Browsing Tag



Drama School was the WORST/BEST year of my entire life – at the same damn time!

 Imported from old blog at tanyavital.blogspot

I keep getting asked about RADA and the training I did there, which is great! But I feel its still way too early to properly reflect and comment fairly on my time there. I’m still processing my experience. It was INTENSE! (We went through some things man & some stuff). It’s taken me a long time to gather just a fraction of my thoughts. Advising someone about your personal experience of drama school isn’t easy. As “luvvie” as it sounds – drama training is about spiritual, physical, mental and emotional development, both for the individual and the ensemble. This kind of ‘artsy fartsy mumbo jumbo’ is not easy to put into words – you kind of had to have been there. BUT, I think I am finally ready to answer some simple housekeeping questions that may help you decide if the course may be for you.


The course you apply for should be influenced by your previous experience or training. It stands to reason that there in no point applying for the RADA Masters Degree if you are just starting out in your acting career. If you are still quite young, you are lucky enough to have a few options. My advice would always be to go for the BA or Foundation course, whether it’s at RADA or somewhere else. If you are very late teens/early 20’s you’re at ripe drama schools age. They like to be able to mould you into an artist of their calibre and being too young or indeed too old can work against you.

I would apply everywhere! If RADA is the only place you want to attend (it was the only place I wanted to go), be prepared to be knocked back – sometimes more than once but, just keepgetting up, dusting yourself off and going back. Being turned away from a drama school is normal and the odds are especially more difficult for people of colour. You must understand that they only accept a few of our ‘type’ so you are competing against every other person of colour who has applied and that’s probably a lot! Drama schools like determination. If they say no this time, they may say yes next time, but you have to stay focused and not let disappointment get to your heart.

I went to the MA Theatre Lab open day (recommended) and did a little research about the course but, I have to admit I still had no idea what the course entailed until I actually got there – neither did RADA. My course was only the second year of the MA Theatre Lab generation. We were still guinea pigs and changes to the course were constantly being made depending on what the students needed, which international practitioners could be brought in and so on. The MA Lab course this year will probably be very different to ours last year, as ours was very different to the pilot year.

The MA Lab course was developed for people with similar backgrounds to mine – Actors who’ve started a professional career first with no formal training or for those who have been to University to do a drama/theatre course but want a more practical form of training. The course is suited to older/more experienced Actors. The ages in my class ranged from 20-45. RADA are extremely good at finding the right people who will work well together. The ensemble work so closely together that whoever you are put with – you will all become family.

I don’t think drama schools care particularly about previous academic qualifications. I think they are more interested in whether you have a good grasp of the English language, you’re healthy and you’re watchable (you know, the old je ne sais quoi).


The course was completely practical. There was always an end of term ‘paper’ to write (a few hundred words). Students must keep an on going log book about personal experiences, reflections and revelations. This is then referenced for the end of year dissertation (nowhere near the amount of words required for a University dissertation), everything else was assessed practically. The course does not just focus on acting, you will work on directing, writing, devising and movement.

Devising is a huge part of the course, you will study a particular practitioner and then devise pieces using his/her techniques (mixed with your own of course). For example you may work on a piece by Ibsen using a Meyerhold technique. Everything goes hand in hand. You learn the technique, you devise a piece, you perform said piece then you move onto the next.

I cannot stress enough that the course is VERY INTENSE because they are squashing 2-3 years of training into 1 year. It’s VERY physical. It’s VERY demanding, you will have NO social life but, having said that it is doable! If then desire to succeed is there.

It is a little like going back to school in the sense that you will always be working with people who have different likes/dislikes and so some will put in more effort to some modules than others. There will be frustrations, there will be arguments, there will be back blighting and bickering but on the whole the class will be mature enough to see the common goal and work together.

BE PREPARED FOR THE WORKSHOP/AUDITION! The delivery of your monologues is important but just as important as the physical boot camp they put you through. You’ve never known a work out like it! Insanity?! Pah! Insanity who!? You may bleed, faint, throw up and or cry. The audition activities are to prepare you for the actual course because that is what you will do EVERY day.

At the end of the year there is a showcase and I have to say ours was pretty good. Not the usual few monologues, bit of a song rubbish. You will devise a show from scratch!


I always say that Drama School was the worst and the best year of my entire life –  at the same time. Don’t expect this to be a walk in the park. I think a lot of people go the drama route because they see it as a holiday. This course is a holiday – if you holiday in hell.


You will be dragged so far out of your comfort zone you won’t know what hit you. You will do all of those clichéd things you hear about drama schools that make you cringe but, you will learn WHY you must do these cringe worthy exercises. Again – on this course you’ll cry, you’ll bleed (yes real blood), you’ll sweat, you’ll fight, you’ll spit, you will be defeated – only to rise up and have it all happen to you over and over again. The Theatre Lab course It is NOT for the faint hearted.


c/o Sodahead

For this course you have to put what you know and what you think you know aside and just go for the ride. You will find that there are some things that just aren’t for you – there were tons of things that weren’t for me but you have to just try and get involved.

Would I go again? Hmmm – it’s still too early to tell. I am not yet fully recovered from my time there. Do I regret going? Not at all! But I did go into the course very naively. I needed and wanted technical training and that I got. Looking back there are a few things that I would have done differently, but it is what it is.

  • Has it made a difference to my career? Slightly
  • Did it have the huge life changing impact on my career that I thought it would? No.
  • Did it have a huge impact on me as a person? Absolutely.
  • Am I a better Actor for it?



What type of Actor are you?

Imported from old blog at tanyavital.blogspot

I’m not particularly a lover of either animal but, in drama training you are taught to identify what type of actor you are, your traits, whether you are a cat personality or a dog personality.

According to the those in the know, for auditions it’s much better to be a cat person. But there is a fine line between ‘Cat’ and ‘Tw@t’



“All art is political otherwise it would just be decoration – If artists didn’t have anything to say, they’d make shoes.”

 Imported from old blog at tanyavital.blogspot

I’ve been writing this post over a number of weeks and sat on it for just as long because something in the back of my mind told me I wasn’t ready. I’m glad I did just that because the ideas and opinions I first had when initially starting the piece have evolved dramatically after spending some time with new friends.

I’ve been in my own little pursuit of happiness in the acting world for so long and in the struggle to survive, I sometimes forget why I chose this path and what it was that made me want to put myself through the often soul destroying lifestyle of an Actor. I get so caught up in the day to day that I forget my overall calling. The reason, beyond putting food in my fridge, paying the rent or boosting my ego. That overall driving force.

Unlike some I didn’t want to become an Actor to be famous or well known, I like anonymity. I like to be able to visit the Petrol Station late at night in my pyjamas if need be, or the Supermarket in my scruffs. The thought of everyone knowing who I am petrifies me. When I think about what I actually wanted to achieve as an Actor I always land back on the same thing. It was to tell stories. Stories from my life, from my friends lives, to give a voice to the unheard, to let people know what it was like where I’m from and to create awareness. Awareness of what? Of things I love, things I hate, things I find unjust, things that need changing.

Those of you who know me personally or who follow me on Twitter, know that I’m a political soul. Moaner, big mouth, liberal-conserve, activist, whatever you want to call ‘it’, if ‘it’ needs to be said (& sometimes even if it doesn’t), I’ll probably say it.


Recently there was a tragedy in America that made it to the mainstream media. A young boy named Trayvon Martin was gunned down in a gated community in Florida America whilst visiting his father.  He was shot by George Zimmerman, who was part of the Neighbourhood Watch scheme within that community. Zimmerman saw Trayvon in the area, didn’t know him or that he was in the area visiting his father and rang the Police to declare that there was a black male in the neighbourhood acting ‘suspiciously’. Against the direction of the Police, Zimmerman pursued Trayvon and shot him.

Why am I telling you this? What has it got to do with art or acting? We shall see. Put aside the legal and political issues that are surrounding this case at present and let’s look at the basics of the issue.

Zimmerman (sane or not) saw Trayvon, a black hooded male and automatically felt fear and suspicion. He didn’t know Trayvon, they had never met so it was not a personal hate crime. Technically Trayvon could have been any black male in a hood and the same outcome would have probably occurred. Zimmerman saw a hooded black male, who to his mind stood out and was not part of his gated community and this caused enough suspicion and fear in Zimmerman to a) call the Police and b) pursue Trayvon and kill him – just in case. In case of what? Well – in case he was in fact dangerous of course.

So let’s look at that again: Zimmerman saw a hooded black male and this caused suspicion and fear.

What is it in the doctrine that makes black males look suspicious/bad/dangerous?

I don’t know George Zimmerman or his personal experiences with black males. I also do not know the political/social constructs of that particular area in Florida America, but we can hazard a guess that being a ‘gated community’, either it is surrounded by areas of high crime and danger – OR the people who live within the gates are just generally cautious/scared/suspicious of others. Either way, George Zimmerman and many others all across the world, was unnerved by this image of a black male within his ‘safe’ environment.

So I ask – what is it about black males/ black people in general that causes fear or suspicion in others when there has been no prior confrontation. What is it in this image that causes people to react (technically) in an un-rational way? Where does this fear come from?

We shall see.

I’m a realist, I’m so black and white (literally and metaphorically) it hurts. I believe that there is always some truth in a stereotype, some fact to a rumour, so I can understand Zimmerman’s fear. I could NEVER understand his actions that lead to Trayvon’s death – but I can logically get my head around where the fear came from in Zimmerman.

Without giving a lecture on sociology we all know crime exists and is higher in poorer areas than those that are more affluent. I understand this.  I only have to read Twitter, any newspaper, watch the news or any other TV programme and listen to the grapevine to hear of some other atrocity that has occurred involving human beings, that is worse today than the stories I heard yesterday. Occasionally if I forget to raise my head out of the virtual world, I begin to think the Sky is falling down. When this happens I usually get a life and go play with my real friends in the real world for a while. It helps.

What relevance does this have?
Apparently quacks (Scientists) have discovered that the brain only reacts or registers bad news Meaning even though I live in one of the safest countries in the world, the media I digest makes me feel afraid because my brain only reacts to all of the bad things I read or see.
I’ll give an example of a personal experience:

I was on a train in London and a ton of school kids got on. They couldn’t have been any older than 12/13 but there was a large group of them and were obviously travelling home. They were loud, giddy, and boisterous and were talking that hype talk. You know just the crap kids talk about like rival school kids and fights and the rest of that adolescent stuff. Anyway there was me, another lady and two posh, preppy looking males on this one carriage. The energy coming from these kids was so electric that it was translated as aggression by us adults. I can honestly say we (the adults) were all afraid. What were we afraid of? Getting stabbed, mugged, and involved in a rival school fight – the works.

Needless to say the two preppy boys got off at the very next stop – you know that wasn’t their stop, but even I felt to do the same. I had to have a word with myself in my head and say ‘look they’re kids, they’ve just come from school – this is how kids act’. After that I realised I was being an idiot and these kids were not going to harm me – in fact they hardly even knew I was there. I’d gotten myself into a panic because I’d been lead to believe (by my own digestion of media) that all kids are out to kill, rob and rape me.

Using my own personal experience I am trying to show that I can understand why Zimmerman, myself, the two preppy boys and the lady to the left all felt fear, whether it was warranted, rational on not. The fear usually comes from our own digestion of the media and the things we watch and are told, rather than personal experience.

Ava Vidal comedian and organiser of the London march of protest for Trayvon Martin said:

“There is something very wrong in our society, because up until the age of 12 our black boys are seen as cute, and then all of a sudden they get called things like frightening and intimidating. Why is that?”


In ‘Top Sket’ I explain that as an Actor I too have bills to pay and I am not at the level where I have the luxury of being able to pick and choose the parts I play. I can only audition and work on the ones that are available to me. So if there are no ‘positive’ representations it is just tough luck, until some come along  I will have to play whatever is left, be it ‘derogatory’ or not.

But that’s my point! It seems that suddenly there are very few positive ethnic shows on right now. When I was growing up we had Fresh Prince of Bel Air, The Real McCoy, Desmond’s, The Kumar’s, Moesha, Sister Sister, Mr Cooper, Cosby Show etc. There seemed to be an abundance, (be it mostly American comedy – which is an issue all of its own) but there was variety. Sadly now it seems that all of the ethnocentric/afro-centric productions involve knife crime, guns and gangs. There is no balance and as a result the black community feels demonised and vilified. This kind of representation with no balance most definitely has an impact on how other communities view both our young people and the black community, which again leads to fear and unfortunately the ‘Zimmerman effect’.

As an artist I cannot be totally naive to the media in which I participate. I have to understand the agenda and my part in it. If a script I work with is meant to convey a message, I must understand that message. I don’t have to agree with it but, as an Actor I must know or try to understand what the Writer is trying to say. AND A GOOD WRITER IS ALWAYS TRYING TO SAY SOMETHING! 

In ‘Coming to terms with a HELL of a script’ I told you that there have been times when I have had to say to my Agent ‘look this script is offensive for these reasons and I’m not happy with it’. Then at that stage it is my choice whether my rent is more important than my integrity or not. I am only human but, on the whole, I pride myself on being as good a human being as possible. Yet the bottom line remains – I cannot pretend that my involvement in an offensive or suggestive script is secondary or unimportant. I can’t say to myself ‘Oh it’s a comedy, that terrible joke about disabled people has nothing to do with me’. It has! ALL ART IS POLITICAL and our failure to speak up at necessary times about how we feel speaks VOLUMES.

This isn’t an attack on any of the TV channels or Production companies in this country, rather a general observation. This general stereotyping is not coming from any one particular corner of the media, I’d say it’s pretty much a general evolution of them all and there certainly isn’t any one particular corner leading the way in terms of balanced representation right now either.

I have met very few Writers who write just for the sake of it. This being said we cannot pretend to ourselves that our involvement is not influencing anyone or anything because it is and there are times when silence has the loudest voice and does the most damage.

I know some artists are scared to voice their opinion or concern in case they offend someone and never work in the industry again, but this isn’t about offending anyone, it’s about speaking up when we should, using our privileged position and making it right. How can we, as artists, convey a message from our hearts if we are scared to say what’s right?

This in particular is an opinion I’ve dwelt on over the past few weeks. The idea of ‘selling out’ if you will. I often see/hear comment when a Black British programme comes on and it’s about gang violence – again. One side hates that we are depicted as animals all the time, the other hates that the moaners don’t understand the industry and aren’t prepared to get involved to make a change, be it via writing, producing, casting – whatever.

A very intelligent friend told me categorically that he had made a conscious decision not to play the stereotypical gangster roles as that wasn’t his reality. Although he is black, funnily enough his friends and family aren’t shooting each other. He was aware that even though he didn’t take those roles there would be 500 guys that would, which is again their choice. He also said that as much as he wants to create change – he is not Nelson Mandela, but he does what he can with his own character. So if he is sent a script that is just eggy in the worst way or jarring, he will offer suggestion to the Director or Production as to ways that may convey the same message better and make the piece less obvious or offensive. He clocks the journey of his character and worries about that rather than trying to change the World. This idea I like! This is not ‘selling out’, this is working with what you’ve got.

As a strong independent woman I have a tendency to be headstrong and go in guns blazing without actually giving myself time to think outside of the box. Thinking outside of the box – Directors love that! Don’t just come with problems have solutions or suggestions to do it another way.

I also learnt to TRUST YOUR DIRECTOR! I have read many scripts and thought I was quite savvy but actually I think I take things on face value more than I realised. Just because a script is again eggy and jarring in places, sometimes – just sometimes there is a wonderful Director who has ideas that you never dreamt of. Ideas of how to go against the obvious on the page and actually turn the whole mood around by thinking outside of the box.

What does this have to do with Art/Drama?

All this considered though again I have to make it clear that although, as my friend said we are not Martin Luther King we have somewhat of a responsible role when working in the media and role model, Saint, Samaritan or not, we have to understand the part we play.

I am far from religious but I believe in a higher power and somebody gave me this which I think I should share:

“Creator God, King of glory. From you come recreation and the talent to create;

You give a great responsibility to those who through drama and music reflect life’s struggles, hopes, tears and laughter.

Through your spirit may they have skill and patience in their work, humility in success, strength in adversity and a welcome among your people.

Enrich the lives of those who receive their ministry, so that all that is done may present truth and reflect your glory.

In and through Jesus Christ our Lord. Amen”.

(The Actors Church Union prayer)

Take from that what you will. Peace xx


Giving Something Back

This is just a post to remind us all that in order to achieve greatness (whatever your idea of that maybe), we always have to give something back. It’s that old wives tale of cause and effect. I have a philosophy that if I can I will always help someone. A) because you help someone – they help someone and before you know it the help has come back around to you and B) because there is NO greater feeling than when someone offers a helping hand at a time of need or when you make a change, however small in someone’s life.

As Artists we should be in the habit of helping each other as much as possible. Without sounding too hippy-ish, the more positivity and assistance we can give each other can only create more opportunities for all of us. Somehow we’ve gotten into this belief that there is scarcity, that we are fighting for each other’s job, position or place but it’s not true. Yes as an Actor you will go to a casting and see maybe 5 or more of your “type” there but at the end of the day the job will only ever go to the right person for the role. I’ve seldom heard of a role been given to somebody simply because there weren’t enough candidates. As we say up north “what’s for you won’t go by you”.

Acting coach Mel Churcher said, “No-one is in competition with anyone else. How can they be? Each offers a different quality, a different life. Believe. Take your space”. Lyn Gardner (Guardian Theatre critic) also wrote a great piece on collaboration and communication between Theatres, please read here:Why dont theatres talk to each other?