The phrase "allowed the actor to" is correct and usable in written English.
It can be used when discussing permissions or opportunities given to an actor in a specific context, such as a performance or a role.
Example: "The director allowed the actor to explore different interpretations of the character during rehearsals."
Alternatives: "permitted the actor to" or "gave the actor the opportunity to".
A mature, live turkey weighs about 30kg; stuffed, it's more like 15kg, which allowed the actor to hoist the animal with one hand for long periods.
Or is there not still something in Mason's voice - aristocratic, but full of connoisseurship, too - that allowed the actor to become his true self just once, as the voice of Humbert Humbert in the film of Lolita?
Here's a sampling: The Sublime: Steve McQueen's motorcycle license — issued by the Fédération Internationale Motocycliste — allowed the actor to represent the U.S. at an international bike competition in 1964.
In a 1918 issue, an interview cheekily titled "Does Theda Bara believe her own press agent?" allowed the actor to sidestep the crucial question of whether she was really wicked, or just photographed that way.
During filming, Day-Lewis wanted to dress himself every morning — part of his method — so Bridges outfitted a closet with impeccable plaid jackets, a crisp black tuxedo with a satin bow tie, several jewel-toned ascots, and fuschia socks from Gammarelli, in Rome (the same shop that dresses the Pope), and allowed the actor to select his own wardrobe.
In one study, the experimental setup allowed the actor to pull one of two ropes, one of which delivered food to only the actor, and the other of which delivered food to an adjacent chimpanzee as well as the actor (Silk et al. 2005).
The new wireless microphones, which allowed the actors to jump freely from trampoline to trampoline, somehow got cross-wired with the local police precinct.
The institution's head, Dr Dean Brooks, allowed the actors to work at the hospital because he felt it would give the real patients a form of therapy.
Inventive set and lighting design allowed the actors to perform throughout the theater, racing even up to the outermost reaches of the mezzanine in the course of an exuberant and moving evening.
Improvisation — a process, Nichols says, that "absorbs you, creates you, and saves you" — allowed the actors to stay on the edge of emotion and character without connecting deeply to their interior lives, and this suited both Nichols's and May's private natures.
