WEK performances to date include:  The O2 Arena, London 2012 One Year To Go Ceremony, Westminster Palace, West End Live, Royal Albert Hall, MOVE IT, The Savoy Hotel, St Pancras Int’l, Magic of Musicals, Starlight Wishing Party, Guildford Cathedral and Earls Court.

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I decided to audition for West End Kids two years ago after seeing their website on the Internet. I had a keen interest in singing and dancing but felt that I wasn’t being challenged enough at my local stage schools. An upcoming performance at the The O2 Arena also caught my eye!

Joe in That's How You Jazz

I was aware of the impressive venues that the company had previously performed at, so naturally I expected the standard of the audition to be high.  However I was still quite surprised at how tough the audition was, particularly the dance aspect. I had never had any formal dance training and was quite shocked at how quickly we were expected to pick up the routine!

I was absolutely thrilled when I was offered a place in the company and very excited for my first rehearsal. I was thrown straight in at the deep end in rehearsal for the upcoming performance at The O2 Arena. I was amazed at how professional and intense rehearsals were. We learn so much in just one rehearsal and at first I struggled to keep up! We have to put in a lot of work in our own time to practise harmonies and dances, but the hard work really does pay off, as I found upon taking to the stage at The O2!

Since then, words cannot describe how much I feel like I’ve improved as a performer through being with WEK. My confidence in both singing and dancing has improved in leaps and bounds; I find harmonies and routines much easier to pick up now and have developed technique in my singing. This would not have been possible without the creative team at WEK; both Martin Williams, WEK’s founder and artistic/musical director and Emma, WEK’s company director and choreographer are brilliant to work with. They put so much into the company and WEK wouldn’t be where it is today without their hard work, commitment and dedication.

One of the special things about WEK is that everyone in the company is so close. Everyone is so friendly and supportive, and not to mention extremely talented and dedicated to WEK! It is like we are a little family!

I’ve experienced so many amazing performances with WEK at some breath-taking venues such as the Royal Albert Hall, The O2 Arena and West End Live; but my favourite performances to date would have to be the London 2012 ‘One Year to Go’ Ceremony in Trafalgar Square and the Banquet at Westminster Palace. They are certainly experiences that I will never forget!

If you want to find out more visit www.westendkids.co.uk or check out WEK’s YouTube page which includes many clips of recent performances. WEK’s Facebook page also has lot of news and info about what the company is up to.

I’ve gained so much from my time at WEK and I couldn’t recommend it strongly enough for any young performer out there to have a go and audition!

My cue. I round the Harvard pillars and I am faced with the deafening roar of the audience and the beaming faces of my dear collegues. So much for trying to stay cool. I weep uncontrollably all the way through the bows.”

My last night with little Miss Woods, Elle and the beautiful cast of Legally Blonde in Sweden.

This is my first big lead in a musical. I have stepped into many people’s big shoes as an understudy but my first time being solely responsible for a big part. It’s definitely been a dream come true for me.

However, a lot of hard work lies behind most leading performers careers. With a little bit of luck on the side to be the right person for the right part at the right time!

College and training came first. I can’t recommend it enough. That’s where you get into a routine with your singing, acting and dancing and have the chance to fail spectacularly within the safety of the college-walls. You also get the chance to meet people from the industry and create a network of helpful contacts for later.

By Michael Bolin

I went to Mountview Academy of Theatre Arts. I did a one year post-graduate course. I had a blast! And quite a few blisters..

I was lucky to get an agent from my showcase at college. They subsequently put me up for what was going to be my first job, Mamma Mia in the West End! I was absolutely over the moon! I remember howling down the phone to my agent when she told me. I was ensemble and covered one of the girls. I think I learned just as much that year working as I did in college. Eight shows a week is tough. You have to learn how to build up stamina and preserve your voice.

I also used that year to keep up training on the side. I had weekly singing-lessons and went to Pineapple a few times a week. I still do now whenever I have the time and money to do so.  I think it’s important to always try and improve. You’re never a “finished product”. Keep working hard, keep being curious and keep going to see other things.

You always learn from watching other performers.

From then on my career has certainly been varied. I’ve played massive arenas all over the world on the first World Tour of Mamma Mia. Tiny pub-theatre spaces with three people in the audience, fringe, UK tours, adverts, cartoon voice-overs, more West End and Wembley Stadium. I’ve been British, Swedish, an animal, Russian, naked, South African, Southern, Northern and insane. But everything has been useful and has taught me more about this bonkers business. I have also met countless wonderful people and made friends for life.

Let’s also take a moment and consider all the jobs I didn’t get!

That’s also a huge part of the business. Rejections and no’s. But you have to learn to deal with that. And remember that you are always part of a bigger plan, you have to “fit the puzzle”. The casting directors want you to do well and be right for the part but often there’s a simple thing like age, height or hair-colour in the way of you getting a recall.

Getting Legally Blonde was a dream scenario. I got an email from a director in Sweden asking about my availability the following year. He said they were thinking of candidates for Elle Woods and my name had been mentioned. I told him I was free and interested. When the time came for auditions, I was in the midst of technical rehearsals for The Three Musketeers at the Rose Theatre in Kingston, and couldn’t make it.

By Michael Bolin

Luckily I had just auditioned for Legally Blonde in town and had been put on tape. That tape then found it’s way to Sweden and two days later I had an email saying they’d be delighted for me to be their Elle Woods..if I wanted to? I didn’t have to think about it for very long.

Sometimes you can audition 8 times and still not get the job, and sometimes you don’t even have to audition!

I’ve had an amazing time with this show. It’s a very demanding part with a lot of singing, high-energy and alertness all the way through.

I’ve learned a great big heap of things. How to preserve my voice, my energy, do mega-quick costume changes and being up-staged by a dog;)

I don’t think I could have done this ten years ago. I think everything that I’ve done in my career so far has shaped me into becoming a better, nicer and more highly skilled performer. I am more humble towards my profession now than I ever was and I appreciate how hard it is. I’ll remember this whenever I see a show from now on. The leading ladies and men are working their little socks off.

And remember to see people. Everyone around you who do their up-most to make you look good. Dressers, lighting crew, sound crew, stage crew, assistants, front of house staff, stage door etc etc. Everyone has a purpose and place. And nobody likes to work with a snooty or rude actress;)

But I think I’ve also learned to have more fun. Enjoy those precious moments in the lights and think about how lucky you are. In the back of the chorus, or centre stage.

We get to have so much fun at work! There’s no business like it. Don’t give up and keep chasing those dreams.

Bring on the future!

Visit www.kaisahammarlund.com for all Kaisa’a latest news!

If you are interested in guest writing for Stage Door Mag, email advertise@stagedoormag.co.uk

West End Kids is looking for outstanding male and female singer/dancers from the South of England to join its high profile song and dance troupe. Auditions are being held in Central London on Saturday, 7th January, 2012.

West End Kids is a centre of excellence for young performers who demonstrate exceptional ability for their age in the field of musical theatre. The company exists to develop this special talent in a challenging and professional environment, whilst providing practical performance experience.

West End Kids at Royal Albert Hall

In the past six months alone West End Kids has performed for tens of thousands of people at major events and venues, including: the London 2012 One Year To Go Ceremony, Westminster

Palace, the Royal Albert Hall, The Savoy Hotel, West End Live in Trafalgar Square, MOVE IT at Olympia, Canada Square Gardens, Earls Court and the Honourable Artillery Company.

Watch WEK at the London 2012 One Year To Go Ceremony

With many events already confirmed for 2012, including performances at Wembley Arena, Mansion House, The Scoop, MOVE IT, G LIVE and many more, there has never been a more exciting time to audition for West End Kids.

For further information about West End Kids and to register for the January 2012 auditions go to www.westendkids.co.uk.

Breakthrough Fringe act, Modus Operandi, present their second project at the Edinburgh Fringe Festival this season; a witty new musical conquering the trials and tribulations of a common pastime – fighting to find your dream job. The highly acclaimed company previously appeared at the Fringe in 2006, premiering the widely successful ‘an Asylum on Every Corner’, which went on to open the inaugural Bucharest Theatre Festival. Labelled “charming and whole hearted” by Time Out magazine, the comedic theatre company are certainly not ones to be missed this season.

‘Apply Within’ amplifies the very essence of a traditional working life – the company remain totally devoted as their adverts request ‘audience members for new comedy-musical about job hunting’. They go on to describe ‘the successful candidates will follow our hero Joe, hurled by unexpected redundancy into a world of CVs and applications, waiting rooms and interviews, rejections and  humiliations, near-triumphs and tempting offers, all in his quest for his dream job and – maybe – the love of his life?’

‘Your job will involve enjoying daft skits, a dash of romance, and ten new songs including “Economical with the Facts”, “Chill Out or be Jobless for Life” and “Deal of a Lifetime”.

Highly reputable Fringe reviewers, Broadway Baby, playfully claim that their ‘application (was) successful’ upon seeing the show. They furthermore claim that the lead, Johnjo Flynn ‘was a real winner’ claiming ‘it gave me goose bumps’. They conclude that ‘there is a real sense of character commitment and engagement from the cast’ – a show that clearly shouldn’t be missed.

The new British musical features at the Edinburgh Fringe from the 3^rd – 29^th August, 1:30-2:30pm at the Pleasance Courtyard.  For more information contact the Pleasance Box Office on 0131 556 6557, or you can book tickets online via www.edfringe.com

Information

• Aspiring writers of any age and ability are asked to write a one-act play in English (20-40 minutes in duration) for young people, either for performers 11 years and under or for an audience of 12-16 year olds
• Winners in each category will receive £1,000 and will have their play published
• Prizes will be presented at an inaugural performance of the winning plays at a theatre in central London.
• Travel and accommodation expenses will be covered for winners who are attending.
• Runners-up receive a prize of £500
• Entry fee £10 (£20 if you want feedback from the judging panel)
• Closing date 1^st September 2011

• For an entry form and more information about the judges and the competition please see: http://www.trinitycollege.co.uk/playwriting

The competition is being held by Trinity College to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

The Judges

The plays will be judged by an international panel of playwrights and directors including:

John Gardyne (chairman): Chief Examiner in Drama and Speech subjects for Trinity College London. John Gardyne is also an award winning playwright and former director.

Anna Home: former head of the Children’s Department at the BBC and currently Chief Executive of the Children’s Film and TV Foundation.

David Wood: British playwright who has written over 50 plays for children and won a number of awards for his screenplays.

Cate Fowler: founding director of Windmill Performing Arts, Australia’s flagship theatre company for children and family audiences.

Anupama Chandrasekhar: the Chennai based journalist turned playwright author of ‘Outgoing’ and ‘Disconnect’ both of which premiered at London’s Royal Court Theatre. She is currently working on a new adaptation of the Snow Queen for the Unicorn Theatre.

Paul Wai Sum Pum: playwright and creative writing teacher from Hong Kong.

Last year’s winners came from England and South Africa with runners-up from Hong Kong, India and Australia.

Commenting on the competition Anupama Chandraskhar said: “Children’s theatre is a unique art form, exhilarating and challenging in its own right, but often treated as an ugly sister to its adult counterpart. Trinity Guildhall International Playwriting Competition must be lauded for celebrating this important genre and for giving it and its practitioners the status and spotlight they deserve.” She said that she was looking in the plays submitted to the competition for ‘inventiveness, freshness of perspective, vigour and an engaging story’.

Paul Wai-Sum Poon said: “This is a timely and invaluable platform for playwrights aspiring for cultural dialogue with young people over the world. I look forward to seeing works which are inspiring, engaging, and can make me feel young again.”

Bridging the Gap

What’s normal? That’s the sort of question a lot of young teenagers ask themselves as they begin to explore the wider world around them and it was the theme of the winning play in Trinity College London’s inaugural playwriting competition in 2010.

“The plays relevance to young teenagers is one of the reasons it won the competition” said John Gardyne, Chief Examiner in Drama and Speech at Trinity College London  “And the fact that it was an amusing and engaging script: a serious theme dealt with in a light hearted way.”

The success of the play, which has now been published by Trinity College London, and the ongoing dearth of good plays for schoolchildren have persuaded Trinity College London to make the playwriting competition an annual event.

“This year we are not just asking writers to write for young audiences but also to write plays for younger children to perform.”

The competition is being held by Trinity to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

“There is a frustrating lack of new material for schools and young drama groups and as a consequence we constantly get calls from schools asking for advice on contemporary material,” said John Gardyne. “Up until now I have had very little to offer them outside of the traditional children’s plays that they have been performing for the past ten or twenty years. Lots of great new books for children have been written addressing contemporary issues, inspiring their imagination and encouraging them to read…but there are not enough great new plays.  New plays for young actors have been particularly thin on the ground. We are hoping to change that.”

Best known as a member of the chart-topping pop group S Club 7, Jon has more recently forged a successful theatre career, playing Marius in the West End production of Les Misérables, and the Landor Theatre’s acclaimed production of Tomorrow Morning, in which he starred alongside Julie. He is currently appearing in Jersey Boys at the Prince Edward Theatre, as the alternate Frankie Valli.

Related Article: Julie Atherton to perform her biggest solo concert yet

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

The Show

Julie and her guests will be accompanied by a live ten-piece band and on-stage choir. Emmy Award winning composer Lance Horne will also make a guest appearance to accompany Julie for two of his songs. And as if that wasn’t enough Brit composer Michael Bruce will helm a performance of Portrait of a Princess – the song he wrote to showcase Julie’s natural comic ability.

Fans of Atherton’s stage performances need not fear either, the concert will feature songs from Avenue Q, The Last 5 Years and Ordinary Days. And be prepared for some totally unexpected numbers to receive the unique Atherton treatment.

A Young & Prolific Star

Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is one of the most prolific and successful young musical theatre stars in the West End, having previously played Sophie in smash hit Mamma Mia! and Serena in Fame. She is also an experienced concert artist, having headlined numerous musical engagements at venues as diverse as the Donmar Warehouse and the Royal Albert Hall.

Julie launched her second solo album, No Space for Air, at the Delfont Room at the Prince of Wales Theatre in June 2010, following which she made her North West solo debut at Manchester’s infamous Band on the Wall. Prior to her performance at the Apollo on June 26^th she will be performing two exclusive acoustic sessions of her album at The Pheasantry on the Kings Road in Chelsea.

Star Studded Support

Daniel Boys is an award-winning performer whose career encompasses TV, West End musicals, national tours, and numerous concerts and recordings. His appearance on the hugely successful BBC TV talent show Any Dream Will Do in 2007 firmly established him as one of the UK’s brightest emerging musical talents. He is currently performing in Australia at the Adelaide Cabaret Festival before returning to the UK for Atherton’s one night extravaganza.

Richard Fleeshman first came to public attention in the cast of Coronation Street at the age of 12. In 2006, he won ITV’s Soapstar Superstar, raising his profile as a singer. He has since played the lead role of Warner in Legally Blonde in the West End and appeared in the BBC series All The Small Things. He will soon return to the West End in the highly anticipated world première production of Ghost the Musical, which has just completed a successful run in Manchester.

Julie Atherton: No Space for Air is produced by Neil Eckersley & Paul Spicer for Speckulation Entertainment.

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Based on the five elements of the Monkey, Fourth Monkey’s Year of the Monkey is a contemporary Rep Theatre Company and training programme with a difference.

Auditioning in June 2011, for a September start, this is a yearlong part-time training and performance programme that commences with a London season in October 2011 and concludes at the Edinburgh Fringe Festival in August 2012.

Casting Director Kerrie Mailey said, “Year of the Monkey is unique. It offers immediate performance experience on the professional stage, combined with immersive, thorough and liberating training. The Year of the Monkey is a fundamental year in any young actor’s career.”

Fourth Monkey is auditioning for 27 young actors to take part in two Rep Seasons of six plays in London and at the Edinburgh Fringe Festival whilst undergoing tailored part-time training in the following:

Bikram Yoga, Alexander Technique, Voice, Laban, Stage Combat, Singing, Movement, Short Film, Shakespeare, Clown, Drama School Audition Prep and more…

Whether a gap year between education establishments or as a year-long, extended learning and development course, the Year of the

Monkey provides the young actor with a unique and specially tailored training opportunity with a difference.

Fourth Monkey is currently accepting applications for this exciting and innovative new programme. For further information on the project and how to apply, young actors can visit the Fourth Monkey website…

www.fourthmonkey.co.uk

For further information on this release, please contact:

Steve Green
Artistic Director
Fourth Monkey Theatre Company
office@fourthmonkey.co.uk
07956891977

Keep checking back below for all our coverage…

Launch of Kane Ricca’s [Control.] Live at Pineapple Dance Studio’s

Hot Ride by The Trust

Judas by The Faith

Full Interview with Kane Ricca

Interview with Sophie Stuckey

Interview with Charlie Evans

Interview with Daniel Black

Modules at PQA include Comedy and Drama, Musical Theatre and Film & Television which teaches students about the different acting styles required for camera work.  Students at the Academies also learn how film and television productions are created, and get the chance to take part in frequent specialist Masterclasses, which include stage combat, clowning, junk percussion, street dance and even casualty make up.

Parents are able to monitor their child’s progress through PQA’s unique Creative Stages Awards scheme, which recognises their achievements and records their progress. Parents can also watch their children at performances throughout the year, which include a red carpet screening of student film premieres at local cinemas. In addition, a number of lucky Academies are selected each year to take part in the prestigious PQA West End season at a top London theatre. PQA students are also eligible to join Quirky Kidz, a creative management agency exclusively representing students who wish to be considered for professional jobs in theatre, television and film.

Principal of PQA Leicester, Karen Stevens has worked as a professional actress since graduating from Middlesex University, in 2002 with a degree in Theatre Studies and Technical Arts and has experience of performing both on the stage and in front of the camera, and has even tried her hand at stand up comedy!

Karren said to us ‘We are very excited to launch a new PQA in Wigston, particularly since South Leicestershire College is a brand new state of the art building which has its own purpose built TV studio which will come in very useful for our students! We hope that the new Academy will instill children in the area with a love of the performing arts and give them the opportunity to try something new’.

PQA hold classes every Saturday at South Leicestershire College from 10am – 1pm, PQA have a very warm and inviting atmosphere with a well trained teacher, the classes run for just £7.50 per student.

For more information check out  www.pqacademy.com or call 08456 732022.

Renowned for diversity and cutting edge training by industry professionals, Urdang graduates are constantly in for West End and dance leads. Based close to Sadler’s Wells in central London, the Urdang Academy is fast becoming  the UK’s first choice for training  in Dance and Musical Theatre.

Managing director of Urdang, Solange Urdang was highlighted in the report being described as “providing inspirational leadership”

Our writers spoke to Solange Urdang today who commented on the report saying  “At the Urdang Academy we are dedicated and committed to continuous improvement, always providing the highest possible standard of training.  We are delighted that this has been recognised with the findings of the recent Ofsted inspection.  The report represents a clear endorsement of Urdang’s ability to offer the very best learning experience and is a very fitting testament to the hard work put in by both staff and students alike on a daily basis.”

The Ofsted inspection report compliments the Urdang Academy in many specific ways, including: -

JULIE ATHERTON - “Musical theatre is in safe hands when promoted as brilliantly as this.” – Mark Shenton

Sat 4th & Sun 5th June

West End star Julie Atherton creates a completely unplugged re-working of her acclaimed album No Space for Air to celebrate the first anniversary of its release. Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is also the star of the international YouTube sensation, ‘Portrait of a Princess’.

HELENA BLACKMAN - “She gives a sparklingly assured performance.” – The Guardian

Sun 12th June

Best known as runner-up in the BBC’s  How Do You Solve a Problem Like Maria?,  Helena Blackman returns to the Pheasantry, following her sold out dates last year, to perform her debut album The Sound of Rodgers & Hammerstein in a stripped-back acoustic evening celebrating her association with this legendary musical theatre writing duo, including one or two surprises.

Check out our video interview with Helena Blackman.

MICHAEL BRUCE - “Faith in this exceptional talent was fully justified” – The Stage

Sun 19th June

Award-winning musical theatre composer  Michael Bruce brings his No.1 debut album  Unwritten Songs to the Pheasantry in an acoustic re-imagining of this celebrated collection of songs. Michael will be joined by a selection of the West End stars that appear on the album, along with some unexpected guests, with whom he will also showcase a number of previously unperformed songs.

The Pheasantry, 152 Kings Road, Chelsea, London SW3 4UT

Tickets cost £20  - call Box Office now on 0845 602 701

You can buy all the artists albums from Amazon, Itunes and dresscircle.co.uk

http://www.speckulationentertainment.com/

When launching Fourth Monkey I looked at our ‘product’, and although we have a keen eye for new and developing talent, looking to offer opportunities to performers and professionals at the outset of their careers our mission statement was a simple one; to deliver high calibre work for a contemporary audience that returns to the theatrical concepts of days gone by.

The theatre was once a place, not so long ago where writers, creatives and the arts world as a whole created work that challenged its audiences with a diet that tackled difficult social issues and evoked an audience to react, or at the very least think. Look no further than the angry young men of the british theatre scene of only fifty years ago, I refer to the Osborne’s, the Pinter’s and Beckett’s of this world. Writers and practitioners that challenged their audiences and made them think and often respond.

We live in a time where boldness in the arts has been replaced by an apparent reluctance to challenge and a certain apathy on the part of the audience. Does an audience not wish to be confronted with theatre that makes them discuss the work, as well as the issues referred to in it as opposed to simply the costumes on the way home? Should the work we are witnessing not relate to the challenging issues that surround our every day?

I strongly believe it does and I also believe profoundly, that if we are going to have an active and participatory theatre audience in the future we need to give them a different diet from that of the tired, superficial musical theatre one most young people are familiar with today. Yes theatre as entertainment has its place, but theatre and art are so much more than this. Aren’t they?

This is not a crusade and neither am I so bold as to suggest that we are the only company trying to truly engage an audience in the contemporary theatre world, we simply wish to play our part alongside the many talented companies delivering fresh and innovative work in the UK today, in defiance of the shameful arts cuts we are now facing.

By selecting and developing work that is uncompromising and challenging in its message and bold in its delivery we can offer the young theatre audience of today something different and something they appear to wish to be part of, something that they can relate to and share in and equally something financially they can afford to witness.

Our work has been described as visceral, passionate and overflowing with energy. Sadly, this is not a unique selling point of course, but it is our philosophy on how theatre should be.

Here’s to a future where we continue to flourish and theatre itself sees a renaissance, where the work and the message within reaches far beyond four walls in a darkened room and maybe, just maybe, plays a small part in allowing silent voices to be heard and perhaps even real change in our troubled society. This is something art can do, it’s just forgotten it has a responsibility and opportunity to do so.

Steven Green
Artistic Director
Fourth Monkey Theatre Company
www.fourthmonkey.co.uk
Currently rehearsing for a transfer of Anthony Burgess’ A Clockwork Orange 9-12 March at the Croydon Clocktower.

For tickets: http://www.croydonclocktower.org.uk/tempalp.aspx?ID=1211

Where many theatre companies are busily juggling vans, sets, costumes, bookings, get-ins, box-office problems and ice-cream sales before they even get to the cast and the rehearsal process, a few are looking increasingly at audio drama as a noble – and wonderful – alternative for people who want to experience theatrical magic.

It makes sense; far fewer material things to worry about means more time to spend crafting the story, and getting the right people to ensure that the delivery matches the quality of the story.

The company I got involved with a few years ago, Bunbury Banter, believe passionately in the power of audio drama to transport, to engage and to excite. They create relatively short plays – most with a quirky, dark, humorous or horrific theme – and follow every aspect of their creation through to final recording.

We have a rigorous quality-checking system in place when it comes to the writing of plays. A large in-house team of writers and readers are sent an ‘inspiration document’ based on a theme – Film Noir, or Alternative Histories for example. There then follows a collective writing and re-writing process, whittling and honing each piece like a master jeweller. The final few that are good enough to make the cut are then extensively workshopped with professional actors, and finally, when everyone’s happy with the scripts, they go into production. Professional sound recordists and composers add the final touches.

The nature of the medium gives writers, directors and actors incredible freedom to invent, to speculate and to push boundaries. No location is too far, too expensive or too impossible to recreate; the only limits are those of our imaginations – creators and listeners. The monster’s always scarier before you’ve actually seen it, isn’t it?

Technological advances have democratised our view of what entertainment is on offer – hard disk drives and catch-up services has given us the freedom to watch and listen to our favourite programmes when we want to, rather than when they are scheduled. The next challenge for the Bunbury Banter Theatre Company will be to make accessing these marvellous dramatic jewels easy, cost-effective and desirable. We are already working on a project to bring this kind of theatre into public places, as well as using digital radio outlets and downloading possibilities to get the plays to as many pairs of ears as we can.

From children listening to their bedtime stories, to people immobile in a hospital bed, we all love to listen, but we rarely give ourselves the luxury. Ghost stories round the campfire may be coming back…

It is always sad when highly successful London shows leave the West End and unfortunately this is the fate for both Sister Act and Avenue Q. Despite being hugely popular with audiences, both shows left Theatreland on 30 October. Two very different London shows, which capture the diversity of what is on offer, they will be greatly missed.  However, even though these shows didn’t stand the test of time – unlike London stalwarts Les Miserables, Blood Brother and Mousetrap – don’t fret as they can still be enjoyed for a bit longer yet.

Onto a cheerier note, while some productions are leaving London a host of new shows have recently blasted onto the stage. Ghost Stories for instance, recently opened, joining The Woman In Black as one of the scariest productions ever. A host of other unique and powerful plays have also hit the big stage including the clever thriller Deathtrap, The Secret Of Sherlock Holmes and The Railway Children which is performed in the old Eurostar terminal at Waterloo Station.

The fun does not stop there however, as there is also a line up of other spectacular productions that are gracing the stage. The gripping play Birdsong written by Sebastian Faulks began its run at the end of September as did Onassis starring My Family actor Robert Lindsay. The hilarious stage version of the 1980s TV comedy Yes Prime Minister is also opened at the Gielgud Theatre late September and stars Henry Goodman and David Haig. Flashdance the Musical starring ex-Busted member Matt Willis opened in October and The Wizard of Oz featuring the winner of Over The Rainbow, Danielle Hope, as Dorothy will open next year.

London is a great place to enjoy a theatre break and with a host of classic shows old and new to see, you are sure to find something to suit.

Starting in 2006 with only 70 students, it has grown in size and stature and now boasts Summer Schools in London, Bristol, Nottingham, Manchester and North Wales as well as a school term-time West End Academy in London and Bristol, all dedicated to providing young people aged 8 to 21 with the very best performing arts training.

A team of professional tutors – all of them established and working West End performers themselves – run classes in acting, dancing, singing, musical theatre as well as additional skills such as stage combat, improvisation, acting for screen and many more. These skills help young performers build on their talent and nurture their confidence to bring out the best in them, both on and off stage.

The highlights of the training are the organized trip to see a major West End musical (meeting the cast after the show for an exclusive Q&A!) and of course the West End Stage Showcase performance at Her Majesty’s Theatre in the West End, home to The Phantom of the Opera. The show trip and Q&A give the students the chance to see their idols in action and then directly ask them questions and advice, while the Showcase offers them the chance to make their debuts in a public performance on stage in the West End!

2010 was the busiest year yet for West End Stage Summer School, and it looks like 2011 is proving even more popular, especially with the launch of the West End Academy in London and Bristol. The application process is very simple, as prospective students usually browse the excellent West End Stage website, which has all the course details and lots of photos of what the students get up to, and then download the application form direct from the site and send it off to confirm their place on the Summer School.

To apply for the course no audition process is necessary, the only pre-requisite for joining West End Stage is a passion for the performing arts. The students range in experience from young people who have never set foot on a stage before and just want to have a taster of what it’s like to be a West End performer, to students who have been acting, singing and dancing since they could walk and are determined to get into show business. All the students are grouped according to age and experience, so each student is challenged according to his or her abilities, all in a safe and supportive environment.

The Summer School takes place at the world famous Guildhall School of Music and Drama in central London. As a fully working drama school, the Guildhall’s rooms are perfectly equipped to handle all the demands of the West End Stage students, and the whole school is housed within the safe and secure confines of the Barbican Centre.

For those students travelling from outside London, or indeed from outside the UK, the Guildhall offers a top class accommodation service for them at Sundial Court, the halls of residence used by Guildhall students during term time, which is directly opposite the Barbican Centre. The accommodation students are looked after 24/7 by fully licensed West End Stage Chaperones, who also organize activities and entertainments for the students in the evenings and even take them on a shopping and sightseeing trip to central London on the Saturday.

The West End Stage Showcase at Her Majesty’s Theatre is the culmination of the week and the opportunity for the students toshowcase their newly found skills before an audience of friends, family and industry professionals. The chance to make an appearance on the same stage as Andrew Lloyd Webber’s The Phantom of the Opera is a challenge that all the West End Stage students absolutely relish, and many of the students have been talent spotted by casting directors as a result of the Showcase, with previous students winning parts in top West End shows Oliver, A Little Night Music, Waiting for Godot and Billy Elliot.

To see exactly what the West End Stage students get up to on their fun-filled week, log on to the website at www.westendstage.com, where you can also download the application form and request a brochure. If it’s the West End Academy you’re interested in, the website is www.westendstageacademy.com, which also has all the application details necessary.

Winter doesn’t have to be a season of total hibernation. Of course, we all love duvet days and home entertainment, but there’s only so many activities that’ll keep all the family entertained. Why not brave the cold this season and take the family to see the bright lights of London’s West End. Alive with an array of top shows, the capital offers plenty of entertainment for those stay indoors kind of days, and caters for families of all ages.

So, which London shows will be running over the winter period? Well the good news is there are some classics out there at the moment and a handful more about to open.

Here are six family shows sure to make the cold weather bearable.

Mamma Mia!

If you’ve the winter blues already, why not head to London to see Mamma Mia. A lively and upbeat show set to a host of ABBA’s greatest hits, this production is great entertainment for all the family or perfect as part of a girl’s night on the town. Head out of the cold and enjoy this London show superbly performed by a talented London cast. You could even buy the soundtrack and lift your spirits all through the dark months.

Legally Blonde the Musical

Legally Blonde the Musical is another hit show that will definitely lift your spirits. Fun, light-hearted and extraordinarily pink, Legally Blonde has a host of clever songs and a very amusing script that girls of all ages will love. What’s more it stars a whole range of celebrities including TV favourite Sheridan Smith.

Theatreland is also alive with the news that a host of other A-list celebs will be joining the cast on the 25 October including Denise Van Outen as Paulette, Siobhan Dillan as Vivienne Kensington and Carley Stenson as Margot. You certainly can’t see your favourite actors live on stage if you stay in your slippers all season, and this seasons’ London shows are just too good to miss.

The Woman in Black

If your teens are into something a little less pink and you’re feeling brave, The Woman in Black is a petrifying show that will have you quaking in your boots. Stage shows do not get scarier than this and it’s sure to get your heart racing with thanks to its atmospheric sets and jumpy scenes. If you are a horror fan, London theatre shows can be just as scary – if not scarier – as watching a film on the couch. So get out there and see a scary story live on stage this winter.

Flashdance the Musical

Based on the hit film of the same name, Flashdance has recently opened at the West End’s Shaftesbury Theatre and is set to be a scorcher of a show. Enjoy this classic story of Alex, a welder by day and a dancer by night; live onstage as part of a London theatre break. A great London show starring Matt Willis as Nick and Victoria Hamilton-Barritt as Alex, Flashdance the Musical is a real treat and will have all the family up on their feet and dancing!

Shrek the Musical

Bringing to life the beloved characters of the hit film, this wacky romp through the world of fairytales is the ultimate family musical. With brand new songs as well as the Shrek anthem I’m A Believer, and an exceptional cast including Amanda Holden and Richard Blackwod, and incredible sets and costumes, Shrek The Musical is a must-see. It’s a hilarious star-studded musical that will have everyone from the kids to grandparents laughing in the aisles.

Puss in Boots Christmas Pantomime

With the festive season just around the corner, London is a great place to enjoy a festive show and what better to see than a traditional Christmas pantomime. Puss In Boots Christmas Pantomime will open at the Arts Theatre on 18 November 2010 and follows the adventures of everyone’s favourite feline. A show for all the family, this is definitely worth seeing as part of a London theatre break this Christmas.

Provided by Show and Stay

Firstly, and probably the most important thing is to work out the genre of music you want to create with your band, it is always nice to give the band a name straight away even before you have found members as it looks like you have put thought and time into building the band.

Next you will need to find band members and this is easyer than you may think. All you have to do Is look around, start with your local school, go and talk to your music department and see if they can help you.

If that is not going to work or you want to meet new people through your project, find forums on the net to promote your band for new members. You can use the Stage Door Mag forum to find young performers all you need to do is create a new topic and ask away!!!

Once you have found members, you then need to find or create your first song. It’s nice to make sure every band member gets a say in the matter. Finding your first gig can be so hard not knowing where you really belong but the best advice I can give you is look at other bands that are of a similar genre / style and see where they go, its called looking at the “model”. That’s looking at how a business or a band works and working your project like that for the greatest chance of success!

Getting a glossy website is not important but having a Facebook and a Twitter is to tell your fans where your next gig will be, also connecting with fans is very important to keep them interested and facebook and twitter is a perfect place to do that! A twitcam is a great thing to get more new fans.

After you have all of those elements in place just develop them more and get a bigger fan base.

I hope that has given you a head start! If you have any questions feel free to ask in the forums!

Follow me on twitter for more help

www.twitter.com/lukefarnworth

Luke Farnworth – Managing Director

Luke is the managing director, which involves making connections with other people and businesses in the profession. He also is involved with finding articles, and organising interviews with celebrities. Luke also makes sure the business is running smoothly, keeps an eye on where the business is going, and how to make it better for you!

Tom Brown - Creative Director

Tom is in charge of creating the website, logos, and other media that represent Stage Door Mag. He also works as an editor, organising articles that people send in, scheduling when different articles and interviews will be published and finding images and media that can go with articles. He is also in charge of the social media side of Stage Door Mag, updating the facebook page, twitter and youtube accounts and administrating new users, comments and the forum. Tom is always on the lookout for people who wish to write articles or reviews for Stage Door Mag.

Stage Door Mag couldn’t keep going as strong and successful as it currently is without the help of Aimee Beswick, our photographer, our writers including Rory Jakeman who specialises in reviews, guest writers and our team of reps. You can read our reps profiles in the article ‘Meet Our Reps!‘

I hope this gives you a background into how Stage Door Mag runs on a day to day basis. If you are interested in working with Stage Door Mag in any way, contact us at admin@stagedoormag.co.uk or leave a comment below.

And so for a long time, it feels like you’re chasing something completely unreachable. But one thing that is sure, that is utterly true; the unachievable dream can be accomplished. How do I know? How can I be sure? Well, the simple answer is that I can’t. I can’t possibly sit here and tell you that each and every one of you will someday achieve your hopes and aspirations to be on stage, to perform. But speaking from my own experience, I know that I could never have made it this far without one, essential element. My heart.

In these new times, thousands upon thousands of girls and boys, in this country alone claim their wish is to be a star, be it live theatre, film, or the next chart topper. Bolstered by the media-driven, success-winning, multi-million pound industry, I find myself sitting back, feeling the only driving force behind so many is the idea of being famous, having every man, woman and child in each household knowing your face, screaming your name. Am I the only one to feel disheartened by this?

Us Brits have always been a nation to push ourselves, yet with a slight reserve that stems from inhibitions and politeness. Although some may feel this is an undermining fault, I can’t help but find it somewhat endearing, a trait that emanates from every aspect of British life. I recently went to see the 25^th Anniversary concert of Les Miserables, at the o2 arena, London. It was nothing less than incredible. I came away feeling enthralled, inspired. For the first time in so long, I saw a performance that was no longer about the job, not about the money or the fame. Each and every one of those performers on stage gave it their all. I have to mention in particular Lea Salonga, who played the unforgettable role of Fantine, with her main theme, ‘I Dreamed a Dream’. Ever since the song was brought to the publics’ attention by one Susan Boyle, I have felt that it has somehow lost its magic, its power. Susan Boyle and the talent contest industry took away everything that was real, that was true, and instead used the deep emotional meaning in order to sway a general public. Of course I was angered by this, and I hate to admit that it made me somewhat aggravated against the song. But as soon as Lea Salonga opened her mouth and the first note rang out, I was lost. She succeeded in doing what every true performer should prioritise to do. She transported me to a complete other world. I became her, I was feeling what she was feeling. And it occurred to me; THAT is true heart. That is not a job to her. That was her life.

In today’s society, we have nothing but the constant wave of reality television stars. It’s a never-ending flow of your X-Factor, Britain’s Got Talent, The Apprentice. And I can’t believe what it’s doing to such a specialist, fragile world. We as performers are slowly but surely losing the ability to open ourselves up, to make ourselves vulnerable, to become so lost in a character that the audience can’t help but come along on the emotional journey with us. That is what I want to see make a return, more than anything. Perhaps it is a reminder that we need. Perhaps we need a significant shove in the right direction in order to regain the idea that this is not a profession, it is not a job. We as performers are responsible for the hopes and dreams of so many youngsters. We looked up to by the young, and hold the forgotten desires of the old. We have so much responsibility on our shoulders, yet we are so willing to give it away in the name of fame and fortune.

The story to this is simple. We are allowing our heads to dominate over something so fragile, that in one foul swoop, it could be lost. The way in which the performing arts industry has developed since medieval times is astonishing. It has become more than just a past-time, it has become an entire world.  We need to ask ourselves one vital question: are we really willing to give this up? It is up to us to give way to a true performance. We need to remember that as like our chocolate cake, as delicious and satisfying as it is, set down one thing too heavy, and the entire thing could collapse. It is so fragile, it needs care, not only to be initially created, but also to survive. It all boils down to one point. Our media-influenced heads need to give way to the one thing that can give us what we want. A passionate heart.

Follow this writer on twitter at – @becca_diana

In both the UK and the US, the majority of people will encounter classical singing forms — through either singing exams (the ABRSM, bless them) or chorister training. Others will encounter a specialised form of classical singing, taught in the Royal School of Music, known as Bel Canto. However unjust or fleeting it is to say, Classical singing technique sadly doesn’t live up to the stylistic expectation of the West End stage (Not even Phantom).

A lot of people beginning singing training might find that this is the only readily available tuition to them in their area — and that’s not to say all Classical teachers are wrong, some are amazing and producer great singers — but this may not be enough to put them in the fight to audition. In addition, it has been noted in several American research papers, that Classical singing teachers have a natural dislike for Musical Theatre, disliking the harsh sounds associated and the new-gen stylistic features. And of course, Belting — the ultimate red warning lights in the Classical form. So how are people supposed to learn these things?

Never fear, budding singers, the future is here. (Well actually, it’s been around for ages but no one’s ever told you) Developed in the 80’s by vocal researcher Jo Estill, the Estill Voice Training system is a carefully devised singing system, designed to isolate the different areas of the voice and inform the student through science. (Don’t worry — it’s not that scary) The majority, if not all, UK drama schools will teach Estill method to their student, particularly Mountview and RAM, where the lead singing teachers are Certified Course Instructors. Indeed, this methods is also taught be leading vocal coaches on both sides, including Anne-Maria Speed, Robert Marks, Paul Farrington of the Royal Opera Company and Joan Lader, coach to Patti LuPone.

Don’t just take my word for it — drama schools around the country prescribe to the technique, including the triple Musical schools: Mount, Arts and GSA. Indeed, ArtsEd now runs a Musical Theatre Direction MA where you will take lessons in the Estill method alongside BAMT students, and GSA runs a Vocal Sciences MA where in depth study of the technique is core. I went to a professional dance school and it was even taught there as well.

The system is great because accredited teachers have had to study to science and physiology of singing very carefully before being approved so safety and quality are top of the bill. The system works by introducing “qualities” of the voice, rather than registers and breath, no more “bring the voice forward” or “breath through your hoo-hoo, dear”. The system consists of the 6 qualities: Speech, Falsetto, Twang (or ‘Julie Atherton’ quality), Opera, the main quality of Classical singing, Cry, and the big-bad one, Belt. Mixing these qualities produces a singing effect suitable for all types of song, not just Musical Theatre, and even the X Factor vocal tutor Yvie Burnett teaches Estill principle to her bad-ass Pop stars.

While is it a relatively new system in the UK, in terms of it actually be discovered by people and learnt, there are a great number of teachers who are at least getting to know the system as well as taking accredited courses so positive thinking is out there. If you are planning a career in Musical Theatre or you looking to crack your Drama school auditions, here’s my advice:

1)      Get to know the system. Apart from finding a teacher in your area (see below), easiest way of learning about it is to get a copy of Gillyanne Kayes’ book Singing and the Actor – The Book Depository, £8.68, P&P Free.

2)      Get the lowdown. For that quick fix or if you need to evaluate your voice before auditions, ask for a consultation on your voice. Anne-Marie Speed, tutor at RAM and all-round wonderwoman, gives consults. Contact her at www.thevoiceexplained.com

3)      Attend workshops. For example, if you have a teacher who is unsure how to teach belting (and quite rightly so) but you want to her, Gillyanne and Anne-Marie both run Belting one-day courses, in addition to general Estill courses. You can learn about the technique, the do’s and don’ts and how to input it in your song. Try Gillyanne at www.vocalprocess.co.uk

4)      Find a college and get learning. If you  are planning to do a BTEC Diploma or a normal College degree course (Don’t give up — you can still that drama school place, keep trying), then get yourself to a college where the technique is taught; Ask around at open days, email tutors and ask ex- and current students via facebook or Stagetalk. Here’s a quick list of college where Estill is god of singing:

• Motherwell College, the ONLY Estill accredited course in the country.
• Colchester Institute
• Northbrook College
• Stow College, Glasgow
• Bristol Academy of Performing Arts, and so on

All that’s really left to say is, get out and search the internet for as many new contemporary musicals as possible. Expand your rep and get those singing lessons in. Belting isn’t really needed for now and is disliked a lot at auditions when it’s done badly, but if you want to learn, go forth and sing. Do your own research on Estill — the company has a great website where you can learn loads of about the system and YouTube will bring up some very interesting videos about the great woman herself.

Below are some links to help you. Remember, it’s your voice, do what you need to. And to hell with those American vocal chords of steels.

P.S I wish I had some though. =(

LINKS:

The energy that diffused from the stage and the feeling of expression and release combined with the sense of community and closeness you feel with your fellow performers drove me to look down the dance/drama route. I was not sure which road I wanted to go down and had potential in dance drama and singing, but I would not have classed myself as strong in any of these disciplines. I also love to create, through photography, film, paint and choreography. Therefore, the important aspect of my ambition was the desire to be constantly learning, constantly pushing myself, and constantly achieving. Thus, I applied for a mixture of musical theatre, dance and drama independent and university based, to get the feel of the positives and negatives of each route. It was hard; I think that was one of my greatest mistakes. It is important that you chose a route first and pursue to the greatest of your ability. Take a chance on going summer schools in that area you would like to go down and immerse yourself in it. There were a few auditions in which I had not prepared properly and it resulted in my being disappointed with myself, you have to be fully committed to each place you audition for and give it 100%.  On reflection, I wished I taken a year out after school, to really look at my options and prepare myself. I was still uncertain of my future and I wished I had taken the time to look and see the world and mature in the sanctuary of a pressure free environment.  It is important to remember that dance and drama schools are competitive and very structured. You have set classes, set times and expectations which rise each term. The discipline is like that of school but it can be hard and overwhelming as everyone has the same drive and high aspirations. The days are full and sometimes weekends but there are always exciting things occupying your mind. By taking a year out after school you can free the mind, let it escape from restrictions, and open ones eyes to other social obstacles, so when you head off to performing arts school you have a stronger and more secure sense of character.

I chose London Studio Centre because for me it had many different opportunities not only through the practical classes but also the academic side.  London Studio Centre offers a BA (Hons) course in Theatre Dance as well as a Foundation Course. I liked the amount of personal choices at LSC as well as having packed days. In the first year you have to take a wide range of classes, Ballet, Jazz, Drama, Contemporary Dance, Tap, Choreography and Singing, as well as, if you choose, extra RAD classes. There are also four lectures a week ranging from dance history, dance on film, dance analyses, musical theatre to music. At LSC it is ok to not be 100% sure what you want to do and it is in your second year when you start to do options and chose the best learning route for you. For example, if you want to go down commercial Jazz route then you take more jazz options, Lyrical Jazz, commercial and musical theatre based and pursue it. Also majoring in either jazz or contemporary dance and choosing from a number of repertoire classes as well.  On top of all this you are bombarded with other opportunities for example, Back Hill and Design for Dance which are projects in which you get to collaborate with design students from Central St Martins College of Art and Design. Working with students from Central St Martins was probably one of the most fruitful and inspiring moments I have had at LSC and I can not explain how awesome it was seeing my choreography on a London stage, open to the public with professional lighting and costumes. I truly felt compelled when working along such students and being in that atmosphere, I have worked on other projects with these students I am continuing to create performance base art. One of the reasons why I felt LSC was right for me was these opportunities, it is not something you have to do or are required but from taking part and putting myself out there I feel I have achieved and learnt a great deal about myself, both, my strengths and weaknesses. It is important to grab opportunities when they come up, don’t be scared, and think to yourself what is there to lose?, I am here to learn.

LSC also offers a broad range of public performances. Each term there are showcases and best of assessments. Then each year there is the large showcase in which auditions are held. This year I performed at Westfield’s Shopping Centre in their celebration of the arts. This once again was not compulsory, it was optional and a small group of us seized this opportunity and we were not only performing alongside musicians, but on the day alongside the cast of Wicked, it was amazing!

I am currently in my second year and third year is looming ever closer. In third year at LSC you apply for a company. By this point you are expected to know where your strengths and weaknesses are and where you see yourself in the industry. The four companies you can apply for are Jazz Dance Co, Seedtime (Musical Theatre), Intoto Dance (Contemporary Dance) and Images of Dance (Classical Ballet). In each company you still do bits of everything, for example, singing and acting (apart from Images of Dance) but the field you choose is more concentrated. For example, if you join Intoto Dance outside choreographers come in and work with you, building a rigorous repertoire of dances. At the end of third year these companies tour and perform their shows. LSC does cater for all and encourages you to find your place in the industry as a career, striving to give each student the best opportunities as possible which are why any of these companies would drive the student to excel.  I am still uncertain where I belong I am stuck between Seedtime and Intoto Dance. Two completely different companies which make it hard to decide but will see what the next term brings.

Living in London has been extraordinary I love being part of the London network. There is so much to see and do, as well as, meeting fascinating people. Spontaneity is a word that springs to mind, many of my fondest moments of the last year have been through just going with the flow and letting London seize me and take me to a new club/bar or coffee shop. Planning never really works because you end up somewhere completely different, often, because you are lost and have wandered into somewhere far more extravagant than what you were planning. You can go from the extremes of Brick Lane night life, to the picturesque beauty of the classical Hampstead Heath, on a twenty minute tube ride, such a special city, and I am so lucky to be a student here.

The future is important, remember, you have to stay positive, and have to look at the bigger picture. The performing arts industry is huge, and everyone says until you are out there auditioning you do not know how big and daunting it is. However, once you have succeeded and on a stage you suddenly see how small the industry is as well, everyone knows everyone. It is the determination, drive and desire to break in to this small community which leads you there, and with enough ambition and love, anything is possible.

For me the future is still a blur, all I know is that I have not finished learning yet. I would like to do an MA (Hons) course in Performing Arts/Design at Central St Martins, Rambert School, RADA Drama School or The Place but I will see what the next year brings. The one thing I do know is I want to be creative and leave people with a part of me. Whether it is through a script, a dance, a costume or light, I am fascinated by the live arts and want to be a part of its creative process and continue to collaborate and learn from others.

Im writing this after recently hearing that Leicester city council is proposing to cut all funding for Leicestershire arts. This could mean no more fantastic shows from them, and no more talented people coming out of Leicestershire!

Many people think it is an awful thing to do but we need more people to not make it change!

A spokesperson for Leicestershire County Council, said: “The County Council is required to provide music services for school-aged children and young people and receives a Standards Fund grant from the government to do this. The County Council also receives a Standards Fund grant that is intended to widen opportunities for young people to become involved in music making. ”The rest of arts in education operates through subsidised trading, mainly directly with schools and families, and sometimes with other organisations such at Creative Partnerships and Find Your Talent. The subsidy is provided through the County Council and equates to around 15% of the service’s budget. This provides for dance and drama, as well as some music activity. ”The need to identify budget savings has meant that non-statutory services are the only areas remaining that can be reduced. For Arts-in-Education, this means the dance and drama activity. It is proposed that all of the County Council’s funding is removed (£417k).

“The dance and drama staff are developing a plan that could test a fully traded service model during this autumn term – this would mean that the full cost of the activities would be charged rather than a subsidised rate. If this is successful, the activities will be able to continue. If the pilot shows that it is not possible to deliver a fully traded service, the dance and drama programme would end at the end of the summer term 2011.”

If you think this is wrong then we encourage all of you to ring or write to them. Sadly we are unable to give the contact details out but if you visit there website you will be able to find the information there.

Hope they hear from you!

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Why does it seem that people hate to get ahead? One simple word comes to mind, and that is simply laziness. People are extremely lazy when it comes to getting ahead and making things better for themselves, but they are the first to complain about how things don’t go their way. Honestly, people do not really understand the saying, “If you really want something done, you have to do it yourself.” In today’s society, people are so willing to have someone else do their work for them, they don’t even bother trying. It seems that people only do things when they are forced to do so. The only way to get somewhere in life is to work hard for it. You have to work hard to get where you want to. You have to do well in school and listen to everything your teachers say even though it can be boring and a pain. If you want to do something more practical, try going for acting or do something with music. Acting, like some of you may already know, is not really hard at all. You just have to be confident in what you do. And music, you have to find an instrument that you enjoy playing and from there on you just have to learn. Do you think, people like Daniel Radcliffe, Taylor Lautner or Robert Pattinson got to where they are now by getting others to do work for them? No! They worked hard to get there.But all I can say in the end is work hard and try your best with everything you do, that way you will succeed in life .

You may have seen my recent article about if the main part is be all and end all, and I noticed not! Well it came past the rehearsals (I got though them!)And it was the show! What an experience, I got home every night after spending the last nine hours at the theatre and boring every one with how much fun I had.If I was on stage I was being where I love in front of  a paying audience that wanted to be there, and with actors on the stage that wanted to be there to!When I got back to the dressing from the stage I was able to spend my time with people who felt the same about theatre, they did not judge me because I loved to dance and I was a boy! No they where the same as me.When you next get a small part in a huge or small production make your own mind up but think back to this article! Think if I wasn’t there what else would I be doing? Xbox?

It angered me to think that this is what the world is coming to, so I turned around and said ‘I will do what I want to do!‘ If I want to dance, I will bloody dance. If I want to sing, I will bloody sing. if I want to act….well I’m sure you get it by now. I believe that some of those people are not comfortable with who they are.

I went through a lot of my life with other lads judging everything I did, and it really did upset me. Until I saw one of those lads doing ballet on youtube, so I was the one spreading it now. I started off by telling him, his face was a picture! He told me that he would tell people about my dancing! ‘Well people already know about that‘ I exclaimed! But people don’t know about your antics do they! I came to my own decision not to tell any body as I’m the bigger man here. Although the teasing stopped the next day. Funny that!

So if you want do dance, act or sing, then just do it! Don’t let silly people stand in your way. If they bully you, just stand strong and get better and better. Then prove to them that you have talent! They will soon shut up if they see you on the TV wont they!

An actor needs EXPERIENCE.  Although auditioners and drama schools may not be persuaded by the lack/amount of experience a performer has, it is always beneficial to any sort of performer. An audition is usually always based on ability, not experience. However, your skill will inevitably develop through the amount of experience you have. You’ll be prepared for many types of situations and types of performance, and you’ll radiate confidence and skill!

The one thing that will make an actor succeed – auditions, auditions, auditions! To an actor, audition experience is key! Even if you’re rejected rather than accepted, you can learn from where you went wrong, or even where you went right. Feedback from a director is sometimes given, and always pay attention as it benefits only you! Remember, an audition is the only way you’ll get a job!

The acting profession is vain – get over it. The trouble is, most actors look the same and most of them have the same, good ability. Directors want someone who stands out from the crowd, someone who is striking and catches their eye. Create a look that defines you as a person and makes your look more distinct. Don’t dye your hair pink or shave your head bald, but try and authenticate your look to make you individual and to make you stand out from the bunch of ordinary hopefuls.

Your body is a temple, so worship it! A healthy body is a healthy mind, which means a healthy, very able actor. If you’re in great shape and take care of yourself it’ll show on the outside, not just the inside! It’ll give you bags of energy and will allow you to work to your full potential.

Familiarise yourself with the theatre – visit different theatres, read different plays from different playwrights, look-up information on different practitioners. An actor needs to know how the theatre works, and it would benefit you as an actor greatly if you got to know different plays. Not only would it strengthen your understanding of different playwrights and create social understanding, but it would also help you to understand certain characterisation and motives within plays.

Easier said than done, but try to get an agent. They’re not always required, and there’s usually no use in getting an agent if you live outside of London, but auditions are usually closed and otherwise, an actor will not hear about them without an agent. Having an agent is usually free; however an audition is usually always required. However, if you don’t want an agent or are finding it hard to get one, just keep an eye out for open auditions online.

Last, but certainly not least – never give up! This is probably the hardest discipline any actor will have to learn. Acting is all about rejection, roughly only 7% of actors are in work as we speak, but if you give up you’ll never succeed! Daniel Craig was homeless and still didn’t give up – look at him now! Endurance is the key here.

Remember, it’s a hard profession but if you have the talent and passion you’ll make it, good luck!

But then I remembered a little tip my drama teacher once told me of: in the performing arts world every part is necessary weather it’s a tree or the main part, they don’t put some one in for nothing!
So I held my head up tall in the rehearsals and then it came to the show!
(find out how the show went in my next article “SHOW TIME!”)