ba musical theatre & acting pre course info

7/17/2019 BA Musical Theatre & Acting Pre Course Info

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BA [HONS] MUSICAL THEATRE

BA [HONS] ACTING

2015 - 2016

Graduate Production 2014 Just So by George Stiles and Anthony DreweWatermans Theatre

Pre-Course Handbook

London College of Music

University of West London August 2!"


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WELCOME!Welcome to University of West London as a member of this unique course,which is well placed at the heart of London College of Music at EalingBroadway We are delighted to have been able to accept you as a studenton this course and loo! forward to wor!ing with you over the ne"t threeyears to support you in developing the potential, which you demonstratedat audition #ur twin aims are to do our best to enable you to obtain adegree and to help you to position yourself e$ectively at the end of yourtime with us to enter the performing arts industry as a s!illed andcon%dent professional

We are here because we are people who are e"cited about theperformance arts and the stage and fascinated by its processes, its historyand the ideas and practices lin!ed with it &ou are here because you havefelt this e"citement as well &ou need to ta!e advantage of the manyopportunities, which the course will o$er you, focusing always on ma!ingyourself more aware and s!illed as an actor'singer (he course is part ofthe suite of performance'based courses o$ered by the London College ofMusic )LCM*, which is one of the +schools at UWL (he LCM has a long anddistinguished history )over -.. years* of turning out top'class professionalperformers /n recent years it has diversi%ed to o$er courses in musicaltheatre, musical direction, new writing, theatre design and technology andacting (his means that you are the inheritor of a long and proud academicand professional tradition in a unique performance'based institution

(his course teaches all three related disciplines )movement0acting0vocal*in a positive learning environment and is contributory to the creation ofwhat could be referred to as the +total performer /t is understood that+instinct and +accident can be ma1or forces in this %eld but this degree isabout +technique and +discipline, both in the practical and intellectualaspects of performance /t is agreed that in this %eld it is through +doingthat !nowledge and intellectual s!ills are to be identi%ed and developed

/n recognition of current trends within all aspects of performance media,

the course see!s to develop you as a re2ective practitioner with the abilityto devise and reform original wor! We believe it is essential to developthese s!ills in order to prepare for employment in the 3-stcentury

4esources include a new state'of'the'art performance space, rehearsalstudios, recording studios, video production suites plus use of e"ternalvenues such as, Ealing (own 5all, 6uestors (heatre, 7oho (heatre, 8ctorsCentre, Watermans (heatre, Charing Cross (heatre and Leicester 7quare(heatre

David S K Henson

Revised: August 2015


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Page 1

Musical (heatre studied from an acting perspectiveUniversity quali%cation whilst o$ering a distinctive vocational

2avour

See!s to develop the self'thin!ing practitionerInstinct and accident are ma1or forces in performance

' wechallenge these in practical and intellectual

circumstances

Course is unique by being based within a MusicalConservatoire

Acting is at the heart of all the wor! underta!enLearn through a variety of assessment strategies

The Code of 9ractice is an invaluable tool for the development of the+wor!ing performer

Heart of the course gives respect to movement, theatre andmusic

Equipped purpose'built performance studios and lecturetheatres

Actions de%nitely spea! louder than wordsTechnique and discipline at the heart of these studies in

order to provide

students with a good understanding of the nature of the+business


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Recording studios and +Blast: university radio station plusadditional relevant

facilities

Employment opportunities are varied

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!"! #$%ntrodution to Acting

%ntroduction to "oice %ntroduction to &o'ement

General &usicianhi(Per)ormance Pro*ect

!"! 4$de'elo(ment o) the actor+

singer, Tec#ni$ues in%ove%ent& acting& s'oken

and sung voice

Additional studies indance and stage

co%bat 'lus (ndividualsinging tutorials and

t#eatre 'ractice

!"! -$ creativityencouraged by %ore

so'#isticated tec#nicalco%'etecies in actor%ove%ent& acting&

s'oken and sung voice

%usicians#i'& %usicalt#eatre conte)ts and

detailed analysis as to#o* a %usical is

structured

Advanced studies indance and 'rofessional$ualifications in stage

co%bat 'lus'erfor%ance *orks#o's

fro% t#e industry

(ndividual singingtuition& re#earsal

'rocess to #el' definet#e te)t+song lyric -

scene studies

inter'retation of t#ete)t+song lyric t#roug#t#e use of sung voice&body& acting and life

e)'erience

!"! .$ actor-singerengages in an in-de't#

study of %usical t#eatre%aterial, e*

inter'retative c#oices tobe realised by t#e

'erfor%er

actor-singer usesi%agination and

researc# to fill-in t#e%issing details and t#e

reason *#y t#ete)t+song lyric e)ists

'erfor%ance beco%ess#a'ed by e)ternal

factors - tutors&individual singing

tut'rial su''ort& e)ternaldirectors&

c#oreogra'#ers and'eers

%arketing 'rocedures&ta)& dealing *it# agents

and ./#o*case.%aterial to su''ort t#e

'rofessional actor-

singer.s tool bo)

success of 'ublic'roduction+'erfor%ancerecognised in audience

reaction and 're-deter%ined artistic goals

BA (H"# M$"%&a' Tea)*e a+ A&)%gPa),a

Page .


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/ANCE STU/IES AN/ STAGE COMBAT

TETUAL STU/IES 1 MU 011 E

ACTING THROUGH SONG 1 MU 0061 E

3OICE STU/IES 1 MU 015 E

MO3EMENT STU/IES 1 MU 0162 E

ACTING 1 - 4IRST SEMESTERMU 016. E

ACTING 2 - SECON/SEMESTER MU 016

E

I*a)% a7$) $* 8*") ea* ")$+

a) LCM999

LE3EL 4OUR

Both Musical (heatre and 8cting share the %rst year curriculum as this level ofstudy is focused on the individual (here will be no attempt to integrate theses!ills until Level ; /t is essential to investigate slowly and thoroughly equipstudents with a range of personal !nowledge, understanding and relevantperformance s!ills in relation to Wee! 3?

Acting 1 - Improvisation > @ Wee! -=Voice Studies 1 > > Wee! 3?


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Musical Theatre for Actors 1 > > Wee! 3?Textual Studies 1 - Theatre > > Wee! 3AActing 2 Self to Character @ > Wee! 3

Page

RESI/ENT 4ACULT: AN/ STA44

7ara 4aybould ' irector of the London College of MusicEmailD sararayboulduwlacu!

avid 5enson ' 5ead of 7tudiesD 9erformance, Composition and9erforming 8rtsEmailD davidhensonuwlacu!

Marcia Carr F )8cting* Course Leader for B8 Musical (heatreEmailD marciacarruwlacu!

r Gic! 9hillips F Course Leader for B8 8ctingEmailD nic!phillipsuwlacu!

Emma Evans F Course Leader for B8 Musical (heatre with HoundationEmailD emmaevansuwlacu!

Iohn avey F Course Leader for B8 (heatre 9roductionEmailD 1ohndaveyuwlacu!

IMPORTANT CONTACTS

A+%""% T$)* * Pe**%g A*)" Emma EvansEmailD emmaevansuwlacu!

A+% O;&e* * Pe**%g A*)" Lee 7par!sEmailD leespar!suwlacu!

Hea+ A+%""%" ean Leow

EmailD deanleowuwlacu!

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LCM web pagesD

))>,,,9$,'9a&9$?>a&a+e%&-"&'">$"%&

Page 5

LCM Live )upcoming events*D

))>,,,9$,'9a&9$?>a&a+e%&-"&'">$"%&>'+-&''ege-$"%&-'%e

LCM on (witterD

)),,,9$,'9a&9$?>a&a+e%&-"&'">$"%&>'&-a'$%

7tudent 5andboo!D

))>,,,9$,'9a&9$?>")$+e)">&$**e)D")$+e)">S)$+e)Da+7?9",,,9$,'9a&9$?>")$+e)">"$


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ESSENTIAL MATERIALEach student MUSTpurchase the following items of equipmentbefore starting the courseD

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4EMALE= Hour plain natural %bre cap sleeved t'shirts, three blac!, one

coloured F 'g" Blac! 0 white blouse

Gatural %bre cropped trousers )2oor length is unsuitable* for

movement - leotard

- pair leggings

- practice s!irt F blac!

Blac!0tan dance tights

9ashmina

Blac! soc!s

- pair blac! 1aJJ shoes or - pair of Gew &or!ers )3;K heel*

(rainers with non'mar!ing soles for combat

&oga mat

- pair of warm soc!s )with non'slip bottoms if possible* Blac! smart dress, below the !nee

9lain blac! hoodie

(owel

Baby wipes

8ppropriate supportive underwear

9oc!et 7iJed ictionary

7election of pens and pencils, eraser, sellotape and tippe"

7election of writing pads, folders and note boo!s

Memory stic!0personal data storage device

Loose clothes 0 shoes for any aspect of production wor!

MALE= Hour plain natural %bre cap sleeved t'shirts, three blac!, one

coloured F 'g" Blac! 0 white shirt

Gatural Hibre cropped trousers )2oor length is unsuitable* formovement

3 blac! vests

- pair leggings

- blac! suit or blac! smart 1ac!et and blac! dress trousers

- plain smart waistcoat Blac! soc!s


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- pair blac! 1aJJ shoes and lace up ballroom shoes

(rainers with non'mar!ing soles for combat

&oga mat

- pair of warm soc!s )with non'slip bottoms if possible* 9lain blac! hoodie

(owel

Baby wipes

ance support01oc! strap

9oc!et 7iJed ictionary

7election of pens and pencils, eraser, sellotape and tippe"

7election of writing pads, folders and note boo!s

Memory stic!0personal data storage devic

Loose clothes 0 shoes for any aspect of production wor!Page F


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Page

A/3ANCE/ THEATRE PRO/UCTIONS 201>2015


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SPELLING BEE 7 WILLIAM 4INN


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SPRING AWAENING 7 /UNCAN SHEI STE3EN SATER )above*

SATUR/A: NIGHT 7 STEPHEN SON/HEIM

Page

RE3IEWS O4 GRA/UATE PRO/UCTIONS 201>15


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Just Sowas performed by London College of Musicthird'year students at Watermans (heatre, Brentford,London

(his early 7tiles and rewe musical, a contemporaryta!e on 4udyard iplings much'lovedJust Sostories,brought the best out of a particularly li!eable bunch ofstudents from the musical theatre arm of theUniversity of West London, 1ust as the same yearsAlfe the Musical, with an entirely di$erent cast, didthe previous wee! in Ealing

Hirst written in -= and much revised since,Just Sohas been a long'standingsuccess on both sides of the pond for the team that has gone on to give us BettyBlue yesand Soho !inde"s

/t follows the 1ourney of the Elephants Child )evin Hagan, ma!ing the most of hisbest 8ct // solo +oes the Moment Ever ComeN* and his fear'of'2ying companion,the olo!olo Bird )the dainty Oeorgina Louise Iac!son, with a deep, clear voice andterri%c poise*

(hey are guided and watched over by the Eldest Magician )Mi!ey Wooster,con%dent from the outset*, who acts as narrator 5e ta!es them through manyadventures with some weird and wonderful creatures, a quest that ta!es them tothe ban!s of the great, grey'green Limpopo 4iver and a dangerousencounter with Iac! Hurssedon'Coates as a greedy Crocodile

8lthough intended for children, the humanism and moral reasoning of the yarns

give them universal appeal in this charming, gently humorous piece directed withpace and style by Iudith 9aris

7he certainly got everything out of her cast in which, apart from those alreadymentioned, Iustyn 5untley, as an e"travagantly e$eminate Leopard, and GaomiEllen, bang on with the accent as the 9arsee Coo!, particularly impressed

Gobody was less than good and some were very good indeed, as were theAlfecast (here seems to be greater strength'in'depth among this years crop ofstudents

Benny Bright made a fair'din!um angaroo, Callum 4hys OriPths a very Welshmalfunctioning Coo!ing 7tove, a sort of 8ga hant )sorry about that one*, Qa!5amdia a forceful East End 4hino and bouncy Ceirios 8nn avies Qebra made adelightful double act with the taller Megan &ates Oira$e

Costumes )Mi!e Leopold* and choreography )Marcia Carr* were top'notch and theband of three under M 4ichard Lin! gave strong bac!'up in a show that hadthree or four spendid songs

+oes the Moment Ever ComeN has already been praisedR +(he 9arsee Ca!e Ca!e'Wal! was a hoot and e"tremely well performed by the companyR the witty andinnuendo'laden +We Want to (a!e the Ladies #ut, from Iaguar and the Leopard,made stylish use of the stageR while the olo!olo Birds +Wait a Bit got the full

wor!s from the delicious Miss Iac!son /n a cast of 33 singing, dancing and actingtheir hearts out, its impossible to mention everyone, but if there is one


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particularly to watch out for, she would be my best tip for the topJe"e#y !ha$#an

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Satu"day %ightwas performed by London College of Music

students at the Watermans, Brentford, London

7tar ratingD ")a*"S S S S

Got a year goes by without the London College of Music, the

musical theatre arm of the University of West London, giving

us a 7ondheim, and here they really had to stretch

themselves to ma!e the rarely'seen Satu"day %ightseemvibrant and relevant A- years after it was written

(he great mans %rst musical, written before he found fame and fortune as the lyricist

for &est Side Sto"y, is a rewor!ing of Iulius I and 9hilip O Epsteins play and boo! '"ont

(o"ch in 'lat)ush about Gew &or! life as lived by a bunch of 7toc! E"change runners

from Broo!lyn

Hran!ly, it is a long way from being the masterpiece that S*eeney +odd, 'olliesandA

,ittle %ight Musicbecame but it does feature a raft of clever material that forewarned

of 7tephen 7ondheims e"ceptional gifts, both as lyricist and composer

Whats not to en1oy about +7o Many 9eople, +What More o / GeedN, +8 Moment With &ou,

+#ne Wonderful ay and the title song, three of which featured in the -. revue Ma""yMe a ,ittlelong before being seen in their original conte"t because Satu"daylay

unperformed for =3 years

Satu"day %ighthas had an amaJing history (he main bac!er died before its intended #$'

Broadway launch in -;; and it remained unloved and unwanted until -? when the

Bridewell (heatre in Hleet 7treet, prodded by the 7ondheim 7ociety, gave the show its %rst

professional airing Broadway had to wait even longer, until 3...

7panning three consecutive 7aturdays in -3, the plot follows Wall 7treet dreamer Oene

Oorman and his fellow Hlatbush bachelors as they bid to breach the class divide between

Broo!lyn and Manhattan society, with women and money'ma!ing schemes topping their

list

8s one song declaresD T8live and alone on a 7aturday night is deadK, a theme 7ondheim

further e"plored in!o#$any, but it loo!s as if poseur Oene has struc! luc!y when

he meets the seemingly wealthy 5elen, apparently from rich 7outhern stoc! )but a

Broo!lyn belle through and through*, at the posh 9laJa

(hey get on li!e a house on %re, but in trying to convince her that hes the real deal, he

spends all his money, and some that isnt his, on renting a classy apartment for the two of

them


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But he cant pay the bills and foolishly sells his pals car to !eep creditors at bay Because

his pal is also a Eugene Oorman )how li!ely is thatN*, hes the one who gets into

trouble until Oene comes clean and it all ends happily ever after

/ts all rather dated, more than a bit clun!y, and nowhere near as funny as it should be for a

musical comedy, but the energy and enthusiasm of LCMs talented cast wins the day

(heres one hilarious moment when Laura Iane Baron brilliantly impersonates a record

stuc! in a groove and the second half is a lot tighter than an overlong 8ct / which ta!es

time to get going

(wo casts were used for the si"'performance run to give as many as possible the chance to

shine Mi!ey Wooster was an instantly li!eable 1uvenile lead in both teams with 7ophie

(owns and 5annah Bailey playing opposite him in sharing the show'stealing 5elen Hogelrole Page 11

Baileys fa!e 7outhern belle accent was spot'on and her pleasing voice and warm stage

presence made her solos +/snt /tN and +8ll Hor &ou highly en1oyable Equally praiseworthy

were her duets with Wooster on +7o Many 9eople and +8 Moment With &ou which vied with

+E"hibit 8 F a comic list song delivered with terri%c 2air and aplomb by Iustyn 5untleys

livewire Bobby F as the 8ct / highs

ieran Lawson as 5an!, the married one in the Hlatbush crowd, put his impressive baritone

to e"cellent use in +/ 4emember (hat, while Emily 8rn%elds colourful, scatty Mildred !ept

catching the eye

While its well'nigh impossible to mention everyone in a large cast of -?, nobody

let director Oraham 5ubbard down and (homas Michael


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