Spotlight Prize winner Alyssa reflects on her acting journey and shares insights and advice for drama school graduates.
Since winning the Stage Award at the Spotlight Prize 2024 for her performance of Many Moons, Alyssa has quickly become one to watch in the world of theatre. But her journey from an enthusiastic young performer to a prize-winning actor wasn’t always a certainty. As she reveals, it took a persistent drama teacher and a pivotal conversation to set her on the performing path.
Alyssa has had a whirlwind year of new challenges, auditions and creative discoveries since winning the Spotlight Prize. We caught up with her to find out how she’s been doing in the industry since graduating from Bristol Old Vic Theatre School. Here’s what she had to share:
Hi, Alyssa! What made you first want to become an actor?
I used to take part in all sorts of performing arts. But I thought I wanted to do something with numbers.
I had a drama teacher imploring me to pick [drama] as a GCSE, to the point where it actually got a little bit frustrating. One day, I asked her, “Miss, why do you keep asking me to choose this?” And she said, “Because I can really see it for you.” And ever since that moment, I’ve never looked back.
After not seeing her for about six years, I bumped into her at the Edinburgh Fringe. So, I got to tell her, just after the Spotlight Prize win, “Miss, I’m doing this because of you, so thank you for everything.” That was really special.
It’s been almost a year since you won the Stage Award at the Spotlight Prize Showcase. What have you been up to since then?
I signed with my agents, who are just the best. I feel so looked after and I’m so grateful to be with them. That was one of the biggest blessings because I did the Prize unrepresented.
Then I headed straight to the Fringe [to do a show called The Emu War: A New Musical]. I was stepping in for someone, so my first show was actually my first run through with the cast ever! I thought, “If there’s anywhere you’re going to throw yourself into something, it’s going to be at the Fringe.” So that was really fun.
Since coming out of that, I’ve been auditioning. They’ve all been so different from each other, which is something that’s important to me, and I’ve really enjoyed the auditions when I’ve gotten to go in the room and play. I’ve had loads of casting generals, which is lovely because it’s quite grounding to connect with the people I’ve met outside of an audition. I’m grateful to have connected with some casting directors that I didn’t expect to connect with so soon.
You won the Spotlight Prize for your stage performance. What was that experience like?
It was surreal – honestly, the evening of my dreams. You sit on stage and you watch everyone perform, so it was scary, but it was so much fun. I’m grateful that a performance that was so fun for me to do, that I got to authentically share in the way that I wanted, was received so well.
Working with Lindsey Turner, who directed the stage pieces, the language and the way she was speaking was so nourishing that the whole event was just such good vibes.
Then to win was unbelievable. There was so much love in the room. It just felt so special to have that. Being a finalist was surreal enough, so to have won was just… I still can’t articulate it after this time. I’m so grateful for it. I thought everyone was of such an unreal standard.
When my name was called, I couldn’t believe it. I still laugh when I see the pictures and I’m screaming just the whole way up onto the stage. It was a really special moment – I think about it often.
Are you still in touch with any of the nominees from the Spotlight Prize?
We have a group chat, and I occasionally see one of them at work, which is quite fun. We bump into each other sometimes and it’s nice to catch up. I’ve not yet gone to see anyone in anything, but I’m really looking forward to doing that!
I talk to Senam, who won the screen award, often. He’s such a wonderful person. He was the first person I met out of the finalists when we went in to film our screen pieces and then I found myself bumping into him a few times ahead of the final! He’s an amazing actor and our conversations always make me laugh. I would love to work with him in the future!
It’s nice to keep up with everyone online. I’m really looking forward to seeing what everyone gets up to as well, because I was just blown away by everyone during that experience.
What would you say was your biggest takeaway from the Spotlight Prize experience?
There was so much. I think a personal thing I learned was how important it is to share an interpretation [of your work] that you’re in love with, and that you’ve actively thought about, rather than something that might just please other people.
Even if it’s a heavy piece, the joy in sharing that because you love it is infectious. And it helps you find things to help make the piece richer.
Alyssa Thabisile Sibanda performing at the Spotlight Prize 2024 showcase / Image credit: Joanna Nicole Photography
What advice would you give to any future prize finalists?
People are rooting for you. Rather than thinking, ‘How do I please them?’ just think, ‘What will I be most proud of if I get to be on that stage? What will I enjoy doing?’ Also, absorb the experience because it just flies by.
The Spotlight staff are so lovely. I still say this to this day – I was really surprised at how welcoming, how easy it felt. Sometimes that can be a worry, what people are going to be like when you’re doing something. But actually, there was nothing to fear on the day. Everyone was just so lovely, from the fellow finalists to the staff.
What’s been the biggest surprise or challenge about the industry for you since you’ve graduated?
I’ve had to have a lot of grace for myself because it is quite scary. I found it interesting looking at the journey I’ve been on. I can see a difference in my work when I’ve panicked about what will please everyone, rather than what I want to show I can do with this tape.
Even if life is happening around you, you’re going to feel at your best if you’ve prepared a piece where you feel engaged with your work. My most engaging work has been when I’ve really engaged with the audition breakdown.
Sometimes, a turnaround is quicker than you think, but you are capable. Even if you’ve only got 48 hours, you should do your best to engage with it and see, “What can I make of it? What beautiful thing can I make with these 48 hours?” rather than, “Let me do the task at hand and please them.”
What advice do you have for other drama school graduates who are about to enter the industry?
One of the underrated blessings of drama school is sometimes not the things you watch or the lessons you do or the warm-ups, but the conversations. It’s the moments where you’ve all sat down after class, and even if you’ve not contributed to that conversation, there’s something that will get your brain stirring.
You don’t realise that you’re constantly working on your craft even when you’re not physically working on it. When you leave [drama school], you’ll feel the absence of that. Stay stimulated and keep the conversations up.
When you watch something, try your best to engage with why you like it. It doesn’t have to be the most intelligent realisation but take note of the kind of thing you enjoy so that your love for the work is still driving you rather than, “This is just a job. Just get the job done.” I’ve found that’s helped lift my work.
You’re constantly absorbing things, more than I realised. I left [drama school] and was like, “Ah, I really feel the absence of that.” But through conversations, journaling and watching things, I feel like I’m back there with my love for the work leading me.
How do you keep yourself busy and creative when you’re between roles?
When I get to see theatre or when I watch something on screen that moves me, I still have that feeling of, “This is why I love this.” When I can’t go to the theatre regularly, I enjoy having conversations with friends about acting, watching interviews or podcasts and hearing people talk about it. You don’t have to agree with them, but knowing where you stand on that topic and how you feel about approaching a script gets me excited to apply that to the next audition.
I’ve also been returning to my love for music and movement, because I think they’re quite a good way to access storytelling or performing. I’ve started singing lessons again and singing at church frequently. It’s remembering my joy for stories through acting, singing and dancing has been helpful for me. I’ve also been writing poetry again and recently collaborated with my friend from drama school.
How do you keep learning and honing your acting skills outside of drama school?
I make sure I’m intentional about bettering myself and my acting skills. If I’m watching an interview, and I hear an actor talk about how they feel about themselves as an actor and coming to set, if I disagree with that or agree, I just take that in and apply the gems.
I would love to improve my accent work, so even something as silly as just repeating back everything you hear. Now that drama school has given me the skills to understand the [structure] and framework of dialects, it’s nice to try, sometimes for fun. I did have an exciting dialect lesson with a professional coach who has worked on some of my favourite films. I loved that.
What would you like to see more of in the industry?
I would like to see more unconventional casting. Let’s take a generic rom-com storyline – it can change the second you insert someone of a different background in there. It can become a whole new story, and I think that’s so exciting. Something that drives me is defying harmful stereotypes and tropes and I hope to see more humanising stories for marginalised backgrounds.
I’ve also been loving seeing Aimee Lou Wood talk about the pressure she’s received in the industry to change her teeth, and how she’s defied that. I’d like to see more ‘imperfections’ on screen.
I also hope to see [fewer] drama schools and drama courses closing because of a lack of funding. My heart goes out to places like the very special and hearty Bristol Old Vic Theatre School.
Image credit: Stewart Bywater
What are your top tips for preparing for a stage performance?
The most important thing is making yourself available. That’s going to look different each night, as you want to warm up and make sure you’re physically available. Sometimes, for me to be mentally available, that means music – listening to my favourite song or a song that really moves me. Some days it means talking to a castmate, and some days it’s just lying on the floor until your breathing feels right.
Take the time to tune into yourself, ask yourself what you need. Then take the time to do that, even if it brings you away from people for a second, just so you feel right.
Finally, what would be your dream role?
There’s so much I want to do, but I’m about to start reading Sunrise on the Reaping, the new Hunger Games book. And I know that they’ll be casting for that soon, so that would be unreal to be a part of. I’m a big Hunger Games and Suzanne Collins fan.
I also adore Rebecca Frecknall’s Tennessee Williams productions. I’ve seen two and been in love.
I’m completely obsessed with Simon Stone’s production of Twelfth Night at the National Theatre, so a Shakespeare like that. I adore the character ‘Rosalind’.
There’s a lot that I’d love to do. Projects like Chewing Gum and Big Mood have my heart. A rewarding bonus would be a role with loads for me to explore that also doubles as a humanising representation for a fellow black woman, whether it’s a hard drama or a comedy.
Thank you, Alyssa, for sharing your Spotlight Prize experience and advice!
The finalists for the Spotlight Prize 2025 have now been announced. You can find more information on the Spotlight Prize page.
Take a look at our website for more tips and advice for drama school graduates.
