Are Drama School Audition Fees Really Necessary?

In this article, Alex discusses the impact of nerve-wracking drama auditions - but are they really worth it?

Are Drama School Audition Fees Really Necessary?

My debate, exploring the necessity of drama school audition fees, came about from two areas of personal experiences of mine. Primarily, my own experience with auditioning for drama schools had always been something that has played a key role in my development as a performer, director and person as a whole. I was keen to explore the process of the auditions that I was so familiar with in a more detailed way, considering particularly those from different backgrounds to my own that have the same interests and ambitions.

This is where the secondary element of my debate is introduced. My role at Chichester Festival Theatre started in a time when driving diversity within the arts was a hugely relevant talking point, and the two seemed to fit naturally together. I was keen to explore something that related to all aspects of my current position as a practitioner – my experience auditioning for drama schools having influenced this so heavily, whilst my current role was heavily influenced by the responsibility we felt to encourage diversity across all art forms.

In preparation for my debate, I researched various articles looking at the costs of fees for drama school auditions and how, in line with the current recognition of diversity responsibilities, drama schools were striving to make these opportunities equally accessible across the process. I looked at significant figures within the arts industry who had commented on the expenses and diversity concerns that were frequently raised throughout the process, as well as looking at articles that echoed commonly voiced concerns related to the process.

Through presenting both elements of what has always been a controversial topic, I am hoping that I will be able to show a valid, balanced and personal opinion that accurately reflects the process as a whole and how it may develop in the future.

"With about 3,000 applicants a year that's at least £180,000 made from auditions. After which, I understand, applicants get no feedback."[1]

Across the UK, schools and theatres run successful education and outreach programmes that enrich the learning and understanding of young people, many of whom are looking to pursue a professional career in the theatre. As a result, auditioning for an established drama school seems like the obvious step to take as they progress their craft as a performer. However, the financial implications of the pursuit are heavy, so I am keen to explore whether they could in fact be a barrier to those from backgrounds where access to the Arts is not readily available.

I auditioned for drama schools for three years consecutively. Each year, I learnt something different about myself. This certainly influenced my craft as a creative; however, I was looking at approximately £50 per audition which, when considering I only auditioned for six different schools over those three years means that on the auditions alone, I was spending £300. That's before the cost of travel to each school, based in either London, Guildford or Bristol, was included, as well as the costs associated with the various scripts I bought to research in preparation for my audition. I was very fortunate in that I have two very encouraging, and understanding, parents who were able to financially support me during the process. However, for many, such a support network simply isn't available so having to find upwards of approximately £100 per audition is massively restrictive. I now realise that pursuing a career as a director is where I should go, and while this was one of the most relieving and exciting realisations I could have had, I can't deny that it cost a fair amount.

So, how do auditions for drama school work?

What to expect from a drama school audition can vary significantly between schools. For example, a RADA (Royal Academy of Dramatic Art) audition is divided into four stages, with the preliminary audition only lasting between ten and fifteen minutes. With RADA, if you book your audition before a certain date in December, it will cost you £45. After that, the audition fee rises to £85, so, on the face of it, you'd be paying £5.60(ish) per minute for your audition. Having said that, based on my personal experience, I found RADA to offer the most personal and intimate approach to auditions – I really felt they cared about the fact that I was there and wanting to be taken seriously as an actor. It felt that they valued the fact that I had chosen them. After all, part of the audition process is the individual 'auditioning' the school. One of the main things I learned through drama school auditions is that you really learn what you best respond to, when communicating and being communicated with.
Alongside this, other schools offer a more intense, group audition process, with a long movement workshop in the morning, followed by performing your prepared monologues to each other. This was the case with Guildford School of Acting (GSA) which created a really supportive atmosphere, with everyone in the room going through it together. However, this particular drama school welcomes its applications through the University and College's Admissions Service (UCAS), whereas others invite them independently through the school itself. Registering a UCAS account costs money too, so an additional charge is created for these schools – approximately £25.
The other audition style is a sort of mash between the previous two, where there is a morning group workshop followed by waiting for a number of hours before being seen independently by a panel to perform your pieces, as I found with Guildhall School of Music and Drama.

But why are these audition fees necessary?

"RADA's audition fee covers the administrative and operational burden of the audition process and allows RADA to continue to widen participation"[2]

It's incredibly difficult to deny that the administrative and operational demands associated with the process of auditions for drama schools are just as heavy as the financial burden for those pursuing that process. It's rumoured that it's harder to gain a place at an established drama school than it is to gain a place at Oxford or Cambridge universities, with a huge amount of applications for very limited course spaces, some being as few as fourteen places – designed to reflect the competitive nature of the theatre industry. These schools are actively recognising something of a responsibility to allowing access and encouraging diversity within the application process for their institution, which is an ongoing aim for many other facilities within the Arts throughout the UK.[3] However, to supply this recognition involves inviting freelance staff to sit on an audition panel, maintenance staff, administration staff and ongoing support from a marketing team. RADA only has three marketing team members (according to their website[4]), and for a process that is almost a year-long, ongoing process, this is a significant task. Auditions typically run from October-February, with recall auditions (the latter stages of the audition process for shortlisted applicants) happening from March to as late as July. In theory, there's only a two month gap between the end of one process and the start of the next, so the costs to maintain this must be mammoth. Alongside this, the venue hire will result in additional financial repercussions, particularly when schools hold 'satellite' auditions so as not to isolate those travelling from further afield – RADA, again, holds international auditions, as well as across different locations in the UK. So, the schools are clearly aware of the industry's intentions to encourage work from a diverse range of practitioners and are working hard to support this. Perhaps the reality is that, in the current climate the Arts finds itself in, audition fees for drama schools are simply something that are not going to go away. This presents something of a vicious cycle, auditions can't be held without fees but said fees can isolate and undermine the diverse aims of the auditions.

Thankfully, this is something that there is an awareness of within the industry and the schools themselves. Some schools offer audition fee waivers, which applicants are welcome to apply for[5], assuming they meet a certain criteria – usually that they are from an underprivileged background or their family income is less than £22,000. This is a massive step forward in widening access to the auditions, though they are limited which causes huge competition. Likewise, some theatres and education institutions are offering support with the logistical costs associated with drama school auditions through bursaries and scholarships. For example, Southampton's Mayflower Theatre offers higher education bursaries designed to cover the research and transport costs necessary for the auditions[6]. In some cases, it's even reported that successful actors support individuals financially – Academy Award Winner, Eddie Redmayne, was reported as occasionally paying for the fees of acting student's rent as accommodation costs are so expensive in London[7], and the intense nature of the actor's training restricts them from taking on part-time work. However, this is a separate discussion, though it does bring to light the many financial obstacles a prospective actor-in-training may need to consider ahead of actively pursuing their goal.

It's clear that the industry is increasingly recognising a real need for these scholarships and bursaries, as many more are starting to establish themselves. In such a difficult time for the Arts, it's something that affects all involved. Many theatres are launching in-house opportunities such as apprenticeships or internships to try and tackle the competitive nature of the drama school process, opening up a variety of opportunities from within a professional producing theatre. The biggest problem with the set-up of these auditions is that, regardless of the support offered by other organisations, there will always be someone who simply can't afford to apply, or may not have access to even begin the process of applying for bursaries or scholarships. This then presents a new element of the discussion about whether or not the schools are doing enough in terms of their outreach to a range of diverse communities, but then again, are the resources available or affordable? Geoffrey Colman of the Royal Central School of Speech and Drama argues that the institution never makes a profit from the audition process[8], so installing such an enormous outreach requirement is another hugely difficult task. The other aspect of the argument is that perhaps the individual, if they desire it so much, should they be actively going out of their way to find access to these application opportunities?

Is it worth it?

One of the biggest concerns with the process is that applicants don't get a 'value for money' experience in that audition feedback simply isn't available. I found this to be one of the hardest elements of the process as, if you are unsuccessful, you are left totally unsure as to why and there's no real indicator of how to improve which can create a real anxiety around the process. Some schools do offer feedback if you get to the last round of the audition process but are then unsuccessful, but by this point, the vast majority of applicants have been unsuccessful so only a select few are offered this opportunity. It seems odd as the panellists, at any audition, sit and make notes during your audition – there may be an argument that these could literally be scanned and forwarded on to the applicant if they request it. After all, it's there and it's available, but perhaps the administrative burden that would fall onto the drama school if suddenly, within their intimate teams, they had to produce feedback to all 5,000 applicants as an ongoing process throughout the year is too much. The process must already be a major project for all involved, and I'm sure it ranks highly in the school's list of priorities – they must ensure every applicant experience the fair, attentive and positive audition that they are entitled to. Schools are recognising this as an area that needs attention, too. Many offer week-long holiday courses based around strengthening 'audition technique' – having been on one with the National Youth Theatre, I can honestly say they are hugely useful. If anything, just to work so intensely with a practitioner whose main focus is offering you personalised and valuable feedback. However, as expected, these courses have a hefty price tag attached (some as much as £500+) and, while bursaries are available in some cases, the same issues are attached as with the auditions themselves.

From a personal perspective, I strongly maintain that my drama school audition experience played a huge role in shaping the role I decided to pursue within the Arts, and I know that I would always recommend them to anyone who's thinking about doing the same. The controversies surrounding the process will always be there, but it's encouraging to know that the industry is aware of this and is taking steps to actively diversify and unlock these opportunities to all areas of society. The Arts are all about reflection and offering a fair representation of the world we live in, so while it may take time before all elements of the process are consistent and open to all, at least it's clear there are real efforts to make this a reality.

During one of my auditions, the panellist made a point of saying that if acting is something you really want to do, whether you attend drama school or not, you will find a way to do it. This is a hugely relevant point for all prospective applicants to reflect on – drama school is not a necessity for pursuing a career as an actor, or practitioner, but for those that feel this is what they should do, the opportunities are there if you're willing to ask or look for them.

References:

[1] https://twitter.com/StephensSimon/status/790881084229685248 - playwright, Simon Stephens, discussing the process and financial implications of drama school auditions in the UK on Twitter.
[2] https://www.thestage.co.uk/news/2016/equity-pledges-cap-on-audition-fees-in-bid-to-widen-access-to-drama-schools/ - a RADA spokeswoman discussing the necessity of audition fees.
[3] https://www.theguardian.com/culture/2016/dec/01/andrew-lloyd-webber-warns-diversity-crisis-british-theatre - Composer, Andrew Lloyd Webber responding to his recent diversity survey across the Arts in the UK.
[4] https://www.rada.ac.uk/about/rada-staff
[5] https://www.lamda.org.uk/drama-school/funding/audition-and-interview-fee-waivers
[6] https://www.mayflower.org.uk/Engage/Higher_Education_Bursaries
[7] https://www.theguardian.com/film/2016/jan/05/eddie-redmayne-i-sometimes-pay-drama-students-rent
[8] https://www.thestage.co.uk/advice/2015/dont-let-a-fee-stop-you-auditioning/ - Geoffrey Colman of the RCSSD discussing the financial repercussions of the audition process.

Author

Alex Lonsdale

Alex Lonsdale

This author has no bio :(

We need your help supporting young creatives

2 Comments

  • Emrys Green

    On 10 January 2017, 09:03 Emrys Green Voice Team commented:

    Well thought out, put together and balanced Alex. Great work.

  • Luke Taylor

    On 10 January 2017, 09:43 Luke Taylor Contributor commented:

    WOW! GREAT ARTICLE!

Post A Comment

You must be signed in to post a comment. Click here to sign in now

You might also like

West End Actor Interrogates Stereotyping Faced by Latinx People in Soho Theatre Solo Show

West End Actor Interrogates Stereotyping Faced by Latinx People in Soho Theatre Solo Show

by Daniel Miller

Read now