An American Actress in London

Send A Thought

noreply@blogger.com (Kosha) — Sat, 29 Nov 2008 15:57:00 +0000

The holidays are upon us, and with it the task of gift buying. We usually know what to get our partners and close family, but what about the others - friends you see less frequently, acquaintances, colleagues or industry contacts? You probably don't want to spend a lot, but would like to send a gesture gift - a 'thought' as it were.

I've recently discovered a fabulous new website called SendaThought.co.uk that's perfect for those little thoughtful gifts. Although small and large items are available, the Little Thoughts are particularly useful as they're fun, affordable gifts that come beautifully wrapped and fit through a standard UK letter box.

Photo Thoughts are also on offer, whereupon you choose a frame and upload your photo. Send a Thought prints the photo, frames and wraps it, then posts it. Brilliant.

If you want to give a more substantial gift, there are Thoughtful Boxes. They come ready-made for every occasion (including Christmas) and are filled with lovely goodies that are sure to please. You can also make your own if you're feeling creative.

I've had a few thoughts for gift ideas this Christmas:
Agent, Director, Casting Director - 2009 Leather Diary
Boss - Champagne Truffles
Work Friend - Chocolate Snowman
Friend you don't see often enough - Forget-me-not Garden
Someone with a winter cold - Chocolate Pills
Friend who threw a great holiday party - Jotter with Pencil
Friend you said inappropriate things to at a holiday party - Sorry Book

Happy gift giving!

Corporate Role Play

noreply@blogger.com (Kosha) — Sat, 11 Oct 2008 15:45:00 +0000

A question from an actor from New York who came to London to join his wife:

Q: I used to do corporate role play back home. I've heard that here, agents do not take commission for that. But a few people have told me otherwise. Any advice?

A: Generally, I'm not aware of theatrical agents seeking corporate role play work for their clients, as it doesn't neatly fall into the main categories: commerical, tv, film, theatre, voice over. However if an agent did get you some work in this arena, I imagine they'd take a percentage as usual. It probably wouldn't (and shouldn't) be as high as their percentage for on-camera work, but is likely to be between 5-15% depending on the agent, and whether they are a personal manager or a traditional agent.

As for finding corporate role play work, most actors I know get it through word of mouth, previous role play clients or through casting websites like CastNet, CastWeb or CastingCallPro. It's a great skill to develop and can be a nice way to pay the bills. I think the Actors Centre offers classes on it.

I have found some agencies that look after actors specifically for corporate work. I can't vouch for their service as I haven't worked for them, but they look interesting: www.corporateroleplay.co.uk, www.laughlines.net/roleplay_shows.html, and www.reactroleplay.com. Good luck and let me know how you get on!

Visas & London Film Scene

noreply@blogger.com (Kosha) — Sun, 07 Sep 2008 09:35:00 +0000

I recently received these questions from a reader:

Q: I am having the same trouble with my visa....I do not have my degree yet so coming with a work visa is proving almost impossible...as well as convincing employers to convince the government that they need you....I am trying to get into school now at last minute in clearing...but how did you come over....any advice...also how does London's film community stand to LA (I know LA IS the center of the world) but I am curious about London's film scene though I am gonna focus on theatre there first and getting into drama school...

A: I came to London on 5 different visas:
1) The first was on a student visa while I was at university, and I stayed for just over 4 months. I just had to prove that I was indeed a student, show where I was staying, and show my return ticket.

2) Then about 6 years later, I came for 9 months on a visitor's visa. Technically you're only allowed to stay 6 months on a visitor's visa, and you have to prove - with bank statements, proof of sufficient funds and that you have a place to stay - that you're able to fund yourself while you're here, as you're not legally allowed to work in the UK as a visitor. I ended up staying for 9 months because I went to France, then re-entered the UK and was somehow granted a 3 month visitor's visa on top of my original 6 month visa. At this point re-entering was becoming tricky because immigration wasn't buying my visitor's status and pointedly suggested I should get a different kind of visa to suit my situation.

3) When my boyfriend and I decided our relationship was going to work out, I embarked on getting a Highly Skilled Migrant visa, which was essentially a self-employed visa. My boyfriend and I weren't ready to get married and didn't want to rush things by getting a marriage visa. So we hired a British solicitor who assured me that my combination of web design and acting experience should be enough to earn the HSM visa. While the Home Office was reviewing my application, I had to be out of the country. With my life in limbo, I lived with my parents in Maryland and waited for several months, having no idea how long it would take (there were delays), if I'd be successful, and what the hell I'd do if I didn't get it. £2500, piles of paperwork, and 4 months later, I was denied.

4) I then returned to London on a visitor's visa for a few weeks to see my boyfriend, and decide what our plan of action was. In the end we decided to get a fiancee visa as we thought we were nearly there, and by the time the visa ran out months later we'd be ready to get married. We resented the government having an influence on the course of our relationship, but in the end it worked out just fine.

5) After returning to the USA again, taking the train from Baltimore to the British Consulate in New York city and securing my fiancee visa I returned to the UK. This time entry was a little smoother, although I forgot to wear my 'engagement ring', and the immigration officer grilled me a little over that and my whole proposal story.

6) Finally my boyfriend and I did get married. I got my Temporary Leave to Remain (for 2 years) visa and was allowed to work, but not to receive state benefits (NHS, unemployment, etc), although I was allowed to pay taxes.

7) Two years later, I had to prove to the Home Office that my husband and I had been living together continuously for that period and I had to take the 'Life in the UK' test to prove I, as a foreigner from America, could speak English, and knew about British culture. £1000 later, I was granted the mother of all visas - Indefinite Leave to Remain. I could work AND receive state benefits. When and if my husband have kids, we're definitely giving them dual citizenship, so they never have to go through what I did.

The London Film Scene:
It's not LA, but there's a lot going on. There are quite a few American films that get made over here and cast in London - and they always want genuine Americans. For example, I went up for 1408 with John Cusack, and both BATMAN films starring Christian Bale - I was seen by the director, Christopher Nolan, in a call back. And most recently I was cast in a British made TV film about the Apollo 11 moon landing. MOONSHOT was almost completely cast over here - with one LA guy cast as Buzz Aldrin - and we shot in Lithuania. There are also lots of American TV pilots cast over here January - March. As in any market, it's hard to break in, but it is possible.

But if you're thinking of going to drama school - come over here on a student visa. That will be the most straight forward way.

iPhone 3G

noreply@blogger.com (Kosha) — Sat, 09 Aug 2008 16:48:00 +0000

Today I have spent 8 hours playing with my new iPhone. It is a technological wonder and I'm finding it difficult to rip myself away from it even to write this entry. But I feel I must spread the word to those who may be converted. Thank you Mr. Jobs (left).

Not only is it sleek and beautiful - the packaging, physical design and the GUI - but it is hugely intuitive and easy to use. And so incredibly useful. But most of all it is the first phone I've owned that is made to sync perfectly with my Mac machines. Finally I can view my calendar, address book and emails on my home computer, my phone and online and edit from anywhere. Amazing. I love it.

American Directors in London

noreply@blogger.com (Kosha) — Tue, 15 Jul 2008 07:33:00 +0000

Some questions from a reader who trained as an actor at Drama Studio of London and recently graduated from UC Irvine's MFA Directing Program; he's a dual citizen who's deciding between London and LA:

Q: Have you seen or worked with many directors who are living in London and are American?

A: I've worked with a few and heard of more. Recently:
Platinum Travel Club at The Tristan Bates Theatre (NAAA reading) - dir. Allison Troup-Jensen
Cat's Paw at The King's Head Theatre - dir. Noah Lee Margetts
Pistachio Stories at the Soho Theatre - (NAAA reading) dir. Chris Lane (Canadian)

Apparently there are a good handful of them out there. The NAAA has info on many of the up and coming North American directors for the annual playreading festivals, so if you wanted to get in touch you could email Laurence Bouvard at americanactors@aol.com.

Q: I have heard that more directors go between theatre and TV or film in London than in the US - do you see this as true?

A: There's generally more crossover of not just directors, but also actors, writers and producers. As radio is much bigger here than in the US, you often get people trying things out on radio first, then transferring to theatre, film or TV. I have some friends who write sketch comedy, and they always try new material on a radio audience before choosing what will make the cut for TV. I know another comedy duo who co-wrote a sitcom and put the first few episodes on radio, with the hope of -eventually getting it produced for TV.

Q: Are you noticing a glass ceiling for American actors?

A: Yes and no. Of course it helps if you're already famous when you come to London - then you'll have broken through the ceiling in the US and keep rising (hopefully) in the UK. But if you're like me and have a strong CV but haven't made the big big time yet, it's difficult. You have an advantage as an American - you're in a niche market and you have a unique selling point (USP). Therefore if you're good and have a good agent, you'll generally go up for most of the American stuff that's going if you're right for the role. You have an added advantage as man since there are more roles for North American men than for women. The disadvantage is, there are less roles generally for Americans. However, I know a handful of North American actors who work all the time, getting larger and larger roles with each new job. One of them, a Canadian, even made it into the RSC. So it can happen for you here. But as with any place, you need that sexy combo of luck, persistence, skill, tenacity and a bit of talent.

Q: Any suggestions about the first 6 months in London?

A: First check out the entries 'Your UK Acting Career Parts I, II & III' on this blog here. For your directing career, I'd suggest getting in touch with Laurence at NAAA and talking to other North American directors to see what they do. You could also suggest yourself to direct one of the readings at the 2009 NAAA playreading festival. But for the bigger jobs, I'd approach theatres where you'd like to work, try to direct some fringe or off west end show to get a London credit. I don't know the directing path very well, but hopefully that's a start.

Wellington Boots

noreply@blogger.com (Kosha) — Wed, 09 Jul 2008 19:14:00 +0000

Today it rained. A lot. All day. My leather boots couldn't cut it, and were soaked within minutes. Tomorrow I'm going to my first British outdoor music festival and it might rain again. So in preparation, I've finally become a true UK resident and bought my very first pair of Wellies (see picture, right). It's taken three years, but now that I have them I'm completely converted. I can walk down Oxford Street at rush hour and cheerfully bypass the crowds trying to avoid puddles. In my new waterproof boots I can smile as I splash into opaque pools of smog-infused water. And when I attend this festival tomorrow, I will laugh in the face of mud, now that I am appropriately armed.

You can see why the British are so fond of these boots, why they're so fashionable, why they abbreviate the name to 'Wellies' and sound so affectionate when they talk about them. Wellington Boots are an English icon. The modest rubber footwear has seen them through many a muddy field, flooded streets, waterlogged trenches in two world wars, and rain-drenched summer festivals which would otherwise be unbearable. They are everyday heroes.

For you North Americans who have never heard of Wellies, here's a little background from Wikipedia:

The Wellington boot, also known as a wellie, a topboot, a gumboot, or a rubber boot, is a type of boot based upon Hessian boots. It was worn and popularised by Arthur Wellesley, 1st Duke of Wellington and fashionable among the British aristocracy in the early 19th century. Read full article.

Happy Independence Day!

noreply@blogger.com (Kosha) — Fri, 04 Jul 2008 08:07:00 +0000

I find it amusing to be celebrating Independence Day in the very country we struggled to be independent from.

My parents report that they are having the traditional BBQ with friends and family followed by fireworks. I'm feeling shameful that I didn't even remember to wear red, white and blue today. But I have just sung along to the 1993 live recording of Whitney Houston singing the Star Spangled Banner at Superbowl XXV. I think it may be the best version of the anthem I've heard. Watch it on YouTube here.

Today is also the day my husband and I pick up our new Siberian kitten, separating her from mama and siblings. It will be her Independence Day as well. Perhaps we'll call her 'Indy'.

To all of those Americans reading this - Happy July 4th!

Moon Shot - A Success

noreply@blogger.com (Kosha) — Thu, 03 Jul 2008 10:03:00 +0000

After some glorious weeks in Vilnius, Lithuania (and many cans of hairspray), I have finished filming for Moon Shot. At the wrap party we watched a 25 minute sampler of some of roughly edited scenes and it looks great! Very much looking forward to seeing the finished product in early 2009.

This was such a fun project to work on and everyone involved - cast, crew, producers, director - was fantastic. I especially enjoyed meeting and acting with so many new people, many of them North Americans.

Some highlights: riding Segways through Old Town, going to an impromptu Bob Dylan concert, rowing in Trakai lake, wearing vintage 60's gear, Lithuanian karaoke, many mojitos, visiting baroque cathedrals, Thai massage, bowling with the cast, and many fine meals.

I will publish broadcast details as soon as I know them.

Moon Shot

noreply@blogger.com (Kosha) — Mon, 26 May 2008 13:32:00 +0000

I am playing Pat Collins, wife of Apollo 11 astronaut Michael Collins, in Moon Shot by BAFTA nominated writer Tony Basgallop (Hotel Babylon). Directed by Emmy winner Richard Dale (9/11: The Twin Towers) for Dangerous Films and ITV, Moon Shot is a feature length factual drama celebrating the 40th anniversary of the moon landing. It shoots in Lithuania in June and is due to broadcast on ITV1 and the History Channel in 2009. Visit the Dangerous Films website for details. Casting by Julie Harkin and Suzanne Smith.

Principal cast:
Neil Armstrong - Daniel Lapaine
Buzz Aldrin - James Marsters
Michael Collins - Andrew Lincoln
Janet Armstrong - Anna Maxwell Martin
Pat Collins - Kosha Engler
Joan Aldrin - Kelli Kerslake
Al Shepherd - Trevor White
Gene Aldrin - Michael J Reynolds
Bill Anders - Ian Porter
Frank Boreman - Martin McDougall
Tom Stafford - Richard Dillane
Faye Stafford - Jennifer Woodward
Marilyn Lovell - Ursula Burton
Deke Slayton - Nigel Whitmey
Chris Kraft - Colin Stinton

Non-union/No NCDT degree - how to get work

noreply@blogger.com (Kosha) — Wed, 16 Apr 2008 10:51:00 +0000

A reader question from an actress from Atlanta, Georgia:

Q: I am an American that just moved a month ago to Kent on a work permit for a job in my degree field, social work. I was a professional actress in Atlanta, Georgia and was able to juggle both jobs and was hoping to work some here as well. I was not union affiliated as Georgia had mostly non-union work and I never landed a union job. I did a lot of non-union commercials, student films, and community theater and trained with some LA folks that were brought in at my acting studio in Atlanta. With all that said, I have been researching the acting field here like crazy and find it a little different. It looks like there is more of an emphasis on holding a certificate or degree from an accredited NCDT (National Council for Drama Training) course.

Have you found it a hinderance that you don't have the certificate or degree from a NCDT or do they accept your theater degree from the states? While I don't hold a theatre degree, I studied for years in Atlanta and LA and don't like the idea of having to go back to the beginning to be able to get jobs. I've thought of just sending my info into some agents with a cover letter discussing my situation (ie American abroad, with some training) and concurrently taking some classes at a reputable acting studio. But I'm finding there are a lot of blocks placed on casting sites and acting classes only allowing people in Spotlight, member affiliated, or accredited to participate. I haven't tried to see if Spotlight will accept my CV with experience and training, as I was hoping to submit myself for some auditions and have a couple of UK credits before trying. What order should I go about getting involved? Go directly to the agents with my US headshot and cover letter, only train for a while, or attempt to get my own credits for a while.

A: Although I didn't complete an accredited NCDT course, I was a member of both AEA and SAG unions when I arrived in the UK which served to prove my worth as a professional actor. I also had a healthy list of theatre, film, TV and radio credits on my CV which helped. Finally I had an in with my current agents, Scott Marshall Partners, through a British actor/director I worked with in Washington, DC. So in one sense, I haven't found it a hindrance that I have an American theatre degree: it hasn't made me seem less credible. However, I do feel I missed out on the British industry contacts I would have made had I gone to a drama school in London.

But what's done is done. If I were you, I'd write to agents regardless of your training or union status and introduce yourself. I'd say you are an American actress recently moved to London from Georgia (they love the southern accents here), you have a work permit and are looking for representation. Then I'd mention a few highlights of your acting career and say you'd be interested in meeting up. If you will be performing anywhere soon, that's a bonus - invite them. Simultaneously, I'd phone up or visit Spotlight, tell them your situation and see if they'll include you in Actresses 08/09. (The deadline is April 15th so get going if you haven't already) Then I'd take a couple short courses at the Actors Centre in areas where you feel you could improve. You'd brush up your skills and meet some other actors. On top of all this, I'd subscribe to CastWeb or CastNet to receive casting notices and submit yourself for work! Then after a period of time - 6 months or a year - if you still don't have an agent, you'll have had time to at least get some training, maybe even some work or a showreel, and you can write to agents again telling them what you'd achieved since you wrote last. Persistence and tenacity. Go get 'em.

Computer / Video Games

noreply@blogger.com (Kosha) — Tue, 11 Mar 2008 10:14:00 +0000

I have just broken into this fast-growing market. It turns out there are loads of games made in the UK that need North American voices! I recently voiced characters in Belief & Betrayal (release date: March 25, 2008) and Worldshift, and this week I'll be recording the voice of Mondra Diamond in the science fiction adventure game, Perry Rhodan. Not only are the jobs well paid, but they're also fantastic fun and a short time commitment so you can fit them in between other jobs. You get to stand in front of a mic and play for hours!

As I understand, many of these games are initially made in Germany. Once the game is successful, the developers want to re-voice the game for the significantly larger English-speaking markets like the USA and the UK.

All of my recent jobs have come from the excellent voice production company, Outsource Media. They have studios in the UK (London & Sheffield) and the USA (LA), and are known for producing top notch voice performances.

Joining Equity & the North American Actors Association (NAAA)

noreply@blogger.com (Kosha) — Tue, 04 Mar 2008 13:02:00 +0000

Two more questions from an actress who recently moved to London from New York:

Q: Equity: I was not a member of any union in NYC (tried to stay out of SAG/AFTRA so as not to be shut out of non union jobs), and was told its fairly easy to qualify for UK equity here. However they have no sets of rules on their websites. I trust that eventually, via my agent, I'll somehow qualify- but I was wondering if there are rules posted online I may be missing.

A: I'd start on the How to Join Page on the Equity website. They have a link to download application forms, and they say the following about overseas performers:

"Overseas Experience: If you have worked professionally overseas and can provide proof of your employment, together with details of membership, if any, of the relevant union in the country or countries concerned you are eligible for membership of Equity. This applies to UK and EU citizens, or to those from other countries who have been granted permission to work in the UK."

You can also just phone any of the offices using the details listed on their Contact page.

Q: North American Actors Association: I was told by them, two years ago (when thinking of moving), that I was not allowed to join unless a member of a union. But I've met several actors who joined while not in a union. Curious if you have any insight.

A: I was a member of AEA (Actors Equity Association) and SAG (Screen Actors Guild), and a UK permanent resident when I joined, so I didn't run into an issue. In your case, I'd email Laurence Bouvard, the head of the NAAA, at LaurenceBouvard@aol.com, tell her your situation and see what she has to say. She's usually quick and thorough in her responses. If she says you have to be a union member, I'd chase Equity and try to convince them to let you join since you have professional experience.

Commercial Print Work

noreply@blogger.com (Kosha) — Wed, 27 Feb 2008 12:20:00 +0000

An American reader who has recently moved to London from New York emailed me a few questions this week. I thought I'd answer them separately to keep things clear. Here's the first:

Q: I used to have a commercial print agent in NYC, and thought I'd investigate it here. You mention its called "photographic modelling" here [in London]. But everyone I ask in casting looks at me blankly and says "I have no idea about that", or "actors don't do that here." I'm curious about your experience with it here, and what you may suggest I explore on my own, or suggest to my agent.

A: I am now represented by MOT Model for UK print work. (I just got a the call yesterday on the back of a print job on Monday) They have a good reputation and are one of the largest and most popular modelling agencies. I'll be in their 'Real' group which includes actors, characters, comedians, dancers, etc. MOT also gets called for commercials and presenting jobs. Until now, I've gotten all my print work through notices on CastNet and CastWeb. A lot of it has been for stock photography e.g. Getty Images, and a few jobs have been for brands such as Humanscale and Heinz. I did a fair amount of print work while in Baltimore/Washington, DC so I have a fairly good portfolio to show casting directors and photographers. Mind you, I don't yet have a proper portfolio book; I've just been emailing JPGs of my work. Now that I've joined MOT I will invest in proper 10x8 prints and a nice book to show photographers at castings.

As for how to get started, I'd try the following first:

Apply to MOT Model via their website here
Join CastNet* and/or CastWeb for daily/weekly casting notices
Some agents have a separate commercial arm - you might look through Contacts 2008 to research
Call Getty Images, based in Camden, and say you're an actress and you'd like to attend the next general casting so you can be added to their database. Their details are:
Getty Images, 101 Bayham Street, London NW1 0AG
Media Manager: 0800 279 9257 (I'm guessing this is the right person to call)

* If you do join CastNet, I'd be v. grateful if you told them I recommended you. I get 2 weeks free for each recommendation.

iBank for Mac

noreply@blogger.com (Kosha) — Mon, 18 Feb 2008 13:41:00 +0000

This is excellent accounting software for Mac. As I need to manage my bank accounts and investments in both the UK and the US and submit tax returns for both countries (each with different tax years) - things can get a little complicated. I needed help, and a friend recommended iBank by IGG Software. It's perfect for my situation, primarily because you can create accounts in different currencies. I can set the date parameters for UK (April-April) and US (Jan-Dec) tax years and create expense reports for each. Then I just format the reports in whatever way my US & UK accountants require and send it off. It's SO much easier and speedier than how I used to do it - manually.

Carve

noreply@blogger.com (Kosha) — Tue, 12 Feb 2008 10:30:00 +0000

I am currently appearing as Jessa in Carve by American playwight Molly Smith Metzler at The Tristan Bates Theatre in London's West End. Cast includes Peter Brooke, Simon Lee Phillips and Anne Wittman.

We're all excited because the playwright traveled all the way to London from NYC to see the show last night. It's a great play and has been a pleasure to work on it. Let's hope it has a future life.

Democrats Abroad

noreply@blogger.com (Kosha) — Fri, 08 Feb 2008 21:22:00 +0000

I just filled out my first absentee ballot for the US Primaries and will be mailing it to the Maryland Board of Elections tomorrow. My first ever vote from abroad. How exciting. Turns out there's a whole boatload of Americans here in London, many in a froth about the upcoming elections. Democrats Abroad is, as you may have guessed, the overseas branch of the Democratic party and a very useful resource. It's now possible to vote from abroad online and the website gives you step by step instructions. So if you missed the primaries, you can gear up for the November election. I'm keen to go to one of screenings of Presidential debates in the months to come. All the UK events are posted here: www.democratsabroad.org/group/united-kingdom

Happy Voting!

American or British Accent?

noreply@blogger.com (Kosha) — Sat, 05 Jan 2008 10:14:00 +0000

I just saw Shadowlands by William Nicholson last night at the Novello Theatre starring Charles Dance and Janie Dee. It was based on the true love story between C.S. Lewis and an American woman, Joy Gresham, with whom he corresponded. Excellent work by the cast and a moving story. I had the pleasure of meeting some of the cast afterwards for a lively discussion about the play. Show info here: www.novellotheatre.com

I received an email today from another actress who may be moving to the UK:

Q: "It is a possibility right now that there is a chance that my husband and I may relocate to London and I find myself FULL of questions about what that would mean for me in the world of acting. One question that I am especially curious about is whether or not American actors in London must mostly use a British accent? As you know, for foreigners in the US, it is pretty much a requirement for them to have a perfect American accent in order to get work. Does the same hold true over there? I am especially curious about film and television work. Thank you so much in advance and a very special thanks for sharing so much of your knowledge and experience as an actor in London!!"

A: Keep your American accent! It's one of your most valuable assets here in the UK. It is the thing that makes you special, your USP (Unique Selling Point). Almost every TV and film role I go up for is American. In fact one of the reasons my agents took me on is because they didn't have any American actresses my age on their books. Casting directors want the real deal, so when American roles are available the breakdown usually says "Genuine Americans required". A lot of American commercials and TV pilots are cast over here, and producers specifically seek native accents. Now it's a real pain when an English person has a perfect (sometimes barely passable) American accent and gets the job over you, but that's the biz.

When British regional accents are required, they look for native speakers as well (Manchester, Scottish, Irish, Northern, Cockney, Birmingham, London etc.). As for your British RP (Received Pronunciation) accent - it's definitely worth perfecting, but you won't use it as often as your natural accent. I've only ever used it in stage productions (Macbeth, Twelfth Night the Musical, Failed States). The Actors Centre has some great accent/dialect tutors to help you on your way. They have classes and one on one sessions.

Good luck!

Dr. No - BBC Radio 4

noreply@blogger.com (Kosha) — Fri, 04 Jan 2008 11:08:00 +0000

I recently recorded two roles in Ian Fleming's Bond classic, Dr. No for Radio 4. It was dramatized for radio by Hugh Whitemore, directed by Martin Jarvis and stars Toby Stephens as James Bond and David Suchet as Dr. No. I play Miss Chung and Sister Lily, both Chinese henchwomen of the evil Dr. No. The programme is scheduled to air in April 2008. Exact air date(s) TBA. The Independent published a feature on the project entitled "Inside Story: Radio that's licensed to thrill". Read it here.

This was such a fun job to do and a fantastic cast to work with. It came to me in a roundabout way. When I lived in DC, I did a few radio plays for L.A. Theatre Works (LATW) and National Public Radio (NPR). During those jobs I had the pleasure of meeting Susan Loewenberg, the producing director for LATW. When I moved to the UK, it turned out that my British father-in-law is a friend of Martin Jarvis. And Martin also works with Susan on radio plays when he's in Los Angeles. Small world. Next thing I knew I was called in for a reading then I'm in front of a mic at Air-Edel Studios in Marylebone!

Getting a Visa

noreply@blogger.com (Kosha) — Wed, 02 Jan 2008 12:07:00 +0000

Happy New Year! I've received some emails lately from American readers who wish to transfer their acting career to the UK, and who have turned to this blog for ideas. I thought I'd include the most recent email (anonymously) as a Q and A, in the hope that the rest of you might find it useful.

Q: “Hello! It is so great to read about an American actress living and working in London. I am an actress living in NYC. I'm really hoping to make the transfer abroad, but I'm not sure how to start. I spent a year studying in England several years ago, and I've been thinking about moving back ever since. Now that I'm not a student I am a bit worried that I'll have trouble acquiring a visa, and I was wondering if you had any advice. How would you recommend beginning the process? Is it better to start while still in the US? Should I contact the UK Embassy in NY, or would you recommend that I take another approach? If you have a chance, I would love to hear what you have to say.”

A: I was in your position when I wanted to return to London after studying here during university. First ask yourself two things – how long do you intend to stay and what do want to do while you’re here? Then I’d visit the UK Visas website to see what kind of visa you might be able to get. If you intend to work, you’ll definitely need a visa. This is difficult to acquire. So in the first instance, I’d suggest coming to the UK on a visitor visa to scope out the scene and make some contacts. (This is what I did and I thought it was a valuable first step. But if you have some way of getting a work visa - family members that are EU citizens, a UK job opportunity - then by all means do it. You'll save yourself some time!)

If you have an agent, perhaps he or she can help to arrange some meetings with agents in London. Since you’re a US citizen you won’t need to get your visitor visa in advance. You can just get one at the passport control desk when you arrive in the UK. However, be prepared! You will need to show the immigration officer 1) that you want to visit the UK for no more than 6 months, 2) your return ticket to the USA or other evidence that you intend to return to the states at the end of your visit and 3) bank statements to prove you have the means to support yourself. During this time you CANNOT WORK, but you can SEEK work i.e. meet with agents, go on auditions, take classes at The Actors’ Centre, Pineapple Studios, etc. For more info on a visitors visa visit this page. You might also visit the British Embassy New York for more visa advice.

Cat's-Paw Is Back

noreply@blogger.com (Kosha) — Sun, 30 Sep 2007 10:39:00 +0000

After a successful run this summer, Cat’s-Paw is back – this time in an evening slot. From now until November 4, 2007 I’ll be appearing again as Jessica Lyons in Cat’s-Paw by William Mastrosimone at The King’s Head Theatre, Islington. Richard Sandells and Siri Steinmo have joined the cast as David Darling and Cathy, respectively.

We opened on September 25, and that same week Time Out re-ran the 5 star review from our previous run. "This smart, gripping play... is rigorously intelligent and scapel sharp." (TO) We were pleasantly surprised when we sold out last night – our first Saturday evening performance! Hopefully this is a sign of good houses to come. Reviews from press night are meant to come out this week. Looking out for The Times and The Evening Standard.
Show website: www.catspawplay.com

The Atlantic Project

noreply@blogger.com (Kosha) — Thu, 30 Aug 2007 22:51:00 +0000

On September 10, 2007 I will appear in Carve, a new play by American playwright Molly Smith-Metzler, directed by Jacqui Honess-Martin at the Tristan Bates Theatre, London.

The Atlantic Project aims to introduce new American writing to the London stage in an innovative and exciting way: Sidestep Theatre will showcase five excerpts of full-length plays and the audience will choose their favourite. The winning play will then be fully produced at a later date. Written by some of Boston’s finest new writers, directed by some of London’s best up and coming directors and performed by the Actors' Centre Ensemble.

A couple months ago I became a founder member of the aforementioned Actors' Centre Ensemble, helmed by Artistic Director Matthew Lloyd, with the aim of collaborating with the best and brightest in the industry to develop new work in the heart of the West End. Recent pieces include a new translation of The Wedding by Elias Canetti and Ben Ockrent's debut play, The Pleasure Principle.

Cat's-Paw Video Podcast

noreply@blogger.com (Kosha) — Sat, 16 Jun 2007 16:07:00 +0000

Offwestend.com recently filmed a short video promo for our play, Cat's-Paw, at The King's Head Theatre. Click on the image to the right to watch it.

Our press day this past Thursday seemed like a triumph and the Time Out review should come out this Tuesday June 19th. Fingers crossed for a positive one!

Visit the play website for all the details: www.catspawplay.com
Production photos will be posted soon.

CAT'S-PAW opens 11 June!

noreply@blogger.com (Kosha) — Sat, 09 Jun 2007 22:05:00 +0000

Our first preview is on Monday, 11 June! I can't believe it has come already. I've spent the day flyering all over Islington. My feet are sore and my hands are dirty from the flyer ink. But I hope it will be worth it - we're hoping to fill the 110 seat house as often as possible!

The show has come a long way since our first read-through in early May. All four of us in the cast have scrupulously researched the topics in the play, and of course those that directly relate to our character. As I play a high profile American journalist, I've spent hours on youtube.com watching American female reporters do their thing - the late Jessica Savitch (who resembles my character most), Ann Curry, Lara Logan, Katie Couric, Barbara Walters, etc. It's been really interesting discovering how the journalistic mind works, how you're always on the look out for the next big story. The interviewing technique has been fun to learn - trying to create a sense of intimacy and familiarity (however false) so that the interviewee opens up and spills the beans. I've especially enjoyed finding moments in the script when Jessica switches between her on-camera and off-camera personality.

Anyway, it's now 11:20pm and I must put the play to bed for the night, only to start again tomorrow at 9am for our final tech/dress rehearsal.

Cat's Paw @ The King's Head

noreply@blogger.com (Kosha) — Fri, 18 May 2007 17:44:00 +0000

I will be appearing as Jessica Lyons in the European premiere of Cat’s Paw, a play by Golden Globe nominated writer William Mastrosimone, directed by Noah Lee Margetts at the King’s Head Theatre, Islington, from June 14th – July 1st, 2007. Previews June 11th – 13th. For show times & ticket prices details visit OffWestEnd.com.

cat's-paw |ˌkøts ˈpɔ| noun : a person who is used by another, typically to carry out an unpleasant or dangerous task.

When does a right cause go wrong? With the world’s water supply in real danger, who pulls the plug on industrial polluters – and how? Is a bad action still wrong if it’s for the greater good? And who decides?

Cat’s Paw is a major work centering on the story of a group of radicalized activists out to “shock and awe” the world into stopping the polluters of the Earth’s fresh water – just three per cent of its total. How far must the planet’s eco-warriors collude with the global business of news reportage, and what about peace, love and loyalty? This enthralling, gripping piece sparkles with purists and cynics caught in a cradle of conflict between hope and realism.

This is my first American theatre role since I arrived here in 2004! I am excited about this for many reasons – it’s a great script and a meaty part, it’s my first Off West End credit, I get to work at the legendary King’s Head Theatre, the playwright is coming to see the production, and it’s great to be working!

I’ve recently learned that the late Dan Crawford (who founded the King’s Head in 1970 and was the Artistic Director until he died of cancer in July 2006) was fellow American expat who came to live in London. His dream was to open a thriving pub theatre in London, when no others existed at the time, and he succeeded. I just watched a DVD produced for the King’s Head as a tribute to Dan who was “well-known and well-loved as a colourful, energetic and maverick producer.” I had no idea how many now-famous actors have treaded the boards there, and what a springboard the theatre has been for new plays. It is exciting to be a part of that legacy.

London Pilot Season

noreply@blogger.com (Kosha) — Thu, 15 Feb 2007 09:16:00 +0000

It’s here again. It may surprise you to discover that American primetime TV pilots are cast not only in LA and New York, but also from London. Producers are usually looking for genuine Americans over here or Brits with American accents. Why? Most likely it’s a money issue – London actors are cheaper than American ones. This is also why American advertising companies cast so many big commercials in Europe – so they don’t have to pay SAG rates and residuals.

But money is not the subject of this entry. London Pilot Season is full of delectable opportunities - IF you can manage to get casting directors to see you. According to www.thefutoncritic.com, there are nearly 30 pilots in development in 2007. If a pilot is ordered to series, the job comes with 5-7 year options! Not to mention you’ll be acting on primetime US television and hobnobbing with Hollywood bigwigs! As with all auditions it’s a crap shoot, but the potential for a breakthrough is huge. That is why you must prepare, prepare, prepare.

This is only my second pilot season, so my experience is somewhat limited. However I can offer the knowledge I have so far:

When is pilot season?
Casting happens roughly in January – March, with most pilots shooting in LA throughout March. February is peak time for pilot auditions in London, so if you wanna work in TV and film make sure you’re in town during this time! Try to keep your days flexible to fit in last minute castings. Also, as Americans are obsessed with physical appearance, this is a good excuse to get to the gym and work off those holiday pounds so you can look your best.

Who's casting?
In my experience Julie Harkin, Suzanne Smith, Kate Dowd and Gary Davy do a lot of casting work for US pilots. Their details are in Contacts 2007. Of course there may be more, but you can start writing to these four.

How do I get auditions?
If you have an agent, make sure he or she knows 1) You want to go up for US pilots, 2) You are able to work legally in America, and 3) You can do a believable American accent if you’re not American. Then get them to submit you! If you don’t have an agent yet, start by writing to the four casting directors above during the first week of January and mention the previous 3 points.

I've got castings! Now what?
1) The Need for Speed
The casting process moves quickly, and often at the last minute. It’s been 3pm on a Monday when my agent calls to say I’ve got a casting on Tuesday at 12pm. I then need to read the script, create the character, and attempt to learn the sides in less than 24 hours! This is normal, so be ready to work at top speed.
2) Practice Technique
If you’ve got a camcorder and you have time, practice your scenes in front of the camera. Watch playback, analyze your performance, and see if you can improve it. Most importantly – keep your head up and out of the page so the camera can see you! John Melainey teaches a great class at the Actors Centre called ‘Practice Makes Perfect.’ It’s a weekly on-camera workshop to learn, practice, and review your TV & film auditioning and sightreading skills. If you’re new to TV work, I’d brush up on these skills before pilot season so you’re ready to go.
3) Wardrobe & Makeup
Generally casting directors will put you on tape, upload your audition onto the internet, then send the file to LA for review. This means that the film quality will be fairly low, and as a result you need to ‘pop’ as much as possible. Wear strong, solid colors that highlight your face, and avoid stripes, heavy patterns, and black. On the makeup front, you’ll probably need more foundation than usual – but check yourself on camera (still or camcorder) beforehand if possible. If you go up for a lot of on-camera auditions, you may consider taking a makeup lessons to maximize your look.

If you can make it as far as an audition, you’re making great strides. The rest is down to other people’s opinions, so all you can do is prepare and do your best. Good luck!