MADIVA 408 - Beth Eyre and Getting Thee Organised People!

Hello World!

How beautiful you are.

Here's the most uplifting of interviews with...quite frankly one of THE BEST VOICE ACTORS EVER MADE, EVER. Always awesome, always astutely realised characters and instantly recognisable - yusss BETH OF EYRE.

We talk all things getting you organised so you can have space to play! Yep. From pre prep of auditions to playing with how voices are made,  ways of marking up scripts, and keeping up to date with your progress on progs like TRELLO - whatever your thoughts on arghhh what to do first? We have ya covered. Jump in.

Also, it has to be said again and again - LOOK AFTER YOU - it is KEY people! Eat, drink, get rest, get play, see pals, see daylight and live n love n laugh n that.

If you manage these things, exciting times lie ahead. Try some ideas - see how they fit!

Have fun out there and...if you can find a few mins in your crazy busy schedule to rate and review this pod, I'd be ever so grateful - helps me spread the word about these glorious and brilliant creatives huh?!

THANKS MUCHLY

AND MAHOOSIVE THANK YOU'S TO MY WONDERFUL PATREONS who, quite frankly encourage me to get these pods up and at em every week - which reminds me - I need to finish that edit on the next one for them to have tomorrow!


SUCH FUN

Sarahxx

LINKS TO BETH'S GROOVIEST WORKS

Beth on TWITTER
Beth's SPOTLIGHT - Gwan, cast her!
Wooden Overcoats
Life with Leo(h)
Wolf 359

LINKS TO SARAH'S AUDIO JOYOUS PLAY PLACES

Sarahs Twitter
Sarah's Quirky Website
ADWIT Podcast
Fiction Podcast News Weekly
Sarah's KO-FI account of funding alllll her projects for TRYING to pay her actors n crew

Chapters

• 3:52 Beth's pre audition prep
• 12:13 Dealing with rejection
• 18:14 FAinding character voices
• 27:19 Tips for marking up your script
• 34:17 Remote recording thoughts
• 38:30 Why its crazy hard to act in your own voice
• 46:17 What are folks asking for re takes?
• 47:04 BETHS AMAZING FINAL TOP TIPS

Transcript

408_MADIVA_BETH EYRE_Getting ORGANISED

[00:00:00] Sarah Golding: People of the world! I am very excited to introduce to you, probably one of the voices, most recognizable in this amazing array and sea of beautiful audio fiction. It's Beth Eyre! Hellooooo , Beth. Hello, 

Beth Eyre: Hello Sarah! Thank you so much for having me.

Sarah Golding:  I'm so excited to speak to you. You're like a massive inspiration for many, including my good self and uh, yeah. It's so, so brilliant of you to come on. So thank you for sharing your expertise today. Now, as far as, um, where folks can find you. Well, what are your favorite voice projects you've been involved in -I know that's tough because I'm sure there's a bazillion but - 

Beth Eyre: Gosh, yeah..uhmm..., 

Sarah Golding: What have you...truly  enjoyed getting your teeth into? 

Beth Eyre: Uh..I've  I've been so lucky because I, I feel so enthusiastic about everything I've done really,  and probably whatever I'm sort of working on and kind of full of at the time- I suppose, all-time favorites, um, Wooden Overcoats, which is yeah, where I .....

Sarah Golding: oh it's legendary! 

Beth Eyre: ...started out really. And, um, I love the show enormously. I love my character and I love everyone who's [00:01:00] involved. So definitely Wooden Overcoats . Um, check that out. 

Sarah Golding: Yes dooo - It's a treat! My goodness. It's actually, I held it up as one of the bastions of audio fiction in its form, as it is now. That's what we should all be aiming for ... that beautiful script, the amazing cast, the jelling, the family nature, and just the way it can move you and make you laugh till you hurt. You know, it's just brilliant. So, yes, I agree. 

Beth Eyre: Thank you  Sarah. And I would love to show and, um, it's, it's brilliant when we've had so much support. Um, I suppose other than that,  (SOUND OF CRAZY FRUSTRATION) there are are so many things I've loved doing. Um, I, I absolutely adored working with Wolf 359, um, on change of mind. And I've recently worked with the company again on Unseen. 

Sarah Golding: Unseen is a treat as well. Yes. 

Beth Eyre: Which has been fantastic  to record last year in, in the lockdown. So that's lovely. Um, recently fulfilled an ambition of working with, uh, Lauren Shippen on a show calledLife with Leo(h) , uh, by the wonderful Octavia Bray [00:02:00] and directed by Shenee Howard. Um, that's not out yet, but it soon will be, um, 

Sarah Golding: Brilliant! . Yeah. The all of those names are just stellar. And if you, if you don't know who they are, look them all up and follow them and find their works because honestly, each one of those people is  ASTOUNDING...at what they do.... 

Beth Eyre: Huge amount of talent.

Sarah Golding: It'sYesssss. Excitingggg. 

Beth Eyre: Terrifying. (THEY LAUGHHHH) 

Sarah Golding: Brilliant.Brilliant! And I mean, today, really the focus is on getting us VOICE ACTORS  organized. And... when I was involved in doing 11th hour with you, we did one of the amazing Richard Brooks, scripts...and er... I just saw how fantastically organized you were with, you know, your, your script was beautifully marked up. And, and I think, um, just things like that got me to thinking of what other things do we need to do and ,when I'm teaching the folks on this Quirky   voices, voice acting course, I am hugely an advocate of marking up script. Uh, and, and as much as also it's that, you know, it's not confining you, it's [00:03:00] your springboard to knowing, you know, the basics of everything that you are in that character, in that scene, in that place at that time.

And then you can truly play. So yeah, really want to just focus on what you do. So with regards to auditions, let's start there. Um, Where do you find your auditions and what kind of preparation do you do before you do anything? 

Beth Eyre: Um, so, uh, lots of different places to find auditions really. Um, there's quite a fab newsletter from the podcast host, which... 

Sarah Golding: HUZZAHHHH! 

Beth Eyre: It has a lovely, very convenient Roundup of auditions at the end. Um, ...which is very  useful 

Sarah Golding:  The  fiction podcast news weekly run by some very lovely, nice gentle..nice...gentle loving people.... 

Beth Eyre: Thorough! They seem  to manage, to find  everything that's going on out there. Um, other than that, uh, Facebook and Facebook groups, Twitter. I suppose, after a while, Working in, audio fiction following people in an audio fiction? You just start to see people posting stuff - [00:04:00] there's also  Mandy, which used to be called, um, Casting Call Pro, or Voices Pro can occasionally get auditions on there ...sometimes spotlight. 

So a whole world of different ways, finding out what's going on. I suppose. So what do I do before an audition? Um... I don't know if I am that organized, but I think organization is key. Um, I suppose one of the first things is just, just try and figure out how much time you've got, how much time you got to do this audition and how much time does that mean you have to prepare it, to actually record it, and then to do any sort of editing and sending. I think if -if  at all possible, it's great to get it in a bit early. Um, if you can, I think, as actors, one of the challenges... We all face is that we are never in control of when opportunities come up when we're cast in stuff  and when we get auditions... and so... it can be quite tricky. You think you've planned out your week and the truth is, you just don't know [00:05:00] when things that are quite important are going to suddenly turn up. So...

Sarah Golding:  ...this is true... shifting priorities.  (SHE LAUGHS) 

Beth Eyre: This is it. Right? So it's kind of about being adaptable to whatever gets thrown at you. So with that in mind, If there's an opportunity for you to get the audition in a bit early. I think that helps because I think... sometimes people look at the early auditions before the deadline, so it can help you getting cast.... I think it gives you leeway if something goes wrong... 

Sarah Golding: True. 

Beth Eyre: Or if your time doesn't pan out, um, as much as you can. And then. Read the script, have a little bit of a think about the character...;See . If, if it's an existing project, if you can listen to some of the episodes, get a feel for what the show is like. 

Sarah Golding: Yes. Good tip! .

 Yeah. 

Yeah. I mean, I must say I I've, I've kind of swung to highly organized ridiculousness in some respects... in as much as, because I'm balancing so many different hats with, you know, like... teaching life as well as mum and, uh, and trying to produce [00:06:00] and voice act, I've found I've entered now more things into Trello. Um, so I have a voice card, um, for just auditions where I put the key information. So I transpose the key things from the audition, wherever it might be... into its own card. So I've got the link to the sides, the link to the name of the person that is the deadline written down, and basically you can also set up a reminder. So say if I haven't done it, uh, I'll set up a reminder to ping me two days before it's due at the very least. Um, so then I've got that at least as a reminder thinking, oh, okay. Yes, I must do this one this evening or whenever I have the time. And so, yeah. Today, for example, there's one called the ghost ship and I'd really like to audition for that.

So I've just been prepping by ...thinking about different voices I can play with. And, um, yeah, my, my pinger went off a couple of days ago and so yeah. I just feel that having that kind of thing done and it doesn't take too long to transpose that information. [00:07:00] It just means I'm a little bit more prepared. for things....than...doing things on the hoof... 

Beth Eyre: That sounds fantastic! Thats like...the  next level of organization. So as is Trello, like a sort of workflow. 

Sarah Golding: Yeah. I mean, it is whatever you would like to be essentially, you can create lots of different cards for different things. So, uh, along the row, for example, so I've got the basics things I need to do this week. And then the auditions that I'd like to apply for, then I've got the card where I have auditioned for things and just put, uh, any key details on that. And then beyond that it's sending in, you know, things for the table reads or information about characters I've been cast in. And, um, I've got sort of lists of that.

And as well as a card for folks who I've been working with and their emails and basic information, and I think just. Also putting things on those kinds of cards, like, you know, any information you know about the person, like the name of their kids or, or their dogs, or you can remember [00:08:00] and be, you know, a friendly, nice, polite person who remembers people's, um, smaller, smaller details if you like of, of, uh, of their life.

So, yeah, I think essentially it just helps me to organize myself and to know when I sent something and, uh, and when I'm meant to do something. So, yeah, and I can highly recommend folks have a little browse on that. There are other things you can use. I think Asana  is a good product tool and there's a few that, uh, that one you have to pay for as well as, um, I can't remember if it's voice craft, I think is the name they've just released a one specific for voiceovers folks.

Um, and though you  have to pay for that uhm  Trello...is free. So that's the er lure for me! , but yeah, I mean, with regards to two auditions  that you have done, is there any fun times you've had where, you know, there's funny or uplifting stories about auditions that perhaps went wrong or, or you didn't quite work out or went very right that you didn't expect? [00:09:00] Uh, any thoughts on that? 

Beth Eyre: I guess, uh, um, a warning sort of eternal actors, warning about putting things on your CV that you're not entirely sure about. This is an audio book audition. Actually, I. Got out of the blue, an audition off Mandy to come in and audition to be on a sort of audio book roster. And I asked sort of what to expect. And they said, we'll tell you when you get there. So I turned up the studio, I was quite scared thinking, probably going to have to sight, read something, but I don't know what it is. And so they said, we see from your CV that you can do a Suffolk accent. Okay. And I. Had no idea.

I was born in Suffolk and I suddenly thought, gosh, maybe when I left drama school, I sort of in a moment of bizarre confidence, put it there, but I haven't really thought about it for years. Like I thought I'm not even sure I know... what a Suffolk accent is...! , not ideal. Um, so I asked to go to the bathroom and I was sort of [00:10:00] frantically Googling... 

Sarah Golding: Where did you go? The  dialect site or do YouTube, 'YouTube Suffolk Accent'? Help!

Yeah. I mean, that's a grand, grand  tip as well. You know, if you are stuck...Th th there is a wealth of information out there. And I think the BBC dialects  site  is one. Although they tend to have a lot of older dialects in there too, which is useful for, for if you're doing things from different areas, I must say. Um, and yeah, I mean, as far as a winging, it is concerned. How did you get on, did you get, did you get through okay.

Beth Eyre:  Um, I mean, I was terrified. Not everyone works like me, but I'm a person who does like to be quite prepped, but I had no one to blame, but myself in this situation. Um, and I gave it a go and I've been working with them ever since.

Sarah Golding: Amazing. 

Beth Eyre: Admittedly, they've never asked me to do a role  with a Suffolk accent, so I don't know what to make of the whole experience really, except. Do   try and make sure that if you've put something on your CV, you have a good understanding of [00:11:00] it. So lesson learnt..., um, but I guess it could have been worse and apologies to people of Suffolk.

Sarah Golding: Oh Bless! 

Beth Eyre: I'm sure it was not an entirely accurate representation. Um, 

Sarah Golding: I mean, accidents are an amazing thing. And I've got one of the episodes in this  season. Me and Erika Sanderson are taking apart. How on earth, uh, you attempt and, and try and play and find with accent. So if that's something that interests you, hopefully you can tune into that when it's out.

But yeah, I mean, that sounds, you know, astoundingly frightening, and there are probably lots of other people nodding who might well have had other similar experiences. Um, but yeah, I mean also on the flip side of things, you know, say  if you've been working hard and I I've heard of people, you know, pinging off 40 to a hundred auditions and potentially not getting those.

And I mean, we all have to face rejection sometimes. Right. So, I mean, if. Um, I doubt  you've been rejected very much in as much as you're so  super amazing. 

Beth Eyre: OH , I have! 

Sarah Golding: Oh you have! 

Beth Eyre: Oh I have! 

Sarah Golding: You have? O.K. So you feeel the paainnn....?!   I can't believe that, but [00:12:00] yeah. I mean, how would you suggest folks deal with that kind of side of things? What do you do to make yourself feel happier and better when things aren't going right?

Beth Eyre: Um, I think. It's sort of about your whole attitude going into it. I remember reading an interview with an actress who said that after an audition, she would put the sides in the bin.

 Sarah Golding: Right. 

Beth Eyre: These days, I think ...we maybe don't have paper sides. Um, but maybe, maybe metaphorically put the sides in the bin and just try and write it off because I think.

It it's such a numbers game auditions, and there can be all sorts of reasons outside your control. Why you didn't get it? 

Sarah Golding: Yes. 

Beth Eyre: You might just sound strangely vocally, similar to someone who's already in it and ...you  could be absolutely nailing it. So. It it's, it's great to be able to just mentally write it off. But I think there are always some roles that we just really want and it can hurt if we don't get it. And you know that that's okay. That's cause you're passionate about your [00:13:00] job and you really want to work with someone and you really want to do something. And sometimes. You're going to feel that. So I think it can help if you, if you really feel worked up about it, maybe seta little bit of time aside.

Maybe you  can be cross about this for 10 minutes or sad about it for half an hour, and then just try and get on and tell someone you're annoyed.... and then do something nice or go down to the next thing. Um, I used to try and cook something specialist something nice after an audition. Maybe make some brownies or have a bath or go for a walk. Just. Do something that is refreshing to you? 

Sarah Golding: Yes. Good plan. Yeah. Or having brownies in the bath. 

Beth Eyre: That sounds good. 

Sarah Golding: Not during the walk that wouldn't work, but yeah. 

Beth Eyre: Well you could plot your revenge, but probably less healthy. 

Sarah Golding: That's brilliant advice. And I think that is the thing isn't it self-care is so important for us voice actors who are a lot of the time are quite solitary.

Definitely! 

So,  yeah. It's about finding things that give you solace. I agree. Good. Um, so let's flip side that onto that, the happiest side of things is that say, you know, you [00:14:00] have got the role you've been cast. It seems exciting. I do jumping up and down still. I know I've only been doing this work for five, six years, which in the grand scheme of things, isn't very long, but I still get hugely excited about some new roles.

And, uh, what's the first thing that you do. And when you get invited to play someone new. 

Beth Eyre: Um, what do you do when you get invited to play someone new? ? Um, it's very exciting. It depends depending on the project a bit again, if it's, if it's an existing show, um, that I haven't heard, I think it can be very useful too, to listen back to some of that show... all of the show and get an idea of the world you're going to be in.

Sarah Golding: True. 

Beth Eyre: I think reading the script or as much of the script as you can, is enormously helpful and that can vary a bit. Sometimes people will give you the script to the entire series, even if you're only involved in one episode. And sometimes you only get your scenes, um, possibly because the rest is still being written... so what you have to go on does vary. Quite a bit. 

Sarah Golding: That's so [00:15:00] true. Yeah. Yeah. It's like being the detective, isn't it as to attitude and how that fits in with the grand scheme of everything else. I mean, and, and when, um, when you get that role, is there any specific character work you do yourself? Like how much deep dive do you go into to the character before any other connection with... Anyone else involved in the project? 

Beth Eyre: Yeah. I think character work is very important. I think you sort of want to find out how that character ...sounds and it's all  about. What makes that process work for you? And sometimes you might be sort of thinking hugely about their backstory. Sometimes the creatives might have given you an enormous, um, backstory with pages to read you, and sometimes you might want to sort of come up with that yourself.

I think people have different levels of preparedness. Um, That work for them. I think I know some actors who will sort of hugely think about how the world they're in works, how the [00:16:00] economics of it work, um, what they would be like as teenagers, what they would have been like as kids. And, but sometimes it can be that character sort of leaps off the page.

And I don't know, you, you, you do it all a lot more instinctively, so it's really about what, what works for you, I think. Um, and also if you, if you, if you're a bit stuck, if you. If you feel that it isn't leaping off the page or that you're not quite sure what tools you might use to try and find a way. And, um, like thinking about backstory, like thinking about... different things with different people, there is a character, a particular accent? Um, there were some really great places online you can go to, uh, to Polish up some accents. Um, yeah. IDEA  the international dialect of English archive. Yes. And. Or is your character like a particular, I suppose, at drama school, we talk about Laban  efforts, sort of rhythm of how the character sounds the [00:17:00] pitch... .

Sarah Golding: ...Energiessss. 

Beth Eyre:  The speed or or, , or I don't know. There's all sorts of things you can take inspiration from. Sometimes I find I'm sort of thinking of him as an old friend, or sometimes something you're watching. Not to sort of take the voice, but to sort of feed in and see if it helps. Like, if, what if the character sounds like Joanna Lumley?

What if they sound like Kathy Burke? Have you learned anything from trying that? Has it Brought anything different out if you're stuck? 

Sarah Golding: Um, and I love that like, as a, as a kind of an exercise to do things like, you know, I do, if I haven't driven a lot this year because of various reasons, but essentially if I, if I have been in the car or even at home doing chores and stuff. I just listen to the radio and try and emulate that voice exactly. As it's said. And, uh, that's a technique from, from, from Meisner, isn't it? That can be played with a lot more. And I think things like, yeah, choosing your favorite cartoons or, or things that you've watched lately and just trying to emulate those kinds of voices and, and playing with that.

And how, [00:18:00] how are those different....er...paces.... And nuances and inflections sit with your vocal tones, I think is quite a fascinating way of finding some other characters. Um, yeah. And then there's also radio garden. Have you come across that as a, as a source of fun, uh, to have, a...a delve into?! , 

Beth Eyre: I looked it up from your notes. Um, I don't know, radio got on very well, but it's fantastic. You can go all around the globe and, um, listen to live radio. 

Sarah Golding: Absolutely. Yes. 

Beth Eyre: This fantastic thing. Um, So many fantastic resources we have now. It's so exciting! 

Sarah Golding: This is the thing!  So, no,  if you're doing an Irish accent or are you doing, you know, specific American accent, you can just, I did that the other day, just honed in on, um, just had a look around the specific area and find, find some talking rather than the singing and, um, It's just fascinating as well, just listening to all these different styles across the world, you know, a bit of Israeli radio for a bit, a bit of Moroccan, you know, so , I think as a resource  there, something like that [00:19:00] as well. And just having a listen and a play, play for inspiration is just there at your fingertips. You know, if you've got internet connection, as well as obviously, you know, the stereotypes of, of things.

So, you know, if you're going sort of for Sergeant major lurk or, uh, Uh, you know, I'm a very bustling, busy nerdy type, you know, there's so many ways into finding character voices and, and where it sits as well. H how exploratory are you about moving the voice of around your, your vocal wares for different resonance?? Do you, do you play with that a little, a lot at all, especially for like audio books. 

Beth Eyre: I do play with focal resonance, I suppose this goes. Back to drama school. You can, you can play with how you place your vocal resonance, whether you sort of place it in your head or your chest, or perhaps in your nose, which, um, people often do for sort of the archetypal witch  characters, um, and that can really... [00:20:00] Change and how you're using your voice because I do audio books, which often require quite a lot of different character voices. That can be very useful. I guess my, my only, um, caveat would be, I think if you are going for a long time on a, with a resonance that isn't natural to you, you just have to be a little bit careful about how your voice fares, 

Yes! So true, so true...  

You're working for hours and hours. Um, I recently. W was doing an audio book and I made a character, a male character Welsh, which seemed like such a good idea. And then I realized he had pages and pages of dialogue... 

Sarah Golding: Lovely. Lovely lovely lovely.... 

Beth Eyre: After Awhile. I was like, oh dear, I can keep it up. But what is it doing to me? 

(Concerned) 

Sarah Golding: Right? Yes.

Beth Eyre:  Yeah, careful steady as you go, but yeah, 

Sarah Golding: Lots of  lubrications 

Beth Eyre: yeah, yeah. 

Sarah Golding: Resting when you can. 

Beth Eyre: Yeah. Lots of water. 

Sarah Golding: This is the thing,  isn't it? I think that is the thing it's like challenging yourself, but [00:21:00] also being again, like practicing self care because your, your wares are in your vocal folds, flapping gently... Or not. And, uh, and looking after all of the facets that, that make these beautiful sounds that come out of your mouth and nose, uh, 

Beth Eyre: I think it's so important. I think we're all. Um, I think especially this year, because we're, we're all at home and because audio is something that can keep going, which is so fantastic, but now we're all much more under our own steam and it can, it can be easy to find that you've sort of booked in 15 hour days where you're recording in the day and then you're doing a podcast at night and yes, I think.

We just have to be very careful of that. Um, and look after ourselves and put limits on what we can reasonably do.

Sarah Golding:  I agree. And I think that's about setting the limits that work for you again, isn't it, it's like we all have different metabolisms and ways of working and so on and so forth. But yeah, I think if, if you feel you need a break, you should have probably taken that break half an hour ago. [00:22:00] Uh, Um, yeah, I mean, with regards to communicating sort of your decision making then, so you've had that work on the script and so on. Uh, how much work have you done with directors or producers pre a table read or any other connection? Have you, if you've had any sort of back and forth regards to chats or emails or, or is it mostly that you just turn up at the table read and, and you're ready to go?

Beth Eyre: I think it really, um, varies  project project. I think it sort of depends on what your relationship is with the team and what your relationship is with the project. If you've sort of been involved from the beginning, um, how much you know, about sort of what's expected. But I think if you're uncertain about things it's best to ask, sometimes I have a whole list of questions sort of broken up episode by episode, about what things mean, um, what they want.

Um, sometimes you just, I think. You read the script and you tried to understand [00:23:00] as much as you can and look up anything you don't understand, but there are some things that it's just so much easier to have the creator or the director. Tell tell you what is meant because you're not psychic. Um, and it can be, I think really helpful because it, it's a way of getting communication going, which will make things smoother as you go.

Sarah Golding: Yeah. Yeah. 

Um, yeah, superb. I mean, and, and with regards to, to that, I mean, I've had folks who have had zoom calls with prep in preparation, for things where we've just worked out, which accent works best. Um, Just because it's great, isn't it? And that's the ver very exciting cause you feel invested in as well then. Right? Um, and, and yeah, to have that time is very precious. So, so yeah, so being prepared for that kind of thing and having, you know, as Beth said,  a list of questions that really will help you hone and nail that character to be the best it can be. So, so key. Um, and I think it's important. Yeah. You mentioned things like, you know, the intention, the objectives, the [00:24:00] want, and as an actor know in drama, school and universities and all the places that you're probably learning, acting, whatever that might be, that is often the case that it's key to know why you're behaving in the way you are. So it's perhaps. You know, not as easy as just turning up and reading a script, which frustrates me when people think, yeah, it is like that. Yeah. It's worth the investment and time in making all of those decisions so that your character seems to be more authentic, more real. Or even if, if you know, we're doing the, the funniest comedy ever. That is still bound by the laws of authenticity at its core. So, uh, so yeah, I think it's worth investing that time. Um, super. And, and w when you get to these wonderful table reads these, these practice sessions, if you like, um, what kind of preparation have you done there? Have you marked up your script? Do you think that's an important facet of your preparation? What are the, what are the things do you, do you have done in place by then? 

[00:25:00] Beth Eyre: Yes, um, tail. I love a table read. Um, I guess that's, that's sort of two kinds of table reads. I do. One is when you get to do a whole cost read before you do a show, which does not always happen. And I love it. Um, basically this is an opportunity for everybody to be reading the script together.

Um, sometimes the directors and writers might use it as an opportunity to tweak things. Um, And it it's just so much fun because it gives you a lovely sense of what the end project is going to be like that you might not get recording it if you're doing it separately or just doing the scenes all out of order.

Um, and then sometimes there are table reads for a project where you're not necessarily going to be in it or. You haven't yet been cast in it. So the first table read I did for wooden overcoats. I didn't know if I was going to end up in it at that stage...or not?

Sarah Golding: NO WAYYYYY!!  

Beth Eyre: Um, yeah. Um,

Sarah Golding: YOU ARE WOODEN [00:26:00] OVERCOATS!!  

Beth Eyre: There was  sort of this, this rumor that it had been written for me, but in a way that makes it worse because you think, oh, if I. If I don't do what they expect me to do  

Sarah Golding: Ohhhh Pressuuuure! 

Beth Eyre: Yeah. Um, exactly. So there were two scripts for that episode one, four, and yes. Um, I'd marked up the script and thought about the character. I thought about the voice. Uh, I'd read the script as much as I could, and I kind of practiced, it ALOUD  a lot. I'm definitely a person who likes to be prepared. It makes me feel ...much more confident and free. I do think some people are not like that and a very good at bringing a script to life spontaneously or, or they, um, enjoy not, not knowing what's going to happen.

And yes, I've seen it done. I've seen it done. Some people are brilliant at that, but some people, I didn't know, I think sometimes. Um, for the most part, it's your sort of responsibility to know what's going on. 

Sarah Golding: Um, I think that's a  respect to the script, isn't it? And the time and effort that's gone on to craft it. And so we're spending time with it to, to then [00:27:00] hopefully add your layer of hopefully good stuff to the top of it, you know, is, is important. Really? Yeah. 

Beth Eyre: Absolutely. I think sometimes you get these scripts and then it can be a while before you get to the table read. So sort of refamiliarizing yourself so that you don't go in there and sort of end up asking, oh, what's happening here. I've completely forgotten because it's sort of your job to be on top of it.

Um, see I mark up  my script. I also mark up things like stage directions. I think. That just helps visually for me, particularly, um, maybe in a different color, uh, because often they're stage directions where they're requiring you to do something like, um, mumble or scream or growl or something. Um, a lot of my wouldn't overcoat scripts have just massive go faster arrows on them, which is sort of about pace.

I guess I've kind of developed a shorthand. For myself. Yeah. Um, about  how I mark up things. So there'll be squiggles that don't make much sense, but they make sense [00:28:00] to me, which I find quite helpful. Sometimes it can be about where to take a breath, which can be really useful if you've sort of worked out. If you have a long chunk where that needs to be.

Sarah Golding: Definitely. I mean, I think, yeah. Uh, I, I do  the same now and also, um, when I was doing musicals as well, a few years ago, I just started to use the shorthand of, of the melody of, of where I was meant to be going with that. And I've actually transposed that to my voice acting now. Whereas if there's a specific thing that, you know, I need to go, go, uh, 'hello. Hello. How are you?' I would write that in, in a kind of line drawing of where the voice is  going. Um, just so that quick visual. Thing that I can link to. Oh yes. That's that bit. And also, you know, right in the, 'Mmm yes'  at the beginning of sentences of all the gasps or the, the extraneous sounds, and this is what I'm trying to talk to my students about the moment. It's just, I think the best voice actors. Automatically add the extraneous sounds not just to top and [00:29:00] tail a sentence, but throughout sentences sometimes. And just bring the piece  alive with, as I say the word authentic again, but more authenticity in their reaction sounds in their  extraneous, uh, moments of release of laughter or. ..Or frightening kind of sounds that, that just add to the authenticity of the line being delivered. Um, I think  it's so key... . 

Absolutely. 

Beth Eyre: I think it's very freeing to do that for me. You can still change how you do it in the moment, but sometimes you'll find a line where a character says something as simple as 'yes'. And it. It doesn't make much sense if it's just yes, but it makes a lot of sense if it's 'yyyyeeee-esss??!'  . And for me, I, if I've just marked that I kind of know that it's going to make more sense that way. 

Sarah Golding: Yes. True i, I say I have a long lines of, of vowels across my pages  ..., but yeah. I mean, I think that's. The thing, is that in any intention, anything changes any moment where [00:30:00] the character perhaps is turning on a pivot or, uh, something that you know is a change of tone of voice as well is, is good to just play with and  mark.

So I circle things for emphasis or underline them for emphasis. If it's a larger pause, I put two vertical or slightly no diagonal slashes. Um, just to make sure that I've got that beat in there, and  I wrote the word   beat as well. Sometimes if I think that that is more personifying of the moment I need to leave between between sessions and also the noises is quite fun to just write down what sounds and noises that your character might be making.

So the, yeah, there's sort of the sighs,  and the fyyeoonns and the scoff noise is quite interesting to try and find the vowels and consonants to...to write what   they are 

!Definitely, but that's grand. So they're beautifully colored in, uh, uh, and, uh, yeah, I mean, what, what, uh, other things do you think is a key thing to just be pre prep [00:31:00] for, for recording then?

So you've done the table read, you're ready for actual doing it. And I suppose there's differences perhaps to doing it by yourself and self-directing to being in a. A group situation online, over remote  a recording. Yes. 

Beth Eyre: Uh, group online and remote recording studio. Is that what we're saying? Yes. Yeah. Um, well, I suppose. At the start of all this, I was almost always going into studios and occasionally doing remote recording. And this year that's been completely flipped. So I've had a kind of interesting learning experience with both, um, on studio days, I think, um, increasingly I used to be an extremely paper person, um, because I love writing notes. Um, now I have my iPad, so I use an app on that called I annotate, [00:32:00] which is great. You can highlight your lines, you can write notes, so it's as good as paper. Um, and it avoids page turns. Um, so it's very useful in the studio. Uh, you get your tablet and you're all good to go. Um, other than that, uh, I often, especially, it was a very.... big day, if something like an audio book, I try and drink a lot of water before. Um, I think this is very important. It's incredibly, um, dehydrating to be speaking for hours. Um, I also don't drink coffee. On those mornings, which is tragic because I absolutely love coffee !

 Sacrifices!! . 

Absolutely. It's not particularly grand for your voice.

Again, this varies person to person, but for me, I know that it was a bit dehydrating. And also, especially if I'm doing something like an audio book, I mis-speak  more. If I've had coffee... again, I think I'm quite caffeine sensitive, [00:33:00] but right. Um, eating things, um, making sure you've had a good breakfast and brought lighter snacks with you.

Because again, this is a me thing, but I think other people get a fair bit. I get stomach rumbles. 

Sarah Golding: Yeah, mine's doing it now, but no, (LAUGHS) I;m trying to repress it, but no, it's  not 11 o'clock my tummy's gone yep!  Come on!   

 Beth Eyre: Have you had  breakfast, Sarah?

Sarah Golding: Yeah, I Had a little  something. Yes. And a coffee, which just, you know, my bad. 

Beth Eyre: No, I think it really, it varies person to person hugely.

And I, I do tend to drink coffee when I'm doing wooden overcoats, but less so with something like an audio book, but yes, eating things. I, um, I've got a pretty fast metabolism and I really struggle to not get stomach rumbles around 11 almost no matter what I eat. So having a supply of things like bananas, green, apples, cereal bars. I've still not found the perfect cereal bar, if anyone, if anyone has [00:34:00] exploring all of them. Um, yeah, but keeping your energy up through the day is a really good idea. And then recording at  home remotely, I think we have probably all had so many different... experiences    of recording this year, I know that Sarah you've always done an enormous amount of remote work.

So yeah, I don't know. Has it been, has it been easy or have there been some surprises for you too? 

Sarah Golding: That's a lovely question. And I think I, I absolutely enjoy myself in my here  here in my booth  of happiness. And I think it's just because I've done the prep. I am excited to get in here and. And work and do, and, and hopefully, you know, produce something that someone likes and that enjoys. And that's the whole point of it, you know, isn't it, that, that MADIVA  here is hopefully useful for people to take away and take what they want from it. And hopefully be, uh, improved in some way, or do best practice from, and, uh, I think that the only surprising thing is just, yeah, it is that [00:35:00] freelancer thing to be honest of, of when I need to stop, when I need to do some self care when I need to make sure I'm looking after myself and, you know, my kids come home and are  thumping up the stairs and that kind of thing.

And I, I must stop recording and I have to, because they're just too noisy. So yeah, there is elements like that in real life that, you know, sometimes I've found myself. Recording at silly o'clock in the morning, uh, which isn't particularly conducive. So your voice, you know, naturally sounds different, especially if you've done a full day of whatever, um, at that time as well.

So perhaps, sometimes I've found for example, that my recordings are perhaps too quiet. Actually when I sent them that they've been that, that time of night. So it's just things like that, that I've become more aware of as, as times gone by. And how about you regards to anything crazy? I mean, is that, is anything truly mad happened on a remote recording with anything or, or in the studio or something?

Beth Eyre: Um, I think I've been pretty lucky, but I I've done [00:36:00] quite a lot of remote recordings this year with, big casts,  some of them have been using remote recording for the first time. So there, there are always things that can go wrong. Um, sometimes the person who you're doing the session with their computer can drop out.

Sometimes your computer can drop out. Um, I think with remote accordingly, Uh, if, if you aren't just doing them by yourself, if you're doing them with people, it's great to find out what people are using beforehand, if you possibly can. And maybe you've never practiced with it. So we're using CLEANFEED  today, but I have used quite a lot of different platforms and.

It's not the most exciting bit, but just making sure that it works on your system. Having a little go of it can save a lot of time. 

Sarah Golding: I agree, , if you can maybe get a pal , you can just ping use a fellow voice actor or, or someone who has used it and say, can someone just jump on here so I can check my headphones are connecting or my mic is connecting so that I'm ready. I think that's a great top tip rather than being the one faffing about, [00:37:00] um, when, when you connect. Yeah, I think that's a great, great piece of advice. 

Beth Eyre: There's always things you can't anticipate... sometimes technology, the internet lets us down. Sometimes your neighbors have decided they're going to drill or some things that you just can't anticipate. And I think in lockdown, everyone's, everyone's adapted to that to some extent, um, But if you can, if you can do a trial run that does help. 

Sarah Golding: Yeah. Yeah. I think that's great advice really. Um, I mean, it'd be, be grand to , just think, like going into the studio for the first time, for example, recording Antigone um, I mean, how, how, how had you found that voice?

I think if we could start with that and then to the moment of, of, of working on that with the folks in the studio and how, how it was recorded. I think it would be really interesting. 

Beth Eyre: Sure. I've worked with David once before, but didn't know him very well and worked with Tom and Felix once before. Um, and there, there was this sort of idea that the part had been written for me, which was fantastic.

Um, [00:38:00] and after the read-throughs we went towards making it and I, I did get the  part HURRAY , uh, which was incredibly exciting. And, um, they, they said sort of do it as do it, just do it as you, um, And Tom and Felix sort of the same, the parts I think were written tailored for the actors, which never happens. So, so excited.

Um, but I, I don't know. I just, I find it quite inhibiting if the character is just me, there are a lot of things about Antigone  that are, um, Very me and that's absolutely wonderful, but I just knew that if she sounded exactly like me, I would feel more nervous, more uptight. 

That's so   interesting. 

Sarah Golding: Yes. Yes. Because it's difficult to play, perhaps if you're doing it as you, you need to put that veil of a character... Of someone, rather than just you, I suppose we were always at the core of the characters we do. Um, but, [00:39:00] but yeah, I must say I only started using my own voice in something about three and a half yes. Into working. So when I said to Sarah, no, I want that voice, this one for what she wants this for. So, yeah, I can, I can totally relate.

So it's less leaning into just playing with, um, the kind of longer, more playful resonances of Antigony. I feel she's a wonderful voice, you know, it's the comedy you bring to, her is.... JJJJJ, USSTTT sublime. Uh, yeah. And I've seen you folks live as well as, you know, listening to you. And I think, um, yeah, I mean, that must be nerve wracking to doing that in front of an audience rather than a studio. Is there different preparation for that kind of style with an audience there? 

Beth Eyre: I 

Sarah Golding: think to some 

Beth Eyre: extent, 

Sarah Golding: as Antigone  is more sibilant 

Beth Eyre: and more breathy than me. I know something about her energy and the idea that she. I spent so much time in the mortuary and not needed to sort of contend with the outside world too much suggested that she might [00:40:00] sound like that.

Um, I suppose one of the things about doing a voice that is so much on breath is that it doesn't work so well projected, right? It wouldn't work terribly well in the stage play. Um, and I remember we once did a wooden overcoats read through outside, and I sort of thought this, this isn't going to work. You just won't be able to hear, um, My very on breath, voice.

Um, so for live, obviously we're miked, um, there is an element of projection. That's a little bit different. Um, I absolutely love doing the live shows, which we've been lucky enough to do from the very beginning. And we used to do them very much to sort of desperately raise funds and yes, and now it's just become part of the sort of joy of it.

Sarah Golding: Oh, and they're  so goooood!  . I mean, if all of you, this, the chemistry you've got and just the fun of it, just, you know, you can't say you can't buy it. You can, you can get a ticket! 

Beth Eyre: You can and hopefully you will be able to   again... 

Sarah Golding: You can [00:41:00] and you should!  I hope you  will do, do you, I know this newest season is kind of at some point going to, to rear and impress, but, um, yeah, so, so yeah, I think if you get a chance to go and see everyone live. Do it it's the best feeling ever. And also you'll be surrounded by other people who absolutely adored the show too. And it's great to speak to them and make some new buddies in the audio fiction listening world too! 

Beth Eyre: But yeah. Yeah. I've absolutely loved doing them live. It's fun. Bringing a visual element to something that hasn't had that before. So yeah. We've played over the years with how he's dressed and whether there are sort of visual gags we can put in 

Sarah Golding: the sunglasses! That was GLORIOUS! . 

Beth Eyre: The sunglasses ! I came up with that , actually I was delighted  - I remember,, I just went to Camden and got the sunglasses. 

Sarah Golding: Yes, cos  you had your directing hat on for a lot of those too, didn't you? And that, that must have been fascinating working with the others and just honing the performance of that too

Beth Eyre: Well, I sort of coordinate the live shows, which is, is [00:42:00] mainly, um, Admin and so on. Um, it's fantastic to do because I, I love to get them made, but, um, lately we have we've brought in directors to direct them, I think because I'm in it myself, it's hugely advantageous to have someone else's eyes on it.

We've had people like Ben Partridge and Gemma Arrowsmith a couple of times, just absolutely brilliant and has so much experience of, um, comedy live comedy, audio comedy. She's just great. Um, Yeah. Andy  and John obviously are fantastic as well that they're always doing the audio side of it. So it's just nice to have a pair of eyes on it, on the visual side of it, on how it gets across to the audience.

And it gives them, it gives us a way of sort of looking at the scripts anew, because. Some of them we've been performing for years now, which, which I love, but you want to make sure it stays fresh. 

Sarah Golding: Sure, sure. Like you're saying it for the first time as the saying goessss.... Yeah. And that's brilliant - and I just want to say Gemma Arrowsmith - . You must [00:43:00] listen to her radio four show. If you're a fan of. Comedy in any way, shape or form. It's superb going, hunt it down and obviously Ben Partridge!!!. 

Beth Eyre: Yeah. Gemme Arrowsmith's Emergency Broadcast... .  The yes, 

Sarah Golding: Thats the title , yes and the, the beef and dairy network of Mr.Partridge.... Just, just absolutely chef's kiss. Isn't it in comedy. You've been on that too. Haven't you? 

Beth Eyre: I think I have, yeah! I'm in one episode doing a monologue about a cow's eye. That was brilliant. I absolutely loved doing that. The show is the show is wonderful. Yeah. Um, and it was a real treat to be on it. Brilliant. And that's the thing, isn't it,  some shows you're in hopefully lead to more and more exciting opportunities.

Sarah Golding: Yeah. And I mean, I guess the only other thing to just, just round up with your, your after care of, of your work. So say , you've done your remote recording on your own, for example, um, editing that and getting that to producers. Um, what kind of processes do you do and how do you organize yourself to, to get all that done?

Beth Eyre: Um, If, [00:44:00] if I can I try and do anything I need to do as soon as possible, maybe sort of stay, stay, put, and just get it done. I've always been quite bad at going back to my work after a gap, I sort of hate... seeing things that you could change. So I think in a way it can be great, but also what it's fresh in your mind.

Um, yeah, because sometimes if you come back to something after a while, it can be very confusing. What you, which takes you liked and things like that. Um, I, I suppose I've been quite lucky that I haven't done that much work where I've needed to do a huge amount of editing. Um, mainly just sort of ...chopping to the correct takes.

Yes. Um, and transferring them. So I don't have tiptop editing skills at the moment. 

Sarah Golding: Um, well to that, how many takes do you tend to do and then chop down to, is it, cause I don't know how many are you more often than not asked to do? Is it sort of three of the same line in a [00:45:00] row or do you do the whole script through once and then another, what's your sort of go-to method of working if you're doing remote?

Beth Eyre: That's a good question. So if it's remote as, and you've got somebody at the other end or even the whole cost at the other end, I find people tend to do two or three takes. It's pretty unusual to get more. Yeah. And I think that's the case on overcoats and most things I've worked on and at the BBC it's often them one or two- time is of the essence, so you you're going quite quickly. Um, but I'm doing it on my own. I think. Probably three takes is a good bet as well. Um, it depends if, if you are, if it's a funnel, if it's a final product and you kind of know what you're doing, voice wise, if you're doing an audition and you're playing with things, you might do a few more, but I think it's quite good to limit yourself.

And if you've done quite a lot of prep, I think I used to sometimes use the takes to experiment and do my homework, [00:46:00] um, try loads of different things. But I think if you've made decisions before. You probably only need a few takes. Yeah. Um, provided everything goes well, of course, 

Sarah Golding: Mmm hmm Yes! Tech is behaving itself and, and the world outside isn't being too noisy. Yeah. No, that's really, really grand. And, and I think, yeah, I've, I've done the same mostly, mostly I think at the moment it's folks are asking for two takes and one wild. So I can have a bit more fun with that third one, uh, which I obviously lean into being caricature actor that i ammm! . But yeah, I think. Yeah, most of the time, I mean, I will sometimes do four or five takes and choose the top three.

And then obviously you want to put your best one first, especially if it's for your audition, make sure your best take and no matter where it happens when you record it and make sure that you're putting the best stuff. So in case, in case the producers listening to 500 auditions and they listened to the first 10, seven seconds of yours, and it's one when you're just not quite warmed up properly or in it.... yet. Um, [00:47:00] and, uh, yeah, perhaps shouldn't be the first thing they hear. So, so really think about what the first thing that producer hears is going to be too, I think is as key thing to, to take into account. Um, brilliant. Well, thank you, Beth. I mean, is there any parting shots you would like to leave for any budding voice actor right now who wants to be as amazing as you on the scene? What, what, what's your favorite things to impart right now that will inspire them to just get going and do it. 

Beth Eyre: Um I think ...

Sarah Golding: No pressure - just the best  advice you've ever given!

Beth Eyre:  The best advice ever! I think it's  a great time to be a voice actor. There's so much going on out there in the world of audio podcasts fiction. Um, so much that you can check out that whatever your passions and interests are, there's a project that you can listen to that will inspire you.

And if that happens to not be, you should make it. Um, [00:48:00] I think there, there is a world of people who are keen to share their experiences and lots of online resources. Um, even talking to SARAH , I've learned. A whole load of things that I didn't know. Um, (SAME!)  That, that are on offer, um, which is incredibly exciting.

So, um, look after yourself, find the things that you love to do, uh, is basically where I'm coming from, I guess. And also this has been a very, very difficult year. Um, so really be kind to yourself. I think, as an actor, a. I have sometimes struggled to know the limits of what I can do and we all want to do as much as we can because everything's so exciting.

Yeah. Um, but looking after yourself is also very important. Uh, so be kind practice self-care remember the things that you enjoy that are chilled things as well as work things.

Sarah Golding:  I think that's beautiful advice and, and top, [00:49:00] top notch advice, or frankly, and I love the message as well. If the thing isn't there that you can, can be involved in an embroil and make it yourself. That's what I'm doing. 

Beth Eyre: That's fantastic!

Sarah Golding:I'm having Lovely time.

Beth Eyre: I have this theory that Sarah has a time machine because of the amount of things she gets done. It's just incredible. 

Sarah Golding: People have questioned it. I think it's just, um, uh, I don't know a mixture of, of good chocolate. And a nice cuddle at the end of the day helps. Uh, but yeah, no, that is super well, thank you for your amazing advice. Where, where on earth can people hear you? Like what's your most recent and amazing projects you'd love people to jump in on and share and sing praises for. Um.

Beth Eyre:  So I guess the most recent thing I've done is the new year special for unseen. Um, it was written by Sarah Schaschat and it also stars...Felix Trench. . Um, uh, the whole series is fantastic. It's beautifully written. There's a whole load of fantastic [00:50:00] voice actors. Um, it'd be great if you could check that out. And then, um, I've got a couple of projects coming up, uh, live with Leo by Octavia Bray, which isn't out yet. That will be fantastic. And, uh, Patrion project for Rusty Quill called The Inexplicables. . So yeah, recent announcement for that. That's glorious . So there's so much fun to be had. Isn't there in this world of voice acting? And I think you, as I say, you are a beacon of inspiration and, uh, I also hope that you can get back into the theater at some point this year too. Cause I know with Snatchback!  Your, your productions you were doing and all the things you're doing at the Vaults  and so on were astoundingly. Good. So, so here's to..to  things getting back so folx  can, can have the theatrical fan too, but in the meantime, yes, jump into audio fiction and just have the best fun you can.

Sarah Golding: I think that's the thing. I think my, I feel. Solace in my world, because this makes me happy, bringing characters to life and obviously [00:51:00] talking to amazing folks like you, Beth  is just the, you know, my soul food. And I, I hope, uh, you know, that it's, uh, helping other people to, to, to up their game in some respects.

So, so thank you so much for spending time with us today and happy, creating happy, making happy voicing, keep, keep at it. It's amazing. 

Beth Eyre: Thank you so much, Sarah. It's been really fun. Have fun. Bye-bye.

Sarah Golding: Thank you. You absolute legend. I think it's amazingly beautiful advice in there. And I think the key ones about self-care as well, so key because you know, you can get caught up in everything can't  you and, uh, when things start to get neglected. So, so thank you for sharing that. .

MUSIC FLARES AND FADES