Musical Theatre Prospectus 2016

Musical Theatre
Prospectus 2016
‘For 190 years the
Royal Academy of
Music has been the
nursery, hothouse
and generator for
the British music
profession’
The Times,
November 2011
One Year MA in Performance
(Musical Theatre)
a year of intensive training
for musical theatre performers
Head of Musical Theatre:
Daniel Bowling
Programme Leader:
Louise Shephard MA, Hon BC, ARAM, LRAM, PGDip
Programme dates: 12 September 2016 – 30 June 2017
(Attendance is expected at enrolment week, from 7th September 2015)
Royal Academy of Music, Marylebone Road, London NW1 5HT
Telephone 020 7873 7483 | Email [email protected]
Published in January 2016
All information accurate at time of print.
1
Panel of Advisors
John Caird
Howard Goodall
Charles Hart
Christopher Legge
Anne McNulty
Matt Ryan
Jeremy Sams
Gilly Schofield
Vocal Tutors include
Ross Campbell
Kevin Fountain
Ann James
Mary King
James Spilling
Louise Shephard
Repertoire Coaches include
Stuart Barr
Stephen Hill
Sam Kenyon
Jon Laird
David White
Louise Shephard
Specialist Musical Director Coaches
Andrew Friesner
Mark Warman
David White
Sondheim Professor of Musical Theatre
Vocal Studies
Mary Hammond
3
Introduction
and
History
The Musical Theatre programme started
in 1994 and was designed by Mary
Hammond and Karen Rabinowitz with
the aim of providing a multi-skilled
training programme in a professional
environment. Students work with
professionals and are treated as a
theatre company.
In 1995 the programme was granted the
equivalent of registered graduate status
by British Equity, recognising the quality
of the training offered and allowing
graduating students certain privileges
on entering the profession.
The programme now leads to the
Master of Arts in Performance
(Musical Theatre) postgraduate degree.
A basic working week of five days
comprises skills classes in voice and the
spoken word, extended voice techniques,
text, dance (including jazz technique,
classical technique and Musical Theatre
repertoire), movement, acting, singing,
integration of acting and singing,
repertoire coaching, musicality, sung
improvisation, history of musical theatre,
sight-singing, choral singing, audition
classes and project work.
Students are offered masterclasses and
workshops with visiting professionals,
and enter internal competitions
adjudicated by leading musical theatre
practitioners. They also take part in
recordings in the Academy’s studios. In
the spring term regular workshops of
new music with composers and writers
are held, some of which have led to
further workshops and productions after
the end of the programme.
The academic year is split into three
terms with vacations at Christmas and
Easter. During term-time students
are required to attend all classes and
rehearsals, whenever scheduled, unless
they have applied for, and been granted
written leave of absence.
Classes extend into the evening, and
students are occasionally expected to
work at weekends.
Royal Academy of Music
Students are enrolled at the Royal
Academy of Music, one of Europe’s
leading conservatoires and a member
of the University of London. The
Academy’s environment is rich in artistic
heritage, full of emerging talent, and
situated in the heart of central London.
Fellow students include instrumentalists,
concert and opera singers, composers
and jazz musicians.
Facilities at the Academy include two
large concert halls, large rehearsal
spaces, a dance studio, recording studio,
creative technology lab, library (including
listening room), restaurant and bar.
Musical Director/Coaching Programme
In 2002, a Postgraduate Diploma
programme was added for Musical
Directors. Further information and
audition requirements are available
on request.
5
Subject
Areas
6
Singing
Students are offered an individual singing
lesson of one hour each week, and an
individual repertoire coaching session
of forty minutes. In addition, there are
group coaching sessions, repertoire
classes, ensemble singing projects, and
coaching for auditions. The programme
aims to explore all aspects of the singing
voice and is informed by the latest
research into the physiology of the voice.
Acting
Classes and tutorials are designed to
give the student company a supportive
environment in which they can grow
and practise their skills. Topics explored
include improvisation, texts, sightreading, building a character, the
rehearsal process and audition work.
Class work is taken further as students
rehearse and perform scenes and whole
plays, musicals and revues.
Spoken Word
Students cover an extensive programme
in voice science and its practical
application to speaking and singing.
Individual components include speech
and accent, text and language including
Shakespearean verse, and vocal health.
All the work done in these classes
directly supports that given by the
singing teachers, and the necessary
integration of the healthy, expressive
speaking voice with the singing voice
is fundamental to the programme. In
addition each student receives a weekly
twenty minute individual tutorial.
Integration of Acting and Singing
All of the above are combined, discussed
and explored in a weekly ‘integration’
class. Students are encouraged to
match their vocal quality and texture
to the acting demands of a song, and
to develop their individuality, with a
particular emphasis on extended voice
technique. In the third term this class
leads to a regular audition workshop.
History of Musical Theatre
This is studied in weekly sessions that
combine listening and commentary on
operettas from Offenbach and Strauss
to present-day musicals.
Dance
The primary objective of the dance course
is to introduce or nurture skills that will be
appropriate in a dance audition situation.
The student will develop the skills to be
able to replicate dance combinations
demonstrated by a choreographer or
teacher. The aim is that the student will
gain confidence in dance, and the ability
to translate musicality and style to the
appropriate task.
The dance course will concentrate on
three vital elements: musicality, empathy
and technical ability.
Movement
These classes are to designed to build
confidence and cultivate a natural sense
of physicality. With a creative and
collaborative approach to the work we
set up a safe environment to try things
out and stretch our boundaries without
fear of ‘doing it wrong’. Looking at solo
and ensemble movement, including
contact and partnering work, we aim to
create complex choreography from simple
building blocks.
The focus is on telling a story through
movement only in the first term. Later in
the year the student will start to combine
text/song and movement to make these
combinations seamless. These classes
give the students the opportunity to
become collaborators, valuable members
of a devising process and thinking
performers.
Sight-Reading and Musical Awareness
A weekly class in sight-reading is given,
and students have many opportunities to
practise their skills, including the ensemble
singing classes and rehearsals in the first
term, and the new music workshops in
the second. Students also take classes
in musical awareness, affording them
the chance to investigate their instinctive
reaction to style, idiom and genre, and to
study musical and textual structure. This
involves extensive practical improvisation
and aural training within many styles
of music, from contemporary musical
theatre, through soul, to classical aria.
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’Coming to the Royal Academy
really has been one of the best
decisions of my life so far. All the
challenges I feel really made me
grow, not only as an artist but
also as a person’
Karoline Gable
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New Music Workshops
These involve sight-reading (sung
and spoken), staging, improvisation,
characterisation and appreciation of
different contemporary musical styles
and vocal techniques. Students have
worked with numerous composers on
new material, and some have been
involved in performances of new music
at the Jermyn Street Theatre, and in
demo recordings of new musicals.
Projects
To put into practice all of the teaching
elements, practical performance
projects are rehearsed and performed
throughout the programme. These
are devised according to the individual
needs of students and the company as
a whole, and in the past have consisted
of musicals, revues, concerts, cabarets,
plays, showings of devised work, and
recordings.
Masterclasses
Visiting professionals give masterclasses
and workshops. Lectures from
representatives of professional
bodies and mock auditions with guest
professionals are also arranged.
The Department occasionally joins forces
with composition students to work on
combined projects.
Agents’ Showcase and Productions
Students take part in a showcase with
an invited audience of agents and
casting directors, and full-scale musical
productions with band or orchestra,
which are normally radio-miked. In 2015
the final projects were fully staged
productions of Amour and Carousel –
and a Noël Coward cabaret, ‘A Talent
to Amuse’, at the St James Studio
Theatre. At the end of the year, students
performed in ‘How to Succeed in
Business’ at the City of London Festival.
Past Students
A measure of the programme’s success
is the high proportion of students who
leave the Academy with representation
(95%), and the number who obtain
professional work.
During the programme, students also work
with hand-held and stand-microphones.
Alumni have worked at the National
Theatre and the RSC in musicals and
plays, in West End shows, national and
international tours, rep seasons, film and
TV, in opera companies, on radio and in
recordings, and on the London fringe.
Though the programme primarily trains
performers, some have also worked as
musical directors and writers.
In 2014 the department celebrated its
20th anniversary with a gala performance
at the Prince Edward Theatre, featuring
alumni currently active on the West
End stages. In addition, the students
took part in a concert of songs by Cole
Porter at Cadogan Hall, with the Royal
Philharmonic Concert Orchestra, and
the Christmas Special of ‘Friday Night
is Music Night’ on BBC radio and
television.
LRAM Teaching Diploma (optional)
This is separate from the Musical
Theatre Programme. The Licentiate
of the Royal Academy of Music
(LRAM) teaching diploma provides
a comprehensive, practically-based
introduction to the principles of teaching
and is available to all students. There is
an additional fee for this programme,
for which a Licentiate Musical Theatre
Teaching qualification is awarded.
9
Auditions
and Entry
Requirements
Auditions for the September 2016 intake will be held from
early December 2015, with recalls early in 2016.
‘The only way to get ready for eight
shows a week is total immersion,
an overhaul. That’s exactly what
training at the Academy gave me.’
Andrew Linnie (The Commitments)
‘My year at the Academy was a roller
coaster I will never forget; it gave me
invaluable skills that I use in every
aspect of my life, all developed in
the amazing setting of one of the
world’s oldest and most respected
musical institutions.’
Joe Leather
(Tony V Fell competition winner 2013)
Applications should be made via CUKAS by 1st November 2015.
Late applications will be considered if there are still places available.
Minimum entrance requirements
for enrolment:
> Master of Arts in Performance
(Musical Theatre): a high level of
performance attainment as determined
at audition, and normally academic
qualifications as indicated on our
Entry Requirements web page.
> Postgraduate Diploma (PGDip)
in Musical Direction: a high level
of performance attainment as
determined at audition; and normally,
but not necessarily, a first degree or
undergraduate performance diploma,
or an equivalent standard of performing
ability and professional experience.
The MA English Language requirement
is IELTS Academic Test 6.0 or Pearson
Academic 58. You do not need to have
achieved this before your audition, but an
assessment of language proficiency will
be part of the audition process.
We welcome applications from mature
students and performers wishing to
undertake an intensive programme with
the intention of re-focussing their careers.
If you live outside Europe and cannot
travel to London for the auditions, we will
accept a DVD audition for the MA only
(not for Musical Direction). Please contact
[email protected] for information.
Audition requirements are:
> Three songs demonstrating different
voice qualities
> One contemporary naturalistic speech
or monologue (not more than 2 minutes).
Please avoid poetical style, e.g. Stephen
Berkoff or Samuel Beckett
> Participation in a movement/dance
workshop (at audition) OR a short
movement or dance piece (DVD)
> Discussion with panel (at audition) OR
short explanation of motivation to join
the programme (DVD)
Application details
The application fee of £74, together
with the UCAS Conservatoires
registration fee of £16, is payable on
submission of your online application.
After that, you will be contacted by
the Academy Registry to complete
an information form, including a short
statement on how you propose to finance
your fees and living expenses, and to
11
send a passport photograph and a CV.
‘My year at the Academy was one
of the most intense and gratifying
of my life. It enhanced my vocal
technique and gave me a deeper
understanding of Musical Theatre.
Above all it has given me a set of
tools which I use daily.’
Rachel Tucker
Open Days
The Musical Theatre Department will be
holding an Open Evening on Thursday
22nd October 2015 from 17:00 to
21:30. This is an opportunity for those
interested in finding out more about the
programme to visit the Royal Academy
of Music, meet staff and students and
watch some of their work in progress.
If you would like to attend, please
email [email protected].
Fees
The tuition fee for 2016–17 for the MA
in Performance (Musical Theatre) will
be £14,620 for EU and UK students
and £18,850 for non-EU students, and
the fee for all PGDip Musical Director
students will be £9,000.
25% of the fee is due during April 2016
and the balance is due in August 2016;
you will be sent an invoice in the Spring.
Assessment
The assessment of classwork on the
programme is continuous. Each project
is also assessed, and students are kept
in touch with their progress and staff
expectations through regular interviews.
Provision for students with disabilities
The Royal Academy of Music welcomes
applications from candidates with
disabilities who meet the musical,
academic and performance criteria for
their proposed programme, as stated
in the Prospectus.
The Academy is committed to
providing an inclusive environment for
learning, actively promoting equality of
opportunity. For further information on
this please contact the Disability Advisor,
Judy Fink, [email protected]
13
Guest
Teaching
Staff
‘The best thing is the quality of
teaching, which has pushed me to
understand my craft fully and be
able to go out and pursue a career
in theatre.’
Christine Allado (From Here to Eternity)
‘Study at the Academy will push you
to your physical and mental limits
on a daily basis. It is an experience
which will demand complete dedication every step of the way, inspiring
the professional in each performer to
be realised.’
Christina Tedders (Once)
Directors, musical directors and coaches for
specific projects have included:
Kevin Amos Guest Musical Director
Peter Cregeen Guest Television Director
Paul Crew Guest Musical Director
Jo Davies Guest Director
Steven Dexter Guest Director
Michael England Guest Musical Director
Mark Etherington Guest Musical Director
Paul Harris Guest Choreographer
Bernadette Iglich Guest Choreographer
Matthew Lloyd Guest Director
Martin Lowe Guest Musical Director
Martin Koch Guest Musical Director
Laura Kriefman Guest Choreographer
Torquil Munro Guest Musical Director
Andrew Neil Guest Director
Dane Preece Guest Musical Director
Guy Retallack Guest Director
Craig Revel Horwood Guest Choreographer
Matt Ryan Guest Director
David Shrubsole Guest Musical Director
and Coach
Nick Skilbeck Guest Musical Director
Sam Spencer Lane Guest Choreographer
Jennifer Whyte Guest Musical Director
Paul Warwick Griffin Guest Director
Drew McOnie Guest Choreographer
Nathan M Wright Guest Choreographer
Naomi Jones Guest Director
Masterclasses
Students have attended workshops and
discussions with
Stephen Sondheim, Julia McKenzie,
Dame Diana Rigg, Jenny Seagrove,
Jonathon Morris, Matt Ryan,
Nicola Treherne, Jeremy Sams,
Trevor Jackson, Andrew Lippa,
David Grindrod, Pippa Ailion,
Sally Mayes, Scott Alan,
Joel Fram, Maria Friedman,
Simon Green, Tracie Bennett,
Kim Criswell, Dan Stevens,
Jason Robert Brown, Sir Tim Rice,
Tamara Harvey, Elizabeth McGovern,
Peter Cregeen, Annie Skates,
Daniel Borch, Nina Finburgh,
Hannah Waddingham, Janie Dee
In 2014/15 these were given by
Jo Davis, Gareth Valentine,
David Charles Abell, Sean Alderking,
Jonathan Butterell, Hannah waddingham,
Richard Wilson, Anne McNulty,
Sam Yates, Anna Lindstrum,
Helen Tennison, Caroline Humphris,
David Sibley, Jude Alderson,
Amy Cudden, Michelle Bonnard,
Tim Sutton, Harriet Thorpe,
Lotte Wakeham, Matt Board,
Matt Ryan and Neil Bettles.
15
Core
Staff
‘From cabarets to Shakespeare,
improvisation to intense technical
training, the course covers bases
you didn’t know existed. I now feel
equipped to take on not just the
world of professional musical theatre,
but to accept classical singing
engagements, devise my own show,
and play roles in straight theatre.’
James Smoker (Les Misérables)
Björn Dobbelaere
Head of Department, Musical Director
Louise Shephard
Programme Leader, Director
Anne-Marie Speed
Voice, singing and acting coach
Daniel has over twenty years of Musical
Theatre industry experience working
for some of the profession’s biggest
producers. As a music supervisor, he
has overseen many of the industry’s
most iconic productions in London
and worldwide. Most recently Music
Director for The Lion King at the Lyceum
in London, Daniel is also a sought-after
conductor and music director as well as
author and vocal coach.
Support vocal work in West End and
on national and international shows;
most recently on A View from the
Bridge (Young Vic), Bad Jews (Theatre
Royal Bath), The Amen Corner (National
Theatre) and The Lion King (national tour)
The sound of music (Regents Park), The
Wizard of Oz (West End), The Sound of
Music — No1 National tour.
Anne-Marie works as both a voice and
singing teacher specialising in training
and development of both the speaking
and singing voice. She is also a very
experienced accent/dialect coach
working in film, TV and theatre. As well
as her work at the Royal Academy of
Music, she works with many performers
in the pop industry. She is one of the
most experienced teachers and trainers
in the Estill Model internationally and
regularly presents workshops throughout
Europe. She was President of the British
Voice Association in 2001–02.
A graduate of Curtis Institute of Music in
Philadelphia, Daniel studied conducting
with Michael Tilson-Thomas, Leonard
Bernstein, Max Rudolph and Sergiu
Celibidache amongst others. Having
started his career as a trumpet player,
Daniel was Principal Trumpet of the New
World Symphony from 1988 to 1992 and
performed with the Cleveland Orchestra,
Philadelphia Orchestra and St Louis
Symphony under many of the greatest
conductors of the late twentieth-century.
16
‘The world-class teaching is highly
rated by the students, as well as
everyone else.’
Push Independent University Guide
Louise studied at the Royal Academy of
Music and the Birmingham conservatoire.
She is senior teacher at The Oxford School
of Drama and course leader of several
musical theatre courses. She is an
Associate of the Royal Academy of
Music, where she is a vocal coach
and directed a 2014 Showcase. For
The Oxford School of Drama she has
directed Rodger’s and Hammerstein’s
Allegro and Love Life by Kurt Weill.
For Birmingham School of Acting,
Assassins by Stephen Sondheim, and
most recently, Unidentified item in the
bagging area at Old Red Lion Theatre.
George Hall
Director, teaching Musical Theatre
history
After working for several years as an
actor, George Hall was director of the
Acting Course at the Central School of
Speech and Drama for 24 years, during
which time he continued to work in
the theatre as a writer, composer and
director. Since leaving Central over
twenty-five years ago, he has taught and
lectured here and in Sweden, Holland
and the USA, as well as appearing with
his own cabaret group.
17
‘The Academy doesn’t feel like an
institution at all, but a home away
from home. I feel totally blessed to
have been able to work with so many
incredible, talented students and
tutors... the best year of my life!’
Florence Andrews (Wicked)
‘The intensive nature of the course
helped me prepare for this fast and
ever changing industry whilst building
my vocal, physical and mental
stamina. I was always encouraged to
try new things without losing a sense
of who I was. I’ve come out of the
year motivated, focused and excited
for the journey ahead.’
‘I’ve had so much hands-on experience
and professional training in such a
short time. I’ve gained confidence, a
level of physical fitness which I’d only
dreamed of and a greater understanding
of the profession as a whole.’
Hara Yannas (Scrooge)
Dylan Brown
Teaching acting
Dylan Brown has worked on many
television productions as an actor,
including Midsomer Murders, Vexed,
Being Human, A Touch of Frost,
Eastenders, Casualty and Holby. Film
incudes Luc Besson’s Unleashed, Ken
Russell’s The Mystery of Dr Martinu,
Sacha Bennet’s Devilwood and Tuesday
and Neil Marshall’s Centurion. Stage;
National Theatre in Thea Sharrock’s Free
Stage. At the Sheffield Crucible Theatre
he played Puck in Michael Grandage’s
A Midsummer Night’s Dream and
Rosencrantz in Paul Miller’s Hamlet.
Directing credits include Romeo and
Juliet (featuring Anthony Howell) at The
Drama Centre London and Ayckbourn’s
Confusions for ACT Brighton, Accomplices
by Simon Bent (featuring John Simm
and Andrew Lincoln) at the Soho House
London and Nevermind By Martin Sadofski.
Teaching includes Diorama Arts Centre,
Drama Centre London, Bodyworks and
the Academy of Creative Training.
18
Richard Brindley
(Howard Goodall’s ‘The Dreaming’ at
the Union Theatre)
James Spilling Choral Director
As an actor and singer, James has
appeared in a number of West End
Musicals and National Tours including
Man of La Mancha, Sweeney Todd,
The Woman in White, The Phantom of
the Opera and Chess. He has sung on
many radio broadcasts for BBC Radio 2
and has appeared as a soloist with the
Bournemouth Symphony Orchestra and
London Concert Orchestra.
As a concert artist he has soloed in many
of the UK’s greatest concert halls.
As a session singer, he has sung with
Capital Voices, Synergy Vocals, Steve
Sidwell SFX Choir and has provided
backing vocals for TV and artists
including The Graham Norton Show,
Russell Watson, Lesley Garrett, Sarah
Brightman and Martine McCutheon.
He has sung on numerous Film/TV and
game soundtracks. He has recently been
heavily involved in the upcoming new
movie of Disney’s Beauty and the Beast.
He has also supplied voices for Spamalot
(online game) and James Villas.
Andrew Friesner
Teaching Musicality and Improvisation
Olga Masleinnikova
Devising and Movement for Actors
Andrew’s work as composer, musical
director and director ranges from
musical theatre, through Shakespeare
and Brecht, regional repertory and West
End, to devised theatre and Lieder
performance. He works extensively in
cabaret and recital, new writing and
with young people and children. Andrew
teaches at various drama schools and
works freelance as a vocal coach,
specialising in repertoire, confidence
building and improvisation. He takes
vocal workshops around the country
in performance and extemporization
and regularly works with music as a
therapy, both in theatre and in the area
of healthcare as a practitioner.
Olga is a dance-theatre maker,
movement director and teacher.
She graduated with MA in Theatre
Directing from INSAS in Brussels and
specialised in Choreological Studies
(Contemporary Developments in
Laban’s Principles for Performing Arts)
and contemporary dance at Trinity
Laban in London. Her choreographic,
performance and collaborative works
have been shown in venues in London,
Ghent, Malmo, Dublin, Paris, Chur,
Berlin and Reykjavik. In London she
teaches at Royal Academy of Music,
Trinity Laban, Giles Foreman Centre
for Acting and is a visiting teacher at
English National Opera for Opera Works
and Kingston University. She has taught
at HZT — University of the Arts of
Berlin, Bird College of Performing Arts,
East 15 Acting School and Le Grand
Conservatoire d’Avignon. Additionally
she coaches companies and makers
and also delivers numerous workshops
internationally.
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‘The MT programme at the
Academy has helped me to take
everything I knew and had learnt
up to the next level. I feel stronger,
more confident, and more skilled in
every possible way as a performer.
All that aside, I also feel part of a
family; a network of friends and
colleagues I will cherish for the rest
of my career’
Kerry Spark (Miss Saigon)
Karl Stevens
Dance
Trained at the Hammond School,
Chester, Karl graduated as a qualified
teacher from the Royal Academy of
Dance.
Karl’s professional engagements include
Spamalot and Chitty Chitty Bang Bang
(West End), the original UK tours of
Thoroughly Modern Millie and Sunset
Boulevard, the original German cast of
Saturday Night Fever, understudying and
playing the roles of Gus and Joey.
He choreographed productions of Return
to the Forbidden Planet, Oliver, excerpts
from The Wild Party and The Pajama
Game for Arts Educational School,
Echoes of the Mystic at the Peacock
Theatre, In Vetriano’s World and Last
Tango at Wimbledon Theatre for London
Studio Centre and The Legend of the
Fisher King at Leicester Haymarket.
He has also helped coach the young
stars of the West End’s highly acclaimed
Billy Elliot.
20
‘The incredible year at the Academy
filled me with motivation, inspiration
and new found skills and techniques
that propelled me into the
performance world and I could not
feel more supported and ready to
tackle the next ventures.’
Susanna Squires (Eve in the London
premiere of Arthur Miller’s ‘Up From
Paradise’)
Graduates have recently appeared or are
currently performing in the West End
(and Fringe) in Yarico, Dog Fight, Titanic,
The Railway Children, Princess Ida, Miss
Saigon, Once, Bend it Like Beckham,
The Book of Mormon, City of Angels,
Charlie and the Chocolate Factory,
The Commitments, From Here to
Eternity, Les Misérables, Once, The
Phantom of the Opera, Wicked,
Sweeney Todd (ENO), The Merchant
of Venice (RSC), The Light Princess
(NT), Billy Elliot, Jersey Boys, Legally
Blonde, Lend me a Tenor, The Lion
King, Love Never Dies, Love Story,
Mamma Mia, Matilda, One Man Two
Guvnors, People (National Theatre),
Priscilla Queen of the Desert,
Spamalot, Sweeney Todd, The 39
Steps, War Horse, We Will Rock You
and The Wizard of Oz.
Recent UK tours and international
productions include The Last Ship,
Carousel (Opera North), Annie, Avenue
Q, Blood Brothers, The Buddy Holly
Story, Candide, Chess, Dirty Dancing,
Dreamboats and Petticoats, Godspell,
High Society, Joseph, Mamma Mia,
Merrily We Roll Along (Theatre Clwyd),
The Merry Wives of Windsor (Shakespeare
Globe/USA tour), The Phantom of the
Opera, Priscilla Queen of the Desert,
The Rocky Horror Show, Scrooge,
Sister Act, The Sound of Music, South
Pacific, Starlight Express, Top Hat,
The 12 Tenors, The War of the Worlds,
concerts and operas.
Recent TV/film credits include The
Interceptor, Alan Partridge, At Waters
Edge, Austenland, Black Mirror, Call
the Midwife, Dani’s House, Doctors,
Doctor Who, EastEnders, Emmerdale,
Great Expectations, Hollyoaks, Hustle,
Les Misérables, Lucky Stiff, Little
Crackers, Mr Selfridge, Pete vs Life,
Phoneshop, Playing It Straight, Pobol
Y Cwm and Stella.
Musical Director graduates have worked
on numerous West End, national and
international productions: see
www.ram.ac.uk/mth.
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How to
Find us
Royal Academy of Music,
Marylebone Road, London NW1 5HT
1 Royal Academy of Music
Telephone 020 7873 7483Marylebone Road
London NW1 5HT
Email [email protected]
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Royal
Festival
Hall
24
National
Theatre
Queen
Elizabeth
Hall
Royal Academy of Music Marylebone Road, London NW1 5HT
Patron: HM The Queen
President:HRH The Duchess of Gloucester GCVO
Principal: Professor Jonathan Freeman-Attwood
A college of the University of London, Registered Charity no.310007
www.ram.ac.uk/mth