politalX Politics Store - Actor's Guide to Getting Work

• Contacts 2009: Stage, Television, Film and Radio
• Actor's Guide to Auditions and Interviews
• Actors Yearbook 2007
• Actors' Yearbook 2009 (Actors' Yearbook)
• How to Be a Working Actor: The Insider's Guide to Finding Jobs in Theatre, Film and Television

"Directors do not seem to come out of this terribly well."

A criticism the author was prudent to reject as, conversely, it becomes clear immediately that it is the actor, rather than the director, who is presented in the worst possible light in Dunmore's book. Apparently, we are forever making feeble, and invariably "annoying" attempts to win the favour of the over-burdoned and paper-deluged casting agent/director. Whilst there is no disputing the fact that the workload of a director is more than comparable to that of an actor - as indeed are his/her various time-pressures - it is nevertheless difficult to muster sympathy for the inundated director above the struggling actor, for whom rejection is often a harsh, but regular occurance. It is worth remembering, after all, which of the two has power over the other to determine his/her next work engagement, their "fate" essentially, i.e. who does the rejecting, if necesary?

Another frustration for me was on the point of "do's" and "don'ts". In this case, the "do's" were vastly outnumbered by the "don'ts", and was especially prevalent in the chapter concerning the writing of CVs and cover letters. So numerous are the pitfalls alluded to (which, in some cases, are rather pedantic) that the reader is left wondering just what is permissible to send to a potential employer. We are then presented with a copy of a letter, written to the author by a young hopeful who appeared to have followed the concise guidelines of the previous pages, yet we are then archly informed that the letter is too dull! On the point of letter-writing at least, it would seem, you simply cannot win.

Dunmore' rhetoric when describing these various 'pitfalls' is often condescending in tone, and in some cases, even scornful, leaving the reader with a feeling of discouragement and negativity. The author may well be frustrated at being deluged with teddy-bear heading paper and ill-punctuated letters from a few irksome convention-breakers, and rightly so, but for the majority of us, there are simply nicer ways of putting things. For example:

"Don't start going over the top about how right you'd be for a specific part....you don't know the approach to the play, and anyway, it's hardly up to you to make the decision. And don't suggest yourself for a part for which you're blatently unsuitable - that is incredibly annoying."

...may be sound advice. But is such rudeness necessary?

Where the book scores is in terms of its sheer content. All aspects (and stages) of the profession are covered, from the suggested correct pose for profesional photographs, to the use of internet newsgroups for the purpose of cummunication with like-minded enthusiasts and professionals. No details is too small. We are even told what sort of trousers to where for interviews; specifically that crotch-revealing and otherwise sexually provocative tight jeans are to be strongly avoided!

There is absolutely no question of Dunmore's passion for good acting, and many actors, aspiring as well as experienced, will benefit from his comprehensive and bluntly realistic guide to survival, rather than succes within the industry. The layout and structure are excellent, and all ages (and varying levels of experience) are catered for. It is just a great pity that the author appeared to have used "An Actor's Guide To Getting Work" chiefly as an opportunity to vent a 30-year build-up of actor-related frustrations.

For me, the ideal person to offer an actor advice on the pitfalls to avoid is somebody who has read countless piles of actors' C.V.s and spent long days auditioning actors, as opposed to an academic or actor who has 'made it'. Simon Dunmore, a director with thirty years experience, fits the bill.

The information in the book is very detailed, advising actors in every stage of the profession, from those considering entry into drama school to seasoned professionals. For example, there is a detailed dissection of the letter and C.V. and an almost minute-by-minute account of the audition process.

Dunmore states that he is offering his opinion and, as he readily admits, there are a few contradictions. This is inevitable in a profession where decisions are regularly taken based on the subjective tastes of (artistic) individuals. Dunmore offers practical advice based on his own extensive experience.

It is over twenty years since the first edition of the book was published and it states that a number of changes have been made, following criticism by actors, agents and directors. This may explain the amount of detail and depth of discussion that is included.

Dunmore manages not to be patronising but does not 'dumb down' or pull any punches in describing what is of course an extremely competitive profession. A tough profession requires tough, honest advice such as this. It is very much a 'how to' manual, covering much that was missed at drama school. Particularly useful for me were ideas on how to keep in your agent's 'good books' and advice on how to put across one's personality in a letter.

I only hope that some people will not want to take Dunmore's advice - it can only mean more work for the rest of us. By James Schumann.

I do feel the entire tone of the book is rather patronising and Dunmore comes across as is some kind of superior being.
I thought Dunmore would be encouraging people embarking on this career but I am afraid not.

The other major problem is that he contridicts himself far too much, he will tell you how to get the role and then will use a case study demonstrating how some one got the role doing exactly the opposite, which led to a very confusing message.

To conclude I believe this book can serve a place but may be being used as a doorstop rather than a starting point for your career.