A recent study by Queen Mary University of London referred to surveys that showed only 2% of actors make a living from the profession and that 90% are out of work at any one time would be sufficient to have most aspiring thespians reaching for the scotch, if only we could afford a drink in the first place.
It has always been a notoriously tough old game, but with so many actors and so few jobs nowadays, it’s harder than ever to get by. The old regional repertory theatre system that existed in my day has largely disappeared. Everything now is either loaded down with established stars to ensure ratings, or last-minute scraps: “One scene as a cop, filming on Friday, £500, no repeat fees.”
If there is any cold comfort in these findings, it’s that the same 2% tend to work most of the time, and the remaining 98% hardly at all – so the trick is to make sure you’re in the 2%, and if you’re not, to get out before it’s too late, and the profession eats up your best years.
The defining difference between amateurs and those who choose to pursue it as a career isn’t talent, but simply that professionals are prepared to endure the daily ritual of humiliation, rejection, financial anguish and grinding unemployment. You have to be tough.
Getting into a good drama school is a great help – at least you have a chance of being noticed. But there are now hundreds of drama schools, and despite their sleek prospectuses, none but the top four or five will be of any use in furthering your chances. Nowadays many actors have a subsidiary profession they can fall back on – designing websites, working in bars, or even delivering sandwiches. But unless you’re careful you can find your backup becomes your main occupation.
“It’s not fair, and don’t be late” is still the best advice I’ve been given. But if you really, really need a job, here’s how to get one. Book a once-in-a-lifetime, non-refundable holiday. The phone will ring the moment you’ve committed your funds, promise.
