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How To Guides

by Peter Hepple
February 2001

Peter Hepple is consultant editor of The Stage

Introduction

There's no business like showbusiness, so they say.
So put on your sequined jacket and let Peter Hepple explain what makes it special.

Every young person one meets, so it often appears, wants to get into showbusiness. Which is surprising, one might think, at a time when many people are saying that showbusiness is dying and that it can never recapture the hold it had in the sixties, when everybody knew what was in the Top Ten, cabaret clubs were booming and television looked towards live entertainment for its stars, instead of the other way round.

True, a high proportion of starstruck young people want to be in a West End musical, a long-running soap, parade up and down a catwalk or play for a Premiership football club. What have the last two to do with showbusiness, you might ask, but a moment or two's thought is enough to make one understand that everything is showbusiness now. This is due mainly to television, which can make a star out of someone who was thrown out of Big Brother, and the popular press. Never has the saying "He/she is famous for being famous" been so depressingly apt.

Yet talent, and ambition, will find an outlet, especially now that many young people are undertaking performing arts courses and stage schools proliferate. Some of them will undoubtedly become stars because of their looks, genuine talent or marketing and promotion. The last-named is probably the most significant at the present time.

This guide is written for the people who won't become stars but will always live in hope. Because, contrary to what many of those outside the profession might say, light entertainment, as distinct from the so-called "arts", is alive and well. In fact, writing as one who goes back to the days of variety, then strictly segregated from "theatre", I am inclined to say that there are more people working in light entertainment today than there were 50 years ago.

I can't prove it, of course, but I do know that whereas 50 years ago there was only variety, touring revue, summer shows and pantomime, we now have holiday centres, cruise ships, theme parks, corporate entertainment, private functions, clubs and cabaret, as well as pantomime (stronger than ever in some respects) and a few remaining summer shows. "Summer entertainment", which might take place indoors and out and encompasses theatres, clubs and the hundreds of holiday centres which stage regular entertainment, employs many more people than in the fifties and sixties. The shows may not be as large, but there are many more of them.

The problem is that light entertainment has become so fragmented that nobody is quite sure what it is. As far as this guide is concerned, it is everything that does not come under the headings of straight theatre (i.e.plays), opera and dance, specifically ballet and contemporary dance.

This leaves us with a field that is continually growing, both in the regular venues and outside them, one which offers a jumping-off ground, perhaps to bigger things, but often providing a satisfying career in itself.

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AGENTS
Agents are probably the most maligned people in the light entertainment industry. But the most important fact to remember is that you employ them, they do not employ you. They are in fact only the intermediary between you and the person who pays your wages. In return you pay them 10 per cent (sometimes more, if you have a particularly lucrative, long-term contract) of your salary or fee.

However, in practice it is not always as straightforward as that. The functions of agent, booker and manager get mixed up, particularly since the relaxation of regulations relating to registration. Agents are sometimes all three, to which might be those of impresario, on occasion, and contractor, when an agent is dealing with a specific event, particularly in the corporative field. However, moves are afoot, from established agents, as it happens, to insist on tighter control.

In fields such as the theatre, television and films, casting is determined by the producer and director, and the contract, though it may have various clauses relating to "buy-outs", is relatively simple. The artist is engaged for the run of the show or however long it takes to complete the film. In light entertainment we are now living largely in a one-night economy, unless a performer is engaged for a season which, in the case of holiday centres, for example, might cover a number of venues. This is also increasingly the case in summer theatre work, a production sometimes going to two or three venues in the same week.

The result is that "buying and selling", which was officially illegal under the old registration rules, has now become much more prevalent, in other words an agent can offer the artist an agreed fee, on which commission might be payable, but then sell the performer on to the client for a larger fee, pocketing the difference. This has led to disputes between artist and agent when the performer discovers what has happened. Consequently agents prefer that the employer pays the artist's fee directly to them, which is then passed on to the performer less the commission payable, whereas the artist would naturally like to receive his or her fee immediately following the performance and themselves pay the agent's commission, which, in the nature of things, does not automatically happen, thus leaving the agent out of pocket.

The relationship between artist and agent must therefore be founded on trust and there is a constant danger of resentment on both sides. But we have to return to the opening statement, artists employ the agent to find them work, an agreement usually lasting a fixed period of time, on the expiry of which the artist can find another agent. An agent is under no obligation to take an artist on to his books, he may already have a number of performers of the same type already.

For all that, the agent, especially in light entertainment, is often the engine room of the business. It is his, or her (there are many highly competent female agents) job to find work for the performers on his list and to be always increasing his group of contacts. It is therefore in his interest to be continually out and about, going to showcases and talent contests, visiting venues and asking performers whether they are in need of representation. Agents are also constantly on the lookout for the possibility of the sole booking of venues, in which case they will obviously have to book artists represented by other agents.

Agents are therefore much better organised than performers, there being two major national organisations to which they can belong. Both, the Agents Association and the National Entertainment Agents Council, impose a strict code of conduct on their members and are constantly concerned about the profession being brought into disrepute by those who, since the end of registration, consider that there are easy pickings to be gained by the unscrupulous.

Many agents find themselves specialising in specific areas of the business, for instance cruising, clubs, holiday centres and the corporate field. Others book particular types of artist, and there are a few, based mainly in London, who deal with television and radio almost exclusively. But the increasing trend towards corporatism in all branches of the profession means that the role of the agent is inevitably becoming redefined.

AUDITIONS
Auditions are normally held for all stage shows, including pantomimes, summer productions and production shows in holiday centres and on cruise ships, and, increasingly, for vocal groups formed primarily for recording purposes. For example, the Spice Girls were assembled as a result of an advertisement in The Stage, as have been a number of other groups. In these cases, the basic singing voice and a strong personality have been regarded as the essentials. The choreography and vocal arrangements came about after long periods of rehearsal.

In most other auditions, however, those auditioning are expected to have a certain amount of professional skills, which have usually been acquired at stage schools or on performing arts courses. Open auditions, however, are for all-comers and are usually organised for large-scale musicals, which require young performers of all shapes and sizes, or for television programmes, particularly those for young people. All those organising auditions, however, expect those attending to be reasonably well prepared for what is in all cases something of an ordeal. Appearance is important and one should carefully read what is required, for instance the type of songs to be brought along and whether dance shoes are necessary. All those auditioning should be equipped with a piano copy of the pieces they wish to sing and be aware of the key in which they want to sing it. It is therefore a good idea to learn in advance as much as one can about the production, which should be available from the agent if the audition has been arranged by him, and to select the songs regarded as the most suitable.

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BACKING AND SESSION SINGERS
It is as well to differentiate between backing singers, who are usually engaged by star performers for tours and television appearances, and session singers, who are highly skilled professionals, often with solo careers of their own, who are booked for recording sessions.

Many star names and some groups hire backing singers for concert tours. These are usually booked by the star's management or the promoter of the tour either through an agent or from singers already known to them. Inevitably these are mainly London-based, though in certain instances, especially in the variety and summer season field, they are selected from singers already known to the star and his or her management. A performer who has a cabaret, club or variety background, for example, will already know a number of younger singers in these fields and might invite them personally to join a tour or play a resident season.

Session singers, again mainly London-based, are still in demand for some recording work, mainly in the MOR field, television, radio and commercials. These are invariably people with a strong musical knowledge, often trained in music as distinct from stage schools, who can read music on sight and are sometimes as familiar with the classics as they are with popular music. They are often booked by agents or contractors who specialise in this branch of the profession.

BACKING TRACKS
Tapes have now generally been superseded by mini-CDs as backing tracks for singers. And the number of companies supplying them has grown enormously over the past few years.

Many tracks can now be bought off the shelf in compilations, so that you can make up your own programme on the spot, but most areas now have a studio where they can be custom-made to suit a client's requirements. Here again modern musical technology is to the fore, as many backing tracks can be created by a solo musician, possibly with the assistance of a live drummer, or by the recording engineer. Naturally, the more musicians used, the higher is the cost of the tracks.

It is noticeable that in many talent contests and showcases, performers often prefer to use their backing tracks, even when live accompaniment is provided. The advantage of tracks is that they permit entertainers to work in more venues, particularly pubs. But they should in any way be considered as a replacement for live musicians, who are employed in all major holiday centres and on cruise ships, and even in the better clubs.

BANDS
Bands are the most saleable commodity in the light entertainment industry and are also the breeding ground for many solo performers, duos and vocal groups. In the past they have also spawned many artists who later became comedians. Joining a band, even for a relatively short time, is excellent experience for those wishing to make a career in light entertainment, adding to one's musical knowledge, creating interaction with other performers and exposing one to a wide variety of audiences, as bands are expected to work in a variety of contexts.

Big Bands
The heyday of the big bands may have been 50 years ago but they still exist, though few musicians can make a living by playing in them exclusively. Name bands are generally assembled for tours, recording and broadcasting sessions and major private functions from a core of freelance musicians, some of whom may be on "first call" agreements. Most areas have a big band or two, which work on a spasmodic basis, though some may have regular weekly or monthly gigs, and usually comprise young musicians with a stiffening of experienced pros or ex-pros. They are always likely to be in demand, however, for specific functions, such as big band weekends in holiday centres, those catering for older people being most likely to book them on a regular basis.

Blues Bands
Interest in the blues, which often overlaps into such areas as rock 'n' roll and some country music, remains high, and there are a small number of full-time blues bands kept busily employed on one-night and festival appearances in this country and overseas. Most cities and larger towns have dedicated blues venues, generally in pubs or social clubs, which attract enthusiasts one or two nights a week.

Country Music
Live country music has sadly declined over the past few years, largely due to the rise of line dancing clubs, which usually prefer recorded music. However, some bands and artists have developed a specialisation in this field, which has also given rise to a body of professional instructors.

Dyed in the wool country fans, though, maintain a network of country music clubs which regularly employ both groups and self-contained solo artists. These are particularly prevalent in the more rural districts and Glasgow's Grand Ole Opry and Fort San Antone in Lancashire are full-time venues employing professional bands, The Irish clubs and ballrooms in larger cities are also partial to country music. Many pubs and clubs also have regular country music nights, and groups and singers are often used in holiday centres.

The highest profile events in this field are the numerous festivals which take place throughout the year for some of which American artists are booked, for instance at the Americana Festival in Nottinghamshire. Country music festivals have also proved to be good business for holiday centres at the beginning and end of the season and even during the Christmas period. Tony Best, one of the biggest promoters in this field, even presents regular festivals in overseas locations, notably in Spain and the Canaries. In fact, there is a surprising amount of country music activity in Europe and some British bands are frequent visitors to the Continent.

Covers Bands
This is a term applied to all those groups, the vast majority in fact, that do not play original music and are easily the most employable type of live band, being the mainstay of such venues as Yates' Wine Lodges and Brannigan's, but also a feature of holiday centres and cruise liners. Many also come under the heading of "party bands", groups which may include some visual content and audience participation and are designed to give audiences a good time.

Covers bands are often despised by the younger end of the music profession and are seldom signed up by recording companies, but prove that most people prefer to spend money on what they know. In many ways this makes them the contemporary equivalent of the ballroom bands that flourished in the days before rock 'n' roll, and have enabled many musicians to stay in the business long after the sixties groups with which they may have experienced a taste of stardom have been forgotten.

In more recent years, some covers bands, many of which claim to play all the hits from the sixties to the nineties, and often have one or two featured vocalists, have opted to play music of a particular type, for example Motown or Glam Rock, which brings them into the 'tribute' category. But a spell in a covers band does no harm to those with an ambition to be in musical theatre, for example.

Function Bands
Of necessity, function bands are invariably covers bands as well, but they have deliberately chosen to concentrate on private functions rather than playing in pubs, clubs and holiday centres, though they may be particularly suitable for the last-named and also cruise ships.

But function bands have to be versatile, disciplined and preferably attired in dinner jackets or some kind of tasteful uniform. These are the bands that play for dinner-dances and parties in the best hotels and function rooms, and they are often required to play for cabaret as well, which means that reading ability is essential. To which one might add a genuine interest in playing everything from Viennese waltzes and fox trots to Heigh Ho Silver Lining, and to please debutantes and dowagers alike.

Indie and Original Bands
This type of band is outside the scope of this survey, being more strictly part of the popular music rather than the light entertainment industry. Indie bands is a term usually applied to those groups which have not been signed to major record companies but are releasing records on small or self-owned labels. What they seem to have in common is that they play original material and the hope is that their records will attract the attention of the majors, which will either sign them to a contract or lease their recordings. Most of their gigs are in pubs or on new band nights at various music venues.

Jazz
Covers a pretty wide field these days and embraces various categories, including traditional, mainstream and Latin, all with various sub-divisions, including tribute, in which a band will concentrate on the work of particular musicians or genres.

There is a well-established circuit of jazz venues around all Britain's major cities and towns, but of course there are more in London, where the gig guides might list over 100 venues, whether they be clubs, pubs, restaurants and sometimes small theatres which programme jazz on a regular basis.

Traditional jazz and, sometimes, Latin bands have found that the corporate field widens their sphere of activity, particularly themed events. Solo pianists or keyboard players may find more regular work in restaurants, the Pizza Express chain, for instance, booking jazz musicians, including singers, one or two nights a week in a high proportion of its restaurants.

Nostalgia
There is an increasing number of small and large bands, some more jazz-inclined than others, which have found a market for re-creations of twenties, thirties and forties sounds. The Piccadilly Dance Orchestra, for example, recaptures the sound of the dance bands of the pre-World War II years with considerable success, playing both concerts and dances. Long established in this field too is the Pasadena Roof Orchestra, with possibly a higher jazz content.

The corporate field has been a growth area for this type of band, and much of the work for nostalgia bands has been for private functions.

Tribute Bands
Undoubtedly the entertainment phenomenon of the nineties, which shows no sign of tailing off. The Bootleg Beatles were first in the field, though the Australian group Bjorn Again gave whole movement a higher profile.

Since then, bands playing the music of The Beatles, The Rolling Stones, Abba, Queen, The Blues Brothers, even Led Zeppelin, Pink Floyd and Thin Lizzy, have proliferated and there always seems to be room for more. Some prefer to concentrate on the music and make no attempt to look like the original musicians. Others pride themselves on presenting a fully visual show, which is why theatre managers have found them useful to fill gaps in their programmes.

The tribute craze has spread from clubs and pubs into every sphere of light entertainment, not excluding the West End, where entire shows have been constructed around a particular style or performer, and they have also proved to be potent touring attractions.

There is no reason why tributes should not go on for ever, as they have attracted audiences of all ages, and as each new recording artist or group emerges, a tribute cannot be far behind. Indeed, it is hard to underestimate tributes of all kinds as a major field of employment for performers and musicians.

World Music
A remarkably diffuse field, and one perhaps for the specialists more than the general public. Its existence cannot be denied, however, and the last few years have seen the emergence of groups of all kinds, some of which use dancers.

The immediately market is obviously minorities, such as Afro-Caribbean, African, Asian and Latin American, but growing familiarity with the music has caused some impact on the mainstream audience. World music therefore features increasingly in such venues as small theatres and arts centres, and the success of such albums as the Buena Vista Social Club, and the ensuing film, has meant that it is possible to fill major concert halls.

BOOKERS
In the old days in the United States, agents were not allowed to be bookers. Theatres, nightclubs and the major hotels with dancing and entertainment rooms all had their own bookers, who were employees dealing directly with agents and managers.

This has never been the case in this country. Bookers have generally been agents, some of whom were responsible for booking chains of variety theatres, though the awesome Cissie Williams and Florence Leddington were solely bookers, of Moss Empires and the Syndicate halls respectively, up to the time variety gave up the ghost at the end of the fifties.

Now, however, bookers are invariably also agents, generally holding the booking rights often for a fixed period, for a club, music venue (though this is a more specialised field) or hotel. The main exception is in local authority theatres and halls, where the booker responsible for negotiations with promoters and producers is an officer of the council. In some instances, especially in seaside venues, provision of a show is sometimes put out to tender. This also applies to pantomimes. And on occasion a promoter might take a run of dates at a venue which he will undertake to fill. This applies particularly to Sunday concerts at seaside venues.

In working men's clubs, however, a field in which many light entertainment artists gain early experience, the concert secretary sometimes reigns supreme, though many have now appointed a local agent as the booker. The concert secretary is an elected official of the club who has been nominated for responsibility for the entertainment. Usually he is a knowledgeable enthusiast. Occasionally he might be an opiniated novice.

In some areas concert secretaries, suspicious of agents, have formed themselves into federations, whose delegates compare notes about acts, attempt to regulate artists' fees and hold auditions for new acts. This has been done in the interests of club members rather than performers and has often led to dissention between clubs, agents and artists. Generally, however, there is an uneasy truce between the three parties.

Some booking agents specialise in arranging tours of theatres for managements, sometimes for those usually operating in the West End, but most of the larger touring managements have developed in-house expertise in this field.

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CABARET
Cabaret is one of the most misused terms in entertainment. Strictly speaking, it refers to the style rather than the performance itself. It sprang from the cafe concerts in Paris in the last part of the 19th century, in which performers would sing topical songs and even recite poetry to seated audiences in cafes. In Berlin in the twenties and thirties it took a distinctive form of fierce satire and was presented in nightclubs which opened for this purpose.

Its most significant feature is that it is presented before an audience seated at tables with food and drink to hand, and many newer and generally smaller theatres are now presenting shows in cabaret style, in other words the seats can be removed and replaced with tables and chairs. This has been particularly suitable for the presentation of jazz, folk and comedy.

Britain has had few dedicated cabaret venues in recent years. Up until the late seventies there were many restaurants and hotels which presented cabaret, sometime solo artists who specialised in the genre, performers such as Hutch, more often, perhaps, floorshows presented on the dance floor itself. Venues such as The Talk of the Town and Pigalle presented large-scale productions on stages and were thus little different from theatre shows, hence the description theatre-restaurant. The cabaret clubs which flourished in the sixties following the death of variety were often a mixture of the two, but the largest possessed stages or rising dance floors. The style continues in the United States in Las Vegas and Atlantic City.

The States also preserves some vestiges of its supper club tradition, in which many great performers, both singers and comedians, made their reputations. In the sixties many bands and singers announced their decision to "go into cabaret", which generally meant that they no longer wished to work exclusively to young audiences in ballrooms or dance clubs, and some developed into strong comedy and all-round attractions capable of working in theatres.

These days cabaret is often used as a term denoting a sophisticated type of presentation, often comprising standard songs and new material, sometimes themed or with an element of comedy. New York in particular possesses a number of cabaret rooms, though these are often restaurants or bars which present entertainment only at weekends or on odd nights. In Britain this type of solo performers is more often seen in small theatres.

CAREER STRUCTURE
No one should enter the profession believing that it is only a matter of time before one becomes a star. Even the members of such groups as The Spice Girls and Westlife have usually had some years of training at stage schools or with drama and music groups. At a time when many such groups are assembled by managements from applicants at auditions, it is those who are serious about the business who succeed in winning places.

It is therefore almost impossible to guarantee a career structure, except that it is always advisable to start small and work one's way up through the levels of the profession until one is in a position to stand a good chance at the major auditions, gaining varied experience along the way. Those who reach the position of being able to retire in their mid-twenties are in a very tiny minority. A sizeable proportion decide to leave the performing side of the business in their early thirties and, if they are keen to remain associated with it, look for a career on the management or administrative sector.

An increasing number of leisure companies are concerned that trained performers with strong, bright personalities do not go to waste and actively seek to fill their vacancies and training schemes with those who have had performing experience. Prominent among them are holiday centre, theme park and cruise companies.

The first two can offer training as assistant entertainment managers, who can rise to becoming full entertainment managers and thus proceed to executive positions. Cruise companies often seek people for permanent positions on the entertainment staff, with a chance to become cruise directors.

Though theatres usually require those with specific skills, in marketing and business studies or the technical departments, for example, those well acquainted with the entertainment business are often preferred, and there are several courses available in colleges and universities for those wishing to enter arts and entertainment management.

And because performers have of necessity become acquainted with several areas of the profession they are often in a position to run their own businesses as managers, agents, producers and corporate event organisers.

CHILDREN'S ENTERTAINERS
A specialised field, this, but a very rewarding one, the most important feature being that one has to like and understand children, who can be the cruellist audiences of all.

Children's entertainers have to be able to do a little bit of everything, verbal comedy, clowning, magic, puppetry, balloon modelling, cartooning, juggling, paper-tearing, face-painting and ventriloquism, as well as being capable of organising games and competitions. So make sure your fee is adequate enough to enable you to supply small prizes and, very important, to give out publicity material to the children and their parents. Much of the work of the children's entertainer is in private houses and hired function rooms and is obtained mainly by word of mouth and personal contact.

But it is possible to vary this in a number of ways. Even the smallest holiday centre is likely to employ a children's entertainer two or three times a week, the bigger ones use them as an important part of the entertainment team. They can also be found on cruise ships.

And don't forget either that there are many hours a week of children's entertainment on television. Producers are always on the lookout for new ideas.

CIRCUS
Once thought to be a dying field, particularly since pressure, both public and private, forced the removal of its animal acts in many locations, circus has reinvented itself in recent years as a celebration of human skills, allied with traditional clowning.

The ill-fated Millennium Dome, whose spectacular show employed over 150 circus-trained performers, and the ever-expanding Cirque du Soleil, now active in several parts of the world, have put circus in the forefront of entertainment, and have created enormous interest in training and performance. In this country there are two full-time circus schools, Circus Space in London and Circomedia in Bristol, and Zippo's, a long-established animal-free circus, though nowadays it does use horses, has its own academy. Gerry Cottle is also interested in training aspiring circus performers.

Following in the footsteps of the innovative French circus Archaos, there have been a number of variations on the traditional circus theme, such as Circus of Horrors, and a number of other companies, such as Circus Oz from Australia, have taken to appearing in theatres, rather than the traditional Big Top. The breakdown of the Eastern Bloc has also caused an influx of performers from Russia and other Eastern European countries into Western Europe. And one should not forget the impact made by the Blackpool Pleasure Beach show Eclipse, a mixture of circus and dance.

Moreover, many of the traditional circus families are still active on the road, though some have either reduced or dropped animal acts, and Britain's only purpose-built circus arena, the Hippodrome at Great Yarmouth, has undergone something of a revival over the past two years.

Circus Space is now offering a B.Tech degree course in circus skills and Total Theatre, a relatively new concept combining acting, mime, visual and physical theatre with circus skills, is beginning to make an impact.

Prospects for performers willing to undergo the arduous training necessary for this branch of the profession are therefore good in many branches of the entertainment field.

CLUBS
Depending on your point of view, the clubs are either the back end of showbusiness or one of its few remaining training grounds for light entertainment performers.

One thing is certain, however, they are not what they were. The heyday of the legendary clubs was in the sixties, when, bolstered by the profits from fruit machines and sometimes gaming tables, they would vie with each other to attract the biggest stars and at the same time managed to produce a rich crop of new performers, many of whom are still at the top of the tree today, mainly comedians. Among them were Freddie Starr, Roy "Chubby" Brown, Les Dawson, Jimmy Tarbuck, Norman Collier, The Grumbleweeds, Mike Yarwood, Bernard Manning, Frank Carson, and several singers who became prominent in the sixties and seventies, like Tony Christie and Vince Hill.

But clubs were in existence before the sixties, when by and large they were on a level below No.3 variety theatres, and they are still there today, if not exactly going strong, at least still going, with live acts once or twice a week and in some rare instances five or six.

There are several kinds of clubs. Most people think automatically of working men's clubs, which began in the 19th century as centres of relaxation and education for communities centred around specific industries which supported small towns and villages, for instance mining and iron and steel. In many instances they are still there today, even though the industries may have disappeared, and a fair proportion of the clubs have passed out of the hands of elected committees into private ownership. Yet in the north, in particular, the club tradition is still strong and entertainment is part of the activities.

But there are other kinds of clubs. Some are purely social and entertainment may be an accessory. More important, perhaps, are those clubs run as an amenity for their workforce by large companies and organisations. These are often family-centred and may offer everything from sports facilities, including tennis and squash courts, to exercise studios, art classes, overseas tours and excursions. One of the most notable is the Westland Sports and Social Club at Yeovil, which has a theatre capable of holding more than 1000, a smaller club room and a range of amenities including a hairdressing salon. When it goes in for entertainment it is often in a big way. Artists who have appeared there include Billy Connolly and David Essex.

Of the so-called cabaret and theatre clubs that sprung up in the sixties few remain in their old form. Those that are still with us, such as Lakeside at Frimley Green, Caesar's Palace at Luton and the Circus Tavern, Purfleet, are open mainly at weekends, leaving the weekday nights free for private functions. Others have become dance clubs. But those that are open are dependent on the big names, like Jim Davidson, Freddie Starr and Jimmy Jones, and this comparative few are not always available.

So the best bet for new performers remains the working men's clubs, most of which are to be found in the north, chiefly around Leeds, Bradford, Sheffield, Newcastle, South Wales and the towns to the north of Liverpool and Manchester. But most heavily populated areas still retain a few which offer entertainment.

Some districts have club federations, which present regular audition nights so that concert secretaries can assess new talent. Most, however, rely on a network of local agents and bookers, many of whom also manage acts, so they do each other favours. To do them justice, however, they are usually on the lookout for fresh talent and some have quite extensive connections with holiday centres, cruise lines and overseas venues,so an artist who achieves some success in the clubs can often find their horizons widening.

These days most acts have to be self-contained, live backing being increasingly rare. Artists must therefore work to mini-discs and have the equipment on which to play them, house systems not always being reliable. Most in demand are female singers with an up-to-date repertoire - clubs being anxious to attract young audiences, particularly on midweek nights - male vocalists with big voices, male and female double acts, boy bands and, nowadays, larger groups which often specialise in particular kinds of music, such as Motown. Tribute bands are also extraordinarily popular.

Not in as much demand are comedy acts and singers who rely on bygone repertoire, though weekend audiences are usually older. But having said that, it is surprising that so much variety remains in a field which is more the victim of economics than most.

COMEDIANS
They used to say in the old days that you could not become a good comedian before you were 45. Well, the comedy clubs have put an end to that idea. Go to your local comedy club's open mic night, do two or three minutes, get a few laughs and you are away, or so the scenario goes. Anybody, in other words, can be a comedian.

It is a fine idea in theory and for many it has worked out that way in practice, provided you have a thick skin and have learned that some audiences are better than others, even in the same venue. But one should remember a few things. The vast majority of those who started off in comedy clubs 20 years ago have fallen by the wayside. And those who have lasted the course, have branched out into different spheres to become actors, writers, broadcasters and devisors of television formats. Those who have reached the top find themselves on a relentless treadmill of endless travel and the constant necessity of coming up with new material to fill an hour-long spot for that compulsory Edinburgh Fringe show, the one that will get them recognised by TV producers.

In many ways the new generation of comedians have a much tougher time than their counterparts of 30 years ago, when one could learn the trade in summer seasons and week-long engagements in variety and clubs. Quite often these comedians started off in the business as something else, musicians, impressionists, song and dance performers or, in the cases of Billy Connolly and Jasper Carrott, folk singers, all spheres which accustomed one to different audiences, venues and parts of the country.

The best and still the most admired comedians, like Ken Dodd and Bob Monkhouse, realised that comedy is an on-going process and often a spontaneous one, requiring the constant study of audiences and what makes them laugh. If you want to be like them you need to understand that first and foremost you are an entertainer, at your happiest when facing an audience. By all means try the comedy clubs, but don't forget the working men's clubs, holiday centres, cruise ships and private functions. Don't forget either that another string to your bow, for instance singing, does you no harm. Ken Dodd has topped the charts in his time, Bob Monkhouse has sung in West End musicals.

COMEDY CLUBS
Those of us brought up on variety and cabaret, with their mixed bills, find it strange that comedy should now stand on its own as an attraction. Yet since the beginning of the eighties comedy clubs have spread from London throughout the country, and virtually full-time dedicated comedy venues are no longer a rarity.

London has several, notably the Comedy Store and Jongleurs, both of which have become brands with branches in the regions, and book comedians into arts centres and small theatres and even holiday centres. Comedy clubs are also established in the larger cities.

It should not be forgotten, however, that for the time being comedy is still a minority interest. Only the biggest names can expect to fill large theatres and halls on a long tour. The bread and butter of comedy still lies in the comedy clubs, venues regularly presenting comedy, often pubs and small theatres. Even well-known television names still appear regularly in small-capacity venues.

From the outset comedy has welcomed newcomers. Most of the smaller venues have open mic slots, in which complete novices can find out whether they have what it takes to make people laugh. If successful, a comedian may be offered a paid booking and will be expected to have 15 minutes or so of original material. He, or she, for sexual equality is a sine qua non in comedy, may then assume themselves to be "on the circuit", though finding work is usually up to the performer. There are a number of agents on the comedy scene, some of whom make old-time agents look like pussy cats, but initially a newcomer to the business will have to trawl the comedy venues on their own, making contacts as they go along. The acme of achievement for younger comedians is to have their own one-hour solo show during the Edinburgh Festival, preferably in one of the more prestigious venues, such as the Assembly Rooms, Pleasance and Gilded Balloon, because they are where television and some theatre producers do their talent spotting. Though nominally uncompetitive, comedians fight fiercely over the annual Perrier Award in Edinburgh.

Back when it all began, in 1980, new comedy was hailed as non-racist, non-sexist and leaning to the left politically. These tenets are now slipping somewhat, but there is little movement between the new comedy and so-called mainstream sectors. For instance, few young comedians have any desire to play in pantomime, summer shows or in non-dedicated rooms in holiday centres, though a number have found considerable success in the corporate sector. There does seem to be some activity in the other direction, however, with club and cabaret comedians testing the temperature of the comedy clubs.

COMMERCIALS
Commercials are almost entirely commissioned by advertising agencies, many of which now have full-time production departments. However, for casting they generally use agents, some of whom specialise in this field, so it is as well that you find out who they are, by using directories and the advertising trade press.

Equity has a scale of fees for commercials work, which is another reason for joining the union. But unless the advertiser demands a star name, producers of commercials are inclined to employ lesser-known faces, so the chances are good for unknowns to break into this field, especially if they are quick studies. Some commercials are very elaborate and expensive, using dancers, singers and a choreographer, but the majority are shot in a day or two.

CORPORATE ENTERTAINMENT
Corporate entertainment was summed up by one specialist in this field as "entertainment that people haven't paid to see". To which he might have added "and often don't want to".

This makes it very different to entertainment for a paying audience and puts it in the same broad category as other forms of showbusiness which are paid for indirectly by the consumer, for instance holiday centres and cruising. The difference, however, is that holidaymakers expect to find entertainment of some kind, preferably of high quality, during their stay at a centre or on a cruise. Those invited to a corporate event, whether it be a dinner, product launch, celebratory gathering or a family fun day organised by a company or organisation, seldom give much thought as to what entertainment will be provided.

In its broadest sense, therefore, corporate entertainment, though it may be booked by an agent or event organiser, is paid for by somebody quite outside the profession who leaves the selection of entertainment to somebody else who may have little idea as to what is required.

Over the past few years, however, considerable expertise has been built up by those who have realised that this is a growing sector of the entertainment industry. Product launches, for example, usually require the presence of a nationally-known figure to introduce and possibly compere the proceedings, often from television and not always an entertainer. They occasionally incorporate a spectacular theatrical element, employing dancers and a choreographer who devises a theme based around the product.

Dinners, or dinner-dances, on the other hand, need a first-class and preferably well-known speaker, though this is not always the case. Many people from outside the entertainment profession have developed considerable skill at after-dinner speaking and earn large fees. Any cabaret and dancing which follows the dinner needs an excellent, versatile band and cabaret acts able to "read" an audience that probably differs considerably from others they encounter.

During the Easter to September period there are a great many outdoor corporate functions, run by organisations, and occasionally local authorities, as well as major companies. These vary greatly in size. Some book in circuses and fun fairs. Some have large marquees in which an evening concert, dance or disco will be held. There are likely, in many instances, to be strolling musicians, "meet and greet" performers (often lookalikes) and speciality artists such as stilt-walkers, clowns, magicians and puppeteers in attendance. In fact, it would be true to say that practically every kind of musical aggregation and performer is likely to be booked for a corporate function, from symphony orchestras and operatic ensembles to pop groups and juvenile troupes. Complete theatre productions have also been booked on a few occasions. The biggest outdoor shows may also have arena attractions, such as motor cycle display teams and exhibitions of falconry.

Corporate works is generally better paid than theatres and clubs and offers rich rewards for those who specialise in this field, in which there is a lot of word-of-mouth recommendation. But it is not for beginners, unless they are in a marching band or a team of drum majorettes. The ability to get on with adults of all ages, as well as children, is essential, as is the adaptability that can only be learned through experience.

CRUISING
A preferred option for most young light entertainment performers, cruising entertainment has grown almost immeasurably since the beginning of the nineties. It is not really a job for young beginners, however, except for fully-trained graduates from stage schools.

However, having said that, it is often the first step for those wishing for a career in musical theatre. Most cruise ships, and inevitably in the case of the larger vessels, have production shows with companies numbering up to 20, which present a repertoire of perhaps half a dozen separate shows. These are generally themed, for example numbers from stage and film musicals, sounds of the sixties and tributes to artists of the past and present, using singers and dancers and sometimes a guest spot from a speciality performer. Some American ships present scaled-down versions of classic musicals.

Fortunately, British performers are highly regarded by American and other overseas companies and auditions are regularly held in London by producers contracted to provide shows on cruise ships. These are usually advertised in The Stage, as are those for British-based companies, notably P & O, which pioneered the use of theatre companies back in the eighties by forming the Stadium Theatre Company to perform a range of shows on the company's ships. The idea, though not on such a large scale, has been copied by smaller lines, though they generally employ an outside production company, of which there are now several in Britain.

Standards are high to match the ever-improving facilities. Though a cabaret lounge is still provided on the smaller and older ships, the larger ones now have fully-equipped theatres in which scenery can be flown and there are orchestra pits. Revolves and risers, plus state-of-the-art sound and lighting, are now installed as a matter of course, and one of the largest ships has incorporated an ice rink.

Several factors combine to make cruising different from other branches of the entertainment industry. One is that it is international, in ownership, in the operational workforce and in the passenger profile. Another is that it is a closed environment. When at sea there is little chance of escape from either the passengers or one's working colleagues. Accordingly, some performers might encounter a degree of boredom, especially on the longer cruises.

The growth of the industry has meant a corresponding increase in its breadth. In both the States and Britain some lines specialise in popular, meaning less expensive cruises, travelling the favourite roots, in the Caribbean and Mediterranean, for instance, on a weekly turn-round basis. Some might think this makes some cruises analogous to holiday centres.

Other lines, particularly in the United States, are developing what might be called luxury brands, more expensive cruises, with a very high proportion of outside cabins, going to more exotic locations. In these cases, entertainment will probably be on a smaller scale but more sophisticated, corresponding to five-star hotels.

This does mean that practically every type of artist could be offered employment on cruise ships, particularly on the growing number of themed cruises, which now set sail outside the main holiday periods bearing companies of jazz musicians and Broadway theatre performers, as well as specialist lecturers, novelists, television newsreaders, bridge instructors and gardening experts.

A degree of flexibility has therefore arisen in the scheduling of cruise entertainment. The only performers likely to be offered lengthy contracts, usually six months, are those in the production shows and musicians, including cocktail bar pianists. Cabaret artists, on the other hand, unless they are capable of doing several completely different acts, will probably be offered short-term engagements, a series of weekly cruises or sections of longer ones. These "flybacks", as they are called, mean that a cabaret artist could be flown out to Port Said to join a world cruise and flown home again when the ship reaches East Africa. The flyback system also operates for overseas hotels.

Nevertheless, if one is the right kind of artist there is a high degree of security in being a cruise entertainer, for it is possible to work for all the cruising companies and there are no labour restrictions. Cabaret performers are usually allowed a greater degree of freedom on the ships than those in production shows. They can often, for instance, mingle and dine with the passengers, a privilege denied to those on longer contracts, who have to share cabins, eat separately and may have to undertake other on-board duties such as assisting with games, competitions and shore excursions.

One advantage of cruising, however, is that it does offer a career structure for those who are interested in a life at sea. Many cruise directors, who are the people in charge of everything not connected with the ship's navigation, catering, housekeeping and concessions (for example shops), in other words the entertainment, the library, the casino, games and excursions, are recruited from entertainment staff, progressing up a ladder which begins with becoming an assistant cruise director. Some companies, for instance P & O, even audition potential cruise staff who are not primarily entertainers. A proportion of cruise directors, moreover, are not permanently employed by specific lines but are freelancers who prefer to take short contracts.

D
DANCERS
The days have long gone when theatre programmes for musicals would separately list singing and dancing ladies and gentlemen. The separation between singers and dancers has vanished, performers are expected to be both, though naturally they are probably stronger at one or the other. Performing arts schools and even drama schools aim for their graduates to be at least competent in both. It has been done largely for economic reasons, of course. Even the largest musicals can afford to pay no more than 40 performers, including swings, whereas in the past there were sometimes 16 singers and an equal number of dancers in the chorus alone.

On the other hand, the demand for dancers in all fields of light entertainment has probably increased, and even the smallest resident summer shows will probably have a small group of dancers.

Belly Dancers
Exponents of this sinuous and exciting form find ready employment in Greek and Turkish restaurants throughout the country and are also in demand in the corporate field. Recently there have been some examples of British belly dancers achieving renown in Egypt, generally regarded as the home of this particular style of dancing.

However, belly dancing is not just a matter of shaking your hips but is in fact a development of an ancient Middle Eastern dance form called Raqs Sharqi, the movements being strictly defined. Fortunately, there are now a number of teachers available in this country, some of whom have learned the art in the Middle East. Like line dancing, it has also become popular among women of all ages as a way of keeping fit and supple and classes are now available in many dance and arts centres.

Cabaret
In this instance cabaret means floorshows, virtually non-existent in nightclubs and restaurants these days but still regarded as essential at many private functions. To cater for this demand there are a number of semi-permanent dance teams with, on occasion, a large number of constantly rehearsed routines, based in London and other large cities. These are often organised by local teachers and use a pool of dancers from which groups, ranging in size from four to a dozen, are assembled for specific engagements.

Cruising
Most cruise ships now have production shows in which dancers are employed. On the largest vessels, mainly American, there will be full-scale, if not full-length, stagings of musicals and compilation shows, for which the performers will have to be all-rounders. Smaller ships naturally have smaller shows, perhaps half a dozen separate themed productions, but because of the chance to dance every night and to develop one's skills, the generally good living conditions and the fact that all meals are included, cruising is regarded as an attractive alternative to on-shore work and is to be recommended for beginners.

Holiday Centres
Many holiday centres have much the same policy as cruising, but usually on a smaller scale. However, the larger sites have fairly ambitious in-house productions, and some companies tour a repertoire of musicals to their bigger centres. Even the smaller sites, though, are inclined to produce in-house shows by the resident entertainment staff, which may include two or three dancers.

It is worth pointing out that on some sites entertainment staff may have to perform daytime duties, but many performers do not object to this, particularly when accommodation is included in their contracts.

Musicals
Over the past 20 years the chorus, as a separate entity, has disappeared. The large majority of musicals now have named roles for all performers, even though, to all intents and purposes, they are still the chorus, being employed mainly in the full-stage scenes, though they may have a few lines to speak. Often, however, there is a stronger dance element, in which case the director and choreographer will select the better dancers for any solo or small group work. But in an ensemble show like Fosse, which has no storyline, the singers and dancers are the same people and there are no real star roles.

This also applies to the numerous compilation or genre shows which have proved so popular in recent years.

Nightclubs
Virtually none of the new generation of nightclubs across the country uses live performers, but if they do they are likely to be dancers, usually employed for podium work. Dancers are also often engaged for promotional tours in nightclubs by recording artists, the sexier the better.

Overseas Work
Advertisements are often placed by agents requiring dancers to work overseas. If they are for established venues in large cities, such as Paris, and employ an in-house choreographer, they can broaden a dancer's experience, particularly if the venue mounts a spectacular production of the type seldom seen in this country.

However, many of the engagements offered are not so specific and enquiries must be made about the credentials of the agent, the status of the management, the working conditions, the accommodation available and any additional duties the dancer might be asked to undertake. Any problems should be taken up with Equity.

Pantomimes
It is safe to say that all pantomimes employ dancers, though the number of full-time professionals is often sadly reduced these days to no more than half a dozen. These are mainly in the larger theatres, the smaller ones, with shorter runs, now rely on dancers from a local dance school. Nevertheless, this is a useful introduction to the profession, because it is possible to obtain experience of stage work, and appearing with professionals, from a very early age.

The leading managements invariably employ an established choreographer who will select dancers at auditions, usually advertised in The Stage.

Summer Shows
There are, unfortunately few resident summer shows now. Those that do exist employ four and sometimes six dancers, usually obtained through an audition unless they are available locally.

Table, Lap and Pole Dancing
A relatively new field, replacing the dwindling number of striptease clubs. It may not be the most elevated form of dancing, but some dancers, able to distance themselves from the largely all-male ambience of the venues, find it an extremely profitable way of occupying themselves between theatre and other engagements.

Table dancing involves performing sexy routines to individual tables in the clubs, lasting no longer than the music track to which they are danced, for which the reward is usually a £10 note either handed to the dancer or tucked into her garter. No physical contact between dancer and customer is permitted.

Lap dancing is much the same sort of thing, except that the dancer may sit briefly on a customer's lap.

Pole dancing, of necessity, has to take place on a small stage or platform out of reach of the customers, and is usually presented during the quieter part of the evening, or even as permanent background in some "gentlemen's clubs" in the West End.

All three types may involve full nudity, depending on the policy of the venue. The hours of opening generally determine the number of dancers used in the club, but owners invariably use a pool of dancers, which may number 100 or more. Dancers may do two or three shifts a week, depending on their availability, and the money they receive from punters is the sole source of income. Nevertheless, it is claimed that under this system it is possible to earn £1000 a night.

A few clubs may employ a choreographer, but usually dancers have to devise their own routines and provide their own costumes, though beginners may receive assistance in this connection.

Television
Though the large-scale spectaculars, such as Sunday Night at the London Palladium and Summertime Special, are no longer on the regular schedules, television uses quite a number of dancers, often as a background to solo artists making guest appearances and sometimes for an entire series of such shows as Stars in Their Eyes. In the case of the latter the selection of dancers is made by the choreographer engaged for the series. Others are cast from the pool of freelance dancers available in London, who also find work in such fields as commercials and corporate functions.

E
ENTERTAINMENT MANAGERS
Quite simply, entertainment managers are people who manage entertainment, though, as so often in showbusiness, the term is extremely flexible. Back in the sixties, for instance, local authority entertainment managers were highly influential, particularly in holiday resorts, in which they often took their pick of the shows on offer, notably for summer seasons.

Nowadays their role has been diminished and they are often members of larger department, often coming under the heading of Leisure and Recreation. In some instances they deal with Arts as well, though many local authorities now have an Arts Officer, who deals with theatre and music provision and is often also engaged with the local education authority and community work. In smaller authorities the entertainment manager, or whatever title is given to the post, deals with all these facets, as well as being responsible for the management of whatever venues the town might possess. The privatisation of larger venues has also led to a reduction of their responsibilities.

All the same, the entertainment manager, particularly in resort towns, is still an important figure, though budgetary constraints have made the job more difficult now that long-stay visitors have declined and there is a considerable amount of in-house entertainment in holiday centres and hotels. In most cases, however, he or she is responsible for programming theatres and halls, which means providing a balanced programme and obtaining the best deal for the local authority. As a result they spend a lot of time talking to promoters, producers and arts authorities, checking box office returns and attending council and committee meetings, often to the exclusion of actually seeing shows.

Entertainment managers are also to be found in holiday centres and the larger hotels, but this is usually an in-house post, requiring a willingness to live on or near the site and to be in daily attendance overseeing the smooth running of the shows and other activities. For this reason the entertainment manager is often an entertainer, or former entertainer, in his or her own right. The larger holiday centres therefore provide a career structure seldom found in other branches of the business.

EQUITY
Though it is no longer difficult to obtain a job in the professional theatre without being a member of Equity, all entertainers would be well advised to join the actors' trades union as soon as they have achieved the requisite number of professional bookings.

British Actors Equity merged with the Variety Artistes Federation in the sixties, so it no longer deals only with stage and screen actors but with all those in light entertainment, regardless of the area of the business in which they are working. It has a very active Variety Committee and branches throughout the country, many of which deal almost exclusively with light entertainment.

The entertainment industry has always been a freelance economy, but this is even more the case today, when many engagements are of only one night's duration and it is sometimes difficult to determine, especially in new fields such as corporate work, who is actually responsible for paying the artist. Equity is therefore increasingly brought in to settle matters of payment, and such things as accident liability, usually with success.

It also offers a number of other services, such as insurance and mortgage advice, and checks out overseas engagements.

EVENT ORGANISERS
Event organisers are recent entrants as employers of entertainers and have come into being as a result of the rapid increase of corporate entertainment.

There are large and small event companies, the biggest being involved in such huge happenings as Papal visits and major sporting events. Entertainers usually come into contact with them at a lower level, however, for instance company family days and private functions such as weddings and birthday parties. But between them event companies form a powerful organisational force and are used, like public relations consultancies, by all kinds of bodies from government departments downwards.

A number of companies claim to provide a complete service, including the booking of bands and entertainers, but they often sub-contract to agents and specialist companies, which can make prompt payment somewhat problematical.

F
FERRIES
Entertainment aboard ferries can be found in many parts of the world, and this country is no exception. In the peak season there are even children's entertainers on the larger cross-channel ferries.

Generally, however, entertainment is restricted to the longer overnight voyages, across the North Sea and the widest part of the English Channel. Brittany Ferries have small production shows, cabaret acts and instrumental duos, as do many of the North Sea ferries sailing from the east coast to Scandinavia. There are also a number of themed return trips, country music being particularly popular. Irish ferries have had entertainment in the past and may do so again.

The most significant amount of entertainment is, however, on the large car ferries sailing from Portsmouth to the north of Spain, operated by P & O. Here there are production shows, solo artists and bands, and a number of special themed cruises which have included jazz, big bands and music hall.

FILMS
We are not talking about Hollywood stardom here but the nice little earners that can keep the wolf from the door. In other words, crowd and walk-on work and everything that comes under the heading of "extras".

With the partial revival of the British film industry, and the fact that television organisations are pinning their hopes on "popular drama" in the search for ratings, extra work has increased over the past few years, and is an attractive option for those who are not fully established in the light entertainment industry.

Equity members are often preferred for walk-on work and the union is in a position to fix rates of pay with established producers. There are plenty of dodgy "producers" about, however, so make sure you discover their financial status and exactly what kind of film they claim to be making.

It is best to become registered with the Film Artists Association, though there are other agencies which deal with crowd work. This often involves getting up very early in the morning, travelling either to the studio or a location and hanging about all day while the director deals with more pressing problems. The upside, however, is that it is generally well paid and you might be home in time for an evening gig, though this is not to be counted upon.

In films and television series which require a long period of location work, local agencies are often called upon to supply extras, and some producers, anxious for a spot of publicity, are happy to contact the local paper inviting all-comers to turn up at the location.

H
HI-TECH DUOS AND TRIOS
In the days of variety of clubs these would have been called vocal-instrumental acts and usually comprise a female singer and one or two musicians who play live and can do backing vocals. Modern technology, however, has meant that all manner of sounds can now be produced from multi-keyboards and pre-recorded tracks under the control of a single musician.

They have proved to be particularly popular in clubland, especially with the younger element, who require a lot of noise and excitement, enhanced in many cases by the use of a portable lighting rig. However, quieter versions have proved effective in other spheres, for instance in holiday centres and on cruise ships, for background and sometimes dance music, and are capable of replacing a four or five-piece band.

Some performers work both solo and as part of a duo or trio, thus increasing their employment options, particularly for midweek engagements, which are usually less well paid.

HOLIDAY CENTRES
Holiday centres are what used to be called holiday camps and have moved on considerably over the last few years, to the point that they are Britain's largest employers of light entertainment performers during the summer months. And not only from May to September. In an effort to maximise the potential, owners have lengthened their seasons from Easter until well into the autumn, as well as the Christmas and New Year period, using such marketing ploys as budget breaks and themed weeks or weekends, featuring music of the sixties, country music, jazz, big bands, comedy and various forms of nostalgia. Some of these are operated by outside promoters, particularly country music, but having noted the success of many of these the holiday companies are increasingly promoting their own events.

Many developments have also taken place in the centres themselves, including a wider range of upgraded accommodation, more options on the catering side, such as a variety of food outlets, and the grading of centres into those specialising in family holidays or those for the over-fifties.

The nomenclature of holiday centres has also undergone considerable change. For example, holiday parks are usually, but not invariably, caravan parks, with efforts being made to persuade holidaymakers to purchase their own vans, which they can either use themselves or rent out privately. Holiday villages are generally more upmarket, with chalet or lodge accommodation and probably more sophisticated entertainment. The term holiday centre may denote a mixture of the two, often with more than one entertainment room. Butlin's have adopted the American term "resorts" and all three of the sites are open to day visitors.

Over the past few months, the holiday centre industry has undergone considerable upheaval, mainly caused by the largest operator, the Rank Organisation, disposing of their holiday properties, the majority going to Bourne Leisure, which has been operating under the name British Holidays.

The new structure is unclear at present, as Bourne Leisure has announced that it will probably dispose of some of the Haven sites, Haven being the largest component of the former Rank estate,with nearly 60 sites. It is unlikely that there will be major changes during the forthcoming season, however, as holiday brochures normally go out in the autumn, and most centres are continuing under their previous brands until the inevitable rationalisation comes about.

Rank's other brands were Butlin's and Warner's, the latter having achieved a strong identity of its own through catering only for over-fifties, plus the upgrading of its coastal sites into holiday villages, and the acquisition of historic country houses and castles, in the case of Bodelwyddan, and building adjacent hotels of four-star standard. Rank also owned the so-far unique Oasis Holiday Village in the Lake District, which places the emphasis on outdoor activities and has lodge accommodation in the American style.

Pontin's, the second-oldest company and a very well-known brand, has recently been acquired by Leisure Parcs, Blackpool-based and one of a large number of companies run by entrepreneur Trevor Hemmings, himself a former Pontin's employee. Leisure Parcs has already announced that it intends to look closely at the Pontin's estate and may dispose of some of the sites.

There are also a number of smaller companies with more than one site, who will presumably be interested in acquiring existing holiday centres. They include New Horizon, based in Norfolk, with six sites to date, Weststar, from Exeter, with four, Renowned Holiday Villages, which took over three Haven sites in 1999, and others, for instance, those at Newquay and Woolacombe, grouped in one area. There are, too, dozens of independent sites, usually but not invariably smaller, the best-known being Potter's at Hemsby, Norfolk, sometimes regarded as the Rolls Royce of holiday centres.

The vast majority of holiday centres have an appreciable amount of live entertainment for varying age groups. All have a team of resident entertainers, sometimes no more than four or five, and a band, usually a duo these days. The resident team may have a variety of daytime duties in the original Redcoat style, but there is an increasing tendency for them to be employed also in production shows. Most also use visiting cabaret performers, two or three times a week and sometimes every night. These are often booked by local agents, who are in a position to offer a full season of employment to artists.

It can therefore be seen that holiday centres offer considerable opportunities to young performers at the outset of their careers. Butlin's. for example, has its own academy and its famous Redcoats are now employed exclusively on the entertainment side, graduates also being given the chance to appear in the large-scale musical productions which have appeared over the last three years. The resorts also use circus performers in their Skyline Pavilion indoor centres, as well as a range of children's shows.

Like the cruising industry, holiday centres also have a career structure for those wishing to take advantage of it. Many entertainment managers, even on the largest sites, began as entertainers themselves, and some move on to executive positions in the head offices of the major companies.

HOTELS
There was a time when hotels, both in seaside resorts and city centres, were major sources of permanent employment, particularly for musicians. But those days have long gone, though many performers and musicians will find themselves working in hotels for private and corporate functions.

A vast number of hotels, in cities, large and small towns and in country locations, have facilities for all types of functions, including conferences, dinner dances, cabaret and even concerts. Few, however, except the largest, have extensive sound, lighting and staging installations, which makes it advisable for most singers, for example, to possess their own amplification systems, though outside specialists are often employed for big functions.

But there are a number of hotels which have regular nightly entertainment during the summer season and in some resort towns, notably Bournemouth and Torquay, throughout the year. The largest chain is Shearings, formerly part of the Rank Organisation but bought out privately by a consortium two years ago, though the Leisure Services Agency, owned by Rank, retained the booking of artists. This agency, however, is no longer in existence and the present booking policy is unclear.

The Grand Hotels Group was formerly part of Butlin's but was sold two years ago. The new owners, however, have maintained the previous policy of nightly entertainment throughout the year, the hotels being situated in Blackpool, Brighton, Margate, Scarborough and Llandudno, with a recent acquisition in Folkestone. These are virtually in the same category as holiday centres, with a small resident entertainment team and regular visiting artists.

The Warner's resorts (see Holiday Centres) are also primarily hotels, with similar entertainment provision.

Employment prospects are possibly stronger in the overseas hotels used by the larger travel organisations such as Thomson and Airtours. They are usually locally owned but cater particularly for British holidaymakers and are found throughout the Mediterranean resorts in Spain, Greece, Tunisia and Turkey. Some have resident artists, or those based in a specific area and touring hotels in the district, especially production shows. Many artists are also employed on flyback contracts for short periods.

I
THE INTERNET
The Internet is the greatest communications development since the invention of the telephone and its potential is still in its infancy. In common with many others, the entertainment industry has grasped the nettle, though at present it is used mainly by theatres and managements for on-line bookings of seats and the exchange of information of all kinds, as well as the downloading of such things as publicity material.

All performers would do well, however, to invest in a computer, in order to receive and send e-mails relating to confirmation of contracts, enquiries about bookings and so on. There is also much interesting information to be found on websites.

Many agents have now developed websites, though these are usually for the information of potential clients, and more and more individual artists and acts have followed suit. An aural as well as visual facility is of course useful in giving an indication of what an act does. It is as well to employ a specialist to design a website. They will also be able to give an idea of how much it will cost to maintain.

However, the selection of performers remains a very individual business. Few agents and managements will book an act unknown to them except in an emergency. A number of companies have been formed which claim that artists registered with them, usually at a fairly high fee, will benefit materially from being included on a website which may contain the names of thousands of performers worldwide. Again, bookers may scan these sites if they have an emergency, but most have their own index facility, and many people remain to be convinced of the efficiency of a massive site which takes a long time to scan and does, of course, cost money to receive. The necessity of updating such sites could also be a problem. Artists are therefore advised to proceed with caution before registering with an on-line casting service.

Also to be taken into consideration is that with thousands of new entries coming on to the web daily, ever more powerful computers are required to receive them, which means that constant upgrading is necessary.

K
KARAOKE
Karaoke, invented in Japan, was originally designed at home entertainment until entrepreneurs realised that it could be developed for social purposes with the additions of words, screens and amplification that could bring it into the public marketplace.

Now thousands of pubs and clubs throughout this country have regular karaoke nights which are structured with the assistance of a compere who often owns the unit and transports it from place to place.

Its greatest benefit is that it gives a chance to people who have never sung in public before an opportunity to do so, and has also spawned contests and competitions. Faced with the acclaim of their peers, many people have thus been allowed to harbour thoughts that they might be able to take up singing professionally.

Despite the disapproval of artists who have invested money in singing lessons, stage training and equipment, there is nothing intrinsically wrong with karaoke, except that it may give some people the idea that they are ready to turn professional before they have mastered the basics of learning the strengths and weaknesses of their voices, to which might add the necessity of reading music to a competent level and working with other people, for instance live musicians and those in a position to advise them about their prospects.

Winning a karaoke competition is, in other words, the first small step in a career.

M
MAGICIANS
Though magicians rarely become as famous as singers and comedians, there is always a demand for their services. In fact, there has been a considerable increase in public interest in magic over the past few years.

One of the advantages magicians have over other performers is that it is possible to make a good living with the minimum of equipment, particularly if one specialises in table magic, which has become especially popular both in public restaurants and at private functions. The serious magician, though, will wish to spread his or her talents over as wide a field as possible, encompassing theatre and cabaret as well as corporate work. This means that more equipment will be required, though fortunately most of it is easily carried and is capable of being folded up.

Though many magicians are also illusionists, it does not follow that illusionists are always magicians. Illusionists specialise in large-scale tricks, usually involving the employment of one or more female assistants. The illusions can be either bought from magic dealers or constructed specially in a workshop. The best illusionists are continually devising new effects or variations on existing illusions, and necessarily require a lot of robust equipment and, for that matter, transport.

This rather restricts the spheres in which they operate to theatres and well-equipped cabaret venues, though cruise ships often employ them on long-term contracts.

In years gone by magicians were often silent, and most illusionists still are. However, magicians are now expected to have comedy skills and many of their tricks depend on them. In addition to starting their training in the art of magic at a very early age, it is advisable to acquire a shrewd knowledge of psychology and human nature.

MANAGERS
A manager is a term which has a number of connotations. It is often applied to those who actually produce shows, such as West End managers, who strictly speaking come under the heading of the old term "impresario". But there are also theatre managers, front-of-house managers, entertainment managers, stage managers, in fact nearly every function in theatre and showbusiness is blessed with the term manager these days.

In this particular context, however, we are dealing with what might be called artists' managers. In other words those who guide, or are supposed to guide, the destiny of individual performers and groups. Unfortunately, while there are a lot of good performers, many of whom fail to reach their full potential, there are all too few good managers.

In light entertainment many agents also call themselves managers, but the two functions are in reality quite separate. Agents find work for artists, managers determine their careers, and it is a full-time job often requiring a considerable amount of capital investment. This, however, applies only to those who want to be stars, and any artist who feels that they are on the threshold of stardom would be well advised to appoint a manager who can give them that final push. Those who are content only with making a comfortable living out of the entertainment profession may feel they can make their own decisions, in which case their agent can adequately fill the role of manager as well.

Many artists are guided by a partner, a parent, sibling or other close relative at the outset of their careers, which in many ways is the best decision, as the essential mutual trust is already in place. It is the manager's task to investigate all the avenues open to performers, to weigh up the options for career development and to make decisions which are in the best interest of the performer, which in many cases means the acceptance of a lower-paid job in favour of one which offers more money.

The manager, in co-operation with the artist of course, should be in a position to advise not only on the financial rewards available to the client, but make suggestions about costumes, choice of repertoire, the widening of horizons and so on. As the manager will also be dealing with the financial aspects of an artist's career, he or she must be scrupulously honest, keeping nothing hidden from the person whose career is in their hands. There is a mutuality about the artist/manager relationship which must be fully understood. If a manager is successful is raising an artist's profile and earning capacity, he is well worth whatever percentage of an artist's total income has been agreed upon when the initial contract is signed. The actual percentage is variable. Artists would be foolish if they signed away half their earnings, but 25 per cent above a certain amount may be considered reasonable, because the more a performer earns the higher become the manager's expenses.

The really big stars need more than one manager. There has to be a business manager, who may be the person who signed them up in the first place, a personal manager responsible for the day-to-day comfort of the performer, arranging accommodation, transport, interviews and so on, and a road or stage manager, usually engaged on a freelance basis,who makes sure all the technical equipment for an artist's act is transported to the venue and is satisfactorily installed for the engagement. Do not forget either the musical director and the musicians, the publicist and any specialists thought necessary for an artist's appearance, for instance hair and make-up stylists. Small wonder that ticket prices are so high.

MUSIC VENUES
It has been considered necessary to include this classification because of the rise of a new type of permanent venue over the past few years.

In general terms they may be considered as a cross between a pub and a nightclub, and are usually city or town centre bars, often with sophisticated sound and lighting installations, and catering for a specific audience aged between 18 and 30. More often than not food is available and space for dancing, the capacity sometimes being 400 upwards.

These venues are mainly owned by large companies, the biggest being Yates's Wine Lodges, which now number over a hundred, others are Brannigan's and the Chicago Rock Cafes, but some are run by independent entrepreneurs who have leased properties from brewers, and some are directly run or owned by brewers themselves. Though many are conversions of existing pubs, others have been created from all kinds of premises, including banks, post offices and shops.

Entertainment is varied, but indie bands with their own material are not likely to be booked except for new talent nights. More common are tribute or genre bands (soul, Motown and so on) and occasionally established solo performers from the sixties and seventies who have their own backing bands. However, there is always experimentation, particularly on midweek nights, when there is likely to be karaoke or disco dancing.

The number of nights a week devoted to live entertainment is extremely variable. Some venues might provide four or five nights a week, others one or two, some on an occasional basis, and some not at all if they can thrive without it. But they can be identified as a recognisable field of employment, particularly for bands with high performance skills.

There are also a number of dedicated music venues in some towns or cities where the music is more important than the drinking. These are sometimes actually run, or at least encouraged, by local authorities, for instance The Junction at Cambridge. Although these have bars, there is generally a door charge, the amount depending on the pulling power of the artists.

There are also some restaurants which pursue a music policy, notably the very large Pizza Express chain. The performers are generally jazz-based solo artists or duos, perhaps only once a week, when there is no cover charge. But some of the larger rooms, such as the Pizza Express venues at Watford, Maidstone and in the West End, enforce a door charge and book well-known artists.

MUSICALS
Ask most young people on performing arts courses what they see as their main ambition and the most likely answer is "to be in a West End musical". Not, you notice, to star in a West End musical, because the fact is that there are no stars in West End musicals anymore, only those who play leading roles. It is likely that a producer will contract known names for the first six months or a year of a show's run because this is necessary for publicity purposes, but after that he or she may be replaced by somebody known only to the profession and proved to be capable of doing the job.

In other words, the aim of every producer is to ensure that the show becomes bigger than the star, which has been proved by nearly every large-scale musical from Cats onwards, unless it is a "personality" show like Chicago.

What it also means, for musicals such as The Phantom of the Opera and Les Miserables, is that every few months there are wholesale changes of cast. Leading players often leave to join another long-running show in a similar capacity; small-part players can get promoted to more prominent roles, people who have been in a show a long time feel like a change of scene and audition for new productions.

It is necessary to point this out because getting a part in a musical is not the first step on the ladder to fame, although it can offer a measure of security which no other type of show can guarantee. There are people who have been in a succession of West End shows for ten years or more and are no better known to the public, or even many members of the profession, than when they started, though they have been earning a respectable living and been able to put down roots.

But there is no doubt that in recent years musical theatre has been able to offer something of a career structure which no other part of live theatre can offer. Not only has it been possible to move from show to show in the West End, but the most successful are able to tour for long periods, sometimes when the original production is still running in London. In the case of some shows, British performers have often been able to obtain leading roles in overseas productions which are replicas of those in this country.

There has also arisen a market for musical theatre compilation shows produced for smaller theatres, the corporate field and for cruise liners. In addition, most of the larger regional theatres are inclined to produce one musical a year, often over the Christmas period, and even the National Theatre has entered the field with such notable productions as Guys and Dolls, Oklahoma ! and My Fair Lady.

As a general rule, musical theatre performers are expected nowadays to be all-rounders. Up until the sixties they were divided into leads, actors, singers and dancers, with specialists brought in from outside to tackle the comedy roles. But now, with the increase in drama and stage school courses, everybody is expected to be able to sing and know the rudiments of movement.

Producers are now confronted with a wealth of talent from which to choose and sometimes have to resort to "cattle call" auditions attended by hundreds of hopefuls. These are usually advertised in The Stage and sometimes in the national and regional press. But to save time and trouble, producers normally contact agents and for this reason it is essential for newcomers to the profession to get themselves on to the books of agents, many of whom make a point of attending end-of-term shows, often presented in showcase form these days.

Remember, too, that although musicals are the most profitable branch of theatre, they also carry the highest degree of risk and that weeks of intensive rehearsal can sometimes be followed by a sharp fall to earth.

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OUTDOOR EVENTS
The outdoor event industry has grown considerably in recent years, though there has been a contraction in traditional events of this nature, especially in shows that were organised by local authorities, usually known as town shows.

On the other hand, most of the agricultural shows remain in rural areas, many of which have some entertainment element, particularly for children. The growth has been in privately organised outdoor events, such as company "family fun days" and similar functions in the corporate sector. These often involve some indoor entertainment as well, usually in a marquee which can be used for either dancing or concert presentations. There has also been an increase in outdoor concerts and festivals. Most of the high profile events in the country music and folk fields, for example, are presented outdoors, and classical music has also benefited from the growth in outdoor entertainment, with many concerts, often accompanied by fireworks, staged in the grounds of stately homes, country parks and so on.

There is also a large amount of informal outdoor entertainment during the summer months. Most holiday resorts now incorporate an outdoor element, to the exclusion of indoor entertainment in the case of smaller towns, and there is a good deal of promotional work available in covered shopping centres throughout the year. Theme parks also use a large number of performers during the season. Street entertainment has become such a large part of urban life that many performers no longer have to depend on busking but are given contracts, mainly by local authorities, and fly to countries such as Australia during the winter months to continue their work in a sunnier climate.

Most outdoor entertainment needs a high visual content, which means that the performers most in demand are clowns, juggler, unicyclists, fire-eaters, magicians and so on. But there are some more elaborate presentations that are in demand for the larger outdoor shows during the season, many of them circus-based, such as big wheel acts.

The major showcase for outdoor entertainment is the Showman's Show, held every October at Newbury.

OVERSEAS WORK
Working overseas is one of the strong attractions of light entertainment, the opportunities being greater than those offered to, for example, actors.

There is little need to worry in cases where jobs are offered by reputable managements and agents for engagements on cruise ships, hotels and holiday centres abroad and major musical productions in large cities.

However, there are many advertisements, particularly for dancers, offering engagements in lesser-known locations, especially in Eastern Europe, the Middle East and the Far East, usually in nightclubs and other cabaret venues. The British agents used for recruitment are sometimes unknown even to those very knowledgeable about the profession. In all these cases enquiries should be made about their credentials, the exact location of the employment, the hours and conditions of work, transportation to and from the country concerned and the accommodation provided. This is usually undertaken by Equity and is one of the strongest reasons for joining the union.

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PACKAGE SHOWS
Package shows, usually tributes to particular artists or styles of music (e.g. Motown) or compilations covering musical theatre, have proved particularly popular with managers of smaller theatres. In the case of tributes they usually take the form of a team of singers and, sometimes, dancers, and a small accompanying band, but larger and more elaborate shows, with more performers, a bigger band and a stage set are to be found fulfiling full week bookings at major theatres. They have also proved acceptable for summer seasons and the leading holiday centre companies have in recent years organised their own companies to tour the larger centres for long seasons, playing one night in each.

These have proved to be a useful entry into the profession for performing arts school graduates, as both singing and dancing skills are required.

Compilations of musical theatre, particularly those touring small theatres and arts centres, usually employ no more than two or three singers and sometimes just piano accompaniment. There are also a few managements specialising in opera compilations.

Few of the smaller shows of this type have regular companies, but choose from a pool of singers subject to availability. Artists would be expected to provide their own costumes for such engagements.

The attraction for small venues is that the management undertakes to provide such shows for a specific fee, rather than a box office split, which makes it easy for theatres to fix seat prices. This also makes them popular for those organising corporate entertainment.

PANTOMIMES
Of all Britain's light entertainment institutions, pantomime is the longest lasting. It has an immaculate pedigree, going back to the Italian commedia dell' arte, though it came into its own in the Victorian era, when spectacle and popular songs were added and such now established traditions as the female principal boy and the male dame came into being.

Up until fairly recent years pantomimes began on Boxing Day and in some theatres ran until Easter. Now seasons are much shorter, often beginning a week or ten days before Christmas Day itself and running, in some cases, only until New Year's Eve. The majority finish their runs in mid-January and a comparative few continue until the end of the month, invariably in the larger cities.

Nevertheless, it still remains an important field of employment. Including Christmas shows, which are usually presented in regional producing theatres and are essentially Christmas plays with music for young children, staged during the day and often in the studio theatres, nearly 300 professional productions, some of them touring to smaller locations such as village halls, schools and social clubs, are produced over the Christmas period by a variety of managements. Some of these are publicly-funded small-scale theatre companies, others are by commercial managements that have specialised in the field for several years.

All types of performers are used - soap stars, sporting personalities, those who have made their reputations on television on children's series, comedy shows and straight drama, radio presenters. But there are also pantomime specialists, often performers who earn their living in other related fields during the rest of the year, and variety and circus artists who are called upon to provide specialities.

The majority of performers play in pantomime at least once during their careers, some, notably singers and dancers, appear regularly. Those without drama or stage school training, for example those whose careers have taken them mainly into the club and holiday centre field, regard pantomime as a necessary broadening of their experience because it brings them into contact with seated theatre audiences and introduces them to a discipline which is not always evident in more informal venues.

Many young performers, particularly girls, are introduced to pantomime, both professional and amateur, at an early age through joining dancing schools, which have traditionally provided juveniles in even the largest pantomimes. This in itself is an advantage for those who have showbusiness aspirations because it accustoms them to live performance.

Pantomime auditions are almost invariably for dancers, male and female, and are usually advertised in The Stage. The largest managements, such as Qdos, will hold general auditions, mainly in London but sometimes in the regions, and those who are successful will be offered engagements in the larger theatres. The most talented, especially those who can also sing, will often have the opportunity to understudy the principals.

Smaller managements, who usually provide in local authority-owned theatres, will probably engage dancers resident in areas near the theatre, supplied by stage and dance schools in the district, and salaries are not likely to be high.

In addition to Qdos, the most prolific pantomime managements include Effective Management, John Spillers, Kevin Wood, David Lee, Duggie Chapman and Paul Holman, all of whom have stores of scenery and costumes for several pantomimes which can be rotated around the theatres with which they have contracts. There are still a number of important regional theatres, for instance Nottingham Playhouse, which produce quality in-house pantomimes cast from their own pool of actors and employ a choreographer who will choose the dancers.

PRODUCERS
Another confusing term, because it means different things in different media, and in the United States a producer is often what we would call a director.

The film producer of Hollywood legend is the person who gets the money together to finance a movie, hires a director and then stands over him saying that he is running over budget. Small wonder that many directors aim to become their own producer.

There are some similarities in the theatre, except that in this country we are more inclined to call the producer the management. In the West End at present there is a trend to have several producers, particularly when American investment is involved, which is supposed to minimise the risk.

In television the producer is sometimes the same person as the director, but larger productions usually have a separate producer, who is allotted a budget by the television company. He or she might be an independent or an executive of the television organisation under whose aegis the programme is transmitted. In co-productions there are generally two executive producers, a producer whose job it is to make sure that the production is on time and within the budget, and often a line producer who is in the studio or on location throughout and is responsible to the producer who is above him or her.

Radio producers are more of a hands-on breed, combining the functions of producer and director, and are to be found in the studio control room during the making or transmission of the programme.

PROMOTERS
Promoters have come into post-World War II prominence with the growth of the one-night stand industry, particularly with bands and recording artists, though the major light entertainment performers also undertake tours of one-nighters, and some promoters have branched out into theatrical management. On the whole, however, they are not to be confused with theatrical managers, even if they have much in common.

Promoters are risk-takers, and the managements of recording groups and most visiting stars from the United States virtually put out tours to tender, soliciting the best deals from promoters, who have to guarantee the artists' fees for the tour without having any certainty about their drawing power.

They therefore spend much of their time negotiating with venue owners and managers with the object of obtaining the most favourable deals for themselves, usually a straight box-office split, but often with variations, such as a promoter's guarantee and very occasionally a hire, if that is what the venue prefers. Promoters have to take great care about what the performer's needs and wishes are, so that incidental costs, such as transportation and hotels, supporting artists, musicians and backing singers, and technical crew, are included in the overall package.

They are in general a greatly maligned breed, being accused of greed when a tour is successful, incompetence when it is not. But bankruptcies are more common among promoters than in any other branch of showbusiness.

PUBLICITY
Publicity is one of the most neglected aspects of light entertainment. All graduates from drama schools are told to prepare a dossier of their skills and a set of 10 by 8 black and white photos for use by agents and casting directors. Unfortunately few light entertainment performers are similarly prepared.


With the proliferation of free entertainment listings magazines and newspapers, editors are always on the lookout for good photographs which are capable of reproduction, and while laser colour prints are acceptable in most cases, good quality glossy black and white prints should also be available when asked for. Many artists and agents still regard a set of colour posters which can be pinned up in club foyers as suitable for all purposes, but this is not the case for publications.

But in addition to good quality photographs it is advisable to prepare a sheet of biographical details which include particulars of birthplace, education and training, ambitions, outside interests and any other information which might be useful for journalists, bookers and producers. Many performers leave matters of this kind to their agents, but this is not strictly part of an agent's function, though many do realise its importance. If artists can afford to employ a publicist it may be a wise investment, but a professional touch should always be applied to press releases and biographies, and most local journalists are happy to be approached on this matter. This is a publicity-conscious age and if artists have an interesting story to tell they should not be afraid to inform local radio and publications, which will be anxious to pass it on to the national media.

PUBS
An astonishingly high proportion of pubs, in rural as well as urban areas, put on live music, and sometimes other forms of entertainment, these days, so they are by no means to be discounted as a source of employment for young musicians and entertainers.

But if one is serious about the business, it is as well to get out of them as soon as possible, because the term "pub entertainer" has certain connotations which suggest that the performer is unambitious and not making the best use of his or her talent.

Pubs are, however, the best way for pop and rock groups to make a start in the profession, because many record company A & R (artist and repertoire) staff make a point of visiting pubs, particularly in town centres, in search of new talent.

For other entertainers it is not so satisfactory because, of necessity, they all have to be self-contained, that is they have to carry their own PA equipment with backing tracks. This represents a sizeable investment for young artists, yet it could be money well spent if one wishes to proceed to other areas of light entertainment, many of which also require performers to be self-contained.

Karaoke is a popular feature in many pubs and many would-be singers have gained a taste for live performance through this route, the pitfalls of which are pointed out in another entry in this guide.

Pub entertainment is subject to the vagaries of landlords and managers, who are reluctant to book performers unless they feel it is a boost to the business of selling drinks, and it is possible to be discontinued without notice to the artists, who are seldom given contracts and are usually paid in cash from the till.

Several of the leading breweries, however, are realising the value of live entertainment and are even making an effort to improve facilities. But usually the provision of entertainment is down to the man or woman on the spot. It is noticeable, though, that many premises in seaside towns see the necessity of providing entertainment during the season, now that so many of the theatre venues have reduced the size and number of shows.

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RADIO
Opportunities in radio are considerably greater than those in television, due to the fact that Britain has now many local stations, both BBC and commercial. The BBC, being a national corporation, prefers to recruit through training programmes but managers of its local radio stations do have some latitude in employing young people on a freelance basis and it is always worth enquiring whether they have any opportunities, on the principle that any experience is better than none.

Though many of the commercial stations are now owned by large groups they are always on the lookout for young presenters and are often willing to give experience, sometimes unpaid, to eager young people, though the chances to get behind a microphone are likely to be greater in community stations, which are often manned by volunteers and operate on very small budgets. The same applies to hospital radio, which is invariably run solely by volunteers.

Nevertheless, any experience of broadcasting is useful and there are a number of nationally known presenters who began in very humble and sometimes unpaid capacities on local stations. A local broadcasting reputation can also lead to opportunities for live theatre work, particularly in pantomime, and paid promotional appearances in clubs and other venues.

RECORDING YOUR OWN CDs AND TAPES
Many star performers, ignored by major record companies in an age in which marketing managers demand instant success, have found it profitable to record their own CDs and tapes for sale in the venues in which they are appearing. Some artists have sold many thousands of records direct to the public in this way, though they often have the resources,to employ full orchestras and cover designers, for example, denied to the lesser-known performer.

Nevertheless, even those at a lower level increasingly find that they receive enquiries as to whether they have any CDs and tapes for sale at their gigs, especially cruise ship entertainers, who become familiar to passengers over a period of time and whose recordings are a pleasant reminder of a happy holiday.

The making of such records could become a profitable sideline. Fortunately, both CDs and tapes are relatively easy and cheap to make these days when most towns have a recording studio in the vicinity. The major outgoings are studio time, so it is necessary to find a competent recording engineer or producer, fees to musicians and attractive packaging. The actual marketing is up to the artist, though arrangements can usually be made for a point of sale to be set up in the foyer of the venue, and in the shops, in the case of holiday centres and cruise ships. The profit margins are high once the initial cost of making the record is recovered.

RESTING
A euphemistic term applied to performers who are between engagements, which in the case of actors could be months. You may of course be in urgent need of money to tide you over before the next job comes along, but it is necessary to find temporary work which leaves you free to attend auditions and interviews.

Fortunately there is now a good deal of freelance casual employment, much of which is advertised in The Stage. Some of it is connected with various forms of selling, either in person or over the telephone, people in the entertainment business being deemed to have attractive voices and personalities which are particularly suitable for this field. Some have been so successful that they eventually decide their future lies in this direction.

But there are always casual opportunities in evening hotel and restaurant work, and in the numerous "style bars" that have opened throughout the country. Exhibitions and trade fairs are also a useful standby, as people are often engaged on a daily basis.

And of course you may already be trained for another trade or profession which may stand you in good stead when showbusiness work is slack.

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SCHOOLS AND TRAINING
A high proportion of the legendary stars of showbusiness had no formal training to set them on the way to stardom, having learned as they went along, often entering the profession at a frighteningly early age. But this is not to say that they would not have taken advantage of training had any been available.

Although it is usually considered desirable for those wishing to become actors to undergo training, no such recommendation is thought necessary for those in the light entertainment field. Yet the opportunities for entertainers are so diverse nowadays that would-be performers would be unwise to miss out on any training available, starting with vocal and instrumental instruction while they are at school.

Even if singers are tempted to join the profession by winning a karaoke competition, it will not be long before their lack of experience becomes evident, including an absence of voice training, inability to read music and no knowledge of performing skills.

Opportunities to study for the profession abound these days. In addition to the stage schools which also provide a general education, many educational authorities offer performing arts courses, either full or part-time, and there are of course also a number of private establishments, often with some emphasis on musical theatre.

In fact, it is increasingly likely that major pop stars will have received some performing arts education, and as vocal groups are manufactured by managements and selected by audition, the chances are that selection will be made for all-round ability rather than just on account of voice and appearance.

Unless the young performer is prepared to go it alone, starting in the clubs - not an area frequented by many talent spotters - a solid grounding in the performing arts, meaning some knowledge of acting and dancing, as well as singing, can now be regarded as essential. Engagements for all the main light entertainment areas, including cruising, holiday centres and theatre shows, are now secured through auditions attracting hundreds of applicants. It follows, therefore, that those who have the most personality and versatility, which can be acquired through training, stand the most chance of success.

Even though they may be between engagements, dancers still find it necessary to keep in trim. Singers should never believe that it is unnecessary to continue with vocal training once they are established in the profession. A voice teacher or coach can help singers to increase their range, keep their voices in shape and free from strain, and advise on repertoire.

SHOWCASES
Showcases have come into being during the past 20 years directly as a result of the fragmentation of the business. They were not necessary in the sixties and seventies because agents and bookers could see artists working in venues throughout the country and could gauge their worth through presentation and audience response.

Now, agents, who are those chiefly presenting showcases, stage them in front of audiences of other agents, who are not always as attentive as they might be, particularly if they see the opportunity of conducting a spot of business while they are there.

Nevertheless, showcases are now an indispensable part of the light entertainment scene and many performers, new and established, feel they must take part in them. This is particularly essential in the case of artists who may have been working overseas or on cruises for a long period of time and see the need to promote their presence in this country. They are also useful for artists who may be well-known in one part of the country and want to increase their sphere of operations.

Many agents hold an annual showcase and have acquired considerable expertise in presenting them, choosing a suitable venue in which performers can get in and out easily, and making sure there is a good reading band available, particularly for those artists seeking cruise and holiday centre work, in which live accompaniment is the norm. The best showcases are those which have a competent stage manager and technical crew, so that delays can be avoided.

Agents presenting showcases for the first time often neglect these essentials and try to cram as many acts as they can into a period of four hours or so, which leads to over-running and a gradually dwindling audience.

We might be pardoned for saying that we consider our own Showcall Showcase as a model which all the others should follow, but years of experience have taught us that good lighting and sound, a skilled stage crew and a venue which permits those attending to enter and leave the room without causing annoyance to others are greatly appreciated by both artists and audience.

SINGERS
These days everybody thinks they can sing, and to a certain extent this is true. Most of us can carry a tu