Fresh from Off-Broadway, and Off-Off Broadway debuts in the space of one very busy week, the ‘Our alumni’ profile for April features actor Venetia Street (Ne. 2019-24) who reflects on the quieter, less visible steps that shaped her journey, what continues to drive her as an actor, and the moments that have affirmed her choices along the way.
You’ve just made your Off-Broadway debut - what has surprised you most about stepping into that world for the first time?
I learned two things: firstly, the space in which you perform is a wonderful canvas. Bringing your work from the rehearsal room into the space for the first time really does feel thrilling. In essence, you’ve prepared your canvas for weeks and the paints, and now you work in this new and exciting space, whilst simultaneously transforming it into the world of the play. Secondly, I learned that regardless of the space, my work must always be 110% in effort in terms of creativity. This can be achieved by taking risks, playing, being rigorous with your craft whilst still withholding ease, having patience and dignity. Each art piece is an exploration, expression, and experience, and it’s a privilege to play in any sense.
Can you tell us a bit about the journey from graduation to this moment - what were some of the less visible steps along the way?
As an artist, I am constantly reflecting on my past and innovating my future, but on-stage, I am the most present. Looking back to 5 years before I came to New York, my acting journey included The National Youth Theatre, the Globe Youth Theatre, Brighton College productions, LAMDA and, of course, good old A-Level Drama. Now I am entering my final year as a BFA student at New York University’s Tisch School of the Arts, training at Atlantic Acting School. The less visible steps throughout my journey involved overcoming some health complications, which given the emotional and physical work of acting, were important to learn how to manage. I have learned to be grateful for what my body can do and the life I lead.
What drew you to acting in the first place, and has that motivation shifted as you’ve gained professional experience?
I believe my relationship with acting has evolved over time. From a young age, like most children, I just wanted to play, be artistic, tell stories and enjoyed performing for others. I believe that we are all innately creative (I am a big fan of Sir Ken Robinson’s work) and I viewed acting as a fun and joyful platform to create. Once at prep school, before a dyslexia diagnosis, I learned about the power of the arts. Finding traditional ways to remember and learn sometimes challenging, I turned to the arts as a medium to process information and better understand topics in school; whether that would be short films about science topics or literally performing Shakespeare to help decode texts.
At Brighton College, the source of my motivation was curiosity to explore and experiment with texts, plays and understand my own abilities. Moving to New York and being surrounded every day by incredibly talented professional actors, producers and directors from all over the world, has shown that drive, curiosity and being playful can all coexist. I bring all these lessons into my craft and am moving forward with them into my career.
Was there a particular moment during this recent production that felt like a turning point, or affirmed your path?
I played starkly different characters in my Off-Broadway show Belfast and Off-Off-Broadway production of Hellman’s The Children’s Hour – one was a rebellious Northern Irish girl on a summer program, the other an American schoolteacher from the East Coast in the 1930s falsely accused alongside her best friend of having a lesbian relationship. Karen Wright, a lead role in The Children’s Hour, and Belfast’s Rachel are from completely different cultural contexts and worlds, and I faced the challenge of learning and speaking with two different dialects; an interesting experience when rehearsals were overlapping! I performed the two plays within four days of each other, in addition to playing other characters in other acting projects, including Polixenes from Shakespeare’s The Winter’s Tale and Southern-Belle-in-New-York, Mrs Van Buren from Nottage’s Intimate Apparel (set in 1905). Feeling the full weight of responsibility I have for each role and the work required to achieve such range whilst honouring the story to the best of my ability affirmed my love of what I do.
How did your time at Brighton College shape the way you approach your craft today, and are there any particular lessons or habits that have stuck with you?
Whilst I’m acting, I am a full-time student with other graded acting assessments, a student of Honours Theatre Studies Program, on the Executive Board of NYDM (NYU’s biggest philanthropy supporting the incredible Andrew McDonough B+ Foundation fighting childhood cancer), a member of Delta Phi Epsilon sorority, pursuing a psychology minor and graduating a year early (2027). Considering how packed I am with work, I learned that work ethic is insanely important, and I truly believe if you feel it in your core and heart that you can do it, you can do it all. I think Brighton College taught me about harnessing my drive in a structured manner to maximise my work ethic, and I am grateful for that.
I also think the habit of being kind to and curious about others (and yourself) has stuck too. Constantly asking people the ‘why?’ behind their own artistic work and your own can foster collaborative storytelling and an uplifting, highly engaging and professional attitude towards each other. In performance, the ensemble is key; we work together – it's a pure collaboration. I believe that a supportive, inclusive, and healthy challenging environment is the optimum space to grow. I am grateful to have learned that at Brighton College.
Looking ahead, what kinds of stories or roles are you most interested in exploring, and why do they resonate with you now?
Fabulous question. I honestly don’t know when it comes to a “dream role”. If I connect with the story, that’s it, I live and breathe it. When it comes to stories, I do have a clearer response. For years I have wondered whether culture inspires art, or art inspires culture (it’s proven to be a fantastic debate at dinner with my friends). If I find a story, play, or screenplay, which sparks me to consider or critically think about humanity and/or society in any regard – I know it’s something powerful. If I feel challenged or have questions, those are the stories I want to tell. Partially because I want to investigate it on a personal note, but I want to understand how this story is or can be meaningful for people.
And finally, what does being an Old Brightonian mean to you?
I am immensely grateful. My sister is an Upper Sixth pupil in New House and graduating this year so I’ve been lucky that I could visit her one or two times in BC when I am back in the UK. I always feel that in some sense I’ve returned home or to my roots. Brighton College changed my life, and I am forever thankful for that.