Kelley Costigan: 'If I were to start again, I would be braver in networking with other actors'

I got my first theatre job in 1988 with the New Jersey Shakespeare Festival, after finding the auditions listed in the trade papers. I’d wanted to do Shakespeare from a young age – my father was an English teacher who specialised in Shakespeare. I applied for an apprenticeship, sent off my headshot and CV and got an audition.

I did one speech by Juliet and one by Lady Percy. They were warmly received and I was accepted into the company. As an apprentice, I would be understudy, play small roles and have to muck in on the technical side, as well as go to classes in stage combat, commedia dell’arte and a bit of voice work, and do rehearsals. I ended up working in wardrobe, hair and make-up, which was fun and the kind of thing I did at university. The days were long but enjoyable.

I was excited by the chance to work with the same actors in different plays throughout the summer and autumn (I returned the next season). It was educational to watch how they worked from play to play. I understudied Ophelia and there was an understudy performance that many of the main cast attended. They were very complimentary, which made me feel I was on the right path.

We would go to a pub after the show, but I’d sit quietly and listen, not really joining in unless someone directly addressed me. I was quite shy in company. If I were to do it again, I would be braver in forging relationships and networking with other actors.

Anyone who wants to go into acting should have interests outside the business, otherwise they can get very bitter when things don’t go well. No one owes you anything. If you are creative, you will always find a way to be creative. Never stop learning. Never stop becoming. Go to museums, read books, watch great performances, walk in the great outdoors, travel. These things feed your soul and creativity. When you experience life, you bring so much more to your acting.

CV Kelley Costigan

Age: Undisclosed
Trained: Hofstra University, British American Drama Academy
Theatre credits include: A Midsummer Night’s Dream (Theatre-910); The Dark Horse, Why Will You Say That I Am Mad?, The Dutch Lady (all FRED Theatre)
Audio credits include: The Warwickshire Land Army (BBC); Real Boy, Backdrop, The Susie House (audio dramas)
Agent: Self-represented