[00:00:00] Whenever I'd receive a casting email from my agent, the first thing I would do wasn't research or checking my repertoire. It was always panic. 

Now, we might just see the same in our students, the ones who rush through the door and announce in a fluster that they've got an audition and they have to record a self tape. 

"But I'm not home alone!" one might cry, as another one, exclaims, that they're off to their aunty's this weekend who lives in the Outback . And another one that exclaims that the last time they did a self tape, they recorded 1,452 takes before they were satisfied. 

But it doesn't have to be that way. Thank goodness we have my pal, singing teacher and performer, Rebecca Luter on the podcast this week. Becca is here to help us understand that self-tapes aren't really that scary at all. And she gives her tips on how to create a well-produced stress-free self-tape wherever you are. 

Becca [00:01:00] Luter, welcome to the podcast. 

Alexa: Becca, I think that we would both agree that we bonded not over singing or being singing teachers, but because of the most spontaneous and delicious 'roastie toastie' sandwich that we've ever encountered, that we enjoyed at Mark and Spencer's cafe one lunchtime on our lunch break together. Can you just describe that from your point of view? 

Becca: I would, I'd say you're absolutely correct. A hundred percent. It's just the most incredible toastie you've ever had. When the dipping gravy, you've got the cheese, everything. It is just like home comfort, Turkey, cranberry sauce, stuffing.  

Alexa: Yeah. And we weren't even expecting to go in and, and find that. We were just, let's go to Marks & Spencer's and then we looked at the board, we're like, oh yeah, 'roastie toastie' sounds good. And then that was it. The bond, the bond was sealed. 

Becca: Forever made.  

Alexa: Self-tapes is something you are really [00:02:00] used to. You are still performing as well as teaching. Particularly since the Covid pandemic, it seems like self-tapes have become more common, especially for first round drama school auditions and professional jobs. 

How have you adapted to that?  

Becca: It is really difficult because sometimes it's lovely and it can be a great experience and other times... It depends on your timescale between self-tapes. So for example, if it's a really quick turnaround or for example, you're not in the environment that you would prefer to be or you feel that compliments you the best. 

For example, like there's been some times when I've been on holiday and I've had to do in the hotel room, you know, sometimes that things aren't as convenient as they could be. However it is good for, I suppose, being able to get a good idea of, okay, [00:03:00] yeah, I'm really happy with that take. That's what's gonna send me off. And I'm happy with sending that, rather than the in the room bish bash bosh done out, or, you know, those environments are really, really quick paced and sometimes a first round can be a bit nerve wracking. It depends on the environment and how you're feeling on that day, what's going on elsewhere. 

 So sometimes a self tape is quite lovely. I know some people that absolutely hate it and would absolutely just rather be in the room, in and out bish bash bosh. It has definitely been something to adapt to over time. I feel like initially, I was very much like, I would spend two hours in front of the camera and I would be doing about 20 to 30 takes, and then I'd be like, oh no, I'm not happy about that. 

I overthink it. I'd listen to myself too much, be like, not happy with that note, not happy with that acting choice, not happy with that intention, but I think the minute that you tr you treat a [00:04:00] self-tape as, as almost a real personal audition and kind of giving yourself like a three tape rule almost, it allows you to, one, be more comfortable, two, that nerves can ease, and three not spend so much time on something that you've already done the prep for. If it's your own material, you've already done that prep for however many years or months that you've been spending time on that material. But likewise, if it's new material that you're touching, you're also not putting too much pressure on yourself to be like, it has to be this, it has to be that. 

You are just giving yourself those three takes to be like, I'm gonna do my best, just like you would do in the room.  

Alexa: What are some common mistakes that singers might make when they're self taping.  

Becca: Touching on what I just spoke about really is the repetition and the going and the going and the taping and the singing and just for however many hours you feel that might take. 

 It's the overanalyzing, [00:05:00] I would say, that could be, detrimental to the performer, not the tape itself most of the time, even if you spent hours on a tape, you'd probably pick the first one. Like that's what the Sods law about it is. But I think, yeah, giving yourself that rule of, okay, I'm gonna try this in three takes and I'm gonna change it up for those three takes, and then I'm gonna watch them, allows you to look at it a lot more. 

Logically and less self critical and with that perfectionist eye, which I, we both know a lot of performers carry. So it allows you to get out of that like observer's eye and trust them with that rather than over overcompensate for yourself.  

You've mentioned the three take rule. How else would you advise a singer paces doing a self tape from setup to [00:06:00] sending it off? 

I think not rushing between takes having a clear intention with that certain take that you're doing. So for example, sometimes I will start a tape with how I would present it in a room. So imagining that you are within that space, imagery really helps for me exactly how I would present it. 

Then the second take, I usually go in with an intention of, okay, I am gonna make it a little bit smaller, just purely to see what the difference looks like on camera compared to what you would do in the room. And then the third take I go, okay. I'm gonna completely change it up and have fun with it and see what comes creatively and trust those instincts that can come from those creative choices. 

Or I would do a third take of, okay, you [00:07:00] are on the coliseum stage. However many, ranks of seating, um, and really command that space maybe a little bit more so, just to, just so that when you have those three different takes, there all differ in some way because I think sometimes as well when you have the same intention, if you were to do the same intention for three takes, it would be really difficult to see any difference between them and which one would feel right. Whereas when you're going in with a slightly different intention, so you finish the first take and then you take a second to be like, okay, now I'd like to do this with it and see what that does. Take a sec. Maybe have some water- hydrate. 'cause we know, it's good for the voce.  

And then again after the second take, pause, take a second. Allow yourself to breathe. Think about the different intention. I think that's probably for me anyway, a [00:08:00] lot more, you get more use out of your time rather than Okay, click on, click off. Okay, I'm gonna go again. And then again, like, it's just too much of a quick turnaround. And then sometimes then you get a little bit lost. Watching them back, you think, oh, okay. What was going on there? Because you know it happens. But that's what I would advise for any take, whether that is for a stage audition or whether that is for screen. 

Alexa: There's a question that some teachers ask their students, which could be: how do you know when you've achieved that thing? How will you know when that song has improved or when your voice has progressed?  

So maybe being able to answer those questions: how will I know when I'm going to be happy with that take? It's going to be when I've hit these three points from the brief that's described, or it's when I feel a certain way about this, [00:09:00] then at least it gives you some criteria to kind of match yourself against so that you are not then going up against every possible of thing that comes out.  

Becca: Yeah, no, I would agree. Obviously having a brief is brilliant and you get that with every, well, yeah, I'd hope every job that you go for, unless it's something completely fresh and new and, um, the team don't know exactly which way they're going about the material or what they're looking for, and they just ask for you to bring a bit of yourself to a tape. 

 But no, I would completely agree. And brief outcome is very helpful.  

Alexa: You mentioned a really interesting point just now about how somebody might be auditioning for a stage show, but they're auditioning on the self tape through a screen. How can somebody build a rapport with a panel that they don't even get to see. 

How can they [00:10:00] bring their personality in the introduction of that, how can we give over a bit of our personality when we don't have the opportunity of being in person?  

Becca: Mm. I think what you literally just said. With the introduction and the ident is the perfect opportunity. And I think sometimes a lot of people are focused on the singing, acting, or whether it's maybe even a dance tape that you are recording. 

But the ident is actually really important, especially if you haven't met with the team ever before that's a chance that you get to show your personality. You get to introduce yourself. So it's, you know, saying your name or maybe it's who you are rep'd by, and maybe that the team have asked you to answer a specific question of where you are based or because they can then get a feel for you as a person, your tempo, your temperament. 

But sometimes you think, well, people think right, this is the ident. [00:11:00] Hello, my name is Rebecca Luta and I'm 27 years old. Tick, but no, that should be a case of, hi, I'm Rebecca. I'm 27 years old. I'm based in London. Just literally as you would chat to them in person and because you are talking to a camera, I think some people can struggle with that. 

I dunno what the word is, but  

Alexa: the dynamic of it.  

Becca: Yeah. Because you are literally talking to a camera. And if you're not used to it, then it can feel a little bit like, am I doing this right? Am I saying it right? But at the end of the day, how would you walk into an audition room and it's, hi, how are you? Maybe ask them or they'd ask you how you are and just be a normal human being. But I think because they are, they can be stressful and nerve wracking sometimes people go into a bit of a robot sense, but at the end of the day, everyone's a human. And yeah, just be you.  

Alexa: Do you ever find it really [00:12:00] weird saying your own name? 

Becca: Yeah, all the time. All the time. Especially my last name. I dunno why Rebecca, I'm fine with, or Becca, whichever one it we're using that day. Um, but with, I dunno what it is. I think it's. Maybe because you've had it all your life. So you then you start to overthink, like, you know, when you say a word, say for example if it was like, um, laptop, and then you start to think laptop, laptop, and then you read it and then you are reading it and you're like. 

You start to, it starts to look weird, like I think sometimes that happens to me with my own name, which is bizarre. But it happens.  

Alexa: When I was at school, I decided in primary school that I no longer wanted to be called Alexa. And so I wrote that my name was Paige.  

Becca: What! I'm gonna call you Paige from now on. 

Alexa: Ideally, what equipment does a singer need to develop, [00:13:00] produce a professional quality self-tape? 

Becca: This is, I feel a bit of a complex answer purely because there are so many different, positions that people are in one financially, two space set up environments. So for example, like you can see here, I'm blessed with a lovely white wall which can come in really, really handy sometimes. I do also have a ring light. Which is really helpful and I would definitely recommend anyone who is taping to have one of those, and they're really not too expensive. I think I got mine from 20, 20 pounds I think it was. Um, and obviously they range into how much, if you want a high tech one, go ahead, knock yourself out. 

They're, they're there. But if you wanted just like a bog standard, ring light they're fairly reasonable. But over time, because of [00:14:00] my taping experience and the work that I have done has enabled me to be able to invest in some nice high tech equipment so that it allows me to give a tape, which I feel is a nice professional standard. 

Um, so I've got a little backdrop. I've got different color backdrops. I've got some extra LED lights sometimes, which come in handy because obviously as well, if you have a tight turnaround and you don't have daylight to play with lighting obviously is a big thing, and if you have light only from one direction, then you know it could cause face shadowing or you know, they're not being able to view you in the best clearest light. 

Most phones that we have nowadays, unless you still own the Nokia are absolutely fit for taping and more than fine. I think as long as you have good lighting a clear enough backdrop where there's no distractions, and a nice camera angle [00:15:00] alongside some good audio, so obviously no chatting in the background or music or the TV you've left on, or maybe the window's open and you've got ambulances and police sirens going past. 

Um, I think that's, you know, you could an absolute fine setup. Because as well, sometimes, like I said initially, when you have those tight turnarounds and you don't have the environment that you would specifically like, sometimes it's out of your control and you can't help being in that environment. 

So I don't want it to sound as if people haven't got recalls purely because they haven't had a plain background, because that would be a lie. But I think sometimes if you do have that time and you do have that set up, it allows you to portray yourself in the best light for your talent and for what you can offer for that team to view you, rather than having your dog [00:16:00] in the background panting and, you know, the TV screens, lights flashing on you. 

It's just about being realistic. But, showing yourself still in that professional light 'cause at the end of the day, it is a job interview the same. It doesn't necessarily feel like it when you are recording yourself and there's no one else in the room, or you're not necessarily being interviewed, but that tape is your job interview. 

So you wanna be able to show yourself to the best ability.  

Alexa: We know there are some rooms that absolutely suck the sound out of us. That might be carpeted rooms or heavily curtained rooms stuffed with lots of soft furnishings. The acoustics just aren't as good as say the bathroom or the kitchen. As you say, you had to do a tape when you were on holiday.  

How do you go about making sure you feel confident when you might find yourself [00:17:00] in a scenario where you are doing an audition in a room that really is not optimal? 

Becca: I think it takes a lot of experimenting. I think recording yourself, maybe just saying a little speech or giving yourself like a verse and a chorus of the song. 

Just to, first of all, test out the room that you are in, see what you're dealing with. Um, does the camera need to be a little bit further back so that the, you know, you're not just getting pure voice and no accompaniment, or maybe in another respect it needs to be a little bit more forward because it's not picking up as much voice and you've got more a accompaniment. 

I think it's, it is about that balance. And if you're doing a big song, a big belty song, um, then it's important to consider that as well because obviously that microphone, you can sometimes get that off balance and it then it affects the microphone. So I think it, in that respect, it does just take a little bit of playing [00:18:00] with it to see what the difference could be. 

Is it better off in that position? Is it not? Okay? I need to change that up. Just until you've got the right one. And I think once you've got it, you've got it and you know where the equipment goes. If you are in the same space for the foreseeable where, it's when you change the space that you then need to have another play around sometimes. 

Um, but once you've got it, it's like, okay, I know the speaker goes there. Or if you are lucky enough to have a pianist in your tape, if it is from musical theater then great. But you, you know where everything works Well.  

Alexa: I often say to singers about going to sing in lots of different environments anyways, because when they go into those in person auditions, if they are in a room that feels particularly really echoey versus somewhere that feels like you're sitting in a wardrobe, it's uh, it's good to kind of [00:19:00] know how you're going to deal with that in the moment. So go and sing in lots of different places. You know, I'm not trying to say go and everyone go and sit in a cupboard, but, you know, go and sit in a cupboard. See what it's like having a little bit of a sing to your Hovis or something. 

Becca: Yeah, imagine. But yeah, no I completely agree. The more exposure in different rooms, the better, because sometimes as well, for example, if your first round isn't on tape, you, it could be in, in an environment you've never been before. Maybe it's in some, maybe it's in an office somewhere, maybe it's in a big dance hall. Um, they differ. So having that experience is only going to better yourself and your, I suppose nerves and apprehension about it. If you are such a sound critic of yourself as well, and you feel like that does really affect your voice. 'cause some people, when they're in a smaller room or a dead room can feel quite self-conscious and it can make them listen to [00:20:00] themselves more. 

However, when they're in a big room, they're like, yeah, can go for it. I can let it go. But at the end of the day, we wanna be doing the same, work, the same, you know, prepared and, well thought out work, regardless of whatever space we're in.  

Alexa: Do you ever use a, a lapel mic or anything like that, or do, would you say no microphones at all? 

Becca: I think sometimes when you start to go down that route, you start to really overthink the tape. So it's a case of like, oh I must get this equipment and I must get that, and then it all becomes quite expensive. I'm sure it would a add some great sound to some tapes, especially if it's a scene or if it is for tv, because when you've got a proper professional setup, you've got the boom. 

So you know that's what would be used. However, I don't think it's detrimental to a tape. I think the technology these days with what we have in our phones are great and they're good enough. [00:21:00] But that's not to say that you can't invest in that. I think whatever you feels best if you feel like it really helps you, then great. 

Get a mic on. But, um, I think it's a case of you're not going to not get a job just because you didn't have a mic on.  

Alexa: I know working on Zoom, we all had that time in Covid where it was like, oh, you are on mute, or, oh no, original sound isn't on. That's working on a laptop. But when you are on a phone a like a smartphone, are there any audio settings you have to prepare beforehand or is it literally just up it goes on your tripod and you press record and it kind of just works for you? 

Becca: Pretty much, yeah, it's it's just like I said about that balance. So if you are singing a bigger song, then maybe it just needs to be a little bit further away or maybe if it's something quieter or on a thinner fold, then [00:22:00] maybe you can bring it a little bit more forward so that mic really gets that. 

That tone and that sound. But in terms of video, there are lots of different settings that you can have. So I think it can go up to something like 4K. But actually most of the time that's not advised because it makes such a big file. So, you know, actually using a lower quality camera lens is better, purely down to you uploading the tape and it taking up space in their inbox. And you know, it, like I said, the technology is so good these days that it is good enough. And I think, you know, if you go down the route of, oh, I need to have that 4K experience with, you know, the best quality, actually sometimes it's not as efficient for the team that are watching it and also your iPhone storage or [00:23:00] Android storage, whatever you've got. You'd find yourself needing to delete a lot of apps if you kept going that way.  

Alexa: How much editing do you have to do afterwards? Like, I know for like the podcast that we do, we then put it through, we edit some bits out, and then we might put on a bit of studio sound. 

You know, there's some engineering that goes on behind the scenes. Is there anything that asks singers to do that for their self tapes? 

Becca: Yeah. I think that is another thing that adds that professional element to a tape. It depends what the brief has specified. They may have asked for an identity, the end of your tape. 

They may have asked scenes first, then songs, or maybe it's a certain take that they want to see first with a certain intention. And. If they're asking for a big one, big self tape with all of your little clips involved, which is normally the case obviously you then have to think about the transitions. 

Normally a fade to black and then straight [00:24:00] back into the next scene, song ident is the most efficient. It's quick, it's clean. And allows you to really get that change in dynamic for the different tapes. Whereas we probably wouldn't want to be going for an screen folding into an envelope and then flying away into the different distance for that transition. 

Anything that distracts from you, don't involve just fade to black, then back out. It's clean and yeah, makes it professional and easy. Tick, job done.  

Alexa: Do you remember PowerPoint?  

Becca: Yeah. Yeah. Oh God. Yeah. I remember those days.  

Alexa: You just wanted any effect you could possibly have. I want my face to rain in and then I want to fold out like I'm doing a sausage roll and yeah.  

Becca: And then you get the text and it would do like a hurricane out and then you'd get another one that had come back in. Yeah.  

Alexa: Loved it. Miss it. Miss it. [00:25:00] Actually,  

Becca: Actually, maybe we should bring that back, but not for self tapes.  

Alexa: Not for self tapes..  

Do you use any particular software to, or an app that you would recommend to do that editing stuff or do you do it on, is there a program on your phone that's already there? 

Becca: Because I have an iPhone and I have Apple compatible devices such as an iPad and laptop, I just use iMovie. I find it really quick, efficient. It's easy. You can have a look at like balances and your transitions are all there. So that's what I use specifically. So I wouldn't know necessarily what maybe an Android device would use, but there are definitely other compatible sites. 

Like for example, you know, if you were doing something audio based, then you'd probably use something like GarageBand. There are other apps and websites available for that. I just dunno what they're called.  

Alexa: I've used one and it's free and I, you know, I, it's only because I find it pretty easy to [00:26:00] use and that's YouCut. 

I know also that there is like Adobe, that, that's program that I think I've used very recently. So yeah, I guess it's working out. Which one just feels like you? Because I guess there are some technophobes out there. I probably would. I put myself sort of in that category. So yeah. What's your advice to technophobe when it comes to this sort of thing? 

Becca: I think... Exactly what you just said is having something that you are comfortable with, that you know works that you know isn't going to take up a whole day of your time to educate yourself about, just something that you are like, right, I'm comfortable with this. I know exactly what I'm doing, and I can edit it within a short time, giving it enough attention that it's got the right transitions and angles and takes that you want to include then you're good to go. There's no point, I suppose overcomplicating it for yourself to be like, right, has to be in this [00:27:00] specific software or whatever. So yeah, whatever is most comfortable for you.  

Alexa: You've mentioned the word angles a few times, and so that's the question that I have in terms of where should we, or singers or singing teachers who are helping singers with their self tapes advise people to be looking. Are we straight on, are we at the camera like we are looking into their eyes, which personally I really don't like. I don't want to be looked at when if I'm on an audition panel. I'd rather it was above my head, but other people might be different. Where are we looking?  

Becca: Yeah, I think it would normally it would normally specify in a brief if they wanted it to camera. 

In terms of where you are delivering to, I think is a personal preference for the material that you're delivering. So, nine times outta 10, just above the camera. When you've got that angle at that eye line it's absolutely fine because at the [00:28:00] end of the day, that's what you would do nine times out of 10 in an audition room. 

But at the same time, there are some shows that like. You to have that panel interaction and they feel a little bit more connected to you when it's delivered to them. So maybe it would be to camera. Regardless, if you feel like you connect more so to camera for a specific brief or school you are auditioning for or job that you're going for, there's no, I guess wrong or right answer because at the end of the day, it's on a screen. And in person they would specify whether, you know, if it was a interact with the panel kind of, audition scenario. Sometimes just off camera is lovely. Again, that side too. I think as long as you are not, you know, completely cutting off your face, then you are [00:29:00] fine as long as you get a sense of you and the performance you're delivering, then it's absolutely, yeah, it's absolutely fine. I think it genuinely just does come down to some personal preference.  

Alexa: I dunno about you, but I have a preferred side of my face. If anybody looks at. My Instagram or pictures on Facebook or anything, I will always put myself that my left side is showing because I do not enjoy the right side of my face. 

Becca: Alexa you have one of the most symmetrical faces I've ever met. You do,  

Alexa: Becca, my face... if you folded me in half I'm a different person, dependent on either side. I am not symmetrical at all. My husband is so beautifully symmetrical. He, you stick him on either side and it's the same person, but I am too different, I'm Jekyll & Hyde. It is weird, but how do we get used to seeing ourselves on camera like that? Because I, I guess in, in the room, we are not seeing. The way [00:30:00] we are doing things, whereas when we then have to watch ourselves back on camera and we get our little hangups and we think, oh no, but that side on my face, and that's just a personal thing. 

I'm sure nobody watching that feels the same way. But how do we get over that?  

Becca: Sometimes it can be to do with how you film. So you know how you can have two sides, so you can either have front facing or back facing. Some people enjoy having the screen to them so they can almost see that they're in shot and in the vision. 

However, if that really puts you off, there's no reason as to why you can't turn that camera around and just have the lens looking at you. So then you're not even distracted about what you might look like if that is a thing for you. You're just, it's as if you are performing to an empty room rather than a screen where you can definitely see yourself. 

Alexa: Do you personally like being looked dead in the eye when you are being sung to in an audition?  

Becca: No, [00:31:00] I think it really depends on the material, but I would say in majority of scenarios, no. Just because I feel when you're in an audition scenarios, you like to write notes so that you can really remember that person. 

Then when you go back to, you know, everyone that you've seen that day, and when someone's looking at you, I would definitely feel like I can't, I don't want to look away because, you know, they're performing to me. And you know, however, I'd really love to write this note down because it'd be really helpful for me to remember them, you know, when you've seen x, y, z amount of people that day. 

So it makes me feel guilty for not, you know, indulging in that performance with them, just like you would do if you go to the theatre and they're performing out to you. You don't have to write any notes, then you're just sitting and you're enjoying and you know they're connecting with you. Whereas in an audition scenario, you wanna be able to write those [00:32:00] notes and get them down and make sure you haven't missed anything. 

And you know, sometimes the eye contact makes me feel locked in as much as I'm sure it's a brilliant performance. I'm sure you understand what I mean.  

Alexa: Just before we came on, I saw Emily Kristian post a reel of her doing a self tape for a show that she was kind of familiar with, but she didn't know the song. And it was for Parade I believe. And she was taking us through how she prepared for that and what she had to do in like a 42 hour turnaround. And we had Emily on the podcast for our 200th recently talking about Belt and Mix, which we know is such a knotted area of technique. What do you experience because you are a teacher as well and you still have your performance career. 

So how do you do quick turnarounds for material that you [00:33:00] are completely new to?  

Becca: It's difficult. For example, when you are seeing 18 students in a day, it's really difficult to get that time because maybe you've only got a five minute break or a 15 minute break here and there or whatever. Maybe you've run over for whatever reason, to ensure that student has got the most out their lesson. 

You know, it's all very TBC. But I find what really helps me is if I get something through that I have no idea, tune lyrics, song, material, said show, said script, that I listen to it just before bed. I'll listen to it. I will have either tried to have got a note bash just so then I wake up and it is a little bit familiar because you've gone to sleep on it. 

I have had many times where I've been teaching all day. [00:34:00] It's been a really quick turnaround for a tape, and I've got home. It's half past seven dinner has not been eaten, and I'm having to whack out a tape and it's hard. And then you start to feel the pressure of getting the tape done. But I feel like it's very similar to any line of work, whether you are working in your local cafe or in Curry's PC world working in retail. 

I think us as performers, whatever line of work we're doing when we're not performing or acting is time, it's time consuming because you are at that job. So that's, it's your job to fulfill that job role and get that job done in that workplace. And you know, on, in an ideal world, we'd have the day free and we could do it, but that's just not realistic. 

But I think as long as you are using your time to your advantage, [00:35:00] you are pulling on your learning styles. So, for example, if you learn via audio, maybe you could record the script and then listen to it back in your own voice. Maybe if it's looking, reading, maybe that's getting on the phone with a friend or a family member or a housemate or a partner and just reading through it a couple of times I think that is a very big key factor in getting that material down so that you can then perform it to the best of your ability. 

However, have there been times where it hasn't been feasible and I've used a script? Yeah. Because at the end of the day, people understand if it's a tight turnaround, you know, they've sent the audition up themselves. And so if you've only got a day or two days to prepare, you know, they're a human being as well, and they know that things are and aren't possible so. [00:36:00] You know, have people booked jobs by having the iPad in the room, having the script in their hand? Absolutely. And I think it's whatever makes you comfortable and whatever allows you to do your best. Because there's no point being like, right, I need to learn it. I need to learn it. I need to learn it to be off book. I need to be off book. I need to be off book. And then you get in the room and you're like, oh, it's gone. Or you then start to paraphrase, which is something that. They won't want. And that's really difficult then, you're not giving yourself the best opportunity. So if you need to hold it, you hold it, have reference to it. 

Whatever makes you feel at ease and allows you to check in and be like, I know what I'm doing. Because life is life and it's busy for everyone and anyone.  

Alexa: Tell us about your teaching work, Becca, because you've just set up your own private stuff as well as the work that you do elsewhere. So tell us about that. 

Becca: I have [00:37:00] which was daunting and imposter syndrome takes over just like it does in many things for many people. But over lockdown, after I'd worked, you know, it was a scary time for us all and I thought, my God, it literally can get taken away from you by the click of your fingers in terms of this industry. 

So I was like, okay, what it fulfills me joy that I could see myself equally doing, and that is teaching. It's something that I have admired throughout people that have taught me, people that have inspired me throughout my journey from when I was younger to now. It's a really rewarding job I find. So then I was working closely with a singing teacher of mine, Ben Mann, over lockdown and, I was like, okay, yeah, I can see myself doing this to a professional level of, you know, drama school teaching. So then that's when I [00:38:00] applied for Italia Conti and I've been teaching there for, well, nearly three years now, which feels mental, it feels like I started yesterday, but also feels like I've been there a lifetime at the same time. 

And it's really through, I think, chatting with other teachers that I was like, this is something that I definitely can set up. And it started with a friend of mine that was really struggling with some singing anxiety for auditions. And I had some lessons with her trying to help her through that and obviously saw that getting better and alluding to good things and I thought. 

Why am I not taking this further? Why am I not doing this? And I think sometimes it's a time thing because of how much I do teach at Conti and you know, other [00:39:00] things that come with that, like reports and academic things, auditions and assessments. But also at the same time, this is something that I am passionate about. 

So. I decided to make the jump to start privately and get a client base going, which is really exciting. And yeah, just felt right, it felt like the right time and I felt like I've got enough experience under my belt now. I've worked with a range of so many different voices and experimented with those and found great outcomes, great processes, great. 

A, a great journey to success that I thought. Yeah, now's the time. Now's the time to seize the day. So yeah, it's exciting.  

Alexa: So where can we find out more about you and book our [00:40:00] lessons and get to know you as a teacher?  

Becca: So I think obviously social media is massive. So you can find me on Instagram under my name. 

And you can book via my email that I have in my bio and I've also just set up my own singing teaching page. There's no posts just yet, but they will come shortly. Again, it's just a time thing of, you know, getting a nice little picture and some pictures of me so that if you are booking in a lesson with me, you're able to be like, oh, okay, this, I think is, this is gonna work for me. 

And Becca's the type of coach that I'd like to see for a lesson.  

Alexa: Yeah. Or I can't wait to see what you do with it because it's gonna be great. I just know it. Thank you so much Becca. It is been great to chat with you and learn about self-tapes and if you're up for it, I'll meet you in m and s Cafe. 

Becca: Can't wait. Might have to wait till Christmas though. But no, thank you so much.