The U.K. is a vibrant and active production hub, with a smaller talent pool and less competition than Los Angeles or New York.
Make no mistake, acting is a tough gig wherever you may live, but the scene in London is very different scene.
American casting director Jennifer Presser moved to London years ago, and has forged a thriving career there, and not just with her excellent podcast, Tipsy Casting, which she does with Jessica Sherman. She has her finger on the pulse of the London casting scene, and was happy to sit down to talk about it with Casting Networks.
Key Insights
- London currently has a strong production market and a smaller talent pool than major U.S. hubs, but competition remains tough for actors at every career level.
- Drama school is no longer the only route into the London acting industry, but training, representation and relationships can significantly improve access to substantial roles.
- American actors interested in working in London need the proper visa and sponsorship, making immigration requirements one of the biggest barriers to entering the U.K. market.
What does the London acting industry look like right now?
The smaller acting pool does actually benefit actors, as there is a huge amount of production happening in the U.K. right now. “We have more work here than I think the states does right now,” Presser says, “And, we have a lot more independent film, so it’s just a matter of what actors are willing to do and what their agents think they are willing to do, because all the budgets here have adjusted.”
That said, there are always a lot more actors than roles, and things are tighter than they used to be.
“I’m friends with a lot of actors over here across all the spectrums,” she says, “and even people who should be offer only, who have led feature films and things like that, they’re wondering what’s going on. Middle-class working actors seem to be working really well and are auditioning all the time.
Newer actors are really struggling to get into rooms. Some of my friends who are amazing actors who have very long resumes, have been in the industry for 20 years, they read all the time, but they can’t quite get over that line of actually booking. But in their brains, they think, ‘At least I’m auditioning, because it sounds like LA and New York are just dry.’ So it’s a better market here, but it’s still not flourishing.”
Do you need drama school training to act in London?
Yes and no. The reliance on drama schools is much higher in the U.K. than in the U.S., as 75-80 percent of actors there pass through them. Things have changed somewhat over the last 15 or so years, as Presser observes, “Probably before 2010, you had to go to drama school,” as that was the only way into the industry. With the boom in streaming services and the explosion in content came new opportunities, and the floodgates opened.
“As a casting director here, you could pick people off the street because you needed more choices, and so that’s when it started integrating,” Presser observes. “These days, you don’t need to go to LAMDA or RADA, you can pick and choose how you want to become an actor. It’s more diverse in that aspect now.”
That said, the vast majority of actors who go through schools emerge with representation. Also, “It is a nice thing to know that when you go and see actors coming out of drama school, they have all the foundations you already need. I go to the showcases and productions and things like that, and I always find cool people, and they all have such a base because you’re not teaching them from the ground up. If you’re not going to do that, you really have to find your way in,” Presser shares.
How do actors who are new to London actually build momentum?
The short answer is, find your tribe. Get in with other actors who want to create, be it in short films or sketches, on stage, even making a small film of your own. If you’re into comedy, you can do shows at night and find the group that will do it with you.
“Take the group Talking People, for instance,” Presser says. “They focus on improv, and it’s such a tight group, they all work together, and make their own stuff. Once you get into your flow here of who you work well with, then you can start to build your career.”
Do you need an agent to start out in London?
The short answer is yes, though to do introductory work like student films and shorts, the things needed to get a career going, it’s obviously no. But if you want substantial roles, if it’s going to be on BBC or ITV or a streamer, then an agent is obligatory. Spotlight, the British version of Breakdown Services, allows actors to create their own accounts and check the self-represented box, and they are still able to see breakdowns at all levels. That said, a casting director is going to take you more seriously if they see an agency’s involved.
“It’s almost like a checkmark on our end,” she says. “Like, okay, somebody vetted them. It’s not like I’m sending somebody off the street who just woke up one day and decided to be an actor. I think that just gives us comfort, especially in this day and age where self tapes are still so prevalent, and we don’t get to meet you in person.”
To find agents, though, it’s no different from here, where you try to get a commercial agent or a lower-level talent agent who will put you up for commercials and shorts and the like.
There’s also the legendary Edinburgh Fringe Festival, which is just ending. “If you get a show together with your friends, I’ve seen so many people get signed off that,” Presser says.
“Almost every agent I know in town is up at Fringe at least at some point during the month, and I have a lot of friends who are un-repped down here who say, ‘Well, I’m going to go up to Edinburgh, do a show, or even just go and try to meet people,’ and that’s a really good way to at least get in front of people or understand who people are.”
Where can you find casting calls and auditions?
Spotlight is enormously helpful here, as they offer a lot of resources, such as workshops and Q&A’s with casting directors. Presser had a rep from Spotlight on her podcast who explained all the aspects that actors get outside of their profile when they sign up for the service, including mental health support, and free libraries of video content of past discussions with casting directors and agents.
There’s also social media. Follow casting directors on Instagram and Facebook, as they will often drop information to widen their casting net, especially for commercials. “A lot of times people will say, ‘Hey, we’re looking for couples to be a part of this commercial. Submit to this address,’ or even with some movies,” Presser says. “If you have some kind of unique talent, or there’s something unique about your background, they’ll always post it on Instagram.”
Then there are local film schools and creators, which can’t be summarily dismissed. “There are always new filmmakers trying to create,” Presser says, “You can be a part of those groups. It’s a longer game, but you’re then building relationships with people who are coming out, who will then hopefully continue to remember you and then put you on the radar.”
What is the practical reality of living and working as an actor in London?
The sad reality is that it’s sort off impossible to live anywhere as an actor these days unless you’re working. A lot.
“The few who can are the ones we see on everything,” Presser says, and adds with a laugh, “Or, they’ve been in it forever and bought their houses off Game of Thrones years ago or something.”
Most people have a second job, and live in outer London, just as so many New York actors are in the wilds of Brooklyn or Queens. The good thing is, the public transportation system in London is top notch, so, “It’s really about how much you mind sitting on trains,” Presser says.
Do you know your visa situation?
This is actually the trickiest part of working in London: getting permission to do so. And it’s not terribly easy to do so.
“I’ve gotten so many emails from actors who want to come and work here from the states, and they don’t understand immigration law,” Presser says, “so they think they can just come and work.”
But that’s not reality. Even as American companies are charging actors thousands of dollars and promising immediate work overseas, the truth is that there are a large number of hoops to jump through in order to do so. Agents will not sign you without a visa, as that is, as Presser notes, “fundamentally illegal and wrong.”
She talks about it on the podcast, and continues to get inquiries. To go to England and work, “you have to get a visa, you have to have sponsorship. It’s harder to get in here than it is in the states right now.”
Look into getting a Global Talent visa, and understand it will not be cheap. Also, you’ll need some juice behind you, a major role of some kind, as there are a lot of restrictions. Try working without these permissions, and you’ll be kicked out of the country and won’t be allowed back. Ever.
“I know actors are a bit desperate right now for any kind of work,” Presser acknowledges, “and there is so much more work here than there is in the states. But you have to be smart.”
Wrapping Up
London may offer more production activity and a smaller talent pool than some U.S. markets, but building an acting career there still requires patience, persistence and a realistic plan.
Whether you’re coming out of drama school, building experience through independent projects or considering a move from overseas, relationships, representation and a strong understanding of the industry can help you find your footing. For international actors in particular, knowing your visa requirements before making the leap is essential.
There may be plenty of opportunities in London, but as Presser makes clear, the actors best positioned to take advantage of them are the ones who arrive prepared.
