Amazon MGM Studios has officially kicked off the audition process to find the next James Bond. To spearhead this monumental task, the studio has enlisted Oscar-nominated casting director Nina Gold.

Nina is widely recognised for populating expansive, critically acclaimed worlds, including Game of Thrones, The Crown, and the Star Wars sequel trilogy. She was also part of the historic first class of Academy Award nominees for casting for her work on Hamnet. Her mission is to find an actor capable of bringing the iconic MI6 spy into a brand-new era. 

Nina takes over the casting mantle from industry legend Debbie McWilliams, who has now retired from the profession. Debbie was the casting powerhouse responsible for bringing Daniel Craig into the fold and, before that, casting Pierce Brosnan and Timothy Dalton.

Watch Debbie McWilliams sharing fascinating insights from her time casting Bond at The Spotlight Conference.

The Creative Team Behind the 26th Bond Film

While Nina searches for the new face of MI6, a world-class creative team has already been assembled behind the camera to completely reinvent the franchise:

• Director: Denis Villeneuve (Dune, Blade Runner 2049, Arrival)
• Screenwriter: Steven Knight (Peaky Blinders, Eastern Promises, Spencer)
• Producers: Amy Pascal (Spider-Man franchise) and David Heyman (Harry Potter franchise)
• Executive Producer: Tanya Lapointe (Dune: Part Two)

Headshots of the Bonds Gone By

While internet speculation continues to run hot with rumours of who will be stepping into James Bond’s tuxedo, official channels are, of course, keeping their cards close to their chest.

As we wait to see who‘ll continue the legacy, we paid a visit to the Spotlight archives to look back at the headshots of the Bonds gone by…

Sean Connery, debuted as ‘James Bond’ in 1962

 Films: Dr. No, From Russia with Love, Goldfinger, Thunderball, You Only Live Twice, Diamonds Are Forever.

Roger Moore, debuted as James Bond in 1973

 Films: Live and Let Die, The Man with the Golden Gun, The Spy Who Loved Me, Moonraker, For Your Eyes Only, Octopussy, A View to a Kill.

Timothy Dalton, debuted as James Bond in 1987

 Films: The Living Daylights, Licence to Kill.

Pierce Brosnan, debuted as James Bond in 1995

 Films: GoldenEye, Tomorrow Never Dies, The World Is Not Enough, Die Another Day

Daniel Craig, debuted as James Bond in 2006

Films: Casino Royale, Quantum of Solace, Skyfall, Spectre, No Time To Die

We may have to wait a little longer to find out who will be ordering the next martini, but looking back at the legendary headshots in our archives proves that while the actors change, the home of incredible British and Irish talent remains exactly the same: Spotlight.

The post From Connery to Craig: James Bond in the Spotlight Archives appeared first on Spotlight.

As the industry’s most prestigious showcase for emerging talent, the Spotlight Prize has long been a springboard for the next generation of world-class performers. This year, we’re evolving. To celebrate the diverse skills of the next generation, we’re debuting an expanded format, with 40 finalists split across two dedicated categories: The Screen Prize and The Stage Prize.

Shortlisted from over 60 drama schools across the UK and Ireland, these graduates are following in the footsteps of legendary past finalists like Dame Judi Dench, Brian Cox, Bessie Carter, Ben Whishaw, Jim Broadbent, Edward Bluemel and Rosalind Eleazar.

Let’s meet the finalists selected to take part in the Spotlight Prize 2026.

The Screen Prize Finalists

Directed by the acclaimed Paulette Randall MBE (EastEnders, Waterloo Road), these 20 finalists will showcase their craft on camera, mastering the nuances of screen acting:

• Angel O’Callaghan – Oxford School of Drama
• Ashik Rasool – St Mary’s University Twickenham
• Eden Nova Tambala – London Southbank University
• Erin Clark – Queen Margaret University
• Frankie D. Moules – Fourth Monkey
• Joseph K Conteh – Drama Studio London
• Kate Gerdena – Court Theatre Training Company
• Kayleigh Jade – Guildford School of Acting
• Lauren Park – Royal Birmingham Conservatoire
• Leah Coghlan – Royal Central School of Speech and Drama
• Malea Stroud – Italia Conti (Acting)
• Max Coussins – Laine Theatre Arts
• Molly McLoughlin – The Lir
• Nathaniel Abdo – Bristol Old Vic
• Saqib Bashir – LAMDA
• Sofia Bryan Compton – Rose Bruford College
• Sophie Hough – Performers College Manchester
• Thomalin Sirivattha – East 15
• Tomohiro Roddy – Manchester School of Theatre
• Yves Morris – Mountview

The Stage Prize Finalists

Directed by actor, writer and Open Door founder David Mumeni (Bridgerton, Big Mood), these 20 finalists will take to the stage to perform live monologues in front of an audience of industry professionals:

• Alanna Patton – MTU Cork School of Music
• Anú Forkan – Oxford School of Drama
• Carmen Fyfe Paulo – Royal Central School of Speech and Drama
• Daniel Francis-Carter – Guildhall School of Music and Drama
• Ella O’Callaghan – The Lir
• Elliot Holt – Performance Preparation Academy
• Emily Leask – ArtsEd
• Ethan Rodmell – Royal Birmingham Conservatoire
• Fran Davidson – LAMDA
• Freddy Thompson – Trinity Laban
• Jamie Whitelaw – Bristol School of Acting
• Josh Singh Sian – Royal Academy of Dramatic Arts
• Kevin Ofosuhene – University of East London
• Lucy Jarvis-Chase – Bristol Old Vic
• Madeline Holland – Royal Conservatoire of Scotland
• Olivia Grace Sullivan – Ruthie Henshall’s CAST
• Priscilly Teca – Gaiety School of Acting
• Rebecca Hennessey – Royal Welsh College of Music and Drama
• Sophie Lagden – Royal Academy of Music
• Usuazo O’David – Urdang

The Stage Prize finalists will perform in front of an invited audience of top casting directors, agents and producers at our annual Spotlight Prize Showcase on Wednesday 8 July 2026. An esteemed industry jury will then have the difficult task of selecting one winner for each prize. Both winners will take home £2,000 and a one-year Spotlight membership.

Matt Hood, Spotlight’s Managing Director, says: “The 2026 Spotlight Prize finalists are a testament to the future of our industry. Selecting this group was an immense task, as each performer brings a unique, vital energy to the craft. We are incredibly proud to showcase these exceptional graduates and can’t wait to see the impact they’ll undoubtedly make on stage and screen.”

Find out more about the history of the Spotlight Prize.

The post Meet the 2026 Spotlight Prize Finalists appeared first on Spotlight.

Carla B. Guttmann is an accomplished filmmaker and A-list festival coach whose career has spanned the international film circuit, from Los Angeles to Toronto. After a breakout debut that saw her treated as “festival royalty”, Carla faced the sobering reality of the industry’s gatekeeping and the hidden complexities of European film markets.

Through years of trial, error and a transformative encounter, she decoded the professional structures of A-list festivals – moving beyond the red carpet and into the world of film markets and strategic networking.

In this article, Carla shares her hard-won insights to help the next generation of directors and actors navigate the film festival circuit with purpose.

 In this article, you’ll learn:

• What film markets are and why they matter to actors.
• How to get accreditation to attend film market meetings and studio panels.
• Methods for using professional databases to research and schedule one-to-one meetings with producers, directors, agents and casting directors.
• Why shifting focus from evening social circuits to daytime business events creates a safer and more productive networking environment.

 A Dream Debut

At the beginning of my directing career in 2006, I attended both Toronto and Los Angeles film festivals with my dance film, The Double Woman. It was a magical experience, meeting filmmakers from all over the world, and we were led around the festival like proverbial film festival royalty. 

My film was in competition. I was given a fund from German Films to travel from Berlin to Toronto, I had someone cutting press clippings for me and I was invited by the festival itself to an intimate dinner to meet future producers. Time Magazine even hosted an event for all the filmmakers in competition. 

An equally warm reception awaited me at the ArcLight cinema in Los Angeles. Both festivals emitted an atmosphere of respect and hope for all the filmmakers who had made it into the competition and had travelled far and wide to screen their work. We were on the verge of a tipping point and it felt like the one we had all been eagerly awaiting.

The Reality Check

Only two years later, no one knew of my film, no one seemed to care and I felt like I was starting completely from scratch. 

Over the years, I attended Berlinale and later, Cannes, going to the cocktail hours and festival parties that were open to anyone with a festival accreditation. There, I would try to figure out who the producers were in the room and start a conversation to pitch my feature film ideas. I was convinced the cocktail parties were about meeting feature film producers and I felt very confident that I was going about this the right way. I was wrong. 

The producers at these cocktail parties were not interested in my pitches: they wanted to unwind, have fun and party. I thought I had the right accreditation to move my career ahead, but instead these parties led to an anthology of experiences where I was treated like a pretty object to be passed around. This left me really confused about how to move forward, not just as a filmmaker but as a woman in the industry.

The Market Approach

All that changed when I met the L.A. film professional Sydney Levine at the Canadian Embassy party at the Berlinale. Sydney was the original founder of Film Finders, which was later bought and integrated into IMDb. She took me aside and explained how the European film market works and it was this 20-minute conversation that truly changed the trajectory of my directing career and, equally, the lives of the actors that I’ve coached. 

Sydney taught me that A-list festivals are not just about film screenings and evening parties – they happen during the day too at their markets. The markets consist of daytime events, panels and one-to-one meetings that you can pre-book yourself. 

Once I realised this, I acquired access to the databases associated with the film markets, which finally enabled me to write to producers and set up one-to-one daytime meetings with them. At the Toronto Film Festival (TIFF), I met one-on-one with the producer for Swedish director Roy Andersson. I found my German co-producer for my feature film, The Bra. I pitched to a Belgian Film Fund Manager at a law firm event at the Berlinale and followed up at Cannes years later. At the Göteborg Film Festival, I had a one-to-one meeting with Bo Ehrhardt, the producer of the award-winning Danish-Swedish series, The Bridge. 

I achieved all this after years of struggle by:

• Using film market accreditation
• Utilising film festivals’ industry databases
• Understanding how to strategically communicate with the buyers of my talent.

The Cannes Social Pub Quiz

Spotlight and Filmmakers Europe members can join us at the Cannes Film Festival where we’ll be co-hosting an informal Industry Pub Quiz. It’s a chance to put your film knowledge to the test but most importantly, an opportunity to meet and chat with people you might not have otherwise met. Reserve your place.

Why Film Festival Markets Matter to Actors

Festival markets run in parallel to the festival itself and, traditionally, they’re reserved for sales agents, distributors, financiers, investors, production companies and producers. At Cannes, for example, as well as the film festival, the Marché du Film runs in tandem with 15,000 film professionals from 140 countries in one spot doing business. 

At Berlinale, the festival and the European Film Market, which is the largest and oldest film market in Europe, run simultaneously. This is to accommodate the buyers and sellers of films who need to move effortlessly between the screenings and the sales of films, in both the festival and the market contexts.

For decades, actors have been given access to festival accreditations – not market accreditations – that enable invitations to cocktail hours, parties and premieres only. They’ve not been allowed to join the ‘club’ that actually drives the business and pumps millions of dollars into the film industry each year. The majority of actors don’t even know they can book one-to-one daytime and professional meetings with directors, producers, casting directors, agents and even streamers at these festivals. Essentially, actors are left behind an invisible wall which both reveres and disempowers them all at once.

How to Attend Film Markets

Fortunately, by the grace of the film gods, there is one important loophole that has the potential to set actors free: top film markets accept multi-hyphenates. This means that actors who work as an actor-writer, actor-producer or actor-director are allowed to attend film markets and leverage them for their career. 

Once you gain this level of accreditation, you can use the markets’ respective databases with 68,000 contacts to reach out to potential employers from every corner of the world. This gives you the chance to research directors, producers, casting directors and agents in databases based on the countries where you want to work. 

You can then set daytime meetings in a context which is both safe and professional. The Marché du Film at Cannes alone has 4,000 projects registered at the market, all of which are not yet cast! You’ll also gain access to panels with Netflix, Hulu, Amazon and HBO and see first time pitches of uncast projects.

Top Tips for Applying for Market Accreditation

Many of my greatest success stories as a coach came from actors in my programs who were, in fact, rejected by Cannes on an actor’s accreditation, only to be accepted to the Marché du Film. There, they signed with new agents as actors and writers, signed development and shopping agreements for scripts, met one-to-one with directors and producers of Oscar-winning films and financiers for their own features, and were invited to auditions. 

My top advice to any actor who wants to avoid festival mayhem is: 

1. Apply for a market accreditation: Use festivals to meet producers, directors, casting directors and agents who believe in your artistic profile. 
2. Pre-book your meetings: This will allow you to have a safe, sustainable and successful festival experience in alignment with your greatest ideals and career ambitions.

Other Ways to Apply for Cannes

If your application for market accreditation is not successful, you can also apply to Cannes specifically in the following ways:

• Cinephiles Accreditation: This gives actors access to the films of Cannes’ Official Selection, The Directors’ Fortnight (Quinzaine des Cinéastes) and the Semaine de la Critique. The latter two are prestigious parallel sections organised by the French Filmmakers Society and the French Cinema Criticism Syndicate (SFCC). They both champion new talent, showcase avant-garde fiction and non-fiction films, first and second feature directors, and short films which are outside the main competition. If you are a film student, member of film school groups, cultural associations or film clubs, you will qualify for this accreditation. 
• Three Days in Cannes Accreditation: This is meant for film enthusiasts aged 18-28 and gives you access to films in Cannes’ Official Selection during three allocated days of the festival.
• Press Accreditation: This is granted if you have ever done publicity for a film or another film festival, then you can use this professional status to get a Press accreditation at Cannes. This will provide you with access to the Palais des Festivals premieres, dedicated workspaces, and priority viewing of official films, although it does not guarantee entry to all screenings.
• Marché Day Pass: This is offered on a first come, first serve basis during the nine days of the market. You can acquire a total of three days inside the market and they do not need to be consecutive days, so you can plan your day pass around specific events. Please note: you will not have access to the market database otherwise given to those attending on a Marché accreditation. 
• Online Marché Accreditation: Normally used by producers, this accreditation enables film professionals to participate in Zoom meetings, speed dating, panels and real-time meetings from their homes. 

With the right tools and a resilient mindset, so much can be achieved for actors at Cannes and other A-list festivals. My A-List Festival Programs runs 12 months a year and helps actors strategically position themselves at major international film festivals. 

If you’d like more information about Carla’s online programs, you can contact her at team@a-listfestivalcoach.com , via the A-list Festival Coach website or on Instagram.

International director and German Directors Guild member Carla B. Guttmann has written and directed amongst others, the award winning dance film ‘The Double Woman’, ‘Crossing Paths’ and the television documentary ‘Making Heart of Fire’.

Carla leverages her award-winning filmmaking background and festival success at TIFF and Los Angeles Film Festival to empower actors through her company, A-List Festival Coach. By utilising her signature “pre-booking strategy”, she connects performers directly with top-tier producers, directors, casting directors and agents at major global markets. Carla’s mission is to democratise industry access, helping actors secure high-profile representation and career-defining meetings through a sustainable, empowered path.

The post Make the Most of Cannes and A-List Film Festivals appeared first on Spotlight.

Diverse Actors Breaking Barriers (DABB) is an organisation dedicated to removing the gatekeeping that often sidelines global majority creatives. Founded by Suraj Shah in 2018, DABB focuses on the logistics of change: putting actors in the room with casting directors, offering personalised career guidance, and expanding industry opportunities. 

Suraj, alongside senior producer and facilitator Chenise Lynette and Head of Auditions Lauren Douglin, has his sights set on dismantling the obstacles that have historically kept diverse creatives from accessing the performing arts industry. The cornerstone of DABB’s mission to centre global majority talent is their annual Generals Day, where actors showcase their talent in person to industry professionals. 

Spotlight is proud to partner on the event, offering support with recalls during the selection process, as well as complementary memberships for the performers who are selected to participate on the day. 

To showcase their impactful work, we sat down with the DABB team to find out more:

Meet the DABB Team

Suraj Shah’s path to creating DABB began with a simple observation: he didn’t see himself. While studying at the Birmingham School of Acting and later moving to London, Suraj felt a profound disconnect between the “diversity” the industry talked about and the reality he faced.

“I didn’t see myself represented in the school, the curriculum, or even the methods they were choosing to teach,” Suraj recalls. “Everyone was shouting about it, but no one was doing anything. So, I thought, ‘Let me create it.'”

DABB’s evolution was solidified when Suraj met Chenise Lynette while they were both studying at Mountview. Chenise, an accomplished actor and facilitator recently seen in Shakespeare productions and voice-over work for indie games like The Quiet Things, joined the mission in 2022.

As a producer, Chenise has been instrumental in expanding DABB’s workshops, bringing a human-centric approach to artist development. “We like our workshops to be personable,” she says. “We always do games and check-ins because we want people to feel settled and relaxed before they perform.”

After taking part in the very first General’s Day, actor, writer and comedian Lauren Douglin knew she wanted to be involved. Now DABB’s Head of Auditions, Lauren says, “I’m beyond excited to join DABB and advocate for marginalised voices in the industry.” 

Lauren adds, “Ever since I slipped on my first ballet shoes at the age of two and graced the stage at the De La Warr Pavilion, I’ve had the privilege of performing globally and uplifting others to reach their full potential.”

Suraj Shah and Chenise Lynette

Headshots by Michael Carlo and Kim Hardy

How Does DABB Help Actors?

At its core, DABB is a dynamic organisation committed to creating a more inclusive stage and screen landscape. Their mission is twofold: to provide development opportunities for actors and to “demystify” the industry’s power players.

How They Make an Impact:

• Artist Development Workshops: Ranging from acting pop-ups to industry sessions on casting and voice-over work for video games.
• One-to-One Sessions: Personalised guidance on everything from accent support to career strategy.
• Opportunities Beyond Acting: Providing casting opportunities for voice-over and video games work.
• National Expansion: While London-based, DABB is actively moving into the Midlands, Manchester, and the East of England to break the ‘London-centric’ barrier.

What Is Generals Day?

The jewel in DABB’s crown is Generals Day, an annual event held at the Southwark Playhouse. It’s a completely free opportunity for 26 selected actors to perform in front of a distinguished panel of casting directors for film, TV, voice over, motion capture and performance capture, as well as directors, agents, producers, theatre makers and writers.

Unlike a standard audition, Generals Day focuses on human connection.

• No Self-Tapes: The event is strictly in-person to foster real-life relationships.
• The 10-Minute Timeslot: Actors get two minutes to perform a monologue and eight minutes to talk with the panel.
• The Spotlight Partnership: Through a partnership with Spotlight, eligible participants who don’t have a membership are given complementary access to the platform for a year.

The results speak for themselves. DABB alumni include stars like Ambika Mod (One Day, This Is Going to Hurt), Hannah Khalique-Brown (Black Doves, Dune: Prophecy) and Amena El-Kindy (Les Misérables), alongside countless actors now working in the West End and on major TV networks.

How Can Actors Apply for Generals Day?

Are you a global majority creative looking to break through? Applications for the next Generals Day are now open!

• Deadline: 11 May 2026 at 4pm.
• Who can apply: Any actor from a global majority background (all ages, with or without agents/credits).
• How to apply: Visit the DABB website for the application link and submission instructions.

As Suraj puts it, the goal isn’t just about getting a job – it’s about “a change in the way you see the industry and the way you feel about yourself.”

For more information on workshops and upcoming events, follow DABB on social media or sign up for their newsletter.

The post DABB: Opening Doors for Global Majority Performers appeared first on Spotlight.

Blockbuster season is here! We’re spoilt for choice in both cinemas and on home entertainment. The musical biopic Michael is now in cinemas, Star Wars is back on the big screen with The Mandalorian and Grogu and we head back to Westeros in the highly anticipated third season of House of the Dragon. But, before we sit down with our tub of popcorn, let’s have a look at what’s waiting in the wings as we take a look at what’s filming in the UK and Ireland this month.

What’s in this article:

• Exclusive insights into high-profile productions currently on location, from the highlands of Scotland to the streets of London and Dublin.
• Updates on casting, featuring the latest projects for actors such as Sir Anthony Hopkins, Kit Connor and Nicola Coughlan.
• A first look at upcoming release dates and plot details for anticipated new seasons and major cinematic debuts.

 ‘Elden Ring’

Casting by Rose Powell and Ify Amaechi.

Writer/Director Alex Garland, whose previous work includes 28 Days Later, Ex Machina and Civil War, is bringing the beloved dark fantasy video game to life for the big screen. Elden Ring tells the story of a war-torn world known as the ‘Land Between’, where the once great ‘Elden Ring’ used to govern reality. The main character, known as the ‘tarnished warrior’, returns to the Land Between to try and restore the destroyed ring and become the ‘Elden Lord’. Kit Connor and Cailee Spaeny lead the cast, supported by Nick Offerman, Jonathan Pryce and Ben Whishaw. 

From independent production company A24, Elden Ring is currently shooting in various locations in Scotland and is set to release in cinemas in March 2028.

‘Bridgerton (Season 5)’

Casting by Kelly Valentine Hendry.

We’re going back to the Ton with the fifth season of Bridgerton, where we see ‘Francesca’ explore a second chance at love with ‘Michaela’ following the untimely death of her husband. Returning cast members include Hannah Dodd as ‘Francesca’ and Masali Baduza as ‘Michaela Stirling’, Luke Thompson as ‘Benedict Bridgerton’ and Nicola Coughlan as ‘Penelope Featherington’. New faces joining the show include Tega Alexander as ‘Christopher Anderson’, Jacqueline Boatswain as ‘Helen Stirling’ and Gemma Knight Jones as ‘Lady Elizabeth Ashworth’.

Cameras continue to roll on Bridgerton, which began shooting just outside of London back in March. Season 5 is expected to release on Netflix in late 2027. 

‘A Visit To Grandpa’s’

Casting by Katy Covell and Ollie Gilbert.

Based on the beloved short story from Welsh poet Dylan Thomas, A Visit To Grandpa’s tells the tale of a young, lonely boy who is sent to spend the summer with his quirky grandfather. Expecting to be bored beyond belief, the young boy is met by something much more magical than a sleepy summer on his grandfather’s farm. Two-time Academy Award winner Sir Anthony Hopkins will star as ‘Grandpa’ and is joined by Artie Wilkinson-Hunt as his grandson. In supporting roles, we see Aimee-Ffion Edwards as ‘Mother’ and Aneurin Barnard as ‘The Hunter’. 

A Visit to Grandpa’s is currently filming in Dolgellau, Wales, for the next few months.

‘Ghosts: The Possession of Button House’

Casting by Alex Irwin.

The hit BBC comedy Ghosts returns! This time, it’s in the form of a feature-length film set for a cinema release, Ghosts: The Possession of Button House. The hit comedy, which ran from 2019 to 2023 and then made waves in the US when it was reproduced for American audiences, sees Simon Farnaby and Matthew Baynton back in the writers’ room for this exciting continuation of the beloved sitcom. Returning cast members Lolly Adefope, Charlotte Ritchie, Martha Howe-Douglas and Jim Howick will be joined by newcomer Alexa Goodall. 

Ghosts: The Possession of Button House is currently filming on location at West Horsley Place in Surrey with a cinema release scheduled for 23 October 2026. 

Here are some other projects that are currently filming for the next few months: 

• ‘Seance On A Wet Afternoon’ – casting by Jina Jay. Rachel Weisz and Matthew McFadyen star in the upcoming thriller, currently filming in various locations around the UK. 

• ‘A Knight Of The Seven Kingdoms’ (Season 2) – casting by Lucy Bevan and Emily Brockmann. The second season of the ‘Game of Thrones’ spinoff is currently filming in Northern Ireland and stars Peter Claffey and Dexter Sol Ansell.
• ‘Wednesday’ (Season 3) – casting by Louise Kiely. Jenna Ortega and Catherine Zeta Jones return for Season 3, which is currently filming in Ireland. 
• ‘Unforgotten’ (Season 7) – casting by Victor Jenkins. The hit crime drama starring Sanjeev Bhaskar and Sinéad Nicola Walker is currently filming on location in London. 

With these high-profile productions currently filming across the UK and Ireland, there has never been a better time to be part of the industry. 

Join Spotlight or log in to your Spotlight account today to ensure your profile is casting-ready and get discovered by the professionals bringing these stories to life!

The post What’s Filming in the UK and Ireland this May appeared first on Spotlight.

Most of us have been in this situation: you have a last-minute singing audition, your voice isn’t doing what it needs to do, and you don’t have the time and/or money for a lesson to resolve it. It’s a frustrating predicament. To make matters worse, vocal issues can have a multitude of causes, all with similar symptoms, making it hard to know which remedy is best.

If you read this article, you’ll learn how to:

• Hydrate effectively using both systemic fluids and immediate steam inhalation techniques.
• Ease vocal strain with SOVT exercises like straw phonation and lip trills.
• Troubleshoot difficult songs by using “mirening” and pitching consonants with precision.
• Reduce physical tension through targeted self-massage and improved postural alignment.

If your vocal issue is recent, it’ll most likely be caused by one of the following:

• Illness, such as a respiratory tract infection (cold, flu, etc)
• Allergies
• Dehydration
• Physical fatigue
• Voice overuse or misuse (talking/singing a lot with insufficient recovery, shouting, screaming, etc)

This isn’t an exhaustive list of causes. If you’re having chronic vocal problems or are worried about your vocal health, it’s important to seek advice from a medical professional. Your GP can refer you to an Ear, Nose and Throat (ENT) specialist, or you can search the directory on the British Association for Performing Arts Medicine (BAPAM) website for specialist performing arts healthcare practitioners.

In the short term, there are steps you can take to help mitigate your vocal symptoms. So, here are some easy troubleshooting tips and tricks for when you need your voice to perform.

Step 1: Hydrating the Vocal Folds

Your vocal folds need hydration to produce sound effectively. The body does this naturally by coating the vocal folds with mucus. However, it can only do this sufficiently if you’re well hydrated. The simplest way to hydrate your vocal folds is to drink water. It takes about four hours for the fluids we drink to have an effect, so take this delay into account. 

You can hydrate your vocal folds more quickly using steam inhalation. Inhaling steam also dilutes excess mucus, for example, if you have a cold. So, this is a good place to start regardless of what your specific vocal issue is.

You can buy dedicated vocal steamers or steam inhalers from pharmacists, designed to relieve cold and flu symptoms. Even breathing over a mug of hot water or taking a hot shower can help you hydrate your folds quickly.

Step 2: SOVT Exercises

SOVT stands for Semi Occluded Vocal Tract, which in plain English means having your mouth partially closed. These exercises are great for vocal recovery because they minimise the strain on the vocal folds.

If you want to go on a nerdy deep dive as I did, the Voice Science Works website has information about different SOVT exercises and their benefits, but here are a few examples singers commonly use.

• Straw phonation 

This can be done either into a glass of water or into air, and is great as a warm-up, cool-down, or to work through difficult sections of your song. Simply hum through the straw, making sure no air escapes from around your lips or through your nose.

Using a glass of water helps you visually see how consistent your air flow is (it can be helpful to practice in front of a mirror for this). It also provides extra resistance, helping the vocal folds close with less effort.

• Siren on an ‘ng’

If you don’t have a straw handy, you can siren on an ‘ng’ sound (like at the end of the word “sing”). The key to an effective siren is to keep it quiet, so the vocal folds are thin. Siren up and down your range, sliding between notes. The aim is to achieve a clear, consistent sound and volume, without any breaks or breathiness. Zone in on any areas where you lose vocal fold closure, sliding slowly up and down those specific pitches.

• Lip and Tongue Trills

Another prop-free SOVT exercise is lip and/or tongue trills. Some people struggle with these, but if you can do one or both of them, they’re useful to have in your toolkit. Not only do they ease stress on the vocal folds, but they also require active breath support to allow the lips and tongue to vibrate. Lip trills also have the added benefit of releasing lip tension. 

With all of these exercises, keep the volume low and slide between notes as much as possible. This encourages the vocal folds to thin out and elongate, increasing their flexibility whilst minimising the risk of injury.

Step 3: Troubleshooting Your Song

Once you’re feeling warm enough, you can begin rehearsing your song. Starting by singing your song through a straw, on an ‘ng’ or on a lip or tongue trill can be a good transition if your voice still feels tired.

As you sing (either on an SOVT exercise or full voice), note any areas that feel less vocally secure. Concentrate on these sections with either straw phonation or sirens, and take time to really slide between the notes (if it sounds ridiculous, you’re doing it right!). This can feel tedious, but be patient. You’re training the muscle memory of where the notes sit best in your voice.

A useful way to transition into full voice is using ‘mirening’. This is where you siren on an ‘ng’ whilst mouthing the lyrics. It can be tricky at first, but it’s a great vocal hack, because it helps train your larynx to place the notes whilst your mouth is shaping the words.

Another thing that can make the voice less secure is not pitching consonants accurately. If the larynx is not placed when the lyric opens onto a vowel, the note can feel unsteady and not fully centred. Mirening can help with this. 

A useful exercise is to elongate the consonants as you sing to check that they are pitched correctly. Swap out any voiceless consonants with their voiced equivalents (e.g. ‘F’’ to ‘V’) so every consonant has to be pitched. After a few passes, sing the section normally. You should find that the notes are more centred and stable.

Step 4: Posture and Tension

Posture and tension can have an effect on your vocal delivery. The ideal posture for singing is standing with an aligned, elongated spine. If your performance involves movement, be mindful of keeping that sense of length along the back of the neck and up through the crown of the head. This is especially true when singing higher notes, when we can instinctively tilt our head up, compressing the back of the neck.

If you’re standing still, it’s important not to become stiff. Having a sense that you can move but are choosing to be still can prevent tension in the body. If this is difficult, practise incorporating gentle movement like swaying or walking as a rehearsal exercise.

More specific muscle tension in the shoulders, neck, tongue, jaw and abdomen also affects the voice, so it’s important to address it. One way in the short term is self-massage. If you’re unsure where to start, useful areas are the hinge of the jaw, underneath the jaw for the tongue-root, the back and sides of the neck and the shoulders. Release of any tension in these areas will have a positive effect on your voice.

Tension in the abdomen can cause excess airflow, putting more strain on the vocal folds. If you tense your abs when singing, placing a hand on your stomach and shaking it can encourage the muscles to relax.

Step 5: Working with the Voice You Have

Sometimes there isn’t enough time for your voice to get to 100 percent. As professionals, part of our job is making it work. If your voice is still struggling, here are some options to consider.

• If you’ve lost some of your vocal range, is there another song you can sing instead, or is there a cut or melody alteration you can make to avoid the problem areas of your song?
• If you’re worried about damaging your voice, aim for a more classical/tiled/’legit’ sound. These styles use a thinner vocal fold quality, minimising vocal strain.
• Focus on telling the story of the song. No matter what your voice is doing, you can make your acting choices clear and embodied. This can also reduce your hyperawareness of what your voice sounds like, releasing additional tension and keeping you present and in character.

As my drama school tutor wisely noted, “You can only sing with the voice you have.” 

By using these tools to find ease and clarity, you can step onto that stage with confidence, knowing you are giving your voice – and your performance – the best chance to shine.

Key Takeaways:

• Hydrate both ways: Drink water for long-term health, but use steam inhalation for an immediate top-up to soothe your vocal folds.
• Reset with SOVT: Use a straw or lip trills to massage your voice from the inside out, reducing strain while improving cord closure.
• Miren your lyrics: Practise your song on an ‘ng’ sound while mouthing the words to stabilise your pitch without overworking the muscles.
• Check for tension: Use self-massage on your jaw and neck to release the physical rigidity that can trap your sound.

Michaela Bennison is an actor, singer and writer, whose performance credits include ‘A Christmas Carol’ at Alexandra Palace, ‘Jo: The Little Women Musical’ at Theatre Royal Drury Lane and ‘I’m Sorry Prime Minister, I Can’t Quite Remember’ at The Barn Theatre.

The post Vocal Rescue Tips for Performers appeared first on Spotlight.

In this guide, you’ll find:

• Everything you need to know about our sleek profile redesign
• Detailed breakdown of new navigation tools and features
• Expert advice on optimising your profile’s highlights, media and skills sections
• Direct links to upcoming workshops and our dedicated Help Centre

The industry is always evolving, and your Spotlight profile should too. Based on extensive feedback from our members, we’ve completely reimagined the Spotlight profile to be cleaner, faster, and more intuitive. While we’ve seamlessly migrated your existing details to the new layout, this redesign offers exciting new ways to showcase your range. Here is everything you need to know about navigating your new look profile, and making it work harder for you.

We’re excited to introduce you to your new Spotlight Profile. We listened to feedback from our members and have completely transformed the Spotlight profile. We’ve seamlessly transferred all your details to the brand-new design, meaning you don’t need to do a thing –  simply log in to reveal your new look. 

Quick Links:

• Navigation
• Pronouns and name pronunciation
• Highlights (FKA ‘About Me’)
• Showreels and voice reels
• Headshots and photos
• Skills
• Help section

Navigation

You have some new options available to help you edit, view and share your profile more easily:

• ‘Edit Profile’ Toggle: Switch between edit mode and how your profile will appear for casting directors.
• Print Preview: We’ve made some adjustments to the layout of the print view, minimising your environmental footprint.
• Email: Share your profile via email at the click of a button.
• Profile Link Copy: Click the link button to get a direct link to your profile, making it easier than ever to share.
• Dark/Light Mode Toggle: Easily switch between light and dark mode, depending on your preference.

Pronouns and Name Pronunciation 

This is a new section designed to help casting professionals address you correctly from your first interaction. 

• Add your pronouns 
• Add the phonetic pronunciation of your name

These will appear next to your name on your profile allowing for smoother introductions.

Tips for using pronouns and pronunciations

• The field is optional. 
• If you choose to use it, there’s a 50-100-character limit.

Highlights (Formerly ‘About Me’)

Highlights now appear directly underneath your name. It’s a great place for you to draw casting directors’ attention to: 

• Current productions you’re in and where to watch them
• Reviews 
• Awards 
• Achievements
• A particular niche skill
• Passports, green cards or visas you hold
• Additional languages you speak 
• If you have a strong ear for accents
• Other unique selling points about yourself. 

Tips for using the Highlights section

• Start with your key highlights first: The first three lines of your highlights are visible initially so lead with the facts that will make a casting director stop scrolling. 
• Everything in your Highlights is searchable: What you choose to share has the potential to appear in a casting director’s search so think about things they’re likely to look for and ensure productions are spelt correctly. 
• Know when to move a production to your credits section: When a production is no longer available to watch, move the information to your credits section.
• Use all the available profile sections: If you’re highlighting a language, accent or skill, make sure you also add it to the other relevant sections too to increase your chances of being discovered.
• Think about what your highlights say about you as a performer: It’s okay to talk about yourself and your interests, but consider what’s relevant to your employability and how each bit of information will portray you as a professional performer.

Showreels and Voice Reels

In response to member requests for a more contemporary display for video and audio material, the media section has had a significant refresh. The new layout gives your showreels, voice reels and videos a clean, professional look, making it easier for casting directors to watch and listen to them. 

We’ve improved the interface so that:

• Your showreels and audio reels are now grouped together and much more prominent in a dedicated media section. 
• Videos and audio can be displayed in a grid view, full-screen or picture-in-picture with better volume controls.

Tips for using the Media section

• Start with your strongest media first: Only six videos or audio clips are displayed with all other media shown when the ‘Show More’ button is clicked.
• Make sure your showreel isn’t too long: It should be three to five minutes at a maximum. Ensure that the very first scene clearly includes you. 
• Singing reels: Choose contrasting pieces relevant to your voice range and type.
• Accent clips: Record 30-60 seconds of you speaking in that accent. Really think about which accents you can do well – these are the ones you’ll want to demonstrate.
• Specialist Reels: If you have specialisms in dance, comedy, a particular skill etc. then you should upload additional videos that showcase this. Ensure you use specific titles for these clips e.g ‘Stage Combat – Unarmed’ so casting directors know what to expect.
• No professional footage? Read our advice for creating a showreel when you have no professional credits.

Headshots and Photos

Your headshots and photos are displayed with maximum impact, offering a seamless, intuitive way for casting directors to browse your range.

• Photos now scroll through without a full-screen overlay appearing automatically
• To enlarge the photo you can click on the image to expand.
• A small gallery view appears underneath the main photo.
• Photos maintain their original aspect ratios while main headshots expand to fill the available space.

Tips for headshots and photography

• Quality over quantity: While you can upload up to 15 images, 4-6 high-quality headshots showing a range of looks is far more effective.
• Authentic likeness: Ensure your headshot is a true reflection of your current look; accuracy saves vital time in the casting room
• Photographer credits: Always credit your photographer to comply with copyright laws, but ensure the images themselves do not feature watermarks or embedded text.
• Production stills: These are not essential but if you choose to include them, keep them to a minimum to ensure your headshots remain the focus.
• Image Sizes: All photos should be a minimum of 500px x 500px and between 1 and 40MB.

Skills

Whilst the Skills section has a fresh new look, the information it contains remains the same. Skills are now displayed as pills (or labels) for a cleaner visual layout.

Skills Tips 

• Highlight your expertise: Use the star symbol () to indicate high-level proficiency or native ability in your strongest areas. Make sure your native language and accent are clearly marked on your profile.
• Maximise discoverability: Skills are fully searchable; casting directors use these keywords to find performers who meet specific brief requirements.
• Professional honesty: Only list skills you can confidently demonstrate at a professional level on set tomorrow.

Your Spotlight profile is your digital calling card – one of the most powerful tools in your professional arsenal. This redesign isn’t just about a fresh coat of paint; it’s about ensuring that when a casting director lands on your page, they see the very best version of your professional self. 

Take a moment to log in, toggle into ‘Edit Mode’, and explore these new features. By keeping your highlights current, your media sharp, and your skills accurate, you’re ensuring you stay discoverable in an increasingly competitive industry.

Need Help?

Join a Spotlight Success Session

If you’d like a guided walkthrough of these new features, join our next Success Session at 1pm on Wednesday 22 April. Members of the Spotlight team will be live to demonstrate the latest updates and answer your questions, including:

• A full tour of the redesigned Spotlight profile
• Best practices for Spotlight Self-Tape
• How to integrate your Instagram profile seamlessly

Sign up for the Success Session for free.

Get in Touch

If you notice anything that doesn’t look right or isn’t functioning as expected, please get in touch with our Support team at questions@spotlight.com. For further technical guidance and FAQs, you can also visit our help centre.

The post A Guide to the New Spotlight Profile appeared first on Spotlight.

Auditions – they’re a big part of every actor’s life. They’re the gateway to work, creative partnerships and the next exciting opportunity. For many actors, however, the excitement of an audition is tempered by stress and anxiety that stops them from showing what they can do when it matters most. It’s tempting to think that your auditions would go so much better if you could get your nerves under control. Unfortunately, trying to prevent anxiety from happening can often make the problem worse.

In my 30+ years as an actor, I’ve experienced this paradox first-hand. Trying to understand why anxiety was limiting me inspired me to train as a cognitive behavioural hypnotherapist and now, I help actors refocus their approach to performance anxiety. 

In this article, we’ll explore some of the psychological reasons why trying to control your audition nerves is only making them worse and suggest ways to accept your anxiety so it no longer holds you back.

What Are Audition Nerves?

Audition nerves are a set of thoughts, feelings and behaviours that activate your fight or flight mechanism – dominating your attention and preventing you from doing your best work when it counts. It’s tempting to think that there’s something wrong, but your brain is responding exactly as it was designed. Our brains haven’t evolved much since the Ice Age. They’re still wired to scan for danger, but can’t distinguish between a lion and what’s behind the audition room door.

While we’re waiting for the audition, we get trapped in an anxiety spiral – worrying about worrying. When you’re caught in that loop, it takes up all your mind’s working memory, making it difficult to direct your attention where it’s really needed.

Why “Just Be Confident” Doesn’t Help

Well-meaning friends often say, “Just be confident,” or “Relax and be yourself.” The trouble is that advice doesn’t give you anything practical to work with. If I say, “Don’t think of a pink elephant,” I can guarantee the dominant image in your mind right now is a pink elephant. Whatever I tell you not to think about, it becomes the only thing you can think about. It’s the same with anxiety. The more you say, “I don’t want to be anxious,” the more it builds.

One of the strangest things about the audition nerves paradox is that it only has a hold over you because you allow it to. Trying to control your nerves merely adds fuel to the fire. So if you can’t control them, what can you do?

Acceptance vs Control

Here’s where it gets counterintuitive. How would it be if, instead of wrestling with your nerves, you accepted them? There’s a crucial difference between focusing on your nerves and accepting them.

When you focus on controlling your nerves, your mind fills with one thought: “I must not be anxious.” This creates the very anxiety spiral we’re trying to avoid – you’re worrying about worrying. All your mental energy goes into the internal battle, leaving nothing for the actual audition. You can’t be present in the room because you’re too busy fighting yourself.

When you accept your nerves, something different happens. You acknowledge, “Yes, I’m nervous, and that’s normal,” and then you stop fighting. The anxiety doesn’t magically disappear, but it no longer consumes all your attention. Suddenly, there’s mental space again. Space to notice who’s in the room. Space to listen to direction. Space to do your work.

Think of it like this: If you’re in a tug-of-war pulling against yourself, you’ll never win. Acceptance is simply putting down the rope.

You’re Not Broken

One of the first things I tell actors when I work with them is that you’re not broken when you feel audition nerves. Your brain is working exactly how it’s meant to. The brain evolved to look out for danger and the intrusive thoughts you experience are your brain predicting what problems may arise. However, these thoughts are not facts. 

Just because you think, “They won’t pick me,” doesn’t make it true. Until the casting decision is made, it’s only a prediction. And even if you aren’t cast, it’s not your thought that made that decision.

Playing Audition Nerves Bingo

An important step to take is learning to recognise the signs of anxiety as they occur. I recommend getting yourself a notebook to write down your thoughts and feelings as you experience them. Hopefully, you will soon become attuned to the triggers. For some people, it could be how much time they have to prepare, for others, it could be the challenge of fitting an audition into a busy life. We each have our own pattern of triggers and thoughts we go through every time.

Recognising the components that make up your anxiety helps you gain cognitive distance from them – you see them for what they are: a set of unhelpful thoughts. After a while, you will become so familiar with them that you can tick them off as they arrive, much like playing a game of audition bingo. Instead of having a big problem called anxiety, you identify specific areas that are causing concern, which can help you develop coping strategies.

Releasing the Tension

The biggest side effect of all these thoughts and feelings is that the body tends to become very tense. It is not possible, however, to be both anxious and relaxed at the same time. Thankfully, it’s easy to release this tension by using the power of your breath. 

Take three, slow, deep breaths. If you elongate the time spent breathing out, you will naturally trigger your body’s relaxation reflex. You can help that by telling yourself, “I am safe, I belong here,” or any other suitable positive affirmation that helps. Within a few breaths, your body shifts into safety mode. It clears the working memory and allows you to focus on what really matters – the audition you’ve prepared for. If you practice this breathing regularly, your body will learn to adopt it whenever the signs of anxiety show up.

Anxiety tends to bring your focus inward. It’s as if everything is in close up, your worst feelings are magnified and from the outside, you can appear shut off. The answer to this is to get your attention focused outside yourself. Notice five things you can see in the room around you, four things you can hear, and three things you can smell. 

In the audition room, make it your point to notice who is in the room, what they are wearing and write it down in your notebook afterwards. By giving yourself something to do, you will make yourself less self-conscious. You can practice this at any time, especially when you feel that inward focus dominating your thoughts.

From Threat to Opportunity

As long as you’re fighting the nerves, all your energy goes to the battle. There’s no space for the reframe. Gaining some cognitive distance gives us the chance to review the evidence and see if there are other conclusions.

This is why acceptance reduces anxiety’s impact. Not resignation, but acknowledgement: “Yes, I’m feeling these sensations. Yes, my brain is predicting threats. This is normal.” 

Once you stop fighting and make room for the nerves, something shifts. You notice your racing heart and say to yourself, “Oh, perhaps I’m excited.” That subtle shift – from “Something’s wrong with me” to “This matters to me” – changes how your brain appraises the situation.

Imagine each audition as a crossroads – one path towards excitement, the other towards anxiety. By reminding yourself you can choose which path to take, you’re not changing the physical symptoms, just deciding which way to move forward.

It takes conscious effort at first, but with practice, choosing excitement becomes your default. Over time, that pounding heart becomes a sign you’re excited, ready to be present and curious. Because behind that door isn’t a hungry lion; it’s a group of people keen to see you do your best work.

Gavin Duff is a cognitive behavioural hypnotherapist and actor with over 30 years of performance experience. He specialises in helping actors and creatives manage performance anxiety. Find out more at www.thoughtcompass.co.uk

The post Is Trying to Control Your Audition Nerves Making Your Anxiety Worse? appeared first on Spotlight.

Alistair Nwachukwu’s path to the stage wasn’t exactly linear. Five years ago, he was a professional footballer for Millwall. Today, he’s a LAMDA graduate leading a major Royal Shakespeare Company (RSC) musical and starring in an Oscar-nominated short film.

After a devastating injury cut his athletic career short, Alistair rediscovered a childhood spark for storytelling that eventually led him to drama school. Since graduating in 2021, he has had an extraordinary career. From the high-fantasy sets of Netflix’s Shadow and Bone to a deeply moving partnership with Miriam Margolyes in the acclaimed short, A Friend of Dorothy, Alistair has quickly become one of the industry’s most versatile young talents.

Currently starring as ‘William Kamkwamba’ in the RSC’s The Boy Who Harnessed the Wind, Alistair sat down with Spotlight to discuss the discipline of his “9-to-9” training, overcoming imposter syndrome in his first musical lead and the life-changing lesson of staying present – whether you’re on a West End stage or a film set in Budapest.

Hi Alistair. Can you tell us about the play you’re currently in?

I’m doing a play at the RSC called The Boy Who Harnessed the Wind. It’s a musical about a boy called ‘William Kamkwamba’, who I’m playing. It’s a true story set in Malawi in 2001. There’s a famine and William created this big windmill out of scrap materials which created wind power, which then created electricity, which then created water and saved the whole village. It’s a beautiful story. I read the book and saw the film years ago – I’m just really grateful [to be in it]. Working with Lynette Linton, the director, has been incredible.

We finish next week, which is sad, but it’s been really fun. It’s coming to Soho Place in April. 

How did you become involved with ‘The Boy That Harnessed The Wind’?

I’ve been with the team for three years. It started with one workshop in 2023, then we did two workshops in 2024 and another two at the end of 2025. I was asked if I’d like to audition for the lead role. I’d never done a musical in my life and never been the lead in anything on the stage before, so I thought, “You know what? Yeah.” 

A bit of imposter syndrome kicked in. I thought, “There’s no way I can do a musical, I’m an actor.” I haven’t really trained to sing, even though I like to sing in the shower, but singing on stage, eight shows a week, is different. I thought, “Okay, let me try.” They gave me the role, which was amazing and so I ended up taking singing lessons for six months, just to get my voice ready for the stage.

How do you prepare your voice for singing eight shows a week?

Steaming my voice is very important. I drink like three litres of water and no alcohol. And then warming up all the time – warming up, warming down. I also take singing lessons when I can and work with the play’s singing coach, Ashton Moore.

How do you relax and come back to yourself after a day on stage?

The river in Stratford is so beautiful, so when I finish, I go for a long walk along the river and listen to some music. It’s about a 10-minute walk from the theatre to my home. 

Who’s on your playlist?

Max Richter and Stevie Wonder.

How did you get into acting?

I started acting when I was 26. Before that, I was playing football for Millwall professionally. Then I broke my femur and dislocated my knee and that was the end of my football career. I was like, “No!” because I really wanted to be a footballer. I didn’t know what I was going to do. 

I ended up going to university and studied marketing for two years and I worked in retail. One day, my best friend was going to an acting class and asked if I wanted to go. I went and kept going. Then I went to LAMDA for four years and graduated drama school in 2021. It’s been a bit of a journey!

When did you decide acting was what you wanted to do?

When I was really young, I always used to play with my toys, imagining different worlds and then when I got into football, that all kind of just died. When I went into secondary school, I wanted to be like a boy’s boy, playing football. So it all just died and then when my friend told me to come to her drama class, that old flame reignited again.

I had encouragement from all the teachers, they really saw me and wanted the best from me. I really felt seen. That’s when I just thought that I’m going to really try and pursue this.

How has your background shaped your perspective as a performer?

With football, you have to be disciplined. Playing for Millwall, or any professional team, you have to be there on time, you’re working outside of the hours that you actually have to work. It was the same at LAMDA – I was there 9-to-9 every single day and sometimes weekends, as well. 

I think those two experiences have really shaped me coming into the industry. Now, when I’m going into auditions, I’m off-book, I’m always on time, I’ve done research about the cast and directors, researched the project, read the scripts a few times. All those little things make a huge difference. I’m dyslexic as well, so I have to work a little bit harder.

Your first role was in ‘Shadow and Bone’. What were some of the biggest lessons you took from that experience?

That was an amazing experience. I was filming in Budapest for six months and that was my first time ever being away from home for a job. One thing I learned is to be kind to everyone. It’s such a big set with people working in hair, make-up, costume, the producers, the other actors. It’s a big village of people to make this story happen. Being kind to everyone is so important, it goes a long way. It’s the things outside of the actual acting that really help.

Were you more of a stage actor at drama school, and if so, what was it like working on screen?

We did a few modules on screen, but it’s definitely more stage at LAMDA. Ben Barnes was the lead of the whole show and he was so nice. In every scene, he was just so present and when I wasn’t called, I watched him doing his scenes and he would have such a control over the room. He was so generous with his fellow actors and he really listened. I’d just graduated from drama school and I was really mesmerised by how comfortable and at ease he was on set. I think he really helped me find that, too.

What was it like working with lots of green screens?

At drama school, we used [the] Michael Chekhov [technique], where we used our imagination to see pigs in the sky or snakes on the ground. So, when I’d have to see monsters coming at me and I had a prosthetic arm that was ripped open by this monster, that really helped – because I’d done all that work at drama school using my imagination.

Alistair Nwachukwu / Image credit: AKTA Photography

How has your definition of being a scene partner evolved after working with people like Ben Barnes and Miriam Margolyes in ‘A Friend of Dorothy’?

It’s definitely evolved working with Miriam because she uses her heart. She’s got such a big heart and she’s so open and warm. She drops into this level of vulnerability that makes you, as a performer, drop into your level of vulnerability as well. Lee Knight, the director, created this amazing space for us to really play and be vulnerable and see each other. The combination of Lee and Miriam made it possible to just really go from the heart.

Lee is probably the best director I’ve ever worked with. I think, because he’s an actor, he really understands how we work. He’s an actor’s director, for sure, and it was such a joy working with him. He’d see little things in me and push me to go a bit further. 

Casting director Tom Payne said there was a moment in your audition for ‘A Friend of Dorothy’ where they all knew you were the actor for the role. What was your perspective on that audition process?

I was nervous being in that room! I had no idea that Miriam and Stephen Fry were attached. It was an open casting call. I wasn’t really working that much so I thought, “Let me just send a self-tape in.” And then they invited me into the room for the final round. 

All the producers were there, the casting directors were there, Lee’s there. I did the scene once and they’re like, “Okay, it’s fine.” And then Lee directs me and then something shifts inside of me. I can’t remember exactly what he said, but it just landed on me and when I looked at my scene partner again to do the scene, it was just all there. She got emotional, I got emotional and then the room went silent. In that moment, I still thought, “Okay, let’s see what happens.” Lee told me afterwards, when that happened, they all knew I got the job.

How did you and Miriam build a bond that’s so apparent when you’re on screen together as ‘JJ’ and ‘Dorothy’?

We had a Zoom call with Lee a week before and we just chatted about life. I spoke about my journey, how I got into acting, and she spoke about her journey and how she got into acting. And then we met in person on set and I think Lee just did an amazing job of making sure that we were always in conversation with each other. She would invite me to her changing room and talk to me about her life and would feed me these little snacks that she likes to eat. She’s just a really open book. When she likes you, she really takes you under her wing, so when we were on set, it was so easy because we’d created this bond. She’s so nice. We’re friends [now] and WhatsApp all the time.

Miriam is famously candid. How did her energy help you find the vulnerability you needed for your character?

In one of the scenes, she said to me, “We’re in this together.” And she held my hand before we did the scene. What I got from that is that I don’t have to do anything, I just need to be present, look her in the eyes, say these words and mean them. And she just has to do the same. It’s like a love story between us, it’s beautiful. We only filmed for four days, but it was so magical. I’ll never forget it. 

What was the point when you realised ‘A Friend of Dorothy’ was an Oscar contender?

When it won at the Indy Shorts Festival, I thought it might potentially go on the [Oscars] long list. And then it got on the long list, and then it got on the short list and I was like, “No way, it’s going to be nominated?!”

There was a specific date [the nominations were announced] and I was waiting up all night and then it got nominated for an Oscar. We all couldn’t believe it. Four days of filming – now we’re at the Oscars. Unbelievable. 

What’s your take on the industry at the moment?

I’ve got a lot of friends who’ve just graduated from drama school and they’re finding it really hard to get their foot in the door. It’s difficult because I hear from my agent that there’s not a lot of jobs, that the industry is quiet and I hear from other people that [productions] just want faces. They just want names, people who are already established. So it’s difficult. And there are so many actors in the UK. It’s tough. I think more people deserve hope.

What ambition do you have for yourself as an actor?

I want to keep on working, doing stage, film and TV and telling powerful stories that really matter like A Friend of Dorothy and The Boy Who Harnessed The Wind. I’m open to anything that comes. 

A Friend of Dorothy is being turned into a feature length film. Lee’s developing that right now, so it’ll probably end up being filmed next year.

What advice would you share with actors reading this?

Don’t compare yourself to others. As the saying goes, comparison is the thief of joy. Everyone’s journey is completely different so try and find the joy in being able to act and play. I know that’s quite difficult. When I came out of drama school, I thought, “I need to get this agent and to do this TV show, I need to be at the National.” But thinking all that takes you away from why you love it. 

Quickfire Questions:

• If you could have a chat with any actor, past or present, who would it be and why? Sidney Poitier, because he’s a legend who did so much for the Black community. He opened up so many doors for so many actors that I look up to and he’s an amazing actor. 
• What would you be doing if you weren’t acting? I’d be a footballer or maybe a football coach.
• One song that perfectly describes your mood today: It’s really sunny outside and we were talking about Stevie Wonder, so maybe, Isn’t She Lovely.
• Best advice you’ve received from someone in the industry: Don’t take yourself too seriously.
• What’s something you’ve watched or listened to that you’d recommend? Bryan Cranston’s advice for actors. It’s on YouTube. It’s amazing.

As Alistair prepares to take The Boy Who Harnessed the Wind to London’s @sohoplace and looks toward a feature-length adaptation of A Friend of Dorothy, his trajectory remains firmly upward. Yet, despite the Oscar buzz and RSC leads, he remains grounded in the discipline of the craft. 

By focusing on joy rather than the pressure, Alistair serves as a powerful reminder that while the journey to the stage may be unexpected, staying present is what keeps you there. For an actor who once thought his career ended on a football pitch, it’s clear that Alistair Nwachukwu is only just beginning.

Key takeaways:

• Treat your preparation with the same rigour as a professional athlete. Being off-book, researching the creative team, and arriving on time aren’t just polite – they’re the foundational habits that build a professional reputation.
• Don’t let a lack of formal training in a specific skill (like musical theatre) stop you. Alistair moved past imposter syndrome by committing to six months of intensive singing lessons to prepare his voice for an eight-show week.
• Whether working with green screens or legends like Miriam Margolyes, the job is the same. Stay present and speak from the heart. 
• Avoid the “thief of joy” that is comparison. Focus on the play and the storytelling, rather than the external pressure of landing a specific agent or credit by a certain age.

Take a look at our website for more interviews and advice from casting directors.

The post Alistair Nwachukwu: From Man of the Match to A Friend of Dorothy appeared first on Spotlight.

The new Spotlight profile has been redesigned around the way you work. Our goal was to eliminate friction, helping you get a clearer – and faster – picture of a performer. This guide explores the key enhancements and how to customise your workspace.

In this guide, you’ll:

• Learn how to customise your default profile layout to suit your specific workflow.
• Discover how to access showreels and audio clips instantly without extra clicking.
• Understand how to use new identity features like pronouns and name pronunciation.
• Find out how to navigate the refreshed media gallery and skill indicators efficiently.

1. Tailor Your View

You now have total control over how you digest a performer’s information. Your preferences are saved to your account, so the layout remains consistent every time you log in.

• Custom Layouts: Choose your starting point. You can set your default view to lead with a large headshot for a visual-first approach, or go straight to media to prioritise showreels and audio clips.
• Dark and Light Mode: Toggle between a crisp light mode and a sleek dark mode via the top navigation. While the system defaults to dark mode, your selection will be remembered for your next session.

2. Get Immediate Media Access

We’ve removed the need to ‘hunt’ for reels. The new media section is unified and designed for multitasking.

• No-Scroll Showreels: The most relevant videos and audio clips are now visible the moment you open a profile.
• Persistent Playback: Media will continue to play even as you scroll down to check credits or skills.
• Flexible Viewing: Utilise a 3×3 grid view, full-screen mode, or picture-in-picture to suit your specific screening process.
• Headshots: Browse the gallery without leaving the page. Photos now scroll in-line; simply click to expand for a high-resolution view.

3. Enjoy Key Performer Details at a Glance

Essential information is now positioned exactly where you need it – at the top.

• Pronouns and Pronunciation: Greet performers with confidence. Pronunciation guides and pronouns are now displayed prominently next to the performer’s name.
• Highlights (formerly ‘About Me’): This section now appears directly below a performer’s name and allows them to draw your attention to key information you may need about current productions they’re in, awards, reviews etc. If a performer has a longer bio, simply click ‘More’ to expand it.
• Instagram Integration: See a different side of a performer’s personality and additional talents. If a performer has linked their Instagram, you can access their profile in a single click.

4. Review Streamlined Credits and Skills

We have refreshed the visual hierarchy to make scanning long profiles effortless.

• Segmented Credits: Each credit heading (e.g., Stage, Television, Film) now appears as an individual section for better legibility, however you can still opt for a list view if this is your preference.
• Skill Labels: Skills are now displayed as clean, easy-to-read ‘pills’ (labels).
• Proficiency Indicators: Look for the star symbol next to a skill; this indicates a high level of proficiency or a native ability.

Tip: Spend a few minutes in your Account Settings today to set your preferred default view and theme. Setting these now will ensure your workflow is optimised for your next casting session.

Get in Touch

If you notice anything that doesn’t look right or isn’t functioning as expected, please get in touch with our Support team at questions@spotlight.com. For further technical guidance and FAQs, you can also visit our help centre.

The post The Casting Professional’s Guide to the New Spotlight Profile appeared first on Spotlight.