After some time with New York’s stellar Aperture Talent agency, I was quite quickly acclimatised to the New York acting environment. I was also equipped by the agency’s experts to take all the necessary steps to secure my Broadway career. I had enlisted to acting classes at the Juilliard School early on and I was reassured by how satisfied my teachers were with my early progress in adapting to the Broadway style. I had also taken dance classes at the Broadway Dance Center in New York. It took some adjustment, but I soon understood what success in Broadway would require. With my thick Mancunian twang, I had some struggles with my voice coach. I was told I’d require a dialect coach too, in order to master various American dialects. It was a challenge, and it took me some time to master. But, it was a rewarding experience as my vocal repertoire grew exponentially. The one clear advantage that I did have, when arriving in New York, was my resume stretching back to my earliest performances in Manchester’s Palace Theatre and the Royal Exchange.
Many of the native hopefuls arrived equipped with little more than dreams and aspirations. Having grown accustomed to star treatment in my home city of Manchester, I was taken aback by the blasé attitudes of New York’s directors. Lacking animation, clearly expressed instructions and long line-ups of backup actors for roles, it was quite a cultural shock that I experienced when faced by directors in New York. Aperture Talent did wonders for my promotion package and took care of all its aspects. My headshots, I felt, were as good as they could be. My resume was excellent, and I was satisfied with the number of auditions they secured for me as part of my deal.