Fat Rascal Theatre Company and Acting Workshops

Fat Rascal Theatre was set up in 2016 by a group of East 15 graduates. Since then they have quickly established ourselves as a home for new musical theatre, having produced 5 brand-new musicals in the space of two years. They are a company run by women; they challenge the constraints of being a female within the industry, and discuss social and political issues through an accessible and appealing format to engage a wider audience. They are supported by the English Touring Theatre and are an Associate Company of the King’s Head Theatre in London.

Fat Rascal has so far won the Otherplace/Balkan Award at Brighton Fringe, VAULT festival’s Festival Spirit Award, an Eddies Award, Fairy Powered Productions’ Best New Writing Award and the Stella Wilkie Award from the King’s Head Theatre, alongside garnering an Edinburgh Fringe Sellout Laurel. They were nominated for the Les Enfants Terribles Award in both 2016 and 2017 and received an Off West End Award nomination for their production of Beauty and the Beast: A Musical Parody.

Fat Rascal wants to create theatre which people are going to want to see for fun, and they want them to leave having had a great time, but also feeling ready to take on the world. They believe that theatre should always aim to inspire, educate or liberate and should be available to everybody.

Fat Rascal Theatre are able to lead workshops for all ages. Their acting  workshops are varied and can be tailored to suit you. From devised theatre and physical comedy, creating a show, writing and composition, to budgeting and taking a show to Edinburgh Fringe. 

The Actor's Take, a showreel program for actors in North London

Founded by Martin-Christopher Bode, Still Space Studio is a London based acting studio with a modern, holistic approach. Still Space Studio teaches various acting methods such as the MEISNER, UTA HAGEN,  STRASBERG, STANISLAVSKY, and the TRAVIS TECHNIQUE. Whilst it is clearly valuable to develop techniques, unlike other approaches they do not focus on the actor being bound to one technique and its conceptual limits.

The center of their teaching is always the individual person. They use acting techniques to develop and strengthen certain abilities in the person, and to grow the individual. They do not breed acting technicians. They want your work to become an expression of yourself and not of a method. This is Still Space Studio’s distinctive and effective teaching approach. Still Space Studio helps actors to achieve inner wellbeing and true confidence through meditation practice and personal guidance. It is their goal to make you an authentic force in your acting and in your life.

The Actor's Take is a 5 day showreel program for actors. In
this dynamic and engaging workshop, actors collaborate with industry
professionals and get personal coaching, a high-end showreel scene, dialect coaching and professional head shots.

Date:  7th November - 11th November 2018
Cost: All inclusive for  £800

For City Acting students £50 discount on the workshop with discount code: 6NQT96C

Free stunts introductory workshop open to anyone

FREE Workshop seats (up to 20) on a first come first served basis for ACCESS ACTION a Stunts introductory workshop open to anyone interested in the dynamic world of action stunts for the film, tv, stage and events industry.
Screen Nation Media, one of the UK's leading arts & creative industries education institutions committed to innovative learning, diversity & inclusion presents ACCESS ACTION a Stunts introductory workshop open to anyone interested in the dynamic world of action stunts for the film, tv, stage and events industry.

Together with top industry partners, Screen Nation Media has created a first of its kind event backed by BAFTA, Film London Equal Access Network and ScreenSkills which whilst open to all has a focus on increasing BAME and female participation in this important craft area. Special appearance from Amanda Foster, the UK's first black stuntwoman and stunt double for Halle Berry, Beyonce, Angela Bassett and more.

They have had an incredible reaction to the event from both the industry and participants and have taken bookings from  Actors, Supporting Artists, Filmmakers, Producers, Directors, DP's, Martial Artists, Athletes, Gymnasts and even ex-Forces personnel who are all keenly interested in getting involved in or learning more about the world of Action Stunt work for Film & TV.
Promo Code UNIVIP to reveal the FREE workshop tickets

Theatre & Dance Scholarships IUGTE 2018

There are several scholarships available for actors, dancers, directors, choreographers and students for participation in the International Physical Theatre Lab and International Performing Arts Conference "Theatre between Tradition and Contemporaneity" which will be happening from 13 to 21 of December, 2018 in Austria!

Last year the Conference connected Speakers and participants from over 40 countries! IUGTE supports artists' creative exchange and enhances opportunities to share their ideas with the world. We would be glad to discuss all opportunities for your group to join this memorable meeting in Austria this December!

The Ostrenko Brothers Sergei and Gennady Ostrenko, were born in Soviet Union, they currently live in European Union. The principal aim of their courses is to focus students in a critical and practical engagement upon the theatrical strategies of key Russian practitioners from the 20th Century. Primarily, Vs. Meyerhold, M. Chekhov, and K. Stanislavsky.

The Ostrenko Brothers are known world-wide for their activities in the field of theatre directing, movement directing, choreography and actors training. Their method is a systematic approach to performance, which generates innovative productions utilising concepts, ideas, and existing play-texts.

Besides being professional theatre directors, they have teaching experience in the performing arts sector, they have hold numerous educational courses, master-classes, workshops and labs with international groups of directors, choreographers, dancers, actors and circus performers. In these educational programmes, the Ostrenko Brothers share their knowledge on “How to stage a performance” and other “secret” tips and tools that can help professional directors and performers to make their shows unforgettable. 


Clapham Fringe Theatre 27th Sept - 14th Oct

The Clapham Fringe is being held at The Bread and Roses Theatre in Clapham from 27th Sept - 14th October 2018. 

Now in its fourth year, the Clapham Fringe is a Performing Arts Festival taking place at The Bread & Roses Theatre from 27th September to 14th October 2018. With 23 different productions and 48 performances altogether, over three weeks the Clapham Fringe will host a variety of performances including theatre, comedy, storytelling and cabaret.

This is a great opportunity to discover and experience an exciting lineup of performances in the vibrant South West London area, plus check us out to see if this is an event you might be interested in bringing your own show to!

A 40 to 60 seat fringe venue above The Bread & Roses Pub, the theatre programs a wide-spread variety of productions for local as well as far-reaching audiences. Artistic quality, equality and diversity are at the forefront of the theatre's programming, which features visiting companies as well as in-house productions, with a focus on new writing, underrepresented voices and distinctive work.

The theatre has worked with award-winning ensembles with decades of experience but also frequently welcomes emerging companies taking their first steps and supports theatre-makers by providing box office split deals with no hidden fees. The programme includes new writing, contemporary revivals, reinvented classics and occasionally also devised work, improvisational theatre, comedy events, family shows and physical theatre.


Acting in Restoration Comedy Workshop in East Sussex

Restoration Comedy is enjoying a revival on our contemporary stages. The aim of this one day workshop is to explore the vocal and physical skills required for performing the genre. 

The morning session will briefly contextualise the role of Restoration Comedy in British theatre and consider its legacy today.  It will go on to explore the vocal demands of the texts, such as verbal agility, dissembling and wordplay. This practical work will then be applied to ‘finding a voice’ for the range of character types found in the plays.  The final part of the morning session will explore the physical style of movement required for the genre, including posture, stance and gesturing. The afternoon session will marry the voice and movement work explored earlier through working with longer extracts taken from Restoration Comedies. It will conclude by looking briefly at how subsequent playwrights have drawn on the style in their own writing.

Texts used in the workshop will include Richard Brinsley Sheridan’s The School for Scandal – on the Edexcel A Level Drama syllabus, William Wycherley’s The Country Wife, George Farquhar’s The Recruiting Officer, William Congreve’s The Way of the World, Mary Pix’s The Beau Defeated as well as Oscar Wilde’s The Importance of Being Earnest and April de Angelis’s Playhouse Creatures. LAMDA also specifies Restoration and Post Restoration as one of the periods that learners can select pieces from at Level 3 - Bronze, Silver and Gold Medal.

By the end of the workshop, it is hoped that participants will have a ‘tool kit’ of ideas to take back into the Drama Studio or Classroom to introduce learners to performing Restoration Comedies and subsequent plays written in the Comedy of Manners style. The workshop is designed to support the teaching of GCSE and A Level courses in the Performing Arts, as well as LAMDA qualifications.

Saturday 10th November, 10am-4pm
For all information visit www.offthetextworkshops.com

Angela Carter’s Wise Children adapted by Emma Rice at the Old Vic Theatre London

‘Let’s have all the skeletons out of the closet, today, of all days!’

It’s 23 April, Shakespeare’s birthday. In Brixton, Nora and Dora Chance – twin chorus girls born and bred south of the river – are celebrating their 70th birthday. Over the river in Chelsea, their father and greatest actor of his generation Melchior Hazard turns 100 on the same day. As does his twin brother Peregrine. If, in fact, he’s still alive. And if, in truth, Melchior is their real father after all…

A big, bawdy tangle of theatrical joy and heartbreak, Wise Children is a celebration of show business, family, forgiveness and hope. Expect show girls and Shakespeare, sex and scandal, music, mischief and mistaken identity – and butterflies by the thousand.

Emma Rice (Romantics AnonymousTristan & Yseult, The Flying Lovers of Vitebsk and Brief Encounter) brings her unique, exuberantly impish vision to Angela Carter’s great last novel, Wise Children, launching her new theatre company of the same name and its London residency at The Old Vic.

Get involved Theatre 503 is looking for volunteers!

Theatre 503 is the home of new writers and a launchpad for the artists who bring their words to life. They are pioneers in supporting new writers and a champion of their role in the theatre ecology. They find exceptional playwrights who will define the canon for the next generation. Learning and career development are at the core of what we do.

With a 63-seat theatre based in Battersea, London, Theatre 503 stages the work of more first-time writers than any other theatre in the country. They programme over 100 new pieces of writing every year ranging from short plays to full runs of superb drama. They passionately believe that the most important element in a writer’s development is to see their work developed through to a full production on stage, performed to the highest professional standard in front of an audience.

Engage with a local arts organisation. Gain experience and boost your CV. See a fantastic programme of plays for free (and for every four-week production run, get a free ticket for a friend too). There are many benefits to volunteering as part of our Front of House team.

Team members generally work a minimum of two shows per month over a four-month period, but it’s entirely up to you how often and for how long you volunteer. Shifts start at 2.30pm for matinees or 7pm for evening performances. Duties include: welcoming patrons to the theatre; opening up the house and managing the seating of audience; sitting in on the show in case of any disturbances; some light cleaning duties and glass collection after the performance. All volunteers need to be aged 18 years and over, and you’ll be asked to shadow one of their current team members on your first shift.

Further details, please see https://theatre503.com/opportunities/


City Acting Amateur Theatre based on Anne Washburn's Mr. Burns

City Acting Amateur Theatre course will be starting for 10 weeks in Angel in October. This new edition will be based on Anne Washburn's Mr. Burns, a Post-Electric Play.

Mr. Burns, a Post-Electric Play is an American dark comedy play written by Anne Washburn premiered in May 2012 at the Woolly Mammoth Theatre Company in Washington, D.C. Mr. Burns tells the story of a group of survivors recalling and retelling ‘Cape Feare’, an episode of the TV show The Simpsons, shortly after a global catastrophe, then examines the way the story has changed seven years after that, and finally, 75 years later.

For a long time, Anne Washburn had been exploring what it would be like "to take a TV show and push it past the apocalypse and see what happened to it" Washburn held a workshop for a week in a bank vault beneath Wall Street which was being used as a shared rehearsal space in 2008 to see how much of any episode of The Simpsons the actors she had assembled could remember. The group decided on the 1993 episode "Cape Feare", based on the 1991 film Cape Fear. Washburn subsequently utilized recordings of this process in writing her play's first act.

Julie Grossman examined Mr. Burns as an instance of multilayered adaptation. She wrote that the show "challenges audiences to embrace the imaginative (if strange and alienating) scions, or adaptations, of cultural matter." In reference to characters in the play's second act bargaining for rights to and lines from other Simpsons episodes, she noted "That permissions and copyright have survived the apocalypse brings out the absurdity of owning the rights to artistic production and dialogue and the persistence of capitalism." "Although the play's postmodern mash-up of television, film, and theater is highly entertaining, its powerful ethics resides in seeing capitalism and consumerism (symbolized by the greedy Simpsons character Mr. Burns) as the causes of civilization's decay.

Improve Self-Awareness With Acting Classes

Will, Awareness and Self-Trust should be the aim of any performer, but the most difficult of these to manage is AWARENESS – more specifically non-judgmental self-awareness. This means that as performers, we should develop the skill of listening to what we are doing in any given moment (performance, rehearsal or otherwise). With true awareness, we are able to evaluate and assess what we have done with kindness and decide what went wrong and how to improve next time instead of the harsh and often brutal self-assessment we give ourselves for no real reason.

The world of acting is so submerged in different styles of teaching and techniques that the actor often finds themselves lost in what is right and what is wrong. But more importantly, these teachings only focus on the outward skills an actor might need and neglect the inner game that is happening inside, neglecting the battle the actor finds themselves in – when their mind turns on them, saying they have failed, or that they are worthless, or that maybe acting isn’t for them.

The skill of non-judgemental self-awareness is so vital to the actor that without it, there is no hope to fulfil the potential they have. Audition after audition and role after role, they will criticise themselves with no real base point of reference. That is, they are certain they have made terrible mistakes when in truth, they don’t really know how to judge whether they really were mistakes in the first place.

With proper coaching and a commitment to challenging long held personal beliefs about our own level of skill, any performer can develop the ability of SELF-AWARENESS. With time, the voice inside us that is so convinced we have done everything wrong will quieten and in its place will be a professional who can perform to maximum efficiency and afterwards, perform a self evaluation that is free of negative self-talk and harsh criticism.