Musical theatre is captivating for many people, where the magic of illusion makes anything possible. For professional musical theatre performers, being on stage is the culmination of years of training and hard work; often encompassing more skills than were originally required by becoming a triple threat of singing, acting and dance. Now productions require an ever-increasing range of skills, such as puppetry and stilt-walking (Lion King), acrobatics (Pippin), playing a musical instrument (Fiddler on the Roof) and roller-skating (Starlight Express).
Traditional triple-treat performers should be strong across all three traditional areas of dance and have a few extra skills as well for the best chance of continuous work. Most musical theatre performers start in the industry as members of the ensemble or as understudies meaning they need to be as good as every swing or ensemble member in the show in all three traditional areas of performing. This can be relative between shows, as some require stronger dancers (Chorus Line or West Side Story) as well as being a singer and an actor, and some require stronger singers (Les Miserables)
In terms of the style of dance students should be learning, a strong ballet technique is an important foundation in addition to jazz and tap as the basics. Classes in pas de deux, ballroom and Pilates are also particularly useful to students in training. It is imperative that musical theatre performers show a technique regardless of dance ability with strong body posture and carriage, long lines, legs and feet turned out and upper body and arm lines.
It is therefore important to make the most of your training, regarding discipline as an integral part of training and bringing your own personal style and commitment to classes and rehearsals. Make sure you are unique and make choices to commit to working hard and going for every opportunity given.
It is often a revelation to dance in a studio without mirrors. Some dancers may feel uncomfortable and uncertain at first not to have mirrors, as they are not to be able to see what they are doing and check they are performing the exercises correctly. Despite this many would argue that the movement will feel right for the body, and mirrors are not required to feel this as they encourage dancers to ‘make shapes’ rather than initiate the movement from an internal source.
The Queen’s birthday honours recently recognised a multitude of talent in the awardees: actors Daniel Day-Lewis and Maggie Smith were recognised in the honours list, which also sees Young Vic artistic director David Lan and English National Opera’s John Berry honoured. The arts faired well as Day-Lewis was made a knight, and Smith was made a Companion of Honour.
Directed and choreographed by Will Tuckett, the Vaudeville Theatre will see the Royal Opera House production of The Wind in the Willows return to London’s West End this Christmas, running from 26 November 2014.
It has been rumoured that the hit musical Billy Elliot is to be screened in over 300 cinemas in September. A special matinee performance on 28 September will be broadcast live, with a repeat showing to be broadcast in the evening and Ruthie Henshall, who recently joined the cast as Mrs Wilkinson, will star in performance alongside some special guests making the screenings a milestone in the musical’s history.
Returning to the venue that hosted their first public performance – as George Piper Dances in 2001 – the award-winning BalletBoyz® will perform at Roundhouse Summer Sessions on 31 July and 1 August 2014. This will mark the final UK performances of Russell Maliphant’s piece Fallen and Liam Scarlett’s Serpent. The sessions will also offer an exclusive first look at new work Young Men.
Karen Pilkington-Miksa, choreographer and artist, is the Founding Director of The New English Ballet Theatre. She holds a degree in education and is an Associate of the Royal Academy of Dance (ARAD). She ran her own dance group and school, and has choreographed for ballet, opera and the BBC.
12 July will see South East London’s Greenwich Park taken over by a skipping extravaganza. Hundreds of people are expected to join in the hugely entertaining and energetic Through & Out: Skipping Extravaganza, a brand new commission by Greenwich Dance for Big Dance 2014, which forms part of the Royal Greenwich Festivals 2014.
The line up has been revealed for West End LIVE 2014, and it looks set to delight each and every visitor. Last year more than half a million people descended on Trafalgar Square for West End LIVE, and this year’s event promises to be even bigger and better. Now in it’s tenth year, the celebration of the West End’s top shows is a staple in the capital’s performing arts calendar. It will take on the square on 21 and 22 June.
In both the musical theatre and acting industries – in fact, any of the performing arts – securing an agent can be tricky, and almost as difficult as securing jobs! Some graduates from performing colleges leave with agents already secured; most of these are the agency that works alongside the institution and the graduates are automatically added to their books. Other instances of securing agents upon graduation is a direct result of the students inviting agents to their final college showcases, and being taken on that way.