Will the real artist please stand up?

Photo by Allec Gomes on Unsplash

I suffer from imposter syndrome. At any given moment I expect to be tapped on the shoulder and asked to vacate the chair, to make way for someone more skilled or experienced. The arts is an industry that fosters insecurity and I can’t think of many other professions where rejection is part of the job. Whether it’s as an actor or as a fundraiser, being told no on a regular basis is something you learn to deal with. I’ve also sat on both sides of the casting table and know how difficult and arbitrary some of the decision-making factors are when rejecting someone for a role.

We made it our mission at Ardent to bring outsiders in. It’s a catchy soundbite, but like so many headline-grabbing, jargony elevator pitches, what do we actually mean? Who are the outsiders and who is on the inside?

It goes back to the imposter syndrome. The feeling of looking in on something, of feeling out of place or not worthy. It’s often the result of differing factors such as dis/ability, ethnicity, sexuality, gender and age; and often it’s down to class. When your start in life is at the bottom of the economic ladder, there will always be someone better off and higher up looking down at you. Though the edges may be blurred, there is still a strong class system in this country that divides us into the haves and have nots. It’s hard to focus on building a career when the stark choice might be between the train fare to an audition or putting food in the cupboard. This applies to audiences as well as artists; if the ticket price doesn’t put you off, the travel costs and bar prices might. It’s a constant tug-of-war for companies trying to make their work affordable while avoiding bankruptcy.

If we are to make theatre a place where no one feels like an outsider, then we need to give those who feel on the outside a leg up; a bit of extra support to climb a few more rungs. It’s not about giving others an advantage; it’s about addressing the reasons many feel they are disadvantaged. One shift that has come out of lockdown is the widening of access to auditions and performances online; but that’s making an assumption everyone owns a smart phone or a tablet. 

We can only do what we can as we battle our own feelings of being the outsider, as artists and as a company. It’s the small things that can make the difference. An open door, an introduction, a hand in the pocket, a sharing of information. Give people the tools and they will build, in confidence and in their careers.

And if that hand does comes tapping on your shoulder, tell them politely the seat is already taken and offer them the one next to you.