So it’s about that time of year again, when finalists begin to pull up their socks and contemplate how, after three-odd years of Student Finance (or the parental money tree) footing the bills, they might earn their daily bread. That’s right, folks, it’s time to get a job.

Money is, for some, the primary issue. And understandably so: I’m sure few finalists haven’t felt a chill run down their spine as they entertain the possibility of being stone cold broke in but a few months time. The threat of pennilessness looms large to those about to graduate, driving many to apply for the obviously lucrative careers, such as banking, management consultancy and law.

Such sensible folk often include a broad sweep of those who will have dabbled in theatre during their time at Cambridge, and even some who have devoted most of their degree to it. They will argue that, though theatre was fun, it was a part of their university experience, an extra-curricular activity. However, there remain those for whom acting, directing, tech-ing etc. are not just a pleasant distraction from work, but a vocation. Every year, a small group of the most dedicated thespians try and break into the world of professional theatre. 

These actors-, directors-, and producers-to-be deafen their ears to the haters, who say that working in theatre is not a “real job”. They are willing to forsake the healthy incomes enjoyed by their peers, and which as Cambridge graduands lie easily within their grasp, for a profession that they absolutely adore. They are even willing to enter an industry in which, for the most part, you do not need a degree (as a would-be journalist, I feel their pain on this one), and where they risk seeming overqualified.

Not only this, but they risk having the wrong type of qualification. Many budding actors will have trained at one of the big drama schools (RADA, The Central School of Speech and Drama, and so on), and so have up to three years worth of formal acting training. A friend of mine in Cambridge also wants to train formally, which means at least another year of study. Others will try and wing it without any conservatoire training, often having acquired an agent prior to graduation. Arguably, if you are naturally talented enough, a good agent is all you need to get your career up and running.

However, acquiring a theatre agent is easier said than done. It’s a case of being spotted, and therefore of putting yourself out there. Doing the odd Corpus show is all well and good, however it’s the tour shows, the Edinburgh shows, the ADC pantos and mainshows, that get the most attention outside of Cambridge, and are therefore useful places to start if you want to get noticed. As a lukewarm and badly-researched example: the only famous Cambridge graduate I could find on camdram was Eddie Redmayne, and the one entry under his name was ‘West Side Story’, in which he played Tony. Think big. 

Your best bet at getting an agent in Cambridge is, most obviously, the Marlowe Showcase. The show is performed by graduating thesps to an audience of industry professionals, casting directors and agents, and is something akin to a mass staged audition. Though not everyone will hit the jackpot at this stage, it is if not a guarantee job opportunity at least an invaluable learning experience, an opportunity to present oneself as a professional actor to people who aren’t one’s friends, who won’t necessarily laugh raucously at one’s jokes or frantically applaud at every scene change. It’s a bracing experience for any would-be actor to be thrown in front of such a tough crowd, though with any luck they’ll come out of it one rung further up the ladder than they went in.

If, however, you find yourself agentless at the end of your degree, fear not. If there’s one thing an actor ought to have by the bucketload, it’s resilience. Scour theatre newspapers and websites for job opportunities – The Stage, The Production and Casting Report and Casting Call Pro are good places to start – and don’t be afraid to put yourself forward for suitable roles. Networking is a major part of the theatre industry, so keeping in touch with fellow thespians after graduating, as well as any you happen to meet outside of Cambridge, could be more helpful than you think. Getting ahead in theatre is not just a matter of raw talent, but requires nous and entrepreneurial skills: you are, essentially, selling yourself.

Without wanting to sound overly cynical, the theatre world is not an easy nut to crack. As with any job that doesn’t necessarily pay well, demands long and antisocial hours and provides zero job security (again, hello journalism), you have to remind yourself that you’re doing it because you love it. Hopefully, you will become one of the lucky few that enjoy every moment of what they do, and wouldn’t give it up for love nor money.