Magazine | Vol. 1

The latest news The latest RCS from Spotlight Emun Elliott Alumni on our alumni Focus Our RCS our conservatoire About Extras Some fun and facts Welcome Welcome Principal the From events and News

08 14 40 50 CONTACTS General Enquiries 4101 332 0141 Development Haston Jules [email protected] Alumni Nicola Smock [email protected] Communications [email protected] Office Box 5057 332 0141 [email protected] 02 04 C O N T E N T S

Royal Conservatoire of Scotland Vol.1 02 03 Our inaugural magazine is filled with news from you and and you from magazine is filled with news Our inaugural some about will read You share. to want we us that from images estate and see some great our for have plans we Dundas. Ken photographer, wonderful own our from alumni, with actors Emun on several This issue has features Hovyhannisyan, Anush soprano Silber, Elliott and Alexandra conductorJessica Cottis, dancer Wright, Paul film-maker group, music and Scottish traditional Baylis Thomas J. As a cross-section, of graduates thisCherryGrove. group inspiring for makes and their work of the globe much spans reading. keep hope to we a graduate are field, if you your Whatever functions overseas – in Scotland or at with you in touch see you to love I would in the future. create plan to we that will you and hope that concerts some of our at and shows with Nicola in touch Alumni Association.join our Please get Alumni Association our about information more Smock for [email protected]. at best very wishes, my In the meantime I send all of you Jeffrey Sharkey Jeffrey Principal FROM THE PRINCIPAL THE FROM WELCOME I am delighted to welcome you to our new Royal Conservatoire of Scotland of Scotland Conservatoire Royal new our to you welcome to I am delighted alumni. our This first edition has a special on celebrating Magazine. focus of travel, influence its direction special and all of you the RCS Alumni make career. your education perhaps, and, shaped your just as the RCS all of you, belongs to It RCS. back to you welcome to I want or it under its guise former knew of the RSAMD if you even to you I invite building on Buchanan Street. in the former us view to continue and to with us, news your visit us, share family. as part of your and there arriving are freshers our As these I write words, in the building. I am and excitement is energy a palpable keen am and arrival new fellow a as today them addressing with us, and I will share study chose to they why discover to principal. as its new RCS join to so excited I am why national As Scotland’s RCS. for moment isIt an auspicious use of in Scotland’s play to a role have we conservatoire, and to itsin the wider world influence spread to culture a member of are of its people. We the potential develop role key a have we UK; the in conservatoires of family the ambitions have we city the thriving in play of Glasgow; to art of interconnected combination unique our promote to community. the international to forms balance of depth and breadth. on our focus I hope to of expertise, high levels Each disciplines of our requires The connectivity craftsmanship and artistry. knowledge, and the between innovation disciplines for our allows the engage to ways art and new of new forms development learn from to like students would our wider public. I know educated studies here your how alumni about all of our outside. life for you discipline and prepared in your you hear can to hope and I do better some things we are There and what you for worked felt you what about you from be improved. could

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E M O C L E W 04 05 at the Tron the Tron at and Festen AND BEYOND GLASGOW BEYOND AND THEATRE IN GLASGOW IN THEATRE HONOURING INTERNATIONAL We celebrated the 2014 summer graduation by awarding four four awarding by graduation summer the 2014 celebrated We impact. a world-wide made artiststo have honorarydoctorates who is Company China’s Xing Dance Theatre of the Jin Xing, founder Jin person. She is celebrity a global first recognised transgender were honours of China. Her generation the new representing her company a sold-out by dance performance by complemented Scottish appearance. in a rare Gracie, also honoured. were Cushing Gracie and John John Musicians of the RSNO Brass Principal in the RSNO and Director Trumpet department has been with the Brass Quintet Ensemble and Brass participates and education in regularly performs He since 1982. the country. and community projects throughout of Conservatoire the Royal clarinet at has taught Cushing John and recitals throughout masterclasses and gives Scotland since 1978 serving as Principal as well as Clarinet country RSNO. the the with he Principal was CBE. only Not Wallace, John was Our final honoree performed is a virtuoso having John trumpeter 2002-2014, from on has been featured John worldwide. as a soloist with orchestras books and is the several and edited has co-authored recordings, the to Collection, devoted ensemble an Wallace the of founder and education. music of brass development Whilst RCS continues to expand, it also stretches out into the the into out it also stretches expand, to continues Whilst RCS of this came example with terrific A community. Glasgow greater of Hamlet productions drama year the third of Director by These directed two 5-starTheatre. were productions and Deputy Hodgart Hugh Screen, and Production Dance, Drama, Principal, Maggie Kinloch. the rest to been taking Glasgow staffThis students and have year of the world. DeputyIn March, Principal of second Maggie Kinloch led a group production of Shakespeare’s Acting students with Ali de Souza’s year the first in Taiwan, Festival the Kaohsiung to of Venice Merchant part festival. take in this to prestigious invited school ever drama in Chennai, Delhi and Mumbai to travelled Wallace John In April, Tallan Gemma Ray Carlin, Pavri, Logan,India, with staff John Fali Digitaland TVand Film Music fifteen of as students, group a and with Nicola Benedetti, tour Gamespart inspired of a Commonwealth and the BBCSSO. MacMillan James the World to Coriolanus took Acting students second year In May, Europe: by invited were We Russia. Games in St. Petersburg, Theatre participate to Schools and Academies (E:UTSA) of Theatre Union Games, the Baltic at International Theatre Student in the World held as part was Russia’s of which in St Petersburg, Centre Festival of Culture. Year Logan, with John Jenn Maggie Kinloch joined forces In July, students and Brass Music and 18 Scottish LoriButterworth, Watson Society (International the ISME Conference for at a week spend to in performed The team Brazil. Alegre, Education)Music in Porto in 2016. hosting of the conference our for ceremony the handover Caption for this image, just a short sentance just a short sentance image, this Caption for will this than text or two of text. No more be sufficient. probably

EVENTS NEWS AND COMMONWEALTH CITY EXPANSION and during the build-up, there was a gamut of cultural activities activities cultural of gamut a was there duringand build-up, the the best of the Scottish arts including the Scokendia showcasing and Scotland, Kenya from Ensemble (bringing musicians young Concerto the Commonwealth, for own and our India together) Nicola Benedetti and led by year-olds 16-18 school for a summer Manning. Peter This summer, we saw the world’s eyes turn to Glasgow with the the with Glasgow to turn eyes world’s the saw we Thissummer, Panton, Andrew Games. own Our Commonwealth 2014 the of arrival Artistic Cunningham, Phil and Artistic Musical of Theatre, Director part in choreographing a huge played of Scottish Music, Director the Games, Throughout the Opening Ceremony. and orchestrating Studios’ as an acknowledgement to former Principal, John Wallace Principal, Wallace former to John Studios’ as an acknowledgement the world-class into RCS expanding work CBE and his tireless facility it is today. by opening the second phase of rehearsal and ensemble rooms. and ensemble rooms. second phase of rehearsal the opening by where ensemble rooms Specifically two huge designed around developed productions were Fringe Festival Edinburgh this year’s rooms, rehearsal includes multiple the addition and rehearsed, best the possible produce to created all lounges, and meeting spaces output. creative for environment the campus to addition has been named ‘TheThe newest Wallace In June 2014, RCS continued its expansion to the Speirs Locks Speirs the campus to its expansion continued RCS 2014, June In

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Le Nozze di

, where love blossoms, where love in , is arguably the of one most OPERA MUSICAL THEATRE SIR JOHN IN LOVE 16, 17, 19, 2416, JANUARY, 17, 2015 WEST SIDE STORY MARCH,18-20 2015 AS LIKE YOU IT 23, 24, 29 27, JANUARY 2015 Originating from one of the biggest social upheavals in Europe, Western the French Revolution, Mozart’s masterpiece,classic Figaro dramatically accomplished of all operas. As each character struggles to assert their identity in the new social that order beckons, Mozart penetrates the soul all of the principal characters through music of extraordinary and sublime understanding. Ashley Dean and Cordelia Chisholm, the creative team behind the stunning La Clemenza di Tito last return year, more weave to magic. Mozartian the face adversity. of New York in the 1950s. York New A pair feudingof families become two warring City gangs. York New JetsThe rival the Sharks in this Romeo Shakespeare’s of variation and Juliet Shakespeare’s much-loved pastoral pastoral much-loved Shakespeare’s comedy invites us celebrate the to delightful and pains perplexing pleasures life. of Banished from court his by usurping brother, Duke Senior is live to inforced exile in the Forest Arden.of His daughter Rosalind, disguised as young a man, joins him and decides test to the love banished her of suitor Orlando. So begins a captivating game of lustlove, and secret identities in wherea world the boundaries between nature and politics, court and country, reality and fantasy are playfully overturned.

PANTO DRAMA MOTHER GOOSE MOTHER 6–12 DECEMBER, 2014 DREAM NIGHT’S MIDSUMMER A 9–15 JANUARY, 2015 of love. Join us in Italia old discover to Fairy whether Fortune can stop Mother Goose from being led to the dark diabolical her by side ringmaster, and Diavolo, his Rascalio. acolyte, bumbling WillGinny Goose the save circus from ruin, and will Carlo the clown manage ever find to her funny Does bone? dim-witted Stromboli Luigi strongman circus thehave strength of hold keep to Tina Tumbler falls she before into believe Do clutches? you Diavolo’s enough in the panto magic be to see to able Giovanna’s invisible doggie Freddo? findTo out, run away and join Conservatoire’s the in circus the very own big another for top family fun-filled, spectacular, panto from Writer Alan McHugh and Director Alasdair Hawthorn. A Midsummer is Night’s Dream one Shakespeare’sof best loved plays, popular its for feast magic, of madness and humour. A dispute between the King and Queen the of Fairies brings the the of world supernatural and unsuspecting humans crashing together in an enchanted, nocturnal forest. As magic permeates the dreams of two pairs lovers, of their plans are thrown into chaos, and spells cast upon a group actors of rehearsing resultsa play in pandemonium. This is a story illusion, of mischief the celebrating transformation, and power destructive and creative

Information all the on at Conservatoire Royal events of through January to Scotland available: is 2015 now rcs.ac.uk/boxoffice 332 5057 t: 0141 COMING SOON MUSIC FRIDAYS ONE AT INTRODUCING: SHARKEY JEFFREY PRINCIPAL 23 JANUARY 2015 MUSIC FESTIVE CHRISTMAS INTO SWINGIN’ 10-12 DECEMBER 2014 We are delightedWe present to Jeffrey you to pianist, Sharkey: andcomposer, since September Principal2014, of the Conservatoire. This multitalented American has given concertos and recitals around the world, and having previously lived in the UK many for years, has performed chamber music with some of the pre-eminent musicians in this this country. For special recital introduces he Scottish audiences the to many facets of artistry. his With glitz more than a glitter ball Strictly, than glamour more and the stars Musical of Theatre and the Jazz RCS band together come form a Christmasto like show no A toe-tappingother. evening of to guaranteed nostalgia, seasonal in you put a festive mood! OTHER GRADUATIONS OTHER COMPANION EMERITUS AND SPEAKING OF JOHN WALLACE… JOHN OF SPEAKING AND Contributions Contributions Interaction: his dissertationwrote on Inter-Actor The Royal Conservatoire has a joint working agreement with with agreement working joint a has Conservatoire Royal The degrees research all of our that of St. Andrews the University their institution. This the summer by and awarded validated are Silberschatz. Marc Marc to awarded was PhD in Drama first very in 1968 to lecture in Harmony and Counterpoint at RSAMD RSAMD at and Counterpoint lecture in Harmony in 1968 to for twenty almost for responsible been has he now and years, also Co-ordinator department. was in the Brass accompaniment He years. Course eleven for Music Early innovative of our the end of at and retires in 2005 of RCS a Fellow made was John academic year. the 2014 work with senior vocalists in Opera and Lieder disciplines. She with senior vocalists and Lieder disciplines. in Opera work She retired. she when 2014 spring with students until work to continued College, King’s scholar at as organ educated Langdon was John Scholar of Rannoch Stewart also a John he was where Cambridge, Music. in Sacred he came Glasgow to College, Oxford, New further at After study music was a regular part of her life. She received a Mus. Bac. degree Bac. degree Mus. a received part She regular life. a her of was music the attended she graduation, After of Edinburgh. the University at piano and study to scholarship on a Caird of Music Academy Royal a cellist. Joan, with her sister, extensively viola. She performed coaching and accompanying started her associationHester with RCS to asked senior students in the Strings department later and was Two of our outgoing staff were named Companion Emeritus at Companionnamed Emeritus at staff were outgoing our of Two Langdon. With a Dickson and John - Hester graduation the spring they with 100 years, worked have hundreds of over combined tenure and Opera in the Music aiding them with their work of students, departments. chamber where family musical a into born was Dickson Hester A fitting tribute to the career, passion and progress of our outgoing outgoing of our and progress passion career, the to A fitting tribute Principal. John’s ensemble The New Wallace Collection featured prominently prominently Collection featured Wallace New The ensemble John’s concert. in the sold out as performers Other highlights included tutor RCS by composition a of performance premiere world a the Chair, by a commanding performance McPherson, Gordon Bellon on performed piece by and an obscure Vallance, Lord historic instruments. programme. He has lived, worked and studied in Glasgow since since Glasgow in studied and worked lived, has He programme. him on his honours. new congratulate pleased to are then and we to Rehearsal and Performance Practice that Attempt to Minimize to Minimize Attempt that Practice and Performance to Rehearsal Divided and Consciousness. Structure Performance Pre-Agreed-Upon as of Sunderland the University a position at accepted recently He in 2008 came Glasgow to Marc a Lecturer and Theatre. in Drama Directing - on the MA Classical study and Contemporary Text to A fond farewell in the only way appropriate was had in John in John had was appropriate way only in the farewell A fond Principal from Concert down as he stepped Valedictory Wallace’s Featuring glorious years. after twelve Conservatoire of the Royal the himself, John by and inspired composed, performed work . The Herald by be ‘wackyconcert deemed to and wonderful’ was

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university for a year, I realised that I could do whatever whatever do could I that realised I year, a for university I me so doing it for wasn’t essays Writing do. to I wanted drama for apply university, a risk and leave take decided to school the only was RSAMD happened. school and see what - so I prepared in the UK still taking auditions for applications me a place. I offered they along and luckily pieces, went my was It decision the right first day. made I had realised on my found I had like - it felt atmosphere creative a wonderfully capabilities. creative my explore to the right environment We read that your decision to study drama was a last last a was drama study to decision your that read We point realise you did what At true? that Is one. minute this after right decision the made you had absolutely that path? in education/career change from I knew mind I think isIt in the back of my true, although be a part of the performing to I wanted that age early a very affinity a natural felt I always or another. arts in some way either considered and acting never with both music but had and performing music option. Playing of them as a career felt I time. spare my in did I that things both were plays in something of a more pursue on to go to expected I was that school? to went I why that isn’t all, after - academicnature at English and French But as it turned out, after studying “I realised I had made the the made I had “I realised first right decision on my a wonderfully was It day. atmosphere.” creative GODS

& KINGS & , at which point point The Clanwhich at , WORKING WORKING WITH , directed by Ridley Ridley by in Prometheus and , directed , and he became a well-known face face , and he became a well-known Watch Black , playing the charismatic 19th century the charismatic 19th century , playing The Paradise . Labyrinth,Threesome and the comedy Game of Thrones his made in 2009 in debut film He watch’. to the ‘one claimed he was International Screen in the BBC One has since starred right. Emun were They series alongside Scottish actress Joanna owner department store best in the very the with he has worked film In Vanderham. in the Irvine business, starring McAvoy alongside James Filth adaptation Welsh can biblical the in him see Scott. epic you Later this year direction the under working again , GodsExodus: and Kings Scott.of Ridley up with him in London him on his caught quizzed and We and McAvoy alumni James fellow with working RCS, at time it. over … and getting and being awestruck Madden, Richard It’s a fortunate thing for us all that Emun Elliott decided not Elliott decided not Emun us all that thing for a fortunate It’s of the University at his pursue studiesto in English Literature Scottish the Royal up a place at took and instead Aberdeen, acting. study His to and Drama talent and of Music Academy evident. immediately ability were has gone Emun in 2005, the RSAMD from Since graduating Born the screen. and on in stage on strength, to strength from come have stars to ishe Edinburgh, young bright the of one his cut teeth He conservatoire. national Scotland’s of out Fraser, Private run as a two in year a half and stage the on the critically in of Scotland Theatre National the with touring acclaimed Glen, of the Afterlife, Monarch through on the small screen

© K K Dundas 2014

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Royal Conservatoire of Scotland Vol.1 T H G I L T O P S 10 11 people! people! Most Creatively, student performances and professional ones ones performances and professional student Creatively, or two one are there although same, the essentially are startingprofessionally, rehearsals Upon of course. differences most of the people know to going not you’re chances are be social has to so that with dynamic work to about you’re weeks! four condensed period of time, i.e. built in a more risksstage, on massive take to can afford you school drama At if times face because a few fall on your flat to can afford you actor doespoint some every at do it - which to going you’re learnt school. I’ve do it is drama at to or another - the place the from than made mistakes the I’ve from more much so sure. for that’s with, away things I got as Private role your about challenging most was What Watch? in Black Fraser maintaining the stamina was required challenge The biggest an over performance physical a rigorously on such take to we’d that all thought we period of time. Initially extended be it. would and that the Fringe over do a month be the case! exhausting, not to was turned out It That the getting and response audience the However sure. for amazing locations and leave so many to travel chance to keep sort some to impact of made enough was having after the end. to us going it all felt the end and I think we older by years three I was cast new a allow and rest good a ourselves give to time was worked! It the production. rejuvenate come in and to industry some huge with past the names in worked You’ve been you ever Have and actors. directors - both few years that? over and how did you get awestruck people the of some of awe in been I’ve that say definitely I’d in more with. I’m even work to been lucky enough I’ve that to has Awe work. them watched I’ve that now them of awe to going if you’re some stage something else at turn into which just be nervous as otherwise you’d together well work performance. inhibit your would with have and worked admired I’ve that of the people Most just an equal. Ego like feel least of at making you a way say. I’d that a distance to creates and most people adhere “At drama school you can can school you drama “At risks massive take to afford to can afford you on stage, face a few on your fall flat going times because if you’re do it, do it is to the place to school.” drama at

been equipped with the willingness to take a leap of faith a leap of faith take with the willingness to been equipped else will. nobody don’t if you because in yourself, and believe The nature of the play meant that every actor had to play play to actorhad every that meant of the play The nature and parts as an old lady - so I began the play different several us did it allow only Not an Indian doctor. the end of it was by just fun! but it was versatility as performers, our explore to playing kids big just actorsas we’re like Sometimesfeels it always it is! I’ve what essentially up - and that’s dressing their childhood. adultsclinging onto seen actorsas grown up. grow we end when the fun has to that accept can’t We in life for you prepare school at drama Did studying industry? the in me with a solid foundation provided drama Studying work to craft like it felt stage and an understanding of what on camera. kind of instilled in me a sense of confidence, It delve us to allowed course My and experimentation. respect We say. is vital which of classical I’d plays, a number into abstract and the more time exploring just as much spent there. out pieces are that experimental with Dundee King Ubu the Jarry’s Alfred was first job My nothing and about play and brilliant absurdist - a mad Rep struggled with it if I hadn’t really have everything. I would

, which Comes A Chopper , which Here play Ionesco in the Eugene Howells. Adrian great the late, by directed was The best thing about the way the school castschool the their productions the way bestThe thing about an opportunity shine, a chance to given was everyone that was spectrum different of whole a explore to and lead the play to characters and situations. grow This us all to variety allowed to tools of range us with a diverse as actors,and equipped being involved I remember the profession. into forward take peeling an onion - once you remove the first layer you you the first layer remove peeling an onion - once you then another. then another, is another layer, there realise that questions’ raises more only questions - ‘asking The saying as much of it only out get acting. to applies You definitely put in. to willing as you’re in - vividly. involved I was that all of the plays I remember no idea what to expect or how vast a subject it proved to be. be. to a subject vast it proved or how expect to no idea what go one and we’d turn up on day I would Part of me thought the theory to oblivious I was a play. rehearsing into straight this actors. that realised I aspiring was to available was that into. teeth my get an art I could that form actinglike that me was told once teacher voice former A Can you tell us a bit about your time at the Academy (now (now Academy the at time your us about a bit Can tell you did and what you challenged What Conservatoire)? the enjoy? you most secondary school at my on the curriculum at wasn’t Drama I had the RSAMD, at training I beganthe time, so when my

Royal Conservatoire of Scotland Vol.1 T H G I L T O P S . brought it all very close to home. I'm very proud to be be to proud I'm very home. close to it all very brought has has Thrones of Game in Sirens. excellent he was I thought part be a small the of to so success, enormous an become times since and a few Richard seen first series I’ve great. was form. busy and on good always he’s classmates. fellow of my a few with quite in touch I keep bonding session a crazy such through three-year went We as it consider would us of one every sure I’m and together lives. in our of transition some form be that would what role theatre any choose you could If and why? BothIII. Shakespeare Richard Or Iago. be probably would It finished just parts! I’ve great such they’reboth but know, I . Eddie Carbone in A View The Bridge From Marco playing Eddie and did it a played part. Strong is a great Mark but different all very of justice. They’re amount sensational and twisted, they’re they’re dark similar because but really old enough I’m not quite I realise all just a bit messed up. play to most of these parts want play but I used to yet, to happened never and that Twist in Oliver the Artful Dodger it! onto get better so I’d graduates? acting this year’s for advice you any Have be nice turn up on time and do, Commit everything to you fun! people. And have to The scene between James and Imogen in the stairwell is in the stairwell is The scene between and Imogen James him and work Getting watch the chance to a masterclass. like screenplay a on Glasgow and Edinburgh in him with Filth part movie. of that alumnus fellow with Thrones Game on of worked also You time at your stories of Madden. Did you share Richard Conservatoire? the school. It’s drama each other from and I know Richard actor. a terrific he’s because see him doing so well to good You worked with fellow Scot and RCS alumnus James alumnus James Scot and RCS fellow with worked You like, James with working was What in Filth. McAvoy experience? training drama a similar shared you’d knowing was James with working say who’d anyone know don’t I been a fan and to of his a while for I’d experience. a bad Filth in brilliant He’s astonishing. was see him in this role “RCS has a fantastic line up of fantastic has a of up line “RCS lucky myself I consider and alumni be to part I’d of that. and proud of them!” with all work to love

© Sky Atlantic © 2011 Tandem Productions GmbH & Film © BBC Nick Walls Afrika Worldwide (Pty) Limited South Africa Marillion in Game of Thrones. Appearing as Guilhem du Mas in the TV TV in the du Mas as Guilhem Appearing in Game of Thrones. Marillion co-star Elaine Cassidyseries in “The Labyrinth. Paradise”. Alongside

Royal Conservatoire of Scotland Vol.1 T H G I L T O P S

Top row Top Sean Shibe (2012) We have created a new-model a new-model created have We a crucible for conservatoire; dance, drama, in music, creativity and screen. production than is more experience The RCS an education, it is immersion, total who discover to students allowing them with and providing are they co-create to space the creative the disciplinesacross their on their realising towards journey artistic voice. individual own reputation an enviable have We world-leading truly producing for practitioners and performers leading are graduates and our the across successful careers of our proud are globe. We alumni community and diverse are and we their achievements some of their share to delighted stories you. with (2013) Michelle Zielinska-Brown LeeAaron Lambert (2009) (2014) Kani Kurosh Middle row (2013) Swire Sarah (2007/08) Gordon Fraser Luff (2011) Ruth (1994) Lin Neo Swee Bottom row (1989) McVicar Sir David Georgia Moffa (2013) (1976) Wax Ruby (2012/13) Evers Timothy A L U M N I

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BA Contemporary Performance Practice BA Contemporary Performance Practice

| BA Production Technology and Management der | n ly Magorrian ly My tutor shaped the direction I I direction the shaped tutor My by... take to career my like would “Opening children’s up theatre me.” for Emi “Giving the me opportunity join to crews around the world double-specialism.” my supporting and Kurosh Kani | BA Digital Film and Television “Allowing own my cement to me practice.” Fiona Alexa “Helping realise to me what technician I would like be.” to | Taylor Elleanor “Being a very inspirational brilliant teacher, musician and a friend always willing help.” to Aleksandra Henszel | BMus Performance BA Contemporary Performance Practice I’ll always remember… “The thepatter, varied of cacophony sounds, ideas and personalities bombarded were you with each and day; the sheer energy among all everything.” at excel to Hector Macpherson Brown | BA Contemporary Performance Practice “Referring Symphony 3rd as Beethoven’s to the ‘Erotica’ after misreading Eroica!” Katie Vines | BEd Music “My prevailing memory will RCS of be its friendly and welcoming nature.” Dominic Barberi | MMus Performance “Performing in the New Atheneaum a sold audience.” out to Eve Niker Musical | BA Theatre is… graduation following plan My “To more, teach play new music.” more, record Chris Whitehouse | BMus (Hons) Jazz “Make art, be well” Fiona Alexander | the“To up follow professional contacts made during I have timemy RCS, at as well as making new ones.” Oran O’Neill | BA Production Technology and Management miss big RCS time!” Conor Meechan | BA Digital Film and Television “My experience was RCS of a fantastic, challenging, and enormously beneficial that one a true me gave insight into the professional of the world performing arts. Between festivals, concerts,competitions and international exchanges there was always something and new exciting beto involved in and learn from!” Craig McMurray | BMus Performance “The variety meet people of and you mix with every day, the opportunities given, the advice and expert knowledge whichsurrounds you, the concertsand having the opportunity push to yourself your beyond comfort zone something produce to so amazing which wouldn’t you necessarily your do on own.” Pippa Reid-Foster | MMus Scottish Music “Iwill miss the people farRCS of than more anything canelse. findYou brick walls, practice rooms, and fancy incomputers any music school. was It friends my and teachers that made time my truly a here unique and experience.” enjoyable Mark Cuneo | MMus Performance “RCS has undoubtedly shaped as me an artist. Since starting a Bond on movie, worked a BAFTA I’ve here won Scotland Award, pitched TV ideas the to major TV channels and had the looking BBC come offer has to me a job. It me for been a rollercoaster ride that has ended too quickly. gonna I’m “Undoubtedly the people: their diverse nature, their support open-mindedness.” their as well as friendliness and Emily Munn | BA ModernBallet What I will miss most about RCS... I willWhat about miss most

OF 2014 CLASS CLASS Some of our 2014 graduates, left to right: | HectorSarah Ayoub McPherson Brown F/K/Alexander | Lucy Kay | Craig McMurray Sophie Faulkenberry In July said we congratulations out go who graduates new 258 to a trail blaze of to world the into making. own their all and Sharkey Principal Jeffrey wish to want RCS at staffthe here in best their allthem very the fulfilment and future careers in their and hopes their lives, their performing the as ambitions artists of tomorrow. Fresh from their graduation up caught we ceremonies alumni new our of with a few find their to left out they before thoughts on RCS.

Royal Conservatoire of Scotland Vol.1 I N M U L A 18 19 Companies. Following five years as Chief Executive and and as Chief Executive years five Companies. Following Maggie in St Andrews, Theatre Artistic of the Byre Director Speech of School Central education London’s at into moved up take to Scotland to back moved In 2001 she Drama. and Queen Margaret at of the School of Drama the post of Head Maggie in 2004 that was became It in Edinburgh. University RSAMD. the at of Drama Director Principal, in 2009, of Vice the role into The transition the disciplines across but drama, with a remit not only of a natural was and screen, dance, production also music, with music engagement lifelong Maggie’s given development, work: in her theatre the music thinking about without a show direct can’t “You it comes off the a play I read and when and movement, comes dynamics with It me. to music of piece a as page in you move suddenly will it and melody and rhythm and music, without done a play never I’ve and the same way. for looked always I’ve and commissioned music, mostly And in musicians. and composers with work opportunities to written and Camera for Acting taught also I’ve film of terms was short so screen films, a few somethingand directed I comfortablewas with. “I had a little toy sheep under my arm and an older girl read read arm and an older girl under my sheep little toy a “I had this enormous got the end of it we and at the rhyme, out – I quite thinking ‘ooh I remember and of applause round that!’” like a Maggieold LargsThe joined years Players, twelve At really that experience this was early It group. local theatre and the performing drama passion for Maggie’s developed President! arts. Honorary In fact Largs is Players’ now she Eleanor teacher, of her drama the eye caught Having her by high school, MaggieNicholson, at encouraged was Speech in Diploma a for study to application an submit to and Drama. Maggie set her career, and starting think about eighteen to At become later would which of both future, the for two goals Artistic an become to was Director, goal first Her reality. a After of drama. a school of head be to was the second and both in drama Maggie taught RSAMD, the from graduating learning with additional secondary children and schools for Arts Glasgow at became Drama of Director later She needs. Theatre Annexe and of TAG and Associate Director Centre

MAGGIE UP CLOSE AND PERSONAL AND CLOSE UP KINLOCH And we of course are equally proud to have Maggie! Her Maggie! Her have to proud equally are of course And we a 2008 inspired 2004 to from of Drama as Director work artists. and theatre of drama The curriculum generation Principal 2008 as Vice led from she project which reform (becoming Deputy on Principal focus a central in 2013) had and their employability. enhancing experience the student doing with all of my “which I so enjoyed work That the curriculum contemporised colleagues” has successfully learning and teaching. approach we and how her sparked of moments that a couple Maggie remembers had she the relationship One was the theatre. passion for night every stories bedtime create would who father, her with – older brothers Colin five (one of her her and her brother for father’s Her daughter). child and only Maggie is the youngest be could she a confidence in her that nurtured imagination old and years four At mind to. put her really anything she infant the section of the Girls a member of the Rosebuds, remembers Brigade), Maggie the Girls’ fondly Guildry (now as Little Bo on stage Beep!her earliest moments Professor Maggie Kinloch is one of Scotland’s finest finest Maggie Kinloch is one of Scotland’s Professor She has worked directors. artistic and theatre educators Elaine C. Smith Boyd, Billy Carlyle, with alumni Robert and is She herself is an alumna of RCS more. and many Deputynow Principal. teacher drama becoming a to training from journey Maggie’s becoming Deputy to 1975, to 1972 from the then RSAMD at of Scotland has been Conservatoire Principal of the Royal national Scotland’s dedication to Her remarkable. quite days her early right from has been evident conservatoire as a student: no doubt, is“There absolutely has been a who as anybody will here student or worked to this place gets that know, in and it’s you It gets you. more.” ever blood for your

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(2002, BA Stage Management Studies) production Technical of Head As a technical student I wanted to be involved in all the productions the RSAMD produced - it was an impossible goal to achieve back then. Fast forward 15 years and I think I have finally nailed it. Carlin Gemma (2007 MMus, 2006 PG Dip, 2005 BA Music) Music Ensembles Manager I spent seven years here as a clarinettist and loved every minute of it. The education I received was first class and equipped me to go out into the world as a versatile musician. Now, as Music Ensembles Manager, closely work I with students across all departments every day and myexperience as a music student helps me to offer them support and guidance. Kenny MacKinnon (B.A (Hons) Music) Box Office Manager The thing that jumps to mind me for is about a feelingof coming home when cameI back as a member of staff. I loved my four years here as a student. Coming back was a bit weird, but it felt like an old friend. There are still a lot of faces around that were here when I was a student. I miss being a singer very much, but my ‘second’ career here feels very right. I have so many happy memories. Searle Iredale Oliver Dr. (PhD ’06, M Mus ’02, PG Dip ’01 ) Composer,Lecturer in Creative and Contextual Studies I had a lot of ‘lightbulb’ moments when I was studying here. I have had a particularly strong ethicwork instilled in me, which for the building is undoubtedly partly responsible, and I quite oftenfollow the motto setttle of ‘don’t what for canyou do, but what for could you which do’, I attempt to pass on to my students now. Mackenzie Lynfryn THE ONES THE

THAT CAME BACK CAME THAT We asked them share to We some moments with they kept have them as they transitioned from alumni staff. to The RoyalThe Conservatoire Scotland of has alumni all 67 – over countries the over world in fact. Some our of very special alumni are those returned who have as staff and are passing along their knowledge the to next generation. drama degree at RSAMD in 198-something. feelsIt pretty amazing to be heading the department some 30 years later. Allan Neave BA Music)(1987, Professor, Guitar and Harp, Instrumental Performance The dramatic change in ethos at RCS is me for the ‘no more boundaries’ between musician/ actor/designer/technician, are we ALL part ofthe unique environment that creates and takes people from reality and into the other. The new guard - the new century - the new RCS - will create the future. Alison Forsyth (1976, DSD) Director, Scottish Drama Training Network The Royal Conservatoire changed my life completely.metI my husband there and I still have two very special life-long friends frommy class.have I hadvery a exciting and rewarding career and I really enjoy workinghere as Director of the Scottish Drama Training Network. What did RCS give Probably me? the best chance to have a brilliant career and a life full of adventure and laughter! Gary Brunton (1983, DSMS) Head of Estates “Plug it in, switch it on, and read the bloody labels” day one, lesson one, as delivered by the unforgettable Mr MacLauchlan! Toby Eona Craig BA Dramatic(1987, Studies) Head of Short Courses As a student I taught what was then the Junior Academy in a second year module within my When asked what she is most proud of, what her greatest her greatest what of, is most proud she what When asked is it that just responds she RCS, at is here achievement and values own her of bringingThe together job. her doing is and an educator as a director with her role aspirations the over of and has most enjoyed most proud she’s what years. has facilitated a range of new partnerships, for example example partnerships, for of new has facilitateda range is RCS with whom Solar Bear, company theatre the with designed pilot actor programme a new training launching deaf actors. talented for training offer to belief that the strong from stems commitment Maggie’s arts the and without access theatre to able be should people been significant have or barriers. there Although prejudice there that Maggieyears, believes recent in improvements the around especially overcome, to challenges still many are sexuality: issue of a performer’s is same the for true actors, probably and for “Particularly today even out come isit performers, other to difficult could how gay, are is still this there if you ideabecause that makes that think I don’t convincingly? role straight a play you roles, castgay people are in oftenstraight because sense Also pretend. you do, you what that’s an actor, and if you’re they how about women, for particularly is the worry, there literal can who quite be casting directors by perceived be will race, sexuality, the same across cast. they in how And that’s there and progressing, are we think I gender. and disability, challenging really are casting who directors some good are go.” to still a long way these pre-conceptions, but we’ve and to explore to challenge, to continues work Maggie’s arts performing of education. world in the progress drive As Chair of the Equality and Diversity Forum at RCS, she she RCS, at As Equality the of Chair Forum Diversity and “The great joy in everything that that everything in joy “The great it’s - whether in RCS here happens or working with students working are with colleagues we - is that people of talent. by surrounded the things I I think one of most is finding in people enjoy and unique them makes what their discovering individual, richest talent and the thing that rest, the from them out marks it. develop them to and helping me, Eleanor Nicholson did it for it works.” kind of how and that’s Images from Festen at the Tron Theatre Tron at the Festen from Images approach. Alongside that passion for theatre sits her sits her theatre passion for Alongside that approach. equality. to commitment strong It’s not the amateurs and professionals with a brick wall in a brick with in wall and professionals not the amateurs It’s look back in to have always we a continuum; between. It’s skills.” our and share open remained Maggie always has director, Astheatre a theatre traditional as using cast the ideaswell as from to is heart the at her of theatre for passion A technique. As the first Honorary President of the The Largs Players, Maggie of the The AsHonorary President Players, the first Largs and two them for masterclasses in various has been involved . The Steamie directed ago years important really me it’s For an amazing experience. was “It with local artists professional work are who people that a loop. and it’s began career there our we clubs because co-directed with Andrew MacGregor (MA Classical and (MA Classical and MacGregor co-directed with Andrew 2011), The Cheviot, and the Stag the Text, Contemporary Black, Oil this Maggie Black . Also earlier year co-directed Kazek. It John alumnus with actors Festen in year third and The Cockpit in Glasgow Theatre the Tron at performed reviews. with five-star a sell out in London. was It whether that be collaborating with actors, musicians, dancers, dancers, actors, with musicians, be collaborating that whether all are we In the end managers. designers,stage film-makers, the best moment is do the same thing,trying make which to can we make.” of performance of Scotland, Conservatoire the Royal at Alongside her work she 2014 In Maggie is director. practicing a also theatre I’ve also worked with many dancers and choreographers in in I’ve dancers and choreographers also with many worked part art are performing forms different me all the For theatre. lines between performance them; draw don’t I palette. a of disposal use everything your at is and you performance

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there have been three or four feature feature or four been three have there and Shell; Filth , Leith thing, but is great a which received well been have which films weight our above punching are We maintain that? you do how of and behind the in all departments of filming, both in front and Denmark camera. Look similar sized countries like at need we Maybe their film industry bigger. is even Sweden; not. we’re doing that are they and see what that look at to graduates? our for advice any Do you have get so try is not to a long process, Becoming a film-maker are you the decision what about Make down. up or too too stories the push and going keep that…become then and Just usually that’s and extreme the to them Push tell. to want you things can happen. interesting when Those For to up follow a you, is there for next what’s And in Peril? is I am writing a very What just now No! up?! A follow to exciting It’s down. idea, so I am still nailing that different be on another project and writing is bit often the toughest part me. I’m also directing an episodefor drama of a three fight! the good fighting Keep year. in the the BBC later for Sunshine on with Sunshine on or two be promising The last year to seems Some of your work plays on similar themes: isolation, grief isolation, themes: grief similar on plays work your Some of from? come inspiration does your Where etc. been ups have else, there anyone like life, own I think in my so that’s young quite I was father when I lost my and downs. to seems It work. my into bled has that something maybe dark quite really some into going in interested I’m that be just that. isn’t places, within find some light It but trying to of the moments idea the that of it, it’s the sake for darkness these characters having of because stronger almost are light or extremes. on the fringes are that there’s feel you do received, very been has well work Your successes to the up to live next project your for a pressure far? done so you’ve what of think but I just now, I’m actually writingfeature the second excited all I can I am really places that try do is and go to in mind and keep that just explore in and or interested about films aren’t my films. I know make to I want why the reasons making and keep just accept that to but I have everyone for connect do connect those people who with really that work a lot of these things. can over-analyse with. You focused Scottish or made Scottish a lot of been have There film and the Scotland do you think recently; films released a moment? having are industry here Until Until PAUL DOING IT HIS OWN WAY OWN HIS IT DOING WRIGHT , winning Locarno’s Golden Leopard GoldenLeopard Believewinning Locarno’s , now, as a director, I can communicate on some level with with on some level I can communicate as a director, now, invaluable. really That’s in these areas. experts are people who what know I don’t career has gone, my the way Knowing the first film at that made if I hadn’t happened have would from and snowballed up momentum Everything picked RCS. there. film. did it How feature first is your in Peril Those For shorts? to your compare but the time scale the different, was obviously was It thing, an intensive shortsMaking isquite main difference. the feature For writing them yourself. are if you especially and it years two or three over but it’s intense similarly it’s can’t you because pace yourself, to just became how about the biggest out, was so that or burn yourself focus lose that the shoot so the time for budget, low fairly was It challenge. films my tight. And me, as a writer, for quite and the edit was period more a longer over sustain that so to fragmented, are try out that map and script to the in stage taken was care 90 minutes. over work it would and see how Digital Film and Television graduate Paul Wright was was Wright Paul graduate Television and Digital Film back in Scotland talkingthis hisabout summer debut of the Edinburgh ahead In Peril, Those film, For feature how find out up with him to caught We Film Festival. on. getting he’s studying while he made , which film, Hikikomori His graduate BAFTA was Best Work, for New BAFTA a Scottish won RCS, at Best Best for Drama Short won and Film 2007 in nominated Paul same year. that Society awards Television the Royal at he made the NFTS at where in 2008, study on to went short,another Short. Bestfor In 2011, hisInternational film, graduation his Best for Short. Now, the BAFTA won Red Runs The River Cannes, at has premiered in Peril Those For debut feature it was categories two of the four and won in Critics’ Week, the 2013 Scottish BAFTAs. at for nominated Conservatoire? at the studying about like did you What on concentrate to two years have to luxury a something of It’s aspects. different learn the all to able be to and films making so anything really, and directed written I hadn’t stage that At the was on. That focus to I wanted what I knew like it wasn’t I did or another, one stage At course. thing with the great an understanding I have so now in the crew, role major every means that editing, experience of sound, camera, That etc.

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© Armen Tchenteretchyan 2013

© Carole Leung 2013 Anush in the RCS production of the Merry Wives “if I say no, they might not come back to me”, which is not is not which me”, to back come not might they no, say I “if difficult is more singer of the opera the life true. Nowadays Asia, Africa, from amazing singers are there because than ever not only and artists;America, voices incredible it’s so many has been spread Opera anymore. in Europe concentrated harsher. iscompetition the and much world the around artists young is opportunities,why which fewer are There can they need the they because whatever trying grasp to are artists is young can tricky It because very start experience. or intellectually or do more physically themselves pushing manage. to able really are than they tips? other Any a PR to speak to graduate to is who about everybody advise I’d Publishing houses, works. it how knows who someone person, be checking the casting may directors even magazines, reviewers, what and there be should what know to have You website! your photo hi-res your have to have you example, not.For should publicity. for downloadable website, on your Clockwisefrom top: of Windsor, May 2013. Anush after a performance Requiem of the Verdi by the Brighton Festival Chorus, Orchestre de Picardie and L’Orchestre Symphonique de Bretagne in France. You might think “I need to get going”, or “I need money”, or or “I need money”, or going”, get think “I need to might You probably the hardest couple of years in the profession when when in the profession of years couple the hardest probably final the of sense that have don’t you if but left college, you’ve harder. much be it’s to want you place where young facing challenge is greatest do you think the What today? singers opera But the most important so many! thing is to are There you, represents or person who agent your choose carefully understand how technically don’t if they obviously because career. can they ruin your works instrument your the with to go tempted you are because difficult it’s And interest? shows that person first the ability say to just as important have to And it’s Exactly. I I remember get. might you that offers attractive very no to year just in the third I was when offers ridiculous getting was and I am still so grateful, so grateful, studies and I was of my time and that me at around were all of those people who to choose your do or not do certain me to advised things. To have to and no ability say the to have to carefully, agent most the three those are you; trust around you people who important things. You graduated from RCS last year, immediately joining joining immediately year, last RCS from graduated You Artists Young Parker Jette Opera’s Royal prestigious the been? has that How Programme. opportunity a wonderful someone for amazing, it’s It’s so you is as in RCS, It not as safe has just graduated. that on pressure this huge have You experiment. really can’t are But, there people the good. really be to shoulders your problems of the aware well very are They supportive. very been I’ve through. going are we that goals day and every adored amazing artists so many with I have that working not to listened I’ve records whose since childhood, people actually I might and that real are they thinking that really Dmitri Bryn Terfel, Placido them. meet Domingo, day one Roberto Anna Netrebko, Damrau, Diana Hvorostovsky, so It’s god! think, oh my Alagna... all these people you being from learn much so you work, they how see to lucky been a big It’s their attitude. in the same place, seeing learning curve. you got when RCS of impressions initial your were What Armenia? from here I environment, friendly the moment; first the it from I loved and open. that, people being so sweet especially liked really sunny, very are they open too, very Armenian people are just are they supportive, people are the same here, and it’s (Patricia teacher my people! I adore Scottish I love wonderful, on this She is earth! the most Scottish woman I haven’t Hay). her I felt Thanks to person than her. Scottish met a more use often and we very in touch are We at home in Glasgow. meetings or a lesson of our opportunity out make to every calls. phone something I sing time comes She every even the been she’s and stage House Opera Royal the on major She’s 2010. met back in since we me for supporter greatest just brilliant! a year, almost for RCS from away been So you’ve now that newest alumni? year’s this to give you would advice what goals have important very you that but it’s scary, it’s Well the opportunities come up in that appreciate you and that is I think that the best thing goals. your Go life. towards your it’s it is hard, time. I know that at myself said to have I could

© Vardan Aslanyan 2014

Jamieson went to meet her for a catch up and to collect collect to and up catch a for her meet to went Jamieson starting just are out. who singers opera young for tips some in the Linbury Studio Theatre in October of that year. year. of that in October in the Linbury Studio Theatre the Concours First Prize Suisse at Ernst Haefliger won Anush singing the first-ever in August, held in Bern, Switzerland in Switzerland. singers opera young competition for at di Requiem Messa singing Verdi’s was Anush 2014 In May Heather the City student scholarship Opera MMus Halls. "I adore my teacher Patricia Hay. Hay. Patricia teacher my "I adore She is the most Scottish woman on this her I felt earth! Thanks to home in Glasgow." at Anush joined Jette Parker Young Artists Programme at the Artists the at Programme Young Parker joined Jette Anush 2013; in September Garden, Covent House, Opera Royal botas con El gato Princess as the debuting in Montsalvatge’s

ANUSH A RISING STAR OF OPERA OF STAR RISING A HOVHANNISYAN singing competition, the Margaret Dick Award, Ye Cronies Cronies Ye Dick Award, singing competition, the Margaret the Delphic Games medal at International silver Award, Opera the Wagner by Scholarship Competition, and the Bayreuth Society of Scotland. Gibson Opera School of the Royal Conservatoire of Scotland of Scotland Conservatoire School of the Royal Gibson Opera with Opera a MMus in 2013 with graduating with Patricia Hay, inaugural the prestigious won Anush Distinction. RCS, At from Opera for Award Stornoway of Smith Ian the of award Other prizes include the Legacy. Smith of Stornoway the Ian Les prize at Azuriales Prize, third Opera international Clonter career at an early age as a violin student. She trained at the the at student.violin a as She trained age early an at career Master’s a completed she where Conservatory, State Yerevan in Diploma Graduate Post a received and 2008 in degree 2010. in conducting under Professor studied and graduated Anush Alexander the studies at her continued then Pirumova, Nelly Armenian soprano Anush Hovhannisyan started her musical started her musical Hovhannisyan Armenian Anush soprano

Royal Conservatoire of Scotland Vol.1 I N M U L A 26 27 It’s housed in the Prints and Drawings in the Prints and Drawings housed It’s no means on equal footing yet. no means yet. on equal footing rich collection of a wonderfully of custodians are We arts are live the where this In artistic world, achievement. believe undermined, I really and more more increasingly a duty society help people of to have us to we that around with classical It’s music. engage and all backgrounds all ages important as it helps us understand humanity there and that he wrote when right was of being. Proust ways infinite are ourselves outside get to able we art are alone through that other people see the world. how know and begin to you? for next What’s a enjoying am and China of tour a from back come just I’ve not a holiday It’s home in Glasgow. at back of weeks couple trip - Beethoven next my for as usual I’m preparing though, Orchestra Symphony Queensland the with Mendelssohn and further on the engagements for scores - and learning new horizon. I’ve also observed there to be more possibilities to possibilities to be more to there also observed I’ve for interest audience more and music, new programme UK. in the repertoire, such Maestro TV programme on the find working did you How student? good a he Was Nelson? Trevor with Opera the at programme? the following more recognised you been Have a was There the programme! a lot of fun making had We so it music read couldn’t Trevor though. work lot of hard learn all the pieces in the short him to for challenge a was a brilliant student however, was, He available. of time amount musical sensitivity could and innate enthusiasm whose to a little longer had he’d if only way, him all the taken have techniques some of the co-ordination and physical master following recognisedbeen I more conduct. to needed Have fans! numerous Trevor’s by especially Yes, the programme? and Symphony Third Mahler’s about talk you blog your In a world”. be like a “symphony should that how he posits now? right world describes your music best of piece What opt for to so I’m going This difficult. is So much incredibly print Eight screen 1971 visual Heron’s art Patrick instead: Ultramarine. Including its of because you Britain at out jumps and Tate at Room geometric curious and colour of vibrant shock arresting and each shape, delineated Each isshapes. colour clearly the repeated through is united different, completely although life up my sums This of the curve. essentially element countries, different many to the globe around flying lately: all been extremely and it’s and repertoire, orchestras left In the top enjoyable. and demanding,colourful, exciting to I think this corresponds sphere, corner is yellow a bright to been lucky enough I’ve sunshine of Aussie the amount recently! more in Sydney enjoy industry? in your to see you like would changes What be a protected to enough still rare conductors are Female shouldn’t really It change. that see to like species,I’d and conductor is in - and female or male great a whether matter can’t a female why no reason is absolutely opinion - there my or the Concertgebouw, LSO, the say, be chief conductor of, by are changing, but we the Berlin Philharmonic. Things are I have had superb music teachers and mentors throughout throughout and mentors teachers music superb had I have But I would me greatly. inspired have all of whom life, my influence. father greatest the been has my that say to have and quietly sitting down age early a very from I remember and him, with or LPs of classical the radio music to listening of reading a love where up in a family also being brought of the world understanding for and a quest and knowledge think, paid to so Conductors essentially are de rigueur. was full of this. life an early had have to I’m grateful of the enormous aware been acutely I’ve recently, More and David Dutoit Charles Ashkenazy, influence Vladimir conducting. on my All three had individually have Robertson their musical ideas sharing and open to been incredibly have grateful. I am profoundly which with me, for experiences how does Australia, with citizenship dual have You UK? in the working from differ there working in rehearsal in the two mainly differs countries Working But the of it in Australia! more get generally we time in that is phenomenal. here reading of sight level What are some of your RCS highlights? RCS your some of are What out two straight a better years for asked have I couldn’t conducting was me stands What for degree. my of out of new amount the opportunity conduct a large to such Red with also and MusicLab band in-house with both music, with each year work on to gone I’ve Ensemble, who Note works complex densely since. Conducting Dillon’s James opera new dark Boyle’s Rory on working and Proms the at particular and I also enjoyed high points Hauser were Kaspar conductingmoments Symphony the beautiful really some back be invited to in concert. wonderful Orchestra was It their again for conduct to this the orchestra earlier year concert. Strauss Hindemith and Richard recent newest alumni? this to year’s you give would advice What early. society lemons a bit too I think our squeeze to tends culturally, intellectually, develop; to need you time the all Take think really time to and allow philosophically and personally, of philosophy the living, is about Music do. you what about bluff it. can’t and you be rushed can’t It life. on you? influence greatest the been has what or Who

Around that time she saw a mind-blowing performance performance a mind-blowing saw time she that Around State Vienna the at Rosenkavalier Der of Strauss’s to had she knew moment she that and from Opera, conduct. do to could she In London do everything in 2006 but then studied as a lawyer, trained she with Colin of Music Academy conducting Royal the at and became came she Glasgow to there From Metters. first conducting fellow. Conservatoire’s the Royal still rare conductors are “Female species, be a protected to enough see change.” that to like and I’d JESSICA COTTIS CONDUCTING ON THE INTERNATIONAL STAGE INTERNATIONAL THE ON CONDUCTING consider conducting, something she had always consider conducting, always had something she in the back of her mind. harboured what she’s been up to since studying After graduating. in Paris and then University National the Australian at an as trained initially Marie-Claire Jessica with Alain, career after playing her stop to forced organist but was failed injury which an overuse to respond to treatment. to her the headspace it gave While this a blow, was Earlier this year alumna Jessica Cottis returned to RCS to RCS to Cottis alumna Jessica returned thisEarlier year Concert. Strauss conduct and Hindemith a We caught out find to up with the conductor talented young

Royal Conservatoire of Scotland Vol.1 I N M U L A © Richard Findlay 28 29 traditional; they were very different.” very were they traditional; has work through experienced has he learning The curve other dancers and pieces he looks at of the way also changed admire you younger, are “When you says: He choreography. I but now and their performance their grace dancers for artists as respect I and who with, work I that people admire friends, people my are The dancers I admire professionals. I can learn from.” the moment,While Thomas sees he himself as a dancer at “The best and says: training one day work make to like would feel I choreographers. around be is to choreographer a for learn and you to I have is that of things a wealth there like in work more some make to like doing. would I learndo by but it is not prioritythe future one.” number with Thomas with another role looks bright for The future developed Having Dance based in Edinburgh. Hughes David will then be a there the piece in Edinburgh and extended work Thomas hopes to that After and GermanScottish tour. doing a new are who Page, and Ashley with Scottish Opera in 2015. Orfeo @ThomasJBaylis When I got to Croatia I had never been in a full length ballet, never I had Croatia to When I got a had been in a corps de ballet, never I had never I had quite were The ballet classes in Croatia day. ballet class every . The experience was very different to to different very was . The experience on a pilot project with the Royal Welsh College of Music of Music College Welsh with the Royal on a pilot project He him as a dancer. shaped Thisand Drama. experience in contemporary day class every me a good “They gave says: much was I technically dancer: a as I changed and dance more find to on went he experience that From stronger.” NDCW helped him secure the from a reference when work There, Glyndebourne. at Page Ashley with work freelance on choreography new created choreographer renowned the et Aricie . Hippolyte opera the dancers in Rameau’s Thomas in Cathy Marston's Walking Shadow Walking Thomas in Cathy Marston's he worked where Wales, him to His has also taken journey Dance the National ensemble at as part the graduate of doing small scale and teaching touring of Wales Company It was from working with Ashley Page at Glyndebourne Glyndebourne at Page Ashley with working from was It with the Croatian in Zagreb work on to Thomas went that cast a to for over went Page Ballet when Theatre National of Aliceproduction learning he was as in Zagreb Glyndebourne, at his work else, someone by before been performed had that a role in a corps de ballet, was working for RCS and his at training here. invaluable much done very I hadn’t something that was “It Thomas says: in lucky very been have I stuff. people’s other performing of, Suddenly done has been new. I have most of the work that in this sortI was was of familiar situation two which but for been doing other things. I had since graduating years

Although since then I have done things that are more more are done things that since then I have Although radical most the probably challenging,was it back looking me.” shift for Theatre success, the National show’s Off the back of that in a production of direct some of the movement him to asked This in Edinburgh. represented the Lyceum at House A Doll’s behind the table from working another shift of perspective; but also interesting the experience found speak. He so to with working challenging was “It said: and new completely tied fun. It experience, dance, but a good didn’t actors who been assistant I had that not long before because in nicely Midsummer 2012, in Opera/RCS Scottish with choreographer .” Dream Night’s a team player or people won’t or people won’t a team player again, no with you work a dancer good how matter gel.” to have – you are you be able to be adaptable and be be adaptable and to able “How you behave is so isso behave you “How to got have important – you Thomas in the 2012 Ballet Showcase Thomas in the A JOURNEY IN DANCE IN JOURNEY A BAYLIS THOMAS J. says: “It was good that I was open to trying different things. things. trying different open to I was that good was “It says: that environment a nurturing such was Theatre The National new do were to asked some of the things I was though even unsupported. time I felt any never was me there to sufferers. Here his beautiful choreography created a poignant a poignant created choreography his beautiful Here sufferers. agility debilitating the and between dancer’s contrast the all itself was The movement effects of MS on its sufferers. Armstrong dancer Katie Thomas and fellow by created of improvisation. a building process through act but he learn to on the job to Thomas had this role For is that you develop other interests, you build friendships build friendships you other interests, develop is you that ecosystem.” in a broader with other artists, see yourself you different in many work This has led him to open attitude with the National was His after graduating first job spheres. with actress Alison Life Shrinking of Scotland in My Theatre of the effects of MS on its an unflinching portrayal Peebles, the considerable variety of projects he has been involved varietythe considerable of projects he has been involved his credits and two versatility past the years over with on the in part the variety to he encountered of material a such RCS, stuff at did so much “Because we programme. comfort comfortable varietymy outside quite I was of things, RCS things about me, one of the great “For adds zone.” He He was part of the first cohort of students to graduate from from part was of the first cohort graduate He of students to deliver seeks to which Ballet programme Modern the new them to allows and students, to training dance unique Scottish on dance with input from focus combine a strong of cross-curricular opportunities. Ballet and a mixture us about Locks, Speirs at Thomas tells Sitting in the staffroom On an unusually sunny day in Glasgow we sit with alumnus sit with alumnus we in Glasgow day sunny On an unusually his rooms old rehearsal from throw a stone’s Thomas Baylis LocksSpeirs in Back Studios. in the city spring busy a after his about dancer is humble the young in Zagreb, working the Conservatoire. successes in 2012 from since graduating Dancer Thomas Baylis was part of the first graduating part of the first graduating was Dancer Thomas Baylis Ballet Modern new Conservatoire’s of the Royal year fresh him with up caught we This summer programme. his training where find out to in Croatia working from RCS. him after has taken

Royal Conservatoire of Scotland Vol.1 I N M U L A 30 31

Colin Currie Recognised hisfor “athletic percussionism, compulsive showmanship and deep musicality” (Guardian) © Marco Borggreve © Marco and upcoming performances. composers and he performs regularly with the world’s with the world’s regularly composers and he performs and conductors. leading orchestras about Colin more for See www.colincurrie.com with all the many "Working and Senior Timpani Junior students and Percussion has been an the years over and privilege enormous and will continue pleasure, School. be in the Junior to all these Little did I know the impact both ago years the Senior and Junior on have would RSAMD/RCS indeed." days Happy life. my “I first met Pam as a very young boy at a concert, and a concert, at and boy young very a as Pam met first “I very somehow lessons were (our her with started working 13. aged collaborative) such had She teacher. astonishing most the just was She grounding strong such instilled she detailed and insight I no question and patience vast She had performing. for her ask I could her. small a concern for too ever was had full answers give and listen always would anythingshe and and encouragement. incredible. were Conservatoire Junior the lessons at My my from run I’d so back-to-back, scheduled were they Often piano lesson with Sheila my lesson to with Pam percussion so incredibly and it was me so seriously Desson. took They and inspiring. creative experience on that does not do it justice - I draw “Formative” classical mind to opened my time as a Junior My thisto day. lot a and got itsand I learnedmagic. solid technique music too!” in the orchestras playing of experience Colin Currie is a solo and chamber artist the peak of at the highest at level, music new Championing his powers. foremost Currie is of today’s the soloist many of choice for coming through". the same time students at degree-level teaching stopped Pam She still teaches the RSNO IN 1999. from as her retirement Saturday. every and Pre-Juniors Juniors our At that time professional playing experience was difficult difficult was experience playing time professional that At necessary the without impossible and auditions find to started just the BBC had However experience. professional experience, cultivate Bristol, in based to orchestra, training a were They and credibilityconfidence musicians. young in to enough lucky was and Pam apply to graduates inviting Seniors teach to invited later was a position. When she secure of challenges the remembered she in 1977, the RSAMD at that and ensured musician professional being a young opportunities with the RSNO. playing given were students a position as to led BBC the with experience The invaluable years Two 1967. with the SNO in February second Percussion in the same PrincipalPercussionist appointed was she later in retirement her early held until a position she orchestra, in the orchestra. years 1999 after 32 Department, Junior staff the RSAMD joined the of Pam 1974 In this in post. years 40 During this and has just celebrated through gone have students talented extremely time many is He deserves special mention. but one student her door, soloist right. in hisColin an international own Currie, now from apparent was it and 13 aged room Pam's in arrived He do something to on go to going was he that age thisearly Colin entered of Percussion. significantvery world the in of the Shell/LSO category Competition, the under sixteen very becoming it was but as the Competition progressed spite in So, bestthe as player. emerging was he that obvious birthday, short of his sixteenth weeks of him being a few awarded winner and was the outright announced he was Colin the BBC for was challenge The next the Gold Medal. named the first winner of he was Musician in which Young category. included Percussion the newly and ColinIn 2004 Pam set up the ColinCurrie Young Competition of his in recognition a time as Percussionist Colin is funded by The Award RSAMD. at student Junior that institution the to back something give to wants who and musician as a young his to development central was special a such artist. had I and performing "Pam said: He wanted priceless. Those memories We are Juniors. time at acknowledge to award with a small time there my mark to generation further the next support and to there training my

the first student on their newly created Timpani & Percussion Percussion & Timpani created newly their on student first the and be her Tutor, to invited was Lesliecourse. Newland the point that began. At musician young a as journey Pam’s 120 music about small, with only still very was Academy opportunities playing numerous were so there students, a sole principalfor percussionist. becameit obvious 1966, in very course her of completion On thin on the ground. very was graduates new for work that On the day of the audition, Pam was dismayed to discover discover to dismayed was Pam of the audition, On the day as her Timpani and Percussion take couldn't she that this in place for no course was principal as there study Piano as her first option with offered was Pam category. declined she as her second, which Timpani and Percussion have should Timpani and Percussion that on the grounds importance of other the as level same the afforded been of the orchestra. instruments the from arrived a letter when Imagine her amazement offering her the opportunity later be two to weeks Academy DOW PAMELLA OUR FIRST PRINCIPAL PERCUSSIONIST PRINCIPAL FIRST OUR timpanist of the Scottish National Orchestra (SNO) Leslie (SNO) Leslie Orchestra timpanist National of the Scottish its monthly Dundee for visited the orchestra when Newland a formal for prepare to help Pam concerts. to able Leslie was and Drama. of Music Academy Scottish Royal the to audtion BMus degree course at the University of Glasgow. the University at course degree BMus Academy, Morgan born in Dundee and educated at was Pam lessons in timpani and percussion. first given was she where where selected Orchestra the Dundee Schools was for Pam Easson, Dundee, James for of Music the then Director lessons with the formal more have her to for arranged as a student and staff member throughout her life. Pam Pam life. her staffstudent and a as member throughout Conservatoire in the Junior teaches percussion currently and has also been course parta Pre-Junior up of setting has almost 50 now which years, 7–11 pupils aged for the Royal at role her teaching to students. In addition also teaches Pam on the Performers Conservatoire, Tutor and alumna Pam Dow has been involved with RCS with RCS has been involved Dow and alumna Pam Tutor

Royal Conservatoire of Scotland Vol.1 I N M U L A

To London! Rehearsing Rehearsing London! To and his Wilson with John as orchestra incredible BBC Proms. part of the show: of the The stars Ben Davis, me, John Louise Wilson, Dearman Yasbeck. and Tony 08 04 With composer and star and star composer With Lippa. Andrew ‘Kate’! A kiss from as the soprano soloist, before I Am Harvey soloist, as the soprano Milk before 03 07 Since then she appeared in July at Disney Hall in Los Angeles in Los Disney Hall at Angeles July in appeared Since then she Lippa’s Chorus of Los in Andrew Angeles Men’s with the Gay oratorio Albert as Hall the Royal at in the BBC Proms performing John the with Kate Me, Kiss Cole in Porter’s Vanessi/Kate Lilli her busy keep to enough As if this Orchestra. weren’t Wilson life. in her whirlwind diary us a photo of a week made she . A WEEK IN THE LIFE THE IN WEEK A SILBER Straight off the plane and and plane the off Straight Andrew for into rehearsal oratorio glorious Lippa’s ‘I Am Harvey Milk’ Men.’ ©BBC ‘I Hate 02 06 ALEXANDRA

BA Acting graduate Alexandra Silber has been taking the Silber has been taking the Alexandra Acting graduate BA RCS from graduated she since storm by theatrical world cap doffing her graduand’s after Almost straight in 2005. End debut as Laura and West her professional made she in White Woman The Webber’s Lloyd in Andrew Fairlie then since strength to strength from gone has career Her Jackson Cheyenne as Maria opposite stint and her recent Story Side great garnered of West in a concert presentation critical acclaim. Here goes! Direct 14-hour 14-hour Direct goes! Here flight Angeles to Los for ready Miss Vanessi her entrance. 01 05

Amy

AMY LUDWIGSEN AMY A letter from A letter home in New my in September 2010 from to Glasgow I ventured studies of my MA CCT cohort. The next year to join the York in a way life artistic and personal of both my course the changed I carrythat with me every day. to fill asked I was degree, my after completing Six months of DOOR SHAKESPEARE, a Director of Executive position the of the setting natural in the situated company theatre professional Wisconsin. in Baileys Harbor, at Björklunden Garden experienced company the I came to DOOR SHAKESPEARE while years few past spent the I have of leadership. transition its first and expanded confidence with the armed company, the rebuilding studies. my during I received artistic perspective to serve continues Conservatoire as The time I spent Royal at the the I cultivate As future. theatre’s the for I plan while a touchstone seasons, future artists, choose mission,regional employ theatre’s community in order the for programming outreach and create of William performance of the tradition rich the to best continue by and inspired for to be grateful I continue work, Shakespeare’s my time at RCS. my Amy Ludwigsen Director Executive Shakespeare, Door Wisconsin

THE POND THE

 Across Greetings from Greetings AMERICAN FOUNDATION to help us raise our profile, organise events organise events help us raise profile, our to fundraise,or pleasethen contact Haston Jules and Alumni Relations and the Development [email protected]. at team In 2015 we will be launching our new American new our launching be will we 2015 In benefitskey offers to which Donors of Company the pond. and friends across supporters our this space! Watch like and would based in the States are If you their families and other, new friends across friends across new their families and other, for support help build and to the States more that so programme scholarship our American artistsyoung performing have the opportunity the Royal at study to Conservatoire. with over 200 graduates residing across the the across residing 200 graduates with over departmentsall from alumni have We country. higher much are but the numbers in the US, (26%). than Music (74%) Drama for set up to was Our American Foundation alumni, with our strengthen relationships The United States is the country with the States is the country with the The United alumni, international of our number largest

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having first appeared at the festival on the Danny Kyle Open Open Kyle on the Danny the festival at first appeared having called Radio them a of Folk McFadyen 2012. Neil in Stage sets that them apart a sound “produce said they and “gem” place among Scotland’s in their own and puts them firmly at experience their about Talking bands.” coming and up a great was Celtic “It Connections, says: Grant this year’s and festivals celtic music the largest of one It’s experience. its quality for of acts be asked worldwide is so to known return hope to act We along as a supporting incredible. was concert.” own with our some point at busy been have CherryGrove launch album the Since record. the promoting country the up and down performing said: “TheThey reaction has been fantastic the - it makes that it. worth Now dedicationand well work hard of months and festival many as do to hope we is album the released, let and can year coming the in we as concert appearances trying to as possible. We’re music people hear our as many love all we something it’s as minute every of most the make opportunity.” every try embrace being a part to of and we , was recorded in February 2014 2014 in February recorded Now, was The album, No Time Like Fiddles, Box (Blazin’ House Gran’s studio, Angus Lyon’s at critic Music reviews. great garnered Club) and has already attractive really “a have: said they of The Herald Adam Rob articulated bright, on based sound nimbly signature rhythmic with strong work fiddle, harp and accordion this isa of sound the “Overall adds: accompaniment.” He in the international making headway isband that already further progress.” make and deserves to market music roots Celtic Connections, this at performed year’s CherryGrove BLOSSOMING TALENT BLOSSOMING TAKING THE FOLK WORLD BY STORM BY WORLD FOLK THE TAKING CHERRYGROVE project to fund a debut album raised 218% of their initial fund a debut album raised 218% of their initial project to able people were the online fundraising site, Through target. ranging rewards exclusive for return in money pledge to concerts. The scheme initially signed artwork private to from the cost of the pressing help cover of £1000 to a target had meant support the overwhelming of their album. However artwork, promotion put further could they funds towards events. and launch a fantastic said: “Kickstarter provided Grant Accordionist with friends, family and fans fund to engage us to for way 25 ended up writing over We way. in a unique album our as putting on concerts the as well for pledgers tunes our for other emerging for also has some advice highest bidders.” He elsewhere, find people can’t that rewards ensembles:“Offer and unique.” something creative “The reaction has been fantastic, work the months of hard it makes it.” worth and dedication well Scottish folk ensemble CherryGrove have been going been going have ensemble CherryGrove Scottish folk Some RCS. at since forming strength to strength from included have years two last the over highlights Festival and Londonthe performancesat 2012 Olympics in Lorient, France. Interceltique on the Scottish Music studying met while who The group, Shelley Heather accordion, - McFarlane Grant are programme, - guitar MacNeil and vocals, Sarah Marianne Fraser - piano, - fiddle. - harp and Mhairi Mackinnon their Kickstarter with a bang when startedThey 2014 off I graduated in 2004 and after a year of freelance work in in work of freelance afteryear in 2004 and a graduated I the to returned I management, stage and making prop both became the position of Assistant Maker when Prop Academy since. ever been here and I’ve available job? your about things and worst best the are What This varied. so can be is it’s that job my best about The thing change I wouldn’t However the most challenging aspect too. of it. any If I’m honest, I’d coveted the job since I was a student. I loved student.a loved I I was since the job coveted I’m honest,If I’d the and I thought environment and the whole the course assistto the props was it role (whose assistant maker prop production guide the studentswith their and help tutor tutorial a had I year second my In perfect the job. had makes) plan, a goal year a five produce to required I was where I degree upon completing my that stated mine statement; if it ever role maker the assistant for prop apply hoped to became available. impact on me and it’s a memory I’ll forever cherish. a memory I’ll forever impact on me and it’s memoryBest RCS as student? the fastest was true. It but it’s corny All of it. sounds That work, hard was It life. of my years three but most rewarding of educationout been a beginningthe in so especially I’d as of it. minute every then, but I loved long time before and broad very was which on the older course I was subject within technical every and production covered arts, design I specialised and stage so although in props, lighting, sound, I also did subjects like management, and workshop wardrobe, management, technical stage in so scenic art. toe the opportunity dip my I relished to subjects, it. enriched as a student, I felt by different many at RCS? to work did you come How How did you know you wanted to be a prop maker? to be a prop did you know you wanted How of whatever out things make As a child I’d creative. always I was make plasticine, to used I papier-mâché, and wire - find could I of then cast them with Plaster into using play-dough, moulds with a garden up in a propertyParis. a large had I grew that build dens and tree it, field attachedChristmas to so I’d tree of the joy discovered I’d a teenager the time I was By houses. then for room, my building things for and was tools power and so on. first flat my a for that and did I left as a hairdresser school and trained something more I craved retail. into going before years few art school, but no idea I considered but had what, creative a make art I could something think that was really I didn’t so I dismissed of, realistic career out it. acting the for the at course A friend applying was of mine technicala course was there that mentioned had and RSAMD I area first The day. open an I attended me, so suit might that the scenic art was department and the minute into taken was felt I sinks spattered paint the and buckets paint the I saw found I place. right the in was I knew I and excitement such the into taken I was but when department interesting every sculpting the students making department saw and prop that do that!), could you know even (I didn’t polystyrene a huge had day That moment! me; a ‘Eureka’ it for it was was ASTRELLA ASTRELLA OLDHAM

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, taking it on . This year also she Wuthering Heights Wuthering Nick Anderson (2010, BA Nick Anderson BA (2010, on has become the first Brit be to the onto accepted advanced solo marimba course the at Royal College of Music in London. Sarah Wilson (2012, BA Technical and Production Arts) withworked another alumnus Peter McMaster (2009, BA Contemporary Theatre Practice) tour and various to festivals in the UK, including and MayFest GIFT, the Edinburgh Fringe. 2012 Calum Huggan (2012, MMus Performance, 2011, BMus) is the production manager of //BUZZCUT//, a performanceart festival in Glasgow created by Contemporary Performance Practice) and Rosana Cade (2011, ContemporaryBA Performance Practice) Amy Ludwigsen (2011, MA CCT) is Executive Director Door of Shakespeare in Wisconsin. Grant Anderson (2011, BA Technical and Production Arts) has beendesigning lighting for well-respected Scottish theatre, was involved in some Commonwealth Games projects lighting designing also is and major Scottishfor events like Scotland’s moment, 2014 and Edinburgh’s Hogmanay street party and torch-lit procession. Craig Ralph (2011, Technical BA and Production Arts) is in Dubai rigging large scale events. , .

for Wood

at these at awards. . at the Almeida Theatre Stephen AshfieldStephen (2002 won Best won Performance in a Ghosts 2011 (2011, Lowden Jack Acting) BA won Bestwon Actor in a Supporting Role for year’s this at Studios Trafalgar and Olivier Awards. Meanwhile fellow alumnus BAMT) Supporting in Role a Musical The for Book of Mormon Zachary Tolchinsky (2011, Acting) BA recently completed the animated TV series in Tesla Time Goblin Studios, which pays tribute theto life Nikola of and Tesla. world Drew Marquardt (2011, Acting) BA appeared in the feature film Jack Ryan: Shadow Recruit. Amy Xaychaleune (2011, MMus) has performed violin in concerts with Sting, Adam Levine and Il Divo Charlotte Purser (2011, MA CCT) has started a production company, This Thistle Media and is writing and producing first her The play, LettersWar Ashleigh Blair BA (2010, Technical and Production Arts) has at Stagedoor worked Manor in Musée NY, d’ethnographie de Neuchâtel (Switzerland), she also sabbaticaldid a month’s in Cobalt Studios, is She currently York. New working the on TV series Outlander being filmed in Scotland, then heading back the to Tron Theatre anfor autumn and show panto.

at the

Forget Fire Alex Fthenakis MA (2010, CCT) produced Edinburgh Fringe Festival with a group of young performers from Pepperdine University. Molly Bunder MA (2010, CCT) is a company member with Filament Theatre Ensemble in Chicago and has performed in two Scottish plays produced the by US company. PoulsonTom PGDip (2010 Performance, 2009, BMus) has beenmade a member the of Stockholm Chamber Brass and started with them in July when they Lithuania to went a for festival. brass Carlo D’Alessandro DFTV) BA (2010, thewon Professional Excellence award: Camera the at RTS Scotland Awards Scott BA McIntosh (2010, Technical and Production Arts) is currently Assistant Scenic Artist Shakespeare Royal the at working Company. Cameron Drummond Scottish BA (2010, Music Piping) was appointed the new Senior Piping Instructor at Fettes College in Edinburgh. is He currently at Perthshire in School Strathallan Scott BA McIntosh (2010, Technical and Production Arts) and BA Rosie Jacob (2014, Production Arts and Design) assisted lecturer Gary Fry in painting the props the for opening and closing ceremonies the for Commonwealth Games.

, an

Jesus Christ Christ Jesus . .

. (Lincolnway Summer Disclosure Macbeth: Parlour Macbeth Parlour Macbeth: Stock) and as Nancy in Oliver (Windy City Musical She Theatre). also works CBS at radio in Chicago and hosts an educational series. web immersive with play food, directed fellow alumniby Alasdair Hunter MA(2010, CCT) Szynal Jaime MA(2010, Musical Theatre) appeared in two this shows summer: as Mary Magdalene in Superstar serves as the Artistic Director Shakespeare Soup Stone for and will next be seen with them in the tour a three of person version of 2010 Julia MA Stemper (2010, CCT) Will Potts (2006, Technical BA and Production Arts) hasthe won Concert Touring and Events Stage category the at Knight Illuminationof Awards. Will was nominated his for lighting design for (2007, Faulkenberry Rebecca M Performance Musical Theatre) just ended run her as Mary Jane Broadway on Watson in Spider-Man Turn Off the Dark Melanie Ann Wiliford (2009, MA CCT) is the Festival Play New Director and Production Manager Centre at Carolina. South Greenville, in Stage isShe currently directing Centre Stage’s season opener the musical, Hands on a Hardbody

.

series, alongside and the English-speaking English-speaking the and fellow alumni Cree, Steven James Fleet and Bill Paterson. Oliver Searle (2006, PhD Music) and Angela Darcy (2000, BA Dramatic Studies) performed the Violin Concerto of E.J. Moeran 23 on May with the BBC by conducted Orchestra, Concert Martin which Yates, was broadcast live BBC on Radio 3. Susie Strickliesel (2001, Stage BA Management Studies) is playing the Jamie of role Fraser in the new Outlander bothwere nominated Best for Music and Sound the on Critics’ TheatreAwards for in Scotland 2013-2014 Shortlist. 2000 – 2009 Sarah O’Connell (2000, MDra) is the Artistic Director of Asylum Theatre in Las Vegas. isShe directing their upcoming production of ebook The of Love Rupert Marshall-Luck (2001) is a Production and Casting Associate in Germany currently Will working We Ben on Elton’s Rock You tour Rocky The of Horror Show with the director Sam Buntrock. Lesley Craigie (2002, MMus) works as an opera singer in New sang She PresidentYork. for Obama in a reception Alex for Salmond in the US. Johnny McKnight (2002, CTP) BA was nominated Best for Play New theon Critics’ Theatre Awards for in Scotland Shortlist. 2013-2014 Sam Heughan (2003, Acting) BA

,

Love Actually Love . ,

Ray , on Broadway. Moulin Rouge CLASS NOTES and Mac Brydon (1997, DDA) Mac Brydon (1997, runs the Lafayette Saloon Series at the Club Players in Gramercy Park, NYC and willhe be appearing in some of the upcoming shows. Sarita Uranovsky MMus,(1999, 1998, BMus) is a violinist in Boston appearing with Boston The Pops, Boston Philharmonic. is the Senior Director Production of with LA Opera. Cecilia Weston (1996, MMus Conducting) went to New Zealand New to went in 1999 on the work to Wellington International Arts Festival, in 2001 taking a position up build to replica WWI aircraft. is He currently building sets film, for theatre and television. Rupert Hemmings (1992, DSMS) has conducted film The scores for GatsbyGreat is the Chorus Director and Conductor San for Francisco Opera. Doreen (Donald) Falby (1984, DRSAMD, 1983, BMus) (1985, Dramatic BA Studies) is reviving his as role the Emcee in Cabaret Chris Higson (1990, DPD) 1968 –1999 Ian Robertson (1968, DRSAM) is director the of Peabody Children’s Chorus at the Peabody Institute in Baltimore. Cumming Alan

Royal Conservatoire of Scotland Vol.1 I N M U L A 38 39

ALUMNI ALUMNI AMBASSADORS Alumniambassadors stand benefit to from their involvement in the programme through the opportunity it presents to enhance their own personal and professional development, supportto their career an play development, to active role in RCS, the of give to development continued service to afterRCS graduation, access to the library and other virtual resources, and take to advantage a number of excellent of networking opportunities. In the first instanceare we looking establish to Ambassadors in the United Kingdom, North America and Asia. if are you an enthusiasticHowever, recent graduate from another country, an do have not where we Alumni Ambassador, would be we very hear to happy fromyou as well. If areyou interested in helping us in any way would or like findto more, out please contact [email protected] Are a Royal you Conservatoire Scotland of RSAMD) (or graduate who would like “give to something back” in a practical Alumni The way? Ambassadors programme offers theyou chance students RCS help to get ahead in their careers, speak or prospective to students education at fairs. be assist to able you Would with the following? • Assisting member staff of career at fairs and visits to institutions • Helping open at days and applicant days • Building links with your school old • Providing quotes and testimonials publications for • Offering informal advice alumni to moving your to area. If can you spare some time would like we help to hear to from you.

KEEP KEEP IN TOUCH I would like to introduce myself as Nicola Smock, the as Nicola myself to introduce like I would come It may Officer. Relations Alumni appointed recently are our alumni I am delighted that as no surprise to learn of Scotland Conservatoire Royal inaugural of the focus the and so news so much about have to shout We Magazine! the filled have could we that stories to share great many our Alumni building are We times over. three magazine website, news alumni RCS on the sharing and Association our and through account LinkedIn page, our Facebook to have thrilled are so we e-newsletters newly published too. magazine in the space given been or Conservatoire Royal of the a graduate you are Whether as it Drama, and of Music Academy Scottish Royal of the you. from Your to hear love would known, we formerly was to shape the will help and opinions knowledge experiences, you! without do it can’t – we Association Alumni of benefits a number and services which you, are as There for tickets discounted These include can enjoy. a graduate, rates, room rehearsal discounted at RCS, performances friends, lost finding assistance opportunities, networking invitations to events more… and much website of RCS section alumni on to the do log Please news with alumni to date up to keep (rcs.ac.uk/alumni) opportunities. of alumni number and a growing database? in our alumni details your current got we Have your by to date emailing up record us to keep your Help to of graduation and year studied course name, address, to up our records us to keep helping By [email protected]. your copy of our you receive sure you can make date and e-newlsetters. magazine annual in touch! Keep Smock Nicola [email protected]

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which Tron The at played and will appear in the Festen was runner in up this year’s Got. Britain’s Talent Crystal Clarke Acting) BA (2014, has landed in a role the forthcoming EpisodeStar Wars VII film. HasanKerem BMus) (2014, Conducted the European Union Orchestra Youth Cara Roxburgh BA (2014, Production Arts and Design) was the Set and Costume Designer on in June this year. McKnightHelen BA (2014, Production Arts and Design) is costume assistant the on Sell A Door production of Sunset Song which began its current Scottish tour in September. BA (2014, Reilly Gillian Production Arts and Design) has painted two murals interior for designers in Glasgow and is hoping in more that work to field. John Bell (Short Courses) appeared in Hobbit: The Desolation of Smaug third film in the trilogy Hobbit: The BattleThe of Five Armies Got your own Class Note? [email protected] email Lucy Kay BMus Performance)(2014,

.

BBC editing Series CBBC’s 3 of SparticleThe Mystery was the first student graduate to with a PhD in Drama from the RCS and has a teaching accepted now post the at University Sunderland. of Conor Meechan DFTV) BA (2014, thewon BAFTA Scotland New BestTalent for Award Editor in March. the then for He worked has released a done a CD, summer tour and writes a blog for Gramophone Magazine. Li-Chin Teo is the on faculty (School of SOTA of the Arts) in Singapore. Rose Sims (2013, Technical BA and Production Arts) has spent the last months 18 as Assistant Scenic Artist the at Royal Theatre,Lyceum Edinburgh. Danielle DiDonato (2013, MMus) is in Hollywood West where she vocal and instrumental an is accompanist. Sarah Newton (2013, BA Technical and Production Arts) 2014 Marc Silberschatz (2014, PhD Drama) Performance, 2011 BMus) (2013, MMus Accompaniment) sells fine her art paintings through Pitlochry Theatre where shop, she was also Assistant Scenic Artist. Paul Chamberlain (2013 MMus

, was

with Curious The GroundsmanThe Crime and Punishment at the A Perfect a Pie Stroke in A Play, plays lever harpplays lever and was just Harp Scottish National USA named Champion the by Scottish Harp Society of America. JessicaHardwick 2013 Haley Hewitt (2013, MMus) (2013,Acting) BA internationally festivals at screened and Best picked up Fiction at the BAFTA Scotland Talent New Awards. Channel obtained 4 have the rights the to film and it will be screening as part Shooting The of year. this strand Gallery won thewon Billy McColl award Best for andNewcomer also Best Ensemble for Critics2014 Theatre Awards For in Awards. Scott (2013, Reid Acting) BA was nominated Best for Male Performance his for role of Thomas in and a Pint the at Critics’ Awards for Theatre in Scotland 2013-2014. Jonny Blair’s (2013, DFTV) BA film with Jeff winning Award director Jason Gerace. Alexander Ridgers (2012, BA Technical and Production Arts) lives in Chicago. recently She directed a full length experimental opera called Rung Theatre Branch, and is assistant directing the Dead show Accounts is now on an MFA Designis an on now MFA at Northwest University in Chicago. Kristin Davis (2012, MA CCT)

Royal Conservatoire of Scotland Vol.1 I N M U L A Here at the Royal Conservatoire, we we Conservatoire, the Royal at Here need students to everything provide discipline. their chosen at excel the to thanks flourish Students blend of intensive extraordinary performance a rigorous tuition, professional with working schedule, create to the space and counterparts, the disciplines.with others across our by do is driven we Everything This RCS. is our excellence. for desire O U R R C S

Royal Conservatoire of Scotland Vol.1 42 43 #03 #01 #02

Do you recogniseDo you these photographs? areThey among a large number of unattributed photographs in the Royal Conservatoireof Scotland’s Collection, Historical and Archives and need identify we to your help it. in you thisWere performance? Do recogniseyou the What faces? was Who directedthe play? When it? did it take place, and where? Our archives are actively collecting performance ephemera from our institution’s long history. If have you old programmes, photographs, prospectusesyour student old even or report hear to love cards then we’d from you. If can you then help please in get touch with our archivist: Harris-Logan Stuart 0141 270 8299 [email protected] email Junior School of Music Piano Class in the Piano of Music School ClassJunior in the 1950s Athenaeum Glasgow School of Drama performance of Beauty and the Beast Beast of Beauty and the performance of Drama School with Nancy McAvoy 1953 Dec and Alex Mitchell Old Building Athenaeum FROM THE THE FROM ARCHIVES College Dining Room in the Old Athenaeum Old in the Athenaeum Room Dining College c1910 Building Groves Television Studio through the windows of the control room after after room control of the windows the through Studio Television Groves 1962 Art on 24 May of Dramatic College of the opening the Glasgow Athenaeum our to in 1847 present incarnation as Scotland’s national conservatoire, celebrate the marvellous and unique journey we have travelled. The RoyalThe Conservatoire Scotland’s of archivesand collections are an unparalleled resource rich in both the depth and diversity its of holdings. and papers institutional Historical material, from our foundation as the

Royal Conservatoire of Scotland Vol.1 S C R R U O 44 45

HAZEL MCBAIN (MMus Opera) Recipient of the Forson PrizeSinging “Each of these “Each of these performances has been vital in development my and I as a singer I have that feel developed really the throughout of the year.” course (Scottish Opera), (Royal Conservatoire of (Scottish Chamber Orchestra), Orchestra), Chamber (Scottish (Royal Conservatoire of Scotland and London Youth Betrothal a Monastery in (Royal Conservatoire ofScotland), (Royal College Music of and Royal Conservatoire Scotland), of and Die Zauberflöte (Royal Conservatoire of Scotland), Kätchen, Werther La Clemenza di Tito (Royal Conservatoire Scotland) of and Lisette, La (Royal Conservatoire of Scotland). di Poppeadi Anna Die Reich (understudy), Lustigen Weiber vonWindsor DieEntführung aus dem Chorus, and Serail Maometto Secondo (Garsington Scotland), Opera), Minerva, Ritorno Il d’Ulisse Patria in (Royal Conservatoire of Scotland), Servilia, Rondine Concert experience includes Jesu Bach’s Meine Freude Magnificat Scott’s Opera Concert with the Scottish Opera Orchestra (City Halls, Glasgow and Hall, Queen’s Edinburgh). “I am very grateful the for support that received I have which has helped to me fund first my year the on MMus Opera course RCS. at This has allowed to me dream my follow becoming of an opera singer. had a wonderfulI have time, working under the tuition Wilma of MacDougall and I feel that has voice my progressed greatly. also I have been heavily involved in all three the of operas that the on, put have RCS as well as performing in a concert with the Scottish Opera Orchestra in the Hall, Queen’s Edinburgh and in the City Halls, Glasgow and taking part in a set opera of scenes RCS. at Each of these performanceshas been vital in asdevelopment my a singer and thatfeel I reallyI have developed throughout the course the of year.” Hazel McBain is a Scottish soprano currently the on opera course the at Royal Conservatoire Scotland of under the tuition Wilma of MacDougall. Hazel graduated with a first class honours from the Royal College Music, of studied she where with Kathleen Livingstone. Hazel has participated in masterclasses with Sarah Deborah Lawrence Walker, York, Zazzo, Rosalind Plowright, Jane Eaglen, Felicity Palmer and Dame Gwyneth Jones. include Roles Lauretta, Papagena, Opera), Chorus, Bartered The Bride (British Opera), Valletto, L’incoronazione Youth

ARSHAK KUZIKYAN (MMus Opera) Recipient of the Hamilton Duval Scholarship “I’ve had an amazing an amazing had “I’ve and unforgettable so far, time here and I still have to year one more be in this unique environment.” , Raimondo in ARTISTS EMERGING , Dulcamara in Donizetti’s d’Amore L’Elisir LuciaLammermoordi among many another roles. In 2011 was he Don Giovanni “My Scholarship made it possible study to the at Royal Conservatoire. Without this on place it I could my accepted have not course. had I’ve an amazing and unforgettable time sohere and far, I still year more one be have to in this unique environmentall have I where the resources needI as develop to an opera singer. friendlyThe and open relationship between students and staff is think I very inspiring.” and important was as accepted a soloist both for Spendiaryan National Opera Theatre and OperaYerevan Studio. Since then has he appeared in the roles Leporello of in Mozart’s Donizetti’s awarded the first prize from the Lisitian Pavel and Tatevik Sazandaryan National vocal competition. 2011was he anactive participantin Georg SoltiAccademia’s masterclasses in Castiglione della Pescaia. Scholarshipsvitala play in role ensuring RCS attracts the very best in talent and home – at across the globe – enabling students financialovercome to barriers. asked some of our We scholarship students what receiving an award has meant them to and benefitted they how have from financial support. Arshak Kuzikyan was born in 1983 in Armenia. Yerevan, In 2005 graduated he fromthe vocal department Komitas Yerevan of State Conservatory. In 2007 he

Royal Conservatoire of Scotland Vol.1 S C R R U O 46 47 FERGUS FERGUS MACLEOD Leverhulme Conducting Fellow “A mind mind “A and expanding thought highly provoking experience” with Utsi Opera. with Fitzwilliam Chamber Opera and was appointed Conductor Xerxes in Zurich and performances Dvorak’s of Rusalka “In the past year benefited I have hugely one-to-one from teaching mentoring,‎ and as well as advice, guidance and coaching. rehearsed I have and coached countless of theof Cambridge University Music Society. After graduating with a degree in Music from Cambridge University in 2009 and completing his postgraduate studies with Professor Johannes Schlaefli Zurich at University the for Arts, Fergus became Assistant Donald to Runnicles the at BBC Scottish SymphonyOrchestra and the LeverhulmeConducting the at Fellow Royal Conservatoire of Scotland. Fergus has with worked the London Chamber Colorado Symphony, Orchestra, LondonSinfonietta, Royal Scottish National Orchestra, Biel Symphony and Tokyo Philharmonic Orchestra in addition his to ongoing the at role BBC. Operatic engagements included have premiere the Dennis of world und das Becker’s Tod Mädchen ensembles,in preparation performance. for the BBCSSO, For regularly have I assisted Donald Runnicles (including two BBC Proms concerts) - a mind-expanding and highly thought-provoking experience; conducted six children’s concerts (reaching approximately 2500 primary school children); and recorded repertoire broadcast for BBCon Radio Scotland with an ensemble including members both of BBCSSO and the RCS. Outside with RCS, worked I have the orchestra Scottish of Opera (in collaboration with Bayerische RCS), Kammerphilharmonie and Dresden Staatsoperette. All this been would have not conceivable without the considerable support from the Leverhulme Trust. This support has enabled secure to me the Sir Charles Mackerras English at Fellowship National Opera, I will where in first my work year as assistant conductor five on productions as well as assisting their music director Ed Gardner his on external engagements.” Afterjoining the National Orchestra Youth Great of Britainthe at age fourteen of as a violinist, Fergus began his conducting studies with Stark. Peter While a choral and instrumental scholar the at University Cambridge, of Fergus founded Ensemble CB3, with numerous gave whom he premieres world composers by such as David Thorne and Thomas Hewitt-Jones; conducted performances of Handel’s JOSEPH EDY “My scholarship scholarship “My has enabled me to 100% of my focus into time and energy becoming a better dancer.” (BA Modern Ballet) Recipient of the Leverhulme Ballet Scholarship with Swan with the Northern with theAmerican Ballet Theatre the at Coliseum; Le Corsaire with theEnglish National Ballet in the Royal Albert Hall; Nutcracker energyinto becomingbetter a been dancer. I have join to able gym a with the soleintention building of muscle up groups aid to in pas-de-deux my and work increaseto stamina. my also I have been afford to able attend to live screenings balletof performances which are only not educational are but inspirational in showing possibilities me what of I could become. been I have focus to able on dancer.” a as strength physical and mental my maintaining meeting friends; new entering competitions, and learning myself for fend to onlyat sixteen. scholarship My has enabled focus to me 100% time my of and At Tring had the he opportunity with work to professional dance companies, dancing in Don Quixote with the Petersburg St Ballet Theatre in the Champs-Élysées inFrance; living room Dance to of the Knights from Romeo and. His Juliet dreams becoming of a ballet dancer became a reality when gained he a scholarship study to Tring at Park Schools the at age ten. of embraced He every life of moment Tring at – the rigours four of hours dancingof lessons the a day; highs finally of accomplishing a variation after weeks practising; of the buzz rehearsals, of and the thrill finally of performingthe polished production an to audience. has It also instilled in him a sense self-motivation of and commitment as well as re-confirming that the life a professionalof dancer was definitely the right him. choice for Lake As a child, whilst his friends playing out were football, was Joseph dancing in his the English National Ballet the at Coliseum; and Nutcracker Ballet Theatre in Milton Keynes. Atthe Conservatoire was Joseph only of one two people qualify to the for Genée competition achieving by a Distinction in his Advanced 2 RAD Ballet exam. At the year end of graduation performance, was Joseph chosen perform to a solo - James, from LaSylphide, a strenuous part that came with a real understanding whatof is involved in being a professional dancer and the stamina required to be perform to able an entire ballet night after night. “This year has been a buzz activity of - learning new skills; developing ones; old

Royal Conservatoire of Scotland Vol.1 S C R R U O 48 49

THIERRY THIERRY MABONGA IDENTIFYING AND IDENTIFYING SUPPORTING TALENT SUPPORTING Thierry, a young man the to who had moved UK from the through Short Courses. And that’s the amazing thing about willit – you be challenged, there will be obstacles during your course that’s but the fun thing about it. the It’s fun of working with another person. Even if short a it’s period timeof really get to you communicate with someone and live the moments within and that me for a scene, a play, or great. was And that’s why I would definitely Short promote Courses. know people thinkYou just it’s a ‘short’ course despite but coursewhatever it is, a short it’s course with stuff a lot of and fun in it. And it really built as me really an to actor, know if this school was right and me for if I was right it.for And the Drama 60 at Scholarship the me gave full attentionand support. every loved I minute it. of So doyour research, find a short course.is likeThere help the Drama 60at Scholarship if need you it, it.” so for go Congo first as a boy, came through RCS to summer our schools in 2012. Clearly a talent be to supported,Thierry wasoffered a full tuition scholarship our on placement for Shakespeare and Greek summer school in 2012. was He encouraged think to aboutfurther training and applied to our Drama 60 at Scholarship programme which supports talented performers and producers theatre, of film and television gain to essential skills and experience as they training. formal towards work In 2013 Thierry was successful in gaining on here a place the Acting BA course. a passionate Now advocate RCS, of Thierry is actively involved in our recruitment and open days, speaking potential to students about his personal journey from Short Courses full to time formal training. “Drama 60 at Scholarship was me for amazing. short a few courses were There that I wanted do and to this opportunity allowed do it and to me the me gave support that I needed. I always knew that I wanted didn’t but RCS to go to necessarily know everything how and the worked Drama 60at Scholarship was great because it enabled work to me with different lecturers who teach here. I was feel, to able within myself, that this was definitely the right me. place for time my I loved Short at Courses. I was meet to able a lot greatof people who are so inspiring and just to got learn from and with work them. And classmates my of I met one

FOR ALL FOR ARTS “The programme CPP offered a number me invaluable of learningexperiences which challenged the way looked I artat - asking big questions about what it is and for who it encouraged It is explore for. to me the and power potential creativityof as engagement a tool for and a catalyst for change.” social these initiatives as tutors and programme organisers. Such as Jess Thorpe (2004, CTP) who is a lecturer in the Arts in Social Justice and designs and delivers creative projects in prisons and with communities affected crime. by Talking about the importance socially of engaged art Jess said: performingproduction or arts. Thisprogramme workswith pupils from 37 schools by offering open days, workshops inschools, with help interview preparation and advice on applications. making strongThe focus socially on engaged creative practice in the Contemporary Performance Practice degree has resulted in many the of programme’s graduates working as part of proportion continuing their study within Transitions 20/40 where they will grow. Another successful programme run through the is RCS our Entry into the Creative Industries programme which is run behalf on FOCUS of and West offers tailored support S5to and S6 pupils who are interested in progressing in the hours fully of funded tuition train to with Short Courses or the Junior Conservatoire. They also benefit from apersonal learningplan their develop and help to mentor individual skills.During the first year the of Transitions 20/40 initiative, recruited we 40 students into its newest scheme. Afterthis first gained sevenhave year, places in courses at further education/higher education level, with the greatest has also been launched. Supported the by Scottish Funding Council, the project wants find to and the develop next generation artists of who live in designated Scottishsocio- economic areas. Successful candidates 160 to receive up widening access training to and this year announced the for degree introduction a three of year Performance BA hearing impaired students launching in September 2015. RCS already offers a wide range short of courses deaf for actors delivered in partnership with Solar Bear Theatre Company with worked who have us offer to signed performances of some our of bigger recent years. over shows In the past year our landmark Transitions scheme 20/40 At RCS we believe RCSAt inwe arts all for and focus a key is widening access and participation. Over the past few a series on worked years have of programmes we and courses aimed facilitating at access the to arts. Whether it be in our Junior Conservatoire, our on Short Courses in or the degree programmes, are we committed to

Royal Conservatoire of Scotland Vol.1 S C R R U O 50 51

Events Calendar #MarchofWomen for activities. Tweet your images your Tweet are askingWe what happens get together When Women and effect change. Download poster and our When Women fill in your own statement with [______] When Women then takeWe picture a holding your statementand tweet us using #MarchofWomen Join a workshop willWe be hosting a range workshops, of including writing, drama, creative arts and more! Be part performance the of an to voice inspirationalGive Scottish woman. Volunteer usHelp engage in women the project and spread the word. get involved contactTo 550 us 2267 0141 on or email [email protected] and check our You can with get involved You in March many of Women different ways: Activities Activities will include a series writing, of drama and creative arts workshops building towards the in event March 2015. A documentary will be made, interviewing the women involved and following the development of the project.

MARCH WOMEN OF BRIDGETON 2015 MARCH 7 A procession of women from Glasgow Glasgow from women of A procession Glasgow will of out spill beyond and to streets the Library onto Women’s celebrate the achievements of women past and present. performance,The film and procession will arrive the on streets Bridgeton of in March 2015. This dramatic intervention takes its inspiration from A Cicely by Women Hamilton, ofPageant Great last performed 100 years ago. With 50 scripted over roles and in the play, another 50 written Scottish for anticipate women, we over will100 women take part in this project. This project is supported Creative by Scotland and is a partnership between the Royal Conservatoire Scotland of and the Library Glasgow Women’s in Bridgeton. • Try castings. enjoy to the not want - we enemy to you We’re theget Come in, job! with work us that 15 for or minutes, 10 try things out, make choices, be professional, and if it’s meant be, to it will. If not, we’ll remember enjoyable how it was having in you the room, well were, how prepped you and be back you’ll in with us again soon. the leave When you room, try the put to casting your of out mind. Well, you’ll seenhave that Bryan Cranston video already! • Learn get your first when not you self-tape to how NOW, self-tape request. That includes learning the get to how files online/how email to them on someone. to Self-taping is a huge now part the of job. • Malcolmtheory Gladwell’s is that10,000 hours practice of makes an you expert. needn’t spend 10,000 hours You prepping an for audition, proper but preparation will off. pay an on as accent much as possiblyWork you can worth (if it’s the investment, consider consulting a dialect be off coach), book short at even notice, the on read up writer, director, castingproducer, director all etc. It’s worth it. spend• Don’t all your time waiting the ring to for phone about acting busy work. If keep be you you’ll in a much better frame mind, of and made sure if that you’ve can you your billscover get any if acting don’t even you that work month, any acute financial pressure will be off. I promise do betteryou’ll auditions. Take• direction. can’tI stress this enough. don’t If you understand the redirection, nerves or miss made you it, ask talk to the through note quickly again start you before the reread. Better that than get it totally to wrong, not or take the note. Take the note!

The Angel’s Share and Share Angel’s The , CASTING TIPS BY KAHLEEN BY CRAWFORD Glasgow-based castingGlasgow-based agent us some gave Kahleen Crawford has been She graduates. for tips top in casting films as such involved Hallam Foe among Skin the Under others.

Royal Conservatoire of Scotland Vol.1 S A R T X E 52 53 Ian Mills Ian Malcolm Monaghan Montgomerie Alistair G Nankivell Bernard and Jane Nelson Yvonne Neville Sandi Olsabeck Parry Richard Gerry Paton Susan and Patrick Prenter Rita Rae Dr and Mrs J I S Robertson Eileen Robertson Sir Muir and Lady Russell Robert Scott Seaman Patricia Seers David Davidand Joan Selbie Murray Shaw Eileen and Archie Shearer Dr Myra Soutar FRSAMD Jean Souter Sheriff Alastair Stewart QC Stowe Connie Michael and Elizabeth Sudlow Swan Frank Una Syme Syson William Mabel Taggart Michael Underwood Watters Bill Wazir Arfan J L M White George Whitelock Bryan and Elizabeth Whitty andFeodor the Wolfe Walter late Diana Yates-Watson Diana Leckie of Younger George Gallaccio Lady Gibson Veronica Frances E Gillies Graham Robert OBE John B Gray, Bernard and Eileen Green Clare Gunnion Anne Hawley-Groat Sheila Hawthorn Janet Hilder Frank Hitchman J Douglas Home Andrea Jack Louis Jones Sheila Kelly Mrs Kidd Andrew Kilbride LairdHelen Katharine Liston Lyle Barbara Howard Lyle Douglasand the Judith late Maccoll Alan Macfarlane Esq Rona Mackie Black Elizabeth Mackinnon MacLean Ranald Lord R A Macpherson Macpherson Eileen WM. Mann Foundation John and Susan Christina Mavor McGillivray Iain Catherine McGuinness Isobel McIlwraith Ian McKee McWilliam A James Maureen Michie Morag C Millar Millington Rosemary Company of Donors M Aitken J G Allardyce Meranna Amersteig Evelyne Anderson Dennis and Anne Archer ArmitPeter Geoffand Mary Ball Esther Barrett-Ayres Captain and Mrs M K Barritt Mary Baxter Dale A Bilsland Bogle John Esme J Bookman C K Brooks James Bryce Bridget Butter G F Cambridge Lord Cameron Of Lochbroom Jennifer Campbell Castle Edward Betty Chalmers G I M Chapman Valerie Charlton HeatherCorbett Crane Margaret and AlisonTom Cunningham Dale William Tam and Kathleen Dalyell Lesley Doyle Campbell and Norma Drummond David Dryer Sir James Dunbar Nasmith Jim and Alison Fallen Doris Fairweather Elizabeth Ferguson Dianne Fraser Sir William Fraser GCB FRSE Fyfe M William

Caram Trust Caram Currie Clan EMI Music Sound Foundation Inches Carr Trust John Mather Charitable Trust JTH Charitable Trust Keepers the of Quaich Richmond Douglas Charitable Trust Club TrustSavoy Fund Lining Silver Sophie's AnnThe Driver Trust Trust Educational Baird The LeverhulmeThe Trust King Family Fund MackintoshThe Foundation The Robertson Trust The Thomas Sivewright Catto Charitable Settlement TradesThe House Of Glasgow WilliamThe Syson Charitable Foundation The Wolfson Foundation Trust Roddan Margaret and Thomas Underwood Trust Yamaha Music Uk Ltd

YOU Lt Col Malcolm Mcvittie Professor and Mrs Arnold Maran Hilary Mounfield Alan Peacock Isobel A Poole Prosser D William David Reid Daphne Robertson CountessThe Rosebery of Julian Russell Henrietta Simpson John Stevenson James Stretton Woodcock Neil Hedley G Wright Michael and Sarah Innes Mr and Mrs John Sibbald Henrietta Simpson Lady Alison Smith Maurice Taylor Professor and Mrs Raymond Thomson Trust Arts Ardkinglas Barcapel Foundation Club Rotary Cambuslang TO OUR SUPPORTERS OUR TO THANK for ourfor students. would like thank to We the following individuals and organisations for theirfor generous support and sharing for our passion, vision and commitment the to performing arts. Thank also you those to individuals remain to prefer who anonymous. The philanthropicThe support received the by Royal Conservatoire of Scotland is increasingly important in providing the very best musical education, facilities, support and opportunities Scholarships Captain Michael K Barritt RN Bogle John Robert Bowman Robert Brown Anne Clutterbuck Ian Crombie Dale William Lance Davis James Forson Jeanette Gilchrist John Griffiths Douglas Hall Colin Hamilton and Kulgin Duval Harrison Patrick Frank Hitchman J Douglas Home Lord James Hope Sir Patrick Hunter Blair Michael and Elisabeth Hutchings Raymond Johnstone Alan Macfarlane Esq. Lucinda Mackay MacLean Ranald Lord John Malcolm-Smith Malcolm McIver

Royal Conservatoire of Scotland Vol.1 S A R T X E 54 55

SCHOLARSHIP FUND SCHOLARSHIP • An end of year progress report from the recipient of your your of recipient the from report progress An• year of end scholarship party other and various Thank You annual our to • Invitation and performances events RCS Conservatoire the Royal from newsletter • Quarterly Scholarships are vital to enabling us to develop talent and talent and develop to us enabling vital to are Scholarships financial barriers is reduce for to goal and our excellence, on focus to them allow as possible to students as many the artists, into and educators leaders and growing flourishing of the future. the following will receive you As supporter a scholarship benefits: and priority copies of Performance booking • Advance publications our in support of your • Acknowledgement and digital media details nomination student • Annual including biography them perform • Opportunity and watch meet students to RCS.AC.UK/SUPPORTUS JOIN OUR FAMILY OF SUPPORTERS TO SUPPORTERS OF FAMILY OUR JOIN CREATE THE FUTURE FOR PERFORMANCE PERFORMANCE FOR FUTURE THE CREATE SUPPORT US SUPPORT US COMPANY OF DONORS OF COMPANY Conservatoire events and performances events Conservatoire sessions with visiting Q&A artists, tours, • Open rehearsals, and other ‘behind the scenes’ events Conservatoire the Royal from newsletter • Quarterly we who do, we what about information more find out To visit: rcs.ac.uk/supportus give, to support, and ways By joining our individual giving programme, the Company the Company programme, giving individual joining our By best the very in performing help us provide of Donors, you art education opportunities. performance As and part of of benefits a range will receive you family of supporters our including: and priority copies of Performance booking • Advance publications in our support of your • Acknowledgement and digital media with students and staff Tea Afternoon our to • Invitation party other and various Thank You annual our to • Invitation (BA Acting) (BA Crystal Clarke words to describe how thankful I am for an education at this wonderful an education this wonderful at for thankful I am describe to how words so to more been in Britain, trained even have to institution. I am proud back be give to able to I hope, one day, trained. Conservatoire be Royal me. to it gave some of what RCS to Thank you.” “As a BA Acting student from the USA, I don’t think I have enough enough think I have I don’t the USA, student from Acting a BA “As and has a stage the size of the Londonand has a stage Palladium. educational is know) institution (so far the only as we RCS and a shares by limited a company iswhich simultaneously but true. Weird not a public body. are We charity. are in the UK – we the second oldest conservatoire are We 25 and only College of Music older than the Royal years 35 of Music. Academy than the Royal younger years The former Athenaeum on Buchanan Street houses the Hard Hard the houses Street Buchanan on Athenaeum former The Some of the Thai restaurant. Café Chaophraya and Rock original décor can still be seen in those buildings. places applications for on 3043 over received we This year courses. all of our countries 58 over from Conservatoire the to come Students 67 countries. alumni in over have and we with each 600 public performances year put on over We being issued. tickets 60,000 are There as being a charity. as well a corporation are We is an there and individuals by issued owned and stocks the stockholders. for Annual General Meeting people 344 of seats audience an Theatre Athenaeum New The Please email your responses to [email protected] [email protected] to responses Please email your and your name and year and include the production contact details. PRODUCTION GUESS THE GUESS DID YOU YOU DID KNOW..? We have almost as many staff as students – 914 students to students to staff as students – 914 almost as many have We staff. 873 Music of Academy Scottish Royal the that 1987 until wasn’t It location. Street Renfrew the current to moved and Drama In 1944 the international standing of the school was standingschool was of the the international In 1944 the prefix that approved VI, who King George by recognized title, making it the ‘Royal the Academy’s to be added ‘Royal’ of Music’. Scottish Academy So after completing your degree you think you know know think you you degree So completing your after See Conservatoire? the Royal about know is to all there facts! all these RCS know if you of Scotland started as the life Conservatoire The Royal Educational Association and became in 1845 the Glasgow the delivered Dickens Charles in 1847. Athenaeum Glasgow the opening of the Athenaeum. for address inaugural first response with the correct answers to both questions both questions to answers correct with the first response Goose. Mother Panto RCS this to year’s will win two tickets Can you guess the production and the year of this fabulous this of fabulous year the and guess production the Can you it wasn’t Hint: of Scotland extravaganza? Conservatoire Royal The thistaken. was of Scotland when Conservatoire the Royal

Royal Conservatoire of Scotland Vol.1 S A R T X E

200 0141 270 8213 Over Over SHORT SHORT short courses short [email protected] Find out what courses rcs.ac.uk/shortcourses are on offer in 2014/15 at: COURSES adults, beginners for young people, young for and professionals. and professionals.

All details correct at the time of publication, and printed in good faith, but all information is subject to alteration. We reserve the right, without notice, to vary the right, vary notice, to without reserve We is subject faith, but all information alteration. All details to the time of publication, at correct in good and printed arts. in the performing of excellence a charity are the achievement to committed We modify and to facilities of programmes, the content and arrangements. (Scotland) and a charity no SCO015855. in Scotland registered no 4703 guarantee reg by limited A company

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