Columns
I doubt that I’m the only one surprised to see what a large proportion in our weekly poll didn’t think drama schools should be expected to cover the cost of auditions.
It wasn’t a majority but the ‘No’ camp notched up a good third of the available votes in our far-from-scientific poll.
Lest anyone assumes my bemusement is a sign that I don’t think they should charge, let me say I don’t oppose the practice in principle.
My colleague Susan Elkin’s recent post not only prompted the said reader poll but also attracted some commendable contributions from both sides of the argument rather than the yah boo comments such debates can encourage.
I suspect that nothing much is likely to change very soon. The charges are commonplace and the fact that they produce a considerable return makes them difficult to forgo.
There’s no reason the drama colleges should not emphasise the need for quality control… one way might be to publicise the employment record of their most recent graduates.
A less idealistic attempt at reform rather than abolition might be more pragmatic and achievable.
It’s easy of course to cast the colleges as money-hungry villains. I’ll hazard a guess that when the books are examined, the issue for the majority is less one of making profit, more one of trying to balance income and expenditure.
That, and the fact that times are hard and getting harder for any organisation with lofty overheads, doesn’t of itself justify the costs. Certain variables need to be taken into account:
1. Income streams: some colleges are well subsidised with grants, some are part of the university system, others get nothing.
2. Fee levels. As Susan’s correspondents note, there is a wide discrepancy between charges. These do not appear directly proportionate to …
3. Service provision: Speaking hypothetically, there’s a world of difference between, say, charging £40 for a 15 minute audition with no feedback or a collective Q&A session on the one hand and offering several hours with skilled practitioners and individual advice on the other.
There is another factor to consider; no matter how deserving the college, should its financial problems devolve to would-be students saddled with audition charges, in addition to the other costs of attending (travel, accommodation, food and in some cases UCAS fees)? Another deterrent too for those from lower income families and another nail in the coffin of equal opportunity.
However good a college may be, even if you’ve been rejected rightly, you deserve a chance to learn from your mistakes. Either in order to come to terms with the fact you don’t have what it takes or else to hone your skills better and come back next year. With that service at least, you’re more likely to admit, if grudgingly, that you received value for money.
There’s no reason the drama colleges should not defend their rejection rates and the principle of charging by emphasising the need for quality control.
Of course if they want to drive that point home, one way might be to publicise the employment record of their most recent graduates.
Maybe a New Year resolution?
Happy Christmas to all of you – on either side of this divide.
Jobs & Auditions
Comments 11 comments
A nice summary of Susan Elkin’s column (to which I contributed). As the Principal of The MTA I couldn’t agree more on your suggestion of drama schools being more transparent with their figures! I’ll happily start the ball rolling by saying that for the 2nd year running all of our graduates gained agent representation on leaving college, and at any given point in the year to date, we have had at least 75% of our graduates working (in professional performing jobs). Just to clarify our position on auditions – all applicants spend a full day with myself and the senior faculty, and all applicants regardless of acceptance or rejection receive written feedback on the day. As we ask candidates to fill in a questionnaire on the day (anonymously of course) I can confidently say that since we opened in 2009 100% of applicants have felt that they’ve received value for money at our audition days.Report comment
Thanks Annemarie. Very clear and cogent answer. Makes me think this is one we could take a closer look at in the new year, probably with Susan E’s participation.
Best and congrats to MTA on being a very worthy Stage 100 winner for 2012.Report comment
I just would like to add to this a personal experience. I applied for the MA in Theatre Directing at RADA when in my Masters year at university. I was asked to £50 and send two self addressed and self-stamped envelopes. I received the first envelope back containing a letter thanking me for my application and to wait to hear if I had an interview. I then received the second envelope containing a letter thanking me for my application, but that the school were not interviewing anyone under the age of 25 that year, and that I should apply the following couple of years.
I understand the necessity for these schools and colleges to charge an audition fee – but I cannot see, in this instance, what my money went towards for me in particular. I was angry to not have received information that would have saved me the effort and the money.Report comment
in the year to date, we have had at least 75% of our graduates working (in professional performing jobs
Would you please take a moment to define that please. Hope you’re not referring to unpaid fringe work and calling it a ‘professional performing job’?Report comment
Hi Julie – wow would you like to tell all the professionals working on the fringe/off West End that it’s not professional work? That’s a bad day for places like the Union, the Landor, The Kings Head, Southwark Playhouse to name just a few. If you’re referring to the definition of professional as someone being paid to do a job, which of course is the ideal, and something that all fringe/off West End venues I’m sure strive to do, we all know that in this day and age that doesn’t happen. Should my students waste an opportunity of gaining valuable stage time learning their craft with more experienced performers and creatives, or lose out on potential exposure/networking opportunities because they refuse to take fringe jobs? Are you only deemed a professional if you’re working and earning the minimum Equity rate? So I’ll happily define my 75% and say my graduates have been working on major tours, off-West End, fringe….and anywhere that they’re able to hone their craft….just like any professional!Report comment
wow would you like to tell all the professionals working on the fringe/off West End that it’s not professional work?
No, I’d just like you to be a bit more careful with you wording by perhaps inserting the phrase that although we are using the term ‘profession’ that doesn’t imply that the actors are being in any way paid for their services.
I’d also like you to stop perpetuating the myth that the only way you can get on is by doing unpaid work and that graduates aren’t worthy of being paid once they’ve graduated.
There is paid work out there, please stop pulling the wool over potential applicants eyes and start educating your students about how to get it and why they are worth more than zero. Youngsters gain their skills at drama school and are worth of payment and being paid immediately they leave.Report comment
Julie in the utopian world that you speak of – of course all professional performers would get paid for working, unfortunately that world has still not arrived to my knowledge. I think that you are insulting both my graduates and all the brilliant professional (and yes I’ll used that word again) actors who are currently working on the fringe by suggesting that they are not worthy of getting paid. I’m not pulling the wool over any eyes I’ll happily and proudly state that some of my graduates are doing top quality professional work in venues that are not paying them…because that’s just how the world is. Working for no money doesn’t put your worth at zero, surely our worth comes from within not the job and salary that we’re getting (at least that’s what we teach out students, as this industry is tough and we want them to go out and stay out there believing in themselves regardless of what nonsense the industry throws at them) I’m not saying that performers shouldn’t be paid – but with the best will in the world even performers at the highest level of the theatre world are having to find second jobs to subsidise their wage, such is the current financial climate in the profession. At The MTA we have no need to ‘pull the wool’ over anyone’s eyes – maybe you’d like to refer to my original post where our transparency is obvious, then maybe you’d like to get back to the point that Brian was making as opposed to going off on a tangent about whether fringe work is professional or not. Finally why not put your full name up for all our industry to see who thinks that performers working on the fringe have zero self worth!Report comment
As course leader for MA Music Theatre we charge for auditions. Typically 12 students are with us for three hours, and that involves myself, the singing teacher and the dance teacher. The audition is done in front of the whole group and feedback is given there and then, but not of course the results. We could not run auditions like this without the fee and we regul.arly receive the feedback from students that they understand the ethos and practise of the course through this audition process which they almost all seem to like. It is I propose a microcosm of how the course operates.Report comment
I forgot to say, that’s me from The Royal Central School of Speech and Drama…..Report comment
As for oublishing the employment record of recent graduates, which is fine in principle, the issue is when would that best be published? Some contracts run a few weeks and a few for a couple of years. Some find agents while still students while others find an agent in the months that follow. Auditions do not always lead to work but they are indispensible. We publish almuni successes on our website and student profiles so there is some evidence available always. With the market as it is the most reliable indicators might be within twelve months of gaduating, perhaps.Report comment
My daughter Grace is leaving 6th form and has applied to a number of drama schools. I must admit I do find the theatrical side of this industry rather unusual. As an entertainer I only pay agents for the work that they give me and only when completed. Theatrical agents however are paid beforehand to place artists on their books as it seems do drama schools. I’m not sure if I approve of this as it could be used unscrupulously to raise revenue over the audition period while fees for the term are also paid! It is an open book in my view. Hopefully those applying and the schools recruiting will all bear successful fruit!Report comment