artist chasing, and we are as much artists as the actors we teach.
 
1+1 = 3
One of my teachers at drama school, Paul Barker, taught me an extremely valuable lesson on my fist day.  1+1 = 3.  What he meant by that was that when you combine 2 elements, you can create something which has value greater than the sum of it’s parts.  Music plus lyrics becomes a song, song plus story becomes a musical etc.  I like to remind myself of this when I am teaching and looking for inspiration.  I’m very confident that, in searching for something, I will make mistakes or an exercise won’t quite work. But it’s worth it for the moment something really clicks.  I’m very fortunate that our students at Both Feet trust our teaching enough to try something fully, without fear.  They are wonderful, open actors and human beings (hey industry, you should hire them and keep hiring them, they’re wonderful).

​By Adam Stadius

About 8 months ago we decided to start a Both Feet blog, it's been a while in the making but it's finally here. Over the coming months we’ll have top tips, musings and discussions coming from us (me, Adam and Laura) and casting directors, theatre and film directors, agents, writers, photographers, actors and whoever else we can pull in. If you're in the industry or figuring out if there is a place for you, we'd also love to hear from you. If you have a blog relevant to our industry burning inside you, we'd love to read it, and if it feels right, we'll get it up. Perhaps it's a struggle you've faced or something positive that's happened that you want to share or a question you'd like to pose. If you’d like to get involved, we’d love to hear from you: stephanie@both-feet.co.uk

One thing at the forefront of our classes is “cutting through the bullsh*t”. In class we tend to be referring to acting and this concept of “performing” and the forcing of emotions. Actors trying to be interesting. But it resonates through everything for me. I really struggle being in places where everyone is putting on a show or working a room (you know what I’m talking about). I’d rather just cut through that bullsh*t and have a real and honest conversation with someone. Anyone who’s ever been to an “event” with me knows what I’m like. My mum used to say “but you’re an actor Stephanie, you should be better at this” when referring to my attempts at lying or my struggling in bizarre fake situations, so I know I’ve always been the same. I believe if we could just be honest with each other we’d have more energy, more time, people’s mental health would be better and we’d generally just be happier human beans.

SO the aim is to keep these blogs honest. Which may work against us, because people can tend to not like honesty, I don’t know (oop a song just started in my head, see below). We’ll see how we go. Hopefully some interesting conversations will start up. That would be ace.

​Steph x