Musical TheatreProspectus 2015

One Year MA in Performance(Musical Theatre) a year of intensive training for musical theatre performersHead of Musical Theatre: Björn Dobbelaere MMus

Programme Leader: Louise Shephard MA, Hon BC, ARAM, LRAM, PGDip

Programme dates: 14th September 2015 – 12th July 2016

(Attendance is expected at enrolment week, from 7th September 2015)

Royal Academy of Music, Marylebone Road, London NW1 5HTTelephone 020 7873 7483 | Email mth@ram.ac.uk

Published in September 2014 All information accurate at time of print.

‘For 190 years the Royal Academy of Music has been the nursery, hothouse and generator for the British music profession’The Times, November 2011

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Repertoire Coaches include

Stuart Barr MPhil, MA, PGAdvDip (RCM), Hon ARAM

Stephen Hill FLCM, ARCM, Hon ARAM

Sam Kenyon BA, ARAM, LRAM

Stuart Morley BMus, PGDip, Dip RAM, ARAM

David White BA Hons, FRAM

Louise Shephard MA, Hon BC, ARAM, LRAM PGDip

Specialist Musical Director Coaches

Andrew Friesner GMus, RNCM, Hon ARAM

Mark Warman MA, ARCM , Hon ARAM

David White BA Hons, FRAM

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Panel of Advisors

John CairdHoward GoodallRob HallidayJeremy SamsNick SkilbeckJames HolmesCharles Hart

Sir Nicholas HytnerMartin KochChristopher Legge Matt RyanJulia McKenzieAndrew NeilDame Diana Rigg

Vocal Tutors include

Ross Campbell ARCM, DipRCM (Perf) Kevin Fountain LRAM, DipRAM Ann James BA, LRAM, ARAM James Spilling BMus, ARAM, LRAM Maureen Scott EVTS, Hon ARAM Louise Shephard MA, Hon BC, ARAM, LRAM, PGDip

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. The 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 recording 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, occasionally, often in the run up to performances, students are expected to work at weekends.

Royal Academy of MusicStudents are enrolled at the Royal Academy of Music, one of Europe’s leading conservatoires and a member of the University of London. They partake of an environment 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 a fully equipped theatre, 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 ProgrammeIn 2002, a Postgraduate Diploma programme was added for Musical Directors. Further information and audition requirements are available on request.

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Introductionand History

DanceThe 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.

MovementThese 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.

SubjectAreas

SingingStudents 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.

Spoken WordStudents 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.

ActingClasses 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, sight-reading, 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.

Integration of Acting and SingingAll 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 TheatreThis is studied in weekly sessions that combine listening and commentary on operettas from Offenbach and Strauss to present-day musicals.

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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. During the programme, students also work with hand-held and stand-microphones.

In 2014 the final projects were fully staged productions of A Man of No Importance, Little Women and a cabaret ‘Till the clouds Roll By... the evergreen songs of Jerome Kern’. The cabaret was also performed at the St James Studio Theatre.

In addition, the students took part in a concert of songs from the First World War era in conjunction with the Academy’s museum and marking the opening of its exhibition commemorating the centenary of the war. Some of the students reprised this concert for patients, staff and visitors in the public areas of Guys and St Thomas’ Hospitals. More students were involved in concerts for children in hospital over

the Christmas period. Both of these ventures were in collaboration with Music in Hospitals.

Past StudentsA measure of the programme’s success is the high proportion of students who leave the Academy with representation, and the number who obtain professional work.

Ex-students on the performers’ programme have worked at the National Theatre and the RSC in musicals and straight 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 July 2013 we asked past students for up to date CVs. 86% of the students who had completed the programme in the past eighteen years had worked professionally.

’Studying at the Academy not only provided me with fully comprehensive and expert training, but also the perfect platform into the industry. In our final term, we had the chance to participate in a full scale actor-muso production, which lead directly on to my first job in Tess of the D’Urbervilles at the New Wimbledon Studio Theatre.’Sarah Kate Howarth

New Music WorkshopsThese 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.

MasterclassesVisiting professionals give masterclasses and workshops. Lectures from representatives of professional bodies and mock auditions with guest professionals are also arranged.

ProjectsTo 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.

The Department occasionally joins forces with composition students to work on combined projects.

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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.

There is no English Language test requirement (IELTS or Pearson) for the Musical Theatre department, because the audition panel assesses your language skills as part of the selection 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 admissions@ram.ac.uk 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 detailsThe application fee of £74, together with the CUKAS registration fee of £16, is payable to CUKAS 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 send a passport photograph and a CV.

‘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)

Auditions and Entry Requirements

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Auditions for the September 2015 intake will be held from early December 2014, with recalls early in 2015.

Applications should be made via CUKAS by 1st November 2014.

Late applications will be considered if there are still places available.

Open DaysThe Musical Theatre Department will be holding Open Days on Thursday 9th October and Thursday 23rd October 2014 from 17:00 to 21:30. These are opportunities 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 mth@ram.ac.uk.

FeesThe tuition fee for 2015–16 for the MA in Performance (Musical Theatre) will be £14,200 for EU and UK students and £18,300 for non-EU students, and the fee for all PGDip Musical Director students will be £7,000.

25% of the fee is due during April 2015 and the balance is due in August 2015; you will be sent an invoice in the Spring.

AssessmentThe 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 disabilitiesThe 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. Therefore students are selected purely on their audition performance and their overall perceived potential. Where appropriate, reasonable adjustments for auditions and assessment can be made in consultation with the Disability Advisor and Musical Theatre staff. Disabled students may be eligible to apply for Disabled Students’ Allowances from Student Finance to help pay extra costs that arise due to disability when studying at higher education or postgraduate level. For further information on this please contact the Disability Advisor, Judy Fink, j.fink@ram.ac.uk

‘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

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Directors, musical directors and coaches for specific projects have included:Kevin Amos Guest Musical DirectorPeter Cregeen Guest Television DirectorPaul Crew Guest Musical DirectorJo Davies Guest DirectorSteven Dexter Guest DirectorMichael England Guest Musical DirectorMark Etherington Guest Musical DirectorPaul Harris Guest ChoreographerBernadette Iglich Guest ChoreographerMatthew Lloyd Guest DirectorMartin Lowe Guest Musical DirectorMartin Koch Guest Musical DirectorLaura Kriefman Guest ChoreographerTorquil Munro Guest Musical DirectorAndrew Neil Guest DirectorDane Preece Guest Musical DirectorGuy Retallack Guest DirectorCraig Revel Horwood Guest ChoreographerMatt Ryan Guest DirectorDavid Shrubsole Guest Musical Director and CoachNick Skilbeck Guest Musical DirectorSam Spencer Lane Guest ChoreographerJennifer Whyte Guest Musical DirectorPaul Warwick Griffin Guest DirectorDrew McOnie Guest ChoreographerNathan M Wright Guest ChoreographerNaomi Jones Guest Director

MasterclassesStudents have attended workshops and discussions withStephen Sondheim, Julia McKenzie, Dame Diana Rigg, Jenny Seagrove, Jonathon Morris, Matt Ryan, Nicola Treherne, Jeremy Sams, Trevor Jackson, Clive Rowe, David Grindrod, Pippa Ailion, Carol Hall, Steve Ross, Julie Wilson, Philip Quast, 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, Harriet Thorpe, Peter Cregeen, Peter Davison, Nigel Lilley, Annie Skates, Daniel Borch, Andrew Neil, Nina Finburgh, Hannah Waddingham, Janie Deeand Simon Beck.

In 2013/14 these were given byDavid Charles Abell, Tony Castro, Janie Dee, Carol Hall, Andrew Lippa, Steve Ross, Jeremy Sams, Ian McCracken, Trudy Lewis and Gareth Valentine.

‘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 dedica-tion every step of the way, inspiring the professional in each performer to be realised.’ Christina Tedders (Once)

GuestTeaching

Staff

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Mary Hammond FRAM, LRAMSondheim Professor of Musical Theatre Vocal Studies, teaching Integration of Acting and Singing

Mary Hammond spent 25 years as a singer with an almost unique range of styles, from opera at Covent Garden to stadium gigs with groups including Black Sabbath, Pink Floyd and Roxy Music.

Her lifelong interest in the research and practice of voice science and its relevance to vocal technique, and her understanding of constantly shifting musical needs, have led to a career as a vocal consultant on 30 West End shows including Cabaret, Chicago, Thriller, London Road, La Cage aux Folles, Billy Elliot and The Phantom of the Opera, and work with Coldplay, Klaxons, Arcade Fire, Florence and the Machine, Eliza Doolittle, Kimberley Walsh and many other up and coming new bands.

She is a vocal trouble-shooter and singing consultant to television companies and record producers.

Anne-Marie Speed BA, ADVS, MA (Voice Studies), CSSD Voice, singing and acting coach

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.

George Hall Hon ARAMDirector, teaching acting, 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

CoreStaff

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Björn Dobbelaere MMusHead of Department, Musical Director, teaching sight reading(pictured above)

Björn has a wealth of experience from over 15 years’ work as an international musical director and music supervisor.

He started his conducting career in Germany and Belgium, and went on to conduct the West End and international productions of Les Miserables, Fiddler on the Roof, Miss Saigon, Chess, Cats, Guys and Dolls, The Phantom of the Opera, Mary Poppins, Sweeney Todd, Soldier of Orange, etc. He has also conducted, supervised and arranged numerous operettas for the Flemish Music Theatre Company in Belgium.

Björn has regularly conducted musicals at the Gothenburg Opera, where he was commissioned to create a cross-over project with the orchestra, chorus and ballet company of the Opera. He has been involved in several educational projects and concert series in the Middle East and Asia.

Louise Shephard MA, Hon BC, ARAM, LRAM, PGDip Programme Leader, Director

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. 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.

‘The world-class teaching is highly rated by the students, as well as everyone else.’Push Independent University Guide

‘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)

Stephen Hill FLCM, ARCM, Hon ARAM Choral Director

Stephen studied at the Royal College ofMusic and has worked extensively asa singer on stage, radio and television;West End credits include Sweeney Todd and Follies at Drury Lane. For many years he directed his vocalgroup The Stephen Hill Singers, whomade frequent recordings for films, radio and TV. He was Vocal Director for CATS in the West End; and the BBC Radio 2 series of Musicals. He is much in demand as a vocal coach, director and arranger. He was Choral Director of the Elton John/RAM Concerts in the UK, Radio City NY, the ‘Concert for Diana’ at Wembley and conducted the Elton John Gala at the Royal Albert Hall, and a special performance for HM The Queen. He was awarded Honorary Associateof the Academy in 2005.

Andrew Friesner GMus RNCM (Hons), Hon ARAM Teaching Musicality and Improvisation

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

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‘The Academy doesn’t feel like aninstitution at all, but a home awayfrom home. I feel totally blessed tohave been able to work with so manyincredible, talented students andtutors... the best year of my life!’Florence Andrews (Wicked)

‘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)

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.

Dylan Brown BA (Hons)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.

Lolly Susi BADirector

Lolly has often appeared in the West End and in theatres across Great Britain. Film and television credits include Dirty Rotten Scoundrels, Proof, The Jacket, Jack and the Beanstalk – The Real Story, Agony Again, Over Here, In Suspicious Circumstances.

Directing credits include Sheffield Crucible, Newcastle Playhouse, Royal National, Edinburgh Festival, Jermyn Street, White Bear, Women’s Ensemble (NYC), Manoa Valley Theatre (Hawaii) and drama schools RADA, Royal Central School of Speech and Drama, Mountview Academy.

A published writer (The Central Book and An Untidy Career), her first play (Gone to L.A.) was produced at the Hampstead Theatre.

‘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.’

Richard Brindley(Howard Goodall’s ‘The Dreaming’ at the Union Theatre)

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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)

Jessica Williams BA (Hons)Devising and Movement for Actors

On graduating from London Contemporary Dance School, Jess joined Transitions Dance Company at the Laban centre. She began working nationally and internationally for Theatre Company ‘Frantic Assembly’ in 2012, most recently co-directing the National Youth Theatre of Wales show ‘Dead, Born, Grow’. She has also worked as assistant movement director for the National Theatre of Wales, as movement director for Sherman Cymru and also new writing company ‘Dirty Protest’ at the Royal Court and Almeida theatres.

Jess has performed with ThickSkin in London and has danced for Katie Green, National Theatre Wales, Nigel Charnock, Jo Fong, Welsh Independent Dance, Impact Dance, Ffin Dance and Secret Cinema. Jess regularly teaches and choreographs in London for ‘Step into Dance’ and the Royal Academy of Dance. She also teaches movement at the Oxford School of Drama.

Karl Stevens DTLLSDance

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.

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Graduates are working now in the West End in The Book of Mormon, Charlie and the Chocolate Factory, The Commitments, From Here to Eternity, Les Misérables, Once, The Phantom of the Opera and Wicked. Recent appearances include Billy Elliot, Chicago, Hair, 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, Umbrellas of Cherbourg, Viva Forever, War Horse, We Will Rock You and The Wizard of Oz.

Recent UK tours and international productions include Annie, Avenue Q, Blood Brothers, The Buddy Holly Story, Candide, Chess, Dirty Dancing, Dream- boats and Petticoats, The Glass Slipper, Godspell, The Go-Between, Hamlet: The Musical, 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, Rhinestone Mondays, The Rocky Horror Show, Scrooge, Sister Act, The Sound of Music, South Pacific, Starlight Express, Swallows and Amazons, Top Hat, The 12 Tenors, Tommy (English Theatre, Frankfurt), The War of the Worlds, concerts and operas.

Recent TV/film credits include 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, Popstar to Opera Star and Stella.

Musical Director graduates have worked on numerous West End, national and international productions: see www.ram.ac.uk/mth for details.

‘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’)

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How to Find us

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Royal Academy of Music, Marylebone Road, London NW1 5HTTelephone 020 7873 7483Email mth@ram.ac.uk

Royal Academy of Music Marylebone Road, London NW1 5HT

Patron: HM The Queen President: HRH The Duchess of Gloucester GCVOPrincipal: Professor Jonathan Freeman-Attwood

A college of the University of London, Registered Charity no.310007

www.ram.ac.uk/mth