The Guildhall School Magazine Autumn/ Winter 2016

4 Behind the Scenes 20 Mind the Gap Curious festival Making the arts accessible 6 Your latest School news and stories PLAY12 Face to Face Students say farewell to Barry Ife

26 The Interview Emma Rice

30 Then & Now Guy Chambers

32 Class Notes

34 Recent Releases

36 In Memoriam 18 Guildhall to the World 38 A Day in the Life Playtime in France Peter Batai Editorial Group Welcome to the latest edition of PLAY Deputy Head of Development (Alumni & Supporter Relations) Before the next edition of this magazine comes out the Guildhall Rachel Dyson School will have a new principal, Lynne Williams. Lynne joins Head of External Affairs Jo Hutchinson us from Australia’s highly prestigious National Institute of Dramatic Art and we look forward to working with her. Our Head of Development Duncan Barker current principal, Professor Barry Ife, has been both a fierce Marketing & champion and a dedicated supporter of the School for the past Communications Officer twelve years. Barry reflects on some of the achievements and Rosanna Chianta challenges of that period in a touching interview with students Copywriter in Face to Face. Nicola Balkind Art Direction & Design In August, I took a group of alumni from the Class of 1982 on Pentagram Jessie Earle a tour of the School. While the Silk Street building has been refurbished many times over the years, it is essentially the same, Forthcoming events Contact but Milton Court showed them a whole new side to Guildhall. Email As we walked around they told stories of their time here and I [email protected] was struck by the fact that while our building and our staff can Wednesday 9 November, 7.30pm Friday 25 – Wednesday 30 November Monday 27 February – Monday 6 Twitter and do change, Guildhall School has a core that does not change. Barbican Hall Silk Street Theatre March 2017, 7pm @guildhallschool Silk Street Theatre Guildhall Symphony Great Expectations Facebook The School was established in 1880 to provide opportunities GuildhallSchoolAlumni Orchestra By Charles Dickens The Tale of Januarie for city workers to study music. It soon broadened its remit to Post Adapted by (world premiere) provide training for professional musicians and actors, and, Diego Matheuz conductor Nick Ormerod and Declan Donnellan Development & Alumni Julian Philips composer Relations Office Rimsky-KorsakovScheherazade Christian Burgess director later, stage managers and theatre technicians, and drew students Stephen Plaice librettist Guildhall School Beethoven Symphony No. 5 from all over the world and all walks of life. The importance Pre-performance talk: Tuesday 29 November Dominic Wheeler conductor of Music & Drama of creating opportunities for a broad range of people to engage Captioned performance in association with Martin Lloyd-Evans director Silk Street, Barbican London EC2Y 8DT Friday 11 November, 7pm Stagetext: Wednesday 30 November, 2pm with the performing arts is still crucial to the School as you will Milton Court Concert Hall see in the Behind the Scenes coverage of the Curious festival Wednesday 15 March 2017, 7.30pm Photo Credits and in our Mind the Gap feature. Guildhall Jazz Thursday 26 January 2017, 7pm Barbican Hall Milton Court Concert Hall Clive Barda, Nic Barlow, Band & Choir Guildhall Symphony Peter Batai, Guy Chambers, Finally, this is my last edition as Editor of PLAY and I would Jasmin Chung, Paul Cochrane, Malcolm Edmonstone musical director Guildhall String Orchestra Sara Lee/Shakespeare’s like to take this opportunity to wish you all a fond farewell. I With special guests Ensemble Pietari Inkinen conductor Globe, Tom Medwell, Mark now look forward to many years as a reader of Guildhall news! Pinder/Streetwise Opera, Mike Walker guitar Directed by Levon Chilingirian Iain Dixon saxophone Wagner arr. Maazel The Ring Steve Tanner, Clive Totman, Janácekˇ Suite for String Orchestra Without Words Matthew Wasser Part of the EFG London Jazz Festival Tigran Mansurian Violin Concerto No. 2 Beethoven String Quartet No. 14, Op. 131

Rachel Dyson, Editor

For full information and booking, visit gsmd.ac.uk/events To find out about priority booking for Guildhall Circle members, visit gsmd.ac.uk/circle

The Guildhall School is provided by the City of London Corporation. 2 3 BEHIND THE SCENES Each year, musicians on Guildhall’s astronomy, as well as words about human our work was quite intimidating for me, Masters in Leadership programme responses to the universe – spirituality, even though ours was a recorded piece. collaborate with visual artists from interpretation, signs, symbols. With our Guildhall students are used to performing Central Saint Martins to create new partners, we were encouraged to discuss in front of an audience, but I’m not used work for Curious, a festival that what was interesting to us, and use a to having a live audience there. promises to push the boundaries of word as a stepping-off point. Taka and Curious was a new thing for me. The their artistic practice. I started with two: density and time. We way we had to present the work was We spoke to some of the artists discussed how we could translate these different to anything I’ve done before, and WE and organisers involved, to find concepts into visuals and music, and I really want to do more performance- out what goes in to making this ended up playing with liquids. At the based design. It’s motivated me to do more ambitious festival. beginning, I struggled, because when things like this, with a consciousness you’re playing with materials, you can about the audience, and this sense of A R ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ put something together immediately life and scale. It really expanded the way S E which looks interesting, but how is it I feel about music. R N Nell Catchpole musical? Should I interpret it using my O S Curious Artistic Director ways of thinking, or is there some way Saatvika Kantamneni T M Curious is a festival of new work largely this physical manifestation can translate Guildhall School, MA Collaborative O made by Guildhall students. It comprises literally into music? It makes you think, Theatre Production & Design everything from a sit-down gig through what kind of musician am I – should I Curious was very exciting to be a part to open-ended experiential processes. embrace what I know, or try something of. There was such a wide variety of The work is often quite experimental and outside of my comfort zone? There needs interdisciplinary art taking place over devised collaboratively, and it has become to be a balance between the two. It’s about four days and a sense of pride in making more ambitious each year. We also using the skills and knowledge from your it all happen. invite guest artists to perform alongside training, but being inspired in new ways. As with any live event, things were students, or to add a level of provocation. I’m a classical singer, so often I’m constantly changing and many elements This year we had more than 50 performers singing other people’s work. Curious were happening simultaneously with no over four days. showed me a fruitful way of starting to shortage of problems to fix. We managed The work we produce isn’t coming make my own material. I strongly believe to support each other and keep powering from a musical starting point, it’s about the best way to create new work is to do on, and that was definitely the high for engaging with society and issues that it with other people; you can inspire, push me. Receiving positive feedback from the are current for all of us. The intention and support each other in the process. audience kept us going. is to create a safe space to take risks and All of us have the capacity to learn new Since the event did not take place at experiment with new processes. things. You don’t have to be the best at Guildhall, a lot of preparation was Curious is an important part of the it when you’re just starting out, but it needed to determine all the equipment Leadership programme for several could open up new pathways for you, and and materials we would need to bring, reasons. One of these is best summed up that’s really exciting. source, or hire. by one of the students, who said that it It is always challenging to work in was a way of making our community Taka Hata an unconventional venue. Every manifest. Being in a building intensively Central Saint Martins, BA (Hons) element of the festival had major power together producing an event and sharing Graphic Communication Design requirements, including projectors, it with the public allows you to see where I study at Central Saint Martins art school, computers, speakers and lighting systems, your work fits in the world. At Guildhall so before Curious I had collaborated and it was a challenge to work with we have a state-of the-art, perfect venue; with fashion and fine art students, and the limited resources available. We the Rose Lipman building in Hackney, with dancers. But I’d never properly Astronomers involved eight different where we staged this year’s festival, is at worked with musicians. Curious was very projection surfaces, most of which we the other end of the spectrum. You have professional, and they were expecting built on-site, and two quad rig sound to think on your feet, be responsive, and a large audience. It was quite pressured, systems across two rooms. Rigging all design work that’s going to work well but it was good pressure. the projectors safely to ensure they hit in that space. Our tutors paired us up with music the screens and other surfaces took time, students. I didn’t know Kate before I met effort, and creative decision-making. Kate Smith her on this project. She had a strong sense At the other end of the spectrum was Guildhall School, MMus Leadership of the direction she wanted to go in, but at Unfinished, a day of lab work across the Curious was our opportunity to put the same time she was really open-minded. building ranging from body mapping, in to practice some of the things we’ve I found this year’s theme of scientific live feeds, rice sculptures and TV been learning about collaboration discovery really fascinating. Our approach installations. We had to be able to provide across disciplines. was to do something subjective, exploring enough equipment and support to over 15 We were working on our pieces for how humans respond to and interpret artists who were setting up and running We Astronomers (the opening event) for science. We looked at memories, and how their installations at the same time. about two months. The brief was based we perceive them. Everything was a learning experience on a poem by Rebecca Elson. We were Towards the end, preparations got more and it helped me hone my skills of encouraged to engage with questions intense. We had some technical issues, so multitasking and decision-making. I about the universe and our place within people were working until the very last learnt a lot about collaborating with it. Our tutors suggested some words that minute; everyone was trying their best. creative artists and how to best support linked to scientific concepts around Witnessing a public audience experience their work.

4 5 School news Student and alumni success Philharmonic Orchestra as part of the BBC Guildhall welcomes Competition successes Ten Pieces Prom at the Royal Albert Hall. new Principal, Lynne Williams We are delighted to report a plethora of major recent successes for our young artists, students, As Professor Barry Ife steps down from and alumni. his role as Principal of the Guildhall Tenor Alessandro Fisher became the joint School, we are delighted to announce that Lynne Williams, Director and CEO winner of the prestigious Kathleen Ferrier of Australia’s National Institute of News Award this year. Alessandro, who studied on Dramatic Art, will join us as Principal in early 2017. the postgraduate Vocal Studies programme under Susan Waters between 2011-13, received Professor Barry Ife has been in post for the award in the annual competition finals 12 years and is stepping down to focus on teaching and research. Williams has at the Wigmore Hall in April. The success didn’t been the Director and CEO of Australia’s stop there for Guildhall as mezzo-soprano Music Gold Medal winner National Institute of Dramatic Art (NIDA) Bianca Andrew, who is currently studying Oliver Wass (centre) since 2008. includes a focus on creating a culture on the Opera course under Yvonne Kenny, Meanwhile at the School, harpist Oliver The Guildhall School’s Principal provides which is receptive to change, which was awarded the Ferrier Loveday Song Prize, strategic direction and leadership for the fosters collaboration between the various Wass won this year’s Gold Medal, Guildhall’s institution, ensuring that the School’s professional disciplines, innovation, while Ashok Gupta, who trained as a repetiteur most prestigious prize for outstanding soloists. business plan is executed effectively, and personal motivation and reflection, mutual on the Opera course from 2010-12, won the Oliver’s winning performance was Ginastera’s represents the School at a national and tolerance and respect within the School. Help Musicians UK Accompanist’s Prize. international level. Williams will be tasked Concerto for Harp accompanied by the with maintaining and further developing As well as reinvigorating teaching and Guildhall Symphony Orchestra, conducted the School’s world-class standing, learning at NIDA since 2008, Lynne by Adrian Leaper. reputation, and standards in academia, Williams has developed a significant business and outreach. Her responsibilities breadth of arts practice, pedagogy and Claudia Jolly and Victoria Shillingford won also include forming and maintaining cultural entrepreneurship across not-for the Gold Medals in Acting and in Technical strong national and international profit, government and commercial partnerships across the arts, education, sectors over the course of her career. Theatre respectively. and the community. Williams has held many arts and cultural leadership positions in the UK where she Chairman of the Board of Governors, was resident for 21 years. She led the Deputy John Bennett, said, ‘We are development of the Culture, Ceremonies delighted that Lynne Williams is joining and Education Programme for the the Guildhall School at this exciting time London Organising Committee of the in the School’s life. The next few years Olympic Games (LOCOG), following will see significant opportunities as well her contribution to London 2012’s as challenges for the higher education successful Olympic Bid as a Cultural BBC Proms at the Royal sector and for culture and the performing Advisor/Creative Producer. Williams was Albert Hall arts in the City of London and beyond. also Artistic Director of Cardiff 2008, Lynne inherits a world-class institution the company bidding for Cardiff to Guildhall young artists have also been with an exceptional senior management be 2008 European Capital of Culture, successful in high-profile competitions this team leading a remarkably strong artistic, where she was responsible for developing educational and research output. I am a new cultural strategy and leading year. Winners of the BBC Proms Inspire Young very pleased that she has accepted the a team in a bid on behalf of Wales. Composers’ Competition 2016 included two Acting Gold Medal winner Claudia Jolly offer to join us and take her vision for students from Junior Guildhall, Sam Rudd- the School forward.’ Lynne Williams told us that ‘The Guildhall School is one of the great Jones and Lilly Vadaneaux, alongside Jack Junior Guildhall’s prestigious Lutine Williams will oversee the implementation conservatoires of the world. I am excited Robinson from the London Centre for Young Prize went to violinist Didier Osindero for his of a curriculum which aims at the to be joining the team and the wider highest standards of performing skill Guildhall community to build on this Musicians. In addition, three students from programme of J.S. Bach’s Sonata No. 1 in G and academic achievement and at the prestigious reputation at a time when Hestercombe Centre for Young Musicians, minor and Britten’s Suite Op. 6. Inaugurated in development of individual autonomy, excellence and innovation in arts Michael Qureshi, Yasmine Qureshi and Evie 1982, the Lutine Prize is Junior Guildhall’s curiosity, leadership, flexibility and education and training has never been risk-taking through imaginative forms so crucial to ensuring a creative and King, were selected to perform their equivalent of the senior school’s annual Music of teaching and learning. Her role also cultural future for 21st-century society.’ composition, Fluto no uto, alongside the BBC Gold Medal competition.

6 7 School news School news This was followed later in the academic year Research News Thank you for Playing Your Part by a separate appeal – Playing Your Part – which told alumni and friends of the School how The Guildhall School has launched a in our appeals new doctoral research studentship in support from the Scholarships Fund had played partnership with the Barbican Centre. As In April, 17 students studying a variety of a significant part in three particular scholars’ part of the ongoing development of the disciplines phoned alumni around the globe to training for life in their respective professions. research degree programme at Guildhall, this unique, fully-funded studentship share Guildhall experiences and to raise funds We were thrilled to receive overwhelmingly offers the opportunity to work full-time for the School. Our team of student callers positive responses to these appeals and are for three years on a research project at the Barbican. The initiative complements spoke to more the 600 alumni over two weeks. delighted that collectively our alumni and the School’s existing doctoral studentship They had some incredible conversations, friends have pledged £75,000 to support in association with the Royal Opera learning all about the things our alumni have Guildhall students over the next five years. This House, and builds on the longstanding partnership between the Barbican and been doing since graduating and gaining some money will make a real difference to students the Guildhall School. valuable careers advice in the process. who need it.

The recipient of this year’s studentship is Stefania Donini. Her project will School news focus on understanding audiences, with Donini’s research addressing the CYM expands with changing role of arts centres against the new centres in Bristol backdrop of current social and political School news for England (HEFCE) institution-specific dynamics. It will investigate how review recognised the Guildhall School’s and Peterborough ‘audience experience’ and ‘cultural Guildhall School’s world-leading teaching outputs based on branding’ models are produced through teaching recognised five key criteria. These included specialised As part of the Guildhall School’s ongoing public programming and engagement teaching and learning across and national expansion of provision for strategies, using the Barbican Centre as as world-leading between music and drama, internationally- musicians under 18 years of age, Centre a case study to outline challenges and recognised innovations in pedagogy and for Young Musicians (CYM) – a division opportunities for institutional change. Guildhall has recently received three professional development, collaborations of the Guildhall School – has opened two The project will be supervised by a team ranking accolades that demonstrate the with international practitioners, ensembles new branches in Peterborough and Bristol. of senior staff from both partners and School’s status as a world-renowned and institutions, socially-engaged practice supported by training, and the outcomes institution for higher learning. beyond the conservatoire, and graduates Peterborough Centre for Young Musicians of this doctoral research will help inform This summer, the Higher Education who excel at all levels across a range of is a specialist Saturday music school future strategies and policies at both Funding Council for England (HEFCE) styles, disciplines and sectors. which will enhance progression routes the Barbican and Guildhall. judged the teaching at Guildhall to be Professor Barry Ife said, ‘This is an in music education in the area in ‘world-leading’. The School also excelled excellent outcome for Guildhall and collaboration with Ormiston Bushfield In addition, a new research project led by in two industry league tables. Guildhall a richly deserved accolade that reflects Academy, with support from Peterborough Research Fellow Dr Karen Wise called was named in the Top 10 performing a sustained effort across the institution Music Hub. It will be open to young ‘Finding A Voice’ began this spring with arts institutions worldwide by QS World for many years. World-leading people throughout the area and will have the aim of understanding the journey of University Rankings, and the top placed teaching would not be possible without a bursary scheme to promote access. learning to sing in adulthood. It is funded conservatoire in the 2017 Guardian dedicated staff who put students first Weekly sessions will take place throughout by the Arts and Humanities Research University Guide table for Music. at all times. They should be very proud the academic year. Council with a grant of over £230,000, The Higher Education Funding Council of this achievement.’ young musicians together and will also with music teachers from the Guildhall one of the largest grants Guildhall has Peterborough CYM is open to applicants provide a foundation for higher education School, visiting music teachers from other ever received for a research project. aged between 7-18 years old. It will training options and future professional conservatoires, and players from leading School news offer focused professional training and careers in music. The young musicians UK orchestras. Other activities will The 33-month project will focus on an opportunity to bring the city’s talented will train locally with Guildhall School include visits from the School’s ensembles people who are not singing, engaging New Guildhall online shop graduates and professors providing expert for sectional coaching, and performance them in specially designed programmes. workshop opportunities and master- rehearsal sessions. We have recently launched our first ever Guildhall online shop. The shop It combines psychological, educational classes throughout the year. opened this autumn to offer branded gifts and merchandise particularly aimed and artistic research to give an integrated With the addition of Peterborough at current students and alumni. understanding of the journeys adult Bristol Centre for Young Musicians and Bristol Centres there are now five non-singers take in learning to sing, and At launch, we will be offering Guildhall hoodies, and in time the shop will opened in September 2016, working in CYM branches outside of London the ways in which they can be supported. expand to feature other Guildhall-branded gifts. partnership with Bristol Plays Music, the including Saffron Walden, Norwich and The project will investigate the best Music Education Hub for Bristol. The Hestercombe (Taunton). All branches are We invite alumni and friends to suggest future products. If you have a request ways of helping non-singers engage in Centre is based at Bristol Cathedral Choir supported collaborations and each to suggest, please contact us on [email protected] meaningful participation in singing and School and Henbury School. It offers branch mirrors the curriculum of CYM improve their skills, and to show what Visit the online shop at gsmd.ac.uk/shop young musicians aged 11-17 a broad in London in terms of ensembles, choirs their developmental journeys look like. programme of activities including tuition and musicianship groups.

8 9 School news The Guildhall School is delighted to announce two new teaching appointments

Malcolm Edmonstone has been appointed as the School’s new Head of Jazz. Malcolm is a jazz pianist, arranger and educator from Perth, Scotland. After gaining Bachelors and Masters degrees at Guildhall he has gone on to forge a varied and successful career in the music industry. He began working as Acting Head of Jazz last summer. Jonathan Vaughan, Vice- Principal and Director of Music said, “Malcolm has great vision for the department and has already set out a roadmap for its development, and I very much look forward to working alongside him to realise that dream.”

Additionally, Rebecca Gilliver has been appointed as Professor of Cello and began teaching in September. Rebecca is Principal Cellist of the London Symphony Orchestra (LSO) and an accomplished chamber musician. She is known for her critically- acclaimed debut recitals at the Wigmore Hall and Carnegie Hall. She has performed in major music festivals and played as a guest principal with orchestras across the world.

School news The School has also said goodbye to two long-serving members of staff this year

Derek Rodgers has retired after 33 years working at the Guildhall School. He joined the staff of the then Junior Department in 1983, teaching piano and general musicianship. He also made great contributions to the School’s Examination Service Board, acting as a consultant for the piano syllabus and as a representative overseas. In July, he retired from his role as Head of Junior Guildhall. Flashback

Steve Huttly will retire from his post as Head of Theatre Guildhall musicians outside the School in John Carpenter Technology in December 2016. Steve joined Guildhall as Chief Street after a rehearsal, 1950 Electrician and Lecturer in 1994 and has developed both the curriculum and the equipment to reflect industry best practice Were you a student at John Carpenter Street? Where did you tend to go after rehearsals? Somewhere local or further afield? We would love to hear your stories since then. He has lit over 60 professional productions in his and see your photographs. Please get in touch (see contact details on p3). career and has served as Head of Theatre Technology since 2010. Andy Taylor, who is currently Lecturer in Sound, will become the new Head in January 2017.

10 11 FACE TO FACE This spring, the Guildhall School will say a fond farewell to its Principal, Professor Barry Ife. Barry has led the School for over 12 years. Tom Steer (Student Union President) and Kaitlin Wild (BMus Trumpet) sat down with him to learn about how the School, and Barry, have changed in the past dozen years and what the future holds.

12 13 What brought you to and so on. It’s developed a lot since then, But if I had to choose just one performance You’ve also supported but if you’re a small institution, as we it would be Sam Wilson’s final recital Guildhall 12 years ago? are still, you can only work effectively when he did the piece by Georges students financially. Why if you work in partnership. We bring a Aperghis called Le corps à corps, a solo is that important to you? I had got to the stage in my previous career huge amount to the table. There’s a piece for voice and zarb, an Arabic drum. where I’d more or less done everything tendency to think because you’re small I’d never heard of the composer, I had I’m told that Trudi and I have given and wasn’t sure what to do next. I was you can’t have an impact, but in the no idea what I was getting myself in for. £182,000 to the School since we’ve been 57 and I’d risen up the ranks in previous quality and interest and diversity of the But it was an absolutely astonishing here. It soon mounts up! We really organisations. At the time, I was doing a work we do we bring a lot to the table. performance. It was both thrilling – it’s believe in the performing arts and what year as Acting Principal at King’s College based on a motor race between two cars we do here. I suppose there’s an element London. One day I read in the paper that We have had, and have, a good profile or chariots, so it’s inherently exciting – of payback because we both went to my predecessor was leaving and I thought, in Europe, but outside Europe we still and absolutely frightening. I feared university at a time when there were no “Oh, I could do that,” so I set about making struggle against some of our competitors for him and I feared for myself. I have fees and we’ve both benefitted in many sure I got the job. At Ipswich station one because they’ve been working outside never been so profoundly affected and ways from our education. I’d say that not day I remember talking loudly to the of Europe much longer than we have. I shocked by a performance in my entire only has my education made me what Head of HR on my mobile saying, “You think in the next 10 years we’ll become a life. That stands out in my memory. Of I am – the leader of a great institution – have got to see me,” so I like to think much bigger, more global organisation course, at the heart of that is the interface but it’s made me who I am. We are the that I shouted myself onto the long-list. than we have been until now. Even though between music and theatre and it was products of our education and our virtually half of our students come from a real piece of performance art. upbringing. We both owe education a I often say that I’m not an actor and outside the UK, I don’t think we’re yet huge amount. Apart from paying our I’m not a musician, I didn’t go to a what I would call an internationally I have never been in the theatre or taxes, this is really the only way we can conservatoire, I’ve never taught at a focused organisation. We don’t think concert hall here and felt let down by give something back. conservatoire, and I’d never run a globally all the time, which is what the what the students have done. And that conservatoire, so it’s obvious why I got next phase will be about. is a phenomenal achievement. I think Although we don’t support individual the job. everybody comes here to do their best students – our money goes into the During your time at and be the best that they can be, and general scholarships pot – a lot of our Seriously, there was a lot in my previous that’s fundamental to our culture. That’s friends who also support the School experience that, looking back now, met Guildhall you must have very valuable, we must hold on to that. really like the close relationship between the requirements of the School at the been to hundreds of time. Not least the fact that I had a lot of Milton Court Concert Hall performances. Are there experience with capital projects at King’s, so I knew how to talk to architects, other response was, “Yeah, whatever of: being world-leading. Having that any that stuck out for you? builders, quantity surveyors and so on. happened to the Guildhall School?” I accolade is the icing on the cake. Useful for Milton Court! thought, “Hmm, what an interesting I discussed this with my wife, Trudi, response.” It was telling me something What other achievements because we go to virtually everything Although I’m not an actor or a musician, I needed to know, because the Guildhall together. We drew up a shortlist of I was quite a good pianist as a teenager. School was very low-key when I came are you proud of? about 30 performances and we agreed I got my diploma when I was 16. After here. I think that although there were a on most things. One that struck us most I finished university I took up the lot of good people here doing excellent When I first came here, there was an all was the first one we ever saw here – a harpsichord seriously in my 30s and 40s. work, the School had allowed its profile staff meeting where I was introduced, show called Ghetto that was directed by I can, or I could, play quite well. So I have to drop dangerously low. To be quite and a questioner from the floor said, Christian Burgess. It was about a group a serious, deep interest and commitment frank, Guildhall didn’t mean anything “You come here with a reputation for of Jewish musicians in the ghetto so it to music, and to the performing arts at that time. It wasn’t significant. I think partnership working. How do you think had a lot of musicians in the cast – not in general. that’s the main thing that we’ve done that will affect the way we work here?” actors playing instruments, but musicians. over the past 12 years – we’ve got to a I thought it was really interesting that It was a perfect expression of what was When you first came to position where the Guildhall School is other people had picked up on that possible – all the potential at the Guildhall “world leading”. Leading means being about me. That was a feature of the School – and it completely blew us away. Guildhall, what was it like? a leader. Others watch what we do and work I did at King’s. We had a systematic It’s hard to get through to people just follow what we do. I think it’s quite an strategy of engaging with as many what an astonishing experience it is to go Interestingly, when I got the job, there achievement for the institution to have institutions as possible within a mile’s into the theatre and see performances were two responses. One was, “What a moved that far in a relatively short period radius that included the Southbank, of the quality we’ve seen at Guildhall. It’s Barry and his wife, Dr Trudi Darby, January 2016 lovely job to end your career with.” The of time. That’s what I’m most proud National Theatre, Royal Opera House too easy to take it for granted.

14 15 donor and recipient. They can actually see I do enjoy the City traditions, though I Is there one thing you’ll and watch the people they are supporting shudder to think what all those lunches and they find that very exciting. and dinners are doing to my liver...! miss most? It’s all part of the rich tapestry of living So, we’re driven by a combination of and working in the City and being The biggest thing I’ll miss is being with commitment and bad conscience about part of the City family, especially the students. This is going to be quite a the fact that we didn’t have to pay for livery companies, who are such strong difficult time for me, leaving. I’ve been our education and now students do. I supporters of the School. in higher education for my entire life, support three organisations, of which my entire career of over 47 years. I’ve Guildhall is one. Last year I gave about What do you like to do been in education because I believe in a third of my income – basically because the transformative power of education. I really care about the things I’m outside of work? I come from a working class family; only supporting, and I can afford it. I think I enjoy sport, all types of sport. I used to two generations ago we were agricultural anybody who doesn’t think seriously participate but I don’t anymore. If you workers in Suffolk. Education made me about donating in this way is missing look in my Who’s Who entry, under what I am and who I am. I’m passionately an opportunity. There’s a responsibility pastimes it says, “Music, literature, and committed to education and I’ve there for people of my generation to sorting things out.” I derive a great deal enormously enjoyed being a teacher. think about what they can give back. of pleasure from just… tidying up. That’s a frustration in this job, I haven’t Creating order out of chaos. I’m much done any teaching here, but I’ve made Which aspects of your less fastidious than I used to be but I still up for it in various ways by building role have you particularly get enjoyment out of making things close relationships with the students. better, so I suppose that’s essentially what I’ve watched them sing, I’ve watched enjoyed? Are there any a management role like this is: making them play. you’ve found really difficult things better. in your time here? I know it’s a cliché but young people are My musical interests have changed the future. We need to invest in young enormously. I had relatively little interest I’ve enjoyed the creativity of the post. people, we need to develop them, we need in opera when I came here, and I’ve It’s not been a job that has just involved to give them the best opportunities we been converted, I’ve become an opera going through the motions or keeping can so that they can do the best that they freak. Our horizons have been expanded the show on the road. I keep saying “we” can do. I shall miss that enormously. enormously since we’ve been here. It’s because it is essentially a team game and been a great education for me. I’ve built a very strong team. They in turn What do you plan to

have built talented teams around them. do next? We’ve made significant change and we’ve Any advice for students created something – that’s very satisfying. and alumni? My plans involve finishing writing a couple of books and doing all sorts of There are downsides to the job as well. Take every opportunity that comes. It’s things people say they’ll do when they It takes a lot of time and effort and that old adage about seizing the day. retire. I’d like to do some teaching. If patience to manage the funding side of Don’t go to bed until you are absolutely a teaching or university job came up I the operation. The funding council say exhausted. Use every moment as would consider that. My doors are open. “we expect you to teach these subjects productively as you can, otherwise one That’s my advice: if you keep the doors to this number of students; here’s the day you’ll wake up and find you’re 69, and windows open you never know money, tell us what you’ve done with it like I am, and wonder where it all went. what will fly in. in a year’s time.” It’s a very hands-off That said, you do need to relax sometimes. relationship. But the local authority takes a much closer quasi-managerial The students here probably don’t realise interest in the School which needs careful that they have enormous talent. It’s a handling if we are to maintain our real privilege to have a talent and it’s your The Adventures of Pinocchio, one of the Guildhall School’s most educational and artistic independence. responsibility, I think, to do something ambitious opera productions to I won’t miss having to deal with that with that. To make an impact, transform, date (Spring 2014) side of things. change other people’s lives. Seize the day.

16 17 GUILDHALL TO THE WORLD

in quite an organic way because we were working from the flying system was manual. The rigging part was Sketching it out 9am until 9pm so we had a lot of time to put into the massive, because we had windows and doors flying in project. It was a very intensive schedule – we only had and out of the set. There was a lot of stagecraft, props The circus residency in France was our third project as Sundays off – and it was quite amazing as a learning and construction involved. students on the MA programme. We spent three weeks process. I was the assistant director and stage manager in a region near Bergerac, a village called Le Buisson, which was challenging because I’d worked as a stage Also at Guildhall we had a team of BA Technical Theatre PLAYTIME working with a circus company based there – they have manager before but not in a professional setting. Arts students helping us, so it was good to have people a piece of land with a studio for circus workshops and sharing the workload! IN small houses for the artists. FRANCE The purpose of the project was to investigate how silent comedy and physical theatre blends, and how the sketches Bucolic wonder and the style of silent comedy can be transposed to a I think the project worked out how I imagined it would. theatre show. As a starting point we were given actors I had all those thoughts about artists going out in to the and directors of the silent movie era – Charlie Chaplin, landscape, being in a nice village where you just sit and Harold Lloyd, Buster Keaton and Jacques Tati, the French talk about ideas and create new work, and it was like that! director from the 60s. We researched the movies and During lunch and tea breaks we were still discussing our selected some scenes that stimulated us creatively. And ideas – “oh, what about Jonah jumping out the door”, or then we came up with a show! “what about Lynn flying?” The view there is amazing, there’s green grass and beautiful sunrises; it’s so far away from the hustle and bustle of the city. It was quiet and the landscape really contributed to us being very happy and very peaceful with what we did.

On the map Vintage techniques The MA programme was a beautiful experience of sharing how theatre works in other areas different from We worked the project in a vintage, old school way. The yours. Saatvika is from India, Matt is from the States, sound and lighting equipment and all the construction Cat is from Hong Kong, Alexia is from London and I’m facilities there wasn’t much – we brought about a dozen from Romania, so we came from such different places lights and two speakers from Guildhall. Because we were with such different patterns and frameworks, and just doing the show in a studio designed for circus performances, sharing knowledge with the others was really good. The there were no wings which meant that the props tables key selling point for me was the collaborative part of the and the rig were in sight. You could see the fly man flying course. Having conversations about how theatre works in a chandelier and the stage manager taking out a frame and actually practicing different ways of making a show In spring, the first door. It was so much fun! situates you as a young theatre practitioner on a map in the theatre industry. After this course, I am confident of cohort of students on Juggling roles what my skills are and I know what I want to achieve in The show must go on my career in future years. the MA in Collaborative We worked with Abigail Yeates, a circus director and physical performer, and with Paul Cockle, a producer Just before the final performance, Matt, one of the Theatre Production from The Generating Company. When we got to the performers, got injured. The performers and the technical village we had an introduction day viewing the studio team were very close after that. When something bad & Design programme and our house and then we spent time with Paul happens like an accident, it’s a shared experience. planning the whole project. travelled to the Centre In the end, what we managed to do in France was run There were four performers, Jose, Lynn, Matthew and one day of tech, so the show was ready – we knew that de Création in France Jonah – two jugglers, one handstand artist, and one we had the piece. Then we brought it to Guildhall for a physical performer. Working with them was very performance in the Milton Court Theatre. We were all to devise a piece interesting, because obviously they think ideas through wondering if Matt would be able to come with us, and the filter of being a performer, whereas we are always thankfully he did. inspired by physical thinking technically, saying “okay, your idea is amazing but how are we going to stage it?” We had to adapt to the piece to transfer it to Guildhall theatre and circus which was a completely different experience. The biggest skills. Lavinia Serban One of our challenges throughout the year was manpower, difference was that in Milton Court we had a lot of because there were only five of us on the programme and facilities – the venue is equipped with lighting and sound tells all we had many departments to cover. In France it worked equipment and an automation system, whereas in France

18 19 MIND

There has been a wealth he statistics for the performing arts Bradley spoke about the widening gap are equally troubling. As Carole in arts engagement between white adults of discussion around UK- Cadwalladr outlined in The and adults from black or minority wide inequality in recent Guardian in May 2016, “There’s ethnic backgrounds. In addition, arts THE now evidence of an inequality that engagement is at nearly 82% among the months. From surveys runsT like a seam through the entire wealthiest adults, compared with just revealing that privately- profession and which goes far beyond over 65% from lower socio-economic schooled people still the anecdotal. This year, academics from groups. People with a chronic illness or the London School of Economics and disability are also less likely to be involved dominate law, politics, Goldsmiths College, in a peer-reviewed in the arts. The article quoted Bradley, medicine and journalism study, found that only 27% of actors come who said, “Small wonder that people from to discussions about the from a working-class background and disadvantaged backgrounds are poorly that the profession is ‘heavily skewed represented in the artistic professions — or outsized influence of towards the privileged’. In February that young people from such backgrounds the Dragon School, Eton this year, the Sutton Trust, a thinktank are less likely to play an instrument and and other institutions, dedicated to social mobility… found, are under-represented at conservatoires among other things, that 67% of British compared to higher education in general.” the media has held up Oscar winners and 42% of BAFTA a mirror to our society winners went to a private school.” Many Regardless of schooling, attitudes to the performers from working class value of different types of career also and it has reflected an backgrounds including Julie Waters and contribute to the opportunity gap. The overrepresented upper- Judi Dench have spoken up about this performing arts are often seen as an and middle-class. “class ceiling”, which brings much unstable career choice with no guarantee discussion about the rising cost of higher of consistent work after graduation, education, including drama school, and despite the latest Nesta report showing the dwindling of local repertory theatre. that in most parts of the country the creative industries are growing more In a recent article in the Evening rapidly than other sectors. However, Standard, Culture Secretary Karen Hazel Robertson, Widening Participation 20 GAP Officer at Guildhall School says, “We terms of having to diversify and the offer of 170 application fee waivers as intimidating as they might think it must recognise that it’s a difficult industry reach needing to be much wider. But across all of the School’s undergraduate would be. It’s about expanding their to get into: programmes are very we’re not doing it solely because there’s programmes to applicants who study ‘One of the key pieces imaginative and creative horizons, and competitive, audition standards are very greater demand or for target-driven or live in a partner London borough saying that their creativity is a lot more high, and the performing arts industry reasons. We’re doing it because we believe (Barking & Dagenham, Bexley, Camden, valuable than they might think. I’m itself is competitive too.” In Hazel’s in it and because that’s what should be City of London, Greenwich, Hackney, of feedback we get is confident that we’ll see results in terms opinion, there is often negative messaging happening anyway. At the same time, Islington, Lambeth, Lewisham, Newham, of access to Guildhall, but the core in the school curriculum surrounding there’s never any harm in making sure Redbridge, Southwark, Tower Hamlets, of it is to encourage students to use performing arts, which is compounded by you’re achieving what you’re setting Waltham Forest, Westminster). These areas the self-belief people their imaginations in a different way. its focus on STEM (Science, Technology, out to achieve through the widening have been specifically targeted for a Ultimately, our goal is not to create Engineering and Maths) and English participation targets now being set by number of reasons; many have significant actors, it’s to create artists.” In regards to Baccalaureat subjects. Performing arts, the government.” levels of disadvantage and low cultural get from engaging with encouraging a diverse range of young she says, are often suggested as a hobby, engagement, while others overlap with people to take up the performing arts, not for full-time study. For the Guildhall School, these targets Centre for Young Musicians (CYM) – a he adds, “There’s an excitement about are a combination of national policy division of the Guildhall School. things they’ve never reflecting society as it is today. I’m So, what is Guildhall doing to address surrounding tuition fees, and the School’s excited and passionate about seeing how these challenges? As it continues to own Access Agreement. Targets for In addition, Guildhall seeks to ensure that can change.” be difficult for young performers – tackling underrepresentation include that no student who is offered a place imagined doing before’ particularly those from less privileged aiming for more new entrants from is prevented from taking up that place backgrounds – to receive both access black and ethnic minority communities, on grounds of financial hardship, and branches in Hestercombe, Norfolk, and years to reach the entry level of skill for to the performing arts and training to state-school and state-supported applicants, so over £2 million of scholarships are Saffron Walden, and new centres just an undergraduate course. become active members of the industry, both groups including individuals from awarded each year to undergraduate opened in Peterborough and Bristol. the Guildhall School has redoubled low participating neighbourhoods. and postgraduate students, regardless CYM provides high quality progressive Similarly, in acting, giving young its efforts. “We’ve been committed to of domicile. music training for thousands of talented people a chance to try out the form and widening participation for a long time,” Financial initiatives are one step in children across the country. CYM to begin to find their own voice as actors said Sean Gregory, Director of Learning mitigating the effects of inequality on The Guildhall School itself has grown and Junior Guildhall play a part in the is important. Head of Movement, Danny & Engagement. “The pressure is on in access to the School. These include the beyond London with CYM satellite Guildhall Young Artists progression McGrath, has developed a new two- routes, from primary education right semester course for young actors in East through to undergraduate and London. He said, “We wanted to give postgraduate studies in music. Hazel them an idea of what the drama schools Robertson says that this series of were about, but also that it wasn’t just Sean Gregory says the feedback from progressing opportunities have been about doing an audition speech well. these activities has been very positive. successful in helping children to begin It’s about their own independence as “We evaluate all of our projects and learn early, try different instruments, and students and for them to offer not just from that – things we can do better next grow their musical skills in preparation their version of the play, but their time. One of the key pieces of feedback for applying for higher education. collaboration and interaction with an we get is the self-belief people get from audition panel. It’s a framework for Guildhall has also been running them to play in. It gives Guildhall engaging with things they’ve never initiatives to give a broader range of an idea of who they are as actors and imagined doing before, or that they young people access to the arts, find ways as artists.” These opportunities also could take to such a high level. The sense to see themselves as members of the seek to make it clear what performing of reward from being involved with a performing arts community, and to arts schools like Guildhall can offer in process and an outcome. The sense of improve their chances of being accepted a way that young people, their families, recognition. The power of performing, to performing arts schools. The School and schools can understand. and often performing to an audience is fostering new partnerships with local that includes your own friends and family and national institutions, as well as can be very uplifting. People have said, developing existing relationships to meet ‘I didn’t think this was for me,’ either young people where they live. Current socially, or because they thought places partners include schools and theatres in like Guildhall or the Barbican were for Guildhall’s 15 partner boroughs like a certain class of people, or had other BSix College in Hackney, Theatre Royal reasons for feeling left out. We’re trying Stratford East and Generation Arts. to break those barriers down. The feedback we get is indicating that that Guildhall graduates have been recruited is happening.” to lead workshops and taster sessions hosted by local schools and organisations, Today, the Guildhall School welcomes where young people can be introduced its targets to diversify in the hope that, to music and drama and given Many Guildhall graduates are already in the not too distant future, its own opportunities to play and develop their teaching courses on acting and community will reflect society as we skills. For music, there are also summer performing, including actor Edwin see it today. schools to help children begin early and Thomas: “I’m interested in exposing try out different instruments. This is students to things they haven’t been Read case studies of some of the Guildhall particularly important as it takes many exposed to before in a way that is not School’s initiatives overleaf.

22 23 Introduction to Drama This autumn, as part of the Guildhall School’s ongoing outreach Drama Taster Sessions at efforts, the School will offer a 10-week acting workshop course in School training course led London’s outer boroughs. The course is led by Head of Movement, Theatre Royal Stratford East Danny McGrath, with individual sessions taught by Guildhall by Danny McGrath alumni who work as professional actors. The Guildhall School has partnered with local theatres and colleges to offer taster sessions in drama run by recent Guildhall graduates. The course marks the School’s first outreach course for acting and has already reached over 30 students in Dagenham and Theatre Royal Stratford East sits in an area of low arts Hackney. This season’s sessions will take place at the Dagenham participation in one of the most diverse areas in the country. It Redbridge School, which has kindly provided its facilities on is important for the theatre to uphold its tradition of engaging Saturdays from 10am to 1pm. a diverse range of local young people in the performing arts and helping them to connect with quality higher education On the course, students will use plays and poems as performance and training establishments like Guildhall. pieces and as prompts to create their own responses and develop their own pieces of work. Improvisation, problem solving, Jan Sharkey-Dodds, Strategic Consultant in Young People’s and personal responses are encouraged over audition technique Work at Stratford East, spoke to us about their participation. and grading. “We were delighted that, building on our relationship with Guildhall, the School was able to contribute a couple of McGrath hopes that schools will use this opportunity as an workshops to inspire our young people to consider studying to enhancement to teaching, and that it will become a network be a performer,” Jan said. “It’s about them having the knowledge for those involved: a place to encounter real expertise, and of what’s on offer and starting to build relationships with to provide a meeting place for teachers and participants alike. people and organisations who can help to break down those barriers and the perception that a drama school is not for them, because we know that’s not the case.”

She described the sessions as “a reality check” for their students, a way to find out what it means to be a drama student in 2016. “Guildhall picked up that challenge and came and did a workshop with us back in May and the young people loved it. I offered to invite them back, and they said yes please. So they came back in summer and the kids were delighted.” Support for Under-18 musicians 91 young people have taken part in the summer college, with about half already involved in activities at the theatre and The Guildhall School also supports diversity by offering bursaries half new to both the Theatre Royal and the Guildhall School. and assisted places for under-18s. Junior Guildhall teaches students They have taken part in sessions on playwriting, set design, on Saturday mornings at the London campus and in Felsted, while lighting, sound, improvisation, and character work. Since the Centre for Young Musicians (CYM) has branches in London, the summer workshops, the students have taken all the skills Norwich, Saffron Walden, Taunton, Bristol and Peterborough they have learnt and developed their own work, creating 5-10 where under-18s can train. The School contributes to sizable minute pieces to share in a scratch night. scholarships and bursaries that CYM and Junior Guildhall distribute to their learners to help with the cost of fees and create a bridge The Guildhall School plans to build on these early partnerships to their higher learning in performing arts. and continue to widen participation in London’s outer boroughs. To give students from low-income backgrounds a taste of the training at Guildhall, the School offers assisted places on a range of drama and music summer schools to eligible applicants. This summer, over 20 young people have been offered fully-funded places on programmes including drama, music theory, brass and percussion, and jazz. Eligible students include: residents of Guildhall’s partner London boroughs; young people who have come from a low income household; and those who are in care or have recently left care. Details of eligibility are available on the Guildhall website.

More specifically for students with unique circumstances, for 2017 entry Guildhall will offer maintenance awards of circa £3000 to support the additional living costs of students who have recently left care or do not have family support (for example, those who are estranged from their families). More details on this scheme will be published on the website soon, and the School looks forward to providing this new level of support.

24 25 THE INTERVIEW

WRITING HER OWN STORY E

At the end of her first summer as Artistic Director of Shakespeare’s Globe, Acting alumna Emma Rice talks to PLAY about building an armoury, taking control and the importance of ‘wonder’ in theatre.

26 How would you describe your time as a student If an actor is thinking about moving into direction, just do it! You have committed to ensuring that your casts I wish I had all the answers. I was from a very supportive There is no better grounding for being a director than having have a 50:50 gender split, a first for any major family so I think I would still be able to make it to Drama at Guildhall? been an actor so blaze a trail in whatever way you can. College if I was starting now… however, I wouldn’t have been British theatre. What challenges and opportunities able to pay the bills or stay in London. I was supported by I had a wonderful time but was so young! I moved to London benefits - housing and job seeker’s - as I navigated these tough when I was barely 18. I loved the course because it was so all What would you describe as the tipping point for has this decision brought about and, now that years. We need to invest in the talent of the future as a society, consuming - every day was fully programmed so I didn’t have you, when directing became your priority? you have proved that it can be done, do you think otherwise the profession will become more and more elite. time to worry about being away from home. Having said that, other theatres will follow suit? I lived in pretty frightening digs. I often look back and think My friend and mentor Nick Hytner was the tipping point. I how vulnerable I was at that time. really wanted to act on the Cottesloe stage! He gently suggested I’m not quite sure that we have proved it yet. I fear that we are What advice would you give to someone leaving that I would not only direct better, but get more out of the currently just under our target which is very frustrating! It is drama school now? I got on with all my classmates but also walked my own path. I experience if I stopped performing and took full control. He important to set the challenge however, and I hope that other always stood at the front of class, if I went to the back I thought was right and I find leading and guiding the whole process theatres will also take it on. We have to shine a light on the Don’t be boring! When I played Titania in my final year at I would lose concentration. I have always had a naughty streak genuinely more fulfilling than acting ever could have been historical lack of interest in women! Strangely, Shakespeare is Guildhall, my old drama teacher said “Darling, you looked that I have to manage even to this day. I struggled with my for me. incredibly malleable since he was so used to bending gender, very beautiful, but you were a little dull.” From that moment, voice as I tried to find its centre and its power, but loved all the his plays easily form into new shapes and horizons. I decided never to be boring again. I vowed to surprise myself period dance classes and the more physical work. What made you apply for the role of Artistic and the audience… so my advice is to stop trying to get it Director at Shakespeare’s Globe? right and start thinking about what naughty mess you might What is your most lasting memory of Guildhall? As well as democratising gender in theatre, there has been a lot of media conversation recently make - emotional mess, artistic mess and political mess! I was ready for a new adventure and several friends suggested The 1987 storms! I was so terrified that I would be late and told that I apply. I couldn’t imagine leaving Kneehigh but I around the class division in performing arts. Also, consider moving out of London. By breaking the tyranny off by David Cox that I walked all the way from Kentish Town thought it was time for me to take a leap and trust what What do you suggest might be the next steps to of the industry and the extortionate rents, you might just find and still made it on time. I think I was the only one that made happened. And what happened was I got the job! My life has diversifying theatre and providing opportunities a creative freedom that is almost impossible to find in the city. it in!! There was an Oriental Pagoda on the lake that was been happily turned upside down ever since! It’s what I did and my life changed the day I took the train destroyed and the shattered remnants bobbed in the Barbican for a more diverse generation of actors and out of Paddington. It became my own and from that day on, ponds. The strange peace of the aftermath stays with me still. How have you found it so far? theatre professionals? I started to write my own story. However, you probably weren’t asking for that kind of memory. I remember it as a time when I was waiting and building an It’s been amazing - challenging, exhilarating, frustrating but armoury. I didn’t really know what for, but I was quite serious it really isn’t boring! Every day I meet directors and writers, about building it! I knew that a creative life would open up for I plan seasons and stories and watch ideas grow. I have custody me and was gathering experience and skill in readiness. of the most dynamic and democratic space and I truly think I have the best job in world! Which class or teacher at Guildhall was the most You have always put storytelling and wonder formative in developing your career? at the heart of your work and now you have Sue Lefton without a doubt. She saw my physical creativity named your first season at the Globe the ‘Wonder’ and comedy instincts. She encouraged me in mask work and season. What images does that word conjure movement and challenged me to step into my own skin. We are still in touch now and she is a great inspiration! for you? Why do you think wonder is important in theatre? What was the first project that made you consider Wonder is a great word. It reminds us of a time when the world moving into directing? And what would you seemed fresh and new. We should all feel childlike when say to an actor who is thinking about making making, or seeing theatre. “Everything for the first time” I regularly say to my actors. It is in this ‘child’ state of wonder that move? that we laugh truly, cry freely and fear deeply. Powerful and grown up stuff if you get it right. My move to directing was a slow and organic one. I had been working with Theatre Alibi in Exeter for many years. Following training with The Gardzienice Theatre Association in Poland, You have programmed a season of music gigs by I worked with Katie Mitchell devising and performing stage female artists in the Sam Wanamaker Theatre pieces I was in, and even choreographed for a while. I felt that under the banner of ‘Wonder Women’. What my skills were contributing to the vision of important work, but it was not my vision, my passion. It became clear that it made you choose to bring contemporary music was time to lean in and take control. I was extremely lucky in into this space? that I was then working for Kneehigh. The Artistic Directors, Mike Shepherd and Bill Mitchell, said it was time for me to I wanted music that I listened to bouncing off these magnificent lead my own project and gave me the opportunity. My first piece walls. I also didn’t want the space to become elite or exclusive. of direction was The Itch - my own adaptation of The Changeling I think it is vital to support emerging artists as well as re-visiting Ncuti Gatwa as Adi in Emma by Middleton. My second piece was The Red Shoes which really the classics - this feels very true to Shakespeare’s Globe where Rice's 946: The Amazing Story of Adolphus Tips marked the beginning of this new chapter. he was the new thing and the young voice!

28 29 Best known for his work with educational, and when I left Guildhall I used a lot of that experience with Robbie Williams, songwriter, proper sessions. In fact, one of the things record producer and musician I’m doing today is arranging a choir. Guy Chambers recently revisited That’s something I had a lot of help with at Guildhall. the Guildhall School to present THEN & I knew I wanted to spend a lot of time a lecture. Here, he reflects on his time at the School, his advice in the studio, in fact I’m sitting in my own studio now. When I’m not working for young musicians, and going here, I’m playing shows with Robbie on tour. Williams’ band. I knew I wanted to do a combination of studio and touring. I NOW y dad was a flute player in the like touring, travelling and playing to London Philharmonic Orchestra a live audience and getting that buzz. and my mum worked for Decca It’s a good balance – I’m very lucky that Records so there was a lot of I have a good balance in my life. Next music in the house. We had year will be difficult because I’m going Ma piano at home so I naturally started on a world tour and will be away for playing it. Later I got guitar lessons months. In the music business it’s swings because I was obsessed with The Beatles, and roundabouts. Led Zeppelin, and Queen. My advice to graduates would be: be Originally I had wanted to study jazz open to any work or experience you are at Leeds but I couldn’t get a grant offered. Don’t think you should only from Liverpool council – so going to do one thing. You never know. Say, for Guildhall was a last-minute decision. example, you’re offered work in a circus It was more like serendipity. My dad as a musician. You might think, “I knew John Hosier who was the principal don’t want to work in the circus,” but then, so he called up and I had a late through working at the circus you audition. I was nervous, I think it was might meet someone who gets you a job literally a week before term started, doing something else. Connections and and I didn’t have any other options contacts are unbelievably important. at that time. Luckily they liked my Also, be on time, be prepared, be nice, piano-playing and the piece of music have a shower before you turn up… basic I presented to them. stuff! Don’t say no too often – go for anything you can grab. You have a lot The highlight was meeting and working of energy when you’re young, make use with George Benjamin. He was my of that energy. Composition teacher and he taught me to listen to music properly and to analyse I enjoyed doing the lecture at Guildhall why I was feeling what I was feeling, recently. It’s wonderful to see the facilities and how to identify what is in the music that the students have now. I’ve also that emotionally manipulates you. worked with a few Guildhall students Composers we studied had amazing over the years at a music night that I tricks, and George helped show me what used to run in London. That was good these tricks were. One simple example because I’m always open to working would be the way Debussy would take with new people and I like students’ out the double bass – so there’d be a lot energy. It’s good to keep in touch with of music with no bass – then when the my roots if you like. I think Guildhall bass comes in it would have a big effect. is a great college, there’s no question That’s a simple lesson I’ve used a lot in about it. pop music. Next I’ll be promoting Robbie Williams’ Using the recording studio was also a new album, which comes out in highlight. It was, and is still, run by Dave November. We’ll be doing a lot of promo Foister and I spent a lot of time there. I – travelling around Europe, mostly doing would ask fellow students to come in TV shows – and we’ll have a show in – string, bass, saxophone players – and London soon. I’m the Managing Director organise sessions. They’d play for me of the band so we’ll be rehearsing for free because they were curious and together, making sure we’ve got the to get some experience. That was very right musicians and that sort of thing.

30 31 Clare Hammond (Piano 2011) The Ruisi Quartet (Piano 2011) 48-hours notice. He stepped in to the Kenneth Branagh Theatre Company Clare has won the ‘Young Artist’ category Players include Guy Button (Violin 2011) production after injury waylaid both MUSIC at the Royal Philharmonic Society Music and Max Ruisi (Cello 2010) DRAMA Richard Madden and his understudy. Awards held in May this year. clarehammond.com Richard Goulding (Acting 2007) Benjamin Appl (Vocal Fellow 2015) Jocelyn Bundy Richard was nominated for a Tony Award Just a few months after graduating from (Stage Management 1983) Magrethe Lysholm (Horn 2014) (Best Actor in a Featured Role in a Play) Guildhall’s Artist Diploma programme, In recognition of the many years of work Margrethe has been appointed Tutti for his performance in King Charles III, Benjamin Appl has signed an exclusive she has done for them as a freelance Horn at Aalborg Symphony Orchestra which transferred from the West End recording contract with SONY Classical. Stage Manager over the years, the Royal in Denmark. to Broadway. Academy of Music has made Jocelyn A former BBC New Generation Artist an Honorary Associate (HonARAM). and a Rising Star of the European Sarah Oliver (Cello 2011) Jocelyn is the first stage manager ever to Awards haul for Technical Theatre Concert Hall Organisation (ECHO), Sarah has been appointed No. 4 Cello in RPS Award winners The Ruisi Quartet have been recognised in this way by the Guildhall alumni, staff and students Benjamin was recently awarded the BBC Scottish Symphony Orchestra. have embarked upon the first part of Royal Academy of Music. lit up this year’s Association of British Gramophone magazine’s 2016 Young their Haydn String Quartet Cycle. Theatre Technicians (ABTT) Show. Artist of the Year Award. In a recent article, Gramophone described him as Palisander The group has always had a special affinity Charles Haines (Stage Management “the current front-runner in the next Hannah Fisher (Recorder 2015), Lydia for the music of Haydn, and over the 1980) of Hall Stage won the ABTT generation of Lieder singers”. Gosnell (Recorder 2014), Miriam Nerval course of 2016 they are performing 24 Product of the Year Award; Anna (Recorder 2013) and Caoimhe de Paor of his string quartets in six concerts at Matthews (SMTT 2005, Performance benjaminappl.com (Recorder Fellow 2014) St Mary-at-Hill, a beautiful Christopher Venues Technician) was highly The Palisander quartet have been selected Wren-designed church in the heart of commended by the Stage Management Jonathan Bloxham (Cello 2014) for the prestigious St John’s Smith London. The concerts include talks by Association for her work in the Stage

Class Notes Jonathan has been appointed Assistant Square Young Artists’ Scheme 2016- esteemed violist, composer and teacher Management team of The Chairs; Elena Conductor at the City of Birmingham 2017, as one of just six soloists/ensembles Simon Rowland-Jones, editor of the Pitsiaeli (TTA Year 3) won the Stage Symphony Orchestra. chosen. In addition to training and highly acclaimed new critical/performing Management Association - GDS Student Achievement Award; Rory Beaton (TTA jonathanbloxham.com performance opportunities, they will edition of Haydn’s string quartets for also be awarded grants to commission Edition Peters. Year 3) won the Michael Northen a new piece and to develop marketing Michaela Coel (Acting 2012) Bursary, which was presented by Prema Jules Buckley (Composition 2004) materials under the scheme. Michaela has had an incredible summer, Mehta (SMTT 2004); Steve Huttly Fabian Schmidt (Trombone 2011) Jules and the Metropole Orkest recorded during which she won a BAFTA award (Head of Theatre Technology) won the palisanderrecorders.com Fabian has been appointed to the the Snarky Puppy album Sylva which (Best Female Performance in a Comedy) ABTT Theatre Technician of the Year Trombone section of the Brandenburg won the Grammy Award for Best and two Royal Television Society – presented by Mark Jonathan (Honorary State Orchestra in Frankfurt, under Contemporary Instrumental Album Kendra Preston Leonard (Cello 1996) Awards (Breakthrough and Best Comedy Fellow of Guildhall School); while our the baton of Chief Conductor Howard earlier this year . Recently, Kendra won the Society for Performance), was nominated for The good friend and neighbour Louise Griffiths. American Music’s 2016 Sight and Sound Times Breakthrough Award and filmed Jeffreys of the Barbican Centre handed out the awards in her capacity as Ariadna Castellanos (Piano 2005) subvention for her collaborative project the second series of Chewing Gum, the Chairman of the ABTT. Named “one of the top hot new Jazz with the Silent Film Sound and Music Jenna Sherry (Violin Fellow 2012) E4 programme that she both writes and talents to watch out for” by Vanity Fair Archive and pianist Ethan Uslan, a The Birdfoot Festival in New Orleans, stars in. US earlier this year, Ariadna Castellanos’ 2016 American Music Research Center which was founded by Jenna Sherry, Stage Managers Class of 1982 Reunion CD Flamenco en Black & White garnered Fellowship and a 2016-2017 Harry reached its fifth season this year – an We were delighted to welcome back the a Latin Grammy Award nomination for Ransom Center Research Fellowship in impressive milestone. One of Jenna’s Stage Management class of 1982, along Best Producer, for Javier Limon. the Humanities. The Silent Film Sound goals in starting the festival was to bring with a number of the actors they trained and Music Archive, which she established the most creative and entrepreneurial alongside for a reunion this summer. ariadnacastellanos.com and directs, received a 2016 GRAMMY musicians together into an environment A nostalgic trip around the Silk Street Foundation Preservation grant. where they can share and exchange building was followed by a tour of the ideas – to create an incubator for Gareth Davies (Flute 1994) kendraprestonleonard.com new facilities in Milton Court, before Gareth has been elected Chairman of generating ideas that will take chamber the group retired to the Artillery Arms the London Symphony Orchestra (LSO), music into the next century and find to exchange news and memories. We taking over from Lennox Mackenzie Gavin Reid (Trumpet 1991) new ways of engaging audiences. Jenna look forward to seeing you back in the (the orchestra’s sub-leader), who held After ten years as director of the BBC has enjoyed bringing ideas, and quite School again soon! the position for 16 years, making him Scottish Symphony Orchestra, Gavid Reid a few Guildhall alumni, back and forth the longest-serving chairman in the is now the new chief executive of the between London and New Orleans. Freddie Fox (Acting 2010) orchestra’s history. Scottish Chamber Orchestra (SCO). Gavin birdfootfestival.org Freddie took home the third prize in the said, “I am particularly excited by the Gareth, who became a Flute Professor prestigious Ian Charleson Awards this crucial and influential role that the SCO at Guildhall last year, was appointed year, for his performance in Romeo and plays within Scotland and I look forward Mark Simpson (Composition 2012) Principal Flute at the LSO in 2000. He Juliet at the Crucible, Sheffield. to working closely with players, staff, Mark’s oratorio The Immortal (libretto: joined the LSO board in 2009 and became artists and all of the SCO’s supporters to Melanie Challenger) won the classical This summer Freddie has since played Vice-Chairman in 2010. build on the fantastic achievements of award at this year’s South Bank Sky Arts Romeo again, opposite his Guildhall garethdaviesonline.com recent years.” Awards ceremony. classmate Lily James, starting at just

32 33 Recent Releases CDs

Schubert Lieder Kenneth Hesketh: Horae Brahms: Piano Concerto A Violin For All Seasons For All We Know at Wigmore Hall (pro clara) No. 1 Tasmin Little (Violin 1986) Nao (Jazz Voice 2010) Benjamin Appl (Voice 2015) Clare Hammond (Piano 2008) Paul Lewis (Piano 1994) and BBC Symphony Orchestra Little Tokyo Recordings and Graham Johnson BIS Records Harmonia Mundi Chandos (Senior Professor in Vocal Accompaniment) Wigmore Hall Live

Légende Burn the Boat MJU:ZIK Edmund Rubbra: The Biber: Rosary Sonatas Held Mark Simpson: Night Music Lhoyer: Complete Works Alison Balsom (Trumpet Fini Bearman (Voice 2007) Ariadna Castellanos (Piano Complete Chamber Music Rachel Podger (Violin 1993) Jason Rebello (Piano 1989) Mark Simpson (Composition for Guitar Trio and Quartet 2001) and Tom Poster Two Rivers Records 2005) and Ed is Dead, & Songs with Harp Channel Classics Edition Records 2012), with Alexei Grynyuk Jørgen Skogmo (Guitar 2006), (Piano 2004) featuring Zara MacFarlane Tracey Chadwell (Voice 1983) (Piano 2006), Richard Uttley Jens Franke (Guitar 2007), Warner Classics (Jazz Voice 2009) and Danielle Perrett, with (Piano 2013) and Nicholas Oskar Werninge (Guitar 2010) Polyarts Timothy Gill (Cello professor) Daniel (Oboe professor) and Tim Pells Lyrita (re-release) NMC Recordings Naxos BOOKS

The Bridge Dave Flynn: Shadowplay Schubert: Songs for Voice One The Musical Zodiac Hero the Greyhound Across the Seas Ahmed Dickinson Dave Flynn (Composition & Guitar Tim Garland (Saxophone Debbie Wiseman Fiona Bennett Elizabeth Sharland Cárdenas (Guitar 2008) 2004), with Aisling Agnew Anna Huntley and Jens 1989), with Jason Rebello (Composition 1984) (Piano 1983) (Piano 1954) and Eduardo Martin (Flute 2004), Harry Bradley Franke (Guitar 2007) (Piano 1989), Asaf Sirkis Classic FM GHP iUniverse Cubafilin Records and Eimear McGeown Quartz Music Limited and Ant Law Frisbee Records Edition Records

34 35 When they returned to England David ATCL for flute, DipABRSM for bassoon, Tony worked for the School for nearly his three children, Karen, Simon and Guy arranged the music for four ballets joined the BBC and Audrey continued to LTCL for recorders, and FTCL for piano 40 years before his retirement in 2003, Lisa; and four grandchildren. for choreographer André Prokovsky, act; however, after the birth of three sons as well as the School Music Prize and and was one of the last staff members which he conducted around the world, In Memoriam Joseph, Julian and Bart in as many years having performed Prokofiev’s 3rd Piano to have worked at the old School site including the premiere of Anna Audrey decided to focus on her family. Concerto with the school orchestra. in John Carpenter Street, where he was Chris Todd Karenina with the Kirov Ballet at the the sole librarian. 1943 – 2016 Mariinsky Theatre in St Petersburg. She later channelled her creativity into Neil Black OBE (Master Carpenter) her garden and a passion for tapestry. He was a wonderful colleague, full of 1932 – 2016 Guy met oboist Jane Aldrick at Guildhall entertaining anecdotes about the history (Professor of Oboe) Chris was born in England in 1943 and they were married in 1962. For Susan Ford FGS of the School, and never daunted in and the following year sailed to Canada more than thirty years they ran the adversity. His knowledge of the works Neil Black played oboe from the age of in a Norwegian convoy with his mother Denne Gilkes Memorial Fund, a charity of Bach and of English church music was eleven. He had not originally intended and sister. After the war the family set up in 1972 to help young musicians greatly respected by staff and students to make music his career but took a David Coulter moved to New Jersey, New York and actors. Jane and their three sons alike. We are surrounded by memories degree in History at Oxford University. 1936 – 2016 establishing his great love of baseball survive him. of Tony in the library – we still use However, his experiences in the National (Speech & Drama 1956) and American football. the old School safe that he insisted on Youth Orchestra of Great Britain fired moving to the new building, and the his enthusiasm and within three years of David and his identical twin Edmund Chris later returned to London, where he beautiful copperplate labels on our both studied acting at the Guildhall became a Quantity Surveyor and worked leaving Oxford he was appointed principal sheet music boxes were all Tony’s work. oboist of the London Philharmonic School, where David also met his future in gas conversion. After marrying wife Audrey Parker. Maretta, he moved to Wales to work at Orchestra. Outside work Tony played a vital role the Torch Theatre, lovingly creating in the smooth running of Great St After leaving Guildhall David toured intricate sets for shows. Following the Most of his musical life, however, was Bartholomew’s Church, in Smithfield, devoted to solo playing and performing Ireland with the Irish National Theatre birth of his sons Dylan and Ben he moved before deciding to focus on direction and was an expert gardener and solar with chamber orchestras and ensembles. back to London to become the Master and production. He spent many years energy pioneer. His hard work on the He was principal oboist of the Academy Carpenter and Lecturer at Guildhall. at the BBC and later ITV, working on garden of the family home in Flitwick of St. Martin-in-the-Fields and, for many He quickly established a rapport with a wide range of programmes for radio meant that he sported an enviable years, the English Chamber Orchestra. students as a teacher, adviser and friend, and television including To Speak with In 2010 Tom performed at Cadogan year-round tan! As soloist he played in many of the his Daoist ideals setting his lifestyle. He Confidence (with John Holgate) and Hall, and was then invited to play world’s great musical centres and festivals. was a strong influence in the development Weekend World. at Sadler’s Wells Theatre. He was Tony was awarded the MBE in 2004. subsequently awarded an Apprenticeship of the Stage Management course. Much in demand as a teacher, he was a David then joined forces with Susan to the Worshipful Company of Musicians, Kate Eaton, Senior Librarian professor at the Guildhall School and After his marriage to Tay in 1992 he Ford and established Coulter Ford and in the same year gave a solo recital the Royal College of Music, and latterly was proud to be a father again to Poppy, Partners doing communication and for the Concordia Foundation at St. James’ Jasmine and Maia. At 70 he was overjoyed musical director of the Kirckman media training in the corporate and Piccadilly, returning the following year. Harry Rabinowitz MBE at becoming a grandfather to Finn and Concert Society. business world. For the next 15 years he 1916 – 2016 loved spending time with him being silly. and Susan worked in the UK, Europe, More recently he played Beethoven’s C (Composition 1951) Neil’s numerous solo recordings brought He will be remembered for his humour, and the Far East. minor Piano Concerto in Chelsea Town NOTICES him international acclaim. Amongst insight, friendship, hand rolled cigarettes Hall with the KPO, with whom he Conductor and composer Harry them are the Bach Double Concerto and his favourite word, “peachy”. David also examined for Guildhall, also performed Beethoven’s ‘Emperor’ Rabinowitz MBE has died aged 100. with Perlman, the Strauss and Vaughan- taught at ALRA and was a popular Concerto in June 2015. Having completed He passed away at his home in France Annie Castledine Williams concertos with Barenboim Peter Johnson-Booth FGS adjudicator at festivals in the UK and his first year reading Music at Trinity on 22 June 2016. 1939 – 2016 and the English Chamber Orchestra, Hong Kong. He had a wicked sense of Hall, Cambridge, Tom then went directly (Visiting director) Mozart, Bach and Vivaldi Double humour, a great love of life, was a superb to the third year at the Guildhall School, Harry is best known for his work in Concerto with Menuhin and the Polish cook and was an unending source of studying with Joan Havill. film and television, conducting scores Guy Woolfenden OBE Susan Mallinson, née Colledge Chamber Orchestra. theatrical anecdotes. including Chariots of Fire (1981), The 1937 – 2016 1942 – 2016 Tom loved being at the Guildhall School Remains of the Day (1993), The English (Horn, Conducting 1960) (Voice 1963) He was awarded the OBE in 1989. Susan Ford FGS and his cheery presence was felt not only Patient (1996), The Talented Mr. Ripley in the keyboard department but also (1999) and Cold Mountain (2003). Composer and conductor Guy Lisette Wesseling within the recorder department where He also composed music for television, Woolfenden has died at the age of 78. 1971 – 2016 he’d regularly attend our classes as an Audrey Coulter (née Parker) Thomas Harris including Reilly, Ace of Spies (1983). Guy was educated at Westminster (Early Music Voice 1977) encouraging and enthusiastic observer. (Speech & Drama 1955) 1993 – 2015 Abbey Choir School, Whitgift School

(Piano 2015) Born in 1916 in Johannesburg, South and read music at Christ’s College, Kit Wynn Parry Audrey studied acting with Dorothy Ian Wilson, Professor of Recorder Africa, he came to London in 1946 to Cambridge, before studying horn and 1924 – 2015 Dayus at Guildhall from 1952 – 1955. I met Tom when he came to Eton College study composition at the Guildhall conducting at the Guildhall School. (Consultant) While a student she played many as a Music Scholar at the age of 13 and School. He then worked as the conductor leading roles and after leaving she where I taught him recorder. Two things Anthony Perch MBE of the BBC’s Light Revue Orchestra Best known for his work as Head of Maxwell Sainsbury worked in repertory in such places as were clear from the start; he was a 1938 – 2016 from 1953 to 1960, and was the original Music and Resident Composer for the d. 2016 Lancaster and Cromer. She then joined thoroughly lovely person and he was (Librarian) conductor for Andrew Lloyd Webber’s Royal Shakespeare Company (a position (Supporter) the Irish National Theatre with her an exceptional talent. He played piano, musical Cats. he held for 37 years), he composed future husband, David Coulter, touring recorder, bassoon and flute all to diploma We were very sad to hear of Tony’s scores for every Shakespeare play, with in Ireland. level and would leave school with an untimely death at the age of 74. He is survived by his wife Mitzi Scott; a total of 150 scores in his time there.

36 37 A DAY IN THE LIFE nah, that’s not going to happen anymore, but you know what? We stepped off and exactly the same thing happened. You see Peter Batai the crowd, you see the pageantry and everything that comes with it, and it’s really mesmerising.

An oboist in the Band of the Before the march, there’s a long period of rehearsal. Not just the musical aspect – there’s a lot of drills involved. You have Grenadier Guards, part of the to play your instrument while you’re marching. I’m very Corps of Army Music, Peter privileged because oboe players don’t usually get to play the oboe, they usually play cymbals. Perhaps I was horrible the Batai’s duties include the daily first time they put me on cymbals, because ever since my band Changing of the Guard ceremony, master has asked me to play oboe in the march! On the day of Trooping the Colour, I ride my motorcycle from state occasions like weddings, my family accommodation which is provided by the army. funerals, jubilees, the State We arrive early in the morning, as early as 6.30am. It used to be tradition to have a port, but we can’t do that now, so we Opening of Parliament, the Lord get together for a troops breakfast in the garden behind the barracks. Usually a really heavy, greasy full English! The Mayor’s Show, Her Majesty The parade itself is nearly 5 hours long.

Queen’s Annual Garden Party We start preparing at the barracks at around 8.30am. There’s a and many other high profile short warm-up and our kits need to look absolutely immaculate. We do our boots, our belts, our tunics, bearskin. Everything events. Peter talked to us about must be spotless – that’s part of the job. a typical day for him during the We then step off at 10am. The march takes us from the Wellington Barracks to the Horse Guards Parade. When we Queen’s birthday celebrations reach Buckingham Palace, the Royal Family arrives and we known as Trooping the Colour. provide music during the march past and as Her Majesty waves to her subjects. After that we march back. finished my Masters at Guildhall as an orchestral player and took up work in a freelance position. You know the The preparation takes weeks or even months, beginning with freelance world: always wondering if the phone is going a foot drill. Even if you’ve done it several times, it’s important to ring. The environment is fierce competition out there to refresh your memory because it has to look immaculate. and I found that very difficult to cope with. The musical Then we do seated musical rehearsals where we play through side was wonderful but this constant fight for survival the music. Then we put the two things together, marching in Iwas something I didn’t really enjoy. formation, doing the spin wheels which is the most difficult part of the event from our perspective. On the square there My agent randomly booked me for a gig with The Band of The are around 300 musicians, so it’s a big event to move and play Household Cavalry and that’s how I got in. We travelled to a together. We march several times from the Wellington Barracks remote place to give a concert, and I must say the environment to the Horse Guards, essentially doing the parade over and was amazing. At the end of the concert they asked, “Is there over until we have the Major General’s review and the Colonel’s any chance you would consider leaving the classical world and review, then the actual parade. It’s a long process. joining the army?” I’d never thought about it. After a while, I started to work in the band and never looked back. After the march, there is a big afternoon celebration, very often a barbeque. Within the barracks there is no alcohol allowed This is my sixth year in the Corps of Army Music. I was first in so we often go out for a beer together afterwards. the Band of the Irish Guards, and now I’ve been in post in the Band of the Grenadier Guards for over a year and a half. I have This is a job where the music can occasionally be repetitive – far too many wonderful memories to mention. Two of the main which can also be true of classical music. That happens on every things have been the Diamond Jubilee and the Olympics Closing job, you don’t always have the most exciting days. But what I Ceremony. That was something I thought I would never do have is colleagues who are real friends. This comradeship experience. But Trooping the Colour, the annual celebration that the army provides is absolutely amazing, it’s something of Her Majesty the Queen’s birthday, is always a highlight. I’d never experienced before. That’s the thing within the job that I cherish the most: the belonging. I was told that, doing Trooping the Colour, once your boots hit the ground at the Horse Guards and Her Majesty the Queen The Corps of Army Music is currently offering music applicants is there, you will have goosebumps and it will never go away a joining bonus of up to £10,000. For more information, visit each time you do it. The last was my fifth one and I thought, army.mod.uk.

38 39 For just £50 a year you can receive the following benefits:

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