Victoria Pugh - Actress
Welsh actress Victoria Pugh successfully juggles an acting career with family life. Much of her work is for the Clwyd Theatr Cymru, where she is now an associate member.
Can you briefly describe what your job involves?
Pretending to be someone else!
What type of productions do you work on?
I work mainly in theatre, off and on, at the Clwyd Theatr Cymru in Mold. I've also done episodes of TV series like Torchwood and Casualty. Now that I've got children it would be ideal to get more of this type of work. I was also the lead wife in a comedy series, and I was in Treflan for three years, which was filmed in Cardiff.
I also do adverts. These are mostly shot in London, but it only takes two hours on the train. he problem is you don't get enough notice of auditions. You're told they're casting in two days' time and you have to rearrange your life. People in London probably get more auditions because they live nearby. But I'm lucky - my agent is very specific and won't put me up for the wrong job.
Is it difficult balancing the demands of your professional life and your personal life?
Clwyd is a three and a half hour drive away, but my parents and in-laws live there so it's easier with the children. It's only possible because I know my children can be looked after. And Terry Hands, the Director, is always very considerate.
What are the typical hours?
In the theatre, rehearsals start at 10am and usually go on till 5 or 6pm. We occasionally do evenings as well. When I did my rep year, rehearsals would be 10 till 5 then I would be back for the performance at 6.30 till 10.30pm, every day except Sunday. You're rehearsing and performing at the same time. 've done it a couple of times since.
With TV it varies. I've also done occasional work recording scenes for an interactive Welsh language course, to accompany a BBC TV programme. Hopefully this will be on-going. Internet work wasn't around a few years ago. And I've done voice-overs a lot recently. You can spend a whole day in a little black box. Or an ad could be one hour or even just ten minutes, for the same money. It depends what it is.
What's the pay like?
It's not good money. An advert for an ordinary actress like me is usually about £250 per day and you get a percentage every time it's shown. ou can also get a buy-out fee, so it depends - that means you get one payment, but no more. My agent takes a percentage, which varies according to the work. TV rates vary.
Theatre is £450 per week, plus subsistence. If you're in a soap opera you can usually ask for more money. Theatre companies have to get bums on seats, so they'll use 'names' to get the press, which makes it more difficult for the 'Joe Bloggs' actor like me. It's quite refreshing at Clwyd - they're not like that. But I don't do it for the money.
What aspect of your work do you enjoy most?
It's varied - I never know what's coming up next. It's not a 9 to 5 office job. In Wales you tend to meet the same people, so that's nice. And I get a real buzz from being on stage and getting a reaction from the audience. Sometimes it can seem as if they're not really engaged, then suddenly you get a reaction and that's a great feeling.
With TV it's the challenge. I tend to get emotional parts so trying to get it right, and get it right first time, which is important in TV. And to be as natural as possible. I'd like to do more. I did a film last summer - The Blue Room - in Welsh. I was doing scene after scene, which is unusual in TV. It was good to do something so full on.
Are there any aspects of the job you don't like?
The money's crap. And organising your life around it is very difficult. I've got very flexible parents - without that I couldn't do it, I couldn't afford to. I'd have to go back to supply teaching. At the moment I can be a mum and occasionally go off to do other things. The last tour I did I was at home quite a bit and it was lovely. But without fantastic parents and in-laws I couldn't do it. You can't get flexible babysitters.
If I wanted to do your job, how would I go about it?
Go to Drama College. Start with amateur dramatics, school plays. If you don't love it, there's no point. If you haven't got a passion for it there's no point putting up with the lack of money, the humiliation of having to sign on for the dole, the insecurity, the rejection. If you're thinking about doing it for the celebrity or the fame don't do it. It's not about being famous. It's about enjoying the job - even the line-learning, which I don't like.
Is it necessary to go to Drama College?
Drama College gives you a good grounding. You get to meet people as well - other actors and they also get practitioners in - which can be good for future contacts.
Have you undertaken any further training?
I've had singing lessons, but they were expensive. Otherwise I've learnt by working. I've learnt so much from Terry Hands, especially about Shakespeare, and Tim Baker. There's a company in Cardiff that's starting to do workshops and I might go on some of those. I've been working so much with Terry and Tim that it would be good to get a different experience. But you've got to actually do it. It doesn't matter how many courses you go on, you learn by doing it.
I also do supply teaching and had to do a post-graduate degree for that. It's a good, flexible way to earn money. It's important to have another string to your bow.
Is it essential to have an agent?
A good agent can make a real difference to someone's career. Go for what works for you. Unfortunately my first agent died. Then my second didn't keep up with technology. The majority of castings come in via the internet now and it's a very competitive world, so you need someone with an edge. You also have to click with your agent - it makes a big difference. My agent is usually very busy, but I know I can ring her. Her partner has a strong business side and both women have drive and energy. I was one of their first clients, but it's now a very big agency. It's essential to find one that's right for you.
Apart from having an agent, how do you promote and market your skills?
A friend did a fantastic showreel for me - you have to finance that yourself, as well as your photos and audio. Spotlight works quite well. Word of mouth is also important. People who know you will phone up with work, but I always put everything through my agent. I know I couldn't get the things my agent gets me on my own.
I used to get PCR which was good for theatre in education jobs. I also get some information from Equity. And keeping an eye on what other people are doing - eg BBC Jam was a massive internet project that gave a lot of experience to people. Computer games is another area. The ability to do bi-lingual work as well. Courses can be good for networking.
Did you have any careers advice?
Not since the sixth form at school. I always thought that the drama school should do more to prepare people - just basic stuff, like how to fill in a tax return. You're classed as self-employed so you have to do that sort of thing yourself.
What has been the best piece of luck for you?
Getting the part of Curley's Wife in Of Mice and Men at Clwyd. They've employed me a lot since then, so getting in there. It's a fantastic company to work for.
What advice would you give to someone whose career needed a kick-start?
You should talk to your agent first. Check that your photos are working and that you're marketing yourself as much as you can. Get good voice tapes and a showreel if you're doing TV and make sure that it's what people want. And make sure you're in Spotlight. It's essential.
Contact Directors and say why you've enjoyed their production and ask if you can work with them. I got an interview with Tim Baker that way. I had written countless times and eventually he gave in and met me. People do tend to work with the same people. Going to see things can be expensive and difficult with childcare, but you should make an effort to do it.
Are there any other points you'd like to make?
Getting the job is key and that's about being good at the audition process. I've sat in on castings and it's interesting to see how people behave. How you present yourself is vital. You should be friendly, but not too friendly; be prepared and do your research. You can get a lot of information from the internet. And go dressed for the part or as close to it as possible. I know someone who borrowed building gear when he went for the part of a builder.
You've also got to know that play and that part. Badger people for the script beforehand and learn your lines. It also helps if you know people's work. If it's a new play it's more difficult, so it's more important to prepare. Some people go in quite cold, but you've got to show that you can work for people. Also, depersonalise it. You might not be right for the part or it could be a combination of factors. Handling rejection is about being realistic. You've just got to get your foot in the door first, then do your best.