STUDENT GUIDE TO www.dramaandtheatre.co.uk/SGDE

2021-22

Application know-how First-hand advice on your auditions and interviews, from the people who Overcoming make the decisions obstacles Why Brexit and Covid-19 shouldn’t be barriers to your dream career What’s drama training really like? Student and graduate reports on their experience of the 8 most common performing and technical courses

Comprehensive advice for those applying to study or train in any aspect of the performing arts

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The Student Guide STUDENT GUIDE TO to Drama Education is also available to read free online. Visit www. dramaandtheatre. 2021-22 co.uk and go to the tab called ‘SGDE’. elcome to the Student Guide to Drama Education – designed to off er comprehensive advice to anyone thinking of applying to study or train in any aspect of the performing arts. W Everything in this guide has been written straight ‘from the horse’s mouth’ – students and graduates of all the major disciplines share what it’s like to study their courses; teaching staff from world-class Higher Education institutions tell you what you need to know about applying; and working professionals off er career tips for those all-important early years in and out of training. The books section forms the basis for an essential reading-list for anyone with a desire to work in this exciting industry, and fi nally some of the top institutions in the UK give full break-downs of their off erings so that you can compare courses, fees, and application systems in one handy place. As the industry begins slowly to emerge from a global pandemic, there is lots of precariousness EDITORIAL about – as I write this, theatre productions are being forced to pause at a moment’s notice so that Editor Sarah Lambie close contacts of positive Covid cases can isolate. Careers have been halted and Design Calvin McKenzie even lost entirely in the turmoil caused by the spread of the virus. However, ADVERTISING there is also much cause to be hopeful. Across the industry, creative solutions Advertising manager Amy Driscoll have been found to ensure that training, performance and the launching of Production controller fl edgling careers could continue to take place despite extraordinary challenges. Daniela di Padova Some of those creative solutions are here to stay. The Covid and post-Covid PUBLISHING generations of arts graduates will be those more au-fait than any other Managing Director workers in the industry with online auditions, video showcases and live- Ravi Chandiramani Publisher Amy Driscoll streamed theatre performance. Now that it has been found to be able to Production Director reach much wider audiences across the globe, this technology won’t be Richard Hamshere Chief Operating Offi cer Jon Benson packed away just because we’re no longer in lockdown; and the actors, Chief Executive Offi cer Ben Allen designers and technicians embarking on their training and careers this Chairman Mark Allen year will be better equipped than any to utilise it. Whatever your year of applications for Higher Education may bring, I wish you the very best of luck. Sarah Lambie, Editor Part of Cover image: Absolute Scenes, performed by the Bristol Old Vic Theatre School © MARKDAWSONPHOTOGRAPHY www.markallengroup.com

Student Guide to Drama Education 2020-21 is published by Contents MA Education Ltd, St Jude’s Church, Dulwich Road, London SE24 0PB, Training abroad post-Brexit and Covid ..... United Kingdom. Features 26

© MA Education Ltd, 2020. All rights reserved. How to become a voice over artist ...... 29 No part of Student Guide to Drama Education Higher Education: the options...... 4 may be reproduced, stored in a retrieval system, Recommended reading: or transmitted in any form or by any means Tuition Fees: the facts ...... 5 electronic, mechanical, photocopying, recording, Books to read ...... 30 or otherwise without prior written permission What it’s like to study… ...... of the publishing director. The views expressed Plays to read 32 do not necessarily represent those of the editor. …Acting ...... 7 The presence of advertisements in Student Guide …Acting for Musical Theatre ...... to Drama Education implies no endorsement 8 Training institutions of the products or services offered. Every …Directing...... 9 effort has been made to ensure the accuracy of statements in this magazine but we cannot …Applied Theatre ...... 10 The Council for Dance, Drama and Musical accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, …Stage Management ...... 11 Theatre ...... 34 or an advertiser not completing their contract. We ...... have made every effort to secure permission to …Lighting Design 12 ArtsEd...... 36 use copyright material. Where material has been …Sound Design ...... 13 used inadvertently or we have been unable to ...... trace the copyright owner, acknowledgement will …Costume Design ...... 14 Mountview 38 be made in a future issue. Please read our privacy policy by visiting Foundation courses in acting ...... 16 Bristol Old Vic Theatre School ...... 40 http://privacypolicy.markallengroup.com. This will explain how we process, use and Applying for acting courses ...... 18 The Federation of Drama Schools ...... 41 safeguard your data. Printed in the UK by Pensord, Pontllanfraith, Applying for musical theatre courses ...... 21 The Royal Central School of Speech and Blackwood, NP12 2YA Technical training applications ...... 22 Drama ...... 42 Post-pandemic training and careers ...... 24 ALRA ...... 43

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 3

003_SGDE21-22_CONT+EDIT [APPROVED].indd 3 29/07/2021 10:59 004_SGDE21-22_FEAT-Drama orUni [APPROVED].indd 4 F through, togive you tothinkabout... someaspects There’s noone-size-fi talksitall ts-all answer tothisquestion,butNickSmurthwaite Which way to go… Drama schoolor university 4 discipline to aimfor. theatre butare notsure precisely which leavers wholike theideaofworkingin optionforschool- abetter and therefore coursestenduniversity to belessintense, week.Inwords, contact hoursper other of with roughly halfthenumber thepractical andthetheoretical, between balanced more evenly hand are generally much timeto withanythingelse.’ engage drama schoolsdoesn’treally leaveby required adds, ‘Thekindofcommitment the GuildhallSchoolofMusic andDrama, at Mountview ofTheatre Arts. Academy Ann Gritton, director aff ofacademic airs contact hours,five days aweek,’says Sally and determination to commit to 30 survive it. you’re unlikely to it,muchless enjoy half-heartedly inadrama schoolcourse, Ifyouenrol andattitude. of time,energy intermsrequiring ahugecommitment the physicality andmindsetofacting, drama schoolsisto youin immerse applying foradrama schoolplace. actor, off you’re probably better then onbecomingan up? Ifyou’re hellbent endeavour doyouseeyourselffinishing to acquire, andinwhicharea oftheatrical you already have, whichonesdoyouwish consideration? able to afford either? Andwillyoube kickstart anactingcareer? off practical instructionto enough er university Will your thirstforknowledge? with difficulty. drama Will schoolsatisfy

University drama courses on the other University drama coursesontheother O’Loughlin,directorOrla ofdrama at ‘It takes amountofresilience acertain speaking,Generally theaimofmost The first thingto sortoutiswhatskills So whatare thekey factors to take into StudentGuideto DramaEducation university canoftenuniversity befraught drama schooland between bright,choosing academically or buddingactors whoare also 2021/22 incubated insuchaway. have successfulactingcareers Many been isnooffi there where cial drama course. atuniversities companies, even student curricular activityinterms ofself-styled more opportunityforextra-provide graduates to acquire representation. opportunityfor –isagolden young talent insearch offresh agents by – attended ofyearshowcase drama schools,theend themajoritydo not.showcases, For most thatput onacting some universities are probably there hastheedge.While but forwould-beactors, drama school for makingconnectionsintheindustry, courses off opportunities students er theatre are started inthisway. designandtechnicalMany jobsinthe might leadto employment. permanent record, andto fi nd outifsuchplacements courses, soitisvitalto lookattheirtrack an importantrole inthesebackstage an establishedpractitioner, often play withatheatre or practical experience technical colleges. ie. Placements, or schools, artuniversities on offer, are withdrama they whether it isimportantto research thecourses For andtechnicians, wannabedesigners Industry springboards the students.’ available isallpartofourdutycare to those financial supportchannelsare support,’ says O’Loughlin.‘Ensuring Orla are inreceipt ofsomekindbursaryor school? ‘Fifty ofourstudents cent per or notyoucanafford to goto drama both worlds. thebestof school course–givingthem apost-graduateand then one-yeardrama routes degree coursefi –university rst, On the credit side, universities often thecredit side,universities On Both drama schoolanduniversity Does it all come down to itallcomedown Does whether topMany directors have taken both important.’ youtrained islessis important,where trained. Soalthoughtraining were they anactor employing considering iswhere they’re looksatwhen or producer He says, ofthelast thingsadirector ‘One to theindividualto path. chartacareer so oncetraining iscompleted itisdown it isnotaqualifications-based industry Johnexpert Byrnewhopointsoutthat theatres.’ beingdoneliveinoneofour were they fargreateraudiences would if thanthey get now performances their showcase resourceful. Thanksto streaming, topunches andproved beastonishingly rolled withtheO’Loughlin. ‘Butthey’ve signedupfor,’students says Orla difficult becauseit’snotwhatour in placeofliveones. ‘It’sreally been and digitallystreamed performances these past18monthsofvirtuallearning the top ofitsagenda. healthandwellbeingat mental student’s course, addingthatMountview putsthe the training before youcommitto a not youhave to theresilience dealwith important to determine or whether school foryou.’ questions, it’sprobably notthedrama looked uponforaskingthose down to adviser careers TheStage.‘Ifyou’re their codesofconduct,’says John Byrne, closelyatdrama schoolI’dlookvery lookingtoa parent placemychildina healthandself-esteem.mental ‘IfIwas canbetoughindustry ingeneral, on schooltraining,Drama indeedthe safeguarding.for failures ofstudent drama schoolshave inthespotlight been scrutinised. In yearsmanyUK recent Codes ofconductshouldalsobecarefully Caveats A final thoughtfrom theatre careers the addedchallenge hasbeen There Sally AnnGritton agrees thatitis www.dramaandtheatre.co.uk/SGDE SGDE Guildhall School ofMusic&Drama’sGuildhall School 2019 production ofProvok’d 29/07/2021 10:59

MIHAELA BODLOVIC Funding your course Tuition fees, funding and support The financial outlay involved in Higher Education is not to be taken lightly. There is support out there, however, and Susan Elkin talks us through what’s available to help

n most vocational colleges which run in London, and so on). The maximum degree programmes, fees are now in is £12,382 for a student living in London Dance and Drama Awards excess of £9,000 as in universities. away from home. This too has to be (DaDA) Most schools set their annual tuition repaid as a tax-like percentage once your www.gov.uk/dance-drama-awards Ifees at around £9,250 per year which income reaches £27,295. can be covered by a student loan. Some Federation of Drama Schools schools, however, charge higher fees. At Dance and Drama Awards – Finance, funding and Mountview, for example, the 2021/22 fee Another possibility is the Dance and bursaries: is £13,695 (a thousand pounds less than Drama Awards scheme. Funded by the https://www.federationofdramaschools. last year) while at Arts Ed it is £14,700. Education Funding Agency, it is outside co.uk/studying-at-an-fds-school/finance- It sounds a lot of money, but bear in mainstream student funding which is the funding-and-bursaries mind it is still only just over 50 per cent responsibility of the Higher Education of the actual cost. Performance students Funding Council. Student Loans Company are very expensive to train because they For students with a family income www.gov.uk/government/organisation/ student-loans-company need – and should get – 30 hours of under £21,000 per year, the award pays tuition a week – some of which may still the entire tuition fee and provides a

be online depending how pandemic rules £5,185 maintenance grant to contribute GOV UK GUIDANCE www.gov.uk/student-finance change. Be sure to ask about the face- to living costs for a student in lodgings to-face training provided on any course in London. Many students get less you’re applying for to make sure you depending on where they live and study are getting full value for money. Some and if their household income is higher. DaDA Schools for 2021-2022 schools, especially those which have been These are effectively scholarships The following schools, at the time of going absorbed into universities, have quietly awarded at the discretion of the to press, are offering DaDAs for academic reduced teaching hours. colleges in the scheme, so you have year 2021/22 Be aware that many universities run to demonstrate a lot of potential to ALRA (Academy of Live and Recorded academic drama courses whose main be considered. To be DaDA eligible, Arts) purpose is not the training of performers, applicants must be aged 16–23 to apply for ArtsEd, London so you may not be “industry ready” when funding towards dance courses and 18–23 Bird College - Dance and Drama you graduate, although these courses can for acting courses. The 18 DaDA eligible Theatre Performance be good preparation for non-performance schools for the 2021/22 academic year are Elmhurst Ballet School work such as teaching, directing or play as shown in the box on the right. English National Ballet School writing. Tuition fees will still be £9,000 Students offered places on courses The Hammond School plus. But there is much less face-to-face at DaDA awarding schools who are not Italia Conti Arts Centre practical tuition: 12 hours a week teaching offered a DaDA scholarship are, of course, KS Dance time is fairly typical. responsible for funding their full course Laine Theatre Arts Tuition fees have to be repaid, but fees and living expenses – the total cost of Liverpool Theatre School no one has to pay ‘up front’. You do which can be more than £20,000 per year. Millennium Performing Arts not begin repayment until your annual Mountview Academy of Theatre Arts income reaches £27,295 a year. If you Scholarships, bursaries and Northern Ballet School never reach the threshold your debt is other funding Oxford School of Drama finally cancelled after 30 years. Many long-established drama schools Performers College have trusts and benefactors behind SLP College Leeds Living costs them, so there are a number of specific Stella Mann College There are separate arrangements for scholarships and bursaries about. A Tring Park School for the Performing all higher education students needing scholarship is typically awarded to an Arts support. You can take out a student outstanding student whom the college loan to cover these costs. Amounts really wants to work with and who, almost vary depending on your situation (for always, goes on to a successful career. continue without a top-up, for example. example whether you are living at home Bursaries tend to be quieter and more Knowledge is power – research your while studying; living away from home discretionary where a college can see that options and make sure you understand outside London; living away from home an individual student will be unable to what you’re committing to. SGDE

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ISSUE 87 Spring Term 1 2019/20 www.dramaandtheatre.co.uk

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Drama&TheatreSGDE_2021-22.indd Brand 6Subs Advert (11-20)_210x276.indd 1 02/08/202116/11/2020 20:03:01 09:23 What it’s like to study… Acting BY LUCY HAVARD

What course did you study at what institution? I studied BA (Hons) Professional Acting at LAMDA. Why did you choose that particular course? I knew that I wanted to spend my time at drama school trying out lots of different approaches to acting and story-telling. What was exciting to me about LAMDA was that it was not tied to one way of acting, over the three years you would learn lots of different approaches to find the ones that worked best for you. That flexibility and individual approach to training was what drew me to LAMDA. What were the entry requirements?

For LAMDA the grade requirements are IRONS. SAM not nearly as important as the audition process. When I was auditioning, in the term of second year working on Zoom. It what the industry might have in store! first round I prepared one classical and was hard not being able to be in the same one contemporary monologue and for room together, something I had really Did you know what you my recall I also had a duologue, some taken for granted, but we did make the wanted to do as an occupation sight-reading and a song. On top of that best out of what was an unprecedented before you started the course? we did group workshops on movement, time; and to make the most out of it, I Did that change during the improvisation and devising. I loved the and another person in my year created course? audition process at LAMDA because it an online festival of all the work our I always knew I wanted to be an actor gave me an opportunity to meet and work year group had created since being stuck but during my time at LAMDA I have with the teachers on the course so I could inside. also learned and developed other skills get a real sense of what it would be like like writing, producing, devising which I to go there. [Audition requirements have What did you like about the am really passionate about and want to since changed for LAMDA. Go to www. institution? continue to develop after graduating. lamda.ac.uk for details.] On your first day at LAMDA you get assigned a buddy, someone in the What is it that you do now, and What did you enjoy most about year above you who can help you with what are your plans for the the course and why? anything you’re struggling with because future? Overall I loved being part of an ensemble they have gone through exactly what I am looking forward to the next steps of and seeing everyone develop and change you’re going through. This meant that you my career. The industry has been through over the three years. Because LAMDA is immediately had friends in other years a really tough couple of years, so I am quite a small school it feels like you’re and you always have someone to turn to. excited to see what work gets made and part of a family and everyone is so what work I get to be a part of. supportive of each other. But one of my Do you feel that the course favourite moments was our Greek Project has equipped you with the What advice would you give at the end of our first year. All thirty of appropriate skills to work in to someone when picking a us working together to tell the story of the theatre industry? course? Agamemnon through movement and I feel that my time at LAMDA has given When you are applying for drama school, music – it was a moment I will cherish me the opportunity to reflect on who I am they want to get to know who you are. I forever. as a person and as an artist. I have a much applied because I loved acting and story- clearer idea of the kind of work I want telling, so any chance to do that should be What did you find most to do and be a part of when I graduate. fun. It’s also important to note that you challenging? I have also had the chance to work with are going to spend three years of your life Trying to do drama school during a some incredible directors during my final at drama school, so you are auditioning pandemic certainly wasn’t the easiest year and have done a variety of plays from the place as much as they are auditioning thing to do. We spent most of our final throughout history, so I feel prepared for you. SGDE

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Musical Theatre BY ALICE CROFT

wants to pursue a career in theatre to at of anger, disappointment, stress, even least go and audition, because it could jealousy, acknowledge them, and then change your life forever! move on to the better things). What did you enjoy most about Did you know what you the course and why? wanted to do as an occupation Getting to work with such inspiring before you started the course? industry professionals – some I now Did that change during the consider friends. They made me feel course? comfortable and valued as I entered Before applying for drama school I the industry as my own ‘product’ rather also wanted to be a teacher, a director, than ‘a student from X’. It was all about even a chemist at one point! During the prepping you for the industry and I felt as pandemic, I used my time stuck in my if I could fly the nest confident in myself childhood bedroom to rediscover my and with what I could offer an audition love of directing, creating and adopting panel. leadership roles in the form of The Grad Fest: a company I co-founded to support What did you find most theatre graduates in the transition from challenging? college to industry. When you’re an actor, The moments where I felt like I wasn’t you should relish the opportunities to enough as myself. Drama school is no add tools to your belt. Be as versatile and easy ride, I would be lying if I said it was. hireable as possible, and don’t restrict You have to make sure you find a group yourself. of friends or family who will support you on every step of your journey. There is What is it that you do now, and no shame in asking for help or support, what are your plans for the or saying you need a break, be it for your future? physical or mental health. The challenge I am still very much an actress – I is admitting you need a helping hand, but had two jobs lined up but due to Covid the relief you feel once you’re back on complications, they were not meant to your feet outweighs everything. be. I am still working almost every day with The Grad Fest – producing graphic

PHIL SHARP What did you like about the design, editing the website, being the institution? artistic director, liaising with venues What course did you study at The opportunities we received through and other creatives. As long as there are what institution? ArtsEd were serious ‘pinch me’ moments. grads, there will be The Grad Fest. I am I studied the BA (Hons) musical theatre Such as performing in the choir at the also picking up any ‘muggle’ jobs I can – I course at ArtsEd, 2017-2020. Olivier awards. I remember watching the have been a waitress, a sales assistant, awards on TV as a kid, and to suddenly a florist, a cleaner in a care home, and Why did you choose that be there, in the Royal Albert Hall, I am currently an intern for an online particular course? surrounded by theatre royalty, blew my children’s clothing company. In other I hate to sound corny, but it had been mind! words, my special skills box on spotlight my childhood dream – one I never is filled to the brim… cheers Covid. thought I would be able to live out. I was Do you feel that the course convinced I wasn’t a strong enough singer has equipped you with the What advice would you give or dancer, so originally I auditioned for appropriate skills to work in to someone when picking a acting courses, then I decided to grab the theatre industry? course? the bull by the horns and at least give I believe my experience at ArtsEd gave Take your time! There is no rush and musical theatre a go. ArtsEd had one of me the ability to try, try and try again. I don’t let people pressure you. Explore the highest percentages when it came to learnt to become my own biggest fan, to what course is right for you and if that jobs post-graduation, and I knew it was pick myself back up when I was down. I means taking a year off to work to save THE school. Never in a million years did realised that if there are no opportunities money, take workshops and go to more I think I would be offered a place, (and for me, then I can just make them classes to build up your skills, then that’s every other institution had been a ‘no’!) myself. I learnt that I am ME, and if so admirable! There’s absolutely no they don’t like it, too bad. Therefore, I shame in it and if anything, it proves how What were the entry feel indestructible. (Of course, there are serious you are about the path you are requirements? moments when I wish the ground could choosing to take. Your journey to your The UCAS requirements were extremely swallow me whole. But as I mentioned career is unique – try not to compare it to low, which means practically anyone can before, I can spring back much quicker anyone else’s. Your hard work will always apply! I hope that encourages anyone who than before. I learnt to sit in the feelings pay off. I promise.SGDE

8 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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myself and how my trauma did not have to affect me in all the work I created. Directing This was also an incredible bonding experience for everyone in the class, we felt we understood one another more and GEORGINA could support each other when difficult topics came up. This module truly was COYNE something that changed the way I looked at myself, and while certainly the most challenging, was also one of the most What course did you study at rewarding modules. what institution? My name is Georgina, I’m currently What did you like about the twenty one years old, and about to institution? begin my final year studying BA (Hons) I feel the course has equipped me well for Directing at the University of Plymouth. the industry as I now know how to take care of a cast, from risk assessments to Why did you choose that understanding their training. Directing particular course? is more about how things feel within the In 2019 the University of Plymouth were actors’ bodies and on stage than I ever preparing to launch their new BA (Hons) would have thought before undertaking Directing course, created and led by Alex this course. Not only that but the Cahill. The course promised a ‘unique connections I have made, and placements blend of newly designed curriculum, I have undertaken while completing the apprenticeships , and collaborations course have given me a real and practical with theatre in the South West’ and understanding of what the modern-day worked closely with The Theatre Royal, theatre company is like. as they were a part of the Plymouth Conservatoire. This aspect really Did you know what you attracted me to the University, knowing wanted to do as an occupation they had those industry connections on before you started the course? hand was invaluable. This course seemed Did that change during the like the right way to go, it was brand course? new which meant it was an opportunity Going into this course I knew I wanted no one had had before, and they were put on stage affects how an audience to be a director, and while the course taking on ten people the first year. I was will perceive what’s happening. What reaffirmed this for me, it also made me determined to be one of them. do the bodies you’ve put on stage say to understand that directing is so much the audience? What do they represent? more than just instructing performers. What were the entry Bodies or characters, ideas or feelings. My interests lie within feminist theatre requirements? We delved into exploring difficult topics and trauma-based theatre, this is what I The entry requirements included two A through theatre, and how different bodies would like to pursue in the future. I feel levels, or BTEC, or another qualification saying the same line completely affect the that being a female director at this time, that equals either of these. meaning of the words. What does it mean with all of the social change women are when a woman says it compared to when facing round the world, is a gift, and one What did you enjoy most about a man does? A white person or person of I feel very passionately about. I would the course and why? colour? Able bodied compared to those like to create work that helps women who The course itself is unlike anything I with impairments? The most important have experienced sexual assault reclaim could have imagined. We work closely lesson we learned is that everything you their bodies for their own, and highlight with the actors and dancers on other choose to put on stage says something, so the problems within the current system courses, learning with them so that we you must be sure what you want it to say. of reporting, and surviving such assaults. have an understanding of the training they have, in order to be able to direct What did you find most What advice would you give them one day. Collaborating is one of the challenging? to someone when picking a key jobs of a director, and so being able What I found most challenging on course? to make these connections is vital, not the course was its ability to make me The best advice I could give to anyone just during the projects we are creating at question myself. During a module currently exploring course options is to University, but also for the future. about safeguarding ourselves and our make sure that you absolutely love what My favourite part about the course is performers when delving into difficult you choose. You will live and breathe your the way it makes you look at the world topics, we were faced with the idea to chosen subject for three years, and then differently. As a director you have to be stand face to face with another actor, and endeavour to write a dissertation. You paying attention to everything, and it’s face them as they are our traumas. This want to be passionate enough that you almost impossible not to then do this task was at times incredibly taxing, the want to do this every day. After all, the to the world around you. We learnt that emotional and physical toll was unlike most important things about University theatre often goes hand in hand with anything I had experienced before, yet are that you enjoy yourself, grow, and the politics of society, how what you by the end I felt so much more sure of learn. SGDE

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learning experience. If you don’t hear the people rehearsing and singing, you’re Applied Theatre probably in the library! Furthermore, each course division can interact and collaborate at students’ LUKE AARON discretion. For example the Puppetry and Stage Construction students and lecturers from the Theatre Practice degree helped me to build and use the What course did you study at puppets for our Cornwall tour. what institution? I studied Drama, Applied Theatre Do you feel that the course and Education on the Contemporary has equipped you with the Performance Practice degree at the Royal appropriate skills to work in Central School of Speech and Drama. the theatre industry? Yes. Your entire experience is about Why did you choose that gaining and honing the practical, particular course? logistical and theory skills needed to do This course is not only very special, but this. From day one, they treat you like an it is also rare; take your average acting or artist or practitioner.

drama course and lob it out the window! PHOTOGRAPHY CHARLIE SAMBROOK Royal Central offers you 3 years of It offered the chance to both study and space to develop and hone not just the do theatre in the most amazing and there are essays and theory which are appropriate skills, but also those you wish innovative ways. crucial to the course. But don’t worry, to develop. The more you put in, I like to describe ‘Applied Theatre’ before I did this course I’d never written a the more you get out. as theatre and performance with a job proper essay in my life – I’m also rubbish to do… other than just entertainment. at spelling! You soon get the hang of it! Did you know what you You apply the myriad conventions, wanted to do as an occupation devices and types of theatre and drama What did you enjoy most about before you started the course? to various settings, communities and the course and why? Did that change during the locations in the effort to make change; to The range of specialisms and art forms. course? challenge; to raise awareness; to educate; It can be made up of all kinds of creative Before the course I was interested to establish dialogue; to break barriers folk: puppeteers, dancers, actors, in drama facilitation, education and and boundaries, to celebrate…the list is singers, performance artists, comedians, teaching. One of the best things about endless! I wanted to use my passion for magicians, drama facilitators... a drama course of any kind is the theatre for good, and having my roots My favourite moment was touring a transferable skills. Because this one is in drama facilitation, this course was puppet play we made in Cornwall – some specifically rooted in contemporary perfect. even got to take their theatre abroad. politics, issues, matters of community, The lecture team are industry-leading – There is also a huge range of topics; I and because it covers such a broad range some of the very best in the field, though appreciated how you are encouraged of contemporary studies, my plan has they’d never brag! I even recognised one to develop and discover your own changed! of the lecturers’ names as the author of intersectional specialisms and interests one of my old drama books from college! – I am specifically interested in theatre What is it that you do now, & social class, others more in theatre and what are your plans for What were the entry & race, sexuality and gender, health, the future? requirements? feminism, disability and so on. I’m now looking at various opportunities, Usually, you need between 120 and 96 not just careers directly associated to UCAS tariff points. What did you find most my degree or in the arts, but also other Second: a group interview. Weird? challenging? careers… in security intelligence, jobs in Yes. But, you soon discover that this Navigating the class barriers of a drama politics and charity organisations, as well encapsulates a key requirement for school university institution. Also, as even joining the Police Service. the course: the skills to communicate, coming from a very rural environment, discuss, debate and argue theory, ideas, living in London is quite a culture-shock – What advice would you give concepts and research with a critical lens. a railcard helps! to someone when picking a I was asked to discuss ‘In what ways can course? theatre and performance be used as a What did you like about the Take time to work out what you would social or educative tool in society?’ institution? like to do. Don’t be swayed by the idea Third: a relaxed practical devising Royal Central is small but mighty – it of “university life” if it isn’t for you. workshop where we had some fun doing has around 1,000 students – many of Also, if you’re from a council estate typical drama workshop stuff – the which are never on campus due to the like me, give it a go. Working-class lads perfect chance to test theatre-making nature of their studies – as opposed to are the least likely to reach university: basics. big Universities like UCL or Manchester if it’s not for you then that’s okay, but They may also ask you to send in a which have around 40,000 students. if you’re feeling intimidated or not small extract of writing. That’s because, Because of this, there is more of a confident enough, just know that you’re although there are no written exams, community feeling and a more personal as worthy as everyone else! SGDE

10 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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disciplines as there was always a lot of pride in opening a show that you were Stage management involved with. Do you feel that the course BY STUART THORNS has equipped you with the appropriate skills to work in the theatre industry? and the positive and engaging approach Definitely. The skills and knowledge you you can bring to the department (and of learn are just the basis for the industry course your passion for theatre!) and they provide all the resources and opportunities for you to graduate in a What did you enjoy most about good position of understanding to go the course and why? into professional roles. Their focus on One of the aspects I enjoyed most the importance of external professional about the course was the vast number experience was so important and the of productions you are able to be a opportunities I had outside of GSA taught part of. They definitely have the ethos me as much as those inside, and I believe that the best way to learn is by actively they do appreciate this and do as much as participating in the process, and while they can to facilitate these opportunities. this can sometimes become a little overbearing, I know for certain that Did you know what you it has hugely developed my skills and wanted to do as an occupation confidence in working within a stage before you started the course? management team. I also had a great time Did that change during the on the work placements and professional course? work opportunities I had while at GSA. Not entirely, I just knew I wanted to be involved with making theatre. After trying What did you find most all of the technical departments during challenging? my first-year, I quickly took an interest What course did you study at Some of the most challenging times were in stage management and nothing has what institution? during busy production periods – the changed my mind so far! I studied BA (Hons) Theatre Production amount of responsibility sometimes just at Guildford School of Acting (GSA), seemed a little too much for a student What is it that you do now, and specialising in Stage Management. at the time. Looking back, however, it is what are your plans for the this pressure which has most developed future? Why did you choose that my skills and awareness of the discipline. Graduating in 2020, there was a little particular course? Having these times of intense pressure hiccup in my plans for obvious reasons. The theatre production course at GSA taught me about managing workloads and My year was swiftly cut short and it gives you the chance to gain experience in expectations, and that nothing is more suddenly seemed a little scary even a range of production departments before important than the wellbeing of the team. thinking about getting into the industry. specialising in the department of your The challenging times were often the However, I had the incredible choice for two years. The understanding times that I grew closer with the people I opportunity to join the team as a I developed while spending my first- worked with, and the importance of open rehearsal ASM intern on Back to the Future year learning about the work other and honest communication is something the Musical just before the pandemic, and departments do in the production process I have definitely come to appreciate after the experience I had definitely motivated and gaining technical experience in their three years at drama school! me not to give up on the industry that I disciplines greatly benefitted my stage had been training for for the past three management roles and how I work. As What did you like about the years. one big production team, it is invaluable institution? to understand and appreciate what every GSA has a very inclusive atmosphere What advice would you give department needs to do in order to get and there is quite a lot of inter- to someone when picking a the show up! course interaction. Especially in stage course? management, I found myself working Get a solid understanding of what you What were the entry alongside a lot of different people from want out of your course. Just research requirements? around the school and everyone was them as much as you can and go to any When I applied, there were minimum always supportive and appreciative of open days which interest you, and go A-Level/BTEC grade requirements, everything. from there. You don’t have to know however they are more focussed on a Being part of the University of Surrey where you want your life or career to go, face-to-face interview to make sure that also provides a lot of facilities which because that’s what you’ll start to learn at you are right for GSA, and that GSA is made the whole experience a lot easier university! right for you. They were not necessarily and more comfortable. The quality of Don’t just choose a place someone interested in how much experience you the productions was always something said is good or that they are going to as had, but more on your open attitude to that I found quite impressive too, and I well, choose the place that is right for learning from the people you’ll meet think this shows our commitment to our you. SGDE

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into the industry this young, as part of the course we get a lot of hands-on Lighting design experience in both our smaller studio spaces and our two on-campus theatres. We are trained in a lot of software such LILLI FISHER as ETC, WYSIWYG and Vectorworks so we are kept up to date with what is already being used in the industry. What course did you study at Another great aspect is when we are given what institution? show roles such as LD, ALD and Prod I am currently in my second year of LX we are mentored by current industry studying BA Lighting Design at Rose professionals whose experience helps Bruford College. direct our process. Why did you choose that Did you know what you particular course? wanted to do as an occupation During my gap year I began working before you started the course? at a receiving house theatre backstage Did that change during the as a dresser, which progressed into course? me learning to follow spot when they When I started at Bruford I thought I needed more follow spot operators. As really wanted to work on big West End each touring show visited the theatre I shows and musicals as that’s what I became fascinated by the lighting and it enjoyed watching at the time. But, after inspired me to learn how I could create working on devised shows with students something similar by myself. I used my from the European Theatre Arts course gap year to learn the basics of lighting and I discovered my love for experimentalist programming which is when I decided to pieces, and this has taken me down the apply for the Creative Lighting Control path of immersive theatre. When we course at Bruford. Soon after applying joined the course, everyone came with I realised I am more interested in the broad ideas of where we wanted to end devising aspect of lighting and changed to up after Bruford but over time we have the Lighting Design course instead. developed new unique interests and split What did you find most off into our own little niches. What were the entry challenging? requirements? When I joined I had very little experience What is it that you do now, and As I applied through clearing I never had compared to some of my peers, which what are your plans for the to do a formal interview but I did have to was intimidating at first, but everyone future? submit a personal statement explaining is eager to help when they see another In my third year I am going to work on what interested me about the course and person struggling. As part of the Lighting more devising pieces and explore new where I wanted it to take me. Everyone Design course we get a lot of hands on ways to integrate set practicals and MIDI in my class joined with varying levels of training and I have learnt so much here triggers in my designs. I want to take experience and as long as you show you over such a short amount of time. an unconventional lighting approach to have a passion for the subject and are projects and create immersive theatre willing to experiment and learn, you will What did you like about the pieces and I hope to follow this path into fit in well. institution? my future career. One big thing I hope All of the courses get to collaborate to achieve is taking a show to VAULT What did you enjoy most about on shows together and this creates a Festival. the course and why? big sense of community on campus as While at Bruford you get to work with everyone knows each other from different What advice would you give a whole range of courses and during shows they have worked on. Every year to someone when picking a our most recent British Contemporary we have a symposium week which is course? Theatre project I worked closely with the essentially a fringe theatre season where Make sure you have a general interest set designer to create a set which visually students can put on their own shows in the course and are willing to learn. transforms under different lighting states. and installations. As most shows need a When I was struggling to pick a course The best thing about the course is that lighting designer this is a big opportunity the tutors were there to assist me in we get to experiment a lot through the to design for a range of different student choosing which one suited my plans projects we are given in first year and directors and I really enjoy working on for the future and I found it super lot of the stuff I played around with in these projects to help make their visions useful to speak to current students the lighting labs, I put into practice on come true. and graduates to hear their experiences. a bigger scale later on in second year. Many courses give you the freedom Thanks to this I discovered my love Do you feel that the course to shape your studies to suit your for using nonconventional lighting has equipped you with the personal interests, and there are so instruments, and rigging lights in places appropriate skills to work in many people who are willing to guide you wouldn’t expect to find them. the theatre industry? you if you are unsure of which course Although it feels intimidating going suits you best. SDGE

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Do you feel that the course has equipped you with the appropriate skills to work in the theatre industry? Yes and more! I graduated specialising in sound production, but I’ve developed so many other skills – I loved my time doing scenic construction – the amount you achieve in a short space of time is amazing. On your first day you start by learning how to use various tools, you keep learning, until by the end of the term you’re building massive sets. We did two final year shows, Nicholas Nickleby at the Bristol Old Vic, and Caucasian Chalk Circle at the Tobacco Factory, and they’re seen by real audiences. Did you know what you wanted to do as an occupation before you started the course? Did that change during the course? Initially I wanted to be an actor! I came Sound Design out of A Levels having done a little bit of theatre tech but I didn’t know courses like this existed. I was looking TOM CODD around for theatre schools, and I saw an

ED FELTON advert for the Production Arts course – and that was it! There’s a lot of people What course did you study at sounds of the Nautilus. People were out there who just don’t know these types what institution? splashing around in baths, recording of courses exist. If I’d not seen that advert I studied the BA Production Arts for Stage themselves in the shower, or bashing this would have passed me all by and I’d and Screen at Bristol Old Vic Theatre saucepans together, there was tin foil be a failing actor. I was lucky in that the School for three years, specialising in everywhere…. We took all that into post first role I got assigned was as a sound Sound Production & Design in my third and manipulated it and fit it into the final designer – I absolutely loved it – I got the year. piece. That was very fun to do! sound bug pretty early on. Why did you choose What did you find most What is it that you do now, and that particular course? challenging? what are your plans for the The breadth of experience you get – from The course is designed to be future? stage management to scenic construction challenging. Tutors assign you roles and I’ve been doing quite a bit of sound to prop making to sound, lighting and film give you a script and off you go, here’s recording for film. I enjoy the majority and TV. You basically cover everything in your deadline, we expect you to have a of the sound universe, and I’m putting the behind-the-scenes world! Plus it’s in a show produced by then! It’s a massive myself out there and writing letters to very nice location with very nice people. challenge but it’s a fantastic feeling producers, podcasters, getting my name when you see it go up. In the final year out there. With the skills I’ve gained and What were the entry you take on a head of department role, all the connections the school has given requirements? with first and second years working me I’ve no doubt work will come my way You’re asked to submit a portfolio of under you – you have to manage and very soon. work, then as part of the selection teach them. I thought I’d never be able to process I came down to Bristol in do it, but here I am now having done five What advice would you give February and interviewed, then found out professional shows! to someone when picking a three months later I’d got in. course? What did you like about the Go on the website and have a look What did you enjoy most about institution? at graduating students, what they’ve the course and why? BOVTS is small, but it means you done and where they are now – people Sound designing is great fun. There’s a lot know basically everyone! You graduating this year are working on films of creative freedom – for 20,000 Leagues become comfortable very quickly, all over Bristol, one person’s got a job Under the Sea, an online Zoom show everyone knows everyone. The tutors with Disney working on the new Harrison we did this year, me and the director are very approachable too – Andy Ford film – it’ll be inspiration for your (Toby Hulse) talked sound design, we Scrivens, the scenic construction future. And have a look at the shows on thought we’d have all the sounds tutor, he’s excellent, not just as a tutor the school’s YouTube channel – live created from actors’ voices or things but as a pastoral figure too – he’s always streaming isn’t going away so it’s good to lying around their homes to create the open for talking about things. learn about! SGDE

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Falmouth, most notably the facilities available, paired with the amount of encouragement and assistance that our tutors and technicians provide such as the opportunity I’ve recently had to explore and practice embroidery more than I would have before. I’ve found the institution really nurtures learning, expression and the development of my creativity – and that’s without mentioning that the gorgeous surroundings you can’t avoid when studying in Cornwall can be quite inspiring for creativity. Do you feel that the course has equipped you with the appropriate skills to work in the theatre industry? I’d say it’s definitely on track to doing so, with frequent guest speakers offering a wealth of insight into the realities of the industry along with plenty of practical work. I’d say I’m on track to gathering a pretty well-rounded understanding of the skillset required to work in the Costume Design industry. Did you know what you CONNOR SPEARING wanted to do as an occupation before you started the course? Did that change during the What course did you study at What did you enjoy most about course? what institution? the course and why? Before beginning this course I was I’ve just completed my first out of three The most enjoyable parts of this course for very eager to get involved in garment years studying Costume Design BA(Hons) me have actually come from the industry construction but after completing at Falmouth University. insiders we’ve been given the opportunity my first year on the course and being to interact with and learn from. I feel like exposed to so many corners of the Why did you choose that I’ve been opened up to so many aspects industry I’ve realised there are so many particular course? and areas of the costume industry I’d other avenues to explore. My main I have always wanted to have the have never considered before, and been interest now lies more in the garment opportunity to pursue a creative career given a great deal of knowledge around design and illustration area. and the real-world potential offered these areas. It’s also been a joy to be given by this course was a big appeal. It was the amount of creative freedom to tackle What is it that you do now, designed by industry professionals and projects in our own way so far on this and what are your plans for constructed to give the skillset needed to course, as it’s led to it being consistently the future? realistically work in the industry. It also fun and exciting to explore – you always For this summer I intend on honing seemed very appealing especially due to feel you’re in professional hands. my practical skills sewing-wise and will the focus around the area of sewing and look forward to gaining some in-person design that I’ve always loved, giving me What did you find most experience hopefully through more the chance to make something of this challenging? hands-on work with theatres or film sets area of interest. Due to the pandemic’s effect on our first in the very near future. year it’s actually gone by at a more relaxed What were the entry pace than usual, the biggest challenge for What advice would you give requirements? me this year has probably been working to someone when picking a It’s suggested that you are on course to on my sewing skills! But as this and my course? acquiring 104-120 UCAS Tariff points working opportunities improve, I look Make sure you’re going to have fun with from A levels, BTEC diplomas or through forward to moving onto bigger projects it! You’re going to excel in the area you an Art and Design Foundation Course and putting my new skills to work further have passion for, which comes with the before applying, but it’s always worth as the course continues and really gives me patience required to learn and hone your remembering that your portfolio and the opportunity to push myself. skills. Also make sure you have gathered interview will play a big role in you being the fullest picture of what your studies accepted onto the course, you’ll always What did you like about the will involve through open days or talking have a good opportunity to show off your institution? to students. Just make sure you’re going potential through these. There’s a lot to like about studying in to enjoy yourself! SGDE

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SGDE_2021-22.indd 15 02/08/2021 20:03:14 Foundation courses in acting A few fundamentals A foundation course in acting is a great way to prepare for drama school, or simply to test the water and decide whether drama school is for you. Laura Clark puts together a round- up of some of the many available drama school foundation courses

s the nation hauls itself out of would work equally well for someone hibernation, actors across the else’. But what about 6 months, or 10 Institute for Contemporary land will once again face the weeks? A foundation course can be a Theatre question ‘are you in anything useful gateway for a Green Room greener, QUALIFICATION RSL Level 3 Extended atA the moment?’ But what if you’re only but they have a reputation for being Diploma in Creative just waking up to your acting calling – expensive. Is the length of a Foundation & Performing Arts where to start? Several years ago, Alistair course enough to get started, or will it be (Performing & Coomer (casting director at Donmar too much – financially speaking? Here’s Creating) Warehouse) told The Guardian ‘While the lowdown on some drama foundation LOCATION: Brighton three years at LAMDA and RADA is a real course frontrunners to compare and DURATION: 2 years advantage, a year or two with the NYT consider. FEES: Free to UK & EU students aged 18 or under (subject to academic requirements) Bristol Old Vic Theatre School ENTRY REQUIREMENTS/AUDITION: Workshop QUALIFICATION N/A audition. 3 GCSEs at LOCATION: Bristol Grade C inc. English DURATION: 10 weeks, summer holidays Language and Maths. FEES: £5,500 ENTRY REQUIREMENTS/AUDITION: 18+. Audition only, no qualifications needed to apply. Overview Auditions begin in early January. You will need to prepare and Positioned as a pre-drama school perform two speeches (one Shakespeare monologue in verse and a course, this highly practical and modern speech written after 1960) and an unaccompanied song. All intensive two year programme is pieces should be no more than 2 minutes each and contrasting. perfect if you’ve caught the drama bug early, as it is free for ages 18 or Overview under. Starting with an overview of The BOVTS has produced some of Britain’s best loved actors. This 10 week acting techniques, students are then Summer Foundation course is comprised of a mixture of practical performance given the choice of three pathways: projects and masterclasses and follows the same pattern as the current 2 and 3 year Music Theatre – Triple Threat; Acting vocational courses, with tutors drawn from the school’s own pool of core staff as & Theatre Making and Dance Artistry well as industry professionals. The school has undergone refurbishments in the & Performance. There’s also the last couple of years: 2 new large studios, a changing room and utility spaces now sit opportunity to take part in full-scale adjacent to the original townhouse building, housed in a beautiful contemporary productions (cabarets, concerts or build. The course itself has a very traditional structure, modules listed include: plays), and guidance on attaining ‘acting, movement, voice, dialects, singing, improvisation, stage combat and study work experience ‘on and off stage techniques’. Opportunities for theatre trips and the chance to write a review are also and set’ with local film and theatre part of the programme. companies. www.oldvic.ac.uk www.ictheatre.ac.uk

RADA have let loose a new online course into ‘A firm grounding in QUALIFICATION non-HE (Fundamentals of the digital ether. The course is being Acting: Online course) pitched at people who are fairly confident physical practices LOCATION: London performers, looking to cement their DURATION: Four weeks, online acting skills. They are also encouraging and acting FEES: £2,500 applications from those in ‘speaking ENTRY REQUIREMENTS/AUDITION: Recorded professions’. From playwriting/devising techniques’ audition. 18+ (no upper to text analysis, and also training in age restriction). Fluent movement, vocal and acting techniques, English. Some acting students will surface with a grounding in starting on 19 July. University credits are experience is useful but the fundamentals. More specialised units not offered, but for institutions in North not essential. such as ‘acting for camera’, ‘monologue America and elsewhere, it is down to preparation’ and ‘world theatre’ also the school whether or not they want to While dates for the Foundation course feature. All modules are run by RADA accredit the course. in Acting are yet to be released, RADA tutors, 5 days a week, for four weeks www.rada.ac.uk

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GSA QUALIFICATION N/A Fourth Monkey LOCATION: Guildford, Surrey QUALIFICATION CertHE Acting & Theatre DURATION: One year full time Making FEES: £10,000 paid in three LOCATION: Bristol instalments (four fully DURATION: One year, full time funded bursaries are FEES: Tuition fees - £9,250. available) Additional costs – Fourth ENTRY REQUIREMENTS/AUDITION: Two part Monkey uniform £60+,

audition – first round, knee pads, £5+, padlock MONKEY FOURTH self-tape (a speech from a (coded) £5+ Foundation training is a physical affair play published post 1960 ENTRY REQUIREMENTS/AUDITION: 18+. Optional and one from a classic play, 200-word personal statement. Audition assessed solely on merit. preferably Shakespeare, Previous formal academic qualifications are not essential. Excellent both no more than 2 conversational English and the ability to understand a variety of texts mins.) 18+. GSCE maths (the equivalent of IELTS Academic 6.0 overall score, with at least 5.5 in and English Language Reading, Writing, Speaking and Listening) is required. grade 4+ (or equiv); IETLS minimum overall 6.5 and Overview by component 6.0 This one year, full-time course is accredited by Falmouth University (so it is possible to apply for student finance) and is also run in collaboration with notable Bristol Overview based institutions: The Actors’ Workshop and Screenology. Home to the BBC and Historically focused on multi-disciplinary a regular roster of film festivals and arts events, Bristol is often regarded as the training, the GSA course eases media capital of the West. No cowboy operation, this course promises the same students into the final assessment (the standards as Fourth Monkey’s London centre (Monkey House) and begins with a presentation of a devised work based on firm grounding in physical practices and acting techniques, such as breath control a social issue) with ‘work-in-progress’ and observing your own natural impulses, before moving onto text work, devised performances of a Contemporary, performances and solo/ensemble projects. It’s a diverse programme of classes, with Naturalism or American Realism play. movement lessons in The African Diaspora, Grotowski and Le Coq as well as the Less common classes such as ‘Historical chance to explore Puppetry and Clowning. You won’t have time to miss a beat or dance for the actor’ and ‘Introduction to monkey about either, with a jam packed 30 hours of contact time a week. playwriting and directing’ are scheduled www.fourthmonkey.co.uk alongside acting/audition technique. However, it’s the department Heads, Michael Toumey and Gerry Tebbutt that Oxford School of Drama Oxford institute. Don’t be fooled by past are the main draw: according to accounts, QUALIFICATION N/A students talk of ‘time to do a crossword’ the two tutors help create a nurturing and LOCATION: Oxford in between study (see videos), the tutors inspiring study environment. Students DURATION: 6 months, full time on this course challenge students to take will also benefit from workshops with FEES: £8,400 on full-time drama school or the full-on visiting industry professionals. ENTRY REQUIREMENTS/AUDITION: Audition world. It’s a comprehensive and academic www.gsauk.org only. No academic programme, covering techniques by requirements. Stanislavski, Chekhov and Uta Hagen and verse and poetry study. Some rare beasts Overview are included also: ‘Animal studies’, and a ‘Perfect if you’ve Selected by the BBC as one of the top focus on screen acting. This foundation caught the drama 5 drama schools in the UK in 2004, boasts a glittering cast of alumni as well: it’s no wonder so many young actors star of Bridgerton Nicola Coughlan for bug early’ take a punt on this idyllically situated one. www.oxforddrama.ac.uk

Young Actors Theatre time per week) and runs for 36 weeks. Students can expect QUALIFICATION non-accredited a rigorous programme and for expectations to be high: YATI LOCATION: Islington, London are looking for people with a professional attitude and a DURATION: 36 weeks, part-time strong work ethic to join the foundation family. Improv, FEES: £1,950, £,1425 (concessionary rate) acting techniques and stage combat are key components. ENTRY REQUIREMENTS/AUDITION: 18-24. Audition – monologue of Laban movement and a range of dance styles, such as no more than 2 mins (via Skype/Facetime for hip-hop, period and jazz are also taught. Uniquely, YATI overseas candidates). students also receive some educating in the less glamorous side of acting life, that is, tax and fundraising as well as more Overview academic units in sight reading and theatre history. RADA YATI is a triple threat: an acting school, a theatre and an and LAMDA tutor Steve Brownlie heads up the acting classes, agency. Students enrolled on the Acting Foundation Course along with Andrew Harries (who has a plethora of Hollywood will have the opportunity to audition for the in-house agency pupils to his name). during their studies. The course is part time (15 hours contact www.youngactors.org.uk

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Mountview Principal & Artistic Director Stephen Jameson rehearsing students

for ‘Romeo and Juliet’ MOUNTVIEW Acting auditions: how to prepare Sally Ann Gritton is Director of Academic Affairs & Head of Undergraduate Performance at Mountview. She shares her expertise and advice on preparing for drama school and university course auditions

etting on the course of your available? Where is the school based? Finding pieces and preparation choice is a stepping stone to What accommodation options are there? They will ask you to prepare a your future. Remember, Drama Who are their alumni? If you cannot find contemporary and a classical monologue School is part of your chosen the answers, try emailing the admissions and it is wise to learn two of each, this Groute and not the end goal – there are team. Alternatively, make a list of prepares you for subsequent audition many routes into acting, if you do not get questions to ask at your audition. rounds and gives you choices. The most in to your first choice it does not mean Places are limited and setting your important element here is for you to be in the destination needs to be abandoned! heart on one option is quite a gamble. control of your choices and feel confident Apply as soon as you are ready. However, settling for a course which with them. Research the courses available and only is not what you want can also backfire. Look closely at the guidelines for each apply to those which really appeal to you Remember you can choose to reapply the course you are applying to. Some ask directly. Be open and listen to advice, following year if you do not get an offer you to avoid certain monologues, others then make the choice for yourself. Apply that feels right. Being offered a place can give you a list to choose from, and some in plenty of time and start preparing feel both exciting and overwhelming so simply give you freedom to choose. before you apply so you can take control discuss it with family and friends before Some welcome a range of classical of your work. making a decision. monologues while others specify it must Ask questions. What is the main focus of the course? How many places are available each year? What is the ‘Look closely at the guidelines for each balance of theatre and screen training? What welfare and learning support is course you are applying to’

18 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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be Shakespeare. Check how long the anything from 5 minutes to a full day in in-person is strange for everyone, monologue should be – usually 2 or 3 length, so be prepared and know this is including the panel! If you can plug into minutes maximum, check this so you can not a reflection on you personally. The your router with an ethernet cable it can avoid interruptions. Keep a note of what number of rounds before reaching a help to stabilise your internet. Practise you are preparing for each audition and final recall also differ between schools. in advance to make sure you have your be organised. Recalls are an opportunity for the panel device set up at the best angle so you Choose contrasting pieces, not to see how you work with other actors will be seen and that your sound is necessarily comedy and tragedy – and to get to know you more. working. Contingencies will be in place contrasting characters or situations Most schools are continuing to offer for Wi-Fi dropout. are usually more interesting. Use your first round online auditions. This means natural voice and choose characters you are saved the cost of travel and On the day close to your own age. Most Drama accommodation if you live a distance Be yourself. Be flexible. Be positive. Try Schools require your classical choice to from where the school is situated. Many not to overthink, just do your best. Do be written in blank verse – unrhymed will hope to invite you to their building not compare yourself to others, this iambic pentameter. It is usually written in person for recall rounds if Covid-19 affects your confidence and is of no with the first word of each line capitalised restrictions allow. This gives you a really benefit. Focus on what you can control – an example is the monologue from Act important opportunity to see facilities – eating breakfast, warming up, turning 2, scene 3 of Romeo and Juliet by William and get a sense of the atmosphere and up early. Stay in the moment and enjoy Shakespeare, which starts: culture of the building, students and sharing work you have spent a lot of time staff. If a visit is not possible, ask if they preparing. ‘Gallop apace, you fiery-footed steeds...’ have a film that shows their facilities, When performing your monologues, and students you can speak to. take your time and release a deep breath The purpose of your monologues is For self-tape auditions, record before you begin. If you lose your lines for the panel to see you working with your monologues once you have fully through nerves, stop, breathe and pick contrasting texts and playing different practised. Try to find a quiet space with up where you left off. Be ready to take character traits. They want to see the good lighting and a neutral coloured direction – the panel may ask you to try potential of your imagination, your wall. This will help you focus, but you something new such as playing a different ability to communicate, and to assess will not be judged on your filming energy. Enjoy the opportunity to show your current level of control over your quality. For live online auditions you can be flexible and play. voice and physicality. Avoid choosing remember the experience of not being Most panels are made up of staff in key material which is shocking, this can departments, and freelancers who work upstage you and leave the panel thinking regularly at the school. They want you to more about the writing than you! be great – everyone is on your side. Just Where to find monologues: Libraries, ‘They want you to be do your best on the day and they will see bookshops, current or previous drama great – everyone is your potential for training. teachers and internet searches for ideas Enjoy it and good luck! SGDE are all good starting points. Choose on your side’ a monologue from a play you have connected with rather than one from a monologue collection. That way you will be able to discuss the character ALI WRIGHT with confidence at an audition. If you do choose from a collection, be sure to read the play. Avoid writing your own monologue. Practice helps you do your best work and feel confident at audition. Check a dictionary for the meaning of words which are unfamiliar in the text and look up their pronunciation online. What is the character saying and why are they saying it? Who are they saying it to? What do they want to achieve by saying it? Decide where you are placing your focus – in the space or direct to the panel. Find time to practise in front of people. Learn the lines accurately – the panel will be familiar with most texts you might choose. The audition process The audition tests your suitability and readiness for training, no one is expecting you already to have achieved your potential. Auditions can last Audition technique practice at National Youth Theatre

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 19

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RhinegoldSGDE_2021-22.indd Jobs_Advert_210x297.indd 20 1 02/08/202121/01/2020 20:03:27 16:14 Choosing audition songs Musical Theatre auditions: what are drama schools looking for? Vivien Care is Head of Musical Theatre at Royal Welsh RWCMD’s production of School of Music and Drama. She unpicks the process of

KIRSTEN MCTERNAN KIRSTEN The Hunchback of Notre Dame preparing for a Musical Theatre audition

n an otherwise tumultuous year for Do you feel most comfortable singing singing songs which were written for theatre, there seems to be no shortage something from Oklahoma, or can you see performers of such specific ethnicities or of appetite for musical theatre yourself in Six or Dear Evan Hansen? cultural landscapes. training. But what are we looking for? Consider your personality. If you have a IHow do you pick the perfect song to make flair for comedy, find a song which allows A few rules the panel sit up and notice your potential you to show this. Are you sweet and § Make sure the sheet music you are amongst the crowd? It can be difficult to innocent, or outspoken and brave? taking to your audition is in the correct know what drama schools are after, and key signature, and the same version as rumours and misconceptions abound. Where can I find songs? the one you have learned It’s worth looking at current § Present your music either in the original We want you to do well programming in theatres across the book, or in a clear-pocket folder. The first thing to know is that audition country. Websites like theatretrip. § You may have been asked to cut your panels don’t have to be viewed as com can help, but the best advice is song to a particular length, so make sure mystifying ordeals. With some research, to find out as much as possible about this is neatly and clearly marked. considered choices and a little soul- the industry you wish to enter. What § Costumes and props are rarely required. searching, you can maximise your shows have you seen and liked? Do your chances of exciting interest in you. voice and personality match the song What to expect requirements? Then purchase the sheet You’re likely to be asked to prepare Which song should I sing? music, learn and practise, and present two songs, a monologue and attend a Drama schools have different tastes; so, it well. dance call. Again, carefully check the make sure you know what each college audition guidance; your journey into you apply to wants and doesn’t want, as Choose wisely professionalism starts here. Some schools ignoring this will raise a warning flag. It If you choose a song from a ‘book will make cuts throughout; others may can be difficult to know which material musical’ your song is likely to have a audition in all skills before making a tends to be overdone, so focusing on dramatic arc already written into it. If decision. Over the past year many schools a song that you like and understand, you choose a song from a contemporary have opted to audition online. For a emotionally connect with, and can sing compilation musical however, take care. recording or online process you will need well may reveal you much better than the Songs from rock musicals like Moulin to record your pieces in front of a plain latest West End hit. Rouge or Jagged Little Pill can be difficult background, avoid echoey bathrooms, Audition panels will be thinking about to make work outside of the context of obtain a good quality accompaniment your potential employability for when the show, as they weren’t necessarily track, and adjust your performance for you finish training, so let them see you written with truthful acting intentions in camera. You can afford to be ‘smaller’ and your strengths. Your material choices mind. New musical theatre can offer up and more truthful, given your relative reveal a lot about you and your instincts relatable topics and characters, but avoid proximity to the panel. as an actor. Be realistic about your unpublished or self-penned material. vocal strengths and play to them – your It’s vital to know why the character Finally… audition is not the time to over-stretch is singing the song and who they are Remember: we don’t expect anyone to yourself. Although most panels expect singing to, or about; so enjoy delving be perfect or faultless. We’re looking for some nervousness, you don’t need to add into the entire story. Practise your song good instincts, an active interest in the further anxiety about reaching that ‘on a as a speech so you can understand the musical theatre business and repertoire, good day’ top C into the mix. emphasis. an understanding of your strengths, and If you can, try to work with a coach There is a great deal of sensitivity to an open personality that will get the most or singing teacher who understands choosing culturally appropriate material. from training. After all, if you’re ‘industry musical theatre singing. Is your voice So, if you’re not from a Black or Asian ready’ what is there left for us to teach contemporary, or more classical-sounding? ethnic background, you should avoid you? SGDE

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 21

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Stage managers hard

at work backstage on TAYLOR SAM an East 15 production of The Threepenny Opera EAST 15 EAST Technical Training: your application and interview

Alex Purser is Head of Stage/Production Management at East 15 Acting School. He offers his tips for your technical training application and interview process o, you have decided you want to how are you to know how to navigate this Take time to tailor the statement to apply for technical training at application process successfully? your specific application and give some a drama school? Fantastic! Yet, thought to aspects of the course you are at this stage it probably seems a Application applying for that you feel are important to Slittle daunting; with many thoughts and You will most likely be applying to the your continued education. questions. Will I be capable enough or drama school directly, or via UCAS. This Be personal. Remember most of our pick it all up quickly enough? Do I have duality of application can be bewildering, courses have many more applicants enough experience? What will studying be and largely the institutions are looking for than spaces, and we want to begin to like? Added to that, friends and family can the same thing; something to make you get to know you right from the earliest be incredibly supportive but perhaps have stand out, or something to prove that you opportunity. their own worries – about job security really do have a hunger for the specific or availability, about skills you will learn and highly vocational training they will Interview and portfolio that could cross into other professions if give you. You will most likely be asked to Congratulations! You have been invited needed. All these concerns are more a way supply a personal statement to show these to interview, now the nerves could really of saying ‘It can be a hard industry to work aspects of who you are. Some people will be kicking in. You may be being invited to in’ and ‘Your job hours are not going to be use this to outline what first got them a face-to-face open day or interview, or the normal 9-5.’ interested in theatre, others will use it with recent changes due to the pandemic, While these things are true for the to outline their trek to Kilimanjaro – in institutions are increasingly interviewing average theatre technician or stage short, there is no right or wrong way of via Zoom or Microsoft Teams. manager, it is also one of the most exciting writing a personal statement, but here are The interview may last anything from and variable careers you can imagine, some key things to think about: 20 minutes to a longer half- or full-day with the major cities of the world at Be clear, be concise, and give a rounded experience, completely dependent on your fingertips and any scale of work an sense of who you are and what attracts the drama school’s application process. option. An Arts Council England source you to the course you are applying for Here at East 15 Acting School and at references that the UK theatre sector brings £10.8 billion into the economy a year, so it is not exactly a small industry ‘One of the most exciting and variable to work within, but with so many diverse courses to apply for and competition high, careers you can imagine’

22 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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many other institutions, your interview courses, but hope you’ll be well on the is with the course leader or a panel of way to expertise when you leave us! 15 EAST technical staff, and we want to give you It is important to be prepared for this the best opportunity to demonstrate part of the process, so you are ready for your enthusiasm, commitment, ability, the questions that may be asked of you. and above all passion for the subject. It One way to ready yourself is to engage is passion that is high on our wish list, as in the kind of work you are interested in, ultimately, we can teach the subject and this could be: the skills, but passion is something that is Seeing live performances, or the much harder (if not impossible) to teach. increasing digital offerings companies are In many cases you will be asked for creating – this will not only improve your a portfolio or a way of ‘showing’ work understanding but give you examples you The set is prepared for Blood Wedding at East 15 you may have done up to this point – can reference in your interview. again there is not a right or a wrong way Get as much work experience as you into the department you are applying to demonstrate this, but make sure it are able – local theatres, local theatre to, for you to get a sense of the people is clear, and somewhat tailored to the groups, at your school or college. This you will be taught by, the environment course you are applying for (For example: will help to build up your understanding they work in, and the return you will get if you are applying to a lighting course, of how it all works and what you from your investment in a degree. So be then work you may have done in costume find attractive about working in the prepared to ask questions and interrogate before may not be as relevant or helpful). atmosphere of theatres. the answers you are given. This will all Include as much as you can: lighting Research the institution – Why do you help you to make the right choice for you. plans, costume designs, prop examples. want to study there? What is it about the This said, your interviewers are mindful course that attracts you to it? What makes Where do you want to take it? that the opportunities for applicants them different to other institutions? Many graduates find their ‘calling’ or to work on shows in school/college is Remember that the interview is as specific vocation, over the course of increasingly difficult, especially through much for you as it is for the interviewer their degree, with all the drama schools Coronavirus disruptions. Instead, or panel – it is your opportunity to see inviting a wide range of industry demonstrate the experience you do have practitioners (Directors, Designers, and be honest about the gaps in your Stage Managers, Lighting and Sound knowledge – we are here to teach you so technicians and designers) to speak to we are less concerned about those gaps ‘We want to give you and work with students. The experience in experience than you think! Particularly you have as a student will likely be huge if you are applying to a more general the best opportunity in making decisions about what to do technical course, then a broader range of to demonstrate your next, and allow you not only to perfect experience in several disciplines may be your craft, but also the type of work helpful. We don’t want experts to join our enthusiasm’ you might like to do in the industry. Many courses will bring in professional

EAST 15 EAST groups and companies to talk to you as a preparation for the industry – Equity, the Stage Management Association, and Association of Lighting or Sound Designers to name a few. At East 15, we try to ‘upskill’ our students on the technical courses by offering additional skills and qualifications that will broaden and deepen their professional lives and to give them the best start in the industry – for instance first aid, pyrotechnics, food hygiene, and plentiful opportunities for network building. So do not be afraid along the way of making a contacts book of the people you might like to work with in the future, as many of us would agree that our best jobs have come from a fortunate telephone call or email. Which takes me back to the start of this article; working in technical theatre is definitely hard work a lot of the time, yet despite the ‘unsociable’ hours it will also be so incredibly rewarding, making the best memories while building lifelong friendships and creating incredible pieces of work you can be hugely proud of! SGDE Learn how to operate a lighting desk and get set for a long and rewarding career

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 23

022-023_SGDE21-22_FEAT-Tech Courses [APPROVED].indd 23 29/07/2021 11:15 Showcase Base Emerging from lockdown After an extraordinary year and some quick-thinking adaptations on the part of drama schools and individuals who have set up companies and charities to support, there are now a number of platforms designed to give drama school graduates an e-introduction to the industry. Freddie Machin tells us about some of them

hen the first lockdown was announced, Isaac Stanmore was on stage. Just two weeks into a run of The 39 Steps at theW New Vic Theatre in Stoke-on-Trent, he was playing Richard Hannay – the lead role – and one he still says is among the proudest moments of his career. The production was a remount of the show which had been a smash hit for the New Vic a couple of years earlier. Originally conceived for a proscenium arch, the company adapted the show to suit one of the few purpose-built in-the- round theatres in the country. This meant a huge amount of audience interaction and creativity was involved in its staging. But as the first few warnings of the coronavirus trickled through, the production team were forced to cut any moments when the audience would be handed props by the actors, or characters in the play would come face to face with the front row. We all know what happened next, and despite their willingness to adapt the Showcase Base’s home page show, the production was prematurely curtailed. very soon his deep concern turned into acting profession. Isaac swiftly found himself out of a a desire to help, and an idea was formed. Isaac graduated from Bristol Old job, but nevertheless regards himself as In the space of a whirlwind ten days Vic Theatre School at a time when two one of the lucky ones. He says he was Isaac and fellow actor Olivia Beardsley students would be selected every year to exceptionally well treated by the theatre established Showcase – an online space join the Bristol Old Vic Theatre Company at the time and compared to the loss for graduating actors to introduce on a 6 month contract. Isaac was selected of earnings that some theatre workers themselves to the professional world at and was propelled into an acting career suffered, his weren’t so bad. a time when live showcases of their work that soon saw him performing in an Many of his friends and colleagues were rapidly being cancelled. Olivier nominated production, and in the industry had been hit hard, and Looking back he admits that it was an finding his creative niche in devised extraordinary time to initiate the project, theatre. and watching the launch video rack up Having already made strong thousands of views online he remembers connections within the industry, he the overwhelming mixture of exhilaration believes it’s his turn to give something and apprehension at what was to come. back. Isaac believes that the industry One year on and Showcase Base – as must take responsibility to create it is now called – connects graduates schemes which benefit those that are from dozens of drama schools with the just emerging in the sector, rather than best casting directors and agents in the asking graduates to constantly reinvent business. Having received endorsements the wheel. from the Federation of Drama Schools, For an actor as talented as he is, Isaac and inclusion in The Stage 100 which is exceptionally humble. The hard work recognises exceptional achievement in that he and Olivia continue to put into the industry, the website is supporting the Showcase Base speaks to their belief in careers of scores of graduates who missed an industry that inspires and impacts so Isaac Stanmore, co-Founder of Showcase Base out on their in-person introduction to the many.

24 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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Recently they have updated the website with lots of useful functions and tools,

including the Help Hub – a collection HELEN MURRAY of videos offering advice and support to actors who haven’t yet benefitted from the experience of learning on the job. The Help Hub is even available without a subscription and contains some extremely useful and practical advice. In one of the interviews, actor Faye Marsay (Game of Thrones, Pride) breaks down what is expected of an actor shooting on a film set for the first time. She describes how certain terms used on her shooting schedule were as alien to her as Morse code but gradually became second nature. She also gives a unique insight into the intricate preparation that she does before filming begins, to ensure she is able to execute the character’s precise journey even when her scenes are being shot out of sequence. Filming at a recent Mono Box event, Reset the Stage, at the Bush Theatre If you have graduated from a full- time, practical acting course, more than a year in duration, then you are eligible for inclusion on the site. Subscription HELEN MURRAY to Showcase Base is £2.99/month for graduates, where they can create a profile, and upload recorded showcase material – either professionally recorded at drama school or recorded against a simple background at home. Other new schemes The pandemic has been crippling for live entertainment, but there are also many positives to come out of the last 18 months, and Showcase Base is not the only innovation the industry has come up with. For many freelancers this period has been an opportunity to reflect on their work-life balance and perhaps discover a new way to operate. Stephanie Street’s The classic standing-on-toilet monologue… as The Mono Box film Reset the Stage articles in The Stage magazine over the last year or so have been rousing and Although Mono Box has been If you are an acting or backstage empowering. Recently she has written around for a little while now, their graduate who has been affected by the about how the industry needs to adapt to constant evolution continues to be an pandemic then remember that you are ensure working conditions are safer, more inspiration. They now have a podcast not alone. Vault Festival 2022 has not ethical, and more equal for everyone. and an online workshop series, as well long been announced with a commitment On a similar note, the Freelance Task as their cornerstone monologue library. to honour any show from their cancelled Force is an initiative dreamt up by the Over lockdown they recorded brand 2020 festival, and the National Student production company Fuel, which has new monologues written by emerging, Drama Festival Hub has recently brought together 160 freelance theatre ethnically diverse writers, on the stages of launched, offering a new online space for professionals from across the UK empty theatres. curated performance. SGDE specifically to challenge existing practices If you sign up to Showcase Base as a and better represent freelancers. graduate you will also receive a 12-month There is also a project called UK free membership to Backstage, which is www.showcasebase.com Arts Grads established by Italia Conti home to a wealth of industry information www.freelancetaskforce.co.uk graduate Isabelle Anderson which offers from casting calls to articles and advice. www.ukartsgrads.com workshops, seminars, and Q&A sessions Most graduating drama school www.themonobox.co.uk to emerging artists. The ultimate aim cohorts now have their own dedicated www.backstage.com of the project is to form a repertory twitter accounts in order to represent www.vaultfestival.com company made up entirely of emerging themselves, connect with one another, www.nsdf.org.uk artists affected by COVID-19. and the industry.

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 25

024-025_SGDE21-22_FEAT-Showcase base [APPROVED].indd 25 29/07/2021 11:16 Study abroad post Brexit and Covid Training abroad: still possible against all the odds Two major global events have recently presented challenges to students hoping to train abroad: Brexit, and a global pandemic. Thomas Wilson, Co-Programme Director on the BA for European Theatre Arts, and Erasmus Academic Coordinator at Rose Bruford College, explains why you shouldn’t be discouraged

n the midst of a global pandemic and with the impact of Brexit still being unpicked, now might seem the least likely time to be considering IUK drama, dance, and performance COLLEGE BRUFORD ROSE programmes that include study abroad as part of the course. However, even with the current challenges, a period of study abroad brings real benefits to your learning and training in the performing arts. Recent research has shown that students who undertake a period of study abroad get better grades and have better employment opportunities than those who don’t have this experience. More importantly, time aboard can be a life-changing positive experience that allows you to make new friends, have unique experiences, and discover new opportunities. With the introduction of the new Turing Scheme, the UK government have sought to provide funding to contribute to the costs of study abroad. This replaces the UK’s place in the EU’s Erasmus scheme, and extends funding beyond the EU to a wide range of countries around the globe. In some cases, it may even be possible to cover 100% of your costs. European Theatre Arts students at work in a studio outside the UK Two pathways There are two main options when of training in addition to your studies. though half a year is far more common. considering study abroad during your This training is often with individual Rose Bruford College’s BA (Hons) degree. The first is choosing a course that companies/organisations that you identify European Theatre Arts and BA (Hons) provides the chance to study abroad as yourself, and usually takes place during American Theatre Arts programmes are part of your degree programme, either at summer vacations or after you have great examples of the range of these, with a partner school or training organisation. graduated. students studying abroad for between 2 This means some of your time (usually in Studying abroad as part of your degree and 6 months in their second year. These your second year or third year) is spent programme is often the most accessible are arranged and managed by the college, abroad training in this partner school. option, mainly because these are well- and students are offered a choice of The second option are schemes established schemes with the majority destinations in both Europe and the USA. that allow you to undertake a period of the organisation undertaken by the Destinations include schools in Barcelona institutions. Crucially, you don’t pay and New York. Often, destinations are additional tuition fees – though there may differentiated by subject specialism, be some administration costs to meet. whether they are taught in English or in ‘Time aboard can Depending on the institution and the destination country’s language, and be a life-changing programme, this option allows you the length of time spent abroad. This to study in another institution or at a allows you to pick an experience suited to positive experience’ partner organisation for up to a full year – your needs.

26 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

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Going it alone Training abroad in addition to your degree programme requires a bit more planning, but can be a more flexible and personalised option. For these you will COLLEGE BRUFORD ROSE often be responsible for identifying and brokering your own host company or organisation. The Turing Scheme makes it possible to train abroad for as little as four weeks or as many as 12 months, including in the year after you have graduated. This means that, with some planning ahead, you can relatively easily make a period abroad sit between or after your studies. The most effective of these placements are when you can identify a company or country that matches your own ambitions. From my experience, students have often used these kinds of placements to develop connections with specific companies and/or find specific training that matches their ambitions. For example, my students have trained in Poland at the Grotowski Institute, It isn’t all hard work, training abroad… performed with touring theatre companies in Spain and Italy, and While it is always useful to learn some easier and more rewarding. embedded themselves with established of the language of the country you While studying abroad for part of artists in Belgium and Finland. Some will be studying/working in, you can a degree might be an obvious idea have even formed long-term working find destinations where this is less for students studying languages or relationships with their host companies. crucial. Some schools for example run international relations, there is less As with study abroad, you shouldn’t their international study programmes awareness of the possibility and benefits be paying companies to host you, and in in English and some performance of this for students studying abroad some cases you might be paid by them. companies have English as one of their while training at a drama school or working languages. What is important is conservatoire. Given that the creative Full immersion that you work to pick up at least some of industries, especially the performing A daunting part of study abroad is often the language (it’s only polite after all), and associated arts, are international in the idea of learning a new language. as this will make your placement much outlook and character, time abroad can really benefit your development both as an artist but also as a well-rounded ‘You never know, you could find yourself human being; and you never know, you could find yourself building your career in building your career in another country’ another country. SGDE

Top tips the main reason for your study abroad: in a small company means people § Think ahead and do your research § Is there a particular country that you rarely have one ‘job role’ so be open § Check out which institutions have want to get to know? to experiences that will build your international placements or study § Do you want an experience in a city ‘portfolio’ of skills abroad as part of their offer: this can be or do you want a more rural location? § Is there a company or artist that really a bit hidden on their websites so search There are many different places where interests or inspires you? It’s always engines are your friend here! performance-making happens, and worth writing a speculative email to see § Speak to the relevant staff at your you can usually find one to suit your if they might host you. institution: International Officer or interests § Check to see what additional funding Student Mobility Coordinator are some § What are you wanting to gain from there is for disadvantaged students. This titles they might go by the placement? Of course, you want is a key part of the new Turing scheme, § Speak to students or graduates who have to develop and enhance core skills and you could find up to 100% of your already studied abroad related to your subject (Lighting costs are covered § Check the specific application process for Design, Acting, Dancing, and so on), § Check if there are additional each study abroad option carefully, some but what other skills could you gain administration fees for specific options can be competitive, and you may need to on a placement? Administration skills (often US colleges will levy these to cover be thinking about your options as early as and community engagement are two State and Federal charges) in your first year areas that companies might also allow § Learn some of the main language of the § Consider where, what, who and why as you to develop your skills in. Working host country.

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 27

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SGDE20-21_FullSGDE_2021-22.indd Page.indd 28 1 28/09/202002/08/2021 14:28:4220:03:41 types of voice work. You might find that an artist has one for commercials, one for audiobooks, one for animation and

ADOBE STOCK/ANTON another for gaming. Play around with your own voice; record some stuff on whatever recording device you have. What material are you drawn to? What are your strengths? Do you have an easy-to-listen-to mellifluous voice? Are you great at characters and accents? Can you vary your voice to fit particular genres? Perhaps most importantly, what quality does your voice convey at its most natural and genuine? Now, once you’ve satisfied yourself that this is for you, you’re probably going to need some help to get yourself up to a standard to impress a voice agent, and to have voice reel material that they can put on their website in order to sell your skills. Google “voice over training” and How to become a you’ll discover that there are quite a few short courses available from people with experience in the industry. Varying in price voice over artist and duration, and, quite probably, varying in quality. If you decide to go down that Being an actor doesn’t just mean being on stage or in film route, ask around and see if you can get or TV. There’s a whole world of work out there using only some recommendations. A training course may include the your voice. Actor Kim Durham played Matt Crawford in production of some voice reel material. BBC Radio 4’s The Archers and has also done a plethora of Alternatively, there are plenty of studios that specialise in this. Again, the quality commercial voice work. He explains how to get started and expertise of these, and the prices, may vary considerably. Ask around, or check out examples of their work on their ery many actors and broadcasters Generally they operate separately from websites. Some will offer to produce a have voiceover work as an extra actors’ agencies, so it’s quite usual to have mixtape of various styles and genres; string to their bow. For a few, it a voice agent for your voice work and an others will offer specialised reels for is their main source of income. It actors’ agent for everything else. commercials, animation, gaming and can,V at times, pay very well. My best ever You are likely to receive some mic audiobook work. Whatever they do, you payday, in terms of time spent over money training on your Drama School or need to be sure that they offer a bespoke earned, was for a strapline for a national University course; maybe even a simple service that creates a reel that represents ad campaign which netted me several voicereel to take away. This could be your you – that plays to your strengths, your thousand pounds for about ten minutes’ first calling card with which to apply for particular and natural quality. If you are work. Most of the time, of course, the pay a voice agent, and some will recruit new a native speaker of a language or accent is way more modest, but, nevertheless, a young actors directly from listening to other than British English, you’ll want very useful, sometimes vital, addition to an that. include examples of that. actor’s precarious income. If you are not one of the fortunate few to Once you have your professional There’s a great variety of voice work be taken straight on from that initial reel, sounding reel(s), you’re ready to approach out there – Radio Drama, Audiobooks, you’re going to need to put a bit of work voice agents. Generally they’re going to ask Animation, Commercials, Gaming, in to get some very professional sounding for a short email and your reel(s). Documentary voiceover, and ADR material together. Remember, they’ll receive dozens (Automated Dialogue Replacement). The first thing I would suggest you do of applications each week, so don’t be So how do you get into it? is to listen to what’s already out there. disappointed if you don’t hear back for The first thing to recognise is that it’s Listen to some audiobooks (you can a few weeks or if you get quite a lot of a very competitive business. There are often get free trial subscriptions). What rejections. Good luck! SGDE 97 voice agents listed in Spotlight; if each are the qualities that really make you of them represents between 100 and 150 listen? Google “voice agents” and listen clients, that would mean there are over to plenty of client voice reels, particularly A new book published in July 2021 may 10,000 voice over artists chasing the work in your gender and age bracket. This will help you on your path to voice career that’s out there. really give you an idea of the standard, success: Voiceover Narration: Creating It is possible to get radio drama jobs the quality, the ask, of the business you’re Performances from the Inside Out by Dian without a voice agent (check out bbc. hoping to enter. Perry is published by Methuen Drama. For co.uk/soundstart for how that works.) But You’ll notice that some agents and their more suggested reading turn to page 30. for anything else, you’re going to need one. clients have different reels for different

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 29

029_SGDE21-22_FEAT-Voice training [APPROVED].indd 29 29/07/2021 11:17 Recommended reading Books to read There are many, many books about the practicalities of all aspects of training or having a career in drama. Here are a few bookshelf essentials divided into six broad categories. Buy and read a couple of each and you will be very well prepared for your applications to train

Theatre careers So you want to be in 100 Acting Exercises Different Every Night: musicals? for 8-18 Year Olds Freeing the Actor Theatre in Practice: by Ruthie Henshall and by Samantha Marsden by Mike Alfreds A Student’s Handbook David Bowling (Methuen Drama) (Nick Hern Books) by Nick O’Brien and Annie (Nick Hern Books) ISBN: 978135004994, 2019 ISBN 978-1-85459-967-4, 2007 Sutton (Routledge) ISBN 978-1-84842-150-9, 2012 Tried and tested in Described as ISBN 978-0-41550-853-7, 2012 While it doesn’t the author’s own ‘the most Theatre in aim to train you classroom, this complete Practice provides itself, this book is book contains rehearsal students with an excellent practical exercises methodology ‘must have’ companion to a to inspire, ignite in print since Drama skills musical theatre imagination and encourage Stanislavsky’, Alfreds’ book through training, giving thorough confident performances. offers a masterclass for practical, step-by-step guidance on and what to actors and directors, packed exercises and diagrams. It’s expect and how to behave How To Do Accents with techniques for bringing clear and concise with a through your career. (Methuen Drama) the text to life and keeping helpful format and scenarios Written by professionals in 9781350267312, 2009 it alive. and characters to enable a the field, drawn from their Using solid variety of approaches. experience. technical know- The Outstanding Actor how, clear by Ken Rea 1 Being a Playwright: An introduction to practical steps, (Methuen Drama) A Career Guide for theatre design real-life examples, 9781350152359, 2021 Writers by Stephen Di Benedetto and the occasional This new edition by Chris Foxon and George (Routledge) dose of humour, the Haydn/ covers topical Turvey (Nick Hern Books) ISBN 978-0-41554-754-3, 2012 Sharpe System brings to the issues such as the ISBN: 9781848426917, 2018 With numerous surface the underlying #MeToo Being a Playwright illustrated case structure of accents.. movement, offers practical studies, gender balance advice about all Benedetto’s Acting Through Song: and race issues, and how these elements of a book explains Techniques and affect working conditions and career in the theories, Exercises for Musical- careers. playriting, from strategies and tools of theatre Theatre Actors training options when you are design in a style and to a by Paul Harvard Directing/devising starting out, to finding a level aimed at undergraduate (Nick Hern Books) playwriting model to the students with numerous ISBN 978-1-84842-229-2, 2013 skills ‘business’ of being a illustrated case studies and A comprehensive A Beginner’s Guide to playwright, and progression in analysis of key terms. guide with a Devising Theatre the industry. well-supported by Jess Thorpe and Tashi Acting skills approach to Gore (Methuen Drama) So you want to work understanding ISBN: 9781350099746, 2019 in theatre? Screen Acting Skills and mastering the This book by Susan Elkin by Roger Wooster and Paul art of musical theatre. explores creative (Nick Hern Books) Conway (Methuen Drama) ways to make ISBN 978-1-84842-274-2, 2013 ISBN 9781350093034, 2020 The Actor and the original theatre The first in Nick Whether you are a Target from a Hern Books’ young actor by Declan Donnellan contemporary So you want to... seeking to land (Nick Hern Books) stimulus, offering a structure series, this is an your first screen ISBN 978-1-85459-838-7, 2005 within which to approach the essential guide role or a workshop A fresh and creative process, practical for young people leader looking for radical approach ideas for use in rehearsal, and who want to work in the relevant exercises that won’t to acting, written grounding in terminology to theatre - but aren’t sure involve vast technical support, in 2005 by a support a confident approach. exactly what they want to do, this book belongs on world-famous or how to get to do it. your shelf. director.

30 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

030-033_SGDE21-22_REVS-Books [APPROVED].indd 30 29/07/2021 11:25 Recommended reading

Inventing the Truth: Audition technique Contemporary 30 Monologues and Devising and Directing Monologues for Duologues for South for the Theatre The Excellent Teenagers Male/Female Asian Actors by Mike Bradwell Audition Guide edited by Trilby James (Methuen Drama) (Nick Hern Books) by Andy Johnson (Nick Hern Books) 9781350203891, 2021 ISBN 978-1-84842-153-0, 2012 (Nick Hern Books) ISBNs: 9781848426085 / This vital collection This book by a ISBN 978-1-84842-297-1, 2013 9781848426078, 2019 features a concise leading theatre Aimed at the history of Kali director explores ambitious, Theatre’s origins the processes and motivated and and a full list of the techniques of dedicated student, plays that Kali devising and a not-for-the- Theatre has publicly presented directing, and also contains faint-hearted over the past 30 years the full texts of two plays. guide to auditioning success. Forty speeches for male/female teenagers, all written since Audition Speeches for Creating Worlds: How Getting into Drama 2000, by some of the most Black, South Asian and to Make Immersive School: The Compact exciting and acclaimed writers Middle Eastern Actors Theatre Guide working today. (Methuen Drama) by Jason Warren by Nick Moseley ISBN 9781474229241; 9781474229135 (Nick Hern Books) (Nick Hern Books) Classical Monologues ISBN 978-1-84842-445-6, 2017 ISBN 978-1-84842-646-7, 2019 for Men; for Women A practical, This encouraging, edited by Marina Caldarone step-by-step no-nonsense (Nick Hern Books) breakdown of the guide – by the BA ISBN 978-1-85459-869-1; entire journey Acting Course 978-1-85459-870-7, 2006 towards making an Leader at Central Ideal for aspiring and immersive theatre School of Speech professional actors and production, by an experienced and Drama – will answer your actresses, it allows performers theatre-maker and practitioner. questions, bust commonly to enhance their particular held myths and give you all strengths and prepare for roles Reference the knowledge you need. featuring characters of specific bookshelf must- Marina Caldarone has selected ethnic backgrounds. Monologue books over 45 monologues for men haves and another 45 for women The 24 Hour Plays A Time-Traveller’s National Youth Theatre drawn from classical plays Viral Monologues Guide to British Monologues: 75 throughout the ages and (Methuen Drama) Theatre Speeches for Auditions ranging across all of Western 9781350187542, 2021 by Aleks Sierz and Lia edited by Michael Bryher theatre. Each piece is prefaced With over 50 Ghilardi (Oberon) (Nick Hern Books) with a neat summary of the monologues from ISBN 9781783192083, 2015 ISBN 978-1-84842-676-4, 2018, vital information you need the first three In the company of A collection of to place the piece in context weeks of the a series of well- audition speeches and to perform it to project, this is an characterised from material maximum effect. important fictional guides, produced by collection that documents an the eight chapters world-leading Shakespeare unprecedented moment in of the book youth arts Monologues for history while also offering a explore how British theatre organisation the National Young Men; for Young practical resource for began, grew up and developed Youth Theatre of Great Women performers. from the 1550s to the 1950s. Britain. edited by Luke Dixon (Nick Hern Books) National Theatre Actions: An Actor’s The Oberon Book of ISBN 978-1-84842-265-0; Connections Thesaurus Queer Monologues 978-1-84842-266-7, 2012 Monologues by Marina Caldarone edited by Scottee edited by Anthony Banks (Nick Hern Books) (Methuen Drama) (Methuen Drama) ISBN 978-1-85459-674-1, 2004 ISBN 978-1-786-82347-2, 2018 ISBN 9781472573100; 2016 A book full of The first An anthology action-words collection of its of monologues, (mostly transitive kind, chronicling written for young verbs) to revitalise over 100 years of With 40 monologues from people to perform, rehearsal and queer and trans across the entirety of having been taken performance, set performance, Shakespeare’s canon, from plays out in a systematic and combining stage plays with these books include commissioned as part of the comprehensive way, and spoken word and performance contextual descriptions National Theatre Connections also available as a art in over 40 extracts. and a glossary, as well as over the past 20 years. With a smart‑phone app. introductory advice. foreword by actor Matt Smith.

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 31

030-033_SGDE21-22_REVS-Books [APPROVED].indd 31 29/07/2021 11:26 Recommended reading Plays to read Reading lots of different types of plays and understanding where they fi t in and what they contribute to theatre history can only be of benefi t to your drama education. Get ahead and start reading now!

Lysistrata revenge. Why it’s a must-read: child. Why it’s a must-read: A Look Back in Anger by Aristophanes (Penguin) One of the greatest tragedies of politically charged, much- by John Osborne ISBN 978-0-14-044814-6; 411BC Renaissance theatre. revived and complex example (Faber & Faber) Synopsis: Lysistrata of Brecht’s epic theatre. ISBN 978-0-571-03848-0; 1956 persuades the Tartuff e Synopsis: The lead, women of Greece by Molière (Nick Hern Books) Modern classics Jimmy, marked a shift to withold sexual ISBN 978-1-85459-637-6; 1664 in character for a privileges from Synopsis: A comic (last 70 years): generation, as you their partners masterpiece about And Then There Were watch him engage in in an eff ort to end the an irreclaimable None a love triangle. Why Peloponnesian War. Why it’s a hypocrite. Why it’s a by Agatha Christie it’s a must-read: This play is must-read: A great example of must-read: It’s one (Samuel French) considered to be the birth of the an ancient Greek comedy. of the most famous ISBN 97805730144; 1943 ‘kitchen-sink’ drama. French plays of all time. Synopsis: Ten The Bacchae strangers are Rosencrantz and by Euripides A Doll’s House summoned to a Guildenstern are Dead (Oxford English Drama) by Henrik Ibsen remote island and by Tom Stoppard ISBN 978-0-19-954052-5; 405BC (Methuen Drama) picked off . Why it’s (Faber & Faber) Synopsis: A Greek ISBN 978-1-350-11678-8; 1879 a must-read: It’s ISBN 978-0-571-08182-0; 1966 tragedy based on Synopsis: Housewife the quintessential murder Synopsis: The title the myth of King Nora becomes mystery from the master of characters step out Pentheus of discontent with the genre. from Hamlet’s Thebes and his married life. Why shadow for their own mother Agave’s it’s a must-read: Waiting for Godot moment centre stage. punishment by the god Groundbreaking at by Samuel Beckett Why it’s a must-read: A Dionysus. Why it’s a must-read: its time, it criticised the norms (Faber & Faber) fun, postmodern exploration of Considered one of Euripides’ of 19th-century marriage. ISBN 978-0-571-22911-6; 1953 Shakespeare’s classic. best works and a great Synopsis: Vladimir example of the origins of The Importance of and Estragon wait Top Girls Western theatre. Being Earnest for the arrival of By Caryl Churchill by Oscar Wilde someone called (Samuel French) Macbeth (Penguin Classics) Godot. Why it’s a ISBN 9780573130137, 1982 by William Shakespeare ISBN 978-1-4791-4835-6; 1895 must-read: Its Synopsis: Marlene has (The Arden Shakespeare) Synopsis: Two form and plot (or lack been promoted to ISBN 9781350046788, 1606 bachelor friends thereof) was groundbreaking managing director of Synopsis: One lead double lives to in its time. a London man’s violent rise be able to court employment agency to be king of his their chosen ladies The Crucible and is celebrating. country, and his in the country. Why by Arthur Miller (Penguin) Her symbolic lunch is attended violent downfall. it’s a must-read: Nearly 125 years ISBN 978-0-14-118255-1; 1953 by women in legend or history Why it’s a old and still laugh-out-loud Synopsis: who off er perspectives on must-read: One of the most funny, this is still an ever The partially maternity and ambition. Why it’s intense and often-performed popular play for revival on stage fi ctionalised a must-read: It’s a classic feminist Shakespeare plays. and in fi lm. story of the work and extremely innovative in Salem witch its approach. The Duchess of Malfi The Caucasian Chalk trials, written by by John Webster (Methuen) Circle Miller as an allegory of Fences ISBN 9781474295673, 1623 by Bertolt Brecht McCarthyism in the US in the By August Wilson Synopsis: A (Methuen Drama) 1950s. Why it’s a must-read: (Samuel French) Jacobean revenge ISBN 9781350113367; 1948 Tense, engaging and thrilling ISBN 9780573619052, 1985 tragedy that Synopsis: In a theme – a gripping story which is as Synopsis: Troy begins as a love that echoes the relevant today as it was in the Maxson, a former story and ends as a Judgment of 1950s, and in the 1600s. star of the Negro nightmarish Solomon, two baseball leagues, now tragedy as the Duchess’ two women argue over works as a garbage brothers undertake their the possession of a man in 1957

32 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

030-033_SGDE21-22_REVS-Books [APPROVED].indd 32 29/07/2021 11:27 Recommended reading

Pittsburgh. Excluded as a Our Country’s Good Constellations The Free9 black man from the major by Timberlake Wertenbaker by Nick Payne (Faber & Faber) by In-Sook Chappell leagues during his prime, (Methuen Drama) ISBN 978-0-571-30196-6; 2012 ISBN 9781350258433, 2018 Troy’s bitterness takes its toll ISBN 9781350097889; 1988 Synopsis: A Synopsis: Nine on his relationships with his Synopsis: Australia metaphysical teenagers fl ee wife and his son. Why it’s a 1789. A young love story. Why it’s North Korea, must-read: It examines the lieutenant directs a must-read: A dreaming of a new evolving African-American rehearsals of the boy-meets-girl life in the South. experience and race relations, fi rst play ever to be tale featuring But the danger is and won a Pulitzer Prize. staged in that parallel universes and the far from over. Why it’s a country. Why it’s a must-read: moral question of voluntary must-read: Inspired by a true Angels in America ‘Rarely has the redemptive, euthanasia, it’s a compelling, story, this is a story of hope, by Tony Kushner transcendental power of theatre moving and extremely clever escape and cultural diff erence. (Nick Hern Books) been argued with such piece of writing. ISBN: 978-1-848-42631-3; 1992 eloquence and passion.’ - Little Miss Burden Synopsis: America Independent People, Places and by Matilda Ibini in the mid- 1980s. Things ISBN 9780573130175, 2019 In the midst That Face by Duncan Macmillan Synopsis: the of the AIDS by Polly Stenham (Methuen Drama) sometimes tricky, crisis and (Faber & Faber) ISBN 978-1-35020-059-3, 2015 often funny truth conservative ISBN 978-0-571-24421-8; 2007 Synopsis: Emma about growing up Reagan administration, New Synopsis: The apple was having the with a physical Yorkers grapple with life and doesn’t fall far from time of her life. impairment. Why death, love and sex, heaven the tree when Now she’s in it’s a must-read: It smashes and hell. Why it’s a must-read: siblings Mia and rehab. But the together 90s nostalgia, A true theatrical epic, it won Henry begin problem isn’t with Nigerian family and East the Evening Standard Best dabbling in drugs Emma, it’s with everything London culture. Play Award, two Tony Awards, and alcohol due to their mother else. Why it’s a must-read: ‘a and the Pulitzer Prize. Martha. Why it’s a must-read: An bold, timely and searching Positive Stories For interesting and dark look at play’ - Financial Times Negative Times Blasted parent- children relationships. commissioned by by Sarah Kane Cape WonderFools (Methuen Drama) DNA by Inua Ellams (Methuen Drama) ISBN 978-1-350-13502-4; 1995 by Dennis Kelly ISBN 9781350204652, 2020 ISBN 9781350233362, 2020 Synopsis: A (Methuen Drama) Synopsis: Someone Synopsis: Five naturalistic ISBN 9781350188044, 2008 mugged Bruce’s exciting new plays two-hander Synopsis: A group of mum and he is not for young people featuring eyes young friends are having it. He grabs Why it’s a must being sucked out, faced with a terrible his hoodie, his read: Written rape and baby accident and fi nd uniform, his cape specifi cally in eating. Why it’s a must-read: themselves making and goes out to fi nd the response to a world in the Kane’s debut caused a huge the wrong choices culprit. Why it’s a must-read: It midst of a pandemic. stir, making it an important to cover it up. Why it’s a must- tackles issues of race, injustice text in theatre history. read: A play that makes you and masculinity, all told from Reasons You question friendship, morality diff erent perspectives. Should(n’t) Love Me Wasted and responsibility. by Amy Trigg by Kate Tempest The Fall ISBN 9780573132605, 2020 (Methuen Drama) New writing by James Fritz Synopsis: Juno was ISBN 9781350094925, 2013 (Nick Hern Books) born with spina Synopsis: A play (last ten years): ISBN: 978-1-848-42773-0; 2018 bifi da and is now about love, life Rotterdam Synopsis: Two clumsily and losing your by Jon Brittain teenagers sneak navigating her mind. The (Methuen Drama) into an old man’s twenties amid rapid-fi re words of ISBN 9781350095182, 2015 home. A young street healers, love and Kate Tempest Synopsis: A couple try to look loneliness. Why it’s a must paint a picture of lives less bittersweet comedy after an ailing read: Trigg’s debut play won ordinary in an unforgiving about gender, parent. A care home off ers its the Women’s Prize for world. Why it’s a must-read: sexuality and being residents the opportunity to Playwriting 2020. The play heralded the a long way from unburden their children. Why dramatic career of one of the home. Why it’s a it’s a must-read: It confronts To buy copies of each of UK’s most exciting must-read: The play looks at the the frightening prospect of these books, go to the performance poets. challenges of gender transition ageing in a country website of their respective and the particularly tricky undergoing crises of housing publishers, or the National conversations with friends and care. Theatre bookshop. and family.

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 33

030-033_SGDE21-22_REVS-Books [APPROVED].indd 33 29/07/2021 11:28

Advertorial ROBIN SAVAGE ROBIN

The Council for Dance,

Drama and Musical Theatre MICHELLE MARSHALL

Who are the CDMT? performing arts. CDMT is the industry body off ering CDMT acts as the secretariat and quality assurance and membership public enquiry point for the Group and services to institutions delivering facilitates submissions from vocational training, education and assessment in training schools, conservatoires and musical theatre, drama and dance. well as informing sector professionals awarding organisations on current issues Founded in 1979, the CDMT works and government education authorities in of vital importance to the sector. closely with member professional their work. schools, colleges, awarding organisations Where can you fi nd out more? and industry bodies to ensure standards Why does it matter? CDMT members make an enormous remain at a level that secures the supply The CDMT: contribution to the sustainability and of quality practitioners for the future. § Ensures the consistent application of international profi le of the UK creative The annual UK Guide is the industry standards across professional industries, a contribution we support and authoritative source of information about schools, colleges, conservatoires and celebrate through confi rming quality in CDMT members with whom we share awarding organisations musical theatre, drama and dance. a mission for advancing outstanding § Acts as an authoritative source of CDMT’s website cdmt.org.uk is the artistic performance. information on high quality provision main source of up-to-date information on across the sector our membership. What do we do? § Advocates powerfully on behalf of For copies of CDMT’s mission is to promote excellence members, increasing their public the 2021 UK Guide in performing arts training, education and profi le and infl uence with key industry to Professional assessment. We achieve this through being and political stakeholders. Training, Education the quality assurance body of the sector. and Assessment CDMT’s industry Accreditation and The All-Party Parliamentary in the Performing Validation secures the voice of employers, Group for Performing Arts Arts, contact sector bodies and educators in the design Education and Training [email protected]. and delivery of professional training and In January 2021, CDMT established uk qualifi cations. an All Party Parliamentary Group Both quality assurance processes for Performing Arts Education and promote outstanding industry-approved Training at the Houses of Parliament, institutions which allow prospective Westminster. The main purpose of the students, candidates and their parents Group is to support parliamentarians The page opposite features our or guardians to better understand in discussions relating to appropriate constituency of CDMT Accredited what constitutes excellent provision in training, education, assessment and Schools. musical theatre, drama and dance, as professional practices across the

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www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 35

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live in shared flats and houses. In the current students in action, before they summer before they join, incoming join in September 2022. students are sent a list of local letting ArtsEd is committed to providing a full agents so they can start looking with and rounded audition experience where plenty of time before term starts. the panel really get to know prospective students, and where prospective Entry requirements students can get a great sense of the For the BA (Hons) and Foundation school. Full details of audition processes courses, applicants must be aged 18 or and requirements for all courses will be due to have turned 18 by the time the on the ArtsEd website as soon as they course commences. In addition, the are confirmed. following qualifications are normally We hope to run regional auditions this required: year. They will be led by ArtsEd tutors § Passes in two subjects at A-level or a and alumni and will give an authentic BTEC HND insight into ArtsEd and our unique offer. ArtsEd § Passes in three subjects at GCSE or During the audition process, all equivalent candidates will be considered for the § Candidates whose first language is not full-time one-year Foundation courses as Courses offered English must provide proof of their well as the three-year Degree course. § BA (Hons) Acting proficiency by having either an ELTS § BA (Hons) Musical Theatre overall score of 7 or a TOEFL score of Track record § MA Acting 100 or IELTS score of 6 or equivalent. The success of ArtsEd alumni § Foundation (Cert HE) Acting For the MA Acting course, you highlights the quality of the training. § Foundation (Cert HE) Acting must be aged 21 or over and have an They include leading choreographers, § Foundation in Acting (Part-Time) undergraduate degree or the equivalent directors and producers working in all § Foundation in Musical Theatre professional experience. If an applicant areas of the performing arts. Notable (Part-Time) comes from an unconventional alumni include: Jac Yarrow, Joseph in background but fulfils the other audition the West End production of Joseph and Course content overview requirements, academic requirements the Amazing Technicolor Dreamcoat, The ArtsEd BA (Hons) in Musical Theatre may be waived. Good spoken English is a Gabrielle Creevy, who won the BAFTA course is world-renowned for producing requirement for all courses. Cymru Best Actress award for her debut graduates who are accomplished actors, TV role in BBC Three’s In My Skin, singers and dancers. Graduates of Application method and Miriam-Teak Lee, who was in the our Acting degrees (BA and MA) are All courses are subject to entry via an original cast of Hamilton, followed by highly regarded for their broad skillset audition. Social distancing requirements the lead role in hit West End musical, and individuality which enables them changed our usual process last year. &Juliet. Lashana Lynch is the ‘new 007’ to compete right across the sector in Some aspects of the changes worked in the latest Bond film No Time To Die, theatre, film, television and radio. In 2019 very well for auditionees, and we are Omari Douglas wowed TV audiences and 2020, all our BA students were signed reviewing the 2021/22 process as a result. in Channel 4’s It’s a Sin, and Thaddea with an agent before graduation. ArtsEd We hope that both Acting and Musical Graham is a regular on our screens holds the TEF Gold Award, the highest Theatre auditions will have stages that having appeared in Sky One’s Curfew, rating from the Teaching Excellence are face-to-face. Netflix series’ The Letter for the King and and Student Outcomes Framework, a Audition fees are also under review The Irregulars, and BBC One comedy- national evaluation programme of all HE and will reflect the change in the drama Us. providers. Their report noted optimum process. levels of contact time, an inclusive Details of the process and fees will be Diversity learning environment, exceptionally available on our website as soon as they A long-time champion of diversity high engagement and commitment from are finalised. and equality, ArtsEd selects students students, and an outstanding record of on talent rather than their ability to graduate success. Audition process/preparation pay. Nearly half of our BA students required receive fee support, ranging from full Fees, bursaries, and other Whether online or in-person, ArtsEd scholarships and government funded finance information believe it’s important to give individuals Dance and Drama Awards to bursaries Visit ArtsEd’s website to view individual the chance to fully show their potential from our own funds. ArtsEd continue course fees. Bursaries and scholarships and personality at audition. A great deal to innovate, and from September 2021 are available for UK and EU students on was learnt from the 2020/21 auditions, students studying Acting will learn our BA courses. The majority are means including the fact that some of the British Sign Language and benefit from tested and continue throughout the three online elements worked very well Intimacy Training. years of the course. For more details visit: for prospective students. A blend of https://artsed.co.uk/courses/funding-and- online and face-to-face requirements is Contact scholarships/ anticipated for the upcoming year. artsed.co.uk Government guidance allowing, recall +44 20 8987 6666 Accommodation options sessions and orientation days will ensure [email protected] Chiswick and the local areas have plenty that prospective students have the Follow on Twitter, Instagram and of rental properties and most students opportunity to visit the school and see Facebook: @ArtsEdLondon www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 37 DRAMATIC TRAINING

FOUNDATION AND UNDERGRADUATE COURSES IN Acting Actor Musicianship Lighting Musical Theatre Scenic Art and Prop Making Sound Stage Management

mountview.org.uk

SGDE21-22_FullSGDE_2021-22.indd Page.indd 38 1 07/07/202102/08/2021 16:56:2220:04:09 Advertorial

you’ll begin with workshops covering core produce a range of actor musician skills in all areas of production arts before performance projects, working on moving quickly on to practical show Shakespeare, contemporary plays and roles. What sets Mountview apart from musicals as well as devising original work other drama schools is the opportunity to for the theatre. Mountview work on large musicals, mixing sound for West End-scale casts and using the latest Fees, bursaries, and other professional equipment. finance information Courses offered Visit Mountview’s website to view § Foundation Acting Full-Time / Part- Foundation/BA (Hons) Theatre individual course fees. There are a number Time Production Arts – Stage Management: of bursaries and scholarships available to § Foundation Musical Theatre Full-Time This course begins with workshops the most gifted students and those facing / Part-Time covering core skills in all areas of financial hardship – for more details visit § FdA/BA (Hons) Theatre Production production arts with training from mountview.org.uk/courses/funding-and- Arts – Lighting experienced industry professionals. You’ll scholarships. § FdA /BA (Hons) Theatre Production then move quickly on to practical show Arts – Sound roles in stage management. Mountview Accommodation options § FdA /BA (Hons) Theatre Production produces around 28 plays and musicals Many Mountview students choose to Arts – Stage Management in theatres each year, giving Stage live at Bernard Myers House, a Hall of § FdA /BA (Hons) Top-Up in Scenic Art Management students a vast array of Residence managed by Host, which is a and Prop Making learning experiences. 15 minute walk away. Others opt to move § BA (Hons) Performance – Actor into shared houses in the area. Musician FdA/BA (Hons) Top-Up in Scenic Art § BA (Hons) Performance – Musical and Prop Making: A great option for Entry requirements Theatre students with an artistic flair, training While specific requirements vary from § BA (Hons) Performance – Acting places a strong emphasis on developing course to course, in general applicants specialist skills and practical problem- must be aged 18 years or over at the Course content overview solving in scenic art and prop making. start of the course. Entry is based on Foundation Acting Full-Time/Part- You’ll learn a range of processes from performance at audition or interview and Time: Training focuses on three key traditional and established methods previous formal academic qualifications areas of artistic development: creativity, and materials to new and future-facing are not essential. technique and readiness. Classes focus on technologies. The course has strong the core skills of acting, voice, movement links with the industry and excellent Application method and performance-based work, delivering opportunities for work-based learning. Apply directly through the Mountview a balance of preparation for future drama website at mountview.org.uk/apply. school auditions and for a life-long career. BA (Hons) Performance – Musical All courses at Mountview are subject The part-time course enables students to Theatre: Over 25 years ago Mountview to entry via an audition or interview. work alongside their studies. created the UK’s first specialist three-year There is a £20 online audition fee for first musical theatre course and our graduates round online auditions and a £25 fee for Foundation Musical Theatre Full-Time/ continue to dominate the industry. in-person recall auditions at Mountview. Part-Time: Mountview’s foundation The course develops technical skills There is no fee for interviews for the training in musical theatre finely balances through practical classes, workshops and Theatre Production Arts or Scenic Art and core technique training across acting, performances and is split equally between Prop-Making courses. singing and dance while developing the three essential musical theatre skills: creativity and artistic identity. The course acting, singing and dance. Audition process/preparation is focused on an equal balance of skills, required audition preparation and performance- BA (Hons) Performance – Acting: Your audition preparation will depend based work. The part-time course enables Mountview’s vocational actor training on which course you are applying for, but students to work along aside their studies. thoroughly prepares students for a all performance courses require that you career in theatre, TV, radio and film. The prepare at least one monologue. There are Foundation/BA (Hons) Theatre course develops technical skills through detailed guidelines for each course listed Production Arts – Lighting: Mountview workshops and performances. Classes on our website at www.mountview.org.uk/ has been training lighting designers are designed to inspire imaginative courses/auditions-and-interviews/ and technicians for over 40 years, and engagement and develop practical our vocational courses place a strong experience enabling you to take risks, Other information emphasis on learning through practice. expand your range and develop your Notable Mountview alumni include Noah Past graduates include numerous strengths. Thomas (Everybody’s Talking About Jamie), notable lighting designers and freelance Giles Terera (Hamilton), Louisa Harland production electricians, and alumni have BA (Hons) Performance – Actor (Derry Girls), Tyrone Huntley (Jesus Christ gone on to work for venues including the Musicianship: There is an ever- Superstar), Amanda Holden and Eddie Royal Shakespeare Company. increasing demand for performers who Marsan. combine first-rate acting ability with a Foundation/BA (Hons) Theatre high level of musicianship. Mountview’s Contact Production Arts – Sound: On course develops these dual skills to the Website: www.mountview.org.uk Mountview’s hands-on courses in sound highest level. Over the course you’ll Contact: [email protected]

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 39

039_SGDE21-22_ADV-Mountview [SL APPROVED].indd 39 03/08/2021 15:00 Advertorial Bristol Old Vic Theatre School

or in individual tutorials. Learning is meet UWE Bristol’s minimum entry immersive and you will have a full and requirements. For postgraduate courses, busy timetable throughout each term. applicants would normally be expected As a student at BOVTS, you will have to have an honours degree in a related excellent opportunities to perform in, subject area. We will also consider design, write, direct, stage manage or evidence of personal, professional and work on shows that take place for the educational experience which show an paying-public across Bristol and the West ability to meet the demands of the course. Country. For further information specific to each We regard all our students as course, please see: oldvic.ac.uk/course- professionals in training; your first day in finder. the school is the first day of your career. Our graduates leave the school confident Application method in their creative and technical skills, but For 2022 entry, all applications for also with tenacity to succeed in building full-time degree courses are made via a sustainable, varied and fulfilling career UCAS. Applications for Production Arts

MARK DAWSON in the arts. should be made via UCAS Undergraduate The school’s degrees are validated and (institution code B64) while application Courses offered awarded by the University of the West of for all other degree courses is via UCAS Undergraduate and foundation England (UWE Bristol). Conservatoires (institution code B65). degrees: BA Professional Acting; FdA and We charge an audition fee for the BA BA (Hons) Production Arts*; FdA and BA Fees, bursaries, and other Professional Acting course, which (Hons) top-up Costume for Theatre, Film finance information is currently £25, but an audition fee and TV. For fee purposes, the school classifies waiver scheme is available – please students either as UK or international. see our website for eligibility criteria. *Our Production Arts courses provide Your residency classification determines Applications for short courses are direct broad-based training in the core the amount you pay in tuition fees, which to the school – see oldvic.ac.uk/short- production disciplines needed to work also vary according to whether the course courses for further information professionally for stage or screen, is an undergraduate or postgraduate including stage management, lighting, degree. For full details, please see oldvic. Audition process/preparation electrics, sound and scenic crafts. The ac.uk/course-finder. required FdA is stage-focused, while the three-year UK and Irish students are eligible For BA Acting, auditions are a two- BA course additionally incorporates TV for tuition fee loans and support stage process with online preliminary and film production skills. administered by the government. In auditions followed by recall days addition, each year the school offers a at the school. You’ll be required to Postgraduate degrees: MA Screen range of student support in the form of present two contrasting monologues, Acting; MA Performance Design; MA bursaries and scholarships. If you are each two minutes long, and a short, Scenic Art; MA Drama Directing; MA called to interview or audition, course unaccompanied song. For technical and Drama Writing; MFA Professional Voice staff will explain more about the funding creative courses, we initially review your Studies; MFA Professional Acting (for options available. UCAS application ahead of interviews, international students). exploring your motivation for the course, Accommodation options any relevant experience, and discussing Short courses: 10-week summer While the School does not own halls your portfolio, where relevant. Details of foundation course in acting and a range of residence, Bristol is a student city course selection procedures are available of acting short courses for adults. and there is an abundance of high- on our course finder at oldvic.ac.uk/ quality accommodation within walking course-finder. Course content overview of distance of the school. Many of our Bristol Old Vic Theatre School (BOVTS) students choose to rent with fellow Contact has led the way in training theatre, TV BOVTS students. Our admissions office For details of open days, visit and film professionals for 75 years. Our can provide guidance to new students opportunities or for more information courses are recognised nationally and about finding accommodation in the about our courses, contact the internationally as a benchmark of quality private rented sector – for example advice Student Recruitment team (student- in acting, creative and technical arts. By on fair rents, landlord relations, and [email protected]). For choosing BOVTS, you are joining a school council tax exemption. information about making an application, with a world-renowned reputation, entry requirements, or fees and funding, based in one of the UK’s most lively and Entry requirements contact Admissions (admissions@oldvic. creative student cities. We typically make unconditional offers ac.uk). You can sign up for updates about All our courses are practical and based on your performance at audition our courses and news from the school at career-focused. The majority of teaching or interview. For undergraduate courses, oldvic.ac.uk/mailing-list. takes place in small groups, workshops applicants are normally expected to

40 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE

040_SGDE21-22_ADV-BOVTS [SL APPROVED].indd 40 03/08/2021 15:04 Advertorial Federation of Drama Schools

he Federation of Drama Schools this allows a wider range of applicants to Tbrings together 19 of the UK’s longest be seen, without incurring hefty travel established and most recognised training costs. Where possible, most schools will

institutions for the performing arts. Our NINA PHOTOGRAPHY run their second rounds/recalls in person, partner schools provide professional which allows prospective students to training for performers and those who come and get a sense of the physical make performance possible – on stage, training environments. There is strong off stage, backstage and increasingly commitment across all partner schools on screen and online. FDS schools to tackling financial obstacles that may are unified in maintaining the global arise here, from reducing audition fees, to reputation of British theatre and film travel bursaries. If you are encountering training. The FDS come together to hold a financial obstacle, you are strongly staff and student training days, and at encouraged to check out the individual senior faculty level, share best practice in Absolute Beginners performed by FDS partner ALRA, schools’ websites for support options. areas such as equality and mental health. 2021 FDS schools have longstanding and Diversity and inclusivity current relationships with the industry, funded differently, via the DaDA scheme, In the 21st century, the performance and those who work within it, so you can or have different fee structures, so the industries are challenged to really reflect expect to be taught by those who have HE student loan may not cover all the and celebrate our rich and increasingly hands-on professional experience and to fees. These schools also offer a range of diverse context, and FDS schools have opportunities in your graduation bursaries and scholarships to support continue to adapt and evolve accordingly, year to show off your talent and skills in talented students who have financial working to make sure we are listening, a range of professional performances and obstacles. Every school has different and acting in response, to implement projects. options available, so you should check change where it’s needed and to meet the FDS schools all share key principles this out via the schools’ individual needs and talents of a truly representative and practices in training; emphasising websites. next generation of artists. FDS schools practical, intensive and creative learning strive to send out graduates who are experiences; developing meaningful The new normal supported and enabled confidently to and employable skills and learning and The impacts of Covid 19 have provided shape and reimagine not just their own working in as-professional environments considerable challenges for training careers, but the industry as a whole. – meaning a lot of active contact time in courses that value close ensemble Individual schools via their websites studios, practical workshops, rehearsals collaboration, experiential and embodied provide a wealth of advice and support and performances, rather than seminars, learning and hands-on practice. All for prospective students. The FDS also lectures and exams. Typically, you could schools continue to offer in-person exists to provide an info point here, with expect 30 hours of training during the training and intensive practical learning, individual school and course info and term time weeks, which is usually more but it has been interesting to realise that general guidance in respect of training than a conventional university degree. the innovation, adaptability and creative available on its website. We’re here to Many FDS schools offer a range of solutions that have been required to demystify the idea of the drama school courses, providing focused performance navigate online and blended teaching, in and to support the next generation of training in disciplines such as Acting, many cases have enhanced the training. creative talent into finding the right place Musical Theatre, Screen Acting, or We’ve been able to connect students and for them to develop and thrive. Actor-musicianship, with a diverse range their work with a wider range of industry of Devised and Collaborative theatre professionals, and delivered projects making, Production arts, Technical that have really reimagined what training FDS partner schools are: ALRA, ArtsEd, and Design courses. Final year public needs to deliver for the contemporary Bristol Old Vic Theatre School, Drama performances offer graduating students a context. The performance industry Studio London, East 15, Guildford School meaningful opportunity to really practise is complex and constantly evolving, of Acting, Guildhall School of Music and demonstrate professional level skills, increasingly using digital technologies and and Drama, Italia Conti, LAMDA, LIPA, not just as creative and technical artists, changing how the world encounters and Manchester School of Theatre, Mountview, but as collaborators, problem-solvers and creates great drama; by recognising the Oxford School of Drama, RADA, Rose emerging innovators. genuine benefits of blended (digital and Bruford College, Royal Birmingham live) learning, we’re continuing to make Conservatoire, Royal Central School of Funding your studies sure that the skills our graduates develop Speech and Drama, Royal Conservatoire The majority of FDS schools offer really do equip them for a sustainable of Scotland, Royal Welsh College of Music courses which are recognised as higher professional career in the future. and Drama education qualifications (degrees) and so often the cost of training is the same Application as a university degree, and student loan Increasingly, FDS schools are integrating Contact: finance is available in the same way to online and digital first round auditions www.federationofdramaschools.co.uk support your training. Some schools are (not just because of the pandemic) as [email protected]

www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 41

041_SGDE21-22_ADV-FDS-CM.indd 41 30/07/2021 11:16 Advertorial The Royal Central School of Speech and Drama

Courses offered design and production. You will immerse BA (Hons) Contemporary Performance BA (Hons) Acting – 3 courses available yourself in the hands-on, intensive, Practice – Our standard academic entry Acting collaborative process of design, craft requirements range between 120 and Acting Collaborative and Devised Theatre and production, applicable to theatre, 96 UCAS tariff points and selection by Acting Musical Theatre film, TV, live events and more. Students interview. benefit from the experience and networks BA (Hons) Contemporary Performance gained through professional placements BA (Hons) Theatre Practice – Our Practice – 3 courses available within the industry while working with standard academic entry requirements Drama, Applied Theatre and Education a range of equipment in purpose built range between 120 and 64 UCAS tariff Performance Arts workshops and performance spaces. points and selection by interview. Writing for Performance Fees, bursaries, and other We do make lower offers or unconditional BA (Hons) Theatre Practice – 9 courses finance information offers to exceptional candidates or those available Applicants from the UK have access to with alternative or prior experience. Costume Construction full student loans from Student Finance All candidates who apply by the equal Design for Performance England as well as maintenance loans. consideration deadline of 26 January 2022 Lighting Design Central also offers a range of scholarships are invited to audition or interview. Production Lighting and bursaries for all courses. Full Prop Making information can be found at www. Application method Scenic Painting for Stage and Screen cssd.ac.uk/fees-funding/scholarships- All applications are made through the Set Construction for Stage and Screen bursaries-awards main UCAS scheme for all courses. Sound Design and Production Students should look to apply before Stage Management and Technical Theatre Accommodation options the Equal Consideration deadline of 26 Central receives an annual allocation January 2022 (6pm) to be guaranteed an Course content overview of rooms in University of London audition or interview. BA (Hons) Acting Intercollegiate Halls which can be a great Central offers three intensive acting option for new students. Audition process/preparation courses delivering a complete vocational Many students alternatively choose to required actor training, each with a different live in private halls of residence which are Audition/Interview process and specialist focus and leading to the award based all over London, with some very preparation are different depending on of a BA (Hons) Acting. This high-level close to Central’s Swiss Cottage campus. the course. Please follow the links below conservatoire training is designed to A small number of students who for the latest guidance: develop world-leading performers and already live in or around London the training prepares performers to work choose to commute in, however the BA (Hons) Acting – www.cssd.ac.uk/How- in theatre, television, film and radio. vast majority of Central students live to-Apply/Undergraduate-Applications/ in private rented accommodation with audition-process-ba-acting-courses BA (Hons) Contemporary Performance each other which can prove to be the Practice most cost-effective. Central’s Student BA (Hons) Contemporary Performance A programme of courses that will develop Advice Service provides support for Practice - www.cssd.ac.uk/interview- you as a performance maker. Through those looking to find accommodation, process-ba-contemporary-performance- specialising in experimental performance, and full information on what support practice writing or applied performance you there is and how finding accommodation will learn to express and nurture your works is available at www.cssd.ac.uk/ BA (Hons) Theatre Practice - www.cssd. creative voice. Graduates go on to have accommodation/accommodation-how- ac.uk/interview-process-ba-theatre- a variety of careers, from performers it-works practice-courses and performance makers to teachers; facilitators to producers. The course Entry requirements Contact equips you with the skills, ability and Entry for Central courses is mainly Website: www.cssd.ac.uk creativity to tackle the modern jobs through audition or interview, however Email: [email protected] market. we will typically make offers that are at Facebook: https://www.facebook.com/ the following range: CSSDLondon BA (Hons) Theatre Practice Twitter: @CSSDLondon Specialise in one of nine disciplines as BA (Hons) Acting – Minimum entry Instagram: @CSSDLondon you develop a deep understanding of the requirements of 2 A Levels at C, 3 GCSEs collaborative process of performance at C, and selection by audition.

42 Student Guide to Drama Education 2021/22 www.dramaandtheatre.co.uk/SGDE Advertorial ALRA (The Academy of Live and Recorded Arts)

Courses offered MA Directing – 2 Years funding from other organisations and § BA (Hons) Acting The ALRA MA Directing course is an industry prizes. § MA Professional Acting innovative programme which includes § Foundation Acting an international residency and individual Accommodation options § MA Directing industry mentors. The vision of this ALRA students live in shared private § MFA Linklater Teaching Practice course is to create driven, diverse artists housing near to the campus or commute who will change the demographic of from home. There are no halls of Course content overview directors in this country. residence at ALRA. BA (Hons) Acting – 3 Years The BA (Hons) Acting programme shapes MFA Linklater Teaching Practice Entry requirements professional actors working in today’s (Voice and Theatre Arts) - 2 Years Please check the specific course Theatre, Screen and Audio industries. ALRA collaborated with the late Kristin requirements for entry on ALRA’s A highly vocational course that equips Linklater to create a unique Master of website. students with a range of skills to prepare Fine Arts degree in her practice that them for a highly competitive artistic combines embedded voice work and Application method industry. applied theatre techniques. The MFA is Apply directly online. Application fees the only one in the world to include a vary. The application system opens in late Foundation Acting Diploma – 1 Year path toward Designation as a teacher of October and closes in March for acting ALRA’s Foundation Diploma in the Linklater Voice Method. courses, other specialist courses may be Acting gives students a real insight open for later applications, subject to into conservatoire actor training and Fees, bursaries, and other availability. preparation for working in the industry. It finance information is beneficial for those wishing to pursue Each course has a different fee and Audition process/preparation professional training at a higher level. fees differ from North to South campus. required Please check ALRA’s website for the latest The audition process varies for each MA Professional - 15 months information. ALRA students course. Full instructions are available on The ALRA MA Professional Acting Course can use Student Loans for these ALRA’s website. is a full-time, comprehensive actor training courses, alternatively they may be programme with three taught terms eligible for Dance and Drama Contact followed by two performance terms; Awards (DaDA) [see page 5 for more www.alra.co.uk including a theatre production, filmed information]. Additionally, there are [email protected] showreel scenes and industry-facing two in-house bursaries awarded each ALRA South 020 8870 6475 showcases in both London and Manchester. year. Previous students have also won ALRA North 01942 821021 www.dramaandtheatre.co.uk/SGDE 2021/22 Student Guide to Drama Education 43 NOMINATE TODAY! ENTRIES CLOSE ON 27 SEPTEMBER 2021

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