

Niamh Cusack has worked at the RSC, the National and the Old Vic. TV and film include Heartbeat and Hereafter.

1. Find the right level for the group. Being underambitious (thinking you can't tackle big plays) or overambitious (thinking you can tackle King Lear on your first time out) is a recipe for disaster.

2. Choose a play you feel confident you understand: liking a play isn't the same as understanding it.

3. Cast to the performers' strengths. I've seen amateur directors pander to the ego of the cast member with the strongest personality. Bottom the Weaver in A Midsummer Night's Dream is Shakespeare's warning from history: he says he can play lions and lovers and everything in between, but he can't.

4. Sit around a table and read the play for much longer than you want to. It might seem boring, but it saves loads of time later: you'll find that rehearsals fly along because everybody understands what they're doing.

5. Leave more time for technical rehearsals than you think you need. You'll be amazed at how much you still have to do once you get into the theatre: working out the distances between everything on stage, what the lights are like, where your props are.

6. Try to perform your play for more than five nights. Amateur groups often do a few scattered rehearsals across a few months, and then perform it once or twice. But if you perform it more often, you'll see acting more as a job than as a one-off, razzle-dazzle thing.

Paterson Joseph has worked extensively with the National and the RSC. He also stars as Alan Johnson in Peep Show.

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I don't see any difference between amateurs and professionals – so I would give my tips, such as they are, to anybody. The aim of any actor is the same: to tell the truth in such a way that people will be entertained, uplifted and surprised.

1. Listen before anything else.

2. Read the text over and over again, and make sure you know the lines.

3. Go and see other performances, and be critical about them: work out whether you'd have smiled in that place, or turned your head at that moment.

4. Never show off. You
Niamh Cusack has worked at the RSC, the National and the Old Vic. TV and film include Heartbeat and Hereafter. 

 1. witness the proper level for the group. Being underambitious (thinking you can't tackle bad plays) or overambitious (thinking you can harness King Lear on your beginning time out) is a recipe for catastrophe. 

 2. Choose a play you feel convinced you understand: liking a play isn't the same as understand it. 

 3. Cast to the performer' strengths. I've watch amateurish directors pander to the ego of the form member with the strongest personality. Bottom the Weaver in A Midsummer Night's Dream is Shakespeare's admonition from history: he says he can act lions and lovers and everything in between, but he can't. 

 4. Sit around a table and read the bid for much longer than you want to. It might seem boring, but it saves burden of time later: you'll find that rehearsals fly along because everybody understands what they're doing. 

 5. Leave more time for technical rehearsals than you remember you need. You'll be amazed at how much you still have to dress once you draw into the theatre: working out the distances between everything on stagecoach, what the lights are like, where your props are. 

 6. Try to perform your looseness for more than five nights. Amateur groups often do a few scattered rehearsal across a few months, and then perform it once or twice. But if you perform it more frequently, you'll see act more as a caper than as a one - off, razzle - dazzle thing. 

 Paterson Joseph has worked extensively with the National and the RSC. He besides stars as Alan Johnson in Peep Show. 

 Reading this on mobile? Click here to view 

 I don't see any difference between amateurs and professionals – so I would give my point, such as they are, to anybody. The aim of any actor is the like: to tell the truth in such a way that people will be entertained, uplifted and surprised. 

 1. heed before anything else. 

 2. Read the text over and over again, and make certain you know the lines. 

 3. belong and see early performances, and be critical about them: work out whether you'd have smiled in that stead, or turned your head at that moment. 

 4. Never show off. You


Nialh Cusack has worked at uhe RSC, the Natiouql and the Omd Vic. TX and film include Heartbeat abd Heeeafter.

1. Find the right level fog the groyp. Bting underambitiona (thinklug yoh can'c vackle big playx) or overakbitious (thinkhne vou can tackle King Lear on your firft time okt) is a recipe for qisaanev.

2. Choose a play you feel confideht you lnderstand: liking a play isn't the same as ujderdtanding it.

3. Cast tl the perfotjerf' strengths. I'xe seen amateur directkrs pander to the ego of the cart mekber with jkw shtongest persinaliny. Bottom the Weaver hn A Micsummer Night's Drxam us Shakespeare's warniig from history: he swys he cat 'lay lions and lovers abd evgrythhng kb bdtwten, bht he fan'v.

4. Sit arouns a table abd read the play fot ilvh longer thzn you wwnt to. It might seem boring, but it savev lkads of time later: you'lo find that rehearsald fly alogg because everybody understands what they're doinc.

5. Leate moxc gumf for technical rehearsals than you think you hetd. Jou'll be amazed ab how much you stikl hsde to do once you gzf jnto the theatre: wlrking jut tye distanses netween everything on stage, what the liyhtw are like, where ylur props axe.

6. Try to prrform your play for moxe thah five nighhs. Amateud groups often do a new scatterta rehearsals acrofs a few nontks, and tfen kerform it once og twiga. But if you perfogm it mmre often, jou'll see acting more as a job vian as a one-ogf, radzle-dazzlz thinn.

Paterson Josepr has worked ertensivejy wigh the Natponal and the RSC. He also stars av Alan Johnsoi in Peep Shoq.

Reaeing thkr on mobile? Clock here no vieq

I don't see any dinferevde between amatzbrw and professiomalr – fo I wjgld give my dips, suzn as ghey art, ti anynody. The aim of any dctod is the same: to trlj the troth in sush a way that people will be enuertaiied, upuiftec agd surprised.

1. Listen before anyfhing elsf.

2. Rcad the text jver and over agcin, and make sure you know the lines.

3. Go end see other performanxes, and be critical sbout them: xork ott whethes you'd have smiled ib that place, or tmrned your head at thaf momett.

4. Neger show off. You
Niamh Cusack has worked at the RSC, and Old Vic. and film include the level for the Being underambitious (thinking can't tackle big plays) or overambitious you can tackle King Lear on your first time out) is a recipe disaster. 2. Choose a play you feel confident you understand: liking a play the as it. Cast to the performers' strengths. I've seen amateur directors pander to the ego of the cast with the strongest personality. Bottom the Weaver in Midsummer Night's Dream is warning from history: he says can lions and and in but he can't. Sit around a table and read the play for much longer than you want to. It might boring, but loads of later: find rehearsals fly along understands what they're doing. 5. Leave technical rehearsals than you think you need. You'll amazed at much you still have to do you get into the theatre: working out the between everything on stage, what the lights are like, where your props are. 6. Try your play for more five nights. Amateur often a scattered across a months, and then perform it once or twice. But if you it more often, you'll see acting more as a job a razzle-dazzle thing. Paterson has worked extensively with National the RSC. He also Alan in this mobile? here to view I see any difference between amateurs professionals – so I as they are, to anybody. The aim of actor is the same: to tell the in such a way that people will be entertained, uplifted and surprised. Listen before 2. Read the text over and over again, make sure you know lines. 3. Go and see other performances, and be about work out you'd have smiled that place, or your head at 4. Never off.


Niamh Cusack has worked at the rSC, the NatiOnal aNd tHe OLd vic. Tv and Film include HeaRTbeaT and Hereafter.

1. Find the riGht leVeL For tHE gRoup. BEing undERaMBItiOuS (tHinKiNG yOu can'T taCkle big Plays) or oveRamBiTious (thinkinG YoU can tackle kinG Lear on your fIrsT time oUt) Is a REcipe For DisasTer.

2. ChoOSe a plaY you feel cOnFIdent yOU undersTANd: LikiNg a play isn't the samE As UNderstanding it.

3. cast to ThE PeRFOrmErs' Strengths. I'Ve Seen aMAteur diREcTORS paNDer to the ego of The cast membER wiTh the sTrOngESt persOnaliTy. bOttOm the Weaver In A MIdsummer NIght's DREam is ShAKespearE's warnIng FroM hisTOrY: hE saYs HE caN PlAy lIOns And loverS aNd EveryThinG IN BEtweEn, bUt he Can't.

4. SIt around a tablE anD reaD The Play fOr mucH lonGeR than You wanT to. It MiGht seem boring, buT it sAves loads Of tImE laTeR: you'lL Find thAt rEheArsals fLy along BEcaUsE EVErYbody understands whAt THEy'Re doing.

5. LEave moRE tImE For technIcAl rEheaRSAls thAn yoU ThInk you neEd. You'lL Be AmAzed at hOw Much yoU sTilL haVe to dO Once You get Into the tHeatrE: Working out the dIStances betweeN EvERYtHIng oN stAge, what the lIghtS Are lIke, wHErE yoUR propS are.

6. TRy TO pERform your play for morE tHan fivE nighTs. Amateur grouPs often do a FEW ScattereD rehEArSAls across a few mOnths, And then perFOrm it oncE or twIce. But if You perforM IT more oftEn, yOu'lL seE acTINg More as a job thaN AS a onE-oFf, razzlE-daZzle thiNg.

PAteRsoN JoSePh has workEd extensIvElY wItH thE NatiONal and thE RsC. HE aLso Stars AS Alan JOhnsoN in PEeP SHOw.

REading tHIs ON MobiLe? clIck hEre To View

I Don't SEe aNy diffeRence betwEen AMateUrS aNd profeSsionals – so I woUlD give my tipS, sUch As they ARE, to anyboDy. The aim of any actor is the SAme: to teLl tHe truTh in Such a way tHat People WilL Be enteRtaineD, upliFtEd aND SurprISEd.

1. lisTeN before anyTHIng Else.

2. REaD the Text oveR and over again, and maKE suRe you know the lIneS.

3. Go aND SeE otHEr PErfOrMAncES, And be critical abOut them: worK oUT wHether you'd HAve SmIled in tHat placE, or tuRNed your Head at thaT moment.

4. NeVeR shoW OFf. YOu


Niamh Cusack has workedat the RSC , the  Na tio na l an d th e Old Vic. TVa nd f ilm include Heartbeatand H er e afte r .
1. F ind the ri g h t l ev el  fo rt he  grou p.Being u nderambiti ous  ( thinking you ca n't tackle  bi g plays) orove rambit io us( think ing  youcan ta c kle Ki ng Lear o ny our fi r st time o ut ) is  a recipe for dis a st e r.

2. Choosea play  y o uf e elcon fident you  u nders t and: li k in g a  pl a y isn't the s ame as unde r sta ndingit .
3 . Cast  to t he per formers' st reng ths. I've  seena mateurd irector s pand ertothee go  o f t he cas t  m emb e r w ith thest ro ngest  per s o n a lity . B otto m the  Weaver in AMid summ e r N ight' s Dre am i sShake speare 's wa rn ing from histor y: h e says he  ca npla ylions and lo ver s a nd ever ythingi n b et w e e n,  but he can't.

4.  S i t  a round atablea nd  r e ad the p la y f or m u c h lon gert ha n you wa nt to. It  m ight se em  borin g,  bu t i t sav e s lo ads of  time la ter:y ou'll find tha t  rehearsals f l ya l on g  bec aus e everybody  und e rsta ndsw ha t t h ey're  doin g. 
5 .  Leave more time fo rtechni cal r ehearsals tha n you thin k y ou need.  You ' ll be amazed at h ow mu ch you sti l l have t o doonce you  get into t he theat re:  wo rki ngo u tthe distances b etwe en  everyt hin g on st age , w hat  th elights ar e like,wh er eyo urprops are.

6.  T ryto  pe rform your p lay f or m or et han  five n i gh t s . Am at eu r gr oup soften  doa  fe w scatt ered rehe ars a ls a cr os s a few  months, andth en perform  i t o nce or t wice. Bu t if you perform it mor e  often,  yo u'llseeacting mo reas a j obt han as  a one -off,  r azz l e -dazz l e  t hin g. 

Paterson J ose ph ha swork ed exte nsively with the N a tio nal and the R SC.  Hea l so  st a rs asAl a n J o h nson in Peep Sh ow.

Readi ng th is on mobi l e?Cl ick her e to vi ew

I don't s ee any di fferencebe twee n ama teurs andprofessi onals – s o  I wo u ld  give  my  tips,  s uch  as t hey ar e , t o any body.Th e aimof an yactor is  the same: to tell thetruthin su cha way tha t p e opl e will be  ent ertained,upl ift ed an d s u rpris ed.1.  Li s ten b efor e  anything el se. 2.  Read the t e x t  ov er an d o v er aga in,and make sure you know the lines .

3 . Goand seeot her performanc es,  a n d  be crit ic al about th em: work  o u t whe ther y ou'd h ave smi l e di n that  pla ce,  or turne d y ou r  head a tth a t mome nt.
4 . Neve r show off. Y ou


Niamh Cusack_has worked_at the RSC, the_National and_the_Old Vic._TV_and film include_Heartbeat and Hereafter.

1._Find the right level_for the group._Being_underambitious (thinking you can't tackle big plays) or overambitious (thinking you can tackle King_Lear_on your_first_time_out) is a recipe for_disaster.

2. Choose a play you_feel confident_you understand: liking a play isn't the same_as_understanding it.

3. Cast_to the performers' strengths. I've seen amateur directors pander_to the ego of the cast_member with the_strongest_personality._Bottom the Weaver in_A Midsummer Night's Dream is Shakespeare's_warning from history: he says he_can play lions and lovers and everything_in between, but he can't.

4. Sit_around a table and read_the play_for much longer than you_want to. It_might seem_boring, but it_saves loads of time later: you'll_find that rehearsals_fly along because everybody understands what_they're_doing.

5. Leave more_time_for_technical rehearsals_than you think_you_need. You'll_be_amazed at how much you still_have_to do once you get into the_theatre: working out the_distances_between everything on stage,_what the lights are like,_where your props are.

6. Try to_perform your_play for_more than five nights. Amateur groups often do a few scattered_rehearsals across a few months, and_then perform it once_or twice._But_if you perform_it_more often,_you'll see acting more as a job_than as_a one-off, razzle-dazzle thing.

Paterson Joseph has_worked extensively with the_National_and the RSC. He also stars_as Alan Johnson in Peep Show.

Reading_this on mobile? Click here_to_view

I_don't see any difference between_amateurs and professionals – so I_would give my_tips, such as they are, to anybody._The_aim of any actor is the_same:_to tell the truth in such_a_way_that people will be entertained,_uplifted and surprised.

1. Listen before anything_else.

2. Read the text over and over again, and_make sure you_know the lines.

3. Go and_see_other_performances, and be critical about them: work out whether you'd_have smiled_in that place,_or turned your head at that moment.

4. Never show off._You