Graduate focus | The Stage Debut Awards winners on how they got their first jobs

Isobel Thom, actor

The stars truly felt as though they aligned to give me the opportunity that was my first job, in I, Joan. I was in my final year of training at the Royal Welsh College of Music and Drama and I was approached directly by Shakespeare’s Globe as they searched for non-binary actors.

‘The lack of professional expectation actually really helped me’

I ended up doing three rounds of auditions in a process that lasted just under four months and included interviews, text work, singing and movement. It all felt a little nerve-racking at first – I hadn’t even graduated yet, I had no idea what a professional theatre audition would actually be like, if there were lots of secret rules I wouldn’t know – but luckily I felt very welcomed, supported and taken seriously by everyone I met with.

Looking back, I think the lack of professional expectation was something that actually really helped me. I was a student having to throw myself in to new things with different groups of people all the time, and so treating the auditions like a class or workshop (sure, one that I just so happened to be doing with professionals at a leading theatre) relaxed me a great deal. Students know the shape of that – and it’s an idea that has helped me innumerable times since.

At their core, I do still feel auditions are just that – an opportunity to work with new people, see how you gel together creatively, try new things, do the job we love. Be yourself, don’t prove yourself.

Andrea Scott, video designer

In early 2022, I was working with video designer Finn Ross on a few other productions when he mentioned that My Neighbour Totoro was happening later in the year and asked whether I was interested in coming on board for it, too. It was a hugely exciting opportunity as I have always loved watching anime and animation films, so bringing something as iconic as My Neighbour Totoro to life on stage was a chance not to be missed. I started working on Totoro as the associate video designer, and my role changed to co-video designer throughout the production process.

For anyone graduating – or even interested in working in the theatre – I would say do not be shy about getting in touch with people from the industry. You will find many individuals, whether they are creatives or part of various technical teams, who will be willing to have a chat.

Shan Ako, actor

The casting directors for Les Misérables reached out to my manager directly, having seen me on The X Factor. They wanted me to audition for the all-star stage concert of Les Misérables for the role of Éponine as well as for Eliza in Hamilton. I knew Hamilton really well but I have to admit I wasn’t familiar with Les Misérables, not having studied musical theatre – instead, I had a music degree. But you have to be open to unexpected turns in your journey, as they often lead to the most rewarding experiences. I wasn’t ready for Eliza back then, but Cameron Mackintosh and his team believed that I was ready and right for Éponine.

‘I felt supported and guided and prepared throughout the audition process’

It was because of that belief that the audition process was incredible. I felt supported and guided and prepared throughout. Cameron and his team were and are amazing. It was more of a workshop experience than an audition. I received notes and direction before I met two other cast members a few days later, for my final run-through to ensure the vocal blends were on point. Michael Ball once told me there’s no better West End debut than Les Mis – and he was right.

Tingying Dong, sound designer

In spring 2021, I did my first main-house sound design at Theatre Royal Stratford East. My role originally was associate sound designer, but due to availability, I was promoted to sound designer, with a very established sound designer – Christopher Shutt – mentoring me. It was a job well done, and therefore I was recommended to director Lyndsey Turner for After the End at the same theatre for a similar arrangement with mentor Paul Arditti, which opened in spring 2022.

‘It was a job well done, and therefore I was recommended to others’

It was a lovely collaboration, so after that show, Lyndsey checked my availability for sound-designing her production of The Crucible at the National Theatre that autumn season. The sound system in the Olivier is complicated and requires a lot of experience, so a plan was worked out that Paul and I would split the sound-design responsibility, with him designing the system and me designing the content.