MUSICAL THEATRE PROSPECTUS 2018 - ROYAL ACADEMY OF MUSIC
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Musical Theatre
P ro s p e c t u s 2 0 1 8
1
H ow to F i n d u s One Year MA in Performance
( M u s i c a l T h e at r e )
1 Royal Academy of Music
Marylebone Road
London NW1 5HT
A year of intensive training for musical
theatre performers
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Head of Musical Theatre: Daniel Bowling
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10 September 2018 – 7 July 2019
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Pic “One of the most prestigious hothouses of
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young musical talent in the world.”
er
Festival Elizabeth
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Hall Hall
BBC Sound of 2015
“This is a place of sheer joy and
exuberance, this is a place of meticulous
artistry, where futures are built, this is
a place where people come to learn a
craft, where talents are passed on from
Royal Academy of Music generation to generation... this is a very
Marylebone Road special place.”
London NW1 5HT Sir Elton John
www.ram.ac.uk/mth
Contact: 020 7873 7483
3
Panel of Advisors Teaching Staff
John Caird Dylan Brown — Acting
Christine Cartwright Josh Darcy — Improvisation
Howard Goodall George Hall — Project Leader/Director;
Charles Hart History of Musical Theatre
Christopher Legge Laka D — Practical Musicianship Through Song
Anne McNulty Ryan Gover — Tap
Matt Ryan Sam Kenyon — LRAM Teaching Diploma
Gillian Schofield Olga Masleinnikova — Devising and
Movement for Actors
Matt Ryan — Project Leader/Director;
Vocal Tutors include Song Study
Ross Campbell Anne-Marie Speed — Head of Voice;
Kevin Fountain Spoken Word
Alison Guill Karl Stevens — Dance
Ann James Alfonso Casado Trigo — Musical Theatre
Mary King Ensemble Rep
James Spilling Lloyd Wylde — Voice
Repertoire Coaches include Specialist Musical Director Coaches
Kevin Amos Daniel Bowling
Tom Brady Nick Skilbeck
Alfonso Casado Trigo Mark Warman
Ron Crocker David White
Caroline Humphris
Sam Kenyon
Stuart Morley Visiting Professor of Musical Theatre
Claude-Michel Schönberg
Sondheim Professor of Musical Theatre
Vocal Studies
Mary Hammond
4 5
i n t ro d u c t i o n AND h i s to ry
The Academy’s Musical Theatre programme the training offered. On graduation, you As a student here you will be offered The academic year is split into three terms,
started in 1994 and was designed by Mary will automatically achieve full Equity status. masterclasses and workshops with with vacations at Christmas and Easter. During
Hammond (Sondheim Professor of Musical Importantly, the programme now leads to the professionals from London’s West End and term-time you will be required to attend all
Theatre Vocal Studies and internationally Master of Arts in Performance (Musical Theatre) from around the world. You will be able classes and rehearsals, whenever scheduled,
acclaimed vocal coach) and Karen Rabinowitz postgraduate degree. to enter internal competitions adjudicated unless you have applied for and have been
(director and choreographer) with the aim of by leading musical theatre practitioners. granted leave of absence. Classes extend
providing a multi-skilled training programme in A basic working week of five days comprises Workshopping new musicals from emerging into the evening, and you will occasionally be
a professional environment. If you study with skills classes in singing, acting, voice and the composers and writers is an important feature expected to work at weekends. All rescheduled
us you will in effect become a member of our spoken word, integration of acting and singing, and these sessions often lead to further classes will be on Sundays.
full-time theatre company, working daily with repertoire coaching, audition technique, performance opportunities and productions
professionals. musicality, extended voice techniques, choral beyond graduation. You will learn how to You will be enrolled at the Royal Academy
singing, dance (including jazz technique, sing in a studio environment, making use of Music — one of Europe’s leading
In 1995 the programme was granted the classical technique and musical theatre of the Academy’s professional-standard conservatoires and a member of the University
equivalent of registered graduate status by repertoire), movement for stage, history of recording facilities. of London. Our site is in the heart of central
British Equity, recognising the quality of musical theatre and project work. London, with easy access to its buzzing
Summer term culminates in two end-of- theatrical scene. The Academy’s environment
year full-scale productions led by creative is rich in artistic heritage and full of emerging
and production teams directly from the talent. Our students comprise of a diverse
industry, alongside an agents’ showcase for group of young artists including classical
London’s top theatrical agents. The Academy instrumentalists, concert and opera singers,
has a 95% success rate of students signing composers and jazz musicians.
with London agents upon graduation. You
will be given personal guidance from Gillian
Schofield, one of our panel of advisors, on Musical Director and Coaching Programme
how to prepare and present yourself for your This intensive one-year programme leads
future career — receiving the most up-to-date to either an MA or a Professional Diploma
advice on making industry contacts, marketing (Musical Direction and Coaching). It is highly
themselves and negotiating with agents and competitive with only two or three entrants
casting directors. If appropriate, a cabaret selected each year. It is taught by industry
performance may also be added to your professional Musical Directors, each of whom
performance opportunities. has a different style and specialisation. Further
information and audition requirements are
available on request.
6 7
Subjec t Areas
Singing Spoken Word
You will be offered a one hour individual You will cover an extensive programme in
singing lesson each week, and an individual voice science and its practical application to
repertoire coaching session of 40 minutes. speaking and singing.
In addition, there are group coaching sessions,
ensemble singing projects and audition Individual components include speech
technique classes. The programme aims to and accent, text and language including
explore all aspects of your singing voice and Shakespearean verse, and vocal health. All the
is informed by the latest research into the work done in these classes directly supports
physiology of the voice. that given by the singing teachers, and the
necessary integration of the healthy, expressive
speaking voice with the singing voice is Dance The focus is on telling a story through
Acting fundamental to the programme. In addition The primary objective of the dance course movement only in the first term. Later in
Classes and tutorials are designed to give the you will receive a weekly 20 minute individual is to introduce or nurture skills that will be the year you will start to combine text
whole company a supportive environment in tutorial. appropriate in a dance audition. and song with movement to make these
which you can grow and practise your skills combinations seamless. These classes give
together. Topics will include improvisation, You will learn to replicate dance combinations you the opportunity to become collaborators,
texts, sight-reading, building a character, the Integration of Acting and Singing demonstrated by a choreographer or teacher. valuable members of a devising process and
rehearsal process and audition work. You will All of the above are combined, discussed and We aim to give you confidence in dance, and thinking performers.
take your class work further as you rehearse explored in a weekly ‘integration’ class. You will the ability to translate musicality and style to
and perform scenes and whole plays, musicals be encouraged to match your vocal quality and the appropriate task.
and revues. texture to the acting demands of a song, and History of Musical Theatre
to develop your individuality, with a particular The dance course concentrates on three This is studied in weekly sessions that
emphasis on extended voice technique. vital elements: musicality, empathy and combine listening and commentary on
Audition repertoire, strategies and technique technical ability. operettas from Offenbach and Strauss to
are regularly practiced throughout the year present-day musicals.
as well as the assembling of a strong audition
repertoire ‘bible’ in preparation for industry Movement
auditions. These classes are designed to build confidence Industry Development
and cultivate a natural sense of physicality. This class gives you the opportunity to work
With a creative and collaborative approach to with industry professionals in performance,
the work we set up a safe environment to try direction, casting, musical direction, theatrical
things out and stretch our boundaries without agencies, choreographers, performance
fear of ‘doing it wrong’. Looking at solo and coaching and psychology and image
ensemble movement, including contact and consultants to formulate and practice the
partnering work, we aim to create complex most current strategies for breaking in to the
choreography from simple building blocks. industry. How best to prepare, take and win
an audition is fundamental to this course.
Love’s Labours Lost — 2017
8 9
New Music Workshops Agents’ Showcase and Productions Past Students
At the Academy we put great importance You will take part in a showcase with an invited A measure of the programme’s success is the
on discovering and promoting the next audience of agents and casting directors, and high proportion of students who leave the
generation of musical theatre writers. You full-scale musical productions with band or Academy with representation (95%), and the
will have direct collaboration with emerging orchestra. In 2017 the final project was a fully number who obtain professional work. Alumni
writers by workshopping and developing staged production of Alex Timbers and Michael have worked at the National Theatre and the
new material. These workshops often lead Friedman’s production of Love’s Labour’s Lost Royal Shakespeare Company, West End shows,
to further performance opportunities and at the Hackney Empire as well as performing at national and international tours, rep seasons,
productions beyond graduation, as well as the the televised production of Disney’s Broadway film and TV, opera companies, on radio, the
production of demo recordings. Improvisation, Hits at the Royal Albert Hall. London fringe, as recording artists and as
characterisation, appreciation of different recording backing singers. The Academy has
contemporary musical styles and vocal In 2014 the department celebrated its 20th also produced some of the UK’s top Musical
techniques, staging and sight-reading (sung anniversary with a gala performance at the Directors, as well as successful arrangers and
and spoken) are all explored within these Stephen Sondheim Prince Edward Theatre, featuring alumni active writers of musical theatre.
creative workshops. on the West End stages.
Projects
In order to put into practice all of the diverse In recent years we have also performed LRAM Teaching Diploma (optional)
Masterclasses teaching elements of the programme, practical songs by Cole Porter at Cadogan Hall with This is separate from the Musical Theatre
Visiting professionals give masterclasses and performance projects are rehearsed and the Royal Philharmonic Concert Orchestra, in programme. The Licentiate of the Royal
workshops. Lectures from representatives of performed throughout the year. These are the Christmas Special of Friday Night is Music Academy of Music (LRAM) diploma provides a
professional bodies and mock auditions with devised according to the individual needs Night on BBC radio and television, and live comprehensive, practically-based introduction
guest professionals are also arranged. In 2016– of students and the company as a whole concert broadcasts with Sir Elton John as well to the principles of teaching and is available
17 guests included Claude-Michel Schönberg, and directed by top industry directors, both as Theatre MAD Trust. to all students. Online registration for LRAM
Pippa Ailion and Hadley Fraser. established and emerging. begins in enrolment week, and there is a fee
of £300. A Licentiate Musical Theatre Teaching
Past projects have consisted of musicals, qualification is awarded.
revues, concerts, cabarets, plays, showings
of devised work, Academy interdepartmental
collaborations or recordings. Projects are
directed by top professionals from within
the industry.
Claude-Michel Schönberg
Masterclass 2017 Love’s Labours Lost — 2017
10 11
Au d i t i o n s a n d E n t ry
Requirements
“When it came to
applying for drama
schools, I knew
Main auditions for the September 2018 a video audition for the MA only (not for After you have confirmed through UCAS
that the Academy
intake will commence on 4 December. Musical Direction). Please contact Conservatoires that you accept the offer of a
was the best place
admissions@ram.ac.uk for information. place on the course, an invoice will be posted
for me to apply for
Applications should be made via UCAS to you in the Spring. 25% of the tuition fee is
musical theatre,
Conservatoires and need to be completed due a month after the invoice date and the
and this past year here has exceeded
by Wednesday 1 November 2017. Audition requirements remaining balance is due in mid-August 2018.
all my expectations. Not only does the
• Three songs demonstrating different voice
school welcome, but it also celebrates the
qualities
diversity of its students coming from a wide
Minimum entrance requirements • One contemporary naturalistic speech or Scholarships
range of backgrounds and all with different
for enrolment: monologue (not more than 2 minutes). Please Scholarship assistance is available to
prior levels of exposure to the industry.”
avoid poetical style, e.g. Stephen Berkoff or the best candidates following audition.
Merryl Ansah – 2017 Graduate. Currently in
• Master of Arts in Performance Samuel Beckett. Scene material to be learned
Beautiful — The Carole King Musical.
(MusicalTheatre): a high level of may be sent to you upon application.
performance attainment as determined • Participation in a movement/dance workshop Assessment
at audition, and normally academic (at audition) OR a short movement or dance Open Evening The assessment of classwork on the
qualifications as indicated on our Entry piece (video) The Musical Theatre Department will be programme is continuous. Each project is also
Requirements web page. • Discussion with panel (at audition) OR holding an Open Evening on Monday 23 assessed, and students are kept in touch with
• Master of Arts or a Professional Diploma short explanation of motivation to join the October 2017. This is an opportunity to find their progress and staff expectations through
(Musical Direction and Coaching): a programme (video) out more about the programme, visiting the regular interviews. You will be required to
high level of performance attainment as • Improvisation and sight-reading may be Royal Academy of Music, meeting staff and submit a professional portfolio as part of your
determined at audition; and normally, included as part of your audition. students and watching some work in progress. MA assessment. More information on this can
but not necessarily, a first degree or The audition process may take an entire day, If you would like to attend, please email be found in the musical theatre handbook,
undergraduate performance diploma, or an ending no later than around 6pm. mth@ram.ac.uk. when you start the course.
equivalent standard of performing ability and
professional experience.
Application details Fees Provision for students with disabilities
The MA English Language requirement is The application fee of £76, together The tuition fee for 2018–19 for the MA in The Royal Academy of Music welcomes
IELTS Academic Test 6.0 or Pearson with the UCAS Conservatoires registration Performance (Musical Theatre) will be £15,140 applications from candidates with disabilities
Academic 58. You do not need to have fee of £25, is payable on submission of for EU and UK students, and £19,280 for who meet the musical, academic and
achieved this before your audition, but an your online application. After that, you will non-EU students. performance criteria for their proposed
assessment of language proficiency will be be contacted by the Academy Registry to For ELQ fees please see ram.ac.uk/fees. programme, as stated in the prospectus.
part of the audition process. complete an information form, including a
short statement on how you propose to The fee for the MA in Musical Direction and The Academy is committed to providing an
We welcome applications from performers finance fees and living expenses, and to Coaching will be £13,750 for EU and UK inclusive environment for learning, actively
wishing to undertake an intensive programme send a passport photograph and a CV. and £25,100 for non-EU students. promoting equality of opportunity. For
with the intention of re-focusing their careers. The fee for the ProfDip in Musical Direction further information on this please contact the
Please contact admissions@ram.ac.uk before and Coaching will be £11,200 for EU and UK Disability Advisor, Judy Fink, j.fink@ram.ac.uk
If you live outside Europe and cannot travel submitting a late application. We can consider and £21,500 for non-EU students.
to London for the auditions, we will accept late applications if places are still available.
12 13
G u e s t T e ac h i n g Sta f f
Directors, musical directors and coaches Malcolm Ranson — Fight Director
for specific projects have included: Jenna Russell — Actress
David Charles Abell — Musical supervisor Matt Ryan — Director
Lucy Jane Adcock — Dancer Naomi Said Movement — Director
Pippa Ailion — Casting Director Claude-Michel Schönberg — Composer
Sean Alderking — Musical Director and Bijan Sheibani — Director
accompanist David Sibley — Actor
Matt Board — Composer Nick Skilbeck — Musical Supervisor
Michelle Bonnard — Film Director Mark Smith — Choreographer
John Bucchino — Composer Todd Susman — Actor
Clare Burt — Actress and Singer Tim Sutton — Musical Supervisor
Jonathan Butterell — Director Helen Tennison — Director
Christine Cartwright — Director and Harriet Thorpe — Actress
Choreographer Gareth Valentine — Musical supervisor
Hannah Chissick — Director Hannah Waddingham — Actress
Matthew Cole — Choreographer Lotte Wakeham — Director
Raymond Coulthard — Actor Matthew White — Director
Karen Dawson — Makeup Artist Richard Wilson — Actor and Director
Anthony Drewe — Director and Writer Sam Yates — Director
Dan Evans — Director
Sandy Faison — Actress
Kate Flatt — Movement Director Masterclasses
and Choreographer Students have attended workshops and
Laurence Fox — Actor discussions with:
Amir Giles — Choreographer Pippa Ailion, Scott Alan, Tracie Bennett, Daniel
Nickolas Grace — Actor and Director Borch, Jason Robert Brown, Peter Cregeen,
Bruce Guthrie — Director Kim Criswell, Janie Dee, Joel Fram, Maria
Sheila Hancock — Actress Friedman, Simon Green, David Grindrod,
Steve Kirkham — Choreographer Mary Hammond, Tamara Harvey, Trevor
Ronnie LeDrew — Puppetry Jackson, Andrew Lippa, Sally Mayes, Elizabeth
Nigel Lilley — Music Director McGovern, Julia McKenzie, Jonathon Morris,
Anna Lindstrum — Director Sir Tim Rice, Dame Diana Rigg, Matt Ryan,
Andrew Lippa — Composer Jeremy Sams, Claude-Michel Schönberg,
Gillian Lynne — Director and Choreographer Jenny Seagrove, Annie Skates, Stephen
Neil Marcus — New Musical Producer Sondheim, Imelda Staunton, Dan Stevens,
Anne McNulty — Casting Director Nicola Treherne, Hannah Waddingham.
James Orange — Casting Director
14 15
Da n i e l B ow l i n g M AT T RYAN G e o rg e H a l l Dy l a n B row n
Head of Department, Musical Director Director, Project Leader Director, teaching Musical Theatre History Acting Teacher
Daniel has over twenty five years of Musical Matt directed the European premiere of Pasek After working for several years as an actor, Dylan Brown has worked on many television
Theatre industry experience working for some and Paul’s Dogfight at Southwark Playhouse George Hall was director of the Acting Course productions as an actor, including Midsomer
of the profession’s biggest producers including (Evening Standard nomination for Best New at the Central School of Speech and Drama Murders, Vexed, Being Human, A Touch of
Disney, Cameron Mackintosh, Andrew Lloyd Musical) and Jamie Muscato in a new one- for 24 years, during which time he continued Frost, Eastenders, Casualty and Holby. Film
Webber’s Really Useful Group and Joop van man musical, Stay Awake, Jake at the Vaults, to work in the theatre as a writer, composer includes Luc Besson’s Unleashed, Ken Russell’s
den Ende’s Stage Entertainment. As a music Waterloo East (Winner of the Origins Award, and director. Since leaving Central over 25 The Mystery of Dr Martinu, Sacha Bennet’s
supervisor, he has overseen many of the Vaults Festival). Matt is an Honorary Member years ago, he has taught and lectured here Devilwood and Tuesday and Neil Marshall’s
industry’s most iconic productions including of the Royal Academy of Music. and in Sweden, Holland and the US, as well as Centurion. On the stage, he has performed in
Mary Poppins, Phantom of the Opera, Les appearing with his own cabaret group. Thea Sharrock’s Free Stage (National Theatre),
Misérables, Miss Saigon, Cats, Joseph and Matt was the associate director of Miss Saigon as Puck in Michael Grandage’s A Midsummer
Avenue Q, in London and worldwide. Most at the Theatre Royal Drury Lane and directed Night’s Dream (Sheffield Crucible Theatre) and
recently Music Director for The Lion King at the the show’s Australian premiere at the Capitol Anne-Marie Speed Rosencrantz in Paul Miller’s Hamlet. Directing
Lyceum in London, Daniel is also a sought- Theatre in Sydney as well as the original British Voice, Singing and Acting Coach credits include Romeo and Juliet (featuring
after conductor and music director as well as touring production. Anthony Howell) at The Drama Centre London,
author and vocal coach. Anne-Marie works as both a voice and Ayckbourn’s Confusions for ACT Brighton,
UK Productions include: singing teacher specialising in training and Accomplices by Simon Bent (featuring John
A graduate of Curtis Institute of Music, Daniel Sweeney Todd, Company, Cabaret, They Shoot development of both the speaking and singing Simm and Andrew Lincoln) at the Soho House
studied conducting with Michael Tilson- Horses, Don’t They?, Carousel, Oklahoma!, voice. She is also a very experienced accent/ London and Nevermind by Martin Sadofski.
Thomas, Leonard Bernstein, Max Rudolph and Nine, Grand Hotel, Merrily We Roll Along, The dialect coach working in film, TV and theatre.
Sergiu Celibidache amongst others. Having Rink, The Wiremen, Hello Again, Pal Joey, As well as her work at the Royal Academy Teaching includes Diorama Arts Centre, Drama
started his career as a trumpet player, Daniel Michael John La Chuisa’s The Wild Party, First of Music, she works with many performers Centre London, Bodyworks and the Academy
has performed with the Cleveland Orchestra, Lady Suite, Rent, Carnival, Assassins, William in the pop industry. She is one of the most of Creative Training.
Philadelphia Orchestra and St Louis Symphony Finn’s Elegies, A Doll’s Life, Promises Promises, experienced teachers and trainers in the Estill
under many great conductors. The Light In The Piazza, Lady In The Dark and Model internationally and regularly presents
the London premieres of Jane Eyre, Violet, workshops throughout Europe. She was
A Man Of No Importance, Bernarda Alba, A President of the British Voice Association in
Catered Affair and Is There Life After High 2001–02. Love’s Labours Lost — 2017
School? (Time Out Critic’s Choice).
He has also directed and devised shows for
Frances Ruffelle (Beneath the Dress / Paris
Original), Clare Burt (Now You Know) and
Philip Quast (Divas At The Donmar).
16 17
James Spilling O lg a M a s l e i n n i kova Karl Stevens
Choral Director Devising and Movement for Actors Dance Teacher
As an actor and singer, James has appeared in Olga is a dance-theatre maker, movement Karl trained at the Hammond School, He choreographed productions of Return to
a number of West End musicals and national director and teacher. She graduated with Chester before graduating from the Royal the Forbidden Planet, Oliver, excerpts from
tours including Man of La Mancha, Sweeney MA in Theatre Directing from INSAS in Academy of Dance. The Wild Party and The Pajama Game for Arts
Todd, The Woman in White, The Phantom of Brussels and specialised in Choreological Educational School, Echoes of the Mystic at
the Opera and Chess. He has sung on many Studies (Contemporary Developments in Karl’s professional engagements include the Peacock Theatre, In Vetriano’s World and
radio broadcasts for BBC Radio 2 and has Laban’s Principles for Performing Arts) and Spamalot and Chitty Chitty Bang Bang (West Last Tango at Wimbledon Theatre for London
appeared as a soloist with the Bournemouth contemporary dance at Trinity Laban in End), the original UK tours of Thoroughly Studio Centre and The Legend of the Fisher
Symphony Orchestra and London Concert London. Her choreographic, performance Modern Millie and Sunset Boulevard and the King at Leicester Haymarket. He has also
Orchestra. As a concert artist he has soloed in and collaborative works have been shown in original German cast of Saturday Night Fever, helped coach the young stars of the West End’s
many of the UK’s greatest concert halls. venues in London, Ghent, Malmo, Dublin, Paris, understudying and playing the roles of Gus highly acclaimed Billy Elliot.
Chur, Berlin and Reykjavik. In London she is and Joey.
As a session singer he has sung with Capital a visiting teacher at English National Opera
Voices, Synergy Vocals, Steve Sidwell SFX for Opera Works. She has taught at HZT —
Choir and has provided backing vocals for University of the Arts of Berlin, Bird College of Hard Times — 2017
TV and artists including The Graham Norton Performing Arts, East 15 Acting School and Le
Show, Russell Watson, Lesley Garrett, Sarah Grand Conservatoire d’Avignon. Additionally
Brightman and Martine McCutheon. He she coaches companies and makers and also
has sung on numerous film/TV and game delivers numerous workshops internationally.
soundtracks. He has recently been heavily
involved in the new movie of Disney’s Beauty
and the Beast. He has also supplied voices for “My time at the Academy not only
Spamalot (online game) and James Villas. equipped me with the skills essential to
working in the industry thereafter, but also
the confidence to put them into practise at
the right moment. The staff and the course
helped to balance a necessary professional
preparedness with that individual spark
of personality that must go hand in hand
when becoming a performer. My reason for
choosing the Academy was the versatility
and depth of study that I believed would
stand me in good stead for the years to
come. I wasn’t wrong. I’d choose it again
and again.”
Hadley Fraser — 2002 Graduate.
Currently in Young Frankenstein, London.
18 19“Working with and
being taught by
industry professionals
every day was
invaluable to me.
I found I was being
pushed further than
I thought possible, especially vocally which
is where I really lacked confidence. I have
so much more faith in my own abilities
now, all thanks to the wonderful staff,
and of course, the valuable friends I
made there.”
Madeleine Leslay — 2017 Graduate.
Currently in Mamma Mia, London.
20 21g r a d uat e s
“Ten years have passed since I joined the
Musical Theatre course, and not a day in
the profession has passed where I haven’t
felt indebted to the Academy. In a highly
competitive industry, your individuality
is the thing most likely to get you work;
the Academy won’t strip you down
M a ry H a mm o n d F R A M , L R A M Graduates have recently appeared or are
and turn you into one of many, but will
Sondheim Professor of currently performing in the West End (and
instead enhance the things that you alone
Musical Theatre Vocal Studies Fringe) in Yarico, Dog Fight, Titanic, The
can offer. I will always have such fond
Railway Children, Princess Ida, Miss Saigon,
memories of my time there.”
‘The founder of the renowned post-graduate Mary works with chart-topping and Once, Bend it Like Beckham, The Book of
Nadim Naaman — 2006 Graduate.
Musical Theatre course at London’s Royal international artists in both theatre and the Mormon, City of Angels, Charlie and the
Currently in By Jeeves at
Academy of Music, and an experienced teacher commercial music industry and to date has Chocolate Factory, The Commitments, From
The Old Laundry Theatre.
and singer herself as well as a vocal coach worked on over 120 shows either as vocal Here to Eternity, Les Misérables, The Phantom
and consultant to numerous companies and coach or consultant — including West End of the Opera, Wicked, Sweeney Todd (ENO),
groups, Hammond knows the field inside out’ touring companies, ITV, National Theatre, The Merchant of Venice (RSC), The Light Recent TV and film credits include The
— www.whatsonstage.com. RSC and Donmar and Menier Chocolate Princess (NT), Billy Elliot, Follies (NT), The Girls, Interceptor, Alan Partridge, At Waters Edge,
Factory Theatres. Jersey Boys, Legally Blonde, Lend me a Tenor, Austenland, Black Mirror, Call the Midwife,
Following her training at the Royal Academy The Lion King, Love Never Dies, Love Story, Dani’s House, Doctors, Doctor Who,
of Music in both singing and piano, Mary She presents and attends voice conferences Mamma Mia, Matilda, One Man Two Guvnors, EastEnders, Emmerdale, Great Expectations,
Hammond spent 25 years as a singer with an regularly both in the UK and internationally People, Young Frankenstein, Priscilla Queen Hollyoaks, Hustle, Les Misérables, Lucky Stiff,
almost unique range of styles, from opera at — most recently Pan European conference of the Desert, Spamalot, Sunset Boulevard, Little Crackers, Mr Selfridge, Pete vs Life,
Covent Garden to stadium gigs with groups in Florence. She is closely involved with the Sweeney Todd, The 39 Steps, War Horse, We Phoneshop, Playing It Straight, Pobol Y Cwm
including Black Sabbath, Pink Floyd and Roxy British Voice Association, having been an active Will Rock You, Parade and The Wizard of Oz. and Stella.
Music. She also worked extensively for TV and member for 28 years. She is passionate about
radio recordings (film scores, TV series, live observing and implementing vocal research. Recent UK tours and international productions Musical Director graduates have worked on
broadcasts, BBC Big Band, Top of the Pops, include Son of a Preacher Man, The Last numerous West End, national and international
Jingles etc.,) and television companies and Ship, Carousel (Opera North), Annie, Avenue productions: see www.ram.ac.uk/mth.
record producers now frequently use her as Q, Beautiful, Blood Brothers, The Buddy
a vocal trouble-shooter and singing consultant. Holly Story, Candide, Chess, Dirty Dancing,
Dreamboats and Petticoats, Godspell, High
Society, Joseph, Mamma Mia, Merrily We Roll
“My whole experience Along (Theatre Clwyd), The Merry Wives of
at the Royal Academy Windsor (Shakespeare Globe/USA tour), The
was invaluable, and Phantom of the Opera, Priscilla Queen of the
it continues to be an Desert, The Rocky Horror Show, Scrooge,
essential part of my Sister Act, The Sound of Music, South Pacific,
professional life. What Starlight Express, Top Hat, The 12 Tenors, The
I will never forget was War of the Worlds, concerts and operas.
learning the mechanics of my voice, how
to use it, and take care of it; this is what I’ll
always cherish from an extraordinary year.”
Rachel Tucker — 2003 Graduate.
22 23Published in October 2017
Patron
HM The Queen
President
HRH The Duchess of Gloucester GCVO
Principal
Professor Jonathan Freeman-Attwood
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