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Dear John

Any advice for my first professional gig?

First published 27th April 2006

Question:
I've got an audition coming up in the next few days. Although I've done some open mic spots and student shows, this is my first try at getting a paid job. Some of my friends have already done auditions but so far they haven't got anywhere. Having seen them perform, I would have expected them to be in with a good chance and while I believe in my own talent, I'm wondering if there's something professionals know that we beginners don't? Besides the standard 'just go out there and do your best' advice, are there other tips you can give me to increase my chances of success?

Answer:
Well, the first piece of advice I'd offer is just because a technique is 'standard' doesn't mean it doesn't work, so while you're searching for those 'secret' tips and tricks we would all love to discover, don't skimp on doing the tried and tested donkey work of preparing properly. Having said that, I'd point out that 'just going out there and doing your best' isn't necessarily a guarantee of success in itself. You may well do your best as you see it but if it doesn't get the results you're looking for, continuing to do the same thing over and over again isn't necessarily going to get you any different results.

You didn't actually mention whether your audition was for musical, comedy or drama work but in any branch of performing you can view the audition stage as a hurdle you have to get over to get that one precious job - or as a learning process that helps you refine your product so you can make a career out of it.

Either way it's a process you're going to be repeating throughout your career so it's good to get into the habit of evaluating each attempt - whether or not you get direct feedback - and asking yourself what worked and what didn't, making the appropriate changes or at least trying some different approaches until you find the approach that works for you.

I asked for some suggestions from two people familiar with turning open spots into paid work.

With a string of million-selling records and currently back in the spotlight on everything from I'm a Celebrity... to Never Mind the Buzzcocks, it's less well known that Sheila Ferguson's early career was carved out alongside the likes of a young Marvin Gaye at one of the real 'make or break' talent spots, the Harlem Apollo.

Sheila Ferguson

Right off the bat, if I had an audition or one shot at a spot to impress someone, as well as focusing on me, I would also do whatever research I could on them. If it's a person, what have they worked on before? Is there any hard evidence (as opposed to hearsay and rumour) about their likes and dislikes?

If it's an audience, a venue or an existing TV show you are trying to crack, try to see some shows in advance. Do your homework regarding suitable material, how to dress, whatever you need to do to customise your performance to impress that particular person or persons. And then go for it. You don't need to totally change who you are or go into overdrive but you do need to walk away from every opportunity knowing you did everything in your power to make it work. And that includes the small ones as well as the big ones.

It's been a long journey since my Harlem Apollo days but I still put the same homework into every show as I used to do with my first ones.

Making the leap from open mic comedian to paid act can be a particularly long and arduous journey. Sheila's views are echoed by Steve Jameson, who as well as being a successful comic in his own right and as his 'even more talented' alter ego Sol Bernstein (pictured below), has compered many of the shows where headliners like Jimmy Carr and Adam Bloom made their early appearances.

Steve Jameson

New comics need to learn to focus and be funny. And they need to write jokes. Too many people think they can just talk to an audience like they're talking to their mates.

The great comics make it look that way but it's simply not that easy. Comics like Jimmy, Adam and the likes of Jeff Innocent and Daniel Kitson looked like they had been doing it for years even in the early days. Of course some people may have more natural confidence than others but you're certainly going to feel a lot more confident when you know you've put some work into what you're doing than if you just try and chat.

John

I guess you could sum up this week's advice by saying that the 'secret' the professionals use is simply to treat it like a profession, rather than a hobby or a lottery, whatever type of audition, open spot or talent show you are gearing up for. Not only is that an attitude you don't have to wait until you're paid for to adopt, it's the approach that will help you hone your performance into the kind of quality product other professionals will be willing to pay for.

* Feedback/queries are welcome to dearjohn@thestage.co.uk

* Sheila Ferguson's official site is www.sheilaferguson.com

* Sol is at www.solbernstein.co.uk I'm sure he'll pass on messages to Steve if you ask him nicely.

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