Navigating Acting Whilst Pregnant

In the spirit of transparency, I didn’t really know how to navigate pregnancy while working as an actor. There wasn’t a handbook and I certainly didn’t have all the answers. What I did know was that I wanted to keep performing, keep auditioning and continue working until my body told me otherwise.

As a first-time mum, that was the only approach I knew.

I told my agent I was pregnant at around four months, but I never ruled myself out of pursuing work. The roles I was auditioning for weren’t particularly physically demanding, so I saw no reason to stop.

And I’m glad I didn’t.

During my pregnancy, I booked a role on a BBC television show. By the time filming came around, I knew I’d be showing, so my agent informed casting and production. The costume department joined the conversation and they adjusted and built my costume around my growing bump.

And then something rather wonderful happened.

I felt my daughter kick for the very first time while I was on set. Cue the waterworks.

Even writing that now brings tears to my eyes. It was such a special moment and one I will always associate with being able to do the work I love while carrying my daughter.

But I also recognise that my experience won’t be everyone else’s. Not every role can accommodate a pregnancy in the same way and not every performer feels comfortable having those conversations.

So, how do actors continue pursuing work during pregnancy without unnecessarily ruling themselves out? And when does pregnancy actually become relevant to casting?

To explore those questions, I spoke to casting directors and agents about disclosure, availability, the practicalities of production and what pregnant performers should know before assuming a role is out of reach.

When Should You Disclose Your Pregnancy?

For many actors, discovering they’re pregnant can bring an entirely new set of questions about their careers. Do I tell my agent immediately? Should I mention it when submitting a self-tape? And could being open about my pregnancy affect my chances of booking the job?

The answer, perhaps reassuringly, isn’t quite as straightforward as we might imagine.

Casting director Heather Basten CDG explains that the timing of disclosure often depends on the project and the role: “I wouldn’t expect an actor to disclose a pregnancy at the initial audition stage unless they felt it was relevant.”

As the casting process progresses, however, practical considerations become more important. Heather suggests that once availability and filming dates are being discussed, having that conversation allows everyone to plan appropriately and consider the performer’s comfort and safety.

From an agent’s perspective, communication is equally important, but so is the actor’s autonomy.

My agent, Jamie Rowlands (SDA), explains that he always seeks his client’s permission before sharing information about their pregnancy with casting or production. He also recognises that the nature of the role can influence when that conversation becomes necessary.

It’s an important distinction. Being pregnant doesn’t automatically mean an actor needs to announce it at the first audition, but there may come a point when the requirements of a particular production make the conversation relevant.

Roger Davidson (SDA), also from my agency, takes a similarly practical approach, suggesting that pregnancy generally becomes relevant to the conversation when it starts to show – unless there are specific medical reasons for earlier disclosure.

It’s a reminder that there isn’t necessarily one moment that works for every performer. The demands of the role, the stage of pregnancy and the production schedule can all influence when that conversation becomes useful.

For me, telling my agent early meant we could navigate those decisions together. It also meant I wasn’t carrying the responsibility of figuring everything out on my own.

What Does Casting Actually Need to Know?

Once the conversation about pregnancy has begun, the next question is often how much information to share. Do casting directors need to know how far along you are? Are there questions about your health you should be prepared to answer? And how much is too much?

According to Heather Basten CDG, the focus should be on information that is relevant to the job: “The most useful things are the due date, filming dates and whether there are any considerations around availability or the physical demands of the role.”

She adds that casting doesn’t need lots of personal or medical information, just enough to understand whether any adjustments might be needed.

I find that distinction particularly reassuring. Pregnancy is an incredibly personal experience and while certain details may become relevant to a production, it doesn’t mean every aspect of it needs to be up for discussion.

It also helps to understand the requirements of the role you’re auditioning for. Does it involve stunts or physically demanding scenes? Could the filming schedule overlap with your due date or planned leave? Are there aspects of the character or production that might require a conversation further down the line?

These are practical considerations rather than reasons to automatically withdraw yourself from the running.

As Heather points out, every production is different. Costume, camera framing and scheduling can sometimes provide solutions that an actor may not initially have considered. The important thing is to allow those conversations to happen rather than assume the answer will be no.

What Happens When You Book the Job?

So, you’ve auditioned, you’ve had the conversations and you’ve booked the job. Fab. What happens next?

This is where communication between the actor, their agent, casting and production becomes particularly important.

Casting director Heather Basten CDG describes it as a collaborative process, with relevant departments brought into discussions when a role involves particular physical requirements. The aim is to understand what’s possible while ensuring the performer feels comfortable and supported.

For agents, those conversations are also about understanding the individual actor’s circumstances.

My agent, Jamie, makes the point that pregnancy can affect availability and the practicalities of working, but no two performers will have exactly the same needs. Some may feel comfortable travelling or working for extended periods, while others may need different arrangements.

What matters is maintaining an open conversation about what the actor feels able to do, what support they may require and whether their circumstances change as the pregnancy progresses.

And, as Jamie reminds us, these conversations shouldn’t begin with an assumption that pregnancy is a problem to solve. His agency’s first response to the news is always to celebrate and congratulate the performer before working through any potential practical considerations.

And while there are practical considerations to navigate, pregnancy doesn’t necessarily mean opportunities disappear.

Casting director Emma Sylvester has seen heavily pregnant performers continue to book work, something that challenges the assumption that pregnancy automatically puts an acting career on hold.

Her advice is to approach each opportunity with your eyes open. Understand what the job involves, ask questions about its physical demands and consider what feels manageable for you. A role involving stunts, for example, may require a different conversation from one that is less physically demanding.

It’s also worth thinking beyond the audition itself. Long filming days, early call times and opportunities for breaks can all make a difference, particularly as a pregnancy progresses.

What I take from Emma’s perspective is that continuing to work during pregnancy isn’t necessarily about pushing through everything. It’s about understanding the demands of a job, listening to your body and making informed decisions about what feels right for you.

Behind the Scenes: Production and Insurance

There’s also another consideration that actors may not immediately think about: production insurance. While casting directors can put performers forward for roles, there are decisions that sit beyond the casting process. Productions have their own insurance arrangements, safety responsibilities and practical considerations – all of which may influence how a role is approached during pregnancy.

One industry professional I spoke to highlighted how these behind-the-scenes arrangements can make the situation more complicated than it initially appears. What may be entirely manageable on one production could require different considerations on another, depending on the demands of the role and the arrangements in place.

That doesn’t mean pregnancy automatically prevents an actor from being employed. Rather, it reinforces the importance of understanding what a particular job involves and having conversations about any necessary adjustments.

And perhaps that’s the distinction worth remembering: Casting may open the door, but making the job work involves a much wider team.

The Fear of Being Ruled Out

Rejection is already part and parcel of being an actor. We audition, we wait and more often than not, we never really know why we didn’t get the job. Add pregnancy into the equation and it’s easy to see how that uncertainty can become another source of anxiety.

My agent, Jamie, has seen this first-hand. He recalls working with actors who were convinced their pregnancy was the reason they hadn’t booked a role – despite there being numerous possible explanations for the casting decision.

It’s a concern Roger Davidson also recognises. Asked whether actors sometimes worry that pregnancy will take them out of consideration before that’s necessarily the case, his answer was simple: “Yes, pretty often!”

And perhaps that’s part of the challenge. When we’re already accustomed to rejection without explanation, pregnancy can become another reason to question our chances – even when we don’t know what influenced the casting decision.

It’s an interesting observation because, while pregnancy discrimination is a legitimate concern, not every unsuccessful audition is necessarily a result of it. And without knowing why a decision was made, it’s difficult not to fill in the gaps ourselves.

Casting director Heather Basten CDG offers a reassuring perspective: “I wish actors worried less about being written off automatically. Pregnancy doesn’t mean someone suddenly stops being right for a role.”

She also points out that productions can sometimes find creative solutions, whether through costume, camera framing, scheduling, or even adapting a character to accommodate a pregnancy.

Of course, none of this means the industry has everything figured out. There are still practical challenges and individual experiences will differ. But perhaps the most important thing is not to make the decision for casting before they’ve had the opportunity to consider you.

As Heather puts it: “I’d always encourage actors to let the conversation happen rather than assume it’s a no!”

Don’t Rule Yourself Out

If there’s one thing I’ve taken away from speaking to casting directors and agents, it’s that pregnancy doesn’t automatically mean pressing pause on your career. There may be practical considerations, conversations to navigate and decisions to make, but those decisions don’t always have to begin with a no.

Heather Basten adds: “Don’t rule yourself out before anyone else has had the chance to consider you.”

And perhaps there’s something to be said for changing how we approach pregnancy within the industry, too. My agent, Jamie, shared that his agency’s first reaction when a client announces their pregnancy is to celebrate the news before working together through any potential challenges. That’s how it should be.

Looking back, I’m so glad I continued auditioning while pregnant. Had I decided that motherhood and performing couldn’t coexist, I might never have booked that BBC role or experienced one of my most treasured moments on set.

Of course, every pregnancy is different and what feels right for one performer may not be right for another.

But if you’re pregnant, still passionate about performing and wondering whether there’s room for both, my advice would be simple: keep the conversation open, listen to your body and don’t count yourself out before you’ve even begun.

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