So according to The Stage today 4 of the more established drama college Principals have taken a public viewpoint on the government's plans to scrap student maintenance grants: https://www.thestage.co.uk/news/2016/drama-schools-warn-grant-cuts-will-hit-poorest-students/?utm_content=buffer1a193&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
At the risk of being controversial (which I know is very unlike me), this Chicken Licken response to the news is, IMHO likely to do more harm than the scrapping of the grants in the first place. Mountview, LAMDA, Rose Bruford and RADA Principals are now all on record practically telling the poorer students that it's now impossible. Yet speaking as the Principal of a college that receives nothing by way of grants etc (our students are only eligible for a PCDL), I know that it is possible. Rose Bruford's Principal rightly comments on the hours that a drama student has to do, and mentions the difficulties of getting part time work around that. Interestingly they mention the Drama UK 'standard' of 30 hours/week, yet our students do 40 hours a week and several of them have had to manage a full time job around the demands of the course.
Is that ideal, is it fair? Absolutely not. However is it what they needed to do to survive and qualify...yes. Have they gone on to have successful careers, we're on about 50/50 odds with that one, with one of them dangerously close to 'pushing' through the system to get quite a big break sooner rather than later. However regardless of their success right now (and I'll state really quickly that all have worked, my reticence on the subject is financially has it been worth it for them..yet), they are all determined to succeed. That tenacity along with their talent will ensure that they're OK eventually.
Just to be clear I'm definitely NOT backing the government on this, however what I am saying is that every time they cut some arts funding or support, and we bleat about it, and point out to the world that the impossible has suddenly become harder, someone, somewhere will give up on their dream. So the government win.
I appreciate that we're in a very different position - we don't have anything that they can cut, but over the past 7 years I have written so many letters to so many organisations asking for just a little help so that we can help fund those students that are financially independent. Every time a letter comes back saying no. The only difference in 7 years is that the letters of rejection have become nicer, acknowledging our success, but, for whatever reason, they have chosen not to support us. Every time I receive one of those letters I get angry, because I think about the student who is working stupid hours to stay with us, and I get cross because we can't give them as much help as I want to, because not one person would help us. I moan on FB (although I've been told off about that now), I moan at work and at home...but this year I finally realised that me moaning achieved nothing...except that I probably wasn't giving the best of myself to the college on that day, because I was cross with a faceless potential benefactor, who decided to give £££'s to one of the colleges moaning in The Stage today over giving a little bit everywhere else. So I didn't take a wage for a bit longer, or we scraped through somehow together...and every one of those students graduated.
Today the colleges will moan, tomorrow a celeb will tell us that the working class actor and the working class theatre died a bit yesterday because of this news. Yet isn't it time that we got real too? We don't get a 'get out of jail free' card because we're studying the arts. How many other courses does this ruling have an impact on? The difference being of course that nobody cares about the lawyers/solicitors/surveyors etc who equally have to face the impact of less funding. Yes they might work less hours so they can choose to work extra shifts after college - but then to be honest, why aren't those students bemoaning the ridiculous hours that they're at college studying? £27,000 to have 10 - 12 contact hours a week is surely something to protest about? Yet we hear nothing?
So to be clear...I marched in protest when Student Loans were about to be introduced, I took part in the college occupations of the late 80's (admittedly back then, not necessarily understanding the full impact of what was happening, but definitely understanding enough to camp down for a night or two), I willingly got frog marched out of a classroom a few years later when the next wave of cuts were coming in and the occupations started again (hell I even told the students who frogmarched me outside my studio, where the other staff would be...so I was practically a spy for the revolution). I only got through college because I had a grant. Although even that annoyed me - seeing other students whose parents easily had a load of money, enjoying their termly jackpot, because their parents knew how to fill in that form, they knew how to 'present a truth', whereas my parents went for absolute honesty, resulting in me have around a tenth of some of my much wealthier contemporaries. I have said time and time again that I could not have been able to have afforded to go to my own college, had it existed then. So politically don't be telling me that I haven't got a clue, or quoting Churchill and his infamous 'arts' speech to me. I've been there and worn the T shirt.
However, having lived through that time, and seeing that it made no difference at all. Everything that I protested against happened. If I could rewind the clocks I'd protest again, but make the calling more vehement...but even then I know that we would have lost the case. However we have NOT yet lost the young performer that can't afford to come to us. Somehow we always will make it work. Surely our job is to inspire the next generation and fight for them, not go on the record and tell their family and friends that they just as well give up now.
Please stop saying that it's tough for the working classes. It's tough for everyone that chooses to go into HE today. The arts are not the only ones that are impacted by this ruling. So how about the headlines for the next wave of cuts (and goodness knows...there will be more to come)...is just a graphic...an international sign that states quite succinctly that we won't be beaten....regardless of what ever tactic they use. Slightly Brechtian I know...but a much more powerful message than rolling around the ground saying that the fight is over. Yes they would probably prefer less people to study the arts...so even more reason for us to make is possible for them. Therein lies the power of the artist I think.
Thursday, 28 January 2016
Tuesday, 19 January 2016
2 birds with one stone AKA the blog that couldn't wait
So I appreciate that I usually only blog once a fortnight, however for the few of you that have followed my blogs over the past few years, you will know that I've had two rather loud bees in my tight fitting bonnet since opening The MTA back in 2009. The first one is the lack of Mental Health provision in drama colleges - which we're now doing something (hopefully proactive) about, in the form of running a sort of conference on March 16th https://www.facebook.com/events/911328365625354/ in a bid to get Mental Health higher up on the agenda of EVERY college. So the first bee has been swatted - and it's a huge congratulations to Actress Laura Darrall for her #itaffectsme campaign in a bid to raise awareness of mental illness and to raise some money at the same time for MIND. What's interesting is Laura's story (or at least what's known in the public domain)...and that is that she had a history of Mental illness (panic attacks, anxiety, OCD)..which sadly for Laura culminated in a breakdown last year. Now our campaign is. . . what if Laura's symptoms had been spotted and treated at college, would her story have been different? Now for all I know maybe they were, and the breakdown was heading towards her anyway as she had a susceptibility, that's for Laura to know actually not us, but somewhere in every drama college right now, there will be a Laura (or in our experience around 30% of Laura's). Suffering from an invisible but ever present illness at the more 'manageable' end of the scale, which our consultant is able to hit off at the pass before it builds up and up and heads towards a complete meltdown. In her blog Laura talks about the 'troop' that are now helping her fight the demons inside her head...but what if that troop had been on standby earlier, and had been able to diffuse the situation before it became a crises? What if there had been a class at college which had named some of the battles that were going on inside her head - maybe this would have allowed her to 'out' herself much quicker? So many what ifs, and all pointless because I don't know Laura - but here's a great what if...what if every college had Mental Health Awareness as a major topic throughout the course, one which was revisited after Freshers week, after you're told that 'we're here to listen to you', and 'what if' a Mental Health professional was so 'the norm' around the place, you instantly knew where to turn to when the battle was being fought? We are fighting for that 'what if'. With that in mind The MTA's approach is a little different. I won't bore you with it again...but here's a link that discusses what our take on it all is: http://www.thepublicreviews.com/blog-annemarie-lewis-thomas-mental-health-education-starts-at-college/
Our industry is slightly chicken and egg on this one. There's research that supports both the fact that the industry can hit on your susceptibility, and there's research that supports the fact that our industry particularly attracts the susceptible (as we have the elusive allure of escapism). Whichever it is, it doesn't matter - we need to raise awareness of Mental Health in education, so watch this: https://www.youtube.com/watch?v=YOMWvgYlj_M get yourself a post it note, write #itaffectsme on it, upload it, and knock yourself out and donate £3 to MIND. Then pop along to our discussion in March and lend your voice/support/argument...whatever it is, let's get the conversation started.
Then my other bee has forever been the organisation known as Drama UK. I first wrote this
http://www.thereviewshub.com/blog-annemarie-lewis-thomasa-stamp-of-approval/ which simply explained why The MTA was going to remain independent. I then wrote this: http://www.thereviewshub.com/blog-annemarie-lewis-thomas-who-regulates-the-regulators/ as I had been reading things that were beginning to make me question the organisation as a whole. However nothing could have prepared me for this: https://www.thestage.co.uk/opinion/2016/susan-elkin-drama-uk-needs-to-sort-out-its-priorities-fast/ 18 months after I'd first blogged about it's value. Turns out some 6 months later they are down in their membership by just over 38%? What's even worse than that...they've lost their star players. RADA, LAMDA, Bristol Old Vic...and so it continues. Then it gets even more confusing, some players had left e.g. the RCS and RWCMD but they're no long accredited...but sort of on the side lines incase they're needed? I love how Drama UK always sends me into football analogies, yet the only thing that I know about the great sport is that it involves a round object and 2 nets (and be careful which pubs you go into on the Holloway Road on a match day).
Seemingly the problem is money? People aren't prepared to pay the joining fee and then the 'please keep me affiliated' fee. Well what a turn up? I've been talking about this for years? My favorite part of the article though (and keep in mind I've already made my opinion known about their U.S. showcases)...is seemingly now Drama UK is working hard to develop the brand in China? Now I am all about the 'one world' philosophy so maybe they should call themselves World Drama and be done with it?
So colleges are paying £6500 to stay in a club that barely has a local ground anymore - but instead you can watch them play in China?? I completely get the excitement of the Eastern market opening up for all aspects of the arts....but China? So those colleges still part of this organisation are what? Funding trips to China, or just the odd phone call? I have students working their finger's to the bone to be able to afford to train with me, I couldn't spend even one pence of their hard earned cash to support an organisation that wasn't working to support them directly (and efficiently). That said I wonder if Drama UK picked up the tab for the lunch...as I see my students coming in with their packed lunches, in a bid to save money, so once again I'd be uncomfortable asking them to fund my working lunch with a journalist...which seemingly culminates in a 'give us the answer' session (so maybe I'm being harsh, but then pay the journalist a consultancy fee on top of the lunch).
To tie all of this up nicely, I have been shouting rather loudly on social media for Drama UK to support out call for better mental health provisions in drama colleges. They told me that it was out of their remit to demand such a thing BUT they are supposed to be coming to the conference, along with Equity and Spotlight. So this year they might do something really positive for the UK drama student, then maybe they should also look to lower their fees, so that the colleges that are still affiliated to the organisation can put the 'saved money' towards the level of Mental Health provision we think is necessary in a contemporary drama college. Because Drama UK #itaffectsme/us not the 'brand' in China, which has got nothing to do with my students' training.
Now...go take a selfie. Mr Kellgren and Ms Tisdall....I shall be looking out for yours ;-)
Our industry is slightly chicken and egg on this one. There's research that supports both the fact that the industry can hit on your susceptibility, and there's research that supports the fact that our industry particularly attracts the susceptible (as we have the elusive allure of escapism). Whichever it is, it doesn't matter - we need to raise awareness of Mental Health in education, so watch this: https://www.youtube.com/watch?v=YOMWvgYlj_M get yourself a post it note, write #itaffectsme on it, upload it, and knock yourself out and donate £3 to MIND. Then pop along to our discussion in March and lend your voice/support/argument...whatever it is, let's get the conversation started.
Then my other bee has forever been the organisation known as Drama UK. I first wrote this
http://www.thereviewshub.com/blog-annemarie-lewis-thomasa-stamp-of-approval/ which simply explained why The MTA was going to remain independent. I then wrote this: http://www.thereviewshub.com/blog-annemarie-lewis-thomas-who-regulates-the-regulators/ as I had been reading things that were beginning to make me question the organisation as a whole. However nothing could have prepared me for this: https://www.thestage.co.uk/opinion/2016/susan-elkin-drama-uk-needs-to-sort-out-its-priorities-fast/ 18 months after I'd first blogged about it's value. Turns out some 6 months later they are down in their membership by just over 38%? What's even worse than that...they've lost their star players. RADA, LAMDA, Bristol Old Vic...and so it continues. Then it gets even more confusing, some players had left e.g. the RCS and RWCMD but they're no long accredited...but sort of on the side lines incase they're needed? I love how Drama UK always sends me into football analogies, yet the only thing that I know about the great sport is that it involves a round object and 2 nets (and be careful which pubs you go into on the Holloway Road on a match day).
Seemingly the problem is money? People aren't prepared to pay the joining fee and then the 'please keep me affiliated' fee. Well what a turn up? I've been talking about this for years? My favorite part of the article though (and keep in mind I've already made my opinion known about their U.S. showcases)...is seemingly now Drama UK is working hard to develop the brand in China? Now I am all about the 'one world' philosophy so maybe they should call themselves World Drama and be done with it?
So colleges are paying £6500 to stay in a club that barely has a local ground anymore - but instead you can watch them play in China?? I completely get the excitement of the Eastern market opening up for all aspects of the arts....but China? So those colleges still part of this organisation are what? Funding trips to China, or just the odd phone call? I have students working their finger's to the bone to be able to afford to train with me, I couldn't spend even one pence of their hard earned cash to support an organisation that wasn't working to support them directly (and efficiently). That said I wonder if Drama UK picked up the tab for the lunch...as I see my students coming in with their packed lunches, in a bid to save money, so once again I'd be uncomfortable asking them to fund my working lunch with a journalist...which seemingly culminates in a 'give us the answer' session (so maybe I'm being harsh, but then pay the journalist a consultancy fee on top of the lunch).
To tie all of this up nicely, I have been shouting rather loudly on social media for Drama UK to support out call for better mental health provisions in drama colleges. They told me that it was out of their remit to demand such a thing BUT they are supposed to be coming to the conference, along with Equity and Spotlight. So this year they might do something really positive for the UK drama student, then maybe they should also look to lower their fees, so that the colleges that are still affiliated to the organisation can put the 'saved money' towards the level of Mental Health provision we think is necessary in a contemporary drama college. Because Drama UK #itaffectsme/us not the 'brand' in China, which has got nothing to do with my students' training.
Now...go take a selfie. Mr Kellgren and Ms Tisdall....I shall be looking out for yours ;-)
Saturday, 16 January 2016
Audition time - advice to parents
Some of you might remember this blog: http://www.thereviewshub.com/blog-annemarie-lewis-thomas-the-audition-problem/ a reflective blog looking at the annual audition 'problems'. If you didn't read it at the time, please do nip across now and have a little look.
As part of my job, and in an attempt to keep up with what's going on in the 'real world', (as us theatricals don't really nip out there enough really do we?) I've been researching drama school auditions and trying to find out what information there is out there for parents.
I know (for example), that when I went to college, my parents, having nothing to do with theatre, were really anxious about me making the 'right choice'. Like most parents their idea of the 'right choice' proved to be very different from mine. I found out not that long ago actually, that my father had been holding out for me to go down the Conservatoire route, even though that hadn't been on my radar for one second. Back then there was a clear choice between a university and a thing called a Polytechnic. Now we don't have those two options anymore, as eventually all the Polys (as we used to call them), morphed into universities. I think that back then, most people felt like the Poly was the poor man's university. The thing that you got into if you couldn't get high grades(as they seemed to base their grade requirements on whether they wanted you or not. So I was getting offers of a couple of Es all because they thought that I'd fit in, whereas the universities were asking for Cs and Bs). Well certainly that was my family's take on the whole thing anyway. So you can imagine the joy when a) having done the rounds of both universities and polys I way preferred the poly approach to teaching and b) I dared to say the immortal words of 'I want to go to this one'...to Middlesex....Polytechnic. At that time their Performing Arts course was considered to be one of the best in the UK. To be called a BAPA (BA in Performing Arts) was actually quite an honour. In fact to this day I consider it a major achievement that I was invited to be on that course.
As it turned out being a BAPA was perfect for me, the course suited me so well (all practical training with literally about one essay a term....if that). They assessed me on doing shows. I mean what more could I have asked for? Even their final exam paper was a 'seen question'..perfect for the practical musician who didn't really see the point of picking up a pen, when she could have been sat at the piano.
Even more interestingly I returned to the BAPA course just 3 months after graduating, this time as 'lecturer' (before you say it....I don't think that that was right either, but at the time, it certainly fed my ego to be invited back to teach on this amazing course, even though I had gained literally no experience since graduating with the exception of teaching on one children's Summer school project). Fast forward 4 years and I was teaching (lecturing) at a 'university' as Middlesex Polytechnic ceased to exist, and Middlesex University was born. Not a thing had changed, I was still teaching the same things (I did have more experience by this point, and I had started to write modules for the course)....suddenly I was teaching in a place that my parents had wanted me to study. In other words, it truly was all about 'a name'. Nothing about the reality of the situation.
It's the same with drama colleges really isn't it? One day they were all offering diplomas, then seemingly overnight they were offering degrees. All of a sudden 'informed parents' wanted their children to have a degree whilst studying to be a performer, as that seemed better than the old diploma. I wonder how much the courses changed to accommodate that qualification? A few more essays? Definitely a whole load more paperwork for the teachers I bet, and why did it change? Well it's simple...funding. A college offering a degree got more core funding than a college offering a diploma. It was never about the training....it was all about the ££'s. Just like when the polys became a university. Nothing really changed, but the bank accounts looked healthier, and the staff looked a bit more stressed with the additional task of working their way through lots of red tape.
From what I can see the information for parents out there is as confusing as it always was. They are forced onto various forums asking questions from the people that haven't actually any real knowledge, just a sense of camaraderie from other parents (and students) that have already 'gone through the system'. Sadly, from what I can see though, it's a bit like googling an illness.....you get told a whole lot of things that you really don't need/want to hear.
There's a whole issue here about why aren't some 6th form drama/dance teachers more informed. I've certainly heard from a few in my time asking for information on our course, and our entry requirements etc, but compared to how many people are doing A Level Theatre studies/dance or BTEC it's really negligible. So who the hell is actually informing people of the realities?
So here's some unbiased information for parents currently trying their best to work their way through the maze of the forums. a) you really do not need a degree to be a performer...it's the training that the course provides not the piece of paper at the end of it that will enable your child to have a career as a performer(they'd actually succeed with nothing....but seemingly nobody offers that). b) If you go down the degree route your child will receive more funding options e.g. Student Loans, etc. c) In a specialist subject e.g. dance, your child could still become a teacher later on in life without getting a degree now. There are courses that they can go on later which will enable them to get onto a PG programme in teaching. Let your child work out what route suits them - be it a uni route or a vocational drama/dance school route. They are so different, and only your child will know what fits for them. Check the contact hours of the uni/college. I think that that's the key to good training. Drama UK (which used to be the parent's Holy Grail of good drama school training with their 'accreditation' programme has slightly disintegrated, as major colleges e.g. RADA, LAMDA have stopped paying their extortionate fees), however they still represent what they consider to be the 'elite' insist that their colleges have a minimum of 30 hours contact time/week. Check out what industry links the college/staff have? Ask to see their latest statistics - who cares if Sir Imanan Actor trained there 50 years ago....what are the stats for today? Be wary of soundbites. "6 students in the West End straight from college" sounds amazing, until you find out that their course trains 75 in a year? Find out what happened to the other 69 people that they didn't mention. Now it could very well be that all of them found representation, and all of them went straight into employment too...but ask the question. If the college is shouting about the fact that all of their students had found agent representation on graduating, just double check whether the college has an agency of their own...and how many of the 'all' are currently represented by them!
Our industry is notorious for a high drop out rate post graduating. Find out what their percentages are? If you take the degree route you're going to have to pay £27,000+ for that piece of paper that you believe is so important. That becomes a very expensive ornament if 6 months down the line your child decides that working in retail is more their thing (before you say it, the money or course wasn't completely wasted because your child 'found themselves' and the experiences offered to them over the 3 years will enhance their lives forever....but admit it, you'd be a little aggrieved).
It's all to do with gut instinct...it has to be. If you're the parent pushing your child in one direction it's not going to work out. Had my dad had his way, there is no doubt that I just would have failed, as I had no interest in the route that he considered to be the best for me.
The reality is that if your child wants to be a performer, nobody cares what qualification they've got. We all just care about what they can do. As I always say, what's the difference between a diploma pirouette and a degree pirouette? When you go into that open dance call and they ask to see "the triple", do you think that they ask to see the piece of paper first to see where you studied? Then does it matter what class degree you got? Are you more likely to secure that film role because you got a first than the person behind you that got a third....but who is better suited to the role. . . . because they're shorter?
Insist on a degree because you think that they have more options later on in life, only to discover that they've been having 10 contact hours a week and have made no industry links at all...you'll soon find yourself looking at spending in excess of a further £15,000 as your child slowly realises that they need to do some sort of post grad course in order to actually get some industry links (let alone more consistent training). Every year I'm horrified at the number of students that audition for The MTA's course, in their third year of college, or a year out after training at a uni. Those poor parents are being forced to pay double whammy because they didn't know what questions to ask the first time around.
So I hope that this has helped you a bit. If you have a question....why not call me at The MTA, or any of the other colleges and ask us the questions? Hell call Drama UK (it might actually give them a purpose). Call Equity or Spotlight? Call any professional organisation! After all it's in our interest to give you the facts, not the fiction of what you think our industry is currently demanding. Be wary of the internet oracle - find out who they are and what they're basing their knowledge on. Being anonymous can afford some people more status than they perhaps deserve.
Don't forget at the end of the day you're not just another day older . . . you are also potentially £27,000 poorer.
Disclaimer: This of course is just all IMHO...but I really hope that it helps you out a little bit ;-)
As part of my job, and in an attempt to keep up with what's going on in the 'real world', (as us theatricals don't really nip out there enough really do we?) I've been researching drama school auditions and trying to find out what information there is out there for parents.
I know (for example), that when I went to college, my parents, having nothing to do with theatre, were really anxious about me making the 'right choice'. Like most parents their idea of the 'right choice' proved to be very different from mine. I found out not that long ago actually, that my father had been holding out for me to go down the Conservatoire route, even though that hadn't been on my radar for one second. Back then there was a clear choice between a university and a thing called a Polytechnic. Now we don't have those two options anymore, as eventually all the Polys (as we used to call them), morphed into universities. I think that back then, most people felt like the Poly was the poor man's university. The thing that you got into if you couldn't get high grades(as they seemed to base their grade requirements on whether they wanted you or not. So I was getting offers of a couple of Es all because they thought that I'd fit in, whereas the universities were asking for Cs and Bs). Well certainly that was my family's take on the whole thing anyway. So you can imagine the joy when a) having done the rounds of both universities and polys I way preferred the poly approach to teaching and b) I dared to say the immortal words of 'I want to go to this one'...to Middlesex....Polytechnic. At that time their Performing Arts course was considered to be one of the best in the UK. To be called a BAPA (BA in Performing Arts) was actually quite an honour. In fact to this day I consider it a major achievement that I was invited to be on that course.
As it turned out being a BAPA was perfect for me, the course suited me so well (all practical training with literally about one essay a term....if that). They assessed me on doing shows. I mean what more could I have asked for? Even their final exam paper was a 'seen question'..perfect for the practical musician who didn't really see the point of picking up a pen, when she could have been sat at the piano.
Even more interestingly I returned to the BAPA course just 3 months after graduating, this time as 'lecturer' (before you say it....I don't think that that was right either, but at the time, it certainly fed my ego to be invited back to teach on this amazing course, even though I had gained literally no experience since graduating with the exception of teaching on one children's Summer school project). Fast forward 4 years and I was teaching (lecturing) at a 'university' as Middlesex Polytechnic ceased to exist, and Middlesex University was born. Not a thing had changed, I was still teaching the same things (I did have more experience by this point, and I had started to write modules for the course)....suddenly I was teaching in a place that my parents had wanted me to study. In other words, it truly was all about 'a name'. Nothing about the reality of the situation.
It's the same with drama colleges really isn't it? One day they were all offering diplomas, then seemingly overnight they were offering degrees. All of a sudden 'informed parents' wanted their children to have a degree whilst studying to be a performer, as that seemed better than the old diploma. I wonder how much the courses changed to accommodate that qualification? A few more essays? Definitely a whole load more paperwork for the teachers I bet, and why did it change? Well it's simple...funding. A college offering a degree got more core funding than a college offering a diploma. It was never about the training....it was all about the ££'s. Just like when the polys became a university. Nothing really changed, but the bank accounts looked healthier, and the staff looked a bit more stressed with the additional task of working their way through lots of red tape.
From what I can see the information for parents out there is as confusing as it always was. They are forced onto various forums asking questions from the people that haven't actually any real knowledge, just a sense of camaraderie from other parents (and students) that have already 'gone through the system'. Sadly, from what I can see though, it's a bit like googling an illness.....you get told a whole lot of things that you really don't need/want to hear.
There's a whole issue here about why aren't some 6th form drama/dance teachers more informed. I've certainly heard from a few in my time asking for information on our course, and our entry requirements etc, but compared to how many people are doing A Level Theatre studies/dance or BTEC it's really negligible. So who the hell is actually informing people of the realities?
So here's some unbiased information for parents currently trying their best to work their way through the maze of the forums. a) you really do not need a degree to be a performer...it's the training that the course provides not the piece of paper at the end of it that will enable your child to have a career as a performer(they'd actually succeed with nothing....but seemingly nobody offers that). b) If you go down the degree route your child will receive more funding options e.g. Student Loans, etc. c) In a specialist subject e.g. dance, your child could still become a teacher later on in life without getting a degree now. There are courses that they can go on later which will enable them to get onto a PG programme in teaching. Let your child work out what route suits them - be it a uni route or a vocational drama/dance school route. They are so different, and only your child will know what fits for them. Check the contact hours of the uni/college. I think that that's the key to good training. Drama UK (which used to be the parent's Holy Grail of good drama school training with their 'accreditation' programme has slightly disintegrated, as major colleges e.g. RADA, LAMDA have stopped paying their extortionate fees), however they still represent what they consider to be the 'elite' insist that their colleges have a minimum of 30 hours contact time/week. Check out what industry links the college/staff have? Ask to see their latest statistics - who cares if Sir Imanan Actor trained there 50 years ago....what are the stats for today? Be wary of soundbites. "6 students in the West End straight from college" sounds amazing, until you find out that their course trains 75 in a year? Find out what happened to the other 69 people that they didn't mention. Now it could very well be that all of them found representation, and all of them went straight into employment too...but ask the question. If the college is shouting about the fact that all of their students had found agent representation on graduating, just double check whether the college has an agency of their own...and how many of the 'all' are currently represented by them!
Our industry is notorious for a high drop out rate post graduating. Find out what their percentages are? If you take the degree route you're going to have to pay £27,000+ for that piece of paper that you believe is so important. That becomes a very expensive ornament if 6 months down the line your child decides that working in retail is more their thing (before you say it, the money or course wasn't completely wasted because your child 'found themselves' and the experiences offered to them over the 3 years will enhance their lives forever....but admit it, you'd be a little aggrieved).
It's all to do with gut instinct...it has to be. If you're the parent pushing your child in one direction it's not going to work out. Had my dad had his way, there is no doubt that I just would have failed, as I had no interest in the route that he considered to be the best for me.
The reality is that if your child wants to be a performer, nobody cares what qualification they've got. We all just care about what they can do. As I always say, what's the difference between a diploma pirouette and a degree pirouette? When you go into that open dance call and they ask to see "the triple", do you think that they ask to see the piece of paper first to see where you studied? Then does it matter what class degree you got? Are you more likely to secure that film role because you got a first than the person behind you that got a third....but who is better suited to the role. . . . because they're shorter?
Insist on a degree because you think that they have more options later on in life, only to discover that they've been having 10 contact hours a week and have made no industry links at all...you'll soon find yourself looking at spending in excess of a further £15,000 as your child slowly realises that they need to do some sort of post grad course in order to actually get some industry links (let alone more consistent training). Every year I'm horrified at the number of students that audition for The MTA's course, in their third year of college, or a year out after training at a uni. Those poor parents are being forced to pay double whammy because they didn't know what questions to ask the first time around.
So I hope that this has helped you a bit. If you have a question....why not call me at The MTA, or any of the other colleges and ask us the questions? Hell call Drama UK (it might actually give them a purpose). Call Equity or Spotlight? Call any professional organisation! After all it's in our interest to give you the facts, not the fiction of what you think our industry is currently demanding. Be wary of the internet oracle - find out who they are and what they're basing their knowledge on. Being anonymous can afford some people more status than they perhaps deserve.
Don't forget at the end of the day you're not just another day older . . . you are also potentially £27,000 poorer.
Disclaimer: This of course is just all IMHO...but I really hope that it helps you out a little bit ;-)
Thursday, 31 December 2015
Cold Turkey and all the trimmings
As a college Principal I invariably at some point early on in my students' training programme attempt to encourage them to get to know themselves. When we first hit college most of us (or maybe it was just me) are consumed with knowledge and self belief, usually taught to us by our responsible parents, wanting their children to grow up to be lovely adults no doubt. However there are some things I think that we should truly discover for ourselves (not just learn as a hand me down or inherit like some family heirloom). I would put politics and religion in this bracket for example. It's so easy to go along with your parent's political beliefs...but what are yours...do you even have any? The amount of times a student has told me who they 'support', yet when I ask them what that party actually stands for, they actually don't know a single thing. So finding ourselves and discovering who and indeed what we are, is, in my opinion, an essential part of an all round college education.
I worked out quite quickly at college that I had a bit of an addictive personality. Freedom to just 'be' made me realise that my 'off' button didn't really work like some other people. At first I put it down to regular student high jinks, I mean it's a rite of passage to get so inebriated that you're not permitted on a coach (full of really inebriated passengers) right? If there was a drink that I didn't like..I would persevere until I really liked it. I mean I was dedicated to the cause.
Fortunately other than a few missed lectures, and infamously falling asleep in a rather important rehearsal, I sort of got away with it....after all it was the 80's, I went to a Poly (look it up), so all was good with the world. Never radical...I had my tiny moments, whilst looking enviously on at the 'cool group' that were trying everything!
I was sort of desperate to experiment with drugs....but somehow I just knew that I would get addicted. I was the only person that I knew at the time, that watched Trainspotting and walked away thinking that heroine seemed like a really good idea? For whatever reason, common sense (or was it just that I was boring?) prevailed and I never actually did any Class A drugs. I swore that by my 40th birthday I would do a line of coke...indeed I even looked forward to it. It was going to be my very well publicised treat on the big day. Yet come the big moment...I just knew that I'd enjoy it too much and would get addicted so opted out of the 'gift'. Even more awkward was the fact that I had named this 'gift' to nearly everyone at the time, so every card seemed to have a drug reference in it. I remember my dad reading them and me feeling more and more uncomfortable, as I couldn't even begin to explain why practically all my friends and students were referring to the infamous 'line' (not as bad as the cards that I received on my 30th when I'd been convinced that I would be dead...but that's another story).
Anyway...all of the above can be skipped...and summed up as I've always remained dull and on the whole sober (with a few very notable exceptions which have convinced me that my decisions have been correct). So why then do I currently find myself in the middle of quite a serious drug withdrawal programme? You see the cold turkey in the title, isn't quite what you think...in fact ...if only!
Since I hit 17/18 years of age I've suffered from migraines. Work colleagues (especially DSM's covering for me and band members who have watched me play night after night in agony with the anecdotal bucket at my side) and close friends know that the migraines have got really bad....to the point that for over 30 years I can't remember waking up without a migraine. The first thing that I do when I wake up, is take a cocktail of drugs that will hopefully make that particular migraine manageable for that day. Sometimes I manage it...sometimes the migraine wins. I'm so proud of the fact that I've never missed a show because of one (although quite a few second halves have gone up late as I've composed myself ready to start again). However as we all know Dr Theatre is the ultimate healer. It's been so bad that I've had cars literally outside stage door waiting for me to run into between the matinee and the evening show, so that I could just sleep and 'be quiet' for just an hour or two, so that my cast (especially if they were my students), didn't realise quite how bad things were.
I have medics in my family....hell, I'm even married to one. After many discussion(AKA nagging) I'm very familiar with the concept of the rebound headache. After years of self medicating thanks to the local pharmacists, off I reluctantly trotted to the Drs to discuss the possibility that I've made the problem worse- I leave the Drs with new wonder drug from the family of triptans which has no rebound properties (and incidentally cures the migraine instantly). Of course sometimes there's a break through pain of the migraine, but now I have prescribed codeine to help me to manage that. The world is looking brighter...I am functioning better. I can legitimately keep popping the triptans, and take a bit of codeine to take the edge off the pain, and I can survive again.Then comes the report that you can have rebound headaches from triptans!! I cannot believe my bad luck...somehow, with a Dr looking after me, and with me being completely honest about my own practice, I am now on 2 types of medication that create rebound headaches, plus I'm getting migraines like they're going out of fashion. Typical story of I'd taken so many drugs (all prescribed)..none of the bloody things worked.
The migraines got so bad (even sadder that we put it down to age and 'that time'), I was put onto a controlled drug, but eventually I had to stamp my feet loud enough to get a referral to a pain clinic, as I was trying to run the college, do the writing/arrangements etc . with the constant daily background of chronic pain. For the first time I began to feel like I couldn't even do a show (I mean, of course I did.....but it was really bloody painful. You try leading a band with a migraine..every nod is like a hammer blow, and every sound is like a knife...or maybe I'm just hiring the wrong musos).
Referral made...fast forward a few months and I meet with my specialist, who of course tells me everything I know (& before you ask it's not red wine or chocolate...these are 100% created by stress) ie half of my symptoms are rebound symptoms, but she took time to explain which ones were which. The only way out of this vicious cycle was.................. to go cold turkey (or taper off. Basically my body is completely addicted to codeine and to the triptans. For those that know me well, tapering off was never an option especially as I never wanted to be the addict in the first place...I mean what was the point of all that will power at the various parties as I'd still ended up an addict). I Still have the triptan detox to go (but the word on the virtual street AKA Google is that the withdrawal from the triptan is nothing compared to the codeine).
The specialist strongly suggested not trying any withdrawal until I had a 'space of time' in which to try it, she prepped me as much as she could, even injecting my head with a nerve block to help me through the process, and prescribed yet another prophylactic drug, which again, could help my detox. So I waited until the end of term..then went cold turkey, rather aptly in time for Christmas, as our term finished late..and I was working up until 19th Dec. Except that this cold turkey lasts considerably longer than the more traditional type. You can't serve it up with a relish....as pain is pain whichever way you look at it! I've been off codeine now for 10 days as I write this blog..which I know is nothing in the scheme of things, (plus I also know that I have another detox to go after this one). The plus side is that I had my first 'adult' Christmas minus a migraine - a huge plus indeed with a toddler. However next time you watch a documentary about people coming off opiates, remember that they're a very close knit family. Heroine and codeine are derived from the same source - and you can just buy codeine over the counter. Of course there is no comparison to the grown up 'cold turkey' that we read about in books, or see on the TV....but if this minor one is anything to go by I salute everyone that has come off heroine....whilst at the same time question why you would ever go through this again.
So to sum up...I left home and practised what I preached...I attempted to know myself...and felt like I did it enough to keep myself safe (whilst never too dull...I hope). However the world of medicine became my nemesis as the Drs didn't have time to listen to the full picture. I should quickly add that I blame no-one but myself for my current predicament as I should have shouted louder sooner...but of course with a migraine, that's actually quite difficult.
As I leave you now to continue the excessive sweating. shivers, and the stomach cramps etc...it would transpire that I was with the 'cool' set after all. I just joined them 30 years too late.
I have a difficult few months ahead of me (obviously I'm thrilled about it)...however, living without a daily migraine has put the other pain into perspective. Much to the amusement of my family the strangest (but recognised) side effect is the most bizarre sneeze. Words could not do it justice, but I would say book to see my next show in case it makes an appearance as it's definitely worth it. ;-)
I worked out quite quickly at college that I had a bit of an addictive personality. Freedom to just 'be' made me realise that my 'off' button didn't really work like some other people. At first I put it down to regular student high jinks, I mean it's a rite of passage to get so inebriated that you're not permitted on a coach (full of really inebriated passengers) right? If there was a drink that I didn't like..I would persevere until I really liked it. I mean I was dedicated to the cause.
Fortunately other than a few missed lectures, and infamously falling asleep in a rather important rehearsal, I sort of got away with it....after all it was the 80's, I went to a Poly (look it up), so all was good with the world. Never radical...I had my tiny moments, whilst looking enviously on at the 'cool group' that were trying everything!
I was sort of desperate to experiment with drugs....but somehow I just knew that I would get addicted. I was the only person that I knew at the time, that watched Trainspotting and walked away thinking that heroine seemed like a really good idea? For whatever reason, common sense (or was it just that I was boring?) prevailed and I never actually did any Class A drugs. I swore that by my 40th birthday I would do a line of coke...indeed I even looked forward to it. It was going to be my very well publicised treat on the big day. Yet come the big moment...I just knew that I'd enjoy it too much and would get addicted so opted out of the 'gift'. Even more awkward was the fact that I had named this 'gift' to nearly everyone at the time, so every card seemed to have a drug reference in it. I remember my dad reading them and me feeling more and more uncomfortable, as I couldn't even begin to explain why practically all my friends and students were referring to the infamous 'line' (not as bad as the cards that I received on my 30th when I'd been convinced that I would be dead...but that's another story).
Anyway...all of the above can be skipped...and summed up as I've always remained dull and on the whole sober (with a few very notable exceptions which have convinced me that my decisions have been correct). So why then do I currently find myself in the middle of quite a serious drug withdrawal programme? You see the cold turkey in the title, isn't quite what you think...in fact ...if only!
Since I hit 17/18 years of age I've suffered from migraines. Work colleagues (especially DSM's covering for me and band members who have watched me play night after night in agony with the anecdotal bucket at my side) and close friends know that the migraines have got really bad....to the point that for over 30 years I can't remember waking up without a migraine. The first thing that I do when I wake up, is take a cocktail of drugs that will hopefully make that particular migraine manageable for that day. Sometimes I manage it...sometimes the migraine wins. I'm so proud of the fact that I've never missed a show because of one (although quite a few second halves have gone up late as I've composed myself ready to start again). However as we all know Dr Theatre is the ultimate healer. It's been so bad that I've had cars literally outside stage door waiting for me to run into between the matinee and the evening show, so that I could just sleep and 'be quiet' for just an hour or two, so that my cast (especially if they were my students), didn't realise quite how bad things were.
I have medics in my family....hell, I'm even married to one. After many discussion(AKA nagging) I'm very familiar with the concept of the rebound headache. After years of self medicating thanks to the local pharmacists, off I reluctantly trotted to the Drs to discuss the possibility that I've made the problem worse- I leave the Drs with new wonder drug from the family of triptans which has no rebound properties (and incidentally cures the migraine instantly). Of course sometimes there's a break through pain of the migraine, but now I have prescribed codeine to help me to manage that. The world is looking brighter...I am functioning better. I can legitimately keep popping the triptans, and take a bit of codeine to take the edge off the pain, and I can survive again.Then comes the report that you can have rebound headaches from triptans!! I cannot believe my bad luck...somehow, with a Dr looking after me, and with me being completely honest about my own practice, I am now on 2 types of medication that create rebound headaches, plus I'm getting migraines like they're going out of fashion. Typical story of I'd taken so many drugs (all prescribed)..none of the bloody things worked.
The migraines got so bad (even sadder that we put it down to age and 'that time'), I was put onto a controlled drug, but eventually I had to stamp my feet loud enough to get a referral to a pain clinic, as I was trying to run the college, do the writing/arrangements etc . with the constant daily background of chronic pain. For the first time I began to feel like I couldn't even do a show (I mean, of course I did.....but it was really bloody painful. You try leading a band with a migraine..every nod is like a hammer blow, and every sound is like a knife...or maybe I'm just hiring the wrong musos).
Referral made...fast forward a few months and I meet with my specialist, who of course tells me everything I know (& before you ask it's not red wine or chocolate...these are 100% created by stress) ie half of my symptoms are rebound symptoms, but she took time to explain which ones were which. The only way out of this vicious cycle was.................. to go cold turkey (or taper off. Basically my body is completely addicted to codeine and to the triptans. For those that know me well, tapering off was never an option especially as I never wanted to be the addict in the first place...I mean what was the point of all that will power at the various parties as I'd still ended up an addict). I Still have the triptan detox to go (but the word on the virtual street AKA Google is that the withdrawal from the triptan is nothing compared to the codeine).
The specialist strongly suggested not trying any withdrawal until I had a 'space of time' in which to try it, she prepped me as much as she could, even injecting my head with a nerve block to help me through the process, and prescribed yet another prophylactic drug, which again, could help my detox. So I waited until the end of term..then went cold turkey, rather aptly in time for Christmas, as our term finished late..and I was working up until 19th Dec. Except that this cold turkey lasts considerably longer than the more traditional type. You can't serve it up with a relish....as pain is pain whichever way you look at it! I've been off codeine now for 10 days as I write this blog..which I know is nothing in the scheme of things, (plus I also know that I have another detox to go after this one). The plus side is that I had my first 'adult' Christmas minus a migraine - a huge plus indeed with a toddler. However next time you watch a documentary about people coming off opiates, remember that they're a very close knit family. Heroine and codeine are derived from the same source - and you can just buy codeine over the counter. Of course there is no comparison to the grown up 'cold turkey' that we read about in books, or see on the TV....but if this minor one is anything to go by I salute everyone that has come off heroine....whilst at the same time question why you would ever go through this again.
So to sum up...I left home and practised what I preached...I attempted to know myself...and felt like I did it enough to keep myself safe (whilst never too dull...I hope). However the world of medicine became my nemesis as the Drs didn't have time to listen to the full picture. I should quickly add that I blame no-one but myself for my current predicament as I should have shouted louder sooner...but of course with a migraine, that's actually quite difficult.
As I leave you now to continue the excessive sweating. shivers, and the stomach cramps etc...it would transpire that I was with the 'cool' set after all. I just joined them 30 years too late.
I have a difficult few months ahead of me (obviously I'm thrilled about it)...however, living without a daily migraine has put the other pain into perspective. Much to the amusement of my family the strangest (but recognised) side effect is the most bizarre sneeze. Words could not do it justice, but I would say book to see my next show in case it makes an appearance as it's definitely worth it. ;-)
Monday, 28 December 2015
'Our Imelda'...(nothing to do with shoes)
I've loved Musical Theatre for as long as I can remember. Who cares why I fell in love with it (certainly not with some of the poor versions of shows I have in my memory bank anyway) - but love it I have and do. Like most performers, musical theatre has become my short hand, it's become my life soundtrack. Feeling happy? On goes the Herman as I sing, dance (AKA March) around the room. Wanting to let off steam....on goes either an angst song, guaranteed to make me sit and blub or the Book of Mormon telling me to 'get over myself...and quickly'. And so it continues. Basically I've found that Musical Theatre creates a coherent soundtrack for my life. If there's a gap, then my own 'trade' means that I end up writing my own.
Whilst growing up this was not such a good thing. I was supposed to like all the latest chart music....but to be honest I didn't even know who was in the charts...let alone what they were doing there. Not such a great thing for the 14 year old girl from the local comp, who rather enjoyed practising the piano during a lunchtime instead of pushing boundaries, and hanging out with the cool people. I then did the cardinal sin....I ended up going out with someone equally as 'dull'. Of course in reality they weren't dull at all, they were really interesting (and have gone on to be a multi award nominated graphic designer working in the glamourous world of cutting edge TV special effects.) So two outsiders...both with teenage dull interests(a good lesson there if you've stumbled upon this blog during your 'cool age' - the people that you once considered dull and boring, might just have had their eye on a bigger prize. Of course...they might also, just have been dull and boring ;-) )
Being Welsh I got a bit lucky at 16 when things got serious with the school Eisteddfod...which basically meant that my 'dull' hobby became my strength, I suddenly became much more acceptable, as the school was put into houses which had to provide a 'house choir, a house 'soloist' and so it went on. I literally went from loser to winner overnight. I became truly 'useful', I was no longer the last person waiting to be picked for the team (a familiar picture for many a musician).
I shan't bore you with the rest of my history...suffice as to say that Musical Theatre has gone on to play a rather huge part in my life....some might say that it's even gone on to define who I am as a person. For the past 30 years I've managed to make a living out of it, and nowadays I even inflict my 'hobby' on groups of students hoping that I can enthuse them to also follow their passion and make it work for them.
With that sort of legacy, it's quite hard work watching shows. Some are enjoyed and restore your belief that you were were right to devote so much time to the art form, others leave you frustrated at wasted opportunities...then once in that proverbial blue moon, one comes along that you just HAVE to see.
This year for me it was the Chichester Festival Theatre production of Gypsy staring our very own Imelda(let's face it, there's not a performer around that doesn't want to be her mate, we've all heard countless times that she's as lovely off stage as she is powerful on stage...therefore for that reason alone she's 'our very own'). Surely one of the most unassuming great actors of our generation? From Vera Drake to Sweeney she just delivers...and then some.
I first saw her many moons ago when she was playing the Baker's Wife in the original West End production of Into the Woods. I knew even then, as a fresh (ish) faced young twenty year old that her Moment in the Woods was better than good...it was exquisite. The use of the head and chest voice was like a masterclass to the young singer watching (that was me by the way). In fact to this day, I use the recording of that song as a reference to singers struggling with the concept of using the voice in different ways (apologies to the Estill people out there who will be explaining her nuances in a completely different way).
Too many shows in between to mention...but every time I saw her she was just brilliant. Then came the whisper that she'd be playing Mama Rose, not so quickly followed I should add, by the public announcement of a) the Chichester run and then b) the West End transfer. In 2 and a half years of being a mum, myself and my long suffering OH and I have managed 1 afternoon off together to have a 'date'. however when this show went on sale, we bought our tickets knowing that we just had to have one more date to catch 'our Imelda' in the ultimate role of "Rose'. We had the added bonus that Louise was going to be played by The MTA's Patron Lara Pulver too...so we knew that the date would be rather special. The final cast and creative team were announced, and it was just obvious that this wasn't just going to be a production of Gypsy...it could very well be THE production of Gypsy for some of us.
There is always a pressure on a date....especially when you literally have one a year. So we'd gone out for a nice meal beforehand, but both of us were still in that parent trap of wondering if our child was OK, had we remembered everything...parents amongst you will know the sort of thing.
But then things changed....we got to the Savoy (always a special theatre to me, as I'm a bit of a G&S bore too...I mean it really is no wonder my school friends and I had nothing in common)
Can there be any argument about the Gypsy overture summing up the best of a Broadway overture? As soon as that infamous overture started (and what a band I should add)....we were transported into the magical world of MT one more time. However this time it was like a vortex that dragged us in and just would't let us go. As that brass section kicked in, all thoughts of my chil disappeared into the more rational brain compartment of 'well the babysitter will tell us if there's something wrong'.
The show was everything you would have hoped for and a million times more. I've never, ever felt the need to give someone a standing ovation in the middle of a show before. However to be honest on this occasion I just didn't have a choice. Roses's Turn was painful, and heartfelt, and bitter, and angry...and....and. I mean you name it 'our Imelda' went through it. There can be little doubt that Imelda deserves every award going for that performance. However let's not forget (as a wise man once told me)...that for every 'star' they are elevated by the people around them. The 'Gimmick' girls, so brave with their choices, and so brilliant throughout. Peter Davidson supported 'our Imelda' as she kept rising above everyone, whilst maintaining a humour and humanity in Herbie, which made it all the more powerful when he'd had enough. Then Lara Pulver as Louise was just simply stunning. So I have a disclaimer of knowing her (only insomuch as she's the college's Patron)...but I didn't recognise the person that I knew up on that stage at all. As she transformed into the Diva that was Gypsy Rose Lee...to hear the vocal quality change, the posture slowly evolve...just so inspiring. I've said since I saw the show, that had she not been playing in the same show as 'our Imelda' then all the plaudits would be thrown at her.
Some date it turned into...my OH and myself walked to Covent Garden without saying a word. Every time we went to say something on the tube we just let it g['p[o. For once...the theatre had said it all.
I don't think that the West End has ever got it quite so right. How brilliant then that the BBC opted to film it before it closed, and then broadcast it over the Christmas period. The West End had hit social media...I didn't read one negative comment on twitter last night about the show, and I have never see that before. People were shouting that it should have been on BBC 1 but what difference does it make...it was ON...we could ALL watch it again. Never have I been so proud of our industry - we really do celebrate excellence.
A week earlier we had a more mixed reception to the extraordinary feat of The Sound of Music Live...but again Musical Theatre was on the TV. Our art form had returned to the masses....indeed from where it started way, way back! Of course nowadays the masses have a bigger choice, but as long as a few people stepped outside of their comfort zone it was job done.
I was saddened by the instant twitter frenzy of 'what should we do next?" Those bloody polls started popping up, as if someone had a hotline to the BBC or ITV ready to say 'thanks..we've now chosen....' Personally (and indeed I did voice this on twitter) I felt that the night belonged to the cast of Gypsy (a bit like the week before actually...when it belonged to the SOM Live cast). In the case of Gypsy, it wasn't filmed just to get a bit of MT onto our screens, it was filmed/archived because everyone knew that what was being created on that stage was a once in a lifetime performance. I very much doubt that I will see a better Rose than 'our Imelda'...and you know I very much that I'll see a better supporting case, or band, or technical crew than that particular production. For me, personally, it was a definitive, career defining performance....that's why it was filmed. The world of theatre remains magical if we only see those performances every so often. It doesn't mean that we have to rush to find the next one.
For days, weeks, even months later I honestly still think about that show. I still get goosebumps thinking of 'our Imelda' doing the 11 O'Clock number. I can't wait to be able to watch it over and over when/if they bring out a DVD (notice how the teenage geek, grew up to be a 'what the hell..I'm a geek' geek) I'm not ready to search for the next show to be filmed...I hope that we don't rush, and I hope that we wait until the next definitive performance hits the boards...and then, and only then, should we film and archive it. I know that most shows are unofficially archived but may the British theatre be quite to publicly archived for its excellence...not just for some TV ratings....and never for a twitter poll.
Whilst growing up this was not such a good thing. I was supposed to like all the latest chart music....but to be honest I didn't even know who was in the charts...let alone what they were doing there. Not such a great thing for the 14 year old girl from the local comp, who rather enjoyed practising the piano during a lunchtime instead of pushing boundaries, and hanging out with the cool people. I then did the cardinal sin....I ended up going out with someone equally as 'dull'. Of course in reality they weren't dull at all, they were really interesting (and have gone on to be a multi award nominated graphic designer working in the glamourous world of cutting edge TV special effects.) So two outsiders...both with teenage dull interests(a good lesson there if you've stumbled upon this blog during your 'cool age' - the people that you once considered dull and boring, might just have had their eye on a bigger prize. Of course...they might also, just have been dull and boring ;-) )
Being Welsh I got a bit lucky at 16 when things got serious with the school Eisteddfod...which basically meant that my 'dull' hobby became my strength, I suddenly became much more acceptable, as the school was put into houses which had to provide a 'house choir, a house 'soloist' and so it went on. I literally went from loser to winner overnight. I became truly 'useful', I was no longer the last person waiting to be picked for the team (a familiar picture for many a musician).
I shan't bore you with the rest of my history...suffice as to say that Musical Theatre has gone on to play a rather huge part in my life....some might say that it's even gone on to define who I am as a person. For the past 30 years I've managed to make a living out of it, and nowadays I even inflict my 'hobby' on groups of students hoping that I can enthuse them to also follow their passion and make it work for them.
With that sort of legacy, it's quite hard work watching shows. Some are enjoyed and restore your belief that you were were right to devote so much time to the art form, others leave you frustrated at wasted opportunities...then once in that proverbial blue moon, one comes along that you just HAVE to see.
This year for me it was the Chichester Festival Theatre production of Gypsy staring our very own Imelda(let's face it, there's not a performer around that doesn't want to be her mate, we've all heard countless times that she's as lovely off stage as she is powerful on stage...therefore for that reason alone she's 'our very own'). Surely one of the most unassuming great actors of our generation? From Vera Drake to Sweeney she just delivers...and then some.
I first saw her many moons ago when she was playing the Baker's Wife in the original West End production of Into the Woods. I knew even then, as a fresh (ish) faced young twenty year old that her Moment in the Woods was better than good...it was exquisite. The use of the head and chest voice was like a masterclass to the young singer watching (that was me by the way). In fact to this day, I use the recording of that song as a reference to singers struggling with the concept of using the voice in different ways (apologies to the Estill people out there who will be explaining her nuances in a completely different way).
Too many shows in between to mention...but every time I saw her she was just brilliant. Then came the whisper that she'd be playing Mama Rose, not so quickly followed I should add, by the public announcement of a) the Chichester run and then b) the West End transfer. In 2 and a half years of being a mum, myself and my long suffering OH and I have managed 1 afternoon off together to have a 'date'. however when this show went on sale, we bought our tickets knowing that we just had to have one more date to catch 'our Imelda' in the ultimate role of "Rose'. We had the added bonus that Louise was going to be played by The MTA's Patron Lara Pulver too...so we knew that the date would be rather special. The final cast and creative team were announced, and it was just obvious that this wasn't just going to be a production of Gypsy...it could very well be THE production of Gypsy for some of us.
There is always a pressure on a date....especially when you literally have one a year. So we'd gone out for a nice meal beforehand, but both of us were still in that parent trap of wondering if our child was OK, had we remembered everything...parents amongst you will know the sort of thing.
But then things changed....we got to the Savoy (always a special theatre to me, as I'm a bit of a G&S bore too...I mean it really is no wonder my school friends and I had nothing in common)
Can there be any argument about the Gypsy overture summing up the best of a Broadway overture? As soon as that infamous overture started (and what a band I should add)....we were transported into the magical world of MT one more time. However this time it was like a vortex that dragged us in and just would't let us go. As that brass section kicked in, all thoughts of my chil disappeared into the more rational brain compartment of 'well the babysitter will tell us if there's something wrong'.
The show was everything you would have hoped for and a million times more. I've never, ever felt the need to give someone a standing ovation in the middle of a show before. However to be honest on this occasion I just didn't have a choice. Roses's Turn was painful, and heartfelt, and bitter, and angry...and....and. I mean you name it 'our Imelda' went through it. There can be little doubt that Imelda deserves every award going for that performance. However let's not forget (as a wise man once told me)...that for every 'star' they are elevated by the people around them. The 'Gimmick' girls, so brave with their choices, and so brilliant throughout. Peter Davidson supported 'our Imelda' as she kept rising above everyone, whilst maintaining a humour and humanity in Herbie, which made it all the more powerful when he'd had enough. Then Lara Pulver as Louise was just simply stunning. So I have a disclaimer of knowing her (only insomuch as she's the college's Patron)...but I didn't recognise the person that I knew up on that stage at all. As she transformed into the Diva that was Gypsy Rose Lee...to hear the vocal quality change, the posture slowly evolve...just so inspiring. I've said since I saw the show, that had she not been playing in the same show as 'our Imelda' then all the plaudits would be thrown at her.
Some date it turned into...my OH and myself walked to Covent Garden without saying a word. Every time we went to say something on the tube we just let it g['p[o. For once...the theatre had said it all.
I don't think that the West End has ever got it quite so right. How brilliant then that the BBC opted to film it before it closed, and then broadcast it over the Christmas period. The West End had hit social media...I didn't read one negative comment on twitter last night about the show, and I have never see that before. People were shouting that it should have been on BBC 1 but what difference does it make...it was ON...we could ALL watch it again. Never have I been so proud of our industry - we really do celebrate excellence.
A week earlier we had a more mixed reception to the extraordinary feat of The Sound of Music Live...but again Musical Theatre was on the TV. Our art form had returned to the masses....indeed from where it started way, way back! Of course nowadays the masses have a bigger choice, but as long as a few people stepped outside of their comfort zone it was job done.
I was saddened by the instant twitter frenzy of 'what should we do next?" Those bloody polls started popping up, as if someone had a hotline to the BBC or ITV ready to say 'thanks..we've now chosen....' Personally (and indeed I did voice this on twitter) I felt that the night belonged to the cast of Gypsy (a bit like the week before actually...when it belonged to the SOM Live cast). In the case of Gypsy, it wasn't filmed just to get a bit of MT onto our screens, it was filmed/archived because everyone knew that what was being created on that stage was a once in a lifetime performance. I very much doubt that I will see a better Rose than 'our Imelda'...and you know I very much that I'll see a better supporting case, or band, or technical crew than that particular production. For me, personally, it was a definitive, career defining performance....that's why it was filmed. The world of theatre remains magical if we only see those performances every so often. It doesn't mean that we have to rush to find the next one.
For days, weeks, even months later I honestly still think about that show. I still get goosebumps thinking of 'our Imelda' doing the 11 O'Clock number. I can't wait to be able to watch it over and over when/if they bring out a DVD (notice how the teenage geek, grew up to be a 'what the hell..I'm a geek' geek) I'm not ready to search for the next show to be filmed...I hope that we don't rush, and I hope that we wait until the next definitive performance hits the boards...and then, and only then, should we film and archive it. I know that most shows are unofficially archived but may the British theatre be quite to publicly archived for its excellence...not just for some TV ratings....and never for a twitter poll.
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