Lexi Sekuless

Performing Arts, Drama

2007

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Receiving support from BBM is a wholehearted validation of your early career choices, and it comes with unquantifiable practical support beyond just the grant. These programmes enable you to do something that seems out of reach. Particularly in the arts scene, we can feel cut off in Australia and BBM bridged a gap for me which changed my entire life.

The BBM Drama Scholarship gave me both the support and the confidence to see if a Canberra girl could be on the Globe stage. On that first trip I saw that I could do it and how to do it.

I was interested in studying overseas but knew that from so far away, I would have to do something in depth to really understand the industry and institutions. I applied for the Summer School, was selected, and BBM supported me. The BBM Drama Scholarship enabled me to travel to London for the Royal Academy of Dramatic Arts Shakespeare Summer School in 2008. I was able to fully engross myself in the scene in London and make an informed decision about which schools I would apply to for full time Bachelors programmes.

I auditioned and my training at Royal Central School of Speech and Drama got me in the role of Lady Anne in Richard III for the Globe’s Wanamaker Festival. I think the scholarship helped me see what is possible. This process helped me get selected for the three year Bachelor of Acting at the Royal Central School of Speech and Drama.

Ahead of the wave, creating waves

Overseas, and in a global city like London, you are exposed to different kinds of work and importantly, work which is ahead of the wave, creating waves. Only when you experience global movements can you then begin to see what type of contribution you can make as an artist.

Since returning home, I have worked mainly in theatre and just recently started work on screen. I also co-produce a free summer Shakespeare festival in order to increase theatre accessibility, audience development and promote the highest quality verse work which has been a massive highlight of my career to date.

Next, I have an audio version of Julius Caesar to work on with Melbourne University, I will be playing Portia. And as my free Shakespeare company is in it’s second year, I will be working on our third season for February 2020. I have recently signed with a wonderful agency in Melbourne and look forward to developing my contacts there. I am also a strong advocate for a National Theatre of Australia and will be building up publicity around the issue after a successful submission to a parliamentary inquiry.

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