Debbie Bridge – Voiceover/Actor/Singer


Top 10 tips on Actors/Performers

This is the last in my 3 part series on the top 10 tips. This one focus’ on being an Actor/Performers.

Here are my top 10 tips for Actors/Performers. What is a director/producer looking for? What is best behaviour?

If you want to catch up on my other 2 posts, just click on Director or Writer to read them.

Do you want to look good on stage like Kate Winslet? Well here’s some tips how to…

Top 10 Tips for Actors/Performers

One of the roles in theatre, TV, musicals or Film, which I have an ever-growing respect for, is that of the actor/performer.

I love what Kate Winslet says. Not only because I think she’s right, but in what she says about how an actor/performer needs to over come their fears to do this job at it’s best.  I know I have become a better person for the job I do. How many people get to say that about the work they do?

So, here are some things I’ve learned along the way. Sadly, either by doing them or not doing or observing them myself.

  1. Show up on time – Seems straight forward, but you wouldn’t believe how many actors/performers. I’ve seen not get hired again purely for this reason. If you can’t show up, (due to snow storm or something – I’ve had this one), get on the phone.  Straight away call the stage manager or director or whomever and get it sorted.  I’m pleased to say, our show went up only 5 mins late, due to the snow storm. You know what England is like in snow – the world stops!
  2. Know your Lines – This is another bug bear for a lot of Directors. They ask you to learn your lines and the actor/performer waits until the opening night to limp their way through the 1st few nights. Never a good idea, it’s not only the director who isn’t impressed, but your fellow actors/performers.  I’ve had work from fellow actors/performers. You risk losing a network of people by just not doing the basic requirement of the job.
  3. Be amiable – There are a lot of stereotypes of how performers are ‘real drama queens’, well it just isn’t true.  A good actor/performer is incredibly disciplined and self-motivated – you have to be.  You are your business and you need to be able to work well with others.
  4. Know who to talk to – I’ve already written a blog post on this, so click here.
  5. Know your own role – Your role isn’t to direct your fellow actor/performer. When you have a problem with your staging or whatever, talk to the director. Do not talk it out with the person you feel may be the problem. It’s not your job to direct.  You are likely to lose respect from your fellow actor/performer. Also, you are usurping your director by assuming you can do their job better than they can.
  6. Believe in your fellow actor/performer – This is a mistake, I made when I 1st started out. I thought that problems I’m having are emanating from someone else – bad director, bad music director or bad actor/performer. No, my only problem is me and, it’s likely to do with my own attitude. My actor/director is giving me all I need. It’s up to me to do the best I can in my given circumstances and it’s always noticed by the ‘right’ people. This has been my experience time and time again.
  7. Know when to stand up for yourself – If you feel the director is asking more of you then you are able to give, then say it.  You need to learn to know where your limits are. For example, if you are not OK with full frontal nudity and sex scenes, then own that – it’s OK.  You do not have to do anything for the job.  If you feel that you are in a situation where your safety is at risk, say it.  It’s not worth losing life and limp over an acting job.  There will be others.  This may mean leaving a production, but this is only as a last resort.
  8. Know your limits – Watch out if you are playing multiple roles in a production. For example, director/producer/actor and you are getting snappy with others, then it’s likely you are doing too much.  Learn to delegate and bring others on board to do some of the other roles.  I’ve seen many a good production go down the tube because someone won’t let go and trust others.
  9. Gossip – Do not do this! I understand this can be hard, as relationships get really close when you work on productions.  It never reflects well on you. It’s likely, those same people you are sharing your mutual dislike with are doing the same to you, when you aren’t around. It never helps and only builds animosity when you need to be working as a team and believing in each other.
  10. Go to the museum – Make sure you have a life outside of your performing work.  This is vital for remaining sane in what can be pretty chaotic situations with emotions flying around.  This is a great place to set up a network to talk out any problems with an outside group/individual such as your family or trusted friend. Someone you know, that when you just need to let it out, they won’t go around telling anyone else your deepest thoughts. Also, I say, ‘go to the museum’, so you have outside interests, this can be anything – painting, knitting, another creative outlet that doesn’t give you anything, but pleasure.  This may sound daft, but art for art’s sake is a vital thing to anyone.
Summing Up

I know I joined this profession because I also wanted to play, so always play and enjoy what you are doing.  This applies to any job, but seeing as plays are a part of the actors/performers world, you may as well do as the title says – play!

If you want to do the catch up on the Writer and Director posts, just click!

What do you feel is good practise for the role of an actor/performer? Share below:


Top 10 Tips on finding a Director

I would love to work with Paul Greengrass as part of a featured small role in one of his films.  He is a Director who comes across, almost instantly, as someone who makes an actor feel at ease in what they are there to do and makes it a lot of fun.

Here are some greats on directing:

What more could you ask for, but how does he do it? Well, here are some of my ideas on what makes a great director from an actors perspective:

Top 10 to help you find the right Director

Continuing my series for pre-festival roles for your productions, I’m talking this month about how to find a good Director.

If you missed last month’s post on writers, you can read it by clicking here.

Now, my top 10 for what I look for in a Director:

  1. I love directors who let the actor feel their way through the script before they get too involved in rehearsals. This builds trust in the actor and the belief that when the director does speak, it’s clear and precise. I like to see them sculpture a performance rather than need to mould all aspects of a piece.
  2. Definitely, I prefer Directors who don’t act in their own shows.

I believe the views for the Director and Actor are quite different.

The Director sees the whole world of the play. The actor sees only what’s in front of them – namely their fellow actor.

I’m not a big fan of those who insist on wearing both hats. I’ve only met a few who can change these hats well and easily.  Plus, unless you are doing your performance in a media format, it’s impossible to see yourself, as you are always in it.

  1. A Director who believes in their actors to always, always pull out a good performance is top for me.

It’s important that they believe in you and your abilities to do the job, even when you don’t.

  1. A Director who leaves after the dress rehearsal and doesn’t keep directing you through the run of the production.

The Stage Director is meant to take over once the show opens to ensure that the Director’s vision is intact. Refer to number #3 and my blog on roles, click here, for more detail.

  1. Fielding questions from actors is a real skill set for a good Director.

Actors crave, ask for and want attention, it’s in our blood. Sometimes this gets in the way of just getting on with a rehearsal or the brief recap that often happens.

There can be actors out there that feel they must be vocal and ask questions or just plain question.

I love a director, who knows how to steer around them, move on, yet still ensure an actors needs are met.

  1. I don’t like a Director who says to actors – ‘Work it out amongst you.’

This is not someone I hold in high regard, unless, of course, that director is running out of time.

What I’d prefer is someone who directs. Even the smallest part or has an assistant director who takes this role up and are well versed in the vision. So, when it all comes together, we aren’t out of sync, due to poor communication or none.

It’s important that a Director directs. By not doing this they then reduce their status and role as the Director. Actors get the wrong idea that it’s OK to direct themselves or, even worse, others.

Actors can lose respect for a Director very quickly which is hard to gain back, once lost.

It’s like a conductor, who only works with the soloist of his orchestra. Then doesn’t bother to ensure the various sections have been worked. Thus ensuring that they create their great symphonic piece.

  1. A Director who understands that all violence and sex scenes need to be choreographed is very important to me. So much so, you can read more about this from my blog, I wrote last year, by clicking here.
  2. A Director who isn’t willing to meet and discuss any issues of staging with the Music Director is a real nuisance.

It’s important that these 2 roles agree and get together to ensure that both of their needs and concepts work. Arguments in front of cast are never a good place to sort these misunderstandings of what each requires.

To me, it’s a bit like parents fighting; it encourages actors to take sides and only leads to dis-harmony.

  1. Directors who keep actors hanging around when they aren’t needed – a huge pet peeve of mine!

This can drain an actor of their energy much faster than over working them.

It can build resentment and encourages in an actor to question whether the director cares about them.

Actors need to feel appreciated.

They are the ones on stage exposing their vulnerable selves, they need to know that the Director has their best interests.

  1. Run to time, clear, when and give breaks are essential to a well-run rehearsal.

Directors, who ignore this, do this at their own peril.

A lot of the same reasons as are outlined #9 apply here. It’s important to give actors proper breaks. It gives the cast a chance to get to know each other off stage/set and not only on stage/set.

When a Director is clear on what you will rehearse and when it allows the actor to feel confident. They can walk in and know their Director has a clear idea of how, what and when.

Of course, changes in schedule will happen, but these notes of change can be told to actors at least the day before.

Ending rehearsals on time and giving notes from the rehearsal before is best done at the start of the next rehearsal. This means actors can leave feeling well and not over think any feedback to try to make it ‘right.’

I know there’s a lot more, but this is a great place to start.  Naturally, none of this is written in stone and is merely a guideline. I’d love to hear your thoughts on what you look for in a Director? Or your experiences of what has or hasn’t worked for you?  Write below!

P.S.: If you missed last month’s post on writers, you can read it by clicking here.


Top 10 tips on Finding a Writer

Anticipation, I love it, can’t wait….just want it to be now.  Well, we are pre-festival season.

I’d like to start talking about what I feel is important in the various roles for you to hire for your next production!

First, though, I can’t wait, next spring…..Guardians of the Galaxy 2!

My top 10

  1. Go see a writers work, especially in the medium you wish to have it performed.
  2. Do they do what they say they will do? This is important if you’ve got a tight time line. If they say they will get back to you by such and such a date and they don’t. It maybe the early warning sign you may not get what you need.
  3. Agree what your needs and wants on the project are with them. Do this face to face and see if you can agree a way of working on the project. This is good so you can get a feel for them, in person, and if they are flexible to your needs and theirs.
  4. Talk through how many revisions you expect from them. Do this up front, do not leave this till later.  Vague boundaries around timelines and revisions have led to many arguments about what each party thinks.  Write it down and send copies to all parties involved.
  5. Agree the rights of use on the script and for how long
  6. Are they showing a passion or strong interest in your project? If they don’t, then don’t be surprised that your project could get shelved for another more interesting one.
  7. Fees – make sure you talk about this before any word is written. What they expect and what you can afford? If nothing, then agree what that looks like as well – have something to offer in exchange. Put it in writing.
  8. Rehearsals – Personally, I don’t like having the writer sit in on rehearsals other than a few at the beginning and at the end.  It can be hard sometimes for writers to see their work in a manner which isn’t the way they expect. Therefore, they can cause a lot of unnecessary tension between performers/director and writer. So, find out how they work.  I’ve had many say they love it when they see the actors/director bring a new life to their piece. I still keep the access limited
  9. Do they write for others? or mainly their own projects? This is good to know, as some writers are better than others at writing for others.
  10. Are they willing to make practical changes to a script? For example: time limits, word length, etc.  It’s crutical you are clear at what your absolutes are.  If you need a one person show with a length of 45mins, limited props and scenery. You can say that up front. If they aren’t able to stick to that – walk away and find someone else


When I produce other people’s pieces I look for all these things in a writer.  I’m not keen to have my director be the writer, as a writer can often find it hard to let go of the script they hear in their head. This can be a problem when they are the director as well. They may not be as objective, as someone who hasn’t written their own material.

I always try to make sure I have these 2 roles done by others and not me either!

For some more of my guidelines on roles in production, check out my other blog here!

Please tell me what you look for in your writers?


Playing to type ….Living in the box

Playing to type can and does work, here is an example, which is opening now and is already getting lots of press – a rom/com musical – how much more type do ya get: La La Land

I don’t know how the story ends, but then we don’t know how our story ends, this is more about how we start!

Living in the box isn’t so bad.  There are very financially successful actors who have lived quite well within their box.

So my last blog was about not living in the box, you can check that out here, but this one, we are going the other way.

This time I want to talk about the advantages of type.

My type…

So me, I’m a middle-aged, American, strong, female type – roles go along the lines of Mom, business woman, investigator, nurse, and, of course, Mom.

What is a type?

Being in the very non PC world of performing its your speed date self – my definition!  The one that when you walk into the room people see straight away.  The easiest you!  Hence, my speed date version, when you speed date you’ve got seconds to decide and then you move onto the next one, that’s what this is like or about.

I know, I’m hearing the cries of, ‘Ya but…..I can play such a wider range!’. Of course you can, but there are always benefits to your strengths and being specific.  ‘Specificity brings opportunity’, as I always here Dallas Travers saying and this applies here too!  You make it easy for you to be cast when you embrace what is the easiest you to see.

Being your type can open the doors to playing those wider range of roles.  This industry is about relationships and these are best done face to face.  So go with what works and get the doors open to then push them a little wider.

In the meantime, you can create your own projects which can feed the soul of the wonderfully dynamic performer you are.  Do this through self-producing and you create the tools to help the world around you see the wider you, while building on those other person to person relationships.  Along with self producing, you learn valuable tools on how to self-submit, develop social media, and build that website – you need somewhere to send your projects through.


So, don’t be afraid of your version of rom/com – it works and so can you!

What are your thoughts and experience of playing to your type? Share below:


Type – Let’s do the Time Warp Again!

Time Warping

I wonder when Tim Curry took on the role of Dr Fank N Furter, he was worrying about type?  As you probably know, they are doing a remake of this iconic film – ‘Rocky Horror Picture Show’ with Laverne Cox.

If you don’t, here’s the trailer:

Type – yikes?!

This is something I don’t like – type.

Today, I’m going to talk about how I don’t fit my type. Next time, I’ll talk about how I do fit my type.


I do a lot of improvisation in my work. Especially events work and improv is known to sneak into my Shakespeare.

Biggest comment I get is, “How do I do it and make it look so easy?”  Well, the main thing about that is, I don’t think about it.  I just do it and see what happens.  I figure, I picked a lot of that up when I was working at a comedy club, but more about that later…

When there is a director involved, I trust that they will tell me if it’s too much.

Audience Participation

When I mention audience participation people want to run out of the room. Yet, when I do it, it’s amazing how willing they are?!

Also, I’m nicest to that person, so they really are safest when they go with me. As opposed to their buddies who may have put them up to it.

I totally understand how terrifying and uncomfortable this can be for people.  So they always come out good in the end.

I have to say while some of what I do I know I will do. A lot of it isn’t. This is where the improvisation and willingness to just go with whatever comes is vital. This confidence I gained a lot through my training with the Impulse Company.

I have to say, some of the best stuff comes from these moments.


An example, was when I was singing a very engaging piece at an event in Australia. I was changing the words for the person in front of me. But this time, I had Dick in front of me. Didn’t think this name was in circulation anymore! It was a golden moment for me and the audience, but mostly Dick loved it!

I’ll leave it to your imaginations….


Yes, I do comedy, it seems a lot of people think opera singer – serious.

So NOT! Oh ya, I’m an actor as well as an opera singer – go figure!

Yes, I have a degree. No, I do not take it all too seriously. Seems this is a rarity, which I feel is a valuable asset.

I bring comedy into all the work I do, even in the most serious pieces. I’ve always tried to not be too serious when in the rehearsing and breaks. Why would I want to do plays, if I don’t get to play?

Also, it’s amazing how much comedy can be found for a character in the depths of despair. How often have we laughed and cried in life?  It’s not that odd for a character to find something funny at a moment that you’d think they might cry. I let the character/words lead me when I am working in this way.

Also, I grew up in a family who love to laugh. Quite often, they are the people I can laugh the most with.

Plus, I worked at the Komedia (comedy venue), as front of house, many years ago. It’s amazing how much you can pick up from just watching. That experience, how to deal and play with an audience, even the most obnoxious or high on substance, has been invaluable.


My favourite story while doing that job was when I needed to get some rival football hooligans out of a play about the local football team.  It was quite something, as the actors were terrified.  1 of these actors was huge and over 6 feet, but was asking me to remove them – I’m 5’7″ – anyway. It’s amazing what you can do when you just ask. I asked the group if I could just have a quick chat with them before the audience left during the interval, they followed me out and my bigger guys on door managed to encourage them to leave – amazing the power of woman!


I struggle with the definition of what variety is, but I have to say I fit to it like a glove, as to me it’s about those of us who don’t tick the boxes, but we make an audience love us anyway!

I’ve done truck loads of cabarets, sung on the Underground, Prince Charles front garden, people’s living rooms, Hamlet in a cave, sung with a country band, been part of a male striptease act, etc. Where else would I live other than in the variety world?

You name it and I’ve probably worked with it or done it myself – still have yet to work with a magician, so still need to tick that box!  Any magicians reading this?  Do I fit your type?

Edinburgh Festival Fringe/Brighton Fringe Festival

I love doing fringe and part of that is, often, as a participant. I’ve had the great chance to see a lot of work for less – we get reduced rates, plus I’ve got my finger on the pulse of people who really know what is worth seeing or not.

Also, the vibe with a big fringe is so exciting.  Living in Brighton, I have to say May is my favourite month as the city comes alive I wish it did this more often, it’s just such a boost to the creative system.  I’ve tried to be in every fringe that I could, but one, where the show was cancelled!

Rounding Off…

Just a final note about Tim Curry, even today, he knows how to deal with an audience, in this case the press, here is an excerpt from an interview with him:

When a reporter asked how it felt to have the transvestite Dr. Furter be his most enduring character, the British actor deadpanned: “There’s not a lot I can do about it, really,” prompting laughter from the audience.

So, how do you keep yourself out of the box?  Tell more below!


Taking Risks as a Performer – To Boldly Go where you’ve not Gone Before!

OK, hands up, I’m a Trekkie, from before the time that term was even created and seeing as the new Star Trek movie is to be released, I thought about what it means for me today to ‘Boldly go where I’ve never been before!’

I see myself as a relatively conservative risk taker, at least with money, but it seems I may live outside the box in my choices.

Some examples:
  • jumped off the side of a mountain – paragliding
  • jumped out of a plane – tandem jump
  • studied for a year in Germany & realised pretty quick that the money wasn’t enough for me to live on
  • came to the UK, knew no one – once again, realising the money wasn’t enough
  • gone river rafting
  • walked alone in a Canadian park and faced a bear
  • left my 1st husband with below poverty level income
  • took a year out to travel and not at an age anywhere near my 20’s, facing the fear my career would be killed by it
  • found out I like brussels sprouts, sweet potatoes and many, many other foods I didn’t grow up eating or liking
  • started up several small business ventures with mixed results
  • turned around several small businesses to take them from not making money to making money (& yes, some of these were in the arts)
  • spoke to total strangers at parties or even bus stops
  • learned to sing/act & dance despite being told as a child I couldn’t do any of these things well & then went on to make a career of each one
  • self-produced – stage shows, events and short films
  • set up my own websites
  • etc.

Do these things make me a risk taker? I’m sure there’s a debate in it.  One thing I do know that working in the arts helps me find how much I can change and that something that was true yesterday for me, may not be true today or tomorrow because I keep learning, keep pushing my own personal boundaries as I discover more about myself and the world around me.

This is key for me: to always keep learning.

The people I admire the most live and speak these words and so I continue to seek new paths and develop existing ones I never dreamed possible when I started.

What paths or risks or frontiers have you taken?  What does it mean to be you?


Update – Debbie Bridge

Updates - Debbie Bridge

Updates – Debbie Bridge

Like most people, I always start things with the best of intentions and todays post is another one of those.  It’s a chance for me, once a month, at least, to let you know what I’m up to!

I’m terrible for keeping up with what I do, I’m one of those people who does a lot, but I don’t hang onto it, so if you asked me what I did yesterday, I could struggle, as I much prefer to look at what I’m doing now!  I don’t think this is a bad trait, just doesn’t help when people ask me what am I doing?

So, today, my favourite place to start from, is I’m currently in London and I’m here for a little over a week doing some cat sitting.  Why cat sitting?  Well, it’s because, I am planning on doing more house sitting when I go to Vancouver in September.  My plan is to go out there and work with my agent in Vancouver to see if we can’t build better relationships with the industry in Canada.

I’ve just finished doing the show ‘A Threesome’ and I had some great feedback on my performances, which is always nice…there may even be some future projects coming out of that show, so watch this space.

A Threesome

A Threesome

I’ve still got 2 more of my monthly classes to teach – the Monday Monthly Monologues and the Solo Singing Workshops.  You can find out more about those here: Monologues and here: Singing.  After that I’m going to have a few months off from teaching for the summer months – ahhh!

So, if you’d like to meet with me while in London this next week, Vancouver from September to March or in Brighton over the summer – drop me a line, it’s always good to chat!


Jennifer Lopez Carpool Karaoke and Engaging with your Audience

I don’t know about you, but I love Carpool Karaoke with James Corden.  They are brilliant to watch and the latest 1 is with Jennifer Lopez, check it out here.

How do they do it?  Why do we watch it?  Despite having no audience, they still make us want to watch them.

Now, editing has a lot to do with it in a film based medium, but there has to be something else.  I’ve watch or not watched, as the case may be, a film based medium if the performers just do/don’t pull me in and make me want to watch them.

Well, here comes confession time, this is my secret mission in my own work to really interact and engage with my audience whether that’s as a singer, actor, on camera or stage.  I have even had the fun of doing it in a variety of languages, despite the majority of the audience not knowing what I am saying, here’s a good example of me doing this!  I’ve done it underground – cave, London Tube, West End stage, Prince Charles front lawn, wherever and they love it!  So how do I and many others do it?

Ya, that's me in red, rollerblading, with cake and dancing/singing - it's my cardinal outfit

Ya, that’s me in red, rollerblading, with cake and dancing/singing – it’s my cardinal outfit

Here’s some of what I’ve learned over the years both as an audience member and performer – most audiences love it when a performer talks straight at us.  Naturally, there are those few audience members that don’t, that’s OK, it doesn’t mean they aren’t enjoying what you do.  They may be of a more voyeuristic type…;)

I remember vividly, as a kid, when they asked for volunteers in a show, I was eager to be chosen and that impulse is still in me.  As the performer, I love to chat with and get to know my audience.

So if you want to be more like me, here are 3 top tips to help you.

  • get there early and start talking with your audience, get to know them.  You won’t feel like they are your enemy and you can start to build your relationships
  • look them in the eye – this can be tough, so practise this, whenever you can because in ‘real’ life, we hardly look at people in the eye when we talk to them, but children and dogs are brilliant at this – more than happy to look at you!
  • look for your friends – by this I mean, the packs or people in the crowd who clearly like you and what you are doing.  Use them as your best help for encouragement.

How do you engage your audience? or how would you like to?  Post below:

P.S.: If you want to know more of my secrets, join me at 1 of my workshops here.


Creating Your Own Work – what has that got to do with Deadpool?

Coming from the operatic singing background, the idea of creating your own work isn’t a new 1, but, of course, it’s 1 of the biggest things people talk about for those periods when you just don’t have work coming in, as it really helps to keep feeding that artist in us – whether that be the singer or actor or both, in my case.

1 man show

1 man show

For me, I created Miss Givings, this was a showcase for me to show both sides of my talent, as well as my diversity within both talents.  It was a long time in the growth of the idea and then, once I had clarity I was going to do it, finding the writer and director became my next priorities and I was fortunate, like all great ideas, they were found through my network of local people I know and appreciate their talent.

Anita Boult in Miss Givings

Anita Boult in Miss Givings

So, what has this got to do with Deadpool, the film that is so big in all the cinemas?  Well, this is it, it’s a project that actor Ryan Reynolds wanted to create for himself.  So, whatever level you are at in this business, if you haven’t already started to realise that this is a huge part of what your skill set is gonna require, then best get on board now, as it doesn’t get any easier to learn how to make projects come together both for you and your performing buddies.



What I’ve gained by doing this:

Confidence, network with locals to get to know them better, project management skills, experience I can use on my CV, my own production company which has already made 3 short films, one show and collaborated on other projects, work, great monologues that no one else knows, friends, respect, understanding of various other roles/jobs in my network – so huge amount of appreciation for those who fullfill them, photos, showreel material, agents, editing abilities, etc.

So if you have an idea – make it happen and you will be amased at what this may open up for you!

What project have you made work or would like to make work?  Share below!


CV/Resume – looking good on paper!

What makes a good CV/Resume?



I have been very lucky to do Chrys Salt’s class at the Actors Centre in London, which I can highly recommend, if she is still running them, which handles this problem and many others.

I’ve, also, purchased her book, ‘Make Acting Work: the Practical Path to a Successful Career.’ It’s out of print, but you can buy 2nd hand copies and, while dated things aren’t up to date in it, a lot of her suggestions for the business still hold strong today.

So here goes….

  • 1 page only
  • be honest
  • put your best credits to the top and don’t date them, use bold on anything you might want to highlight, like working with a well-known director, etc.
  • only put on education if you feel it’s well-known – Rada or a degree in a drama, or that you are doing on going classes at the Actors Centre or equivalent or with a well-known workshop with so and so, otherwise keep education off and at the bottom of the CV/Resume – let your credits talk, unless you are fresh from studies and lack any credits, then you may want to put them 1st
  • create uniformity and a logo for yourself – logos are easy to acquire through the Fiverr website – you only pay $5 american and you can have a simple logo made and designed for you
  • make sure they are easy to read
  • make sure your font and spacing work both as a printed and online version
  • have separate CV/Resume for your various skill sets – teaching/acting/singing – don’t put them all on the same CV/Resume or if you do, then have 1 CV/Resume which has the acting skills first and vis versa – you can always reference the various skills in the skills section near the bottom of your CV

So general order on the CV is Name (bold;big at top), address/telephone/website/email, personal details: height/weight/colouring, Equity number, Spotlight number, playing age, agent details (if have one), credits, education (if including), skills, accents

Here is a sample of my CV/Resume  for you to look at.

Extras pointers:

When using your email, make sure to put your websites, phone number and spotlight number in your email signature, using same font as used on CV/Resume.

You can use the same social media accounts for all your work – teaching/singing/acting.

Keep all your website listing up to date: Equity, CCP, Spotlight, etc profiles all need to be kept up to date.

Update your showreel once a year, so it’s got some of the most recent work.  This is when basic editing skills come in handy, as it’s not that hard to edit into and material out of show reels.  Don’t go longer than 3 mins, but prefer 1 to 2 minute length.

What are the things that you have found that work best for you on your CV/Resume?