‘Dear Class of 2020…’: A message to new drama graduates – Part Two

Graduating from a course or degree is always a momentous moment of change – but with the world in grips of a pandemic and the theatre industry almost entirely shut down, the Class of 2020 face additional challenges.

Here, in Part Two of a special two-part blog post, we asked some celebrated theatre-makers (and NHB authors) to offer some words of encouragement to all those now setting out from drama school or university. Read their thoughts below, and read Part One here.


Anna Jordan: ‘you have already achieved great things’ 

You are already amazing. You have already achieved great things. Getting to the end of an acting/theatre course at a drama school is no mean feat. It’s a test of your mental and physical ability, your spirit, your tenacity, your bravery and openness. I did it nearly fifteen years ago, so I remember (just!).

To do it in the face of COVID and all the challenges that it has brought is nothing short of exceptional.

A career in the arts is not easy. It was never easy and it’s going to be even harder now. You will have to do other things to supplement this. There is no shame in that. Find an additional career that doesn’t kill your brain, but is more reliable than acting/working in theatre/TV/film. Take time to cultivate it. Be creative and resourceful. Try to live a balanced life. I’m not saying make theatre your hobby – but understand that sometimes it might be your passion rather than the thing that pays the bills. It is possible to have two careers.

Surviving in the arts is bloody tough, but it can be the most rewarding and magical job in the world. Enjoy every moment. Wishing you love and strength.

Anna Jordan is a playwright, screenwriter, director and acting tutor. She won the Bruntwood Prize for Playwriting 2013 for her play Yen, which was subsequently produced at the Royal Exchange Theatre, Manchester, the Royal Court Theatre, London, and in New York. Other work includes Chicken Shop (Park Theatre, 2014),  The Unreturning (Frantic Assembly & Theatre Royal Plymouth, 2018) and Pop Music (Paines Plough & Birmingham Repertory Theatre, 2018). As a director she has worked at venues such as Theatre503, Soho and The Shed, National Theatre, and has taught, directed or written at numerous drama schools including Italia Conti, ArtsEd, RADA, LAMDA and Royal Central School of Speech and Drama. Her screenwriting credits include Succession (HBO) and Killing Eve (Sid Gentle/BBC). 


Nathan Bryon: ‘hopefully during this time, we will have moved forward’

Don’t worry – it will all be back to the ‘normal’ crazy industry soon-ish – and hopefully during this time, we have moved forward in many ways and, as an industry, we’ll start reflecting the world around us.

Until then, jump in ya PJs, watch some PROPER trashy reality TV (Selling Sunset on Netflix is FIRE), order some fried chicken, put some prosecco on ice, get yourself a Nivea rehydrating face mask, and pat yourself on the back because YOU MADE IT!

Nathan Bryon is an actor, playwright, screenwriter and author. As an actor, his credits include Some Girls (BBC), Benidorm (ITV) and one-man show Mixed Brain (tiata fahodzi and Paines Plough, Edinburgh Fringe). He has written for critically acclaimed Cbeebies’ animation Rastamouse, BAFTA Award-winning Swashbuckle and on all three series of Cbeebies’ BAFTA-nominated Apple Tree House, and has written plays including Mixed Brain (Edinburgh Fringe Festival, 2017) and Dexter and Winter’s Detective Agency (Paines Plough & Theatr Clwyd tour, 2019). He is also the author of a series of children’s picture books, published by Penguin Random House; the first book in the series, Look Up!, was shortlisted for the Waterstones Children’s Book Prize.


Declan Donnellan: ‘we have never needed you so badly’

You know this already but…

At the heart of making theatre is acting.

Acting is not just a job; it is also an art.

Acting, live acting, is increasingly important in an increasingly commoditised world.

For the actor says to the audience: ‘Sometimes I act being me, but sometimes I also act being someone else’ – it reminds us of a very important fact, that we are all many different things. Accepting this can keep us all a bit saner.

In fact, whenever in your life you feel a little bit fake, don’t feel alone or ashamed, it’s often the most precious part of you in revolt.

Only the ad men and politicians want you to believe you should be one thing.

None of us is.

Your job is not to tell the truth. Your job is to make illusions. You will make them as well as you can and you will try not to lie. You will end up lying but you must forgive yourself and try again better, tomorrow. In fact, if the illusion you share is good then it may help people to destroy delusions.

But art like love depends on equality, so we will not make good art if we place ourselves either below or above the audience.

Above all, hang on to your common sense and develop it. It is a better friend to you than logic ever will be.

Keep wondering what is the difference between acting and pretending.

You are not a luxury.

Acting and art is our way back to reality, away from a delusional world.

We have never needed you so badly.

Declan Donnellan is a director, adaptor and author.  With his partner Nick Ormerod, he is the co-founder and joint Artistic Director of Cheek by Jowl, for which they have created over 40 productions, performing in over 400 cities, across six continents. Other directing credits include work at the National Theatre (including the original premiere of both parts of Angels in America) and in London’s West End, as well as numerous international productions. He has received awards in London, Moscow, Paris and New York, including four Olivier Awards, a Chevalier de l’Ordre des Arts et des Lettres for his work in France, the Charlemagne award (shared with Craig Venter and Archbishop Desmond Tutu). He was awarded an OBE in 2017. Declan’s book The Actor and the Target, published in the UK by Nick Hern Books, has been released in more than fifteen languages, including French, Spanish, Italian, German, Romanian and Mandarin.


Andy Nyman: ‘before you know it, the business will be back’

Well, you definitely win the ‘weirdest graduation ever’ award.

Yes, you are entering a business that appears to be in freefall. Yes, the life you have trained so hard for will undergo changes that none of us can quite conceive of yet, and yes, it feels more unpredictable than ever.

But understand this: before you know it, the business will be back – and you and your phenomenal energy will be needed to keep it motoring with a fierce new vigor. So take this respite to stay physically and mentally fit and ready, because, trust me, you have a lifetime of fun and adventures ahead of you in this brilliant, insane business.

Andy Nyman is an actor, writer, director and magician. His screen credits include the TV series Peaky Blinders, Campus and Dead Set, as well as the films Severance, Death at a Funeral, The Commuter, Judy and Jungle Cruise. Stage credits include Hangmen (Wyndham’s Theatre, West End), Abigail’s Party (Menier Chocolate Factory and West End), Assassins (Menier Chocolate Party) and Fiddler on the Roof (Menier Chocolate Factory and West End; nominated for Evening Standard Theatre and Olivier Awards). He is a frequent collaborator with Derren Brown, having co-created TV specials such as Russian Roulette,The System, The Heist and The Event, as well as co-writing and directing most of Derren’s stage shows. Andy’s play Ghost Stories, co-written and co-directed with Jeremy Dyson, originally premiered at the Liverpool Playhouse before a transfer to the Lyric Hammersmith (both co-starring Andy), and has since seen enjoyed multiple West End runs and productions around the world. It was also made into a hit film in 2018, co-written, co-directed and co-starring Andy. His books The Golden Rules of Acting and More Golden Rules of Acting are published by Nick Hern Books.


Danusia Samal: ‘this is a time to take back control’

Congratulations! You’ve made it through three years of hard work, creative and personal challenges, and spine rolls. You’ve worn black clothes every day, spent every waking moment with the same people, been ripped apart and put back together, and now you are free!

Oh no, wait. There’s a global pandemic. Sorry about that.

I’m not going to lie. This is a hard career. The years ahead will be very hard. But with dark times also come positives. Drama schools confronting institutional racism and inherent discrimination? Artists and organisations uniting instead of competing? Actors asking each other ‘How are you?’ instead of ‘What are you working on?’ These didn’t feel possible before. And they are welcome changes we need to hold on to as we build a new normal.

Art has always adapted. In times of crisis it often flourishes and grows, especially at a grassroots level. This is a time to take back control. What is your story? What do you care about? What do you want to make? Question yourself. Question this industry. Find people to collaborate with. Your peers are your most valuable creative resource. Try something new. It might just work!

And do all this knowing, some days you may not be able to get up. And that is totally okay.

You are more than your last job, the agent you signed with, how many casting directors you know. You are uniquely, and brilliantly, you. Break a leg x

Danusia Samal is an actor, writer and singer. As an actor, her stage credits include work at the Royal Shakespeare Company, Royal Court, Shakespeare’s Globe, Soho Theatre and Manchester’s Royal Exchange. Her screen credits include Tyrant, Ghost in the Shell and The Great. Her play Out of Sorts won the Theatre503 International Playwriting Award, premiering at Theatre503. She also wrote and performed in Busking It – a gig-theatre show inspired by her experiences as a London Underground busker – which was commissioned by Shoreditch Town Hall and co-produced by HighTide, going on tour around the UK.


Antony Sher: ‘welcome to a beautiful and mad way of life’

Coming into this profession has always been a tough challenge. It requires enormous reserves of power, resilience, resourcefulness, inventiveness, calmness, patience, and, of course, talent. (A bit of good luck won’t go amiss either.) And that’s just what it’s like in normal circumstances.

For the Class of 2020, it’s all of the above, plus some. Well – good. If you can conquer the present obstacles, you are going to emerge very strong indeed. Not just in your career, but as a person. So, welcome to this beautiful and mad way of life – making theatre, films, TV – and wear your special badge with pride: ‘I belong to the Class of 2020.’

Antony Sher is an actor, author, playwright and artist. Much of his acting career has been spent with the Royal Shakespeare Company, where he has played Richard III, Macbeth, Leontes, Prospero, Shylock, Iago, Falstaff and Lear, as well as the leading roles in other plays including Cyrano de Bergerac, Tamburlaine the GreatDeath of a Salesman. Other stage credits include work at the National Theatre, London, Almeida Theatre, London, in London’s West End, Theatre Royal Bath and Crucible Theatre, Sheffield,  for which he has received numerous awards including two Olivier Awards for Best Actor.  His screen credits include The Wind in the Willows, Mrs. Brown and Shakespeare in Love. He has published novels and a book of his paintings and drawings; his books Year of the King, Year of the Fat Knight, Year of the Mad King, Beside Myself and Primo Time are published by Nick Hern Books.


Thanks so much to all of the NHB authors who took the time to be part of this blog post, and to those who contributed to Part One.

From all of us at Nick Hern Books, we wish all of this year’s graduates the very best of luck in their future careers, and hope that normal times and opportunities return as soon as possible.