Méabh de Brún
Actor
The Silt Verses (2021-), The Secret of St Kilda (2021-)
Role
“Carpenter (The Silt Verses), Andromeda (The Secret of St Kilda)”
Bio
“Méabh de Brún is an award-winning Irish writer, playwright and actor who explores difficult subjects through black comedy and dark fantasy.
Méabh has written and performed in a number of audio projects, such as the interactive audio adventure A Dark Night In Dublin for independent games developer and entertainment company Six to Start, and her radio play High Spirits as part of Near FM's 2023 audio anthology.
She has won a number of Audio Verse Awards for her performances in audio drama, and can be heard in such award-winning shows as The Silt Verses, The Secret of St. Kilda and Omen. Find out more about her work at meabhdebrun.org…”
“…you are acting in the theatre of the mind. ”
How did you become aware of the shows?
“I had become involved in voice acting as a result of the lockdowns during the pandemic. My usual means of performing went out the window and I became more immersed in the world of audio drama as a result.
I was delighted to be cast as Lola in the show Omen. While we were recording for that, I was making my way through a catalogue of fan-favourite horror podcasts. I binged I Am In Eskew, Jon and Muna’s previous podcast, in about a week. Anyone familiar with that show will know just how ill-advised that was, and I may have permanently changed my brain chemistry as a result.
Regardless, I adored it, and when I saw that the creators were casting for their new show, I leapt at the chance to audition.”
What was your aim in getting involved?
“As a fan of their work, I knew that Jon and Muna would create something incredible.
My initial aim was to simply be involved in whatever capacity that I could. When I was subsequently cast as Carpenter, I aimed to do justice to the incredible, nuanced character that they entrusted me with.
I am proud to say that, after three seasons, my aim is now to take advantage of the opportunities they hand me to showcase my range and push myself as an actor. I am profoundly grateful for their constant assumption that I can deliver on whatever their scripts demand of me. Performing in The Silt Verses has been one of the most rewarding experiences of my career.”
What was the biggest challenge?
“In starting voice acting, the biggest challenge was the technical aspects of the process. I knew very little about the software or the ways to prep my recording space, which meant frustrated hours trying to figure out why my audio sounded so poor. A good microphone and interface is also an expensive investment.
Even today, tech continues to be allergic to my presence, and I have blood-pressure-raising moments when things don’t work for dark, mysterious and esoteric reasons. I also tend to be cast as characters who… shout a lot? Scream in fury at the gods, in fact. Talk about typecasting!
Regardless, that means I have to keep a close eye on my gain. This can be tricky while trying to get lost in the performance.”
Have you continued to work in the field?
“Yes, I continue to perform as a voice actor. I enjoy performing in a wide range of roles, and have been lucky enough to be cast as wide and varied set of characters. I was further able to meld my audio drama experience with my experience as a playwright when I was asked to write and perform a guest three-part arc for The Town Whispers podcast.
I subsequently went on to write and perform in an interactive audio adventure for Six to Start as part of the Zombies, Run! app. I have some very exciting audio projects coming up, one of which is a one-woman show written and performed for the award-winning, global audio entertainment company Realm.FM as part of their horror anthology Undertow.”
What would be your dream project?
“I would love to add another character type to my repertoire, that of the scoundrel, the rogue, the rake. Preferably one that isn’t even that good at it! I love a meaty comedic role.”
How did you land the role? Any tips for a strong audio reel (or virtual audition)?
“Jon and Muna posted sections from the pilot script as sides for the audition. I simply recorded myself delivering the lines and submitted it.
I am not the best person to ask about a strong audio reel, as it took me a ridiculously long time to get a reel together at all. I only managed to do that because I had enough produced work under my belt that Michael Ireland, the director of The Secret of St. Kilda, was able to take clips from the shows I was in and cut them together. A true MVP - thank you Michael.
While I did not need a reel to get most of the roles I have been cast in, when I didn’t have one there were certainly a number of auditions that required the submission of a reel. Not having one barred me from submitting.
So! Do try and put a reel together. Just having clips of yourself performing in various roles is enough to get started, and you can update and add as you get some professional work under your belt.”
How does acting for audio compare to other media, for you? Any skills or techniques you’d recommend learning?
“For me, acting for audio is similar to acting for theatre, in that you have to make sure that the people at the back are getting it.
It’s sometimes necessary to put more inflection in your voice than you would for a screen role, because you are acting in the theatre of the mind. Emotions which may be otherwise communicated by your facial expression get lost in the chasm between your mouth and the audiences’ ears.
If this is something you think you struggle with, I always recommend physically acting and emoting while you perform. Smile when your character is smiling, ball your fists when they’re angry. Look happy, look angry. It all bleeds into your vocals and will add nuance to your performance.”
If your character is a member of the regular cast, how do you keep them fresh to play?
“I’ve never found it difficult to keep any of my characters fresh to play, as I have been blessed by being cast as characters with fascinating layers and arcs. Every new episode reveals another layer!
However, I have certainly tried to see every performance as an opportunity to grow as an actor. I think that is good advice for anyone seeking to keep their characters fresh. What depth can you add to this performance? How can you challenge yourself? What opportunities exist in this scene to add weight and realism to your delivery?
If you have been cast in a role, you are already ahead of anyone still waiting to be cast. You are amassing experience and skills every time you perform. Try and take advantage!”