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TAKE

YOUR

PLACE

2020

for performers and those who make performance possible 1 WE WANT WHAT YOU WANT

This is to spend the rest of your working life doing what you are passionate about, can do well and make a living. So the motivation we had when our Institute started, and still have, matches yours.

ach year we ACCOLADES survey our graduates, four Many of our graduates are award-winners. Here’s a selection from our 24-year history. Eyears after leaving us to find out if they are Music Week’s 30 Under 30 achieving this goal. The CO-PRODUCER OF BEST MOTION PICTURE 2013, 2014 & 2015 latest result, for the 82% OF THE YEAR NOMINEE (2019) of our 2014 graduates Artist & Manager Awards Musicians Benevolent Fund that we could find, MANAGER OF THE YEAR (2017) Songwriting Award WINNERS 2003, 2005, 2006, 2008 & 2011 showed 91% in work. Association of Lighting Designers You will find LIPA – Michael Northen Bursary National Encore Theatre Awards graduates performing WINNERS 2007, 2012, 2015, 2017 & 2018 THEATRE MANAGER OF THE YEAR (2012 & 2013) or making performance possible all over the BAFTAs Norwegian Grammys world. There are so DIALOGUE EDITOR BEST SHORT FILM WINNER (2017) BEST SOUND NOMINEE (2016) BEST POP GROUP (2015) many we could tell you BEST NEWCOMER (2012) about, but we’ve had BEST FEMALE ARTIST (2004) to limit ourselves to a CO-WRITERS OF BRITISH SINGLE WINNER (2017) few case studies in this BRITISH PRODUCER OF THE YEAR NOMINEE (2016) Awards CRITICS’ CHOICE NOMINEE (2016) prospectus on the course BEST SET DESIGNER WINNER (2017) pages. There are lots BroadwayWorld UK/West End Awards BEST COSTUME DESIGNER NOMINEES (2014 & 2016) more on our website. BEST DIRECTION OF A NEW PRODUCTION WINNER (2016) SMA Stage Management Awards Cinema Audio Society Awards STAGE MANAGEMENT INDIVIDUAL WINNER (2016) BEST TV MOVIE OR MINI-SERIES WINNER (2017) Grammys Sky One’s Got to Dance As well as being MIX ENGINEER BEST LATIN POP ALBUM WINNER (2017) FINALISTS (2011) award-winners, Knight of Illumination Awards Swedish Grammys our graduates TOURING & EVENTS ARENA WINNER (2018) have worked with: BEST POP ALBUM (2015) Latin Grammys The 1975, Anne-Marie, MIX ENGINEER BEST CONTEMPORARY POP VOCAL ALBUM The Stage 100 The Charlatans, WINNER (2016) 5 LISTED IN 2019 (LISTED IN 2014, 2015 & 2016) Circa Waves, The Stage Debut Awards Clean Bandit, The Coral, BEST ACTOR IN A SUPPORTING ROLE BEST DESIGNER NOMINEE (2018) Lana Del Rey, , IN A MUSICAL NOMINEE (2016 & 2017) , PRODUCERS OF BEST NEW COMEDY NOMINEE (2016) DIRECTOR OF BEST REVIVAL NOMINEES (2009 & 2013) Theatre Awards UK Florence + the Machine, AND BEST MUSICAL REVIVAL NOMINEES (2008 & 2010) BEST DESIGN (2012 & 2018) Franz Ferdinand, OF PRODUCTION WITH BEST PERFORMANCE IN A PLAY NOMINEE (2012) , Ellie Goulding, OF BEST ENTERTAINMENT WINNER (2013) , Life! Theatre Awards (Singapore) Jools Holland, Niall Horan, BEST ACTOR WINNER (2008 & 2012) BEST SOUND DESIGN OF A PLAY NOMINEE (2014) Tom Jones, Michael Kiwanuka, The Linbury Prize for Stage Design TPi Monitor Engineer of the Year Lady Gaga, , 7 FINALISTS IN 9 YEARS, OVERALL WINNER (2015) WINNERS 2011 & 2014 , Paul McCartney, MTV Europe Music Awards Whatsonstage.com Awards BEST UK AND IRELAND NEW ACT (2008) , , PRODUCERS OF A SHOW, NOMINATED FOR SEVEN AWARDS , Emeli Sandé, Music Producers Guild Awards INCLUDING BEST MUSICAL REVIVAL (2016) Sam Smith, Britney Spears, BREAKTHROUGH ENGINEER OF THE YEAR NOMINEE (2018) BEST TAKEOVER IN A ROLE NOMINEE (2015) St Vincent and Stormzy. SELF PRODUCING ARTIST OF THE YEAR WINNER (2017) BEST SOLO PERFORMANCE NOMINEE (2012)

2 “LIPA is one of the best performing arts schools in the world.”

OUR LEAD PATRON Paul McCartney CONTENTS THE COURSES

Take your place 4 Acting Foundation Certificate 20-21 A welcome note from our Founder 5 Dance Foundation Certificate 22-23 Collaboration 6 Popular Music & Music Technology Making it happen yourself 7 Foundation Certificate 24-25 An international outlook 8 Acting BA (Hons) 26-29 Take a look around 9-11 Acting (Screen & Our teaching 12 Digital Media) BA (Hons) 30-33 Doing your own thing 13 Applied Theatre & Community Drama BA (Hons) 34-37 culture 14 Creative Technologies & Living in Liverpool 15 Performance BA (Hons)/MArts 38-41 Where you live 16 Dance BA (Hons) 42-45 What it costs 17-18 Management of Music, Entertainment, Student support 19 Theatre & Events BA (Hons) 46-49 Music BA (Hons) 50-53 Music (Songwriting & Performance) BA (Hons) 50-53 Music (Songwriting & Production) BA (Hons) 50-53 Sound Technology BA (Hons) 54-57 Theatre & Performance Design BA (Hons) 58-61 Theatre & Performance Technology BA (Hons) 62-65 Acting () MA 66-67 Costume Making MA 68-69 Professional Management MA 70-71 These programmes are awarded by:

THE PATHWAY

Entry requirements 74-80 Applying for undergraduate courses 81-83 Applying for postgraduate courses 84 How to find us 86 Supporters 87

3 TAKE YOUR PLACE

As well as developing your skills, your training needs to provide you with the experiences, contacts, industry insight and interpersonal skills to achieve sustained work. THE PLACE “I know a fair amount about working in music and there’s much more to it than writing and performing. There are many jobs that need to be done to bring any creation to people – design, production, management and marketing are just some of them. We know there are many forms of success. Supporting performance, there is a breadth of employment, which generally isn’t recognised. When we worked on our approach, we wanted to bring a variety of skills together – which is what Finding the right fit we have done.” You need to find somewhere you will feel inspired and have room to grow. To get the most out of your training, whether you perform or make performance possible, Paul McCartney you should experiment and take risks. Pictured with our Founder: Where we come in Mark Featherstone-Witty Over the following pages, you’ll find out how we provide this and more. You’ll see how and why collaboration plays a crucial role, how our facilities support you and how industry experts contribute to your learning. You’ll find out why we teach enterprise skills and how we build this into every course. We hope you’ll take just as much inspiration from this, as the course information between pages 20 and 71 and then will choose to take your place with us.

4 Dear Student,

Ken Robinson, an old friend and one of our early Companions, says that finding your passion changes everything. He’s right. I hope this has happened for you. Until you discover what you enjoy and can do well, you don’t know who you are. After this, you need to perfect your skills and reach that moment when other people start paying you for doing what you do best. Achieve this and you are set.

This is a life journey because that’s the this will take. Humans are, it seems, inherently attracted to short cuts and spend time wondering how they can achieve what they want to achieve, without putting in time. In the creative and performing arts, as in many occupations, you simply can’t. While your friends are having fun in the sunshine, you are inside, relentlessly perfecting and refining to the point where payment becomes an enduring reality. n preoccupies serious teachers. This preoccupies us. What you learn and how you lear When I was creating a secondary school some (whichsimple becamequestions. The The BRIT main School questions in ), I asked I askedthem those, who had made their mark, were: what did they need to learn to survive and to reach their eminence? What did they need to learn the hard way, without the privilege of attending a specialist institution, like ours?

Often they mentioned the same challenges: creative collaboration, breadth of skills, learning by doing, stamina, enterprise and the reality of ‘show business’. Since then, there have been two other key inspirations: the depth of what project-based learning can achieve and discipline of deliberate practice.

You’ll experience these, if you decide we are for you. You’ll also be hearing from leaders in every discipline we teach – and also from our graduates, who have achieved major positions.

There are more challenges ahead, there always are... for all of us. That can sound negative. It shouldn't. A challenge is an opportunity and the learning we provide encourages your inventive response.

Mark Featherstone-Witty Founder

5 COLLABORATION

Learning how to collaborate is essential. Here, you collaborate from day one.

t’s hard to think of a single event delivered by one person. Except on a street corner, every performance involves an array of other people, each contributing different skills. Whether it’s a song, a show or leading Ia community group, working productively with other people and being the person other people want to work with is a life skill. THE PLACE

We take this essential rather seriously. During your first term on our degrees, for instance, you join a team of students from other disciplines who you won’t have worked with before, to create a product. Beyond this, you share your learning with students from other courses on projects and performances and with some shared modules. These experiences will strengthen your ability to work collaboratively and develop your appreciation and understanding of all the roles needed to make performance possible. COLLABORATION AT A GLANCE Providing the real world Taking your Collaboration on performances and projects is built in to teaching Every performance event requires performers, ideas further light, sound, design and build, producers and As soon as you enrol, Management and Design and promotion. Musicians need sound engineers, you become part of a Technology students work with producers and managers. creative community and all areas of performance – Acting, Here, you meet everyone you need under one networking is natural. roof. If you learn how to collaborate when you Applied Theatre & Community Everyone here wants to are here, making inevitable mistakes, you gain Drama, Dance and Music work in the performing the experience you need before those mistakes arts and wants to soak can affect your career. Team up with students with up as much experience different skills to make independent as they can. So if you projects possible have an idea you want to make a reality, often this can be as simple as having a conversation with another student.

6 MAKING IT HAPPENYOURSELF There’s a reason for the phrase ‘show business’. This is what the creative and performing arts are: show and business. Aside from this fact, some 76% of those working in the creative and performing arts are self-employed and you will fall into this category at some point. You need to be able to manage your own work life, which is why self-management (emotional and financial) is a skill we teach.

hen there’s another fact: 84% of the “LIPA's support and businesses in our sector have no more , + guidance doesn't stop at than four employees. So, as well as £375 000 graduation, it continues Tlearning how to manage yourself as a freelancer, Donated to student and graduate with you throughout enterprise since we began we’ll teach you to create and manage your your career. LIPA has own business. been integral to our Recognising the importance of enterprise, continued growth from when our Co-Founder and Principal was creating Funding and support student company to a specialist performing arts secondary school, We have a number of funds available for shows this was a major reason why he asked Richard one of the top touring and business start-ups. We also encourage producers in the UK. Branson to be the project champion for what you to find additional funding and help you Through a mixture of became The BRIT School. complete funding applications. We’ve provided grants and industry Aside from then going on to become one of funding for a variety of businesses from Theatre our Patrons, Richard refers, in his Disruptors series, in Education companies to bands, arts centres advisors, LIPA ensures to starting The BRIT School, since he felt it was and hire companies. Some of our funds are also that students and important for practical business skills to be taught available for social enterprises. graduates have the in schools and here. tools to be leaders Our graduates have a distinguished in the industry.” entrepreneurship track record. Selladoor Stage your own shows Worldwide, for example, which has produced Phillip Rowntree over 50 touring productions, including , While you are with us, you can stage your own EXECUTIVE COMMERCIAL began when two of our actors decided that shows. In your first year after graduation, you’ll PRODUCER, they wanted to produce and direct. We still be able to apply for The Show Fund to help mentor and support their endeavours. They invited stage your show both here and externally. This our Founder to be a board member. can also mean equipment loans. Students have previously used this fund to take shows to the Festival Fringe.

When you leave FUNDS AVAILABLE After graduation, we’ll continue to support you with a range of funds for new and growing businesses. These are designed to help you put The Show Fund your business plan into practice. We have funds The Show Fund: available at different stages, as your business develops. Applying for our funds is competitive Edinburgh – we are not different from other funding bodies. The First Year Graduates from every course have benefited from this support. Out Fund Graduate Business Development Fund

Sponsorship Fund

7 AN INTERNATIONAL OUTLOOK

A top-selling album in India by a UK-based Canadian singer, featuring a Danish and a Norwegian producer. What's the link? All our graduates, working together. THE PLACE

“When I arrived from South Korea I found the people here really friendly, kind and welcoming. I love Liverpool. It’s a big busy city that’s very chilled. It’s also very compact, so if you want a bit of space and peace it’s only a short walk away. My life here is exciting. Every day there is something different happening and every time I go out, I’m surrounded by music.” ntertainment is a global activity, so it Auditions and interviews helps to have studied alongside students for international Miru Song from all over the world. 3RD YEAR EAround 25% of our students come from applicants BA (HONS) MUSIC countries outside the UK, with students from International applicants have the option to every continent representing over 40 countries. audition/interview in Liverpool. We also hold This means you’ll collaborate with people from annual auditions and interviews in a number all over the world. of different countries. If you decide to come to You’ll join an ever-growing international Liverpool for your audition/interview, then we’ll network of students and graduates, which can show you around while you’re here. benefit you throughout your career, as well as If you are unable to attend any of our being culturally and creatively enriching. audition/interview events, then we can send you guidelines for submitting a postal (video) Our International Team audition or portfolio. If you’re applying to us from outside the UK, our friendly team will help you every step of the way with the application process, transitioning to life in Contacting the Liverpool and during your time here with us. They can advise on funding, travel, accommodation International Team and Student Visas (for non-EEA students). Our International Team will be happy to assist you with any queries you may have about how International to apply, when to apply or to arrange a visit to look around and meet people. qualifications We have welcomed international students since [email protected] we first opened. We are familiar with overseas +44 (0)151 330 3118 qualifications, so if you don’t have British More information for international students qualifications or if English isn’t your first language, is available at www.lipa.ac.uk/international don’t let this discourage you from applying.

8 TAKE A LOOK AROUND Just as important as what you will learn is where you will learn. Our exceptional facilities provide a first-class training ground for you to hone your craft – and we’re continually investing.

Performance spaces Theatre kit Our performance spaces are in constant use If you are learning for teaching on our technical courses, as well technical theatre, as rehearsals and performances from students you will have access studying performance-based disciplines and to high-spec, guest classes. Each year over 50 performances industry-standard take place from dance theatre to musicals, equipment for lighting, from costume dramas to music festivals. sound, stage management, Paul McCartney Auditorium special effects and Location: The Institute audio-visuals for shows. Seats: 400+ people A traditional proscenium arch theatre and our We have a stock list to s well as providing high-end rehearsal largest performance space, equipped with rival the kit you’d find in and performance spaces for performers, counterweight flying facilities. professional theatres. students on technical subjects have As well as our own Sennheiser Studio Theatre/ Aaccess to the latest equipment to enable you continual investment, Film and TV Studio to produce professional-standard work. we’re grateful for Location: The Institute generous donations Seats: up to 96 people from sponsors. This flexible space is mostly used for film and , television purposes but can be configured as a In addition to the stock £500 000 studio theatre, allowing us to stage smaller-scale found in our theatres, Our average annual investment productions. we have lighting, sound to update equipment or improve and video equipment your learning environment The Art Studio Theatre available for you Location: The Art School Seats: 120 people to use externally. Our buildings Due to be renamed as The Harrison Studio, this new, flexible space is ideally suited to the staging of new works. We’re based across two Grade II listed If you’d like to find buildings – The Institute and The Art School. Other licensed performance spaces: out more about the These were formerly the Liverpool Institute for n Room 4.24 (rehearsal studio) specific kit we use, Boys (Paul McCartney and George Harrison’s n Canteen a comprehensive list is old school) and the Liverpool College of Art n LIPA Bar available on our website. (where studied). £10million+ Investment in The Art School redevelopment

9 In practice Rehearsal rooms Spacious and light rehearsal spaces are used for workshop-style teaching. Some are equipped with their own sound and lighting facilities for technical training and internal performances.

Dance studios THE PLACE We have four impressive dance studios with top quality sprung floors and the latest sound Digital, design & “LIPA’s different systems. One studio is equipped for aerial work. technology facilities performance spaces give We have a treatment room for physiotherapy you such a wide-breadth and massage therapy appointments. Our Pilates Thanks to nearly £4m from a government body, of experience and allow room has two Pilates Reformers cardio and we are supplementing our resources with new you to work on a variety facilities and equipment for film, TV, virtual weight-training equipment. of different productions. reality, green screen work and motion capture. The equipment’s great, Music practice rooms We're also creating a new virtual learning and performance facility, enabling students to access, much of it better than We have three large music rehearsal spaces; record and publish digital material. I’ve used in the industry three medium music rehearsal spaces; seven small and there are plenty music teaching rooms; eight small band rooms Scenic workshop of opportunities for you and ten piano rooms. to use it outside The workshop is equipped with metalworking and of classes.” Some sponsors and manufacturers provide us woodworking machinery and used for set and with generous donations. Equipment available prop construction and painting for productions. for students to use includes amplification by It is also a practical teaching area for our Theatre Katherine Soundcraft, Mackie and Orange; keyboards by and Performance Design and Technology students. Huddleston Roland, Yamaha and Nord; guitars by Fret-king; 3RD YEAR drumkits by Yamaha and cymbals by Zildjian. Costume and wardrobe BA (HONS) THEATRE & PERFORMANCE TECHNOLOGY Management suite Our wardrobe department has an extensive costume store and airy new workshops providing If you are a Management student, you have increased making space. This is where students access to a dedicated workspace equipped plan, design and make costumes for around 20 with PCs and workstations to hold meetings and separate productions throughout the year. work on course work and external projects. Lighting Applied theatre touring kit Our performance venues and teaching spaces hold Applied Theatre & Community Drama students up-to-date, industry standard, lighting equipment. can book out sets of portable equipment to use This allows you to learn, experiment with and off-site with schools and community groups. These practise using tungsten, discharge and LED source include fast fold screens, projectors, sound and generic and intelligent fixtures. We also have a lighting equipment. range of professional lighting desks, including the full range of ETC EOS and Avolites, MA, Hog, Strand and Chroma Q Vista consoles. Our custom lighting programming studio has three-dimensional computer visualisation software, such as Capture, AutoCAD, Maya, Vectorworks and WYSIWYG. This dedicated suite provides you with the freedom to practise and perfect your lighting programming and operation skills for theatre and live events. Additional design and technology facilities include: n Model making rooms n Prop workshop n Stage management and production office n Access to extensive live sound equipment (see page 11 for more details)

10 Offline suites We have 34 offline workstations to complement the HDX systems in the studios. These are based around high spec iMacs and run Logic Pro X, Pro Tools, Reason, Ableton Live and Native Instruments Komplete.

Broadcast audio We have equipment which can be configured for a variety of location broadcast applications. This is based around a Soundcraft RM1-D digital broadcast mixer, communications and cue systems and a range of playback sources.

Live sound Equipment includes consoles from Yamaha (M7CL-48, PM5D, DM1000), Soundcraft (GB8) and DigiCo (D5T and SD12). Loudspeaker systems are chiefly d&b point source and line-array (C-series, Y-series and T-series), with system processing and routing in the main theatre provided by a Peavey Nion “The gear at LIPA is Audio facilities system. Those working on live sound increasingly second to none. You are Recording studios make use of sophisticated networked audio working on state-of-the- systems, primarily using Audinate’s Dante protocol. art equipment from day During term-time, if you are a Sound Technology one – I haven’t seen this student, you have 24/7 access to our six professionally designed studios. anywhere else, let alone These are built around SSL Duality, Neve in the music industry.” Genesys, Yamaha DM2000, Avid S6 and two Studying Audient ASP8024 consoles, with multitrack Learning resources Andy McCluskey recording via Pro Tools HDX & Native and Otari SONGWRITER AND 2” analogue tape. Our specialist creative and performing arts MUSIC PRODUCER All studios support music tracking and mixing to Learning Resources Centre stocks books and a high standard and two have additional facilities journals, scores, scripts, CDs and . There’s for sound to picture production, surround mixing, a growing number of e-resources. Our virtual mastering and editing, including Dolby Atmos mix learning provision also includes Moodle, which capability. The studios are linked to each other holds a variety of subject-specific learning and to other performance spaces using a flexible materials, including lecture notes, useful weblinks Dante AoIP network, and a fully flight-cased mobile and module information. recording system is also available for location You also have access to the libraries at recording. Liverpool John Moores University, two of which are Music students have exclusive access to a demo available 24 hours a day, seven days a week. recording studio and those who are studying We also offer support in ICT and study skills production can use other studios in their final year. to help you get the most out of your learning.

Equipment ICT In our studios, you have access to an expansive We have high specification computers and stock of equipment from leading manufacturers. dedicated computer suites. We also have a colour Outboard includes items from: Lexicon, Tc electronic, A0 plotter, ideal for floorplans. Drawmer, BSS, Focusrite, Eventide, dbx, Yamaha, A number of our workstations are installed with Neve, Millennia, Manley, Universal Audio, specialist software such as AutoCAD, Adobe Empirical Labs, Thermionic Culture, Bricasti. Photoshop, Sibelius, MindManager, WYSIWYG Microphones include items from: Sennheiser, and QuarkXpress. Neumann, Sony, Schoeps, AKG, beyerdynamic, Shure, ElectroVoice, Crown, Audio Technica, DPA, Audix, Earthworks, Brauner, Royer, AEA, sE, Violet Designs, Soundfield, Warm Audio and Vanguard. Monitoring equipment includes Neumann, Boxer, PMC, Genelec, Focal, Auratone, Dynaudio, ATC and Yamaha speakers.

11 OUR TEACHING Our permanent teaching staff are qualified both by their professional experience as well as their teaching skills. Many remain active practitioners as well as teachers. THE PLACE n addition, we employ a wide range of part- time teachers, who are working where you want to be when you leave. Every year, we Ialso welcome notable industry figures to deliver one-off guest sessions. We have well-established contacts with relevant organisations. All offer you lots of scope to connect with the industry you want to join while you are here. The collective experience of our teaching staff means we can offer you a breadth of knowledge within your discipline. The full list of where they’ve performed or worked and who they’ve worked alongside could more than fill these pages alone. You can read more about our staff and industry connections on each of the course pages and on our website you’ll find staff profiles.

We’re proud to hold the Investors in “I have witnessed People Gold standard, identifying us as LIPA’s growth and an outstanding place to work. popularity, along with graduate employment. We have been lucky to We have the highest percentage of professionally employ several highly qualified teaching staff amongst all specialist skilled LIPA graduates, Higher Education performing arts institutions in now in responsible (according to data released by HESA management positions. in December 2016). Wherever industry professional accreditation We have supported can be achieved, we’ve met the standard. LIPA in various ways, This means we are providing learning that meets not least our continued industry requirements. Scholarship Scheme Our teaching received the top Gold rating in the since the beginning. Government's Teaching Excellence Framework We want to witness (TEF) Awards, which were announced in June the continued 2017. The award means that the TEF panel world-leading judged that LIPA delivers consistently outstanding contribution the teaching, learning and outcomes for its students. Institute makes.”

Paul Whiting FORMER PRESIDENT

Liverpool Institute for Performing STRATEGIC Arts (LIPA) (Dance and Acting) is COLLABORATIONS, accredited by the CDMT (Council for Dance, Drama and Musical SENNHEISER Theatre). ELECTRONIC GMBH & CO

12 DOING YOUR OWN THING

As you will be surrounded by creative, like-minded people, you can create your own shows and your own social scene.

orwegian Dance The SEB Learning the entire production process by putting student, Kristine on a SEB show, one LIPA Acting graduate felt Berget, Made up of students from every course, the confident enough to create his own Christmas Nchoreographed her Student Event Board (SEB) organises student show for Liverpool, find a venue, build the set own show Dirt, Roses, activities and provides support for you to stage and employ five other LIPA graduates, as well Animals and God. your own productions. as other actors. Mam! I'm 'Ere! has now had Working with British three commercial outings at Liverpool’s Royal and Norwegian Social life Court Theatre. dancers, Kristine staged performances here, but The SEB plays a key part in your social scene. also took the show on It co-ordinates performances and social events tour to Norway – with throughout the year. At the start of the teaching support and financial year, it organises the Freshers’ programme to backing from the SEB help you settle in and make friends quickly. and our Show Fund. Student productions If you want to stage your own work, whether it’s drama, music, dance or comedy, the SEB “We set out to do can support you. After applying to put on this expecting it to be your show, you can get help with marketing, a lot of hard work, but production management, sourcing performers and technicians. also a good opportunity There is funding available too. Producing to learn more about “10,000 punters and counting, the show your own show, while you are training, is an is properly laugh-out-loud funny ourselves as dancers invaluable experience and is an impressive and professionals. addition to your CV. with energy and charm.” What we didn’t Over the years, students have taken expect was the a number of SEB productions to the Edinburgh Catherine Jones overwhelming response, Festival Fringe. The Liverpool Echo we received standing ovations and positive comments after each of the performances… receiving this level of support meant so much to all of us, and it gave me the confidence to start planning a new project for the near future.”

Kristine Berget BA (HONS) DANCE Erik Berg Johansen Berg Erik GRADUATE PHOTOGRAPH BY PHOTOGRAPH

13 LIVERPOOL CULTURE

This city is a world city of culture. Last year, Liverpool staged yet another year of inspirational arts projects as we celebrated the ten-year anniversary of being a European Capital of Culture. We played our part with a pioneering collaboration with award winning theatre company Slung Low. THE PLACE

“There isn’t a major venue in the city that doesn’t benefit from your graduates' skills. Your contribution is applauded and recognised.”

Joe Anderson OBE MAYOR OF LIVERPOOL

Festival calendar MARCH Liverpool Comic Con ot only will you be able to experience Liverpool and theatre regular performances here but, with Threshold Festival a wealth of cultural venues, Liverpool Liverpool playwrights are also world famous MAY Nis a city offering you work opportunities. (one, Willy Russell, is one of our Companions). LightNight Plays, television and film have benefited Physical Fest from Liverpool’s creativity. The city’s theatres Sound City Liverpool and music programme as diverse a range of shows as Music helped put Liverpool on the world’s you could imagine. We enjoy the strongest JUNE relationships with each of them. The Empire Africa Oyé cultural map. Music is still thriving here. Liverpool has been named a UNESCO City Theatre welcomes West End touring productions. JULY of Music – one of only two in the UK. The city is The Royal Court puts on around eight home Brazilica recognised by the Guinness Book of Hit Singles produced comedies and musicals a year usually Liverpool Arabic as the ‘World Capital of Pop’ for producing featuring Liverpool actors (often including our Arts Festival more number one records than anywhere else. graduates). The Everyman and Playhouse Theatres Liverpool Biennial (2020) Liverpool’s music scene offers many live venues have built their reputations on staging bold Liverpool International from intimate places like the world-famous productions of original and classic plays. Close Cavern Club, to the 10,000 seat M&S Bank Arena. to us, the Unity Theatre receives touring shows from some of this country’s most exciting theatre Liverpool Pride The annual Sound City music festival, created companies, as well as hosting some of our shows. AUGUST by a former member of staff, attracts big name artists and our students and graduates regularly Creamfields feature on the line-up and get involved behind- Art galleries International Beatleweek the-scenes. SEPTEMBER Liverpool is home to an eclectic mix of galleries. The British Music Experience based on the The boasts a collection dating Liverpool Comedy waterfront, relocated from London’s O2 arena. back to the 13th century, while at , Festival We suggested this move and are BME’s you can see modern and contemporary works OCTOBER Educational Partner, so there’s future work here from some of the world’s most famous artists. The Liverpool Music Week for our students and graduates. Bluecoat showcases contemporary visual art, music, NOVEMBER dance, live art and literature. At FACT, you can DaDa Fest explore multimedia exhibitions and catch current Homotopia independent and mainstream films. The creative inspiration for our Design students seems endless.

14 LIVING IN LIVERPOOL

Liverpool is a vibrant, friendly city. It’s a great place to be a student and an even better place to be a performing arts student or graduate.

Architecture “There’s a real You can take inspiration from the many beautiful community of buildings around the city too, English Heritage musicians in Liverpool calls Liverpool the country’s finest Victorian city. that’s very welcoming We have impressive modern architecture too. and supportive. The re-opened Everyman was the winner of the It makes networking RIBA Prize for architecture in 2014. and finding work The Liverpool waterfront with the Three Graces much easier. There’s is pictured with the dazzled Mersey Ferry in the so much live music foreground created by Sir Peter Blake. being performed in the city, you’ll be able Park life to find what you like Student life whatever you’re into. Although Liverpool is a busy city, there’s plenty Around 50,000 students study in Liverpool each of green space to enjoy. The nearest one to us is We also get offered year, so you’ll never be short of opportunities found at St James Mount and Gardens which is discounted and free to socialise and meet new people. adjacent to the Liverpool Anglican Cathedral. tickets through LIPA Sefton Park, just two miles away from us, for some amazing big- Going out offers 200 acres of parkland which includes name gigs in the city.” a lake, ponds, woods and gardens and the The city is rated one of the top UK nightlife magnificently restored Palm House. destinations for bars, nightclubs, restaurants, Ryan Woods live music venues, comedy clubs and theatres. 2ND YEAR There are more than 250 city centre pubs, clubs BA (HONS) MUSIC and bars to choose from and many of the bars double up as gig venues by night. Liverpool is also home to a growing number of quirky independent eateries, serving up food from every corner of the globe. You’ll find student offers and discounts in many of the venues and shops around Liverpool. Sports Liverpool has two Premier League football teams – Liverpool FC and Everton FC – and match days always create a buzz in the city. Liverpool also hosts the Grand National steeplechase at Aintree each year and the Marina is home to water sports clubs. Shopping The main shopping complex is , which has over 42 acres of shopping, dining and socialising. If you want to escape the high street , take a walk down Bold Street, where you’ll find colourful independent stores, cafes and restaurants.

15 WHERE YOU LIVE

As a student-friendly city, Liverpool has plenty of safe and affordable options when it comes to choosing your home away from home. THE PLACE

“There are so many places and different options in Liverpool, it’s ridiculous and it’s so easy to find somewhere that’s affordable. Cathedral Campus is really cosy and homely feeling and has a real community feel to it. There are so many LIPA students there you’ll make connections and friends really quickly. It’s also really close to LIPA which is ideal.”

his might be the first time you’ll be away At the moment, more than half of the students Hannah Cook from home - it’s exciting and probably at Cathedral Campus are ours. This percentage 3RD YEAR a bit daunting. You’ll be working hard, has been increasing year on year. BA (HONS) MANAGEMENT Tso it’s important to think about where you’ll be OF MUSIC, ENTERTAINMENT, coming back to at the end of the day. Ending We would recommend this accommodation THEATRE & EVENTS up living somewhere that’s too far away, or as a good, safe, value-for- option, which does not live up to your expectations, particularly if it’s your first time in Liverpool. can be a distraction you don’t need. Liverpool has a lot of student accommodation on offer, which is why we’ve never needed to build our own student accommodation. After you’ve accepted an offer of a place, we’ll send you a guide about the local providers that we know are popular with our students. In the meantime, we’d like to mention Cathedral Campus, which is five minutes away with weekly rents starting at £118.00 in 2019. Located in the shadow of Liverpool’s Anglican Cathedral, this is a self-contained student village of shared houses and apartments, some of which have en-suite facilities. The houses are either four or five bedrooms with shared kitchen, a bathroom and a sitting room.

16 WHAT IT COSTS International students The tuition fee for full-time international undergraduate students in 2020/21 will be £16,700 for all new international students. Your tuition fee is fixed at that same rate for each subsequent year you study with us. If you study either -year BA (Hons) Music (Songwriting & Performance) or BA (Hons) Music (Songwriting & Production) you pay the lower fee of £9,250 (plus a possible small inflationary increase) for the first year of the For details of annual four-year course and then pay the £16,700 fee tuition fees, payments, Tuition fees for in each of the subsequent three years. loans and bursaries undergraduates please go to the fees and funding section UK students Tuition fees for Foundation of each course on The tuition fee for full-time UK undergraduate Certificates our website. students in 2019/20 was £9,250. Tuition fees Regardless of your nationality, the tuition fee for www.lipa.ac.uk may rise in line with future inflationary increases these courses in 2020 is likely to be £9,250. based on RPIX*, subject to government regulations The fee rate will be confirmed by 1st September on fee increases. RPIX is a measure of inflation 2019 on our website. in the UK, equivalent to all items in the Retail Price Index (RPI), excluding mortgage interest payments. We’ll provide further information Tuition fees for full-time about such increases on our website, when this postgraduates 2020 entry becomes available. Most full-time UK students will be able to borrow Course Fee Fee the full cost of tuition from the government in the form of a tuition fee loan. No UK student will MA Acting UK: International: have to pay tuition fees upfront. You don’t start (Company) £13,400 £16,700 paying your loans back until the April after you MA Costume UK: International: graduate, and even then, only if you are earning Making £10,500 £13,100 more than £25,000 a year. MA Music UK: International: Industry £10,500 £13,100 EU students Professional Due to Brexit at the time of going to print, Management the EU fees and loans had not been confirmed by the government. We’ll provide further There is a 10% tuition fee discount for LIPA information about this on our website, when this alumni. UK students could be eligible for a loan becomes available. from the UK government of around £10,000 for tuition fees and cost of living. Please note that part-time fees are charged pro-rata of the full-time fee.

Deposit payments We request that all international undergraduate students, postgraduate and Foundation Certificate students (regardless of nationality) pay a 25% deposit of their tuition fee by 31st May. The remaining tuition fee is payable at the start of the teaching year. Depending on your funding , an instalment agreement may be available.

17 THE PLACE Budgeting We usually recommend you budget for spending around £7,200 per year. This includes accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising – although how much you’ll want to spend on a lot of these is completely personal. You’ll find lots of helpful advice online about budgeting, including a handy budget calculator on the UCAS website.

Additional course-related costs “When I was applying Living costs I looked at the cost of For some of our courses there are some living and it is much Wherever you choose to study, you’ll have additional costs that you are likely to incur while cheaper in Liverpool to budget for accommodation and everyday studying with us. To help you plan for these we living expenses, including food and bills. While than in London. Lots provide more detailed information about these the last two cost roughly the same no matter on our website. of my friends, who where you study, the amount you pay for study in London, have accommodation will vary significantly. Student jobs to commute because Most UK degree students will be able to take accommodation is so out a maintenance loan to assist with living costs. Because our courses are intensive and we have expensive. Nights out We also offer some bursaries. To find out more a busy season of student performances, options especially are cheaper about this please visit our website. for part-time work during our teaching periods and it’s such a compact Liverpool represents great value for students. can be limited. However, many of our students city I hardly ever use Accommodation costs are low in comparison gain flexible part-time work, in performance public transport.” with other places in the UK, particularly the venues, shops, restaurants and bars. South East. The city’s shops and entertainment We also provide casual work opportunities venues also have lots of student discounts. for our students ranging from stewarding work Beth Elliott on our productions to working with young 3RD YEAR people to help us widen access to our courses. BA (HONS) ACTING The long summer break is when many of our students choose to work.

18 STUDENT SUPPORT

We want you to feel welcome and give you the support and guidance you need while you’re learning with us. We’re a small institution, which means we can get to know you.

ur dedicated student support service offers advice and information on a wide range of issues related to your Osupport needs. These issues may be personal, learning, health or welfare related. To help you with all of your access and support requirements, you can approach our student support service before you begin your studies or at any point during your time with us. If you are a disabled or deaf student, have mental health difficulties, long term health conditions or specific learning difficulties such as dyslexia, our Disability Officer can provide guidance. She can discuss access to support services which will help you adjust to studying and your life as a student. Our student support service can also provide support to care leavers and mature students. Additional services are provided by Liverpool John Moores University. All advice is offered within a formal Learning Guidance confidentiality framework. When required, and “I only discovered I with your agreement, the team can work with We have a network of tutors who provide general was dyslexic when you and teaching staff to propose reasonable study advice and support. They are you first point I came to LIPA and adjustments to how you are taught, how you of contact for advice. that’s thanks to the learn and how you are assessed, to ensure Student Support team. you’re able to achieve well and make the most They’ve been so helpful, of your time with us. We want to be accessible to everyone and supportive and patient. will make reasonable adjustments if you are Knowing they’re disabled. If you have any questions at any available to help really The many services available through Student time, even before you apply, please contact: is a weight off your Support include: shoulders. It feels like a [email protected] Counselling really calm place, when +44 (0)151 330 3013 you’re really busy with Support and guidance for students entitled Full details of the services offered by our your course - you walk to Disabled Student’s Allowance (DSA) student support service are available at in there and everything Referral to an educational psychologist www.lipa.ac.uk. seems to slow down, for assessment it’s so relaxing and welcoming.” Study skills support for students with a specific learning difficulty or disability Zorazelda King 2ND YEAR BA (HONS) APPLIED THEATRE & COMMUNITY DRAMA

19 THE COURSES

As an emerging actor we want FOUNDATION to strengthen your essential CERTIFICATE skills, knowledge and audition techniques so you can improve your chances of progressing to further study ACTING at one of the highly competitive drama schools/specialist Higher Education providers.

ou undertake an intensive, highly practical and pragmatic 26-week course where preparation is key. You develop your individuality and authenticity as an actor, while generating a portfolio of contemporary, classical and musical Ymaterial. You also put all you have learnt in to practice in a final performance project. This course equips you with storytelling and stylistic skills, self-belief and industry knowledge to help you stand out from the crowd.

COURSE IN BRIEF ON THE COURSE

Course award: FOUNDATION CERTIFCATE The year is structured to complement audition schedules at specialist UK actor IN ACTING training institutions, preparing you for the process and its rigorous demands. Duration: You work with solo-storytelling, acting styles and practitioner approaches on 1 YEAR, FULL-TIME contemporary and classic texts, building a portfolio of material. Places available: A series of mock auditions before professional panellists help you enhance the AROUND 20 EACH YEAR standard of your individual audition pieces. Movement and voice studies prepare you for the demands of workshop auditions. Insights into industry developments arm you with the knowledge to express your understanding of contemporary acting and performance practices in interview settings. At the end of the year you consolidate the strands of your training in a performance project.

20 OUR ALUMNI

The course aims to equip our graduates to go on to further training with us or at other specialist and recognised drama schools that tend to be oversubscribed with acting applicants. Please note, if you decide to apply for our Acting degree, you will compete with other applicants. Although this is a new course, previous graduates from our Foundation Certificate in Acting and Musical Theatre were offered places here and at institutions such as Arts Ed, Theatre School, Drama Centre, East 15, Mountview Academy of Theatre Arts, Rose Bruford, Royal Welsh College of Music and Drama. PHOTOGRAPHER: NICHOLAS DAWKES Notable alumni TEACHING STAFF

Anna Berentzen – her TV credits include The AND INDUSTRY City and The City for the BBC and Fearless for ITV. LINKS She devised and performed in See Me After at Home in and has also worked as an Assistant You are taught by the same staff who teach and Co-Director at the Royal Exchange Theatre. on our Acting degree (see page 28). You also benefit from our connections with directors, agents, casting directors, writers and theatre companies. LIPA AND I You participate in many of the same masterclasses as the Acting degree students that “The course really gave are provided by our high-profile industry guests. me the confidence I was Over the years, these have included Sir Ian lacking. It helped me McKellen, Woody Harrelson and . get rid of that worry Every year a selected panel of Acting

of whether I was good DAWKES NICHOLAS PHOTOGRAPHER: graduates return to share their professional enough or not. I feel it’s Richard Fitch – recent directing credits include experience, so you hear what’s going on now. made me a much bolder Ruthless! The Musical (, London); Funny actor, I now try different Girl (UK tour); The Importance of Being Earnest (Theatr things out in rehearsal Clwyd); Barnes’ People (Trafalgar Transformed), after without being concerned completing high profile associate directorships. TEACHING AND about whether they’ll ASSESSMENT work or not. Lots of the audition skills we learnt Teaching usually takes place over a 26-week I still use now. You get teaching year. The course is delivered through a the full LIPA experience, combination of practical technical skills classes, workshops and rehearsal sessions, with some working with students seminars, masterclasses and self-directed study. on the BA and other Acting, voice and movement modules run across courses on independent the first two terms. Your final five weeks of training productions, it’s what are dedicated to The Performance Project module. persuaded me to apply Ebony Jonelle – made her professional stage Assessment predominantly takes place during your for the degree.” debut not long after graduating from our Acting practical classes and rehearsals, performances degree playing Alice in Alice in Wonderland at the and your reflective exercises. Grace Cherry Stephen Joseph Theatre, Scarborough; followed Your personal statement and applications COMPLETED 2015 by performing in the ensemble of Carol Churchill’s are part of your written coursework assignments. Top Girls at the National Theatre in London. After her Foundation Certificate, Grace progressed to our BA (Hons) Acting course and graduated in 2018. She recently appeared in a critically acclaimed new work Paved with Gold For further course and Ashes at the Tristan details please visit Bates Theatre in London. www.lipa.ac.uk

21 THE COURSES

As an emerging dance FOUNDATION artist, we want to CERTIFICATE strengthen your skills so that you can progress onto further study or work DANCE professionally.

ou undertake intensive training in a variety of dance styles to extend your abilities as a dancer. As part of a small intake of students, you receive specific critique and feedback during classes and rehearsals, allowing Yyou to continually develop and improve. You also develop the stamina and discipline required for higher-level training or professional work. This course helps you become a versatile and confident performer with a strong professional insight.

COURSE IN BRIEF ON THE COURSE

Course award: FOUNDATION CERTIFICATE The course is built around a rigorous programme of dance technique training. IN DANCE Regular weekly classes in ballet, contemporary, and commercial styles form Duration: the backbone of your training. These are complemented by additional classes in 1 YEAR, FULL-TIME tap, choreography, acting, singing and musical theatre integration and other dance Places available: styles, as well as masterclasses with leading industry professionals. AROUND 22 EACH YEAR There are two formal opportunities to perform within the course, with performances usually taking place in our Paul McCartney Auditorium. Your performances involve working with a number of different choreographers and you play an active part in creating work to be showcased. As technique and performance skills are both imperative for success, you are taught these in a holistic manner alongside each other. As the course aims to prepare you for further training and future professional work, you learn how to present yourself at auditions.

22 OUR ALUMNI

Our annual survey of alumni from this course shows 100% of those we traced (which was 87%) went on to further study. Alumni have gone on to further training with us or at other institutions including Arts Ed, , The Hammond, , , Masters Performing Arts, ShockOut and , among others. Several have gone on to study abroad at places like Broadway Dance Centre and The Edge in LA. Although some students are offered places on our Dance degree, this progression is not guaranteed. For those who have gone on to work, our alumni are represented by some of the leading agents in the UK such as AMCK, Boss Creative Entertainment, Dancers Inc, Love Rudeye and Mark Summers Casting. CUCUMBER /RED PRODUCTION COMPANY Notable alumni TEACHING STAFF

Grace Turner – as an aerialist she has AND INDUSTRY worked with RoguePlay, Oily Cart and Wired LINKS Aerial Theatre among others, before founding TurnAround Dance Theatre. You are taught by the same staff who teach on our Dance degree (see page 44). You also benefit from our connections to agents, casting directors, choreographers, companies and independent dance artists. You participate in LIPA AND I many of the same masterclasses as the Dance degree students that are provided by high-profile “The variety on the industry guests. course enables you These are often in the form of dance classes to become a versatile led by top choreographers and performers. Every performer which year a selected panel of our Dance graduates increases your work return to share their professional experience, so options. What I found Emma West – dance credits include you hear what’s going on now. incredibly useful was Filmfare Awards, a live TV show in India, Philips advert in India; LED show for Audi, Abu Dhabi; working with acting, Cher Lloyd's Swagger Jagger ; music, technology and assistant choreographer for the song Jiya in the TEACHING AND design students on Bollywood filmGunday . productions. I don’t ASSESSMENT think you get that elsewhere and you find This is a three-term course delivered through out exactly what’s a combination of practical dance technique, expected of you singing, acting and musical theatre classes and rehearsal sessions, with some lectures and seminars. as a professional.” All modules run for the teaching year, with one performance in December and one at the end Olivia Higham of the year. COMPLETED 2011 We monitor your individual progress closely Olivia also completed and you receive regular feedback. Practical work the BA (Hons) Dance Josh Wharmby – assisted with the makes up most of your assessment through class course here. Recent choreography on ITV's Dance, Dance, Dance. work and performances. There are also a small credits include the MTV He has also worked with Brian Friedman on number of written assignments on which you are EMAs and The BRIT , and performed alongside Rita Ora, assessed. Awards, performing with Nicole Scherzinger and Taylor Swift. , David Guetta and Dua Lipa. She is also assistant choreographer on ITV’s Dance, Dance, Dance.

For further course details please visit www.lipa.ac.uk

23 THE COURSES

FOUNDATION CERTIFICATE We want to strengthen your music skills in POPULAR MUSIC musicianship, music &MUSIC writing and producing TECHNOLOGY music.

his means you’re able to build on your existing music skills while developing a working knowledge of songwriting and music production. You also receive one-to-one tuition in a chosen instrument (or voice). The course shares many Tmodules and activities with our foundation year for BA (Hons) Music (Songwriting & Performance/Production), so you learn alongside a wide group of musicians, which benefits you for ensemble work.

COURSE IN BRIEF ON THE COURSE

Course award: FOUNDATION CERTIFICATE The course aims to develop your experience at the IN POPULAR MUSIC & same time as building up your theoretical knowledge. MUSIC TECHNOLOGY You’re able to tailor your learning to your personal Duration: interests and aspirations with core modules which 1 YEAR, FULL-TIME run for the full length of the course and your choice Places available: of two options spread across two teaching blocks. AROUND 25 EACH YEAR Your selected modules allow you to broaden your skills base by selecting new areas of study or to further your training by selecting options in which you already have some experience. Most modules start at an introductory level and quickly advance over the duration of the course. Core modules concentrate on skills which provide you with a solid base to work from. These are Individual Performance Technique, Ensemble Performance Skills, Music Technology and Production, Music Theory, Songwriting and Arranging. Optional music-focused modules include Recording Studio Techniques, Music Direction, Popular Music Studies and Music Skills.

24 OUR ALUMNI

We anticipate that some will go straight into work. Apart from working in a band or as a singer-songwriter or a , your career options include: working as music producers, as music writers, arrangers for other artists or for computer games, TV and film. You could also pursue careers within . You are able to progress to Higher Education, although progression to our Music degrees is not guaranteed. CUCUMBER CHANNEL 4/RED PRODUCTION COMPANY Notable alumni TEACHING STAFF The following alumni studied our previous Foundation Certificate in Popular Music & Sound AND INDUSTRY Technology: LINKS You are taught by the same staff who teach our Josefine Jinder – as Swedish pop artist Little Jinder, Josefine scooped the Best Pop Album Music degrees (see page 52). You also attend award at the Swedish Grammys in 2015 and was the same weekly masterclasses with musicians nominated for three Swedish Grammys in 2019. and key industry figures to build and develop your understanding of the business and how you LIPA AND I can establish your place within it. Every year a selected panel of our Music graduates return to “LIPA is incredible, share their professional experience, so you hear I learned so much in what’s going on now. my time there and the We organise regular opportunities for you contacts I made have to get your music noticed by the industry, with become so important in frequent visits by A&R reps from labels such my career. By the time as Universal and Warner and management I finished I knew so auditions with agencies like Carnival Cruises. We host regular gig nights on Fridays during much more about how – Mix Engineer for All Time Low term-time, giving you the opportunity to showcase the industry works. Phil Gornell and owner of Steel City Studio, Sheffield. your work. I didn’t realise at the time how the practical knowledge I gained would play such a TEACHING AND crucial part in my ASSESSMENT development from the second I graduated and Teaching and learning is made up of one-to-one turned professional.” tuition in your chosen instrument (or voice), talks and small workshops led by our Music staff. Our masterclasses also form a valuable element Bronnie Hughes of your learning week. Most modules are assessed COMPLETED 2016 Edvard Førre Erfjord – part of the studio through practical tasks such as performing, submitting team (including fellow Norwegian graduate recordings and compositions which you complete Bronnie is a singer- Henrik Barman Michelsen) who produced and in your own time. songwriter who won co-wrote Little Mix’s UK number one single You’re continually assessed to monitor your an international covers Black Magic and Sax by Fleur East. Has also progress. There is a minor component of written competition organised by worked with Aurora, Olly Murs and Take That. work, with study logs and critical evaluations of American Idol host Ryan Seacrest. Her YouTube practical work. channel has had over 500,000 views. She was nominated for Best New Artist of 2016 by Celebmix and in 2017 was chosen to support For further course Little Mix at Wirral Live. details please visit www.lipa.ac.uk

25 THE COURSES

We want you to be a BA(HONS) versatile, creative and innovative actor, capable of creating your own ACTING opportunities.

e offer training that prepares actors for rehearsal, performance, production, interdisciplinary creation and industry engagement. Working in challenging scenarios with traditional and innovative practitioner approaches, you Wexpand your psychological and physical processes to hone your acting methodology. You experience classic and contemporary works, alongside commissioned new writing, giving you the chance to bring characters to life for the first time. You collaborate with external professionals and students from other disciplines to realise full, professional-scale productions. You also develop self-employment, enterprise and interpersonal skills.

COURSE IN BRIEF

Course award: BA (HONOURS) ACTING Duration: 3 YEARS, FULL-TIME UCAS code: W410 Course code: BA/ACTING Places available: AROUND 36 EACH YEAR

ACCREDITED BY

26 “LIPA is serious about actor training. The students are committed, keen and smart. And training alongside musicians, dancers and technical crew gives them an invaluable sense of the profession as a whole.”

ACTOR, DIRECTOR, ARTISTIC DIRECTOR Samuel West

You’ll find our graduates OUR GRADUATES performing on stage in regional theatres, in the West End and on Notable alumni Recent alumni credits Broadway in plays and musicals. You’ll see them Madeline Appiah – stars alongside Idris Elba Theatre in film and TV and hear in Sky TV comedy In the Long Run. She is currently 9 to 5 the Musical, West End; Alice in Wonderland, them in radio plays, as Zelma Bullock in Tina – The Tina Turner Musical Stephen Joseph Theatre; Amelie, UK tour; American well as digital platforms at the . Her other many theatre Idiot, UK tour; Avenue Q, UK tour; The Band, UK tour; and gaming. credits include at the , Cabaret, Theater der Altmark, Germany; A Christmas Out of the spotlight, Welcome to Thebes at the National Theatre, Carol, Old Vic; Company, West End; Cuckoo, Soho you’ll find them working The Taming of the Shrew for The RSC and Theatre; Diana, La Jolla Playhouse, California; as successful directors, The Duchess of Malfi at . Everybody’s Talking About Jamie, West End; Fame, producers, musical directors, UK tour and West End; Flashdance, UK tour; Harry writers, teachers, casting Potter and the Cursed Child, Broadway; Imperium, agents and founders of their RSC & ; Kinky Boots, West End; own production companies. Little Miss Sunshine, UK tour; The Madness of King George III, Nottingham Playhouse; Measure for Measure, RSC Stratford; The Phantom of the , Folketeateret, Oslo; Pieces of String, Mercury

PHOTOGRAPHER: RACHEL TYAGI RACHEL PHOTOGRAPHER: Theatre; Pinter at the Pinter season, West End; The Play That Goes Wrong, UK tour; Quiz, West – a TV regular, credits include Leanne Best End; Rock of Ages, UK tour; Ruthless! The Musical, , and . Cold Feet (series 6 & 7) Tin Star Carnival Row West End; Shakespeare in Love, UK tour; The Simon On film she appeared in Film Stars Don’t Die in & Garfunkel Story, West End and international and . Recently on stage in Liverpool Little Joe Sweat tour; , UK tour; The Taming of the Shrew, at the . RSC Stratford; Tina–The Tina Turner Musical, West End; Top Girls, National Theatre; Troilus & Cressida, RSC; , ; Waitress, West End; War Horse, UK tour; The Way of the World, Donmar Warehouse; The Wizard of Oz, Sheffield Crucible;Wonderland , Nottingham Playhouse. Film and TV Brexit: The Uncivil War, Eternal Beauty, Hampstead, In Fabric, Journey’s End, Little Joe, The More You Ignore – Director and founder of The Jamie Jamie Lloyd Me (film);4 O’Clock Club, The ABC Murders, Casualty, Lloyd Company. Voted by The Stage, four times, as CBeebies House, , Doctors, Holby City BBC; one of the top 40 most influential people working Butterfly, Coronation Street, Vera ITV; , in UK theatre. Recent credits include the Pinter at the No Offence Channel 4; The Alienist TNT, Carnival Row season, where he directed Tom Hiddleston, Pinter Studios; In the Long Run, The Queen and I Sky. John Simm and Martin Freeman. Radio, audio drama and voiceover work Arabian Nights, Just One Damned Thing After Another, Murder on The Orient Express, Treasure Island (all Audible); Window of Opportunity (Wireless Theatre); A Clockwork Orange (BBC Radio 3); Assassin's Creed Odyssey, Assassin's Creed: Origins PHOTOGRAPHER: JOHAN PERSSON PHOTOGRAPHER: and Subnautica (video games). 27 THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teaching team represents the breadth and You have access to regular Q&As, masterclasses diversity required to respond to industry needs. and workshops with household-name actors, casting They are an international team of professionals, directors, reviewers and producers. These provide who have worked as actors, directors, musical insight about the acting craft, the industry and how directors, producers, writers and expert to survive as a professional. Every year a panel movement, voice and acting coaches. of our graduates return to share their professional In their various capacities, the team have experience, so you hear what’s going on now. collaborated with such actors as Anna Friel and In your third year, external directors direct many Tim Roth, writers and producers (who include of your productions. Our recent directors have LIPA AND I Sir Alan Ayckbourn, Terry Johnson and Phil collaborated with , the National Redmond) and have directed TV dramas, such Theatre, the National Theatre of Scotland, Soho “As an actor you need as Coronation Street, Emmerdale and Brookside. Theatre, Talawa Theatre and Vault Festival. Last to be able to work year, we collaborated with acclaimed theatre with different directors You can find profiles of our teaching team company Slung Low on a new site-specific project. and actors and their on our website. We commissioned playwrights Mark Arends and different approaches. Lucy Burke, as well as the award-winning Gecko LIPA prepared me Theatre, to create brand new works for our actors. for this by making me You take part in showcases in London, adaptable and able to MASTERCLASSES Manchester and Liverpool that are well attended deliver a performance A few highlights from over the years include: by agents. Our 2018 showcase achieved 100% representation of actors, with employment gained when pushed out of Pippa Ailion my comfort zone. The WEST END CASTING DIRECTOR in big-budget film, TV and significant regional course also teaches you theatre, plus the National Theatre. OLIVIER-AWARD WINNING , ACTOR We encourage our students to enter high profile the importance of doing AND SCREENWRITER competitions. For example, one of our students your actor’s homework graduating in 2019 won the Carleton Hobbs and preparing diligently EMMY-WINNING ACTOR, WRITER, PRODUCER Bursary, which means joining the BBC Radio so you can approach AND BROADCASTER Drama Company on a five-month contract. any role or scene with David Grindrod absolute confidence.” BRITISH THEATRE AND TELEVISION CASTING DIRECTOR Woody Harrelson EMMY-WINNING ACTOR AND WRITER Rachelle Diedericks Sir Ian McKellen GRADUATED 2017 MULTI-AWARD-WINNING ACTOR She was cast as Debbie Maxine Peake in Take That musical BAFTA-NOMINATED ACTOR, WRITER AND DIRECTOR The Band shortly after David Pugh graduating and toured WEST END AND BROADWAY PRODUCER with the show until spring The late Alan Rickman BAFTA-WINNING ACTOR AND DIRECTOR 2019. She then joined the cast of Willy Russell Harry Potter OLIVIER AND TONY AWARD-WINNING PLAYWRIGHT and the Cursed Child, West End. MULTI-AWARD-WINNING ACTOR, DIRECTOR AND PLAYWRIGHT She also appeared Hannah Waddingham in Minnie Driver’s US THREE-TIME OLIVIER-NOMINATED ACTOR sitcom Speechless, during an episode filmed in London.

28 ON THE COURSE

Year 1 You focus on the technical principles of acting through a naturalistic, Stanislavskian, foundation in technique, influenced also by the teachings of Michael Chekhov and Sanford Meisner. This is supported by a rigorous, integrated Practical work/ realisation of movement and voice as core Written work ratio fundamentals through contemporary scene Year 3 studies and classic play presentations. 80% Your work in industry-simulated projects practical work A grounding in cultural perspective provides continues, in presentations to public audiences. 20% intellectual underpinning, including the coursework introduction of artistic creation, collaboration Using your independent methodology, you and professional development to introduce collaborate with external directors and creatives. Teaching includes interdisciplinary and entrepreneurial work ethics. Showcases in London, Manchester and Liverpool technical skills Throughout all of this activity, you develop your allow you to engage with agents, professionals classes, one-to-one reasoning and collaborative skills. and casting directors. tutor sessions, seminars, workshops, Your showcase pieces and showreel are also made available digitally and online, giving masterclasses and Year 2 TEACHING AND ASSESSMENT directed study. you the resources to market yourself to a wider industry audience. You continue to embed technical proficiency Assessment takes place in acting, movement and voice by advancing Your interdisciplinary artistic creation is tested during your practical towards an independent acting methodology, in self-generated work outside the Institute to classes and rehearsals, that results in a final public presentation of a the public, enhancing your CV, encouraging performances and your challenging, non-naturalistic work. networking and preparing you for the challenges reflective journals. of your professional career. Overall, assessment You engage with the demands of classic, is largely based on period and heightened texts, continuing with a applications of technique second project concentrating on an innovative in performance situations, production. You also collate recorded scenes either in front of an audience from screen acting classes. or in workshops. The coursework element Your interdisciplinary artistic creation continues is focussed on your future with an opportunity to explore a range of career, your working associated skills. These may include writing environment and critical (stage/screen), directing (stage/screen), life skills. producing (project management) and musical In your third year, you theatre skills. undertake an optional You create a career plan and an entrepreneurial practical or written research project. project. Again, career focussed, this is chosen by you.

For further course details please visit www.lipa.ac.uk

29 THE COURSES

We want you to achieve impressive on BA(HONS) screen performances and gain off-camera skills (such as scriptwriting and filmmaking techniques) to create a well-rounded ACTING professional media portfolio. (SCREEN & DIGITAL MEDIA)

ur intensive and practical training prepares you to work across established and emerging performance mediums. You learn business and enterprise skills, the fundamentals of story and script, character, genre, style and technical Oaptitudes. You work across various platforms and mediums, such as TV, film, online, voice for audio (animation, ADR, immersive audio) and motion capture (including VR). You also have the option to collaborate with other students as an actor, writer, director and project producer, so you can employ a diverse skill set required by the twenty-first century actor.

COURSE IN BRIEF

Course award: BA (HONOURS) ACTING (SCREEN & DIGITAL MEDIA) Duration: 3 YEARS, FULL-TIME UCAS code: W411 Course code: BA/ASDM Places available: AROUND 18 EACH YEAR

This programme is subject to validation. Any changes to modules and delivery will be updated on the website.

30 “ When I met LIPA students, I was struck by their commitment to continual improvement to develop their craft.”

ACTOR, WRITER, DIRECTOR, PRODUCER Woody Harrelson

Our graduates will be CAREER PROSPECTS contemporary screen actors capable of creating employment Writer for themselves and others Actors for screen in today’s recorded You are equipped for work in TV and film as well as Writers, or content creators, can work in film and digital world. radio drama, voiceover and ADR for animation and and TV, radio and podcasts, as well as live Their skills mean they gaming. Scripted reality and TV presenting are also theatre and events that require storytellers and will be well placed options. scriptwriters. The increase in subscription services to work across varied and internet channels means there are multiple platforms and mediums, opportunities for individuals, who understand equipped with narrative, compelling characters and situations. entrepreneurial, professional and intellectual skills to thrive. The course also provides complementary skills in scriptwriting and filmmaking techniques, to generate employment options for an international marketplace.

31 THE COURSES TEACHING STAFF MASTERCLASSES INDUSTRY Our teaching staff have broad and diverse A few highlights from over the years include: LINKS backgrounds, which reflect industry needs and Pippa Ailion will support your development as a versatile, WEST END CASTING DIRECTOR Our Q&A sessions give employable actor. They are an international Rowan Atkinson you the chance to hear team, who have worked as actors, directors, OLIVIER-AWARD WINNING COMEDIAN, ACTOR from leading practitioners. musical directors, producers, writers and expert AND SCREENWRITER Throughout the course, movement, voice and acting coaches. On top Stephen Fry you also benefit from our of this, we invite professional guests to take part EMMY-WINNING ACTOR, WRITER, PRODUCER strong connections with AND BROADCASTER in our programme of Q&A sessions – from actors theatres, digital production David Grindrod to casting agents to directors. companies, artists, casting BRITISH THEATRE AND TELEVISION CASTING DIRECTOR agents, directors and writers. Woody Harrelson In recent years, we You can find profiles of our teaching staff EMMY-WINNING ACTOR AND WRITER on the website. have collaborated with Sir Ian McKellen leading companies such MULTI-AWARD-WINNING ACTOR as Slung Low, Gecko, Maxine Peake Lime Pictiures and LA BAFTA-NOMINATED ACTOR, WRITER AND DIRECTOR Productions to create David Pugh new works. Through our WEST END AND BROADWAY PRODUCER visiting professionals The late Alan Rickman BAFTA-WINNING ACTOR AND DIRECTOR and experienced staff, Willy Russell you have access to an OLIVIER AND TONY AWARD-WINNING PLAYWRIGHT extended network to Mark Rylance help you pursue your MULTI-AWARD-WINNING ACTOR, DIRECTOR AND PLAYWRIGHT individual goals. Our Hannah Waddingham graduates also return to THREE-TIME OLIVIER-NOMINATED ACTOR share their experience of transitioning from student to professional. There are nearby TV companies too, with Lime Pictures less than ten miles away and Media City around 30 miles away.

32 ON THE COURSE

Year 1 You gain the tools and framework for approaching and responding to dramatic and creative stimuli. In The Actor's Technique modules, you focus on the technical principles of naturalistic technique, with the application of practitioner approaches Practical work/ in contemporary, twentieth century international Written work ratio and nineteenth century classic European texts. Year 3 This is supported by rigorous fundamental 80% During your final year, you present yourself practical work training in voice and movement to reinforce and integrate your acting as work towards as a professional with the potential to progress 20% forming a unique, independent methodology. toward your own portfolio career. coursework You test your technical abilities in in-house You rehearse and perform in a production presentations, before adapting your skills appropriate to a live event or for film/TV Teaching includes to screen acting and the demands of acting broadcast and are expected to apply advanced technical skills for camera. techniques, adjusting your practice to studio and classes, one-to-one location work. You produce a digital production tutor sessions, A grounding in cultural perspectives provides of your own creation, working on an original, seminars, workshops, an intellectual underpinning, contributing to new script and forming your production team by masterclasses and your understanding of script analysis and ability liaising with departments to manage personnel and TEACHING AND ASSESSMENT directed study. to comprehend story and screenwriting. You execute its production to a professional standard. collaborate with students from other disciplines Assessment takes place and begin to hone your practice by applying You work on a variety of media productions and during your practical elements of professional development. enhance your skills in post-production, generating classes and rehearsals, material for a digital portfolio and giving you the Throughout this year, you are introduced to resources to promote yourself to a wide industry performances and your interdisciplinary and entrepreneurial work and reflective journals. audience. Additionally, your understanding of also develop your reasoning and collaborative digital media, including movement and voice Overall, assessment skills. is largely based on skills, is tested further in VR and immersive audio applications of technique projects, preparing you for the challenges of in performance, either in your professional career across screen and front of an audience Year 2 digital media. or in workshops. You explore advanced acting techniques Finally, you explore an issue relevant to your The coursework element and deconstruct a range of dramatic forms craft, with the option of writing a dissertation is focused on your future to understand and place in context the specific or a practice-as-research project. career, your working demands of screen acting. You refine your own environment and critical screen acting skills and create scenes for studio- life skills. based screen work, from sitcom to continuing In your third year, drama. you undertake an optional practical or written research In The Actor's Technique modules, you continue project. Again, career to develop your specialist technical skills in focused, this is chosen acting, voice and movement and consider how by you. to apply these to different recordings like motion capture, CGI and gaming. Throughout this year you also build your scriptwriting proficiency and investigate different narrative forms for specific mediums. You also work to a live brief to create original short pieces for camera and audio. Along with adding production craft, performance and writing skills to your portfolio, you continue building your understanding of professional practice through using strategic planning tools, For further course producing a career plan and interrogating details please visit funding options. www.lipa.ac.uk

33 THE COURSES

We want you to be able to BA(HONS) create meaningful drama APPLIED THEATRE and theatre for, with and by different communities. &COMMUNITY DRAMA ecognising that theatre can be more than entertainment, you focus on the potential of drama to educate and bring about social change. You develop core skills as a theatre practitioner, while gaining practical experience of Rworking with people from diverse backgrounds and understanding the social issues that affect them. You leave as a confident and innovative facilitator and director with the knowledge and skills to work across the spectrum of applied theatre and community drama.

COURSE IN BRIEF

Course award: BA (HONOURS) APPLIED THEATRE & COMMUNITY DRAMA Duration: 3 YEARS, FULL-TIME UCAS code: W491 Course code: BA/ATCD Places available: AROUND 26 EACH YEAR

34 “It was a pleasure to work with such an engaged and engaging bunch of students. Their energy and skill will stand them in the best stead for their futures.”

CREATOR AND DIRECTOR OF CARDBOARD CITIZENS Adrian Jackson

There are a wide OUR GRADUATES range of employment opportunities. Our graduates work in arts Notable alumni Recent alumni credits and regeneration, arts outreach and Theatre in Machteld De Ruyck – Older People’s Education. Many have Programme Manager at Leeds Playhouse, offering Companies and cultural established their own creative projects and opportunities to older organisations successful community people and people living with dementia and their theatre organisations supporters, both in the theatre and wider community. ; Amnesty International; and freelance careers, Artis; Beatfreeks Collective; Hippodrome; working with a variety Birmingham Rep; Cardboard Citizens; Cheshire of participant groups, Young Carers; City Hearts; Collective Encounters; ranging from children Curious Minds; Electric Theatre Workshop; Fyret and young people, to Kultur - Og Teaterverksted (Norway); Launchpad; the elderly in residential Leeds Playhouse; M6 Theatre Company; MAC care; from refugees and asylum seekers to young Birmingham; Majestic Theatre; Youth offenders. Many work Association; More Music; More Than Words; internationally. Graduates Mousetrap Theatre Projects; North Ayrshire – appointed as the have delivered projects Gwennan Mair Jones Council; Novus; The Proud Trust; Royal Court first Director of Creative Engagement for Theatr in Africa, Asia, North Theatre, London; Saltmine Theatre Company; Clwyd, where she heads up a team working with and South America and 45,000 young people and 120 schools every Shakespeare Schools Foundation; Stagecoach Europe. year, as well as the wider community, to advance Theatre Arts; Theatre in Prisons and Probation; Total creativity and develop new skills. Insight Theatre; Watermill Theatre.

Graduate companies

Ayont Arts; Black Sheep Collective; Burjesta Theatre; Evolve Arts, Singapore; Fracture Theatre; Glitch Theatre; Grubby Knees Community Theatre; Just Being; Pip Theatre; Pockets Theatre; Signs Drama Sensory Theatre; Switching Gears; Georgia Tillery – Productions and Education Urban Choir Project, New York. Director at Black Sheep Collective, which produces creative community engagement projects, delivering performances and workshops and running a social enterprise coffee house.

35 CUCUMBER CHANNEL 4/RED PRODUCTION COMPANY

TEACHING STAFF INDUSTRY LINKS Our teachers have extensive experience as Practical projects in communities are a vital teachers and practitioners. Their work includes part of your time with us, allowing you to gain leading projects across the UK, Europe and professional experience. We have links with over Africa and holding senior positions in companies 70 organisations including youth clubs, health such as Citizen Arts UK, TIPP Centre, Pigeon agencies, penal institutions, schools and colleges, Theatre, Collision, Solent People’s Theatre, mental health organisations, disability groups and The Haymarket, BBC Education and The social exclusion projects. Children’s Commission. We offer an annual exchange trip which introduces you to the possibilities of working LIPA AND I You can find profiles of our teaching team across Europe. Students taking part in a teaching on our website. session in the Ancient Theatre of Dionysus, Athens “At LIPA we were are pictured below. always working You hear from people currently working within simultaneously on applied theatre and community drama, so you different projects. MASTERCLASSES know how to apply your learning to reality. We It teaches you how to A few highlights from over the years include: hold masterclasses with leading practitioners and manage your time and Jo Collins and Mary Ward inspiring figures from the sector. Every year a gives you the stamina AMBASSADORS & GUARDIANS OF CHICKENSHED selected panel of our graduates return to share you need as a freelancer. John Fox their professional experience, so you hear what’s I think the facilitation DIRECTOR, WELFARE STATE INTERNATIONAL going on now. teaching is unique and Sanjoy Ganguly sets the course apart and DIRECTOR, JANA SANSKRITI CENTRE FOR THE THEATRE it’s not just hypothetical, OF THE OPPRESSED you’re working with Penny Glass DIRECTOR, TEATRO PASMI different communities Adrian Jackson on lots of live projects. DIRECTOR, CARDBOARD CITIZENS Those are skills that Chris Johnstone I continue to rely on.” DIRECTOR, RIDEOUT Margaret Ledwith Jay Crutchley AUTHOR, COMMUNITY DEVELOPMENT: GRADUATED 2013 A CRITICAL RESPONSE David Oddie Jay is an artist with DIRECTOR, THE INDRA CONGRESS the Birmingham Rep’s David Pammenter community engagement FORMER DIRECTOR, BELGRADE TIE programme Furnace, Tim Prentki working with communities EDITOR, THE APPLIED THEATRE READER on creating new theatre Pam Schweitzer that celebrates and DIRECTOR, THE EUROPEAN REMINISCENCE NETWORK reflects their experiences. James Thompson He’s also a theatre DIRECTOR, THE HUMANITARIAN AND CONFLICT director and creative RESPONSE INSTITUTE practitioner with Free Radical as part of Beatfreeks Collective, providing a platform and empowering young people to tell their stories. 36 ON THE COURSE

Year 1 You develop skills as a theatre practitioner and lay the foundations of your training as a facilitator and director.

Through classes in improvisation, mask, storytelling, voice and movement you gain a practical Practical work/ understanding of the key components of drama, Written work ratio both to improve your own performance skills Year 3 65% and, more importantly, to prepare you to lead You prepare to enter the profession by practical work drama process and create new work. producing and realising community-based projects through self-directed activity. 35% You learn the practical processes that underpin written assignments the running of a workshop and begin to develop You investigate the potential of drama to create your facilitation style. As a director, you explore change by working with community groups to The course is taught visual storytelling, directing short scenes and facilitate a Theatre for Democracy event. In by combining analysing play texts. parallel, to enable you to work effectively practical workshops, as a freelance drama practitioner or set up tutor-supervised You learn about the history of social and political your own company, you develop a critical projects (with theatre and how this has influenced current understanding of current legislation and community groups), Applied Theatre. policies which includes fundraising and project workshop projects, implementation.

TEACHING AND ASSESSMENT seminars and talks. Throughout all of this activity, you develop your reasoning and collaborative skills. Finally, you devise, plan and lead a 12-week As the course progresses, individual practical project of your choice you work on community- At the end of the year, you apply all you have in a real world setting. based projects with learned in a major performance project. increasing levels of independence, leading to individual self-directed Year 2 activity in your final year. You are assessed You continue to develop your skills as a facilitator regularly throughout the and director, learning and leading a variety of course and methods of different activities. assessment include in-class presentations, written An in-depth exploration of ideas (such as assignments, portfolios community and identity) helps you learn how and project-based drama can be used to create social change. performance. In your third Major projects include a Theatre in Education year, you undertake a tour, a week-long school residency and final practical project and a large-scale public performance project, an accompanying in-depth developed and run in conjunction with written research paper. a specific community group.

You develop project management skills and create a career plan. When this year ends, you should feel comfortable running and evaluating a series of weekly sessions with a community group.

For further course details please visit www.lipa.ac.uk

37 THE COURSES

BA(HONS)/MArts We want to facilitate innovative filmmakers, storytellers, creatives and CREATIVE technicians, who use new audio-visual technologies to deliver exceptional TECHNOLOGIES content for film, tv, theatre, concert, & PERFORMANCE and online audiences.

Course Pathways n your first year, you study all of the pathways and then from your second year you specialise to build the right set of multiple skills and knowledge to achieve a sustainable Film and TV Production career. Your studies are underpinned by essential professional skills such as project Story, Script and Development Imanagement, financial planning and team work. You can collaborate with other students (performers and those who make performance possible) to produce a portfolio of quality Emerging Technology outputs, whether that’s live or recorded performances, films or scripts. You can either undertake and Digital Performance this programme as a three-year BA or as a four-year integrated Masters.

COURSE IN BRIEF

Course award: BA (HONOURS) CREATIVE TECHNOLOGIES & PERFORMANCE/ MASTER OF ARTS CREATIVE TECHNOLOGIES & PERFORMANCE Duration: 3 YEARS OR 4 YEARS, FULL-TIME UCAS code: W600/W602 Course code: BA/CTP OR MARTS/CTP Places available: AROUND 36 EACH YEAR

38 “This is the sort of forward-thinking course I would encourage for students wishing to acquire the skills necessary to realise their imagination on screen. The content addresses much of what we need to know in the industry right now to keep innovating in entertainment.”

OLIVIER AWARD WINNING PROJECTION DESIGNER

We expect graduates CAREER PROSPECTS to be able to work in many roles from film and television maker to writer Emerging technologies Video artist or video projection artist. There are also an technician With your digital filmmaking skills, you have increasing number of Music gigs, live theatre, festivals and television - constantly expanding options: music video making, opportunities in virtual and all require skilled operators of new technologies. projection sequences (as part of live events), augmented reality media. You have access to equipment for VR, motion YouTube channels, mainstream television and Theatre and musical capture, digital filmmaking and editing and related subscription services and advertising - all have theatre increasingly use software packages, so you’ll be readily employable. a demand for skilled expertise. film and projection, as do music events. Our graduates are also likely to be in demand, where pop-up events or retail business want to engage with immersive events and use of public spaces.

Filmmaker Writer There are many independent film companies Writers, or content creators, can find themselves who require directors, producers, camera working in many places and with different platforms. operators, editors and sound technicians but Film and TV, radio and podcasts as well as live also there are opportunities to set up your own theatre and events require storytellers and company and provide services for programme scriptwriters. The increase in subscription services making and advertising. and internet channels means there are multiple opportunities for individuals who understand narrative, compelling characters and situations.

39 SLUNG LOW’S COMPANY OF PART TWO ABUNDANCE TWO PART OF FLOOD COMPANY LOW’S SLUNG PHOTOGRAPHER: MALCOLM JOHNSON MALCOLM PHOTOGRAPHER: THE COURSES “As a current student, TEACHING STAFF INDUSTRY LINKS it was great to be given Our staff have a wide range of industry experience We have close relationships with many companies the chance to take and expertise. This includes award-winning writers, and organisations. These include leading industry part and comment on television directors, live sound and post-production manufacturers and suppliers, such as Sennheiser, content and structure specialists, plus lighting designers. We also have Creative Technology and SSE Audio, who visit of this new discipline. filmmakers on board and staff with professional to keep our students up to speed with the latest It’s fantastic LIPA is expertise in coding, software and digital projection. developments and provide access to the newest developing learning as The course draws upon well-connected freelance technology. We also have strong links with the the traditional ways professionals and we schedule regular masterclasses Liverpool Everyman and Playhouse theatres, the of consuming art are with established artists and industry professionals. National Theatre, the Royal Exchange Theatre changing. People don’t (Manchester) and Twickenham Studios. always want to be in You can find profiles of our teaching team You have access to regular Q&As, that one physical place on our website. masterclasses and workshops with well-known performing arts personalities and key industry to experience it. As well figures. Our graduates also return to share as making performance their experience of transitioning from student easily accessible, new to professional. technology means This is additional to our own full-time teaching we can now provide staff, who have industry experience (many still experience in a more actively involved). They have worked with, among immersive, interactive others, BBC, ITV and the National Theatre. way. People are already This continual contact with industry will allow coming up with more you to build your own professional contacts and innovative ways of networks. An industry placement can also be getting select groups of part of your course, which often leads to future employment. people to select places to consume a specific piece of art. For them to be able to do this profitably they need to fully understand the technology so they can utilise it and express themselves fully. This course promises to do that.”

Connor Di Leo 3RD YEAR BA (HONS) MANAGEMENT OF MUSIC, ENTERTAINMENT, THEATRE & EVENTS

40 ON THE COURSE

Year 1 Your first year provides an introduction to all three Practical work/ pathways. You explore filmmaking, the creating Written work ratio of stories and scriptwriting. You also examine 60% digital technologies in performance. practical work You have the opportunity to use equipment and 40% learn production processes and techniques. You written assignments learn how to discuss and evaluate what you are Year 4 doing and how to present ideas. At times, you study and learn in a large group to share core (For students who elect to study Your skills teaching ideas and hear from experts. this as a MArts instead of a BA) is delivered via You work alongside other postgraduate students a combination of You also work in small groups to enhance your in the Institute and are able to pursue your own seminars, lectures skills and prepare for project work. You collaborate creative research project, while studying practice and practical to deliver creative projects. When you are working as research methodologies. workshops. This on projects, you work full-time under professional is followed by conditions. At the end of the year, you present a You undertake an advanced skills module to push project-based summary of your year’s work. your ability and understanding to a distinctive level learning, when and apply those skills in your own large-scale you work full-time creative research project, where you can, again,

TEACHING AND ASSESSMENT under professional Year 2 collaborate with other students. conditions. You choose an area to specialise in, so you can This may involve setting up a business or expand your knowledge and skills in that area There is also a core undertaking work for a client. and engage in more detailed work. You also ideas element that runs study a minor in one other area. all year, again, delivered To progress to Year 4 (Level 6), you must via seminars, lectures and achieve a minimum of an upper 2:2 degree The pattern of Year 1 continues with large group classification at the end of Year 3. practical workshops. study, small group skills development and the The end of each year collaborative work of projects. You also have an includes the creation of opportunity to work on major production projects a portfolio for sharing or elsewhere in the Institute, where your skills are other summary artefacts. needed. You are assessed on your planning; pitching You continue to plan, pitch and deliver projects, of project proposals which grow in sophistication and complexity. You and your own critical finish the year by creating an artist statement and evaluation of your work, planning an arts business. as well as on your practical project work. You are also assessed on Year 3 your professional portfolio You increase your concentration on your main and career plan at the specialism and maintain an interest in your minor end of each year. area. This is put into practical application in a If you choose the MArts specialist individual project. programme, in Year 4 you work alongside other Through your repeated experience of the postgraduate students process, you should be able to realise your and continue to undertake project work and your ideas at a fully professional project work and skill level. This means you should also be equipped development (at an by this stage to attract funding or investment. advanced level). You also study practice as research Finally, you are asked to prepare yourself for and documenting practice. work by presenting a professional portfolio based You conclude your study on the work completed during your three years. by undertaking a major piece of practice and For further course investigate key ideas or details please visit you can write a dissertation. www.lipa.ac.uk

41 THE COURSES

We want to produce BA(HONS) technically-strong, versatile dancers through training which is responsive to the trends and demands of DANCE professional dance.

ur course provides the technique, creativity, understanding and professional awareness to sustain a career as a professional. Classes cover a broad range of dance styles and complementary skills to make you an employable Operformer. We give you specific critique and guidance in your development, as well as offering the experience of being part of a company. You collaborate with students from other courses, giving you invaluable insight into the creative process from other perspectives and realities.

COURSE IN BRIEF

Course award: BA (HONOURS) DANCE Duration: 3 YEARS, FULL-TIME UCAS code: W500 Course code: BA/DANCE Places available: AROUND 32 EACH YEAR

ACCREDITED BY

42 “LIPA is the real deal. Dance students hone their strengths with budding music producers, writers and artists making this establishment completely unique.”

FOUNDER, MANAGING DIRECTOR OF BOSS CREATIVE ENTERTAINMENT; CHOREOGRAPHER Gary Lloyd

Our Dance graduates OUR GRADUATES are performing all over the world. They’re working with independent Notable alumni Recent alumni credits choreographers and renowned dance Renae Hughes – performs with Rita Ora as one companies. You’ll see of her six core backing dancers. Has appeared Stage and screen them performing in with the singer-songwriter on , high-energy musicals The BRITs and MTV EMAs as well as at festivals And All The Humans Will Be Eliminated; and other dance shows and gigs on some of the world’s biggest stages. As the World Tipped; The BRIT Awards, ITV1; in the West End and in Carmen (Austria); Disney’s Musical TARZAN touring and international (Germany); Everybody’s Talking About Jamie productions. Many have (West End); Let it Shine, BBC; King (Holland); appeared in music videos, the Musical (West End); Rock of Ages in Bollywood films and (UK tour); Sister Act (UK tour); on television and gain (Germany); , BBC One; regular work as dancers Strictly Come Dancing and choreographers on Thriller Live (West End and UK tour); The Tin PHOTOGRAPHER: ANDREW TIMMS ANDREW PHOTOGRAPHER: cruise ships and within Drum (Kneehigh); TriOperas (West End); Vampires Rock the fashion and leisure Charlie Knight – performing in Bat Out of Hell (UK tour); UK; The Wedding Singer (UK industries. A number of – The Musical (Oberhausen, Germany). Has also tour); ; The X Factor, ITV1. graduates have also performed with on ITV’s Britain’s established their own Got Talent. Appeared in campaigns for Swatch, companies. Adidas, Reebok and Primark and worked as a Dance companies choreographer at the Beijing National Theatre. Fidget Feet Aerial Dance Theatre, JV2 - Jasmin Vardimon Company, Motionhouse, Rambert2, Recirquel, RoguePlay Theatre; State of Grace, Stopgap Dance Company, Wayne McGregor Company, Wired Aerial Theatre.

Artists that our graduates Christopher Ribz Gordon – TV credits have worked with include BBC Red Nose Day 2017 and commercials for Casino.com, UNICEF and Very UK. Performed Busted, Jess Glynne, FKA Twiggs, Florence + in Thriller Live in the West End and on tour. Now the Machine, Dua Lipa, Little Mix, Pixie Lott, focused on teaching and choreography. Recently Olly Murs, Rita Ora, The Overtones, Stormzy, choreographed Glad It’s Night (Motown show on Take That, Will-i-am, Robbie Williams. a world and UK tour).

Other employers

Carnival Cruises; Celebrity Cruises; Circus 1903; Cunard; Disney Cruises; Global Village (Dubai); P&O; Princess Cruises; Royal Caribbean Cruise Lines; TUI; Walt Disney Company.

43 PHOTOGRAPHER: NICK GUTTRIDGE THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have all been professional You benefit from our connections to agents, casting performers. Their experience spans from directors, choreographers, companies and world-class companies such as Rambert Dance independent dance artists. Visiting professionals Company and Hamburg Ballet to West End (working as dancers, choreographers and musicals and backing dancers for major directors in the industry) provide some of your artists including , Mick Jagger, Kylie teaching. You participate in masterclasses Minogue, Rita Ora, Rihanna and Taylor Swift. provided by industry guests, including classes They’ve worked with renowned dancers and led by top choreographers and performers. choreographers including Rafael Bonachela, On some shows, you work with professional LIPA AND I Christopher Bruce, Francesca Jaynes, Natalia choreographers and West End directors. Previous Makarova, , Ohan Naharin, John choreographers have worked with companies “LIPA was a safe space Neumeier and Christopher Wheeldon. such as English National Ballet, Rambert and for me to grow and In commercial dance, our staff have performed Akram Khan Company and artists including Beyoncé, to hone my skills as in and choreographed musical theatre, television, Camila Cabello, Rita Ora and Years & Years. a dancer and a performer. cabaret and other dance forms and worked with Every year a selected panel of our graduates I feel the course top commercial choreographers such as Brian return to share their professional experience, encouraged my creativity, Friedman, Jerry Reeve and Ashley Wallen. The so you hear what’s going on now. my individuality and team continually update their skills. Halfway through the course, you undertake a allowed me to find my mock audition with a leading industry professional. own voice as an artist. You can find profiles of our teaching team Their feedback informs your remaining training on our website. and prepares you for showcasing opportunities I think all of those things in your final year. We have invited representatives have definitely given MASTERCLASSES from agencies such as AMCK, Boss Creative me an upper hand in Entertainment, Dancers Inc., KMC agencies and auditions. Collaborating A few highlights from over the years include: Mark Summers Casting and members of Akram with music, design and Kristina and Sadé Alleyne Khan Company, New Adventures and Phoenix technology students on COMPANY DANCERS WITH AKRAM KHAN COMPANY Dance Theatre, among others. We have a link Matthew Bourne productions is what OLIVIER AWARD-WINNING CHOREOGRAPHER with Broadway Dance Center, who offer a attracted me to becoming Matt Harris training scholarship to a recent graduate. a company dancer.” CHOREOGRAPHER, DANCER ON STRICTLY COME DANCING Dean Lee Aishwarya Raut CREATIVE DIRECTOR, CHOREOGRAPHER AND DANCER GRADUATED 2017 Christopher Manoe ARTISTIC DIRECTOR, DANCERS INC. Aishwarya was selected Aicha McKenzie from 800 applicants CEO, AMCK DANCE AGENCY from across the world to Arlene Phillips CHOREOGRAPHER AND DIRECTOR be one of 13 members Jerry Reeve of Rambert2, the new CHOREOGRAPHER, CREATIVE DIRECTOR ensemble of renowned Kenrick Sandy dance company Rambert. ARTISTIC DIRECTOR, CHOREOGRAPHER She’s performed in three AND AWARD-WINNING DANCER productions at Sadler’s Mark Summers Wells and toured the UK. CASTING DIRECTOR, CREATIVE DIRECTOR Sharon Watson ARTISTIC DIRECTOR, PHOENIX DANCE THEATRE Ashley Wallen CHOREOGRAPHER, CREATIVE DIRECTOR

44 ON THE COURSE

Year 1 You build a solid technical framework through regular classes in ballet, jazz, contemporary and tap. These are complemented by studying choreography and current commercial dance styles. Our masterclass series covers cross-cultural Practical work/ styles (such as locking and popping, ballroom, Written work ratio African dance, hip hop) and commercial styles, plus aspects of today’s West End. You also take Year 3 80% acting, singing and voice classes. You continue with a rigorous programme of practical work dance technique classes to ensure you are 20% A physical one-to-one diagnostic helps you working to professional standards. There written assignments understand how to work to the best of your are two large-scale productions which you potential and minimise injury. perform in - one is a musical and the other is a devised dance show. The musical is directed This practical Informal sharings of work and an in-house course includes by a professional director and external performance at the end of the year give you choreographers also collaborate with you on intensive dance performance experience. technique training. your devised show. Other external professionals You also receive also give you advice on developing your Throughout all of this activity, you develop your portfolio and audition technique for agents and training in acting reasoning and collaborative skills. and singing choreographers. technique to We invite in a wide range of leading dance enhance your Year 2 employability companies, choreographers and agents so that as a performer. you can showcase your abilities to them and TEACHING AND ASSESSMENT Your regular classes in ballet, jazz, contemporary take those all-important steps towards putting and tap increase in difficulty. These include boys your career plan into action. As you progress through ballet and girls pointe classes as well as partnering the course, you are technique (ballet, contemporary and jazz). You also research and write a paper on an expected to take You take part in single sex body conditioning area which is relevant to your dance interests increasing responsibility sessions, which focus on the different physical and aspirations. for your own learning and demands placed on female and male dancers. development as a dancer. You continue to take classes in commercial You’re continually styles to increase your versatility, including the observed in practical introduction of aerial work. classes, with a final presentation of work at Acting and singing classes continue and you are the end of each practical taught how to integrate these skills with dance, module. There is an in preparation for a musical theatre production element of written work in Year 3. You also prepare for professional in the form of essays, auditions and create a portfolio. reports, evaluations and critical reflections. In the This year culminates in a major public performance third year, you produce where you collaborate with designers and a research paper on technicians, so you experience the professional an area of dance and production process. performance which is of particular interest to you. You create a career plan and an entrepreneurial project.

For further course details please visit www.lipa.ac.uk

45 THE COURSES

BA(HONS) We want you to learn, grow MANAGEMENT OF MUSIC, and succeed as managers in the music, theatre and ENTERTAINMENT, entertainment industries. THEATRE & EVENTS

n your first year, you develop a deep understanding of business, management, marketing and how to apply these skills in the theatre, entertainment and music industries. During second year, you start to specialise by taking on work which reflects your own personal career ambitions. You produce Iand deliver significant commercial events and products. You also gain experience of managing people and projects. We teach you how the contemporary global entertainment industry works and enhance your understanding of how digital software enables theatre, music and events managers to succeed. In your third year, you go on an industry placement and experience the front-line realities of business. Then, in your final term, we help you to bring all of this learning together so that you are fully prepared for the start of the rest of your entertainment, music and theatre industry career.

COURSE IN BRIEF

Course award: BA (HONOURS) MANAGEMENT OF MUSIC, ENTERTAINMENT, THEATRE & EVENTS Duration: 3 YEARS, FULL-TIME UCAS code: W450 Course code: BA/MANAGE Places available: AROUND 36 EACH YEAR

46 “Your management students know what they are talking about and their employment record is outstanding.”

FORMER EXECUTIVE DIRECTOR, NATIONAL THEATRE; EXECUTIVE DIRECTOR, LONDON THEATRE COMPANY Nick Starr

Our graduates are OUR GRADUATES working in senior roles for some of the world’s largest music, Notable alumni Recent alumni credits entertainment, theatre and events companies. Many are offered Lynette Howell Taylor – film entrepreneur Companies full-time positions based in LA. Recently worked on Wander Darkly, following third year work starring Sienna Miller and Diego Luna. Her Ambassador Theatre Group, Apple, Atlantic placements. company’s co-production credits include multi- Records, BAFTA, BBC, Beatles Story, Belfield Other graduates have award nominated A Star is Born with Bradley & Ward, Productions, Bukta Cooper and Lady Gaga and , set up their own businesses, Captain Fantastic Festival, BWH Agency, CAM (Creative Artist undertaking a wide range for which Viggo Mortensen received an Academy Award Best Actor nomination. Management), Channel 4, Corn Exchange Trust, of activities including Creative Artists Agency, CTS Eventim, Culture event management, Liverpool, Dance Consortium, Deco Publique, theatre production, Delfont Mackintosh Theatres, Deluxe Entertainment organising arena tours, managing and representing Services Group, Diplomats of Sound, Electric City successful bands and Entertainment, Epstein Theatre, Facebook, Hatton artists, marketing, McEwan Penford, iTunes, ITV, LarMac Live, Live publishing, promotion, Nation, Liverpool Biennial, Liverpool Empire, video production and LW Theatres, MAC Birmingham, Modest! managing social media. Chris Meehan – Founder and CEO of Sentric Management, Musion 3D, NBCUniversal, Music Limited. Sentric is a music publishing company Nintendo UK, NRK in Oslo, the Octagon Theatre which works with artists to ensure they receive in Yeovil, Paines Plough, Parklife, Pippa Ailion royalties for their work. They represent over Casting, Polydor, Red Bull, , 100,000 and over 1m copyrights. Royal Exchange Theatre in Manchester, Royal Shakespeare Theatre, Sentric Music Publishing, Shakespeare’s Globe, Shine TV, SJM , Sony BMG, Stand up to Cancer, Telenor Arena in Oslo, Tileyard Music, Turner Broadcasting, Universal Music, Warner Bros.TV, Warner Music and Wireless Group.

Ed Millett – co-founder of Tap Management, Artist management whose clients include Aloe Blacc, Lana Del Rey, Ellie Goulding and Dua Lipa. In 2017, he and Lana Del Rey, Ella Eyre, Frances, Ellie Goulding, his business partner were named Manager of Hurts, SG Lewis, Dua Lipa, Sigala, Slaves, Angus the Year at the Artist and Manager Awards. & Julia Stone, Louis Tomlinson, The Wombats. PHOTOGRAPHER: JOHN MARSHALL PHOTOGRAPHER:

47 CUCUMBER CHANNEL 4/RED PRODUCTION COMPANY THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have a wealth of professional We regularly attract high-profile professionals experience including managing artists, theatres, from within the creative and performing arts, events, venues, record labels, touring companies, who deliver one off guest classes. We also bring festivals and small businesses. They also have in a selected panel of our graduates to share their Masters qualifications in fields such as Law, professional experience with you (pictured below). Creative Industries, Marketing and Higher During your third-year placement in the first term, Educational Leadership. The team continue you gain practical experience in an area of the music, to build and maintain their knowledge and entertainment, theatre and events industry. Recently, experience through excellent music, theatre our students have undertaken placements with LIPA AND I and entertainment links. record labels, theatres, Disney head office, TV and film production companies, music publishing “Having a mixture of You can find profiles of our teaching team businesses, dance and drama touring companies lectures and smaller on our website. and artist management organisations. group sessions was brilliant. As well as these, the sessions from visiting professionals MASTERCLASSES gave us an opportunity A few highlights from over the years include: to talk to leading Gina Carter industry figures. But the FILM AND TV PRODUCER most important part of Ann Harrison LIPA for me was the MUSIC LAWYER AND AUTHOR industry placement Darren Henley CHIEF EXECUTIVE, ARTS COUNCIL ENGLAND in the third year. Heather Knight I spent three months GENERAL MANAGER, DANCE CONSORTIUM at Selladoor Worldwide Steve Lewis in London, which was FORMER CEO, CHRYSALIS MUSIC, an invaluable experience MD OF VIRGIN MUSIC PUBLISHING and gave me a real taste Max Lousada for the industry.” CEO OF RECORDED MUSIC FOR & CHAIRMAN AND CEO OF WARNER MUSIC UK Scott Rodger Max Emmerson ARTIST MANAGEMENT (PAUL MCCARTNEY, ARCADE FIRE) GRADUATED 2014 Thomas Schönberg Max is Associate GENERAL MANAGER, CAMERON MACKINTOSH LTD Producer at Box of Tricks Nick Starr Theatre in Manchester FORMER EXECUTIVE DIRECTOR, NATIONAL THEATRE; EXECUTIVE DIRECTOR, LONDON THEATRE COMPANY and Producer Seymour Stein at The Letter Room in VICE-PRESIDENT, Newcastle upon Tyne. Sarah Stennett Max was previously CEO & CO-FOUNDER FIRST ACCESS ENTERTAINMENT Assistant Producer at Julian Stoneman Royal Exchange Theatre THEATRE PRODUCER and is a Trustee of Manchester Pride.

48 ON THE COURSE

Year 1 You’re introduced to a range of management subjects for the music, entertainment and theatre economies. You gain an understanding of marketing, finance, copyright law, entertainment law and raising funds. Practical work/ Written work ratio You begin to develop a professional awareness Year 3 of the international music, entertainment and theatre 50% You spend the first three months of the third year practical work economies. You can gain practical experience by developing and contributing to collaborative gaining hands-on experience of the professional 50% projects with fellow Management students and work environment by undertaking an industry written assignments with students from other courses here. You have placement. During your placement, you are the guidance, supervision and support of your supported by both your tutor and a mentor from You are taught Management tutors, who are available to you within the workplace. both informally and through formal appointments. through lectures, When you return here, you spend time with your guest talks, All of your first-year experience is designed to tutors reflecting on what you have learnt and workshops, help you develop and grow essential skills, such experienced over the past three years; analysing personal study as your verbal, written and presentation abilities, the projects you’ve worked on; the events you’ve and collaborative your understanding of research, team working, produced and the knowledge and skills that TEACHING AND ASSESSMENT projects. creative collaboration and your entrepreneurial you have gained. You use that reflective thought confidence. to produce a portfolio, which brings all of your You are assessed through learning experiences into focus. This helps you practical and written work. recognise how much you’ve grown as a creative You produce, manage and Year 2 manager and supports the pathways you are deliver a range of projects heading to after you graduate. and creative products, You start thinking about your future career and taking on an increasing tailor your learning experience around what You research and develop a final major project, amount of responsibility. you might like to do when you graduate. There including an analysis of a relevant management You provide essays, is the opportunity for you to focus on producing issue from the music, entertainment, theatre business-style reports and and delivering a live performance event, such and events sector and deliver a presentation reflective evaluations of as a music concert, a theatre performance, a at our annual Contemporary Issues in Creative your work. You will also community arts experience or a cultural festival. Management conference. be required to participate in individual and group Working with a small team, you are responsible presentations and a small for managing your own entrepreneurial project. number of written exams. You find out how to put an enterprising business idea into practice by producing your own business plan. You also expand your knowledge of licensing, cultural policy, people management, digital marketing, raising funds and most importantly of all, how to think creatively and entrepreneurially.

For further course details please visit www.lipa.ac.uk

49 THE COURSES

We want to ensure you become who you want to be musically and can make your living BA(HONS) working with music, whether performing, MUSIC creating or producing or a combination of these.

ur Music courses help you develop your skills in popular, (HONS) contemporary and commercial music and equip you with the BA essential business skills to succeed. You’ll develop a broad range Oof skills across performance, composition, songwriting and production. MUSIC(SONGWRITING Through three specialist degree options, you can choose the degree & PERFORMANCE) that best fits with your ambition from day one. They are Music, Music (Songwriting & Performance), or Music (Songwriting & Production). You get your music in front of an audience through frequent gig nights, (HONS) regular festivals and industry showcases. Aside from the business, you also BA learn how to match your music with an audience. ( You can collaborate with students from other courses, for example: MUSIC SONGWRITING recorded and live sound, lighting design and management students. & PRODUCTION)

COURSES IN BRIEF

Course award: Course award: Course award: BA (HONOURS) MUSIC BA (HONOURS) MUSIC BA (HONOURS) MUSIC Duration: (SONGWRITING (SONGWRITING 3 YEARS, FULL-TIME & PERFORMANCE) & PRODUCTION) UCAS code: Duration: Duration: W300 4 YEARS OR 3 YEARS, 4 YEARS OR 3 YEARS, FULL-TIME FULL-TIME Course code: BA/MUSIC UCAS code: UCAS code: W302 (3 YEARS) W301 (3 YEARS) Places available: W3F2 (4 YEARS) W3F1 (4 YEARS) AROUND 40 EACH YEAR Course code: Course code: BA/SPERF (3 YEARS) BA/SPROD (3 YEARS BA/FSPERF (4 YEARS) BA/FSPROD (4 YEARS) Places available: Places available: AROUND 30 EACH YEAR AROUND 10 EACH YEAR

50 “There’s absolutely nothing like LIPA in this country. It’s a genuine incubator of creativity for future players of the music industry because graduates leave with instantly applicable and viable skill sets.”

GRAMMY AWARD-WINNING PRODUCER, DJ AND MUSICIAN Mark Ronson

Our graduates are OUR GRADUATES achieving critical acclaim and chart success as solo artists and in bands. Notable alumni Recent alumni credits Many have recording and publishing deals with leading labels including Dan Croll – a singer-songwriter, who released Alumni artists Domino, Sony and his second album Emerging Adulthood in 2017, Universal. Graduates touring North America, Australia and Indonesia Jonas Alaska, All We Are, Bow to Each Other, are also supporting to support it. One of the headliners at Liverpool Circa Waves, Clean Cut Kid, Dan Croll, world-famous acts as Music Week. His music’s been used on ads for Douglas Dare, Frances, I See Rivers, She Drew iPhone and FIFA and Grand Theft Auto games. songwriters, backing The Gun, St Lucia, The Staves, Stealing Sheep, singers and instrumentalists Andy Suleiman, The Wombats. around the world. Others are working as session musicians, music producers, Acts graduates and arrangers for film, TV have worked with and video games. Some also go on to Anne-Marie, Iggy Azalea, Boy George, work as musical directors Bow to Each Other – Canadian-Norwegian Clean Bandit, Fleur East, Paloma Faith, Florence and perform in bands duo Gunhild Kristoffersen and Megan Kovacs + the Machine, Jess Glynne, Niall Horan, for musical theatre won the 2015 Spellemann Award (Norwegian Jennifer Hudson, Tom Jones, The Killers, Michael productions. Grammy) for their second album in the category Kiwanuka, The Kooks, Dua Lipa, Paul McCartney, Pop Group of the year. They went on to support Olly Murs, Rachel Platten, Professor Green, Red Susanne Sundfør on tour. Velvet, Sam Smith, Emeli Sande, Susanne Sundfør, Travis, Paul Weller, Will-i-am and Ricky Wilson. PHOTOGRAPH BY STIAN ANDERSEN STIAN BY PHOTOGRAPH Harry Robinson – multi-instrumentalist and producer, he played cello and wrote string arrangements for Sam Smith, performing with him on tour and on his award-winning album In the Lonely Hour. Other artists he has worked with include Frances and Rag’n’Bone Man.

51 THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have extensive experience in We employ over 40 music industry professionals performing, producing, promoting, songwriting to deliver much of our vocal, and and composing. Staff have had three UK top ensemble tuition. 20 records in the last 15 years as writers and Weekly masterclasses with musicians and performers. Among our teachers are members key industry figures are built into our teaching of The Farm and , both notching and develop your understanding of how the up sales of more than six million . Staff business works and how you can establish your teaching production have worked with some place within it. Every year a selected panel of of the biggest acts of the 1990s and 2000s, our graduates return to share their professional LIPA AND I picking up more than 11 platinum album sales. experience, so you hear what’s going on now. There are regular opportunities to get your “The talent at LIPA You can find profiles of our teaching team music noticed by the industry, with frequent visits is like nothing I’d on our website. by A&R reps from labels such as Polydor, experienced before, to be Universal and Warners. We host showcase open around so many driven, mic nights and gig nights regularly in our venue. ambitious, like-minded MASTERCLASSES We also run a two-week music festival called people really inspired 2ube Xtra in the Paul McCartney Auditorium. me. LIPA realises the A few highlights from over the years include: importance of business Darcus Beese and networking and gave PRESIDENT, ISLAND RECORDS me the right professional Don Black MULTI-AWARD-WINNING LYRICIST tools to succeed. As a Tommy Emmanuel your work GUITARIST, AND TWO-TIME GRAMMY-NOMINEE is becoming more Brian Eno dependent on technology GRAMMY AWARD-WINNING MUSICIAN AND COMPOSER and without the support Steve Harley SINGER-SONGWRITER WITH COCKNEY REBEL of the music production Noddy Holder team, or use of top class SLADE FRONTMAN AND SONGWRITER studios, I wouldn’t be Paul McCartney where I am now.” MULTI-AWARD-WINNING SINGER-SONGWRITER AND FORMER MEMBER OF Tom Robinson Stephanie Taylor SONGWRITER AND BROADCASTER GRADUATED 2012 Mark Ronson GRAMMY AWARD-WINNING PRODUCER, DJ AND MUSICIAN Stephanie’s work has Mike Smith featured extensively on PRESIDENT, VIRGIN EMI RECORDS Channel 4’s BAFTA- Rick Wakeman winning series Grand PROG ROCK KEYBOARDIST AND SONGWRITER Designs and Grand Pete Waterman , RESPONSIBLE Designs: House of the FOR 22 UK NUMBER ONES Year, she’s also scored award-winning films including Three Women Wait for Death.

52 ON THE COURSE

Year 1 Our courses begin with the fundamentals of musicianship, including improvisation and aural skills. You’re encouraged to form, write and perform in your own bands to develop your professionalism. There are regular gigs and open Practical work/ Written work ratio mic performances here and other performance Year 3 opportunities, like performing in pit bands for 80% musical theatre or dance shows. You are expected to be working to a practical work professional standard, and have increased On the Music and Music (Songwriting & autonomy for creating your own music and 20% Performance) courses, you receive weekly opportunities. written assignments one-to-one instrumental or vocal tuition for your main instrument. If you are on the Music course, this is where you have the opportunity to tailor the course to Teaching includes For students on the Music and Music (Songwriting & what you want to be musically. You continue talks, seminar Production) courses, you focus on music production to hone your performance skills and, alongside groups, practical and programming. If you choose the Music this, you specialise in production or songwriting/ workshops, weekly (Songwriting & Performance) course, you learn composition. one hour one-to- production skills to create high quality song demos. one tuition in your If you are on the Music or the Music You develop your theoretical understanding chosen instrument (Songwriting & Performance) course you of songwriting or composition and apply what or in vocals (for showcase yourself at our two-week music you’ve learned to your own music. You also those studying BA festival 2ube Xtra. Showcase opportunities for learn how to use music scoring software. There is (Hons) Music and Songwriter-Producers include the creation of a greater emphasis on songwriting if you choose BA (Hons) Music showreels and a songwriter online portal. Music (Songwriting & Performance) and Music (Songwriting & (Songwriting & Production). You also research an aspect of music. This is Performance) and your choice, designed to help you dig below the

TEACHING AND ASSESSMENT band rehearsal. You perform your first internal gig nights, aside surface and find out what is needed for your craft from being encouraged to arrange gigs in town. and career. Learning is largely tutor-led These gigs last throughout your three years. in the first two years, and Business and self-management concepts are Foundation Year you gradually take on introduced. Throughout all of this activity, you greater responsibility for develop your reasoning and collaborative skills. Option for Music (Songwriting managing your learning. & Performance) and Music (Songwriting By your final year, & Production) only learning is largely industry- Year 2 This extra year is not a pre-requisite if you want focused, project-based to study Music (Songwriting & Performance) and self-generated. You continue with the key areas you learned in Year 1, but develop your skills at a more advanced or Music (Songwriting & Production) with us. Rehearsals and However, it does enable you to develop skills in performances are level through a range of classes and workshops. Depending on which course you’re on, you can the areas you are weaker in, to prepare you for assessed. Depending on the three-year course. The entry requirements are which degree you choose, specialise in either applied composition, songwriting and/or arranging, responding to industry briefs. at a lower level for entry on to this year. Please you may be required to see page 77. submit songs, compositions If you’re focusing on production, your knowledge and/or productions for of and skills in digital audio and production is You develop a complete understanding of assessment throughout the expanded using Logic and other music technology popular music theory. You also enhance your course. You also produce software. There is the opportunity to develop your music performance, songwriting and production a final research paper professionalism in areas most relevant to the type of skills, providing excellent preparation for Year 1. which is relevant to your work you want. Achieving a pass mark of 40% in all your modules interests and career. You create a career plan and an entrepreneurial means you automatically progress on to the first project. year of the degree, after completing this year.

For further course details please visit www.lipa.ac.uk

53 THE COURSES

We want you to be a multi-skilled practitioner able to work in all areas BA(HONS) of sound to build a sustained career in SOUND the audio industry. TECHNOLOGY his course develops your skills in recorded sound, live sound and post-production. We teach you why as well as how, so that you have a strong theoretical base to draw on and help you be adaptable to change. You learn and practice Tusing industry-standard equipment in our studios and performance spaces (24/7 access to our studios during term-time). Through projects with students on performance and making performance possible courses, you develop essential interpersonal and collaborative skills.

COURSE IN BRIEF

Course award: BA (HONOURS) SOUND TECHNOLOGY Duration: 3 YEARS, FULL-TIME UCAS code: HW63 Course code: BA/ST Places available: AROUND 30 EACH YEAR

ACCREDITED BY

54 “LIPA graduates, I’ve had the pleasure of working with, have never failed to impress me with their knowledge, relentless enthusiasm, and eagerness to learn the tricks of the trade.” MUSIC PRODUCER AND SONGWRITER; WINNER OF THE IVOR NOVELLO AWARD FOR OUTSTANDING CONTRIBUTION TO BRITISH MUSIC Trevor Horn

You’ll find our graduates OUR GRADUATES working in prominent roles all over the world. They are working Notable alumni Recent alumni credits in live sound for gigs, theatres and events and, working on theatre sound Caesar Edmunds – Producer and engineer. Recorded sound Started working with producers Flood and Alan design. They’re working The 1975, Anne Marie, Blossoms, T Bone Burnett, in recording studios as Moulder at their Assault & Battery Studios after he graduated in 2013. His credits include The Killers, The Charlatans, Circa Waves, Clean Cut Kid, producers and engineers The Coral, Dan Croll, Drake, Franz Ferdinand, SOUND with some of the biggest Beach House and Suede and he was mix engineer Jess Glynne, David Guetta, Jesse & Joy, Kasabian, selling artists in the world. on GRAMMY nominated albums by PJ Harvey, Queens of the Stone Age and St Vincent. Dua Lipa, Little Mix, Van Morrison, My Bloody Some also have writing Valentine, John Newman, Queens of the Stone credits. Many of our Age, Rudimental, Sam Smith, St Vincent, Stormzy, graduates are working Suede, Toddla T. in sound for film and television and in video game audio. Live sound You’ll also find our graduates working in , The Band, James Blake, David Byrne, broadcast engineering Coachella, Dirty Dancing, , European Will Miller – upon completing his degree in Games, The Fantastic Mr Fox, Florence + the and audio mastering. 2014, Will joined the sound production team Graduates have gone Machine, , Glastonbury, Harry Potter at Twickenham Studios. His credits as a mix and the Cursed Child, Killer Joe, Kinky Boots, Legally on to set up their own technician include , The Kid companies. Blonde the Musical, The Lehman Trilogy, SG Lewis, Who Would Be King and Hunter Killer. He was London Jazz Festival, Bruno Mars, Network, A recent survey awarded a Cinema Audio Association Award of those who have Royal Shakespeare Company, School of Rock, in 2018 for his work as re-recording mixer on Secret Cinema, Sister Act, Wimbledon. graduated in the last ten Black Mirror. years, revealed that we have over 80 working on Post-production major projects involving well known artists and Alien: Covenant (film);All the Money in the World performers. The recent (film);American Gods, Starz; Baby Driver (film); credits show you some of Battlezone (video game); Black Mirror, Netflix; the artists and productions Bohemian Rhapsody (film);Broken , BBC; Call the our graduates have been Midwife, BBC; Chernobyl, Sky; The Circle (film); involved with. Joss Walker – Freelance touring audio system The Commuter (film);Crooked House (film); technician. In the four years since graduating, The Crown, Netflix;Delicious , Sky; FIFA 17 he’s toured with Bruno Mars, , (video game); Funny Cow (film);, , New Order and Take That. His Sky; Goodbye Christopher Robin (film);The Greatest festival work includes Glastonbury, Download and Showman (film);Gunpowder , BBC; Hard Sun, BBC; Glasgow Summer Sessions. Hunter Killer (film);Informer , BBC; The Innocents, Netflix;Little Women, BBC; The Long Song, BBC; Madden NFL17 (video game); McMafia, BBC; Nureyev (film);Poldark , BBC; Red Joan (film); Sniper Elite 4 (video game); Strike Back, Sky; Taboo, BBC; Victoria & Abdul (film);The Wife (film); Wolfenstein: The New Colossus (video game); You Were Never Really Here (film).

55 CUCUMBER CHANNEL 4/RED PRODUCTION COMPANY THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have a breadth of professional We have close relationships with some of the experience across both studio and live sound. leading industry manufacturers. In recognition of Having worked for companies and organisations, their contribution to our initial fundraising when such as the BBC, Amek and independent record we first opened, we named the Institute’s smaller labels in the North West, our staff have specialisms theatre space the Sennheiser Studio Theatre. in post-production for film and TV, MIDI and Sennheiser offer an annual scholarship open to Pro-Tools programming, sampling and synthesis, first year students, which supports them through broadcast engineering and location recording, as their three years of study with us, as well as ongoing support with masterclasses, technical well as electronics, acoustics and maintenance. In live sound, our staff have over 20 years’ experience expertise and equipment. LIPA AND I of providing live sound engineering and production We are one of a small number of Higher “Over my three years services for artists on tour such as The Pogues, Education institutions chosen by world leading I had an amazing The Prodigy, Republica and Chumbawamba. audio manufacturer AMS-Neve to partner with, which leads to site visits, masterclasses and access experience. The You can find profiles of our teaching team to cutting edge new equipment. We also have a course gave me a solid on our website. partnership with leading audio rental and installation understanding of sound company SSE Audio Group, which means they can and how the industry offer work experience and some year-long paid works. I also learnt MASTERCLASSES internships to selected year three graduates. Their how to balance multiple A few highlights from over the years include: clients include Coldplay, One Direction, Arctic Monkeys, projects, which for a Bastille and virtually all the major UK festivals. Nigel Godrich foley mixer has been You have access to regular masterclasses with invaluable, as I often ENGINEER AND PRODUCER leading professionals from across the audio industry, (BECK, PAUL MCCARTNEY, RADIOHEAD) where visiting speakers share their experiences have several projects Trevor Horn and offer insight into their work and careers. Every at different stages of MUSICIAN AND PRODUCER completion. I think what (YES, GRACE JONES, PET SHOP BOYS) year a selected panel of our graduates return to Glyn Johns share their professional experience, so you hear sets this course apart is ENGINEER AND PRODUCER what’s going on now. its continued desire to (ERIC CLAPTON, THE ROLLING STONES, THE WHO) In recent years, we have been able to arrange improve and modify.” Eddie Kramer placements with Twickenham Studios for students, PRODUCER AND ENGINEER (THE BEATLES, , who are interested in sound post-production for film, JIMI HENDRIX, THE ROLLING STONES) Sophia Hardman which has led to several gaining employment there. GRADUATED 2015 Martin Levan Other placements have included the London 2012 THEATRE SOUND ENGINEER AND SOUND DESIGNER Olympics (pictured) which led to students working (, PHANTOM OF THE OPERA, SUNSET BOULEVARD) Sophia is a foley Steve Levine on Rio 2016. mixer at Twickenham PRODUCER (AMERICA, , ) Studios where her The late Sir George Martin credits include PRODUCER, ENGINEER AND ARRANGER McMafia, Poldark (THE BEATLES, JEFF BECK, WINGS) and Jason Bourne. Alan Moulder In 2018 she was ENGINEER AND PRODUCER (ARCTIC MONKEYS, NINE INCH NAILS, ROYAL BLOOD) awarded a Cinema Hugh Padgham Audio Association FOUR-TIME GRAMMY-WINNING PRODUCER Award for her work Brendan Nicholson on Black Mirror. RE-RECORDING MIXER, PINEWOOD STUDIOS Ken Scott ENGINEER AND PRODUCER (THE BEATLES, DAVID BOWIE, SUPERTRAMP)

56 ON THE COURSE

Year 1 Your first year is all about setting solid foundations. You study studio-based recording, desktop production and live sound. Practical work/ You also learn essential theory, including Written work ratio acoustics, basic electronics and practical skills, Year 3 65% such as fault finding and basic maintenance. You bring together everything you’ve learned practical work All of these areas of work support each other. in the past two years with a large chunk of your 35% work based on a portfolio of practical projects of written assignments What you learn in live sound can have benefit your choice, depending on your own ambitions. /exams in a studio environment and vice versa and the So if you know that a career in live audio is for underpinning theory is always strongly linked to you, this could be entirely based on live music or Teaching is a practical applications. theatre events. combination of talks, smaller You also start working collaboratively with You might decide to specialise in music group seminars students from other courses – both as part of recording or post-production – or keep your and even smaller your coursework and on extra-curricular projects. options open and do a mixture. practical workshop sessions. Much of To help with this, you have 24/7 access to half of You also undertake a written research project the teaching takes the studio facilities from your very first week here. and are encouraged to link the subject to your place in practical interests and career goals. Throughout all of this activity, you develop your spaces, such as our reasoning and collaborative skills. theatre spaces You’re able to choose options that develop areas studied in the first two years to an even TEACHING AND ASSESSMENT and studios. Year 2 higher level and one option that broadens your skill base in an area complementary to Assessment takes place audio production, such as music skills for sound through exams, written This year focuses on developing the core areas engineers or video production. papers or presentations, of practical work to higher levels or in widening practical production their applications. work and continuous Studio-based work moves to more sophisticated assessment. studios, where you are exposed to different In your third year, you workflows and specific techniques including complete a research synchronisation, console automation and project in an area which mastering. is of interest to you and relevant to your intended Live sound moves from relatively simple systems career path. Practical to an increasingly digital signal path, with more work forms the largest advanced speaker deployment in both music percentage of your and theatre settings. assessed work. Desktop production encourages you to dive ‘under the hood’ and get to grips with complex software environments. You also start working in more specialist areas, such as post-production for film and TV. A backbone of theory remains important and this moves more towards the digital domain, developing your knowledge and understanding of digital audio systems, signal processing and audio networking. For further course You create a career plan and an entrepreneurial details please visit project. www.lipa.ac.uk

57 THE COURSES

We want to develop your BA(HONS) skills, knowledge and & confidence for a sustained THEATRE career as a performing PERFORMANCE arts designer. DESIGN he breadth of our curriculum enables you to become a creative, ambitious, multi-skilled designer. Through working on a variety of practical projects, you feel equally at home designing the set and costume for a theatre production, Tworking on a site-specific performance event or creating the environment or lighting for a music gig or dance performance. The course is highly practical emphasising realised performance work each year. Our designers collaborate with all performance disciplines and a range of external companies, so you gain a huge amount and variety of experience.

COURSE IN BRIEF

Course award: BA (HONOURS) THEATRE & PERFORMANCE DESIGN Duration: 3 YEARS, FULL-TIME UCAS code: W460 Course code: BA/DESIGN Places available: AROUND 20 EACH YEAR

58 “It has been my great privilege and pleasure to have learnt so much, benefited so greatly from my experience working with the many LIPA graduates that have assisted me over the last few years.”

OLIVIER, TONY AND CRITICS AWARD-WINNING THEATRE DESIGNER

Our graduates are OUR GRADUATES enjoying careers in theatre design for regional, West End, UK and international Notable alumni Recent alumni credits touring productions. We also have many Morgan Large – won the 2018 UK Theatre Theatre design graduates working as Award for Best Design for Wonderland at the & designer-makers and Nottingham Playhouse. Other recent work includes Flight, Scottish Opera; Glengarry Glen Ross, UK THEATRE scenic artists, as well as Joseph And The Amazing Technicolor Dreamcoat tour; , Royal Albert Hall; Jerusalem, working as assistants and at The , An Enemy of the People Watermill Theatre; Killer Joe, Trafalgar Studios; associates to high profile at the Nottingham Playhouse and Tell Me on The Lady Vanishes, UK tour; A Midsummer Night’s designers. a Sunday in Shanghai. Dream, Crucible, Sheffield;The Mirror Crack’d, Others are working UK tour; Nativity!, Hammersmith Apollo and UK in film and TV (doing tour; The Phantom of The Opera, Folketeateret, production design and Oslo; Rain Man, UK tour; Richard III, Bristol Old art direction) and working Vic; Rock of Ages, UK tour; Shebeen, Nottingham with costumes (across Playhouse and Theatre Royal Stratford East; varied areas of theatre The Simon and Garfunkel Story, Gaiety Theatre, and performance as Dublin and , West End; Sleeping designer-makers and Beauty, Ballet Leipzig; Spamilton, US tour; Sweat, wardrobe supervisors). Donmar Warehouse and West End; , – has recently worked as Wonderland Chris Rosser Nottingham, Playhouse. a graphic designer for Six Minutes to Midnight. Other recent films includePaddington 2, Juliet, TV and film Naked and Victoria & Abdul. In TV, he was graphics art director for Channel 4's Philip K Dick's Art Director: Crooked House (film);Electric Dreams, Electric Dreams. Channel 4; Gangs of London, Sky; Misbehaviour (film);Red Joan (film). Production Design:Genius , National Geographic; The Halcyon, ITV, Spinning Man (film). Graphic Designer:Call the Midwife, BBC; EastEnders, BBC; In the Long Run, Sky; Next of Kin, ITV; Six Minutes to Midnight (film). Companies BBC; Celebrity Cruises; Disney Feature Animation Grace Smart – recent design credits include Studios; Donmar Warehouse; English National Memoirs of an Asian Football Casual at Curve Opera; Company; Liverpool theatre, Good Vibrations at Lyric Theatre Belfast Everyman and Playhouse; Liverpool Lantern and Killer Joe at Trafalgar Studios, West End. Company; Madame Tussauds; Menier She was overall winner of the Linbury Prize for Factory; Royal Shakespeare Company; Slung Stage Design 2015 and also writes a regular Low; Theatr Clwyd; Theatre Munster, Germany; column for The Stage. VIP Puppets; Welsh National Opera. Assistant/Associate designers to: Liz Ascroft, , Lez Brotherston, Angela Davies, Simon Daw, , Andrew D Edwards, Charles Edwards, Soutra Gilmour, Ti Green, Peter McKintosh, Christopher Oram, Lucy Osborne, Ben Stones.

59 THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have extensive experiences of You benefit from our close ties with local working in professional live theatre, music and theatres, national organisations and professional events and many continue to work professionally. practitioners. We have a strong relationship with They’ve worked with theatres and companies the Liverpool Everyman and Playhouse, resulting such as 20 Stories High, Royal Exchange Theatre, in students designing YEP shows for the Everyman Manchester, Octagon Theatre, Bolton, the and Playhouse stages and the annual Prize for Everyman and Playhouse, Liverpool, and on TV with Stage Design, where a recent graduate gets The Mighty Boosh for the BBC. Some of our design to design a production for the company. Both the teachers have had their designs exhibited at the 2016 and 2017 recipients were co-designers LIPA AND I Prague Quadrennial and design for performance for the six-month Everyman repertory season. Our exhibitions at the V&A Museum in London. Our students also design the Christmas show at the “The hands-on nature wardrobe staff have theatre experience with venues nearby Unity Theatre (pictured below). of the course really like House and have worked on You work with a range of visiting professionals, prepared me for my BBC costume dramas. including directors for both hypothetical and real initial design work after projects. Past and current directors for hypothetical graduating. By first You can find profiles of our teaching team projects include Matthew Xia (Artistic Director ATC), working on productions on our website. Loveday Ingram, James Baker and Nick Bagnall in assistant roles you (Associate Director at the Liverpool Everyman get to grips with the and Playhouse). You can also work with designer- practicalities of designing makers, such as Brian Hanlon and puppet expert a lot quicker. Getting MASTERCLASSES Andrew Kim. Every year a selected panel of our A few highlights from over the years include: graduates return to share their professional involved with costume making, set building and Liz Ascroft experience, so you hear what’s going on now. TMA AND UNESCO AWARD-WINNING THEATRE DESIGNER Work placements give you the opportunity to scenic painting gives you Susannah Buxton test your career options and make connections a better insight of how COSTUME DESIGNER FOR FILM & TV to the professional world. Past destinations include different materials work (1 BAFTA AWARD, 1 EMMY AWARD) Manchester International Festival, the Liverpool and behave.” Bunny Christie Lantern Company, No Fit State Circus, Punchdrunk, THEATRE DESIGNER (3 OLIVIER AWARDS, 2 TONY AWARDS) the RSC, National Theatre, , Jasmine Swan working on a fashion shoot with Tim Walker and LIGHTING DESIGNER (4 OLIVIER AWARDS, 2 TONY AWARDS) GRADUATED 2016 Jon Driscoll shadowing designers, such as Bunny Christie and CINEMATOGRAPHER, LIGHTING AND PROJECTION DESIGNER Peter Mumford. Nominated for the Richard Hudson 2018 Stage Debut OPERA & THEATRE DESIGNER (1 OLIVIER AWARD, 1 TONY AWARD) Award for Best Designer The late for her debut season OPERA & THEATRE DESIGNER (2 OLIVIER AWARDS) & SCULPTOR of work across The Ian MacNeil Arcola, Brighton Rialto, SET DESIGNER (1 OLIVIER AWARD, 1 TONY AWARD) The Finborough and Conor Murphy . Jasmine’s OPERA & THEATRE DESIGNER recent credits include Christopher Oram SET & COSTUME DESIGNER (2 OLIVIER AWARDS, 2 TONY AWARDS) Chutney at The Bunker, Tom Pye Eden at Hampstead OPERA & THEATRE DESIGNER & DESIGNER FOR TV/FILM Theatre and Sex Sex Colin Richmond Men Men at The Yard. THEATRE DESIGNER She was a finalist in the Linbury Prize for Stage Design in 2017.

60 ON THE COURSE

Year 1 Starting with an introduction to a wide range of essential skills and processes, you emerge with a rounded knowledge of what it takes to put on a performance. You are constantly hands-on and practical, Practical work/ making models, costumes and props, painting Written work ratio sets and learning about lighting. Year 3 80% You realise two major practical projects, taking practical work You also get to work with an external director on one of your design projects. senior roles within the creative team. 20% written assignments Hours are long, which reflects the professional These could be in-house shows and/or a world, but you receive a lot of support from combination of in-house productions and shows teaching staff, technical staff and fellow students. with external companies. Teaching includes talks, seminars Throughout all of this activity, you develop your One of the projects could be an independent and practical reasoning and collaborative skills. production allowing you to realise a dream idea workshops which or do some research and development towards introduce basic a future venture. design skills and Year 2 increase your visual This year you gear up for a realistic, sustained

TEACHING AND ASSESSMENT vocabulary. You have more choice this year. career culminating in the creation of your professional portfolio. We don’t force you to specialise, but the options These skills are applied on offer mean you can focus and advance Once again, you work with a professional through practical crew work existing skills, such as lighting design, scenic art, director on a design project and research on our major performances. costume design and making, as well a topic close to your passion. As you progress through as experimenting in new areas, such as puppetry the course, you adopt and video in live performance. greater responsibility, taking on more senior roles and You work on shows in a more senior role, potentially developing new techniques. as a designer, learn more about CAD and go on In your third year, you a placement with a professional organisation. receive a significant amount of one-to-one teaching to The emphasis on work being presented in front support you through your of an (often public) audience continues. final design projects. You are continually You also do a design project with a freelance assessed on your practical director and a professional production manager. work and contribution to Working on more than one project at once, you projects – both on your learn how to juggle projects. working process and your realised design. There is You create a career plan and an entrepreneurial written work in the form project. of evaluations of your practical work and a final research project at the end of your third year when you explore an area of your choice.

For further course details please visit www.lipa.ac.uk

61 THE COURSES

We want to produce versatile and creative technicians, stage managers and designers capable of working across the whole (HONS) BA performing arts sector. THEATRE & PERFORMANCE TECHNOLOGY

n your first year, you get a thorough grounding in a range of production skills in lighting, sound, stage management and design and construction. From the second year onwards you can specialise in areas that include Stage Management, ILighting, AV, Sound or Set and Prop Construction or continue building a broad skill set. Your training is highly practical. You initially learn the ropes in our performance spaces and in addition to working on our acting shows, you can work on dance performances, music gigs and outside events.

COURSE IN BRIEF

Course award: BA (HONOURS) THEATRE & PERFORMANCE TECHNOLOGY Duration: 3 YEARS, FULL-TIME UCAS code: W461 Course code: BA/TPT Places available: AROUND 32 EACH YEAR

ACCREDITED BY

62 “I’ve worked with LIPA students and graduates. One of them has even joined our team. She has proved beyond doubt that LIPA can deliver.”

RENOWNED LIGHTING DESIGNER; AWARDED OBE AND ROYAL DESIGNER FOR INDUSTRY Patrick Woodroffe

Our curriculum enables OUR GRADUATES graduates to go on and work in a diverse range of roles across the industry. Notable alumni Recent alumni credits You’ll find them working in theatre, musicals, live music, Dave Baxter – Freelance lighting technician. Companies large-scale events and He recently worked on Britney Spears’ Piece of television and in a variety Me tour around the USA and Europe and on a A.C. Entertainment Technologies; Adlib Audio; of roles that includes European tour with Japanese holographic music ; Ambassador Theatre Group; lighting technicians and phenomenon Hatsune Miku. Other work includes Aria Entertainment; BBC; Belgrade Theatre, Drake’s world tour and comedian Bill Bailey. programmers, lighting Coventry; Bill Kenwright Ltd; Birmingham designers, sound Hippodrome; Brandfuel; Bristol Old Vic; designers and operators, Cameron Mackintosh; Carnival Cruise Line; stage managers, ; CTV; Cuffe & Taylor; production managers, Curve Theatre; dBS Solutions; Den Nationale producers, riggers, scenic carpenters and props Scene, Norway; Disney; Duke of York’s Theatre, makers. West End; Gielgud Theatre, West End; They’re working in Hålogaland Teater, Norway; Kneehigh; Leeds venues across the country, Ben Eddon-Carruthers – Stage Manager Playhouse; Liverpool Everyman and Playhouse in the West End and for the RSC’s production of Matilda the Musical Theatre; Liverpool Philharmonic Hall; Liverpool around the world. in the West End. Previous credits as an Assistant Scenic Workshops; ; Others are specialising in Stage Manager for West End productions Mercury Theatre, Colchester; Merlin Entertainment; , , stadium stage automation, Priscilla Queen of the Desert National Theatre; NEC; Neg Earth; New Adventures; The Wizard of Oz, Charlie & The Chocolate Factory theatre consultancy Nimax Theatres; Northern Ballet; O2 Arena; working directly with and Dreamgirls. The Octagon Theatre; Phoenix Dance Theatre; architects, aerial rigging, broadcast camera and Pleasance Theatre Trust; Qdos Entertainment; radio production. ; Regent’s Park Open Air Our graduates have Theatre; Royal Caribbean International; Royal won the Association of Court Theatre; The RSC; Sky; Sonia Friedman Lighting Designers’ Michael Productions; SSE Audio; Sydney Theatre Company; Northen Award three times Theatre by the Lake; Theatre Royal Bath; UK in the last four years. Rigging; Welsh National Opera; Wild Rumpus; Marec Joyce – Technical Operations Manager Woodroffe Bassett Design; Worcester Live; for the Pleasance Theatre Trust in Edinburgh. York Theatre Royal, Young Vic, London. Responsible for the organisation’s technical operations at the Edinburgh Festival Fringe, where they run 25 theatre spaces. He also works as a freelance production manager and is currently working on a project for Punchdrunk.

63 CUCUMBER CHANNEL 4/RED PRODUCTION COMPANY THE COURSES

TEACHING STAFF INDUSTRY LINKS Our teachers have wide-ranging professional We offer strong connections, with direct links to experiences and many continue to practice. In regional and national theatres and companies stage management, they have worked for the such as Slung Low and Gecko. National Theatre, the RSC and in the West End. Visiting professionals deliver sessions on specific Lighting design credits include work for Welsh skills such as score reading, digital AV design National Opera and Ancient Theatre of Epidaurus. and mapping, and Vectorworks and AutoCAD. As lighting technicians and programmers, they Leading professionals give one-off masterclasses. have worked for the Crucible and West Yorkshire Every year a selected panel of our graduates Playhouse. One of our team was a prop maker at return to share their professional experience, so LIPA AND I and production manager you hear what’s going on now. at the Liverpool Everyman and Playhouse. Some A work placement gives you the opportunity to “At LIPA I was able to of our design teachers have had designs exhibited test your career options and make connections in learn about the different in design for performance exhibitions at the V&A the professional world. Past destinations include stage management roles Museum in London and at the Prague Quadrennial. Den National Scene in Norway, Liverpool by working on several Our wardrobe staff have theatre experience Empire, National Theatre, the RSC, Sydney shows a year, while with venues like the Royal Opera House and have Theatre Company in Australia, working with BBC also developing problem worked on BBC costume dramas. productions, ITV Film Studios, Lime Pictures and solving skills and the on HBO’s Game of Thrones and on outdoor ability to work with You can find profiles of our teaching team events such as the Giant Spectacular in Liverpool all types of people. The on our website. (pictured), Secret Cinema, Parklife Festival and the Handmade Parade in Yorkshire. industry connections LIPA gave me have been invaluable and MASTERCLASSES links with local theatres A few highlights from over the years include: allowed me to work Jason Barnes alongside professionals PRODUCTION MANAGER, NATIONAL THEATRE and gain some incredible Gemma Bodinetz contacts while still ARTISTIC DIRECTOR, LIVERPOOL EVERYMAN AND PLAYHOUSE studying.” Natasha Chivers OLIVIER AWARD-WINNING LIGHTING DESIGNER Paule Constable Kate Condon LIGHTING DESIGNER (4 OLIVIER AWARDS, 2 TONY AWARDS) GRADUATED 2018 Jon Driscoll PROJECTION DESIGNER Kate is a freelance (1 OLIVIER AWARD, 1 TONY NOMINATION) stage manager. Since Rick Fisher graduating she’s worked LIGHTING DESIGNER (2 OLIVIER AWARDS, 2 TONY AWARDS) as an assistant stage John Leonard manager for Jesus SOUND DESIGNER FOR OVER 40 YEARS Hopped The ‘A’ Train Ian McNeil for the Young Vic and MULTI-AWARD-WINNING SET DESIGNER Jack and the Beanstalk Fergus O’Hare at the Wyllyotts Theatre, AWARD-WINNING SOUND DESIGNER Potters Bar. Chris Shutt SOUND DESIGNER (WAR HORSE, TONY AWARD WINNER) Jack Thompson TECHNICAL DIRECTOR, MANCHESTER INTERNATIONAL FESTIVAL

64 ON THE COURSE

Year 1 You develop a broad skill set in the core disciplines of performance production: stage management, lighting, sound, scenic construction, AutoCAD, Vectorworks and AV design. This knowledge enables you to make choices Practical work/ about your next year and helps develop the Written work ratio attributes of a multi-skilled technician, which will Year 3 enhance your employability. 80% Your final year is about skilled practise in your practical work Through our public season of performances, you chosen area of specialisation. 20% practise these skills and begin the development of written assignments a strong CV and portfolio of experience. You are about to become a professional so we provide production experiences that are the Throughout all of this activity, you develop your same as within the industry. Technical topics reasoning and collaborative skills. and safe working You work as a head of department on two major practices are productions. introduced through practical Year 2 You could be working on a music event, dance workshops, show, musical theatre production or drama show. You can develop your first year skills by TEACHING AND ASSESSMENT seminars and talks. specialising or can explore areas which most Our strong links with regional theatre companies interest you. means you might find yourself stage managing This learning is integrated at nearby venues, such as the Everyman, or with work on our public You take on greater responsibility with the production managing at the Unity Theatre. performances and other roles you are given on our public season of realised projects, so you performances. can become used to working to deadlines and Your placement further supports this process, under show conditions. encouraging you to identify companies and As you progress, you practitioners that you would like to gain take on more responsibility experience working with. for assessed practical We find that many of our graduates’ first projects. employment opportunities comes from the host Written evaluations organisation they visited this year. of your practical work are also part of your You create a career plan and an entrepreneurial assessment, as are show project. debriefs once a project has been completed. You produce a research project, exploring an area of your choice. Other assessments are a mixture of portfolio projects, continual assessment and practical observation.

For further course details please visit www.lipa.ac.uk

65 THE COURSES

An opportunity to develop or MA reinvigorate yourself as an actor and create work for touring and new audiences. Working in companies, you learn how to take charge of your ACTING professional journey and become (COMPANY) self-sustaining, by creating public in association with performances adaptable to different venues and circumstances. his course provides a thorough one-year professional experience of working in and developing work for touring and finding audiences. It will give you the means and the confidence, by the end of the course, Tto create and present a captivating production. We put you together with emerging directors and practitioners. Your acting craft skills increase, as does the thinking needed to create work that attracts audiences. You experiment, innovate and get to grips with contemporary approaches, to extend your range of theatre making skills. Along the way, you collaborate, as a year group, to produce two public productions, before becoming smaller companies to find out, if what you imagined might work, actually does.

COURSE IN BRIEF

Course award: MASTER OF ARTS IN ACTING (COMPANY) Duration: 1 YEAR, FULL-TIME Places available: AROUND 20 EACH YEAR

ACCREDITED BY

66 “LIPA has a fizz and energy and never underestimates what it takes to be an actor or theatre maker. I have no doubt this course will turn out some of our future generations of artists.”

ASSOCIATE DIRECTOR, EVERYMAN AND PLAYHOUSE Nick Bagnall PHOTOGRAPHER: BRIAN ROBERTS BRIAN PHOTOGRAPHER:

OUR ON THE COURSE ALUMNI Semester 1 Our graduates go on to TEACHING STAFF be versatile performers in You undertake rigorous technical skills development AND INDUSTRY theatre, film, TV and radio in acting approaches, including body, movement and as well as on digital voice, to determine the impact of deliberate practice, LINKS platforms and gaming. research and dramaturgy as part of your own developmental process. You explore contemporary Our teaching team are an international team They are likely to of professionals, who have worked as actors, form their own theatre approaches to theatre making and collaborate with a director in a full-time rehearsal period. You work as directors, musical directors, producers, writers companies and will and expert movement, voice and acting coaches. be equipped to take a company member to enhance your understanding and application of professional practice and create In their various capacities, the team have on other roles in the collaborated with such actors, producers and company, such as work adaptable to different locations. Enterprise and critical classes ensure you can explain creative ideas, writers as Gregory Burke, Dominic Cooper, director, producer, April De Angelis, Sir David Hare, David Harewood script/screenwriter, supported by your research and an understanding of different performance practices. and Lesley Manville. Their links with leading as well as marketer and theatre companies such as Out of Joint, Actors administrator. Touring Company and Splendid Productions, Our ethos for self- Semester 2 mean they are able to contribute essential skills generated work has You continue to develop technical acting and and experiences. Connections with prominent already led to actors creative skills, with a focus on the interpretation theatres give access to a wealth of expertise from the range of degree of texts and adapting other source material for and opportunities. You also have access to courses forming notable presenting in different venues. You create an original regular Q&As, masterclasses and workshops with companies, such as stage work, incorporating novel, theatrical ideas, leading actors, directors, choreographers, casting Selladoor Worldwide. produced for the public. Supporting classes aid directors, reviewers and producers. your ability to analyse your practice and investigate ideas. You study the enterprise potential for work by identifying target audiences, understanding TEACHING AND contemporary appeal, relevance and cultural policy. ASSESSMENT Teaching is typically divided into technical and Semester 3 practical skills blocks, as well as intensive You undertake a major piece of independent rehearsal periods. You are expected to acquire practice in collaboration with your course peers. vital performance skills and knowledge in challenging You are encouraged to create companies that have acting approaches, taking on board 20th century a life and viability after the course. As a company techniques and contemporary company practices. member, you adopt company roles alongside acting, You gain dramaturgical understanding of the such as writing, directing or company management. construct and creation of performances, fully armed You undertake an independent practice-as-research to apply this creatively in your professional rehearsal task, using your research to influence the creation periods. of original theatre. You operate autonomously, Rehearsals emulate industry scenarios, ensuring negotiating with external bodies and collaborating your practice and company work ethics are honed with company members to create a brand-new to industry standards, improving employability and touring production. You practice company interpersonal, collaborative proficiency. preparation, performance and project management, to market and present the play to public audiences in different theatres, studios and playhouses. You For further course may select an optional written dissertation, as an details please visit alternative to the modules delivered. www.lipa.ac.uk

67 THE COURSES

We want you to be a versatile and creative MA costume maker with the advanced technical construction skills to COSTUME produce costumes for all MAKING types of performance. ou advance your costume construction skills through our range of taught modules and professional workshops where you also explore your chosen costume making specialism before applying these in practical projects. YOur annual season of shows maximises your potential for learning ‘on the job’ with opportunities for collaborating with external partners. You also learn about associated research techniques as you work towards your own personal research project and examine your career development priorities. By the end of the course, you should graduate as a competent costume maker with a strong portfolio ready to take your place in the performance industries landscape.

COURSE IN BRIEF

Course award: MASTER OF ARTS IN COSTUME MAKING Duration: 1 YEAR, FULL-TIME Places available: AROUND 14 EACH YEAR

68 “I’m confident LIPA’s new course will address key industry skills gaps, especially given that it is being delivered in such a well-respected institution, with excellent teaching standards, industry links and an all-important emphasis on collaboration.”

HEAD OF COSTUME AT THE NATIONAL THEATRE, LONDON Carol Lingwood

OUR ON THE COURSE ALUMNI Semester 1 Our graduates can work TEACHING STAFF in costume making for The first semester focuses on developing the AND INDUSTRY theatre, TV, film and advanced techniques needed to interpret the dance. Due to the costume designer’s brief based on industry LINKS programme’s focus on essentials skills and the key principles of classical providing a realistic and contemporary construction. There is also an Our teachers have a breadth of professional working environment our opportunity to explore your particular costume expertise in all areas of costume making, ranging graduates are equipped making specialism before you go on to apply from ballet to period drama. We also bring in to work as freelancers your skills in a practice project. You develop a working practitioners with technique specialisms. or within an established strong understanding of the world of work. This Our strong industry links provide opportunities costume department, includes how costume making appears in the for you to work in local theatres. Liverpool’s varied MAKING with the networking skills freelance/employment landscape and how you museums and art galleries are a great source of necessary to establish can access the opportunities that exist and are inspiration. There are nearby TV companies too, themselves in the industry. being developed. You also learn research skills with Lime Pictures less than ten miles away and and are introduced to the concept of practice Media City around 30 miles away. as research. Semester 2 TEACHING AND You apply your construction skills by being paired ASSESSMENT with a costume designer to interpret and realise designs for either a LIPA show or for a project with Some of our provision for postgraduates is shared one of our external partners. This is a process which across courses and is based around presentations mirrors professional practice. It also develops your and seminars. You look at key critical frameworks, interpersonal skills and collaborative experience contemporary issues in the performing arts to be an effective part of a creative ‘production economies and approaches to research in the team’: qualities highly valued. Using our network arts. You undertake advanced skills development of industry partners, you can seek opportunities in workshops and classes and apply these skills in to develop skills in their workplaces. You continue full professional practice: productions and other to explore key research questions for the knowledge live or recorded performance. and ideas that have an impact on your career. Assessment revolves around your development as a creative researcher and practitioner. You Semester 3 document, analyse and defend your work. Assessment includes critical portfolios, verbal You undertake a final piece of practice that presentations, presentation of made work, as well requires you to document your experience as essays and conventional critical writing. There and understanding of the process through the are also oral examinations. You can undertake development of a research project of your choice. a conventional dissertation as an alternative to a You have an opportunity to explore approaches to final piece of practice. your craft and critically reflect on its meaning and context. The practice may be a placement where appropriate and possible. Alternatively, you can undertake a formal written dissertation on an aspect of contemporary or historical costume making. For further course details please visit www.lipa.ac.uk

69 THE COURSES

MA MUSIC INDUSTRY PROFESSIONAL We want to practically and MANAGEMENT intellectually further your creative music industry management skills.

aught modules, independent research and practical experience are all used to help you develop as an innovative and creative music industry manager. Our course is designed to focus your studies and independent research Ton to your chosen area of the music business. This allows you to develop your industry knowledge so that you get maximum professional benefit from your time here. Your final masters award will state a specialism in brackets at the end of the award.

COURSE IN BRIEF

Course award: MASTER OF ARTS IN MUSIC INDUSTRY PROFESSIONAL MANAGEMENT Duration: 1 YEAR, FULL-TIME 2 YEARS, PART-TIME Places available: AROUND 12 EACH YEAR

This programme is subject to validation. Any changes will be updated on our website.

70 “ The course has a genuinely ‘real world’ feel. Being able to make your workplace projects the focus of your MA studies is really helpful for people already working in the music industry who want to gain the benefits of Masters level study.”

FOUNDER AND CEO OF SENTRIC MUSIC PUBLISHING Chris Meehan

OUR ON THE COURSE ALUMNI Semester 1 Whether running your TEACHING STAFF own business or working You identify your specific area of music industry AND INDUSTRY within a global music interest and prepare yourself for Masters level company, the industry research by taking three modules. One is a LINKS knowledge, business taught module covering research methods. understanding and Another is a self-directed professional project The head of our MA Music Industry Professional practical skills that you of your own choosing. In the third module, you Management course has had an extensive gain from completing analyse and evaluate significant issues impacting music industry career as an A&R Manager this MA course will upon the contemporary global music industry. (Stereophonics, Stone Roses, Skunk Anansie), provide you with a solid Artist Manager and . foundation for advancing Semester 2 Many of our alumni are established as successful your music industry career. executives across the music industry and stay Graduates from this You tackle a professional project based on your closely connected with us. With Sir Paul McCartney course will be well chosen area of the music industry. This project as our Lead Patron and numerous music industry equipped to succeed can, if appropriate, be embedded within your leaders (including Darcus Beese, Paul Burger, Ann in such areas as daily work place. The other two second semester Harrison and Scott Rodger) as LIPA Companions, music supervision, modules involve researching, analysing and we provide global and unparalleled industry links. music publishing, tour evaluating aspects of the music business from management, catalogue within your specific area of study. These could exploitation, digital cover such things as the management of creativity, TEACHING AND marketing and artist the use of analytics in the music industry, copyright management. management, music supervision, the regional ASSESSMENT music economy, digital marketing or an analysis of global music industry networks. Your learning experience is delivered through a combination of lectures, seminars, tutorials and masterclasses. Wherever appropriate Semester 3 and possible, these sessions will also be made You complete a major capstone project. accessible for distance learning. The design and In consultation with the course leader, you function of your assessments revolve around your can design this assignment to suit your own development as a music industry professional. professional requirements. You might choose Your written, verbal and practical assessment tasks to make this a work-based practical project are framed so that they add value to your industry or to develop an entrepreneurial idea to proof focused knowledge and skills. of concept stage. You could choose to write a research-based dissertation on an agreed music industry management subject or produce a significant public facing piece of work. The choice is yours, but it must relate to your specific area of interest and evidence serious research.

For further course details please visit www.lipa.ac.uk

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73 ENTRY REQUIREMENTS

We’ll welcome your application regardless of your sex, gender identity, race, ethnic or national origin, family responsibility, disability, religion or beliefs, sexual orientation or social background. We could add more to this list - we’re committed to widening access. THE PATHWAY WHAT WE LOOK FOR Age and mature students Your natural ability, your fit with what and how we teach, your growth and your potential To apply to our degree or Foundation are key factors in our admissions process. We can’t evaluate these solely on your Certificate courses, you would usually be educational achievements, so no matter which course you’re applying for, we look expected to be aged 18 or over on for the following attributes. 1 September in the year that you wish to begin with us. There is no upper age limit. If you are aged 21 or over on entry, you Knowledge, ability Self-awareness will be classed as a mature student. and experience Mature students may not have the We’d like to know why you’re applying qualifications listed on the next pages but, We’d like you to have a range of to us and how you think the course you’re if you have substantial experience in the experience aligned to the course you’re applying for will help you to grow and area that you wish to study, that can be applying for. Over the following pages achieve your career aspirations. We’d like accepted instead of formal qualifications. you’ll find examples of how you can to see that you understand your strengths and demonstrate this in your application. weaknesses and how we can support you. International students Commitment A spirit of enterprise We recognise a wide variety of qualifications obtained overseas and are able to translate We’re keen to hear about how much you’re We want you to be able to work on your overseas grades and transcripts to UK already engaging with the area you want to own initiative and see that you’re interested equivalents. study with us. We understand that location in creating your own opportunities. You If you are unsure whether your qualifications or cost may have stopped you from gaining may have been involved in creative projects are at the correct level, as a member of UK formal experience, so we also like to which weren’t part of your regular school/ NARIC, we can quickly advise you on this. understand what you’ve done despite these college curriculum, or if you haven’t had the If English is not your first language, you challenges. Again, there are details about chance to do this, you might have ideas and may be asked at your interview or audition how this could apply to your chosen course ambitions which you can tell us about. stage to provide evidence of your linguistic over the next few pages. ability. For all of the courses included in this prospectus, we accept a variety of English Ability to work effectively Language tests for study at our Foundation with others Certificate and degree level and masters courses. While you’re with us (and in your If you are entering the UK on a student professional work) you’ll work with a range visa (tier 4), your language test scores must of people – students, teachers and industry meet the minimum standards set by UK Visas professionals, so it’s essential that you can and Immigration (UKVI). For more information work well with others. We’d like to see about the English Language tests and scores, that you can take direction and feedback please visit the international pages on our well, listen to others and offer support and website at www.lipa.ac.uk/international. constructive feedback. Safeguarding children Broad interest and vulnerable adults and engagement For some courses, such as Applied Theatre We look for evidence that you are curious & Community Drama, offers made may be about the world around you and want subject to satisfactory Disclosure and Barring to engage with all aspects of the course Service checks. you’re applying for and the wide range of opportunities we offer.

74 BA (Hons) Acting BA (Hons) Acting (Screen & Digital Media) Foundation Certificate Acting Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like you to have some performance experience in more than one acting genre normally include Maths and English Language). as this shows us you’re interested in becoming a versatile actor. For the BA (Hons) For applicants taking the reformed GCSE Acting (Screen & Digital Media) you will ideally have some experience of acting qualifications, we will consider the new grade 4 to camera, also experience of creating or editing films/videos is desirable but not as being equivalent to a grade C. essential. If you have some ability in directing or writing, we’d be interested to know about this, although these aren’t essential for entry on to the courses. When considering Minimum of 64 UCAS points is normally your suitability for the Foundation Certificate we don’t expect you to have the same required. This equates to: levels of knowledge and experience as required for the Acting degree. n Two A-Levels at grade C. All A-Level subjects accepted excluding General Studies. Points Commitment from AS and Key Skills are not counted We’re keen to hear about how much acting you are doing outside your school n BTEC Extended Diploma – Merit, Pass, Pass qualifications. Tell us about any extra-curricular performance(s) at your school or college, with a youth theatre or amateur dramatic group or perhaps at a professional n BTEC Diploma – Merit, Merit level. We understand that distance or cost may have stopped you from gaining formal experience, so we also like to read what you have done to connect to acting We accept all equivalent UK and overseas (for example: reading or seeing other people act). qualifications including Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, Plus European, International and Welsh n Ability to work effectively with others Baccalaureate, Abitur, Vitnemål and GED. n Broad interest and engagement

n Self-awareness

n A spirit of enterprise

See page 74 for details on these attributes.

BA (Hons) Applied Theatre & Community Drama Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like you to show us that you’re interested in working in Applied Theatre or normally include Maths and English Language). Community Drama and any experience you may have which is relevant. If you’ve For applicants taking the reformed GCSE been involved in any relevant projects, please tell us about these. We’d be interested qualifications, we will consider the new grade 4 to hear about any experience you may have of leading workshops. We’re looking as being equivalent to a grade C. for some expressive capability in drama, so we want to hear about your involvement in performing or theatre making. Minimum of 72 or 80 UCAS points is normally required. This equates to: Commitment n Two A-Levels at grades B, C. All A-Level We’re keen to hear about how you’ve pursued your interest in Applied Theatre subjects accepted excluding General Studies. and Community Drama by looking for opportunities to perform and/or work with Points from AS and Key Skills are not counted community groups. We understand that distance or cost may have stopped you from n BTEC Extended Diploma – Merit, gaining formal experience, so we also like to read what you have done to connect Merit, Pass to this area and why you’re interested in studying it. n BTEC Diploma – Distinction, Merit Plus We accept all equivalent UK and overseas n A bility to work effectively with others qualifications including Advanced Diplomas, n Br oad interest and engagement Irish Leaving Certificate, Scottish Highers, European, International and Welsh n Self-awareness Baccalaureate, Abitur, Vitnemål and GED. n A spirit of enterprise

See page 74 for details on these attributes.

75 BA (Hons) / MArts Creative Technologies & Performance Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like to hear about your experience in at least two of the following areas: normally include Maths and English Language). creating or editing films/videos; writing for performance; staging immersive or site For applicants taking the reformed GCSE specific performances; coding; animation; projection in performance. Tell us about qualifications, we will consider the new grade 4 the roles you undertook in these projects and the type of equipment and software as being equivalent to a grade C. you used, if relevant. Minimum of 96 UCAS points is normally required. This equates to: Commitment Tell us about any relevant extra-curricular projects at school or college. Also let n Thr ee A-Levels at grade C. All A-Level subjects us know if you have volunteered or gained work experience at a local theatre, accepted excluding General Studies. Points arts centre, , festival, TV production company or digital agency. from AS and Key Skills are not counted We understand that distance or cost may have made this difficult, so sometimes n BTEC Extended Diploma – Merit, Merit, telling us how you’ve shown commitment and enterprise in gaining experience Merit can be enough.

THE PATHWAY n BTEC Diploma – Distinction, Distinction Plus We accept all equivalent UK and overseas n Ability to work effectively with others qualifications including Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, n Broad interest and engagement European, International and Welsh Baccalaureate, Abitur, Vitnemål and GED. n Self-awareness n A spirit of enterprise

See page 74 for details on these attributes.

BA (Hons) Dance Foundation Certificate Dance

Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We teach jazz, contemporary, ballet, tap and commercial styles, so ideally you’ll normally include Maths and English Language). have experience of one or more of these dance forms. However, you could come For applicants taking the reformed GCSE to us with a variety of dance and performance experiences. You need to demonstrate qualifications, we will consider the new grade 4 potential and receptiveness to our methods of dance teaching. Some of our as being equivalent to a grade C. considerations include – do you have good physical range, strength and flexibility; are you capable of physically-intensive training; have you got an aptitude for picking Minimum of 64 UCAS points is normally up new steps and routines quickly; if you exhibit incorrect technique, are you able to required. This equates to: adjust this following demonstration? As we provide some training in singing and acting, n Two A-Levels at grade C. All A-Level subjects you should be willing to engage with this, but you don’t need formal experience in accepted excluding General Studies. Points these areas to apply. When considering your suitability for the Foundation Certificate from AS and Key Skills are not counted we don’t expect you to have the same levels of knowledge and experience as required for the Dance degree. So, for example, you may have very limited n BTEC Extended Diploma – Merit, Pass, Pass experience in ballet or you may not have had many opportunities to take part n BTEC Diploma – Merit, Merit in dance performances.

We accept all equivalent UK and overseas Commitment qualifications including Advanced Diplomas, We’re interested to hear how you’ve pursued your passion for dance by performing Irish Leaving Certificate, Scottish Highers, and watching dance outside of your school or college. We understand that distance European, International and Welsh or cost may have made this difficult, so we would like to read what you have done Baccalaureate, Abitur, Vitnemål and GED. to connect to dance. Plus n Ability to work effectively with others n Broad interest and engagement n Self-awareness n A spirit of enterprise

See page 74 for details on these attributes.

76 BA (Hons) Management of Music, Entertainment, Theatre & Events Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like you to tell us about any experience you have of managing music, theatre, normally include Maths and English Language). entertainment or events projects. This might include promoting a gig or running For applicants taking the reformed GCSE club nights, managing a band, providing front of house or box office support for qualifications, we will consider the new grade 4 performances or helping organise other aspects of projects and events. as being equivalent to a grade C. Minimum of 96 UCAS points is normally Commitment required. This equates to: We’re keen to hear about any management experience you have outside your school qualifications. Tell us about any extra-curricular projects at school or college n Thr ee A-Levels at grade C. All A-Level subjects or if you have volunteered or gained work experience at a local theatre, arts centre, accepted excluding General Studies. Points music venue, festival or radio station. If you’ve organised your own event then tell us from AS and Key Skills are not counted about this. We understand that distance or cost may have made this difficult, so just n BTEC Extended Diploma – Merit, Merit, telling us how you’ve shown commitment, enthusiasm and a demonstrable interest in Merit the performing arts can often be enough. n BTEC Diploma – Distinction, Distinction Plus We accept all equivalent UK and overseas n Ability to work effectively with others qualifications including Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, n Broad interest and engagement European, International and Welsh Baccalaureate, Abitur, Vitnemål and GED. n Self-awareness n A spirit of enterprise

See page 74 for details on these attributes.

BA (Hons) Music BA (Hons) Music (Songwriting & Performance) (3 years) BA (Hons) Music (Songwriting & Production) (3 years)

Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should normally include Maths We want to know about your relevant music experience, and English Language). For applicants taking the reformed GCSE so tell us about any gigs you’ve played as a solo artist or qualifications, we will consider the new grade 4 as being equivalent to in a band, or performances as part of a choir or orchestra. a grade C. We’d like to hear about any writing you’ve done, whether Minimum of 96 UCAS points is normally required. This equates to: it’s songs, compositions or other music arrangements. Also let us know about any experience you’ve had in music n T hree A-Levels at grade C. All A-Level subjects accepted excluding recording. Don’t worry if so far this has mostly been limited General Studies. Points from AS and Key Skills are not counted to computer-based systems at home, but please tell us the n BTEC Extended Diploma – Merit, Merit, Merit software and hardware tools you’ve used. n BTEC Diploma – Distinction, Distinction Commitment We accept all equivalent UK and overseas qualifications including We want to find out how you’re seeking your own Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, European, opportunities to develop your skills outside of your school International and Welsh Baccalaureate, Abitur, Vitnemål and GED. or college environment. However, we understand that At least one of your Level 3 qualifications as listed above should distance or cost may have made this difficult. We’re also normally be in Music and/or Music Technology. If you don’t have this interested to see how much you read about music and experience, please contact our Admissions team for guidance. have tried to experience other people’s music. You should be able to demonstrate a good working understanding of music theory, even as a singer-songwriter. If you are a UK applicant you Plus should attain a Grade 5 Music Theory qualification by the time you enrol n Ability to work effectively with others with us (you don’t need it at the time you apply). We test your music n Broad interest and engagement theory skills at audition and if you score a high mark we may waive the n Self-awareness requirement for a formal Grade 5 Music Theory qualification. If you are an overseas student you are also tested on your music theory ability at n A spirit of enterprise your audition and, if needs be, are advised about the steps to take if you need to improve. See page 74 for details on these attributes.

77 Foundation Certificate in Popular Music & Music Technology BA (Hons) Music (Songwriting & Performance) (4 years) BA (Hons) Music (Songwriting & Production) (4 years)

Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C required (these should normally include Students come to us with a diverse range of experience, so Maths and English Language). For applicants taking the reformed GCSE tell us about what you’ve been doing. This could be one or qualifications, we will consider the new grade 4 as being equivalent to more of the following: performance, songwriting or music a grade C. arranging, sound engineering or music production. Minimum of 48 UCAS points is normally required. This equates to: Commitment n Two A-Levels at grade D. All A-Level subjects accepted excluding We’re interested to read how you’ve pursued opportunities General Studies. Points from AS and Key Skills are not counted to gain experience or to perform outside of your school/ n BTEC Extended Diploma – Pass, Pass, Pass college work. We want to see that you have an appreciation for music. THE PATHWAY n BTEC Diploma – Merit, Pass We accept all equivalent UK and overseas qualifications including Plus Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, European, n Ability to work effectively with others International and Welsh Baccalaureate, Abitur, Vitnemål and GED. n Broad interest and engagement At least one of your Level 3 qualifications as listed above should normally be in Music and/or Music Technology. If you don’t have this n Self-awareness experience, please contact our Admissions team for guidance. n A spirit of enterprise Music theory knowledge is not required as this will be a key element that you learn during the year. See page 74 for details on these attributes. Please note: Mature applicants applying for the Foundation Certificate in Popular Music & Music Technology may not need the above qualifications if they have had additional relevant experience.

BA (Hons) Sound Technology Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like to hear about your experience in at least one of the following areas: include Maths, English Language and Physics/ music recording, live sound work, sound design in theatre, sound installation work Science Dual Award). For applicants taking the or sound post-production. Tell us about the roles you’ve played and what equipment reformed GCSE qualifications, we will consider the you’ve worked with. If all of your experience is using computer-based systems at new grade 4 as being equivalent to a grade C. home, please include details of the software and hardware tools that you’ve been using. We want to see that you have an appreciation of music and other forms of Minimum of 112* UCAS points is normally audio production. You don’t need to be a musician to study Sound Technology, required. This equates to: but if you have any experience of playing music, we’d be interested to know. n Thr ee A-Levels at grades B, B, C. All A-Level subjects accepted excluding General Studies. Commitment Points from AS and Key Skills are not counted Tell us about the sound projects you’ve been involved with outside of your school n BTEC Extended Diploma – Distinction, Merit, or college work. This may still have been at your school or college, but on an Merit extra-curricular level. Maybe you’ve volunteered to work in a studio, venue or radio station or gained paid-for work experience. We know that it can sometimes be n BTEC Diploma – Distinction*, Distinction* difficult to find this experience because of distance or cost, so we’d be interested We accept all equivalent UK and overseas to see how you’ve pursued these opportunities. qualifications including Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, Plus European, International and Welsh n Ability to work effectively with others Baccalaureate, Abitur, Vitnemål and GED. n Broad interest and engagement

n Self-awareness

n A spirit of enterprise * We may make offers that are up to 16 points lower in cases where we assess the candidate as an exceptionally strong fit for the course based on their See page 74 for details on these attributes. experience, application and interview.

78 BA (Hons) Theatre & Performance Design Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should You should have some experience of working in different art forms, including 3D normally include Maths and English Language). and 2D work. We’d also like to see that you’re able to experiment with a variety For applicants taking the reformed GCSE of media. If you’ve got any experience of theatre and performance design (such qualifications, we will consider the new grade 4 as making costumes or props, set construction or painting, or helping with lighting as being equivalent to a grade C. design), we’d be keen to hear about this, but this isn’t essential. We normally expect applicants to successfully complete a Foundation Studies course in Art Commitment and Design or an equivalent course at pre- In addition to showing that you’ve been creative with art and design across a range degree level. Some may be admitted directly of materials, we’d like you to tell us about your interest in seeing live performance after their Level 3 qualifications but will need to and the visual arts in general. demonstrate more substantial experience in art and design, including relevant theatre design Plus experience. n Ability to work effectively with others Minimum of 64 UCAS points is normally required. This equates to: n Broad interest and engagement n Two A-Levels at grade C. All A-Level subjects n Self-awareness accepted excluding General Studies. Points n A spirit of enterprise from AS and Key Skills are not counted n BTEC Extended Diploma – Merit, Pass, Pass See page 74 for details on these attributes. n BTEC Diploma – Merit, Merit

We accept all equivalent UK and overseas qualifications including Advanced Diplomas, Irish Leaving Certificate, Scottish Highers, European, International and Welsh Baccalaureate, Abitur, Vitnemål and GED.

BA (Hons) Theatre & Performance Technology Qualifications Knowledge, ability and experience Minimum of five GCSEs grade C (these should We’d like you to have some experience of working in one or more areas of normally include Maths and English Language). backstage production so tell us about this. This may include set construction, helping For applicants taking the reformed GCSE with lighting design or video projection during performance, stage or production qualifications, we will consider the new grade 4 management, or assisting with mixing live sound for a music gig or theatre show. as being equivalent to a grade C. Minimum of 64 UCAS points is normally Commitment required. This equates to: We’re keen to hear about any experience you have outside your school qualifications. Tell us about any extra-curricular projects at school or college or if n Two A-Levels at grade C. All A-Level subjects you have volunteered to work with a youth theatre group or in a theatre, arts centre accepted excluding General Studies. Points or music venue or have gained some work experience. We’d also like you to tell us from AS and Key Skills are not counted about your interest in seeing live performance. We understand that distance or cost n BTEC Extended Diploma – Merit, Pass, Pass may have made this difficult, so telling us how you’ve shown commitment and enterprise in gaining experience or going to see live performance helps. n BTEC Diploma – Merit, Merit Plus We accept all equivalent UK and overseas qualifications including Advanced Diplomas, n Ability to work effectively with others Irish Leaving Certificate, Scottish Highers, n Broad interest and engagement European, International and Welsh Baccalaureate, Abitur, Vitnemål and GED. n Self-awareness

n A spirit of enterprise

See page 74 for details on these attributes.

79 MA Acting (Company) Qualifications Attributes You are expected to have a good degree (2:1 or above We are also interested in applicants who can demonstrate: or equivalent conservatoire training) in a relevant discipline n or significant practical experience as an arts industry professional. Commitment n A bility to work effectively with others

n Br oad interest and engagement in contemporary theatre

n Self-a wareness

n A spirit of enterprise

See page 74 for details on these attributes.

MA Costume Making THE PATHWAY Qualifications Attributes You are expected to have a good degree (2:1 or above) in We are also interested in applicants who can demonstrate: a relevant discipline or practical experience of bespoke costume n making, including design interpretation through various pattern Commitment cutting styles and a high standard of construction techniques. n A bility to work effectively with others

n Broad interest and engagement

n Self-awareness

n A spirit of enterprise

See page 74 for details on these attributes.

MA Music Industry Professional Management Qualifications Attributes You are expected to have a good degree (2:1 or above) We are also interested in applicants who can demonstrate: in a relevant discipline or significant practical experience n as a music industry professional. Commitment n A bility to work effectively with others

n Broad interest and engagement

n Self-awareness

n A spirit of enterprise

See page 74 for details on these attributes.

Over the following pages, you’ll find details of how to apply and what will happen once you have.

How to apply Audition/ After the The application process interviews audition/interview for each course Where these take place What outcomes to expect

As we receive a lot of applications, many applicants Please read the entry requirements and how our ask us what to do to make their application stand out. key attributes apply carefully. We would recommend that you try to get as much relevant experience We want you to demonstrate these to the best of your ability as you can and take the time to read up on the course and around in your application, so please make sure you set aside plenty the subject area. of time to complete it.

80 APPLYING FOR UNDERGRADUATE COURSES

The processes for applying vary between courses and according to your home country. THE PATHWAY HOW AND WHEN Course title How to apply UK & EU UCAS code BA (Hons) Acting UCAS + LIPA application form W410 TO APPLY BA/ACTING Degrees including BA (Hons) Acting (Screen UCAS + LIPA application form W 411 integrated MArts course & Digital Media) BA/ASDM Applications to all of our degree courses are BA (Hons) Applied Theatre UCAS + LIPA application form W491 made via UCAS. & Community Drama BA/ATCD However, international students (students from outside the UK & EU) can initially just complete BA (Hons)/MArts Creative UCAS only W600 Technologies & Performance BA/CTP our LIPA international application form. Some of W602 our degree courses also require UK and EU MARTS/CTP applicants to submit our LIPA application form. Our LIPA application form will be online BA (Hons) Dance UCAS only W500 in September 2019. You can find more If we invite you to audition, you will be BA/DANCE information about this on the relevant course asked to supply further information apply page of our website. BA (Hons) Management of Music, UCAS only W450 Deadlines Entertainment, Theatre & Events BA/MANAGE For UK & EU applicants the closing date for your BA (Hons) Music UCAS only W300 UCAS form is 15th January 2020. If you are If you meet basic entry requirements, BA/MUSIC required to complete a LIPA form as well, we you will be asked to supply further ask you to submit that within five working days of information including music tracks your notification to complete it. This is particularly important for the Acting degree, which receives BA (Hons) Music (Songwriting UCAS only W302 (3 Years) over 1,000 applications each year. & Performance) If you meet basic entry requirements, BA/SPERF International applicants do not have to apply you will be asked to supply further information including music tracks W3F2 (4 Years) by the UCAS deadline of 15th January 2020. BA/FSPERF For our Management and Theatre & Performance Design or Technology degree courses we may BA (Hons) Music (Songwriting UCAS only W301 (3 Years) accept UK & EU applications after the 15th January & Production) If you meet basic entry requirements, BA/SPROD 2020 deadline. you will be asked to supply further information including music tracks W3F1 (4 Years) Applying through UCAS BA/FSPROD For more information on submitting a UCAS BA (Hons) Sound Technology UCAS only HW63 application, please visit www.ucas.com where BA/ST you will find comprehensive guidance on how BA (Hons) Theatre & Performance UCAS only W460 to complete your application. Design BA/DESIGN The application fee for submitting an application through UCAS in 2019 was £24 if applying BA (Hons) Theatre & Performance UCAS only W461 to more than one university course and £13 for Technology BA/TPT one university choice. UCAS codes Institution code: Institution number: LIVIN L48

81 THE PATHWAY Foundation Certificate FREQUENTLY Useful courses ASKED QUESTIONS contacts Applications to all of our Foundation Certificate Admissions team courses are made directly to us on our LIPA How many courses can application form, which will be online in September [email protected] 2019. You can find more information about this I apply to? +44 (0)151 330 3000 by heading to the applying section of the relevant On your UCAS form, you can apply for up to course page of our website. The closing date is five choices. You are welcome to apply to more International team 15th January 2020, although we usually accept than one degree course here but this will count as [email protected] applications after this date. another one of your five choices. +44 (0)151 330 3118 If you wish to apply for both a degree and You can also apply to a Foundation Certificate a Foundation Certificate, you are welcome to do course at the same time that you apply to a degree so but you will need to fill in our LIPA application course here. This won’t count as a UCAS choice UCAS form for our Foundation Certificate course and and shouldn’t be included on your UCAS form. www.ucas.com submit it to us by 15th January 2020. 03714 680 468 What happens if I miss the Calling from outside the UK deadline for applying? +44 330 3330 230 There is a high demand for places, so if you miss the deadline for your course, please contact our Admissions team.

Can I defer entry? We do not accept applications for deferred entry.

I have a learning difficulty or Course title How to apply disability, will this affect my Acting LIPA application form application? Dance LIPA application form We value diversity and will welcome your application. If you would like to request a reasonable adjustment Popular Music & Music LIPA application form and Technology a recording of your work as part of the audition/interview process, please contact: Howard Ashton, Admissions Manager, to discuss this. Email: [email protected] Phone: +44 (0)151 330 3084

82 AUDITION FEES The cost of attending an audition for Acting and Dance here was £40 in 2018/19. It may be subject to an increase for 2020 entry. There are no audition/interview fees for other courses.

Audition fee waivers and travel grants We offer audition fee waivers and a travel grant scheme for applicants who come from areas where participation in Higher Education is traditionally low. This is based on postcode data, so all eligible candidates, who we wish to invite to an audition or interview event will be automatically offered the travel grant and audition fee waiver (if applicable).

If you’re invited to an AFTER YOUR audition or interview, we AFTER YOU’VE AUDITION/ aim to give you a sense APPLIED of what it’s like to be a INTERVIEW student here and how we We’ll review your application and if we think you are Following your audition/interview, we will contact teach. This helps you to on course to meet our entry requirements, we’ll invite you to inform you about our decision. For our degrees, decide if we are a good you to an audition or interview, or request further this will be confirmed by UCAS. fit for you. information from you (depending on which course You can follow the progress of your application you’re applying for). We’ll send you guidelines at www.ucas.com. beforehand to help you prepare. These are also usually on our website from mid November. For our Foundation Certificate courses, we will We understand that this can be a demanding time contact you directly. so you should read the guidelines carefully and start There are four possible outcomes following an preparing early to make sure you’re as comfortable audition/interview for any of our courses: as possible with this part of our application process. n An unconditional offer of a place

n A conditional offer based on exam results AUDITION/ or further assessed work INTERVIEWS n An offer of a place on a different course. For example, if you applied for a degree VENUES course, we may offer you a place on a related Foundation Certificate course UK & EU students n A notification that your application Our auditions and interviews for UK/EU has been unsuccessful applicants are held here in Liverpool. Our decision will be final. Unfortunately, we do not Outside the UK supply feedback to unsuccessful candidates. In many cases, a lack of success is due to the level of For applicants who live overseas, you’re welcome competition for places, rather than a specific to attend an audition/interview here, but we also personal weakness. hold a number of auditions outside the UK which Successful candidates are sent a comprehensive may be nearer to you. Our International team will information pack outlining their next steps, once advise you about your nearest audition/interview they have accepted our offer. venue, but sometimes this may still be in Liverpool. If you can’t get to an overseas or Liverpool audition/ interview, we may ask you to submit an online audition/portfolio and we may conduct an interview with you by Skype/telephone. In this case, we’ll send you detailed guidance to help you with this.

83 APPLYING FOR POSTGRADUATE COURSES

The admissions process for all of our Masters courses involves an application and an audition or interview. THE PATHWAY AUDITION/ Useful INTERVIEW contacts VENUES Admissions team [email protected] UK & EU students +44 (0)151 330 3000 Our auditions and interviews for UK/EU applicants are usually held here in Liverpool. If we hold any International team outside of Liverpool we will provide more details [email protected] on our website. HOW TO APPLY +44 (0)151 330 3118 Applications to all of our Masters courses are Outside the UK made directly to us online on our LIPA application For applicants who live overseas, you are welcome form for that course. These can be found on our to attend an audition/interview here, but we also website on the relevant course page in the Apply hold a number of auditions outside the UK that section from 1st October 2019. may be nearer to you. Our International team will advise you about your nearest audition/interview Course title How to apply venue, but sometimes this may still be in Liverpool. MA Acting (Company) LIPA application form If you can’t get to an overseas or Liverpool audition/interview, we may ask you to submit an MA Costume Making LIPA application form online audition/portfolio and we may conduct MA Music Industry LIPA application form an interview with you by Skype/telephone. In this Professional Management case, we’ll send you detailed guidance to help you with this. WHEN TO APPLY Audition Fees Applications open from 1st October 2019 For MA Acting (Company) there was an audition and we consider applications in the order they fee of £40 for 2019 entry. This may be subject to are submitted and close the courses once they an increase for 2020 entry. There is no interview become full. We update the individual course fee for the other MAs. page on our website, when a Masters course becomes full and we are no longer considering applications for that year of entry. AFTER YOUR AFTER YOU’VE AUDITION/ APPLIED INTERVIEW As soon as we make a decision on your When we receive your application, we will application, we will get in touch (usually by carefully consider the information you have post but sometimes by email too). Successful provided and assess this against our entry candidates, who accept our offers, are posted requirements to decide whether to take your a comprehensive information pack from us, application further by inviting you to an audition/ outlining your next steps. interview. The auditions/interviews are held from January onwards. We’ll send you guidelines a month beforehand to help you prepare.

84 . R . E . H

d n a REPRESENTING THE e n n ly G s s BRITISH RECORDED e J MUSIC INDUSTRY TheThe BPI is the trade association for British record companiescompanies and currentlycurrently looks after the interests ofof over 400 members - representing 85%85% of UK music sales.sales.

TThehe British music market is recognised throughout the world as a rich source of musical styles and nnewew taletalent.nt. The industry’s conticontinuednued success is dependedependentnt oonn investment in educatieducationon and career development.

The BRIT Trust is the charitable arm of the BPI established in 1989 with its mission statement ‘to encourage young people in the exploration and pursuit of educational, cultural or therapeutic benefi ts emanating from music”. The TrustTrust willwill bebe celebrating its 30th Anniversary in 2019. It relies entirely on donations from the music industry and its charitable events, including the annual BRIT Awards.

TThehe BPI/BRIT TrustTrust is proud to be associated wiwithth the Liverpool InstitInstitut utee fo forr PerformingPerforming ArtsArts x i aandnd supports its commitment to the training of M le t talented and motivated indiindividualsviduals in the arts. it L VVisitisit our websites for more iindustryndustry facts aandnd fi gugures res and careers informatiinformation:on:

bpi.co.uk • brittrust.co.uk

975 The 1

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E z r a , Paloma Faith and Sam Smith jmenternational.com Performance shots from The BRIT Awards 2019 jmenternational.com 85

BPI_LIPA_Ad_A4.indd 1 04/03/2019 09:57 HOW TO FIND US We’re based just a short walk from Liverpool city centre. Liverpool is easy to get to and well connected by road, rail and air. THE PATHWAY BY AIR Liverpool Lime Street Manchester Airport is about an hour away by A5038

rail, coach or car. Liverpool John Lennon Airport, ussell Street though smaller, has regular scheduled flights to Copperas ill around 60 destinations.

rownlow ill

rownlow ill BY RAIL Clarence Street us Station anelagh Street To Liverpool One Metropolitan Liverpool Lime Street is the main railway station Cathedral Mount Pleasant in Liverpool. It is about 15 minutes’ walk from Liverpool Central A5038 us and offers good national and local rail links. anover Street old Street Mount Pleasant There are hourly trains to and from London Euston, Fleet Street which is roughly 2.5 hours away by train. Oxford Street

Seel Street Wood Street old Street

oscoe Street odney Street

BY COACH ope Street

Liverpool coach station is located at Liverpool Slater Street A503 Parr Street One, about a 20 minute walk away. It has old Place regular services to major towns and cities A503 Colquitt Street throughout the UK. ope Place

odney Street oscoe Street Duke Street night Street ice Street

Mount St Falkner Street BY ROAD Pilgrim Street ope Street lackburne Place The M62 motorway leads into Liverpool.

pper Duke Street You should follow signs for the Cathedrals. ack Canning Street We are opposite the Anglican Cathedral on A5038 Canning Street Upper Duke Street. elson Street

A503

Anglican Percy Street CAR PARKING Cathedral

St ames Street Unfortunately we don’t offer car parking on-site. Street ope A503 Pay and display car parking is available on

many nearby streets including Pilgrim Street and A5038 Rodney Street. This on-street parking is currently free after 6pm. Blue Badge holders may park in pper Parliament Street our lower car park which is accessed via Pilgrim A503 Street. These spaces are available on a first pper Parliament Street come, first served basis.

CHANGES TO COURSES AND GUIDE INFORMATION The following message contains some very important information. Please read it before you use this guide. This guide was printed in the spring of 2019. It contains information on the courses that The Liverpool Institute for Performing Arts intends to run for students who are planning to start university in the autumn of 2020. LIPA has made every effort to ensure that the information provided is both helpful and accurate as at the date of publication. However, some changes, for example to courses, facilities or fees may become necessary due to legitimate staffing, financial, regulatory and learning reasons. LIPA will endeavour at all times to keep any changes to a minimum and to keep students informed appropriately. For this reason, it is particularly important that you should check the website for updates or contact LIPA using the contact details contained within this document. www.lipa.ac.uk Designed and produced by Kenyons. Photographs: Andrew AB Photography, Aerial Impressions, Kevin Armstrong, Harry Armytage, Nick Ashcroft, Big Cheese, Yuval Bilgorai, Torstein Bjørklund, Peter Blaxill, Grethe Børsum, Allan Brown, Justina Bubulyte, Simon Camper, Pete Carr, Helen Carroll, Lauren Catherall, George Chatburn, Ho San Cheng, Ant Clausen, Paul Colwell, Dupe Creative, Sean Ebsworth Barnes, Pål Martin Enstad Hansen, Camille Etchart, Raymond Farley, Mark Featherstone-Witty, Tracey Gibbs, Nick Guttridge, Jens Hauer, Sam Heath, Erik Berg Johansen, Deana Kay, Grant Keelan, Dan Kenyon, Marcus Lindsay, Jana Lyons, Rob Maclese, Steve Major, Joan Marcus, Christina McDermott, Mark McNulty, Lois Maskell, Helen Maybanks, Malcolm Menzies, Rebecca Miller, Anna Moody, Roger Morris, David Munn, Chris Nash, James Newmarch, Alistair Nicholson, Joe Norman, Johan Persson, Arthur Phillips, Laura Ramsay, Richard Reddrop, Brian Roberts, Jason Roberts, Frank Rooney, Nicola Selby, Ashley Shairp, Alan Smith, Ian Southerin, Rich Spilman, Joe Stathers-Tracey, Jodie Svagr, Andrew Timms, Amy Tomlinson, Michael Trasmundi, Rachel Tyagi, Andrew Watts, Allegra Whitehouse, Robby Wilkinson, Joyee Wong. Every effort has been made to contact the holders of copyright material, but if any have been inadvertently overlooked, we would be pleased to make the necessary arrangements at the first opportunity.

86 SUPPORTERS

PATRONS COMPANIONS

Our Patrons influence and have influenced Our Companions have outstanding careers. They have shared what we do. and continue to share their expertise and experience with us.

LEAD PATRON: Sir Paul McCartney Pippa Ailion Ann Harrison Hugh Padgham Briony Albert Michael Harrison Dave Pammenter Joan Armatrading Robert North Lea Anderson Andy Hayles Arlene Phillips The late Lady Olivier Joan Armatrading Fran Healy Tony Platt David Bedford Sir Alan Parker David Babani Darren Henley Tim Prentki Sir Richard Branson Monica Parker The Bangles Kay Hilton Jonathan Pryce The late Lord David Puttnam Jason Barnes Noddy Holder David Pugh Graham Collier The late Paul Scofield Stephen Bayley Thelma Holt Colin Richmond The late Alpana Sengupta Darcus Beese Trevor Horn Sir Ken Robinson John Dankworth Carly Simon David Bell Richard Hudson Tom Robinson Dame Peter Sissons The late The late Nile Rodgers The late John Gunter Wayne Sleep Lynda Bellingham Sir John Hurt Scott Rodger Glyn Johns Vangelis Natricia Bernard Adrian Jackson Mark Ronson Mark Knopfler Toyah Willcox Don Black Chris Johnson Felice Ross Dame Gillian Lynne The late Gemma Bodinetz Keith Johnstone Willy Russell Sir Cameron Victoria Wood Matthew Bourne Heather Knight Nitin Sawhney Mackintosh Paul Burger The late Ralph Koltai Greta Scacchi The late Jon Burton Alan Lane The late Sir George Martin Dean Lee Zenon Schoepe Ali Campbell John Leonard Pam Schweitzer The late Martin Levan Dr Jorg Sennheiser Ken Campbell Steve Levine Christopher Shutt Guy Chambers Owen Lewis LaVelle Smith Jr Jo Collins Gary Lloyd Terence Stamp Paule Constable Christopher Manoe David Cathy Dennis Terry Marshall Nick Starr Giles Martin Seymour Stein Chris Difford Andy McCluskey James Thompson Anita Dobson The late Midge Ure Jon Driscoll Alec McCowen Hannah Waddingham Caroline Elleray Joe McGann Mary Ward Ben Elton Alan McGee Sharon Watson Anthony Everitt The late Jon Webster Malcolm McLaren Samuel West John Fox Stephen Mear Tim Wheeler Benny Gallagher Alan Moulder The late The late Robin Gibb Conor Murphy Anthony H Wilson Kevin Godley Steve Nestar Patrick Woodroffe Nickolas Grace Billy Ocean Will Young Woody Harrelson Christopher Oram

HONOURED FRIENDS Our Honoured Friends are industry figures who have championed and supported us over many years.

Luis Cobos Janice Long Suzahn Fiering Rowena Morgan Paul Whiting Victor Greenberg John T Rago Tony Wood Tetsuo Hamada Mark Summers Spencer Leigh Maria Walker

87 Mount Street Liverpool L1 9HF

www.lipa.ac.uk +44 (0)151 330 3000 [email protected]

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for performers and those who make performance possible