{"id":1611,"date":"2017-03-06T14:42:19","date_gmt":"2017-03-06T14:42:19","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=1611"},"modified":"2026-02-09T15:24:57","modified_gmt":"2026-02-09T15:24:57","slug":"the-national-youth-theatre-rep-season-an-insider-guide-to-training-at-the-nyt","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/training\/the-national-youth-theatre-rep-season-an-insider-guide-to-training-at-the-nyt\/","title":{"rendered":"The National Youth Theatre Rep Season: An Insider Guide to Training at the NYT"},"content":{"rendered":"<h3>A chat about the NYT&#8217;s programme for actors<\/h3>\n<p>The\u00a0<a href=\"http:\/\/www.nyt.org.uk\/\">National Youth Theatre<\/a>\u00a0offers a variety of opportunities for young performers looking to hone their craft. None is so recognised as their rep season: 15 students train for 9 months, learning essential skills and performing a season of shows at the end of the programme. Spotlight spoke to Nathaniel Wade, alumnus of last year\u2019s NYT rep season, about the benefits of this experience.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Thanks for talking to us Nathaniel! Let\u2019s start with the basics: why acting?<\/strong><\/p>\n<p><strong><span class=\"imgRight\"><img decoding=\"async\" class=\"image-replace hoverZoomLink\" src=\"https:\/\/res.cloudinary.com\/spotlightuk\/image\/fetch\/w_800,c_limit\/https:\/\/spotlight-cmsmedia.s3-eu-west-1.amazonaws.com\/media\/1462\/nathaniel.jpg\" alt=\"\" data-src=\"https:\/\/res.cloudinary.com\/spotlightuk\/image\/fetch\/w_{width},c_limit\/https:\/\/spotlight-cmsmedia.s3-eu-west-1.amazonaws.com\/media\/1462\/nathaniel.jpg\" \/><\/span><\/strong>I like telling stories and I didn\u2019t know in school that [acting] was what I wanted to do. I was falling over in class and seeing if I could trick the teacher into thinking I\u2019d actually hurt myself \u2013 a lot of the time it was very successful! \u2013 and I didn\u2019t know that that was my way of wanting to perform and act. Throughout school I did school productions but it was only in Year 12 that I thought I knew what I wanted to do. And the school environment wasn\u2019t helping me do it. I didn\u2019t leave school or anything but I remember thinking, \u201cWhy am I here? I want to be an actor!\u201d It wasn\u2019t clear how I was going to get there so I started applying to drama schools. I googled acting classes and NYT was the first thing that came up.<\/p>\n<p><strong>So a Google search was a big factor\u2026!<\/strong><\/p>\n<p>They were the best \u2013 they came up first for a reason. I asked around and friends all said \u201cYou have to do NYT!\u201d It seemed like the logical thing.<\/p>\n<p><strong>What was the process after you found out about NYT?<\/strong><\/p>\n<p>I was so keen to get in! I\u2019d done all this research and I really wanted to be a part of it. I was so worked up about the audition and I knew it\u2019s about being generous in the workshop. It\u2019s not about how good you are as an actor, it\u2019s about giving to other people, being generous in the space. Telling the story. Things like that! Which is their ethos: it\u2019s about the ensemble, it\u2019s not about how I feel. So I kind of remember going into the workshop thinking, \u2018I\u2019m going to go have fun, be generous and give as much as I can\u2019. I didn\u2019t think of it as an \u201caudition\u201d. I was really excited and wanted it so much.<\/p>\n<blockquote class=\"quoteMacro style1 noAuthorImage\">\n<div class=\"quoteText\">\n<div class=\"quoteTextInner\">\u201cIt\u2019s very very life changing, and you hear people say that all the time. It sounds clich\u00e9 but actually it\u2019s true.\u201d<\/div>\n<\/div>\n<footer>\n<div class=\"quoteAuthorInformation\">\n<div class=\"quoteAuthorName\">Nathaniel Wade<\/div>\n<\/div>\n<\/footer>\n<\/blockquote>\n<p><strong>What about when you found out you were in?<\/strong><\/p>\n<p>When I did get in I was lying\u00a0down and I saw the email on my phone \u2013 I just ran around the house shouting! Because I really wanted to be a part of this thing and experience it \u2013 I\u2019d heard so many stories and now I was going to be a part of it.<\/p>\n<p><strong>What was your experience of the mentorship offered? NYT\u2019s Rep programme\u00a0is pretty famous for amazing mentorship!<\/strong><\/p>\n<p>Specifically for rep, each of us gets an industry professional as a mentor. I had Gbolahan [Obisesan] who directed Cuttin\u2019 It. He has been a brilliant mentor to me. Others had Wendy Spon, head of casting at the National, and Gary Davy \u2013 it stops you comparing yourself to the industry people and thinking, \u2018Oh, they\u2019re all the way up there and I\u2019m down here\u2019. NYT helps to scrap the gap \u2013 they\u2019re just normal people like you or I. I think you don\u2019t get that anywhere else. It\u2019s brilliant because they come back and give their time for free. They do it because they want to be there, they want to give their time, most of them are from NYT as well.<\/p>\n<p><strong>That must be a great feeling \u2013 particularly since a lot of artistic pursuits tend to feel a bit lonely at times. That\u2019s something I notice just being at the NYT &#8211; their passion permeates everything\u2026<\/strong><\/p>\n<p>Everyone in the room is so on it, so alive \u2013 not in an arrogant way, just in a giving way. Like we\u2019re going to create something amazing together and make great memories.<\/p>\n<p><strong>Was there any advice you got from your mentor that you thought was particularly important?<\/strong><\/p>\n<p>Gbolahan taught me to continue to be hungry, to continue learning and be curious. I think it\u2019s very easy for actors (as you get to different stages of your career) to think, \u2018Ok, I\u2019m here now!\u2019 It\u2019s easy to forget what you were learning or to keep going. Gbolahan taught me to continue to be curious about the world, people-watch all the time \u2013 these are all people you could potentially be playing. He encouraged me to study particular mannerisms, how people walk and talk.<\/p>\n<p>I remember there was a particular character from a play that he had written, Mad About the Boy \u2013 at the time I felt the character was very far away from me so I felt I didn\u2019t know how to do it. He encouraged me to just go for it. Get out of your own head and embody it. That specific performance was a massive turning point \u2013 it made me believe that I could play anything if I put my mind to it, if I fully commit myself to it and stop analysing too hard. How do you know you can\u2019t do it unless you properly immerse yourself into it?<\/p>\n<p><strong>Talk me through the rep training programme \u2013 it sure sounds like a hell of a lot of work\u2026!<\/strong><\/p>\n<p>It\u2019s over roughly 8 months \u2013 at the beginning you do training, then you get cast in the shows, then you rehearse and then do the shows. I just think the great thing about it is that it is so condensed and so quick. You get out of it what you put in. If you turn up half an hour every day before it starts and put into practice the vocal stuff that you do, or you do some yoga or you practice that exercise or breaking down a text, you will come out of it and you will feel prepared.<\/p>\n<p>By the end you will feel like you can carry yourself in auditions and execute your skills in a good way. I think that\u2019s what I learned most from rep: I am confident and comfortable in those situations now. I don\u2019t think I would have been able to do that before \u2013 I would have just been like, \u201cOh my god, there\u2019s the casting director\u2026!\u201d and now I think, \u201cYou know what? This is what I can do, this is my craft. If it works for you, great. If it doesn\u2019t, fine!\u201d<\/p>\n<p><strong>What about the performances? You do quite a lot of performing at the end of the programme &#8211; what did you learn from that experience?<\/strong><\/p>\n<p>Stamina. And also, working under pressure! Which I think is cleverly done by NYT, because in the industry, you don\u2019t get a lot of time to prepare for roles. You get (if you\u2019re lucky) two to three days \u2013 sometimes you only get one day. It really prepared me to be able to learn lines, action it. To figure out, &#8220;What do I want from this scene? Where have I come from? What am I trying to do?&#8221; And yeah, just the stamina of performance. When you\u2019re doing 3 shows for two and a half months and one night it\u2019s Shakespeare, the next night it\u2019s completely different\u2026 there\u2019s no time to be like\u00a0<em>uhhh<\/em>! Just bold choices and straight on to the next one.<\/p>\n<p><strong>What was the biggest challenge during the programme?<\/strong><\/p>\n<p>I know it\u2019s great and the text is beautiful, but I find performing Shakespeare very\u00a0<em>very<\/em>\u00a0hard. Specifically playing Paris was a huge challenge for me. Those are the biggest learning curves though, aren\u2019t they? That taught me a lot and it taught me that there is still so much to learn \u2013 you\u2019re never going to stop learning, so stop stressing! You\u2019ve never going to get to a point where you\u2019re like &#8220;Ok, I\u2019m an actor, I\u2019m done&#8221;<\/p>\n<p><strong>And since finishing the 2016 rep season, what have you been up to?<\/strong><\/p>\n<p>I\u2019m very fortunate \u2013 I signed with Waring &amp; McKenna. I got signed halfway through rep. They\u2019ve put me forward for a range of roles in film, TV and theatre. I think the biggest one was the first meeting they got for me \u2013 it was during rep season and I was stressing, thinking \u201cOh my god! I\u2019ve got lines to learn!\u201d But it went really well and I learned so much from it. It allowed me to be more confident in myself and present my work and be proud of it.<\/p>\n<p><strong>I can imagine \u2013 imposter syndrome is a common thing that affects a lot of creatives\u2026<\/strong><\/p>\n<p>Absolutely. I think the great thing about NYT as well is that they give you a great mind-set to be a surviving actor as well. To know what to do when you\u2019re not getting auditions or you\u2019re not in a job. You have an amazing network of people \u2013 writers, directors, dancers, singers \u2013 I don\u2019t understand how you would not make use of it, go to your peers and create some work. Most the time, they let you have the space for free too. And I think that\u2019s brilliant. It\u2019s a massive support network when you\u2019re going through bad periods, a kind of support that you can\u2019t find in other places. Great survival techniques \u2013 I\u2019m surviving! You have to be [tough] or this industry can eat you alive.<\/p>\n<p><strong>Any last words for those thinking of auditioning?<\/strong><\/p>\n<p>A lot of people don\u2019t think about training when they think rep \u2013 they think \u201cagent\u201d. It\u2019s about so much more. It\u2019s about being a surviving actor and knowing what to do, when you do get that audition, so you\u2019re confident enough to actually execute well. It\u2019s about the training. Obviously, agents help! But rep is such a unique way of working and training and you grow with these 15 other people. For me I learned so much by watching other people \u2013 everyone\u2019s so different. Embrace it, take it on &#8211; I think that is a brilliant way of learning. If it scares you, it\u2019s gonna be great \u2013 you\u2019ll come out a totally different person.<\/p>\n<p><strong>What would you like to do next?<\/strong><\/p>\n<p>Star Wars. I\u2019m just gonna be real! I have done a lot of theatre in the past, and I do want to get film and TV experience. The process intrigues me \u2013 it\u2019s so different to theatre \u2013 and I want to experience it first-hand.<\/p>\n<p>&nbsp;<\/p>\n<p>We\u2019ve no doubt that we\u2019ll be seeing a lot more of Nathaniel soon! If you\u2019re curious about the NYT Rep programme, it\u2019s not too late to audition. Last chance to join the National Youth Theatre in 2017 \u2013 apply now\u00a0<a href=\"http:\/\/www.nyt.org.uk\/auditions\">here<\/a>.<\/p>\n<p><em>Nathaniel Wade Headshot: Alex Norton\u00a0\u00a9<\/em><\/p>\n<p><em>Header image: NYT Rep 2016 performing &#8216;Pigeon English&#8217;:\u00a0Helen Murray\u00a0\u00a9<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A chat about the NYT&#8217;s programme for actors The\u00a0National Youth Theatre\u00a0offers a variety of opportunities for young performers looking to hone their craft. None is so recognised as their rep season: 15 students train for 9 months, learning essential skills and performing a season of shows at the end of the programme. Spotlight spoke to [&hellip;]<\/p>\n","protected":false},"author":31,"featured_media":2837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[59],"tags":[85,107,81,70],"class_list":["post-1611","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-training","tag-christina-care","tag-london","tag-theatre","tag-young-performers"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>NYT Rep Season: An Insider Guide | Spotlight<\/title>\n<meta name=\"description\" content=\"Nathaniel Wade shares an insider\u2019s look at the NYT Rep Season, covering auditions, West End shows, and training for a career in acting.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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