The document discusses the skills, qualities, and attributes needed to be a successful musical theatre performer. It identifies key skills like singing, dancing, and acting. Important qualities include creativity, enthusiasm, flexibility, self-esteem, networking skills, perseverance, physical stamina, presentation skills, and self-discipline. Attributes of a strong performer are talent, physical strength, humility, sociability, and directability. The document also examines roles in musical theatre productions and describes a typical performer's day.

1. Ramy BenFredj 1524
Learning Aim A Booklet
Firstlyinorderto become a musical theatre performerthere are specificSkills,Qualitiesand
Attributesthatyouare expectedtoobtaintobe a successinthe industry.
Skills
Well, first off thereare a coupleof thingsthat instantly cometo mind.
Singing.You should be ableto harmonizewith a group,sing a solo with confidence,stay in key/pitch,
and sing while moving a lot. And you should also havea decent voice.
Dancing.If it's a musical,there will bedancing,so it's bestif you havesomehistory in dance.Forme,
I tookballet, tap,and jazzall through gradeschool,and amtrained in pointe.I takeside classes now
to keep my dancing skills fresh between showsand school.Noteveryonedoesthis,somepeopleare
naturally gifted in danceand otherspractice for years.Butit's a good idea to beable to havesome
knowledgeon thedifferenttypesof dances.
Acting.Notonly do you need to be able to sing and dance(orat least movewhile singing) you should
havesomeskill in acting.You don'tneed to be the nextGregory Peck,but being able to portray the
emotion of the characterand getting the audienceto see and feel the emotionsexpressed ispretty
amazing.And no stagefright.That'sjusta bad idea.
Morris, R. (2016) What skillsdo musical theatre performersneed?Available at:
https://www.quora.com/What-skills-do-musical-theater-performers-need[Accessed26/10/2017]
WhenreadingthisI recognise there are lotsof variousskillsthatanaspiringperformermustobtain.I
personallymustbegintofocusmore onmy singinganddancing.Asthese twoart formsare sucha
huge part of mostprofessionalperformances.WithMorrisstatingall those requiredskillsIknow I
mustwork oncombiningsingingandmovementaswell assolosingingconfidence.Thenwithdance
I mustincrease myknowledge more thanwhatitisat currently,once I gainmore knowledge in
dance I shouldsee myconfidence begintogrow and thatwouldbe a fantasticimprovement. A
specificimprovementregardingdance knowledgeiseducatingmyself onthe variousstylesof dance
and howto explore/stylise yourselfasa performerintoeachone,currentlyIcan onlyname street
and actuallylabel whyit’sstreetdance withitsfree,sassymovement,thisneedstochange asthe
amountof genresandstylesintheatre the dance stylesIcouldbe askedto performare endless.I’ll
educate myself throughattendingspecificworkshopsand researching. Withitbeingsuchacut
throat industryImustbe the bestI can be at these skillsif I’mwantingtoachieve.
Qualities
In thecut-throatperforming artsworld,musicians,singers,dancers,actors,and othersfind
themselvesconstantly trying to outshinethecompetition and rise to the top.The mostsuccessfulin
the performing artsindustry should have:
Creativity:A greatperforming artistis very creative and can come up with ideasthat help make
performancesmoreinteresting,engaging,andexciting.
Enthusiasm:A greatperforming artisthasa greatsense of enthusiasmfortheircraft.They support
their peers and the industry asa wholeand enjoy theworkthey do.Their passion showsin their
work.

2. Ramy BenFredj 1524
Flexibility: A greatperforming artistmustbe very flexible,as workin the artscan be intermittentand
schedulescan vary widely.
High Self-Esteem:A great performing artisthasexcellent self-esteemand doesnotlet rejection and
poorreviewsaffectpersonalperspectiveor motivation.
Networking Skills:A greatperforming artisthasexcellent communication and networking skills.
Many of the bestjobsin the industry arefound through industry connections,andnetworkingskills
can bevital to success.
Perseverance:A great performing artistshould bevery persevering and seek outjob opportunities
continually,even in the faceof inevitablerejection.
PhysicalStamina:A great performing artisthasgood physicalstamina and can endurelong periods
of standing,dancing,singing,orotherphysically taxing activities.
Presentation Skills:A great performing artisthasexcellentpresentation skills and can present
themselvesprofessionally in auditionsand interviews,and pleasingly to audiences.
Self-Discipline: A great performing artistshould haveexcellentself-disciplineand be able to self-
direct practice time and other developmentexercises.
Talent: A greatperforming artistshould havenaturaltalentin their chosen craft.They should have
genuineinterest in the craftthatpropelsthem to honetheir talentand improvein performance.
NA. (2012) Top 10 Qualitiesofa GreatPerformingArtist. Available at:
http://performingartsschools.com/resources/top-10-qualities-of-a-great-performing-artist
[Accessed:26/10/2017]
I considermyself tohave alotof these qualitiesthatthisspecificsite statesare important.
CoincidentlyI thinkaspecificqualityImustimprove ismypresentationskills,Istruggle onhow to
representmyself infrontof newpeople,andpartof itis lackof experience andalsoIself-
consciouslyworryonwhattheymay thinkof me.I recognise thismustbe changedandit iswhyI’m
treatingthispresentationlike Iampresentingtopeople I’ve nevermet.I’lltake eachnew experience
undermy beltandformthe bestversionof me thatcan be showntoanyone inan audience or
interview etc.AnotherqualityImustdelve intoisnetworkingskills,I’ve begantorealiseitcanbe
aboutwho youknowand inorderto increase mycatalogue of people inthe industrythatIknow I
mustbeginto gainmore experiencesregradingperformance outside of school.
Attributes
Huge talentat singing,dancing and acting.Withoutthose,you'd getnowhere.
Also having high amountsof physicalstrength/energy/fortitude,becauseittakesthat to cope with 7
showsa week formany months.
You need humility,sociability, friendlinessand directability - in equalproportions.
You'd be working in a close environmentwith a lot of otherpeopleand you simply HAVEto get along
with everyone.There'sno roomfor selfish,egotistical,unfriendly oruncooperativeactors.
Cogito.(2012) Whatdo you thinkare the five most important attributes in a musical theatre
performer?And why? Available at:

3. Ramy BenFredj 1524
https://uk.answers.yahoo.com/question/index?qid=20121118101952AAz7MQW [Accessed:
26/10/2017]
1. Trust - Can you hand on heart100% trust whatyou arecapableof? I’mnotasking you to trust
whatyou knowforsure,although thatwould bejustwonderful,butbaby steps.I’masking you to
trustwhatyou are capableof.Unfortunately wedon’thaveannualsubscriptionsto crystalballs but
we are constantly tuned into ourselvesand ourown personaldialogue.How areyou talking to
yourself?Becausethatbecomesyourmindset.We are such easy creatures, whatwethink is whatwe
become. If you wantto becomesomething you haveto thinkit first. So whatare you thinking?
Only around 50% of our mindsetis genetic makeup,the otherhalf we did ourselves.So I’m going to
askyou again.Can you 100% trustwhatyou are capableof?Becausewhen you walk into that
audition roomor onto thatstagethattrustis the bestand mostbasic need you own.Own yourself
and trustyourcapabilities.
“How do I bloody well do that?”
2. Growth - Life is growth.You are growing up,growing old,growing wiser.If you arenotgrowing
you are dying.Thereare no plateausin life.
We’ve heard all this beforebutsometimesit’s oneof the mostimportant“shouldershakes”weneed.
Oneof the mostessentialsingle acts you can do in life, to nurturea positive mindset,is to educate
yourself and develop yourskills.
All thattrusting yourcapabilitieswe were talking about,you getthatthrough growth.Takeclass,
read books,watch peopleyou admire,go on courses;that’show you create a certainty about
yourself and whatyou arecapableof.By experiencing it and taking the time to be better.
3. Support- In vocationalcareerswhereyou,yourself and yeare the only cheerleader you haveit’s
importantto harvestsomereal life supportand connection.Itmay beenough to know thatwhatever
happensyou areloved unconditionally by yourfamily.Thisis universaltruth,even if you thinkthey
sometimeshavea funny way of showing it,you betthey love you in a deep and unshakeableway. It’s
kinda the law.
Having a strong group of friendsand making theeffortto connectwith peopleon thewhole makes
fora far less lonelier journey.Weall know you gotthis,you’retough asboots,butsometimesyou
need a good pal to run around in those bootswith you,drinking gin,so when thegoing gets tough,
you don’tgetgoing.
Open yourself up forthe possibilityof connection,you can neverbe over-supported,the‘lovetap’
doesnotover-flowethin anyone’scup.
4. Curiosity - So you’recertain you trust yourself,yourvision and yourpassion forthefutureof your
life. Great. Excellent. So turnsout I do havethatannualsubscription to thatcrystal ball afterall and
here’sexactly what’sgoing to happen to you every day for the rest of yourlife.
Do you wantto see it?
No.
Why not?

4. Ramy BenFredj 1524
Becauseyou wantto be surprised?
Ah,so you do like surprisesafterall. The good onesright though?Thebad onesarejustproblems.
Whatif I told you you’ll growmorefromthe bad than thegood?Which surprises do you wantnow?
Well as thatcoverstwo basic needs;growth and curiosity,I’mgoing to buckle up and be curious
aboutwhatIcan learn fromthosepesky “surprises”if and when they come along.By justopening
yourcuriosityto problems,they’realready half way solved.
Curiosityis yourgreatestpowerin theface of uncertainty.Be curiousenough to trustyourself that
you are capableof handling it and curiousaboutwhatnew skills you will bring to the table.
Be curiousfor adventure.
5. Contribution - When you havegathered sometruth,feel supported and arecuriousenough to
makemistakes,you can nowtakewhatyou are learning through growth and giveback.
Howyou gain yoursenseof contribution is yourcall. Maybebeing part of this industry makesyou feel
you are contributing to the collective greatnessof art and creativity.Maybeyou need otherwaysto
give back;charity,teaching,coaching,writing,making.Yourcontribution to thisindustry orlife is a
need that absolutely mustbemet in order to experience personalgrowth and foryou to feel a certain
significance.Dig deep and discoveryourpositive contribution.
6. Recognition - Ever wonderwhy you areso obsessed with yourself?Becauseyou wantto feel
recognised forall thegreatnessyou know you haveinsideyou.
Imagineyou areeducating yourself and trusting yourcapabilitiesand then all of a sudden you feel
good,and when you feelgood,good thingsstartto happen.
Feeling unique,significant,important,specialisa very basichuman need.If you don’tfeel like you
havesomething importantto offeryou areeither a) lying to yourself orb) missing someof the other
basic needs(my money’son trustand growth).
Peoplestrive for recognition in plentyof differentways,it’svital it’s met positively otherwiseit will
manifestby ‘acting out’ie. attention seeking,lying and even violence.This ‘acting out’gainsthe
much needed recognition,butI’msure you’llagree,at a greatcost to themselves.Recognition isa
BIG need forperformersand if it’s alwaysbeen met by starving yourself of anotherneed (support,
truth,growth,contribution) then you willalwaysfeel unfulfilled.
Oneof the biggestcomplaintsof performersisactually when they achievetheir goals.Whatnow?
Where to? Whatnext?Am I good enough to go to the nextlevel ordo I stay here?
Which needsdo you think are lacking in that negativemindset?
Trust.Growth.Curiosity.
Linder-Lee,S.(2016) 6 traits all Performersneedto succeed.Available at:
http://www.thehappyperformer.com/2016/10/03/6-traits-all-performers-need-to-succeed/
[Accessed:26/10/2017]
I alsoread that enthusiasm isimportantwiththe bookstating‘A willingnesstolearnand
conductingyourself withpridewill helpyoucultivate a name people canrememberandadmire’.
Thisis so importanttome as withinthe industryandtrainingIwantto be rememberedassomeone
whois passionate andenjoyseverysecondof rehearsingandperforming.

5. Ramy BenFredj 1524
Henshall,R.H., (2012), So You Want To Be In The MUSICALS?,Great Britain, Nick Hern
Books Limited[Accessed:09/11/2017]
Seeing‘Trust.Growth.Curiosity.’Itmade me wonderspecificallywhatitmeant,lookingatthe
researchWestEnd performerSophie Linder-Lee believesfirstandforemostthatyouas the
performershouldtrustyourselfasthiswayyouembrace your skillsandattributes,asyoudothis
you’ll begintogrowandbecome betterandbetter,thencuriositykicksinasyoubelieve inyourself
and that youcan do better.ThisthoughtprocessthatLinder-Lee believesinisfascinatingand
somethingIwishtoreplicate asa performer.AsItrulybelieve thatif youhave full trustinyourself
thenthe onlywayis up,if you’re playingaspecificimportantrole infrontof audiencesandyet
remaininghesitanttogofurtherwithyourabilityitwill show,youcannotcontemplate whatyou’re
able to doas audienceswill see throughyou. She alsomentionsthatattributesyouneedisSupport,
ContributionandRecognition.Iwill needsupportfromfamily membersandfriendsthatcan
understandmyreasoningformakinglesstime forasocial life andat timesnotmakingeffort to
connectmuch at all and thentheyneedtobe there for me whentheycan soI don’t feel completely
alone.Ialsofeel contributionisimportantasI needtobe motivatedbyfeelinglikeI’mdoingmypart
inthe grandscheme of the industryandits entertainmenttoaudiencesandthenfinallyIneedtobe
recognisedbythatwhichwill onlythrive me tobecome anevenbetterperformer.
Various MusicalTheatre PerformanceRoles
Lead Role – The mainstar of the performance the leadrolescarrythe narrative throughcaptivating
audienceswithmanyhavingthe showontheirbacks.
Ensemble - Theyare the membersof the cast playinganythingfromsecondarymainstochorus,they
fill inall the blanksaroundthe leadrolesandmay be givenalot of responsibilities.
Understudy - They areusually ensemble memberswho learn a principle role in theshow.They may
takeover a principle role in the showif the person is on vacation or sick.There might be morethan
oneunderstudy.
Swing - Thesepeople don'tnormally performin theshow.They may fill in for a vacationing/sick
ensemblememberand may even haveto performa principle role. They sometimeshaveto go on at a
moment'snotice.
Stand by - They are like an understudy,exceptthereis nota place forthem in the ensemble...they
mightnot fit in becauseof age.They haveto be ready to go on stageif an actor/actresshasto leave
beforethe showis over.
Alternate- They performatcertain performances.Forexample,if therole is quite demanding,one
person may perform6 of the 8 performancesa week.Thealternate will takeon the othertwo.
NA. (2004) Understudyvs Standby vs Swingvs Alternate.Available at:
https://www.broadwayworld.com/board/readmessage.php?thread=246380 [Accessed:
26/10/2017]
Lookingat the listsandcomparisonsit’sclearto myself thatIwouldlove tobe a ‘leadrole’.However
that doesn’ttendtohappenstraightawayso I recognise thatImay be in the ensembleforquite a
while togainexperience,Imaythenevenbe an understudywhichIwouldconsidertostill be ahuge
achievement.

6. Ramy BenFredj 1524
A typical day for a musical theatre performer
Shmoop.comstate thata musical theatre performer’sdaystartsat 9am and endsat 8:30pm.
NA. (2017) Typical Day. Available at: https://www.shmoop.com/careers/musical-theater-
performer/typical-day.html [Accessed:28/10/2017]
Withlongrehearsals,dedicationisneededtokeepupwiththe longdaysandconstant commitment.
As a performer,youwon’tjusthave tocommitto the timesyou’re inrehearsing/performingbutalso
your typical dayplanmay be alteredwhenyoubegintoconsiderthe amountof time youwill spend
on goingoveryourchoreography,songsandlines.Andcommitmentwillalsocome intoplaywhen
youthinkabout the regimesyouhave togo under.Anexample of thisislookingafteryourbody
some agenciesandperformance schoolspreferfitlookingperformersthananyother.Another
example issavingyourvoice,asaperformeryouneedtobe able to singand projectandif youcan
lose yourvoice quickthenthatmeansgoingon voice restor cuttingyour dietorno alcohol
consumptionetc.
In orderto applyforperformance roles orinparticulardrama/performance schools,aspiringactors
mustgo throughvariousdifferentapplicationprocedures;
 CVs–
Here is a 100% rated
example performersCV.
As youcan see ithas
tonsof symmetriestoa
normal CV usedto apply
for anyjob.By thisI
meanthe example CV
containsa Profile
describingthe
characteristicsof the
person,alsotheir
experience andskills
listed.Aswell asall of
their
educational/training
achievementsand
interests. NA.(2017)
Boughton Monchelsea
Scout Group – Volenteer
CV Example.Available
at:
https://cvs.livecareer.co.
uk/r/volenteer-
114216963 [Accessed:
28/10/2017]

7. Ramy BenFredj 1524
 PersonalStatements –This is wherethe aspiring performerwill write a documentstating
why they are wanting to apply forthe course.Sometips stated on actingcoachscotland.co.uk
is ‘say whatyou would gain fromhaving a place on thecourse.’‘EVERYONEis passionateand
EVERYONEhasbeen doing this since they were a kid,thatisn’t a good enough reason.’‘Say
something aboutyourweaknesses,and why you thinkthecoursewould help you to address
them’.
Westbrook,M. (2017) Writinga personal statementfor drama courses.Available at:
http://actingcoachscotland.co.uk/blog/writing-personal-statement-drama-courses/
[Accessed:28/10/2017]
 ApplicationForms –Anapplicationformissomethingyouwouldhave tofill outwithspecific
detailsaboutyourself inordertobe entitledtohavingachance to getintothe performance
school/college youwant.Youmayalsoneedtoattach variousitemstoit such as yourCV
and personal statement.

8. Ramy BenFredj 1524
Here is an example applicationformdownloadedfromthe ‘LondonSchool of Musical
Theatre’.Here itisaskingfor normal detailssuchasyour name and email.Thenitalsogoes
on to asking‘reasonsforwantingtoattendLSMT’, askingfor‘any relevantperforming
experience’andyour‘educationhistory’(qualificationsgained).Italsoasksforan audition
fee aslots of auditionsfordramaschoolsare a monetarytaskmeaningtheycost.
NA. (2017) Application.Available at: https://www.lsmt.co.uk/how-to-apply [Accessed:
28/10/2017]
 Auditions –Thisissuch a big natural part ineach processwhenwantingtobecome amusical
theatre performer. Whetheritbe auditioningforadrama school,an amateurrole or the
westend,itisalwaysimportantto holdandpresentyourself professionally.Auditionsare
aboutshowingthe bestversionof you.Youwill representyourself throughyouroutfitand
body language,if youletyournervesshow oryour lackin passionthenyouwill notbe
successful,nomatterwhatyoumust have confidence (nottoomuch) andthe abilitytobe
thrownintoany scenarioandshine throughenergy/charismaandtalent.
Auditions canvaryfroma groupworkshoptoa soloback andforth withthe casting
directors/teachers.Eitherwayitisimportanttoretaineye contactand articulate yourself in
a smart manner,butstill be you.
 Portfoliosof work – Thisiswhere youcreate a portfolio;folder,book,document.Of all your
experiencesandwork,somethingwhere the individual,castingagentorteachercan look
throughit andnotice what skillsyou’ve pickedupalreadyandproductionandpiecesyou’ve
beena part of.
 CastingAgencies –If you are to signup to a casting agencyand are successful thismeans
that talentedtrainedindividualswill searchoutforrolesforyouthat theymay thinkare
suitable regardingyourskillsandabilities.
 Headshots – Head shotsare neededinprettymuchall musical theatre applications,ahead
shotis a professional photographof yourself,asunfortunatelyyoumayhave all the skillsin
the worldto playa particularrole but youalsohave to lookthe part. Therefore agents,
castingdirectorsandeventeacherscan see whatyoulooklike andtry to imagine you
workingasa particularmovingpiece.
A Performer’s Life
Responsibility Actor Dancer Musical Theatre
Performer
Musician
Auditioning
   
Attendingband
calls 
Undertaking
character   

9. Ramy BenFredj 1524
development
work
Attending
rehearsals    
Taking part in
performances    
Attending
costume fittings   
Respondingto
direction   
Learning
choreography   
Learning lines
and moves   
Respondingto
musical direction    
Learning song
lyrics    
What’snoticeable fromthe table isthe amountof responsibilitiesgiventothe;actor,dancer,
musical theatre performerandmusician.Thisispartof everydaylifeforthem, these responsibilities
are notgoingabove and beyondtheyare mandatoryexpectations.If theyare notmetor even
exceededthenthere couldbe majorrepercussionsforthe particularperformer,suchaslosingyour
role,havinga weakperformance,notgettingalongwiththe restof the castand worstof all bad
wordof mouth.If your directorisexpectingyoutoknow all of act 1 by the nextweekandyoudon’t
learnitthenshe/he isn’tgoingtobe impressedandasimple commentonthatby themcan reach all
sorts of importantpeople whobeforehearingthe negativepraise could’ve been holdingyournext
jobopportunity.
Interrelationships
Interrelationshipsare relationshipsbetweentwoparticularsetsof people,inthiscase we’re looking
at the musical theatre performerandall the interrelationshipstheymayhave withother members…
1. Director,the performerneedstogel withthe director,theyare notrequiredtobe best
friendswithone andotherbuttheyshouldobtainamutual respectbetweenthemboth.The
performershouldbe able totake directionstraightfromthemandthe directorshouldlisten
to any commentsthe performermayhave tosay or anyquestionsthey’veasked.The
relationshipmuststaystronginorder forsuccessand to bringthe bestout inone and other.

10. Ramy BenFredj 1524
2. Choreographer,the performerwillspendalotof time withthe choreographer,this
relationshipisanothervital one asitmustremainstrongin orderfor the performertobreak
downand nail whatparticularmovestheyare doing,if theywere toargue or not get along
thenthe rehearsal processwouldtake twice aslongmeaningthere wouldn’tbe asmuch
time of polishing,therefore the performance will notbe cleanandprecise.
3. Performers,despite thisbeingself-explanatoryperformersshouldgetalongwithone and
other,if there isn’ta relationshipthere thenaudienceswill noticethatasthere isn’tany
chemistrybetweenthemboth,onthe otherhandif the relationshipistoomuchthenit
couldtake away fromthe character they’re playing.It’saboutfindingthatfine balance andif
performersdon’tgetalongorare the bestof friends,all of thatmustbe leftoutside the
theatre,asif performersbegintoshoutat one and otheror bickerthenall professionalismis
lostand it’swastedvaluable rehearsal time.
4. Designer,the performermayhave a relationshipwiththe designerof the productionasking
any vital questionsorhelpingthemwiththe directorsvisions,againdrawingbacktomutual
respecteveryone isahardworkerinand out that theatre andthat’swhy it’simportantfor
youas the performerto buildthose interrelationships.
How to become a musical theatre performer?
Whatformalqualificationsdo you need to becomea musical theatreperformer?
Certainqualificationsare requiredtoenterspecificdrama/musical theatre schools.Youmust
achieve these requirementsasbeingbroughtintoadrama/musical theatre school isavital
stepto manymusical theatre performers asthey suggestindoingitinorderto ‘make it’.
Many drama/performance schoolsgrade requirementsare 5 GCSE A-C’sand 2 A-Level A*-
E’s, thismaynot seemlike alothoweverobviouslythe betterthe gradesthe more your
applicationmaystandout. On the otherhand the qualifications neededcouldbe aBTEC
pass,meritor distinction. Withthese gradesyouwill be able tostepintoadrama school or
university.
Looking atMountviewcourseentry requirementsforthe ‘BA (HONS) PERFORMANCE-
MUSICALTHEATRE/ DIPLOMA IN PROFESSIONALMUSICALTHEATRE’requireone of the
following;
 Five GCSE passes,including two at A-Level
 FourSCE Higher Grade passes
 BTEC Nationalor Higher NationalCertificateor Diploma with merit grades
 Foundation course
The cost of the ‘BA (HONS) PERFORMANCE- MUSICAL THEATRE / DIPLOMA IN
PROFESSIONALMUSICALTHEATRE’ is£42,375 for the full three years.
NA. (2017) BA (HONS) PERFORMANCE- MUSICAL THEATRE / DIPLOMA IN PROFESSIONAL
MUSICALTHEATRE. Available at: https://www.mountview.org.uk/courses/course/ba-
hons-performance-musical-theatre/[Accessed:04/11/2017]

11. Ramy BenFredj 1524
Looking atthe Universityof Surrey’s‘MusicalTheatre BA (Hons)’courseentry requirements
they are;
 BTEC (QCFLevel 3) Extended Diploma,Overall:DDD
 A-level,Overall: AAB
 GCSE or Equivalent:GCSE English LanguageatGrade C (4) and Mathematicsat
Grade C (4) (or equivalent)
The cost of the ‘Musical Theatre BA (Hons)’ is£27,750 for the three full years.
NA. (2017) Musical Theatre BA (Hons) – 2018 entry.Available at:
https://www.surrey.ac.uk/undergraduate/musical-theatre [Accessed:08/11/2017]
The ArtsEducationalSchoolsLondon ‘BA (Hons) Degreein MusicalTheatre’course entry
requirementsare;
 Passesin two subjectsatA-level
 BTEC NationalDiploma
The cost of the ‘BA (Hons) Degreein Musical Theatre’three yearcourse is around
£43,860 currently.
NA. (2017) BA (Hons) Degree inMusical Theatre. Available at:
https://artsed.co.uk/musical-theatre/musical-theatre-ba-funding-and-fees[Accessed:
08/11/2017]
Nowcompareand evaluatethesequalifications(which oneis thebest and why?Aresome
routesmore suitableforsomeroles and other routes forotherroles?)
There isn’treallyabetterqualificationtohave.However itmustbe saidthat oftenpractical
workcan be foundto be more credible withinthe industryfromcastingdirectorsbecause
theygainnewskills,attributesandhave more experience behindthem.Different musical
theatre performers maypreferdifferent routessome mayjoinauniversityandpreferthe
academicenrolmentwhereasmostmusical theatre performersfeel it’snecessaryto
performconstantlyhence whytheyignore universitiesandenlisttobe partof performing
arts schoolswhichcan be consideredasthe more traditional route intothe industry.
Whenlookingatthe three coursesI’ve chosenit’sclearthatthe universitycourse is
massivelycheaperthanthe twoLondonperformance institutes.Throughall of themyouwill
receive aBachelorsHonoursLevel degree all inmusical theatre performance.The reason
manyaspiringperformersgoforthe Londonschools(despite the steepprices)isbecause
they’re payingfora more credible name togoonto theirCV,castingdirectorsandagencies

12. Ramy BenFredj 1524
will consideryoumore if theysee you’vetrainedatMountview orArtsEdcomparedtoa
university.Alsoperformerspaymore forthemdue tonetworking,abigpart of the industry
isabout whoyou know,trainingforthree yearsinLondonyougainan advantage over
everyone trainingelsewhereasyou’re inthe mistof it all,performersmayalsomeetother
performersandcastingdirectors thatmay one daygive themtheirbigbreak!Howeveritall
comesdownto whatthe course contains.
Lookingat the coursesI personallyfeel the Universityof Surreyoffersthe worstcourse
contentas unlike MountviewandArtsEditdoesn’thave afinal performance opentocasting
directorsandhuge influencesinthe industry.All threeof the coursesrelyheavilyonActing,
SingingandDancingbut I feel thatMountview wouldbe the bestcourse forme.As
Mountviewalsopreparesaspiringperformerswithonscreen/behindthe cameraskills
meaningthiscourse givesyoumore skillstowidenmyopportunityingettingajob,also
Mountviewseemstoreallytreatactingwithacredible respectunlike ArtsEdandSurrey
whichteachyou skillsinactingbutmore indance/singing,hereatMountview it’sequal and
withactingbeingmystrongestart formI wouldfeel more comfortabletakingpartin
Mountview’scourse inLondon.
Whattraining routewould you need to taketo becomea musical theatreperformer?
There are variousdifferentroutesintothe musical theatre industrythere iswhatis
consideredthe traditional route wherethe performergoes toa universityordramaschool
to studymusical theatre getsa qualificationthengetsanagentandstarts auditioningfor
anythingthatintereststhem.Whereassome skipthe qualificationsandinstantlystart
auditioning,alotof musical theatre performersgetwhere theywanttobe bynetworking,
makingconnectionswithcastingdirectorsandotherperformersthatwaytheyhave more
people toreachout to forfuture jobs.
I personallyprefergettingmyqualificationsfirstasIbelieve it’sagreatachievementtohave
on yourperformance CV,Iwouldthenaspire forbigrolesbyconstantlyauditioningforany
workthat excitedme inthe slightest,intheseauditionsIwouldpresentmyself
professionallyasthatway I can extendmycatalogue of otherperformersandcasting
directorsI know.The more auditionsthe more peopleImeetwithinthe industry.AsI
primarilywanttobe a leadrole inproductionsIfeel thisroute isnotonlythe safestbutalso
will increase mychancesof beingonstage.
In a particularbookI have beenreadingtitled‘SoYouWantTo Be In Musical?’itstatesthe
followingaboutdramaschools‘ona typical three-yearundergraduate traininginmusical
theatre thatwill take youto a highdegree of proficiencyinacting,singinganddancing.Equal
emphasiswill be placedoneachof these three disciplinesinordertoproduce rounded
performerswithall the necessaryaccomplishments’.Thisonlyreiteratesmore astowhy
drama schoolsare the most specialisedtrainingroute whenconsideringwhichpathtotake
whenbecomingamusical theatre performer.
Henshall,R.H., (2012), So You Want To Be In The MUSICALS?,Great Britain, Nick Hern
Books Limited[Accessed:09/11/2017]

13. Ramy BenFredj 1524
Whatare the progression routesto becomea musicaltheatre performer,and how do you
workup the ladder?
The pace inprogressionbetweeneachmusical theatre performercancompletelyvary,asI
have mentionedbefore abigaspectinbuildingyourself upisnetworking,meetingnew
people,keepingcontactsfor future preference.E.g.youcouldmeetanotherperformerwho
isjust as willedtobe successful,youbecome friends,thenhe contactsyousayinghe’s
writinga productionandseesarole for you…thiscouldbe yourbig break,all froma friend
youmade previously.There are manyotherexamplessuchasmeetingcastingdirectorsthat
may notcast youinpresentbutbecause of how you presentedyourself theycontactyouin
the future fora differentperformance theycansee youapart of.Some musical theatre
performerscanstepstraightintoleadroleswhereassome will alwaysremaininensemble
despite wantingtogetfurther.Waysingettingfurtherinthe industrycanbe to gain more
experience throughamateurperformancesandbe resilientkeepauditioning.
As an aspiringperformerIfirmlyrecognise thatwhere Iwanttobe in mycareer may be a
longhaul howevermyplanwouldbe toconstantlygainnew experiencesinperformancesI
enjoyandauditionagainandagain.HoweverIwouldn’tjustjoinanyperformance offeredto
me as I wouldconsidermyCV,the lastthingI wouldwantis to be type castedthisiswhere
castingdirectorsinthe industryonlysee youas one particularrole.
Whatemploymentopportunitiesareouttherefor musicaltheatre performers?
There are manyemploymentopportunitiesformusical theatre performershoweverthey
massivelyvariate frombeingonstage inthe westendto an amateurperformance.There is
constantnewworkto auditionfor,itis a verycompetitivecareerfield.Butaslongas you
keeplookingandauditioningforworkthatinterestsyou,someone shouldreachbackoutto
you.Sayingthat there isa massive riskinnotbeingable tohave a steadyrate of
employmentgivingmusical theatre performersmonetaryproblemshence whyyousee alot
of themhavingparttime jobsinrestaurants,retail storesetc.If youare wantingtobe inthe
centre of the field(London) thenyoumaybe forcedtodo thisas the costof livingisso
expensive andyoucannotaffordtobe outof workfor too long.
What are the working conditions for a musicaltheatre performer?
Why is professionaldevelopmentimportantforANYperformer?
Professionaldevelopmentisimportantinalmosteveryfieldof work.Regardingprofessional
developmentforperformers,itisvital.If youdonotsearch fornew experiencesanddonot
learnfromthemthenyou won’tgrow.Some musical theatre performersmayassume after
takingthe traditionroute throughan educational institutethattheyknow everythingand
anythingwhenspeakingaboutperformance.Buttheydon’t.Byhavingnew experiencesyou
gainnewskillsandattributes.Youmaylearna particularnew skill fromacertaindirectoror
performer,that’swhyitissuggestedtoconstantlybe partof performancesandwatch
performances.

14. Ramy BenFredj 1524
Whatstrategiescould you putin place to ensureyourprofessionaldevelopmentof a musical
theatreperformer?
As I saidpreviouslyyoucanexpandyourknowledgeandinsightbyjoiningvariousamateur
performances,watchingawide range of performancesfromthe WestEndto yourlocal
school and analysingandcritiquingthemquestioningwhytheydidwhattheydidandwhat
intentionwere theytryingtocommunicate tothe audience.
Whatexercises and techniquescould you use to develop and improveyourperformanceskills
in the following areas?
 Dance – Joinclassestoexplore differentstylesof dance andfeel more comfortable
withthe variousmethodsandtechniquestocommunicatethroughmovement.
Speakto choreographersandquestionhow tomove inaparticularway and whyit
isnecessarytomove like that.
 Acting – Joinclassestogainnew experiencesthroughdifferentroles,speakto
otherperformersonwhatskillstheyuse andspeaktodirectorsaboutwhatthey
lookforin a performance role andhow to fullyemulatethe role youare playing.
 Singing – Joinclassesand explore varioustechniquestoreachdifferentkeysand
notesvocally.Self-assessbutalsogetpeerstoassessyouandask for honest
criticismfromyourteacherin how to soundbetter.
 Vocal– Joinclassesandspeakto vocal coachesand improve yourknowledge and
increase yourmethodsinparticularlycommunicatinganintentionthroughpitch
and projection.
As a musical theatreperformer,whatmethodscould you useto ensureyou are monitoring
yourprogress?
You couldask yourpeersforconstructive criticismeverysooftendependingonhow you’ve
performed orif yourskillsandattributesare improving.Alsoitisimportantasa musical
theatre performertoself-reflectuponyourselfwhetherthatbe fromperformancesor
auditionseitherwayyoushouldconstantlybe breakingdownhow youcanimprove your
skillsinacting,dancingandsinging,fromdoingthis youshouldgraduallyimproveandstart
to shine infrontof more castingdirectorsandaudiences.One methodthatcanhelpyou
self-criticiseistobuildaportfolioof yourworkthat wayit will be easiertolookbackand
recognise whichperformances/showsyouthinkyouperformedbetterthanothers.
Whatpersonalqualities doesa musicaltheatreperformerneed to succeed in the profession?
Creativity,Enthusiasm,Flexibility,HighSelf-Esteem,NetworkingSkills,Perseverance,
Physical Stamina,PresentationSkills,Self-Discipline,Talent
Personal qualitiescanbe gainedthroughlife experiencesandgrowingup/maturing.Thisis
whyso manymusical theatre performers‘make it’whentheyare olderastheyare more

15. Ramy BenFredj 1524
mature and castingdirectorsfinditdifficulttofindthese necessarypersonal qualitiesin
youngsters.
Some particularpersonal qualitiesyouwill needtobe a successful musical theatre
performerwithinthe industryare;perseverance,flexibility,talentandenthusiasm.
Perseverance isnecessaryasyouneedtokeepontrack despite the lackof achievingsuccess,
youmay have gone to multiple auditionsandbe turneddownforeverysingle one butwith
lotsof perseveranceyouwill keeppushingyourself andeventuallygetarole youdeserve.
Flexibilityisneededasyoumayfindoutaboutan auditionatthe verylastmomentor your
showrehearsalsmaytake upmost of your week,if you’re notable todedicate enoughtime
towardsbecomingaperformerthenthe fierce competitioninthe industrywillbeatyouas
theyare readywheneverneeded.
Talentisan absolute necessitywhenwantingtobe successful withinthe industry,
unfortunatelyyoucanonlygetsofar withthe otherlist of qualitiesandmore.Youneedto
have talentinorderto trulyshine tocasting directors,audiencesandagencies.
Enthusiasmiskeyas youneedtobe passionate aboutwantingtobe successful andyou
wantto be able tocommunicate thatto people withinthe industry,if youdon’tshow any
enthusiasmthenmanyperformersanddirectorswillquestionif youdeserve the role you
wantand appreciate it.
Lifestyle
Whenbecomingamusical theatre performervariousconsiderationsmustbe made tohow
your lifestylemaychange specificallyregarding;time,healthandtraining.
Time:A lotof time will be spentinauditionsandrehearsalswhenwantingtobecome a
successful musical theatre performer,alotof sacrificeshave tobe made regardingsocial
livesandotherdegreesof work.Youalsowill spendalotof time lookingafteryourbody
gettingintofitshape.
Health:Gettingintofitshape isveryimportantasdespite the factyouwill be ina rush
gettingtorehearsalsandauditionsanditmay be easiertograb a take out,McDonalds,
Subway,andKFC etc.Howeverthis will inforce badhabitsonyourlifestyle whichwill getyou
out of shape.You needtoeat a healthybalanceddietthatwill supplyenergyforyourlong
daysand keepyourbodyin shape,thatwaymore castingdirectorsare appealedbyyour
appearance.
Training:Finallylotsof yourtime will be spenttowardsimprovingyourskillsandattributes.
Thismeansyou will have tosetaside time workingonyourlines,goingoverparticular
dancesand singingcertainsongs,tohelpyoube a betterperformerinyourshow.Youmay
alsospendtime goingtotrainingsessions/workshopstoimprove these skillsevenmore.
I completelyrecognisewhenbecominga musical theatre performerthatIneedtosacrifice
my time awayfromfriendsandfamily andmysocial life ingeneral,asmore of mytime will
be spentrehearsingmyshows,searchingforauditionsandimprovingmyskills.

16. Ramy BenFredj 1524
Performanceskills; explain, analyse and evaluate your answers.
Whattechnical performanceskillsdoes a musical theatreperformerneed?
Technical skillsare importantforamusical theatre performer,theyneedtohave abasic
knowledge of whatgoesonbehindthe curtainspecificallywiththe sound/music.Theyneed
to have an ear forthe musicknowingwhentheyare meanttobe singingordancingand not
be out of time.Performersmayalsoneedtounderstandhow particularpropswork,an
example isthemusingapropgun,technicianswill needtoshow/trainperformershow to
use the props properlywithoutbrakingthemorinjuringthemselves.Andperformerswill
needtounderstandhowthe setmay alterduringthe performertoavoidmisstepsorinjuries
examplesare the Royal Shakespeare Companyhavingastage that changeslevelswith
completelydifferentsetsduringthe performance.
Whatphysicalperformanceskills doesa musicaltheatre performerneed?
Physical performance skillsare extremelyimportanttoo.Assaidpreviouslyperformersmust
be in fitshape andgreat physical conditionastheyare vigorouslyusingtheirbodyconstantly
rehearingandperforming.Alsothiscanrelate todance skillsasperformersneedtodelve in
a range of differentdance styles;street,jazz,jive etc.Hence whythese physical skillsare so
importantas youneedtoexcel inthese dancesbythe show and know them backto front.
You shouldhave a foundationof these skillsandtheycanimprove throughrehearsal and
training.
Whatvocal performanceskillsdoesa musical theatreperformerneed?
Vocal performance skillsneedtobe acquired byaspiringmusical theatreperformers.Singing
requiresvariousvocal skills,inmusical theatreyoumaysingincompletelydifferentstyles,
an example iscomparingSweeneyTodd’ssongswithitsclashof chords/notesthe songs
require aheavyamountof louddynamicsborderline shouting,now compare thistoChicago
inwhichthe characters singin thisJazzfilledatmosphere withanice array of songsall
havinghighpitchnotesbutnot so louddynamics.Now amusical theatre performermaybe
part of both of these showsandyouneedtobe able to explore yourvocalscapacityandfind
differentvocal skillsthatyoucan assignto differentshows.Alsocharacterwise youmay
have to alteryour accentfor differentshows.
Whatinterpretive performanceskills doesa musical theatreperformerneed?
Interpretativeperformance skillsare important,asyouwill watchothershowsandanalyse
whatskillsthey’ve usedinvolvingtheirmovement,characterisationandvocalstoenhance
theirperformance.Youwill alsohave tointerpretthe otherperformersworkingwithyou
and see if there isanyskillsyoucan transfertoyourself asa musical theatre performer.
As a musical theatreperformer,how would you makeyourself stand outso thatyou are
employable?
To make myself standoutas a musical theatre performerImustconsidermyapplication,
particularlymyheadshot,if Idon’tlookthe part thencastingdirectorswill notevenbother
lookingthroughmyperformance CV.Hence whyIneedtomake sure my headshotistaken
by a professionalphotographerandthattheybelieveIlookgoodinit,as Abi Sweeney

17. Ramy BenFredj 1524
(Musical Theatre Dance performer/teacher) said “How yousee yourself isn’thow othersdo,
youmay like the photoof youbut castingdirectorswon’t”,hence whyIneed professional
opinionsonmyheadshot.Ialsoneedtotake time and dedicate myself toworkshopsand
auditionsmeetnewpeopleanddisplaymyself tothemasa professionalandincrease my
networkof people Iknowwithinthe industrywhichshouldincrease my chancesingreat
opportunities.
Practical skills
Whatplanning would a musical theatreperformerhaveto considerto ensure they are fully
ready forthe showthey are preparing for?
Planningwouldbe keyinorderfora musical theatre performertofeel readyforashow,this
involvesgoingoverthere linesand practicingtheirmovementandreactionstoparticular
parts of the script.Alsogoingoverthe dancesandsongs withinthe show tomake sure you
can execute thembrilliantly.Alsotheymaywishto researchintothe contextof the show
and the backgroundof theircharacter, theyshouldalsolook(if there isany) atprevious
interpretationsof theircharacterandsee if there'sanythingfromthemthattheywouldand
wouldn'tdo.
Howwould a musical theatreperformer,ensurethey are ready fora day of rehearsals?
To be readyfora dayof rehearsal the directorwouldexpectthe performertohave learnt
theirlinesbeforehandandshowupinthe correct gear.Alsotheyneedtoappearin the right
frame of mindreadyto learnmore and work hardpartly a wayof communicatingthistothe
directorisby learningyourlinesasthenyoucan focuson yourcharacterisationwithinthe
scene youare beingdirectinginandnotbe distractedbythe thoughtof what line comes
next.
Howwould a musical theatreperformer,ensurethey are ready fora performance?
To ensure youare readyfora performance musical theatreperformersmustmake sure they
are fullyaware of eachpart of the show knowingthe insandoutsof it.Sleepisa major
factor,performersmustgetenoughsleepsothattheyare energisedbythe time theyhave
to go on stage.
Howwould a musical theatreperformerestablish a character forthe stage?Describe and
explain.
An actor couldexplore lotsof characterisationexercisestoestablishtheircharacter.This
couldbe hot seatinginwhichthe actor sitsdownas the character and improvisesananswer
for anyquestionaskedtothembytheirpeers‘hotseating’themthisbeginstomake you
thinkas the character and create a full storyfor them.Anothercouldbe role onthe wall this
iswhere yousimplywrite all yourcharactersfeaturesandemotionsdown,thiscanbe
interestingasyoubegintoconsiderhow audiencesmaysee yourcharactertherefore
consideringhowtheyshouldbe portrayed!
Whatskills doesa musicaltheatre performerneed to ensure they are responding to direction
and/orchoreography positively to ensurethey areachieving their best?

18. Ramy BenFredj 1524
Musical theatre performersshouldstrivetowardsconstantlyimprovingtheirresponse to
directionandchoreographytoensure theyare achievingtheirbest.Thiscanentail byself-
assessingthemselvesobservingif theirperformance hasactuallyalteredafterthe necessary
direction. Youshouldconstantlyworkonanyimprovements/focusestheyhave givenyouto
communicate tothemyouare mature and reliable,if youdon’tact ondirectionimmediately
or choose not to agree withdirectionthenyouwillcome acrossas stubbornandarrogant to
directorsandchoreographers.
Howwould a musical theatreperformerusetheir team working skills in their job role?
Team workisessential whencreatingaperformance.Youneedtobe able toget alongwith
your cast andleanon one and otherfor transferable skills.Youshouldlearnfromyourpeer
performersastheyshouldlearnfromyou.If youshow yourself asa leaderamongsta team
thenyouinstantlyhave abetterholdon yourcast than othersand youcommunicate tothe
directorthat youare a good role model tostandby.As I have statedpreviouslybadblood
will showonstage howeversowill goodblood,if yougetalongwithanotherperformance
thenhave to act alongside themorevenagainstthemthenthe friendlyalliance/rivalrywill
showmore on stage.
Interviews
Guestspeakerno.1
Name:Lucy Kay
Age:
What age didtheybegintheircareer? 18 whenshe gotscoutedfor Britain’sgotTalentand
endedupbecomingthe runnerup.
How longhave theybeenintheircareer?
Currentrole:The FairyGodmotherina Cinderellapantomime.
Previousroles: The NarratorinJosephandthe AmazingTechnicolourcoat.
Info:Wentto AshfieldstudiedMusicandPerformance studies,lovedmusical theatre but
obsessedwithOpera,thenwenttoa musiccollege andstudiedopera.Once graduatedgot
scoutedbyBritain’sgotTalentas theywere searchingfora classical modernsinger,she
came 2nd
in 2014. Afterdoinga lotof classical pieces,thendida12 month tourfor Josephas
the narrator as she had a callingtomusical theatre.
1. Duringthe processhow doyou deal withsetbacks?
Had a lot,whenshe firststartedmusical theatre she losthervoice due tothe vigorous
regime,she letthe understudygoontothe stage for the firstweek,she hadvocal trainingto
helpher.
She has auditionedfornumerousof rolesthatshe hasn’tgot,but itcan be reallyabout
lookingthe partfor a role.May have to alterappearances.Youmay questionyourself but
one day youwill getthe role youwantthat will thrust youintothe industry.Youwill find
people thatbelieve inyou!Lucystruggleswithdancing,she auditionedforFionainShrekthe
Musical,she boughttap shoeswithherto the auditionandstruggledmassivelydue tolack
of technique andconfidence.Sotoworkon that she’sgettingdancinglessonsandtaking
themveryseriously.

19. Ramy BenFredj 1524
2. Are there variousroutesintothe industry?
Yes.Lucy has presentedshowsandperformedinothers.She statesthatmusical theatre isa
great base to have as itcan take youintovariousdifferentplatforms;theatre,screenwork,
voiceovers,presentingetc.
3. What was yourbiggestinspiration?
Saw the Lord of the Ringsmusical andwasinspired.“It’snevertoolate tochange”.“It
doesn’tmatterwhoyouare… youwill alwayshave togo intoauditions”.
4. Duringthe processhow difficultwasitgainingexposure tothe agents?
A college showhaslotsof agentsgoingto watchto scout and spottalentsoyou mayget
pickedupthat way.If youan amateurshow alwaysbe preparedforan agentto come watch.
It isimportantto getan agent as itis verydifficultdoingitall byyourself.
5. What are the qualitiespeoplelookforinauditions?
“Confidence,nottoomuch as there’safine line betweenconfidenceandarrogance”.Don’t
be timid or too nervous,don’tapologise make everythingseemright. “Importanttolook
nice,nottoo overdressedandsomethingthatcanshow your figure off”. Come innaturally,
showyour figure off andbe comfortable inyourownskin.
6. Duringyour time onJosephwhatwasa typical rehearsal dayforyou?
“We had one weektolearnthe entire show”.“Ilookedatthe score before the firstdayof
rehearsal andhad hundredsof pagestolearn”.“It was9 in the morningtill 8at night
sometimesevenlonger”.“We did twoshowseverydayandSaturday we didthree”.“Itcan
be verydemandingandintense andyoucannothave a social life forthatweek”
7. Out of all the thingsyou’ve done whatisabigaccomplishmentforyou?
“Bringingmyalbumout wasa bigaccomplishment, butwhenItransitionedintomusical
theatre,at the endof our firstshow seeingthe audience’sreactionandseeingthemenjoy
your workisjustamazing”.
Guestspeakerno.2
Name:SeanJones
Age:46
What age didtheybegintheircareer? Whenhe leftschool at16-18
How longhave theybeenintheircareer?
Currentrole:MickeyinBloodBrothers
Previousroles:
1. Didyou do a performingartscourse or an actingone at Guildhall?
“It was a straightactingcourse,I alwayswantedtobe an actor and I neverwantedtogo
intomusicals,wasn’tabigfan”. “Whenyou’re becominganactor youneverknow how
to marketyourself,essentiallyyouare becomingabusiness”.
2. Whendidyou start yourcareer andwhere?
Got expelledfromaschool,joinedatheatre andgotan apprenticeship, joinedthe
theatre groupthere and that’swhere hislove forperformance began.

20. Ramy BenFredj 1524
3. How didyouadapt fromactor to musical theatre performer?
He knewhe hadto singfor Mickeyand before the auditionhe hadsinginglessons,
“because Iwantedit somuch, I waswillingtoworkforit”. “It waswhenI hada recall
fromthe firstauditionbasedoff mysingingwhere IsaidIcan dothis”.
4. How manyrehearsalsdoyouhave to prepare forMickey?
“We normallyalwaysgetgivenaweek”.Normallynotgivenlongdue toitconstantly
touring.
5. Do youhave to get inthe mindsetof Mickeyor can youjustgo on stage straightaway as
him?
“I’m nottoo differentfromhim, it’slike I’mplayinganoverexaggeratedversionof
myself,soonce that costume ison that’sit for me”.“Energyisthe mostimportantthing,
I have to workmore for the endof Mickeyas that character ismuch more emotional”.
Guestspeakerno.3
Name:Abi Sweeney
Age:
What age didtheybegintheircareer?
How longhave theybeenintheircareer?
Currentrole:Dance teacher
Previousroles:
1. Doeswhere youchoose togo to school effectyourcareer?
“Dependingonwhatyouwantto do” she was focusedintomainlydance andmusical
theatre andauditionedfor afew placesandchose MADD as itis heavilydance based.
She made to researchinto“whowouldbe teachingme and whattheirbackgroundwas”.
She statesthat if youwant to go downthe route of a Lead ina musical then“you’dwant
to do more actingand singing,andthengo forGuilfordorMountview orArtsed.I’dgo
to Londonpersonally”.
2. What was a typical daylike foryou?
“A typical dayat MADD youwouldhave to signinby 8:30am if you didn’tyou’dbe in
trouble”. Firstlesson1hourand a half of dance,differentstyleseachdayjazz,balla.
Then1 hour or 2 on singingensemble,thenmusical theatreclassfor1 hour or 2 and
thenan actingclass (monologues). Everythirdweektheywouldhave someone fromthe
industrycome inand everyweek5students are chosenat randomto performandget
“constructive criticism”fromtheirpeers“itwastreatedlike anactual audition”.“You
normallyfinishat6:30, witha 40 minute lunchin-between”.
3. How muchacademicwork doyou do comparedtophysical?

21. Ramy BenFredj 1524
“In the firstyearyou do a lotof notationandreadingmusic,butas for essaysnothing
like that,then2nd
and 3rd
yearare all practical,obviouslyhave tolearnyourlinesbutno
writtenwork”.
4. How muchexposure doyougetto agents?
“You have a gala showcase at the endof the year”“You don’tknow who’sinthe
audience,the people teachingyouhave friendsinthe industrythatwill come downand
see you,castingdirectors”.“We had to fundraise fromyear1 to year 3 £8,000 to holdit
at the galatheatre inLondon”.“In my year2 people outof 21 got a contract froman
agent”.
5. Why didyouchoose to go to MADD?
She was 16 and chose she didn’twantto live inLondonandgot a 50% scholarshipfor
MADD and alreadyknewpeople thatwere doingwell there.
6. What didyou have todo in yourauditionforMADD?
“A monologue,asonganda solodance,inthe morningyouwouldhave a little
interview,thenwe didaballetclass,ajazz class,a tap classand thenhad lunchand did
the soloparts”. “The biggestquestiontheyaskedme wasif Icouldbe any leadinglady
whowouldI be?I thinktheywantedtofindoutwhatI was lookingforfromthem”.“Go
and be yourself atthese auditions”.
7. What do youhave to take to auditionsinthe industry?
“For musical theatre youneedtotake a CV, a headshot,forcommercial dance geta
portfolioof picturesindifferentstyles,formusical theatre youneedagoodheadshot”.
“Email,email,email,askpeople fordifferentagenciesemailsevenif theyaren’tholding
auditionsemail anyway”.“How yousee yourself isn’thow othersdo,youmaylike the
photoof youbut castingdirectorswon’t”“Go somewhere professional”.
8. What was the ratioof dancingto actingand singingatMADD?
“For dance if you wantto be an all-roundperformerthenyouneedtoknow all these
styles”.“There wasa lotmore dance butthere was a varietyof everything”.
9. Whenyouwentintothe auditionforMADDdid youhave to be strong at everyart form?
“I wasn’tI wentas a dancer whocouldact, I had done nosingingbefore Iwent,theysaid
to me in myauditionthatI will have todo more workon my singingtobe a triple
threat”.“Rememberyouare goingto train,theyare lookingforpotentialinyou”.“You
are notgoingthere as a finishedproduct”.
Case Study on Christopher Jackson
 Biographical research –

22. Ramy BenFredj 1524
ChristopherJacksoniscurrentlyaged42 born in September30th
1975. Sang inhis
local church inIllinoisandtookpartin the communityplayssince youngbuthe truly
beganhisMusical Theatre journeywhenhe was16 playingthe role of the Artful
Dodgerin Oliverinhiscommunitycollegetheatre. He attendedthe American
Musical and Dramatic AcademyinNew YorkCity. NominatedforaTony awardfor
the George Washington‘2016 FEATURED ACTORIN A MUSICAL’.
 Interviews
 Theirlifestyle –
Before he beganInthe Heights,Christopherlearnt thathissonhad beendiagnosed
withautism.Christopherandhiswife,VeronicaVazquez-Jackson,are advocatesfor
the organization ‘AutismSpeaks’.Betweenthem theyhave one sonandone
daughter.
 Theirrole –
Most famousfor playing the original George Washingtonin Hamiltonfrom2015
August6th to 2016 November13th.
Otherroleshe has had:
The Lion King(1997) – As an ensemblesingerthenworkedhiswaytobeingan
understudyforSimba,theneventuallybecomingthe replacement.
In The Heights(2008) – As the original BennyfromFebruary14th
2008 to August16th
2010, thenwasa replacementforBennytemporarilyfromDecember20th
2010 –
January9th
2011. In The Heightswasalsowrittenbythe HamiltoncreatorLin-
Manuel Miranda whichformedhisfriendlyrelationshipwithhimwhichledtohim
gettingthe role of George Washington,8 yearslater.
Memphis(2009) – As a replacementforcharacterDelrayfora short time from
January24th
2012 – February26th
2012.
Bronx Bombers(2014) – As the original BobbySturges/DerekJeter,despite thisalso
beingonBroadwaythiswasn’ta musical and infact justa play,normallyChristopher
stars inmusicalsnotplays.
HollerIf Ya Hear Me (2014) – As the original VertusinJune 19th
2014, gettingback
intomusicalsbefore ayear laterbreakingthroughwithHamilton.
 Theirworkingconditions –Hisworkingconditionsare verywellashe’sconstantly
beenonBroadway.
 Jobroute – Trainedat Musical and Dramatic Academy,auditionedconstantlywith
hisvast array of skillsfromactingtosinging.Eventuallygainingsome brilliantroles
on one of the mostrespectedstagesinthe worldinmusical theatre.

23. Ramy BenFredj 1524
 Special skills –
He isverywell educatedandcollected. One of the longestoriginal castmembersto
lastin Hamiltoncommunicatinghe hasa lot of dedicationandenthusiasmtowards
hiswork.
Responseto live theatre
Howdo you feel when you havewatched live theatreperformances?
As an aspiringtheatre performerthe feelingIgetwhenwatchinglive musicaltheatre
performancesisindescribable.EspeciallyasIgetolderand learnmore aboutthe industry
and all the workthat goesintothem, I recognise how talentedandhardworking all the
performersandpeople are thathelpedputthe piece Iamwatchingtogether.Ihave always
beenone towatch entertainmentoftengoingtothe cinemaalottoo, butunlike filmsthe
performersinthatverymomentare performingforyouandmistakes cannotbe made as
there isnot cuttingand startingwitha live performance.Anexample isIhave beentosee
‘BloodBrothers’twice timesonce inNottinghamin2015 and thenonce inSheffieldin2017
and I am amazedat howboth timesIhave seeniteach individual actorandactresshas
broughtthere absolute A game to the stage,thenwhenyoutake intoconsiderationthey
mustperformthat same showaround7/8 timesa weekittrulyismindblowing.My
response isarecognise howmuchhard workgoesintolive performancesbuttheirsis
nothingelse Iwantmore,as eachtime the performersgoup theyare entertainingnew
people,makingamemoryforthem.
Anotherinstance where Ihave hada real response toa live theatre performancewaswhenI
wentto see Bouncersatthe Lake Side arts theatre in2015. During thisperformance Iwas
amazedby the use of comedictimingfromthe otheractors and how theycompletely
capturedthe practitioners’style whowrote the performance,JohnGodber.Because of thisI
thenwentagainto the same venue towatch JohnGodber’s‘Shafted’whichhe againwrote
and actuallystarredinit himself asthe leadoppositethe onlyothercharacterplayedbyhis
wife.Despitethese notbeingmusicalsImanagedtositamongstthe audience afterandget
a questionsandanswerswithJohnGodberhimself,itwasthere Irealisedhow important
live performancescanmeanto the people whohave createdthemastheyare wantingto
oftendeliveramessage tothe audience.Isoonunderstoodthatif I am wantingtobecome a
musical theatre performernoperformancenorauditionshouldbe performedunlessit’s
withfull passionandeffort!

24. Ramy BenFredj 1524
Bibliography
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