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Post by Deleted on Apr 24, 2017 10:41:26 GMT
Phil Willmott has actually been fairly upfront about his casting process in various articles for The Stage. He has various methods for whittling down the huge pile of CVs and headshots to a manageable level, and one of those methods is "people I have enjoyed working with before" (as long as they're suitable for the current work).
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Post by Deleted on Apr 24, 2017 10:45:43 GMT
What I tend to notice on the fringe is that many of the same actors circulate around the fringe venues but are never seen at established theatres - as they are not noticeably better than other fringe actors it suggests that a bit of an old-boy's network in place. Are you talking specifically about the unfunded fringe? Maybe those fringe regulars are in a position to survive without income from their acting? Maybe they have partners in secure, well-paid employment, for example? Maybe, but also likely that most are working during the day - I have a friend who temps because it gives her the flexibility to pursue acting but even when she has a job she usually does a day's work before the performance; given that the pay is dreadful to non-existent she can rarely afford to do otherwise. |
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Post by zahidf on May 22, 2017 13:15:14 GMT
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Post by Deleted on Jun 24, 2017 15:50:33 GMT
Well. I'm late to the party and have only just seen this at the King's Head Theatre. I thought it was terrific and scarily so much of it resonates today. I cried through most of it. Wonderful performances across the board I thought and nothing as bad as mentioned above.
The noise of that door opening and the few seconds wondering if someone is going to walk back or not is just the most horribly chilling thing.
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