WELCOME WELCOME. We hope you will want to join them. Edward Kemp Director

PROSPECTUS 2014 CONTENTS 03 WELCOME 04 WHY CHOOSE RADA? WELCOME 06 FACILITIES ACTING AND PERFORMANCE 10 INTRODUCTION 12 BA IN ACTING 16 MA THEATR...
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PROSPECTUS 2014

CONTENTS 03 WELCOME 04 WHY CHOOSE RADA?

WELCOME

06 FACILITIES

ACTING AND PERFORMANCE 10 INTRODUCTION 12 BA IN ACTING 16 MA THEATRE LAB 18 MA IN TEXT AND PERFORMANCE 20 FOUNDATION COURSE IN ACTING 21 SHORT COURSES 22 GRADUATES PRODUCTION AND DESIGN 21 SHORT COURSES 26 INTRODUCTION 28 FOUNDATION DEGREE IN TECHNICAL THEATRE AND STAGE MANAGEMENT 30 POSTGRADUATE DIPLOMA IN THEATRE DESIGN (SET AND COSTUME) 32 POSTGRADUATE DIPLOMA IN THEATRE COSTUME 34 POSTGRADUATE DIPLOMA IN SOUND DESIGN 36 POSTGRADUATE DIPLOMA IN PROPERTY MAKING 38 POSTGRADUATE DIPLOMA IN SCENIC ART 40 POSTGRADUATE DIPLOMA IN SCENIC CONSTRUCTION 42 POSTGRADUATE DIPLOMA IN STAGE ELECTRICS AND LIGHTING DESIGN 44 GRADUATES INFORMATION 48 EDUCATION AND OUTREACH 50 HOW TO APPLY | FEES AND FUNDING | CONSERVATOIRE FOR DANCE AND DRAMA 52 ADVICE | ACCESS | CONTACT US 53 ADVISORS | STAFF | OUR MAJOR SUPPORTERS

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www.rada.ac.uk www.rada.ac.uk

RADA is the only drama school founded by an actor. We have significantly broadened our focus in the 109 years since Herbert Beerbohm Tree began his Academy under the dome of Her Majesty’s Theatre, but we remain true to his vision: leading members of the profession passing on their expertise to those who will shape the future. Today we call this ‘conservatoire’ training: teaching that is rigorous, inspirational and always practically based. In a conservatoire school, the hours are long and the attention intense. Three years is not long to give someone the stamina, technique and versatility to excel across theatre, film, TV and radio: two years is not long to teach someone the skills to stage-manage a West End show or costume an opera. Our staff, whose credits range from the National Theatre to Hollywood, are passionate about teaching and eager to impart their knowledge. In return we expect a commitment and dedication from our students equal to their individual talent. Talent disregards categories of social or educational background, and so do we. People are constantly surprised by the diversity of both our students and our graduates. Our concern is how each individual can nurture his or her unique gift and bring it to the service of something bigger than any individual: the world the production is creating. Realising and releasing your talent is a challenge whatever your background and our staff are exceptionally skilled at supporting students through the triumphs and trials. We keep our class sizes small and allow plenty of time for tutorials and support.

Our productions are directed, designed and attended by leading members of the profession. They are staged in our theatres which are purpose-built and equipped to industry standards. No surprise then that our graduates have an impressive record of employment: you’ll find them on stages and in studios, in wardrobes and workshops all over the world. Many are industry-leaders and innovators, others move away from their first profession to become writers, producers, even politicians: Mike Leigh, Rachel Joyce, Linda La Plante, Glenda Jackson and Madhur Jaffrey are just a handful of the many who have used the skills they learnt at RADA to diversify into other fields. Wherever our graduates end up, we hope they will all testify to the impact RADA training had on their lives, inspiring a passion for inquiry, generosity and truth. We hope you will want to join them. Edward Kemp Director

As you would expect from our history, our connection to the industry is unparalleled, through our many illustrious alumni and through our staff, advisers and supporters, including our principle partner, Warner Bros. Entertainment.

WELCOME

08 LONDON LIFE | EMPLOYMENT PROSPECTS

www.rada.ac.uk

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We offer our students a unique and personal training under the guidance of some of the best teachers in the business. With outstanding facilities and unparalleled links to the industry, training at RADA will help to prepare you for a sustainable and varied career.

MOTHER TERESA IS DEAD

Student projects and work outside the academy INCLUDED stage managing the Opening and Closing Ceremonies of the 2012 London Olympics, celebrating the Queen’s Diamond Jubilee with an event at Burlington House attended by HM The Queen, performing at Fortnum and Mason to launch the Big Give Christmas Challenge AND PRESENTing sonnets at the British Museum as part of the World Shakespeare FestivaL. RADA Annual Monitoring Report 2011-12

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www.rada.ac.uk

WHY IS OUR TRAINING DIFFERENT? - Our training is a conservatoire, vocational training. It is a collaborative approach to learning and creativity and will provide you with all the skills necessary for a long and rewarding career in your chosen profession. It will include intensive hours working with specialist staff on practical challenges that you will face in a professional environment. - Most RADA students receive between 36 and 40 hours of contact time a week with their teachers. The national average for Higher Education is 14.7. There is approximately one teacher for every four undergraduate students at RADA; this does not include one-off lecturers and support staff. - We run three professionally equipped theatres in-house, specifically designed to support the training at all levels, in all areas, and available as teaching - as well as performance spaces – throughout the year. These run alongside workshops and sound studios to create 20 productions a year, as well as short films, radio plays and design and technical exhibitions. - Every RADA technical course includes an industry placement, which is a hugely valuable training experience and builds contacts for the future. Many students go on to paid work with the company where they had their placement.

EMPLOYMENT PROSPECTS In industries notorious for short term and intermittent employment, RADA graduates have an impressive record, with 82% still active in the profession 20 years after graduation. Meanwhile, the most recent RADA graduates are beginning their careers at the National, RSC, Shakespeare’s Globe, Royal Court, Donmar, Almeida, West Yorkshire Playhouse, Liverpool Everyman, Sheffield Crucible, BBC TV and Radio, ITV, Pathé Films, Warner Bros. Entertainment, English National Opera and Really Useful Group. HOW WILL I AFFORD IT? - If you are on an undergraduate course and new to Higher Education you should be eligible for a government loan to cover the total cost of your tuition. This loan does not have to be paid back until you graduate and earn over £21,000 a year. - Government loans are offered to cover tuition fees and living costs through Student Finance England. - Government maintenance grants are available to students from a household income of less than £42,611 - these grants do not have to be paid back. - Conservatoire for Dance and Drama Scholarships - many students will be eligible for fee discounts and will not have to pay the full £9,000. - Career and Professional Development Loans are offered to students who already have a degree. In addition RADA has its own bursaries and financial support. This means no student has had to decline a place on our HE undergraduate courses because they could not afford to train with us. If you believe you have the talent and the commitment to succeed, then the most important thing is to apply. If you are offered a place, RADA will work with you to ensure you receive all the financial support available to you and will even help you with your own fundraising. For more information see pages 50 and 51 and go to the CDD website: www.cdd.ac.uk/student-info



To benefit from RADA you have to be committed to the work and prepared for long hours, but it is a unique time and experience and I hope it will be a great platform for a career in theatre and film. RADA Student



CONSTRUCTION ON THE JERWOOD VANBRUGH STAGE



RADA’s buddy scheme has been much praised...New studentS ARE given a ‘buddy’ from the year above them TO PROVIDE support AND STUDents in their final year of training are given an ‘industry buddy’ who adviseS them as they MOVE from study to work. RADA Tutor

www.rada.ac.uk

WHY CHOOSE RADA?

WHY CHOOSE RADA?



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THEATRES

I was attracted to RADA because it operates three different styles of venue, which offers a range of technical challenges and experiences. I have been given responsibility From an early stage and have benefited from the combination of this, the venues and choice of productions.

GBS THEATRE: Our mid-sized studio theatre John Gielgud THEATRE: A FLEXIBLE studio space FACILITIES



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Scenic art workshop, including paint frame

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Scenic construction workshops: wood & metal

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Costume workroom & fitting rooms

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Costume store with over 17,000 Costumes

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Sound studio with three associated control rooms

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Student offices

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DIGITAL CINEMA SCREEN

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video recording & editing equipment

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PropertIES department

MOVEMENT CLASS

STUDENT IN THE PROPS WORKSHOP



- Box office & foyer bar -

Media suite

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Design studios

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Library with over 25,000 books

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Dance & fight studio

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CAD Suite

Working on the RADA productions definitely has to be THE highlight of my first year, getting thrown in the deep end in all the different technical fields and experiencing working in the three production spaces. Sometimes you can forget that it’s students running all the shows: It feels that professional!

- Refectory CONSTRUCTION ON THE JERWOOD VANBRUGH STAGE 06

www.rada.ac.uk

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Specially equipped rehearsal studios

JERWOOD VANBRUGH THEATRE

RADA Student

www.rada.ac.uk



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FACILITIES

RADA Student

Jerwood Vanbrugh THEATRE: The largest auditorium & a multi-configuration theatre

RADA Annual Report 2011-12

PRODUCTION & DESIGN PLACEMENT: CARMEN, ROYAL ALBERT HALL 08

www.rada.ac.uk

LONDON LIFE RADA is the most central drama school in London. With the museums and libraries of Bloomsbury on one side, the film world of Soho on the other and the West End on our doorstep, no other training institution is better connected to all that London has to offer. Studying and living here gives you access to one of the most vibrant cultural hubs in the world. The experiences you have, the people you meet and the contacts you make can be some of the most relevant in your future career. There are more than 17,000 theatrical performances each year in London and these venues are at the forefront of theatrical innovation. The West End, with its 50 or so stages, represents some of the highest quality commercial theatre in the world. Moreover, the wealth of fringe theatres means you are likely to regularly experience a unique performance right on your doorstep. Our students go on to work in many of these venues, both on and off the stage, once they have graduated.

EMPLOYMENT PROSPECTS ACTING & PERFORMANCE Theatre: Splitmoon Theatre Company; Paines Plough; Southwark Playhouse; White Bear; Chichester; York; World Productions; Donmar Warehouse; Bush; Winterflood; Lion & Unicorn; Arcola; Rose; Theatre Royal Bath; Old Vic; Regent’s Park Open Air Theatre; Almeida; Bentley Productions; King’s Head; Endemol; RSC; Royal Court; Royal & Derngate; Globe; Oxford Shakespeare Company; English Touring Theatre; Liverpool; Dreamthinkspeak; Hull Truck; Northern Broadsides; Orange Tree; Headlong; Royal Lyceum Edinburgh; Abbey National Theatre of Ireland; Kingston Studio; Mousetrap Productions; Nottingham Playhouse; Mercury. Film, Television & Radio: Many Rivers Film/C4; BBC1; BBC/Shed Productions; BBC/Hat Trick Productions; lTV; BBC R4; Y-Feye Media; Eon Productions; Sky 1; Carnival Productions; MGM - Sam Mendes; BBC FILMS; Mike Newell; Parkville Productions; Elevator Productions; Tiger Aspect; BBC3; ITV2; Ecosse Films; Sprout Productions; Luma Productions; Freemantle Media; Working Title; Universal Pictures; Nickelodeon; Inheritance Pictures; Viola Films; Hethwheel Productions; Eyebrow Productions; Fluidity Films; Farmer Gordon; 20th Century Fox; Warner Bros. PRODUCTION & DESIGN: English National Ballet; Greenwich Playhouse; Theatre 503; Glastonbury; London Classic Theatre; Little Angel; Young Vic/American Repertory Theatre; Disney Theatrical/Joop van den Ende Productions; Knee-High; Kensington Palace; Old Vic; Sonia Friedman; Savoy; Apollo; Harold Pinter; Vaudeville; Flying Music; Ludere Productions; English National Opera; National; Sadler’s Wells; Lyric Hammersmith; ROH; Really Useful Group; Grove; DSA Productions; Clockwork Scenery; Force Monkey Theatre Group; Westminster Opera Company; Hertford; Glyndebourne; Ovation Productions; Opera Siam Company.

where destinations are known, 99% of students moved onto significant professional employment in dance/drama/circus [BA Acting course] King’s College Annual Review 2011-12

PRODUCTION & DESIGN PLACEMENT: SWEET BIRD OF YOUTH, OLD VIC



Many people say theatre can be unsociable but at RADA we ensure that it’s social all the time. After a hard day’s work we take time to chill at the pub or go for a meal: there is always someone planning something - maybe just a ‘Cake Break’ or even a Christmas meal, there is always something to look forward to. RADA Student

www.rada.ac.uk

LONDON LIFE AND EMPLOYMENT PROSPECTS

PRODUCTION & DESIGN Placements: Glyndebourne Opera CoMPANY; Regent's Park Open air theatre; National; Southwark Playhouse; Royal Court; MATILDA, RSC; Lyric Hammersmith; Donmar; Royal Ballet; Almeida; SINGIN’ IN THE RAIN, Chichester; English National Opera; West End productions of Ghost & The Wizard of Oz; Old Vic Bridge Project; 11 STUdents Were chosen to undertake roles on the 2012 Olympic and Paralympic opening and closing ceremonies; Charlie and The Chocolate Factory, Theatre Royal Drury Lane; Thames TV; Carmen FOR Raymond Gubbay Productions, Royal Albert Hall; Royal Ballet, ROH; Bush; Aladdin, O2; Nabucco for Opera Østfold, Norway; Sweet Bird of Youth, Old Vic; Cornelius for 49E49 Theatre CoMPANY, New York; A little Chaos for Lionsgate Films.



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ACTING & PERFORMANCE The three year BA in Acting is designed for those students with the talent and dedication to pursue a career as a professional actor. The Foundation Course in Acting offers an insight into life at drama school and may be suitable for students considering a gap year before an academic or conservatoire training. The MA Theatre Lab is a performance-based course exploring ensemble and experimental theatre-making.

FRANCINE WATSON COLEMAN SENIOR MOVEMENT DIRECTOR Francine is a Movement Director and Choreographer in classical theatre. She is a particular specialist in Period Movement and Dance and in periodspecific movement, style and codes of behaviour as they relate to the meaning of play texts and their performance. Francine works with a wide range of theatre companies including the RSC, Young Vic, Shared Experience, Theatre Alive, Chichester, Oxford Playhouse, Theatre Royal Northampton and Abbey, also giving master classes, directing workshops and coaching established actors in physicality and text. She has co-directed full-length productions (scenario and mis-en-scene) with currently three in repertoire (The Sleeping Beauty, La Bayadere and Swan Lake) and collaborates in dramatic expression with visiting choreographers. She is Guest Artist in Acting with Sachsische Semperoper Ballet Dresden.

For a full list of entry requirements please see individual course pages and for detailed fees information and the funding options available please see the fees and funding information on pages 50 and 51.

The MA in Text and Performance, run in collaboration with Birkbeck, University of London, may be particularly suited to those wishing to study dramaturgical or textual aspects of the theatre-making process. Graduates from this course have gone on to work as playwrights, dramaturgs, directors and teachers.

COURSE

DURATION

ENTRY REQUIREMENTS

FOUNDATION COURSE IN ACTING

2 terms

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Fluency in the English language 18 years old by September 2014

BA (HONS) IN ACTING

3 years

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Fluency in the English language 18 years old by September 2014

MA THEATRE LAB

4 terms

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Appropriate Honours degree or recognised diploma or practising performers/actors must have significant professional experience (minimum three years) IELTS level of 7 or above for spoken English and 6.5 or above for written English

- MA IN TEXT & PERFORMANCE

1 year full-time

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2 years part-time

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ACTING AND PERFORMANCE

YERMA

In addition RADA has a long association of supporting and developing new writing work. We are unique amongst UK drama schools in employing a full-time Dramaturg. All our acting and performance courses draw on the same pool of richly experienced and expert RADA teachers and directors.

Honours degree in arts based subject In exceptional circumstances career experience may be considered IELTS level of 7 or above for spoken English and 6.5 or above for written English

THE GRACE OF MARY TRAVERSE 10

www.rada.ac.uk

www.rada.ac.uk

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LOVE FOR LOVE

JOHN BESCHIZZA ACTING TUTOR John is a senior acting teacher who trained as an actor at the Drama Centre on the three year acting course. In 1994 his former mentor and at that time the Head of Acting at RADA, Doreen Cannon, offered him the chance to teach acting technique at RADA and he has been part of the RADA faculty ever since. John teaches Stanislavsky based acting technique which serves to develop basic, essential skills and abilities in listening, observation, openness and awareness of physical, emotional and imaginative impulses. The technique is loosely based on Uta Hagen’s “Object Exercises” which are structured improvisations designed to develop relaxation, the skill of “Action Playing” and to deepen involvement and belief in relationships and the given circumstances. As the work develops, other acting techniques created by Sanford Meisner and Michael Chekhov are utilised to help deepen the student actors’ development of their talent into real skill. BLUE STOCKINGS 12

www.rada.ac.uk

COURSE DETAILS The three year BA in Acting (validated by King’s College London) is a conservatoire training designed to provide a thorough preparation for a career in a wide variety of media, including theatre, television, film and radio. THE PROGRAMME The programme includes the development of individual skills in the areas of acting, voice, singing and movement; and their application in a variety of projects and productions across the three years. Work is continuously assessed: and students have regular feedback sessions and one-to-one tutorials with teachers. The aim is to train actors with a high degree of technical facility and flexibility, but also, to develop individuality and imagination. The course includes work on contemporary plays and styles; and classes in camera and microphone technique. The training is classically based because we believe this provides the best possible foundation for acting in any form or media. ACTING WORK Acting work in the first year moves from Stanislavsky-based exercises to scene and project work around realist material; these run in parallel with classes on classical text and improvisation. In the second year the project material is chosen to stretch students both imaginatively and technically: this includes the work of Shakespeare and other Elizabethan and Jacobean writers; Greek Tragedy; contemporary writing; devised work and Restoration/Eighteenth Century Comedy. Acting for camera and microphone techniques are taught in the second year. VOICE TRAINING Voice training develops the range, clarity, strength and flexibility of the actor’s voice and speech. Speaking and singing are closely connected, focusing on breath, rhythm, tune, and phrasing,

and releasing the authentic truthful voice in heightened forms. The study of dialects helps in the mastery of unfamiliar speech patterns, sightreading in spontaneous interpretation of text. MOVEMENT TRAINING Movement is an integral part of the training and runs throughout the course. Teaching draws on a variety of sources, including Laban, Pisk and Lecoq, with an emphasis on the ensemble and play. The students also study period dance (Medieval to 20th Century), animal, mask (neutral and character), stage fighting (armed and unarmed combat) tumbling, acrobatics and Alexander Technique. PROFESSIONAL DEVELOPMENT Throughout the course these sessions introduce guest speakers from across the industry to stimulate, provoke and broaden the students’ appreciation of the career on which they have embarked. PUBLIC PRODUCTIONS The first opportunity to perform in front of the public comes at the end of the summer term of the second year, when students rehearse a production which tours to schools as well as playing at RADA. The third year is spent mainly in rehearsal and performance of productions in one of RADA’s three theatres and in the shooting of short films. The productions draw on the diversity of world repertoire and are directed by industry professionals, often of national or international standing; the films use professional directors, camera and sound operators and specially commissioned screenplays. Recent guest directors at RADA include John Dove, Philip Franks, Toby Frow, Paul Hunter, Iqbal Khan, Jonathan Miller, Jonathan Moore, Lindsay Posner, Eve Shapiro, Jessica Swale and Philip Wilson. Recent productions have included works by Howard Brenton, William Congreve, Noël Coward, www.rada.ac.uk

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ACTING AND PERFORMANCE

BA (HONS) IN ACTING

Sarah Kane, Federico Garcia Lorca, Arthur Miller, Anya Reiss, William Shakespeare, George Bernard Shaw, Stephen Sondheim, Simon Stephens and Timberlake Wertenbaker. MENTORING Final year students benefit from the RADA Buddy mentoring scheme. This programme supports the transition from student to professional actor. Graduate ‘Buddies’ provide professional advice, feedback and networking opportunities throughout the final year and beyond. INDUSTRY SHOWCASE The ‘Tree’ performance by final year students takes place in April each year and is named after the Academy’s founder, Sir Herbert Beerbohm Tree. Students present scenes or speeches to an invited audience of agents, casting directors and industry professionals. ADMISSION PROCEDURE FOR BA IN ACTING - Late applications will not be considered under any circumstances - There is an intake of up to 28 students in September each year - Auditions run from November until June, with an option of auditioning in London, Manchester, Leicester, Dublin and New York - It is RADA’s policy to audition all eligible applicants who apply before the deadline HOW TO SUBMIT YOUR APPLICATION FORM - Please email [email protected] for a hard copy of the application form - All applications must be submitted with the registration fee (£45 for applications received before 19 December 2013, £80 for applications received after this date) - The registration fee is non-refundable THE AUDITION PROCESS - Candidates auditioning in New York, Manchester, Leicester and Dublin should be prepared to attend subsequent recalls and workshops in London if required - A list of audition guidance notes will be sent to all applicants - It is a lengthy and rigorous audition process and may span several months

PHAEDRA’S LOVE

Jane Streeton Singing Coordinator Since graduating from the Royal College of Music, Jane has had an extensive career as an opera and concert soloist. At RADA, she has taught on the BA in Acting, Foundation, Musical Theatre Short Courses and for Youth Workshops. Jane has given masterclasses in Italy, Australia, Russia and the USA and has worked as singing coach for film and television, West End musicals, at the RSC, RNT and Shakespeare’s Globe. EDWARD HICKS HEAD OF FILM, TV & RADIO Edward started his career as a child actor with the RSC and in television before becoming a filmmaker. In 2009, as part of the principal partnership with Warner Bros. Entertainment he came to RADA to teach on the acting and technical courses. Before RADA he was a freelance filmmaker, directing projects that have been screened at festivals including Rushes, Edinburgh and Munich. He created and ran the first NCDT accredited media based acting course at East 15, is a graduate and former governor of LFS and is currently developing a Screen Acting book. 14

www.rada.ac.uk

THE FOUR AUDITION STAGES 1. Preliminary audition – November to April 2. Recall audition – December to May 3. Short workshop (three hour session) 4. Workshop day (9am to 6pm) Preliminary audition Candidates must perform two pieces of their own choosing, neither of which may be longer than three minutes. One piece must be a monologue from any play by Shakespeare or other Elizabethan/Jacobean playwright, the other a monologue from any play by a modern author (post 1950). Only one of the two pieces may be a direct address to the audience. All candidates should have an alternative classical piece prepared. This may or may not be called upon. Recall audition Speeches presented at the preliminary audition are repeated at the recall audition, unless candidates have been recommended to prepare a new audition piece. They are also required to sing a prepared unaccompanied song. Short workshop A three hour workshop, where students work on scenes from a variety of classical and contemporary plays. Workshop day This is the final stage and all candidates are required to prepare a new audition speech of their choice, from any era of dramatic literature. New York auditions Candidates can attend auditions in New York and this can be indicated on the application form. The New York auditions in 2014 will take place from 03 March to 07 March and are administered by the Institute of International Education (IIE) in New York. Applicants will be notified of the time and place of their audition by the IIE, to whom an audition fee of $115 will then be payable, in addition to the registration fee payable to RADA. Candidates opting for the New York auditions should ensure that they are available for a recall on the same day if required. Candidates will also be requested to attend a workshop in London at a later date.

SIX PICTURES OF LEE MILLER www.rada.ac.uk

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ACTING AND PERFORMANCE

BA (HONS) IN ACTING (continued)

MA THEATRE LAB

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www.rada.ac.uk

THE PROGRAMME The course balances a desire to expose students to a wide range of practises whilst allowing them to specialise and develop skills at a deeper level. The course is taught over a period of four terms. The first three, September to July, are 12 weeks each, with teaching taking place from Thursday to Saturday for an intensive 20-25 hours. The fourth term, July to September, is a full-time sixweek block of teaching and devising work, leading to a dissertation presentation (public performance) followed by a further two weeks for individual Critical Analysis written work. THE TRAINING INCLUDES: CLASSWORK Student classwork culminates each term in a workshop-style, in-house Open Class, devised through the Scene Study and Performance classes. In addition to their practical coursework, each term the students complete written assignments which engage with theories of performance and should provide a reflective assessment of their work. DISSERTATION In the final term students work as an ensemble (in one group or more where appropriate) to create their experimental piece. The rehearsal process, the performance and the accompanying Critical Analysis make up the student’s MA degree dissertation work. ENTRY REQUIREMENTS Graduates of completed training courses with an appropriate* honours degree or recognised diploma and practising performers/actors with significant professional experience (minimum three years) who are in need of a rigorous professional refresher and who wish to broaden the range of their skills to research, analyse, rehearse and perform. There are no upper age restrictions and the intake is enriched by a wide spread of nationalities, backgrounds and levels of experience. Applicants should note that the course is very

THEATRE LAB MOVEMENT WORKSHOP

demanding physically. Students for whom English is not their native language must demonstrate IELTS levels of 7 or above for spoken English and 6.5 or above for written English. The teaching hours are at the end of the week to allow students to continue earning whilst studying if they wish. These students will have to be able to commit to the full-time block of eight weeks through the summer (mid-July/August/September). APPLICATIONS AND ADMISSIONS All applicants are required to submit an application form detailing their previous experience and explaining why they feel this course is right for them (maximum 800 words). Appropriate candidates will be invited to audition at RADA in a workshop-based format to highlight their individual skills and ability to work as a productive member of a group. If necessary, recall auditions may be held. For further information please contact Andrew Visnevski, MA Theatre Lab Course Leader via Jo Lynch, MA Administrator, at [email protected] * By ‘appropriate’ it is understood that the degree is performance or theatre practice-based

THEATRE LAB MASK WORKSHOP

Tom Hunsinger MA THEATRE LAB TUTOR Tom is an actor, writer and director. He has cowritten and co-directed three feature films with Neil Hunter (Lawless Heart won Best Screenplay, British Independent Film Awards 2002 and Best Screenplay, Evening Standard Film Awards 2003). He and Neil are currently writing a film script for Rory Kinnear and Katherine Kelly for the BFI. www.rada.ac.uk

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ACTING AND PERFORMANCE

COURSE DETAILS The RADA MA Theatre Lab is validated by King’s College London and is a one-year course running over four terms. The aim of the course is to enable students with a strong background in performance to explore and develop their skills in an experimental framework. The emphasis is on devised and group work, and students are taught to approach the process of developing performance from a post-Stanislavskian standpoint. The course is built around three primary strands. ACTING AND PERFORMANCE: PRACTICE AND METHODOLOGY Working from the foundation of the Stanislavski ‘system’, students are introduced to the approaches and responses of later practitioners, including Jacques Copeau, Bertolt Brecht, Vsevolod Meyerhold, Jerzy Grotowski and Sanford Meisner. Students also study Theatre and Performance Contextual History which places special emphasis on the links between historical, improvisational and physical practise (eg Commedia) and the developments in experimental theatre internationally, new writing and performance since the middle of the 20th century. SKILLS DEVELOPMENT Skills Development assumes a prior performance background - this can mean experience in different kinds of performance - and aims to build on the student’s strengths, whilst improving areas where the student is less experienced. Voice and Physical Performance training forms the fundamental of the skills-based work, supplemented by creative writing, improvisation and singing. SCENE STUDY Scene Study provides a forum for students to develop and experiment with the techniques they are learning. Each term, students explore ideas and work towards an in-class workshop performance in response to a theme or topic.

COURSE DETAILS The MA Text and Performance course is offered in partnership with Birkbeck, University of London. The RADA teaching components are designed to deepen and extend an understanding of drama and plays in and through performance and encourage the student’s own creative practise. This course can be studied full-time for one year or part-time over two years. THE PROGRAMME Teaching sessions are concentrated mainly in the autumn and spring terms with contact hours on Tuesday afternoon and evening, Wednesday evenings, Thursday evening and Friday afternoons. During the summer term students focus on their dissertation work supervised either by RADA or Birkbeck. RADA offers workshop sessions through the year and Birkbeck offers a programme on theatre in London today and a dissertation preparation. In the spring term the students are encouraged to express themselves as writers, directors or dramaturgs through a choice of pathways at RADA. THE TRAINING COVERS: - Study of texts in their cultural context - Practical classes to foster an understanding of performance skills and text analysis - Lectures, seminars and workshops held at Birkbeck (five minutes from RADA) - Scene-study workshops with professional directors and classes with specialist skills tutors held at RADA - Writing and directing classes - Opportunities for play writing and directing guided by theatre professionals - Specialist seminars with professionals from theatre and related arts

Practical Dissertation Presentation: Lucy Brenchley

Practical Dissertation Presentation: Lucy Brenchley 18

www.rada.ac.uk

ENTRY REQUIREMENTS Qualification for entry is a good arts-based honours degree. In exceptional circumstances appropriate career experience, for example in theatre, may be considered as an alternative qualification. The course should appeal equally to candidates with an academic knowledge of drama who wish to increase their practical and creative awareness and to candidates already involved in their own practise who wish to explore it through academic study. Students must be prepared to join in practical group work as well as class discussions. There are no upper age restrictions and the intake is enriched by a wide spread of nationalities, backgrounds and levels of experience. Students for whom English is not their native language must demonstrate IELTS levels of 7 or above for spoken English and 6.5 or above for written English. APPLICATIONS AND ADMISSIONS Entry to the course is through Birkbeck, University of London. For more information please go to: www.bbk.ac.uk/study/2013/postgraduate/ programmes/TMATEXPR_C Alternatively please email the programme administrator, Anne-Marie Taylor at [email protected] or write to the Department of English and Humanities, Birkbeck, University of London, Malet Street, WC1E 7HX. For further information about the RADA elements of the course please contact Jo Lynch, MA Administrator, at [email protected]

TEXT & PERFORMANCE CLASSWORK www.rada.ac.uk

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ACTING AND PERFORMANCE

MA IN TEXT & PERFORMANCE

COURSE DETAILS This is a full time course which runs for two terms of 12 weeks. It is primarily intended for students leaving secondary school who are considering whether a conservatoire training is right for them. The course aims to give an insight into the life and culture at a conservatoire drama school. It provides a rigorous and in-depth training, while at the same time asking students to reflect on their suitability for this type of training and ultimately this career. The course also challenges students to examine what it means to be a creative individual; how to nurture this creativity, how to collaborate, and how to find as many platforms as possible to be creative.

- Text and sight reading - Music and group singing - Clowning - Acting for Screen THEATRE HISTORY The students receive a solid introduction to theatre history in the form of a practical devising class covering modes and genres from Greek Tragedy to Kitchen Sink realism. Throughout the year there will be frequent theatre visits to a variety of different productions, each with a follow up class and discussion.

PROJECT WORK During the course, three major projects will be undertaken and skills classes will be tailored to the period or theatrical style of each project, these will cover Shakespeare, contemporary text and new writing. Teachers will assess the students’ progress and give individual feedback based on the projects. Group sizes for these classes will be no more than 16. CAREERS In the first term students are given the opportunity to explore other careers in theatre, television and film with guest speakers coming in to discuss the roles of casting director, theatre director, film director, designer and stage manager. Guest speakers in the second term are all professional actors. APPLICATIONS AND ADMISSIONS After submitting your application form (see page 50) you will be invited to a preliminary audition. These run from November to April and have the same format as the BA in Acting audition (see page 15 for details).

The course is taught by RADA tutors and runs from September to March and the cost for 2014-2015 is £11,700 for the two terms. This is a non-accredited course which does not attract government funding therefore all students who are offered a place are required to fund both the annual fee and all living costs privately.

The audition process is made up of two stages and some candidates will be invited to take part in a recall audition which may include group work.

THE PROGRAMME The curriculum offers acting classes, skills classes, three performance projects and workshops to help with future drama school applications.

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- ADDITIONAL SKILLS CLASSES: - Movement for actors including Laban, group Alexander Technique and Animal Studies - Dance covering a wide range of periods - Voice 20

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- FOUNDATION COURSE CLASSWORK

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Please note that candidates may be called for an audition at short notice Candidates may apply for the Foundation Course in Acting at the same time and using the same form as the BA in Acting The Academy does not provide feedback to audition candidates The decision of the audition panel is final Each candidate can only apply once per academic year

Come and study with the teachers, directors and course leaders from our full-time courses and use our specially designed facilities. There is a RADA short course for everyone, whether you have experience or whether you want to get a taste of what drama training is all about. Our courses run throughout the year and cover everything from corset making to Shakespeare. For further information please go to www.rada.ac.uk ACTING & PERFORMANCE - Acting ShakespearE - CONTEMPORARY DRAMA - EUROPEAN GREATS - introduction to acting in film and television - Musical Theatre - SHAKESPEARE SUMMER SCHOOL - YOUNG ACTORS SUMMER SCHOOLS: - EXPLORING SHAKESPEARE - CONTEMPORARY THEATRE - MUSICAL THEATRE/DEVISING THEATRE PRODUCTION & DESIGN - ADVANCES IN SCRIPTWRITING - Corset MakinG - COSTUME LAB - INTRODUCTION TO PLAYWRITING - Lighting Design - Property Making - role of the producer/ GENERAL MANAGER - Set & Costume Design - Scenic ArT - Scenic Construction - SIGN WRITING - Sound Design

ACTING AND PERFORMANCE

FOUNDATION COURSE IN ACTING

RADA SHORT COURSES

ALEXANDRA ROACH UTOPIA CHANNEL 4

CYNTHIA ERIVO The COLOR PURPLE Menier Chocolate Factory © Nobby Clark

graduates MARIANNE JEAN-BAPTISTE THE AMEN CORNER NATIONAL THEATRE

DOUGLAS HODGE CHARLIE & THE CHOCOLATE FACTORY THEATRE ROYAL DRURY LANE

© RICHARD H SMITH www.rada.ac.uk

© Helen Maybanks

www.rada.ac.uk

DAVID HAREWOOD HOMELAND CHANNEL 4

BERTIE CARVEL MATILDA SHUBERT THEATRE, NEW YORK

graduates JESSICA RAINE CALL THE MIDWIFE BBC 1 © Neal Street Productions www.rada.ac.uk

RUFUS NORRIS, DIRECTOR BROKEN FEATURE FILM www.rada.ac.uk

RADA’s technical and production courses develop the creative and practical skills necessary to pursue a successful career in a wide range of areas within theatre and related industries. Graduates from RADA technical courses have a considerably high and successful employment record. TECHNICAL THEATRE AND STAGE MANAGEMENT The two year course in Technical Theatre and Stage Management offers a broad and comprehensive training in all aspects of technical theatre, allowing the student to specialise in their final year. Typically half of the intake goes on to pursue successful careers in Stage Management, the rest choose a wide range of alternative technical career options. All our technical training courses give the student hands on experience from the start; centred on RADA’s programme of public productions and staged in one of our three main-house theatre spaces. Our theatres have been specifically designed to support the

JERWOOD VANBRUGH THEATRE

COURSE

DURATION

ENTRY REQUIREMENTS

Technical Theatre and Stage Management Foundation Degree

2 years (with the option of a one year completion award)

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Fluency in the English language

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18 years old in September 2014

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Some practical experience is desirable

Postgraduate Diplomas:

2 years

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Fluency in the English language

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18 years old in September 2014

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These are vocational courses therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of academic qualification

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Fluency in the English language

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18 years old in September 2014

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These are vocational courses therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of academic qualification

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Theatre Design (set and costume)

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Theatre Costume

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Sound Design for the Theatre

Postgraduate Diplomas:

STUDENTS IN THE SCENIC ART WORKSHOP 26

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THEATRE DESIGN PRESENTATION

educational requirements of an intense and detailed vocational, conservatoire theatre training, and are used for classes, demonstrations and even individual tuition, as well as performance, throughout the course. SPECIALIST COURSES We also offer ‘specialist’ courses which give the opportunity for a more intense and advanced study of specific areas of technical training. These courses are: THEATRE DESIGN (SET AND COSTUME) THEATRE COSTUME SOUND DESIGN FOR THE THEATRE STAGE ELECTRICS AND LIGHTING DESIGN SCENIC ART PROPERTY MAKING SCENIC CONSTRUCTION RADA believes in the importance of strong links to industry and the relevance of its training programmes to professional work. The technical teaching staff are themselves drawn from all areas of the industry.

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Stage Electrics and Lighting Design

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Scenic Art

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Property Making

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Scenic Construction

4 terms

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PRODUCTION AND DESIGN RADA OUT THERE RADA OUT THERE RADA OUT THERE RADA OUT THERE RADA OUT THERE

PRODUCTION & DESIGN

TECHNICAL “

There is rarely a day goes by when I don’t use something I learnt on the TECHNICAL THEATRE & STAGE MANAGEMENT (TTSM) course

THEATRE & STAGE MANAGEMENT ” RADA Graduate

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performances at Circus Space. Career guidance and professional development sessions are given throughout the course. THE FOUNDATION DEGREE TRAINING COVERS: - Stage management - Stage electrics/lighting design - Sound - Scenic art - Scenic construction - Property making and procurement - Costume - Set design - Stagecraft - Production management - Technical and creative film roles eg Script Supervisor, First Assistant Director, Location Manager - Professional secondment/work placement: up to six weeks with a theatre company, organisation or practitioner - First Aid (students receive a First Aid Certificate) - Health and safety in the workplace - Technical drawing - Music score reading - History of theatre - Company management - Career development APPLICATIONS AND ADMISSIONS There is an intake of up to 30 students in September each year.

DEPUTY STAGE MANAGER CUING A PRODUCTION

BA COMPLETION YEAR IN TECHNICAL THEATRE AND STAGE MANAGEMENT Subject to suitability, students may wish to study a third year to achieve a BA in Technical Theatre and Stage Management (completion award). This can be taken in a number of individual areas: Stage Management; Stage Lighting; Property Making; Scenic Art; Costume; Technical Management; Production Management; Stage Sound. Combinations of subjects may also be considered, dependent on the applicant persuading the interview panel of the personal and vocational relevance of their choice. To be accepted onto this third year training the student must have gained a high award on completion of the RADA Technical Theatre & Stage Management Foundation Degree or similar level qualification, be successful in interview and pass other specific criteria. Very few places are awarded in each area per year, but this does allow students to enjoy a very high level of individual focus on their programmes.

CHANTAL HAUSER STAGE MANAGEMENT TUTOR Chantal has a BA Hons in English from Oxford University and trained on the Stage Management Course at RADA. Since graduating, she has worked as a freelance Stage Manager, Company Manager and Assistant Director in theatre and opera. This has included work for the RSC, National, ROH, West End, Birmingham Rep and Glyndebourne, Wexford, Buxton and Dublin Opera Festivals. She has toured throughout the UK, Europe and internationally. She was Company Manager for the NYT at the Beijing Olympics Closing Ceremony, created a course for American Stage Management students for Globe Education and has been administrator for the Motley Theatre Design Course. Most recently, she was Company Manager on Billy Elliot in the West End.



Because I undertook the TTSM course I find I have been prepared for almost everything I have come across professionally, and I thank RADA for it. RADA Graduate

www.rada.ac.uk

PRODUCTION AND DESIGN

COURSE DETAILS The first year of this two year Foundation Degree incorporates a broad, practical training in the areas that contribute to a theatre production. In their second year students choose to specialise in an area that interests them: stage management, lighting, construction, sound, property making or costume. The training is almost entirely vocational and practical, with a focus on a career in the industry. Rich and diverse in its scope and facilities, the course combines in-depth technical instruction with a clear insight into the necessary organisational, managerial and collective skills which also form the core of successful dramatic work. The training also teaches skills relevant to other areas of the entertainment industry – film, radio, television, conferences, events and other commercial ventures. In common with the best training at this level the course also encourages clear personal development, considered reflective mechanisms and strong individual growth. These skills have been proven to support an individual through many complex, high-pressured and rewarding careers. From the outset, the training involves work on RADA productions as crew and/ or operator with students in their second year taking on senior roles; such as Stage Manager, Production Electrician, Head of Construction, Wardrobe Supervisor or Property Maker on RADA’s public productions. All students work with professional directors and designers. In addition to roles in theatre, there is the opportunity to work on RADA’s own short films or on graduation



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COURSE DETAILS The postgraduate two year set and costume design course covers the extensive process of design for performance. First year studio based design projects are aimed at developing specialist skills in the following areas: - Dramaturgy - Script analysis and period research - Director/designer partnerships - Creative interpretation - Visual language as resource for designing - Venue architecture: facility and constraints - 2-D and 3-D problem solving - Figurative costume drawing - Scale model making - Technical and perspective drawing - Observational drawing - Design presentations First year students will also gain skill in technical theatre and stagecraft, aspects of: construction, scenic art, prop making, wardrobe, fabric treatment, wigs, hair and make-up, lighting, CAD, sign writing, and health and safety. Supplementary classes include First Aid (students receive a First Aid Certificate) and the history of theatre.

SIX PICTURES OF LEE MILLER

ALL’S WELL THAT ENDS WELL 30

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WHEN SHE DANCED

In the second year of training students design an opera or musical studio project, then embark on designing for RADA’s public productions. Roles include Design Assistant and Set and Costume Designer. At the end of the second year students take part in the Design and Costume graduate exhibition. This public display of projects and design work is presented through sketchbooks, storyboard, prop drawings, costume renderings, technical drawing and final presentational models. This exhibition provides the opportunity for students to talk about their work with an invited group of industry contacts.

The course leads to the award of a postgraduate diploma in Theatre Design. APPLICATIONS AND ADMISSIONS There is an intake of two or three students in September each year. At the time of interview, applicants will be asked to bring their creative portfolio, displaying personal interest in art and design, degree/diploma or course work, along with any previous work related to performance. The portfolio should include original work and demonstrate interest in some of the following; drawing, life drawing, still life, landscape and in particular the use of colour in craft work or fine art work. Included may be sculpture or installation, print making or fabric design, and examples from study of craft disciplines where experience in 3-D modelling is evident. Portfolios must also include sketch books showing creative and practical process work, representing the ability to problem solve on the page. Interviews are held in person with the Head of Design, Director of Technical Training and another member of the department. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

SIX PICTURES OF LEE MILLER MODEL BOX

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PRODUCTION AND DESIGN

THEATRE DESIGN (SET & COSTUME)

THEATRE COSTUME

BLUE STOCKINGS 32

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PETER PAN

APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio and samples of previous work to the interview. There is an intake of up to four students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

LOVE FOR LOVE

COURSE DETAILS This course is aimed at people wanting to become Costume Makers or Supervisors. The two year course covers all areas of costume making, from pattern cutting through to the finished garment. The course also includes organisational and managerial skills, budget control and ordering, and will prepare you fully for a career in costume making and wardrobe supervision. Throughout the training, students will gain an understanding of the employment framework of costume/wardrobe departments within theatre and related industries. The training will provide students with the skills needed to take a given design or costume reference and transform it into a finished garment as well as all the skills required to take on the role of Costume Supervisor on a show. Students will supervise on the Academy’s public productions, where they will work with professional directors and designers. THE TRAINING COVERS: - Role of costume supervisor on RADA productions - History of costume and costume props - Pattern cutting – flat and stand - Corset making - Ruff making - Fabric sampling - Costume construction - Wig and hair maintenance and make up - Fabric and costume dyeing - Tailoring - Millinery In the final term, students’ project work will be exhibited, providing the opportunity to talk about their work with an invited group of industry contacts. This course leads to the award of a postgraduate diploma in Theatre Costume.

THE GRACE OF MARY TRAVERSE www.rada.ac.uk

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SOUND DESIGN FOR THE THEATRE SOUND STUDIO

CABARET AT RADA 34

www.rada.ac.uk

APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio of their work to the interview, including samples of three-dimensional work (where possible), photos, drawings and evidence of practical experience. There is an intake of up to three students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

Course Details This two year course covers all aspects of sound for live theatre performance and related areas. The course includes a comprehensive handson exploration of current sound equipment for the recording, manipulation and playback of sound for theatrical performance alongside organisational and managerial skills, budget control and production understanding. Based in RADA’s state of the art sound studios in London the course includes a series of high-level industry placements. The training will provide students with the skills required to achieve a successful career in theatre sound at the highest level. THE TRAINING COVERS: - The theatre production process - General theatre techniques - Sound theory - Acoustics - Electronics / equipment maintenance - Production sound techniques - Studio recording - Field recording - Pro Tools editing - Radio drama recording and editing - Theatre sound design - Production sound for film - Post sound for film In the final term, students’ project work will be exhibited, providing the opportunity to talk about their work with an invited group of industry contacts. This course leads to the award of a postgraduate diploma in Sound Design for the Theatre. SOUND STUDIO

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PROPERTY MAKING

YERMA 36

property making coursework www.rada.ac.uk

There is an intake of up to three students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of academic qualification. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

SPECIALIST TECHNICAL GRADUATE EXHIBITION

COURSE DETAILS In four terms, students will learn all the essential techniques required to make props, plus organisational and managerial skills including how to control a budget. The training will provide students with the skills needed to take on the role of Property Maker on the Academy’s public productions, where they will work with professional directors and designers. In the final term students’ project work will be exhibited in the Specialist Technical Graduate Exhibition giving students the opportunity to discuss their work with an invited group of industry contacts. THE TRAINING COVERS: - Role of property maker/supervisor on RADA productions - Practical sessions in fibreglassing, wood turning and upholstery - Fake food preparation - Furniture making for the stage - Technical and perspective drawing - Industry related visits - Polystyrene carving - Metal working techniques - Safe use of hand tools including routers, jigsaws and sanders - Safe use of power tools and machinery, including bandsaw, table saw, morticer - A shell mould project - Rubber moulding and casting techniques - Fabric dyeing course - Sign-writing - Up to six weeks professional attachment This course leads to the award of a postgraduate diploma in Property Making. APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio of their work to the interview, including samples of three dimensional work (where possible), photos, drawings and evidence of practical experience.

PROP FROM THE GRACE OF MARY TRAVERSE www.rada.ac.uk

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DANIEL COLLINS HEAD OF SCENIC ART Daniel has worked in theatre for over 20 years. In that time he has made armour for kings and built castles in the desert and of course he has painted a lot of sets! At RADA he is responsible for equipping students with the diverse and wide ranging skills required by today’s scenic artist. He also feels an important part of his role is to introduce his students to many of the profession’s leading practitioners.

SPECIALIST TECHNICAL GRADUATE EXHIBITION 38

www.rada.ac.uk

BLUE STOCKINGS

There is an intake of up to three students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

SCENIC ART COURSEWORK

COURSE DETAILS Throughout this four term course students will be encouraged to keep a visual diary, develop a portfolio and build professional connections. In the final term at RADA student’s project work will be exhibited in the Specialist Technical Graduate Exhibition giving them the opportunity to talk about their work with an invited group of industry contacts. THE TRAINING COVERS: - Role of scenic artist on RADA productions - Scenic interpretation and sampling - Life drawing - Spray techniques - Scenic drawing - Texture - Wood graining - Marbling - Trompe l’oeil - Perspective drawing - Principles of geometry - Scenic carving using polystyrene - Cloth work including architectural and portrait - Sign-writing - Up to six weeks’ professional attachment with a company or practitioner, as well as strong links with the Royal Opera House and the National Theatre scenic workshops. This course leads to the award of a postgraduate diploma in Scenic Art. APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio of their work to the interview, including samples of work (where possible), photos, drawings and evidence of practical experience. Drawings, paintings, print making and mixed media should be included. Sketchbooks should show the process of creative thinking which supports the finished work.

SPECIALIST TECHNICAL GRADUATE EXHIBITION www.rada.ac.uk

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SCENIC CONSTRUCTION

YERMA 40

COCKROACH www.rada.ac.uk

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Creative projects including decorative door, period cornice - Technical projects including modular decking, trap panel, precision cube - Six week professional attachment to a theatre or scenic workshop This course leads to the award of a postgraduate diploma in Scenic Construction. APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio and samples of previous work to the interview. There is an intake of up to three students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

BLUE STOCKINGS

COURSE OVERVIEW In four terms, students will gain the opportunity to work in the Academy’s carpentry and steel fabrication workshops, producing scenery and staging for the Academy’s public productions, as well as undertaking several technical and creative personal projects. They will also assume several roles of responsibility for productions including: Scenery Builder, Workshop Foreman, and Head of Department, giving them the unique opportunity to apply their skills to live projects during the course. Throughout the course students will visit various professional organisations such as the National Theatre and Royal Opera House. In the final term students project work will be exhibited in the Specialist Technical Graduate Exhibition giving them the opportunity to talk about their work with an invited group of industry contacts. Students will also undertake a six week placement at a professional workshop suited to their skill set. THE TRAINING INCLUDES: - Building, fitting-up and maintaining sets - Bench carpentry and joinery; full use of woodworking machinery and tools including vertical panel saw, tenoner, mortiser, radial arm saw, thicknesser - Metal work: full use of MIG and MMA welding processes and metal working tools, such as grinders, plasma cutter and engineering lathe - Stagecraft, scenery handling, rigging and flying - Technical drawing using the latest AutoCAD software - Design analysis and interpretation - Budgeting and quantifying - Theatrical principles, masking and sight lines, staging configuration

SPECIALIST TECHNICAL GRADUATE EXHIBITION www.rada.ac.uk

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STAGE ELECTRICS & LIGHTING DESIGN

BLOODY POETRY 42

www.rada.ac.uk

M. BUTTERFLY

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Project work in production electrics and lighting design - Production electrics work and lighting design on RADA productions - Opportunities for professional work placements This course leads to the award of a postgraduate diploma in Stage Electrics and Lighting Design. APPLICATIONS AND ADMISSIONS Applicants will be asked to bring a portfolio and samples of previous work to the interview. There is an intake of up to three students in September each year. This is a vocational course therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of their academic qualifications. If you don’t think you fulfil the entry requirements please see page 50.

PRODUCTION AND DESIGN

LOVE FOR LOVE

COURSE DETAILS At the start of this four term course students will learn the basics of production electrics, including rigging, focusing and plotting and basic stage craft skills. The training will provide students with all the skills they need to take on the roles of Production Electrician, Lighting Operator and Lighting Designer on the Academy’s public productions. Students will work with professional directors, scenic designers and lighting designers. The highly practical training is supplemented by visits, guest lectures, seminars and demonstrations. In the final term, students’ project work will be exhibited in the Graduate Specialist Technical Exhibition giving them the opportunity to talk about their work with an invited group of industry contacts. THE TRAINING COVERS: - Lantern identification and equipment maintenance; rigging and focusing - Lighting Console operation and programming - Use of colour, direction of light and intensity - Using lighting technology: moving light, LED and video - Theatre history - Stagecraft - Sound operation and design - Lectures in theory and practise of lighting design - Research, style and period

ALL’S WELL THAT ENDS WELL www.rada.ac.uk

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Sam Brazier sound DESIGN DEPARTMENT The Lion King NATIONAL TOUR

JACK WILLIAMS HEAD OF LIGHTING, ROYAL COURT If You Don’t Let Us Dream, We Won’t Let You Sleep © Alastair Muir

graduates NATALIE LAWS SCENIC ART DEPARTMENT THE DROWNED MAN: A HOLLYWOOD FABLE PUNCHDRUNK/NATIONAL THEATRE © BIRGIT AND RALF www.rada.ac.uk

Sinead O’Sullivan costume ASSISTANT Anna Karenina FEATURE FILM www.rada.ac.uk

FLORENCE DE MARE THEATRE DESIGN GRADUATE AND LINBURY PRIZE 2013 FINALIST PHAEDRA’S LOVE RADA GIELGUD THEATRE 2013

SARAH JANE PRENTICE PRODUCTION DESIGN DEPARTMENT LES MISERABLES FEATURE FILM

graduates REBECCA YEARWORTH & RORY FYFFE TECHNICAL THEATRE AND STAGE MANAGEMENT GRADUATES FOOTPRINT SCENERY

Richard Clayton - Company Manager PAUL PYANT - LIGHTING DESIGNER CHARLIE AND THE CHOCOLATE FACTORY © Brinkhoff/Mögenburg

RADA’s Education and Outreach programme supports the organisation’s ethos of social inclusion and participation, providing activities for people aged from 16 to over 60. The Academy seeks to develop partnerships with like-minded arts organisations in London and the regions. The Youth Company is a year-long drama project for young people aged 16-20 who live in and around London. Saturday Youth Workshops are for young people aged 16-24 to help develop a diverse range of acting skills.

THE YOUTH COMPANY

RADA Shakespeare Certificates allow students to explore the world of Shakespeare and the English language. They are offered through a series of examinations on an individual or duologue basis at Bronze, Silver and Gold levels. Our Graduates in Schools programme offers pupils the chance to participate in acting or technical workshops run by RADA graduates. It also offers careers talks from graduates who provide first hand information on vocational training and career opportunities in the theatre and related industries. The School Tours Project provides the opportunity for central London schools to host a production performed and supported by RADA’s second year acting and technical students. Schools can also bring a group of pupils to see one of these productions performed at RADA.

CAMDEN SUMMER UNIVERSITY 48

Continued Professional Development for Teachers is specifically designed as a professional development programme for teachers of ‘A’ Level or BTEC drama.

Visit www.rada.ac.uk and follow the links from Education and Outreach

Camden Summer University was hosted by RADA for the fifth time in August 2013. This project is in partnership with Camden Council and gives young people living within the borough the opportunity to experience an intensive week of acting training. THE Prince’s Trust have been working in partnership with RADA on various projects for the past seven years and this year RADA will be running the fourth Get Started in Drama project in partnership with the Prince’s Trust. Regional Access Workshops are run in partnership with regional arts organisations. These workshops are targeted at young people who have limited access to drama. We are looking to develop partnerships with organisations specifically in Leicester, Manchester and Liverpool. Access to Acting workshops are a series of free inclusive workshops designed to give young disabled people and their peers the opportunity to enhance their skills and gain confidence through performance.

CAMDEN SUMMER UNIVERSITY

Over 24’s classes are led by RADA tutors and guest directors and are designed for anyone over the age of 24 who has an interest in acting. The Elders Company is a programme for people over the age of 60. In addition to the ongoing Elders Company the programme also includes one off workshops in community centres and over 60’s clubs in and around London.

EDUCATION AND OUTREACH

EDUCATION & OUTREACH

NHS Programmes are bespoke programmes created for hospitals and hospices to complement the palliative care of people recovering from illness.

THE ELDERS COMPANY Visit www.rada.ac.uk and follow the links from Education and Outreach

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APPLICATION DEADLINES – BA in Acting / Foundation Course Dublin/Leicester/Manchester: 17 Jan 2014 New York: 01 Feb 2014 London: 01 Mar 2014 Late applications are not accepted under any circumstances - MA in Theatre Directing / MA Theatre Lab: 01 Mar 2014 – Production & Design courses: 28 Mar 2014 GENERAL ENTRY REQUIREMENTS – Candidates must have complete fluency in the English language – The minimum age for admission is 18 – You will need to demonstrate an intellectual, creative and practical ability to undertake degree level training SPECIALIST TECHNICAL ENTRY REQUIREMENTS These are vocational courses therefore candidates who can display Applied Prior Learning (APL) will always be considered regardless of academic qualification. If you have no prior qualifications and little previous experience, we strongly recommend you look at the two year foundation degree in Technical Theatre and Stage Management, the first year of which will fill your technical theatre experience gap and the second year will allow you to specialise in your chosen subject.

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www.rada.ac.uk

FeeS AND FUNDING information UK/EU students ON undergraduate courses Course fees are set by the Conservatoire for Dance and Drama. Fees for entry in 2014/15 will be £9,000 for UK and EU students on undergraduate courses. Information about fee rates for postgraduate students and international students will be available from RADA and on the Conservatoire website once agreed.*

for a Conservatoire scholarship you need to indicate this on the RADA application form and the RADA Financial Assessment form. You are also required to complete an application to Student Finance England or its equivalent as early as possible. You can apply for an income assessment from Student Finance England even if you are not eligible for a loan. The Conservatoire uses household income to determine the level of support for some of its scholarships.

Information about financial support available through the Conservatoire Scholarship Scheme and through government grants and loans can be found on the Conservatoire’s website: www.cdd.ac.uk/student-info

Student Loans Home and EU students new to higher education can apply to Student Finance England or its equivalent for a loan to cover their fees and be assessed for a maintenance grant depending on their personal or family income. Graduates are not eligible for maintenance loans and will need funding from other sources to pay for their living expenses. Graduates may be eligible to apply for a Career Development Loan which is available to all UK/EU students except those on the RADA Foundation course. For more alternative sources of funding please visit the CDD website.

*Please note that the Conservatoire and RADA reserve the right to alter the exact amount payable for all their courses prior to enrolment. UK/EU students postgraduate courses Fees for 2014/15 have yet to be agreed, but will not be less than £4,750. Further information about fee rates for postgraduate students will be available from RADA and on the Conservatoire website, once agreed. * Non-EU International students all courses Non-EU international students will be required to pay the full cost of their tuition. Fees for 2014/15 have yet to be agreed, but will not be less than £16,200. Further information about fee rates for non-EU international students will be available from RADA and on the Conservatoire website, once agreed. * *Please note that the Conservatoire and RADA reserve the right to alter the exact amount payable for all their courses prior to enrolment. Eligibility and applications for Conservatoire Scholarships The Conservatoire offers a range of scholarships. If you wish to be considered

RADA Scholarships/bursaries The Academy runs fundraising campaigns to provide scholarships and bursary awards to students in financial need. RADA scholarship/ bursary funding is only available to students on the full time, accredited, HE funded courses and is awarded following a financial assessment undertaken by RADA. For more information, please visit the RADA website. HOME STUDENT STATUS There are strict regulations regarding residency which must be met in order to qualify for Home Student status. All EU students who are offered a place at RADA are required to verify their EU status prior to the offer of the place being confirmed. Please contact the Student Finance Services European Team on: [email protected] or +44 (0)141 243 3570.

RADA is a founding affiliate school of the Conservatoire for Dance and Drama. The Conservatoire receives a grant from the Higher Education Funding Council for England. Students are jointly registered with RADA and the Conservatoire. The Conservatoire is composed of eight affiliate schools, collectively offering world-class higher education training in dance, acting, circus arts, and technical theatre. The Conservatoire’s unique structure gives students opportunities for collaboration beyond the individual affiliate school. It also ensures that those schools receive government funding which contributes to the high cost training and that Conservatoire students are eligible for government-funded financial support. The Conservatoire schools are proud to be able to recruit on the basis of talent. The eight Conservatoire schools are: Bristol Old Vic Theatre School www.oldvic.ac.uk Central School of Ballet www.centralschoolofballet.co.uk Circus Space www.circusspace.co.uk London Academy of Music and Dramatic Art www.lamda.org.uk London Contemporary Dance School www.lcds.ac.uk Northern School of Contemporary Dance www.nscd.ac.uk Rambert School of Ballet and Contemporary Dance www.rambertschool.org.uk Royal Academy of Dramatic Art www.rada.ac.uk

FEES AND FUNDING

HOW TO APPLY We audition/interview all eligible applicants who apply before the deadline. – Download an application form from www.rada.ac.uk or email [email protected] for a hard copy – All applications must be submitted with the non-refundable registration fee: BA in Acting / Foundation Course £45 (before 19 Dec 2013) £80 (after 19 Dec 2013) MA Theatre Lab £52 MA in Theatre Directing £47 Production & Design £30

Further information about the Conservatoire is available at www.cdd.ac.uk

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LIVING EXPENSES Living costs are estimated to be a minimum of £12,000 per year for students living in London. Please see STUDENT LOANS section on this page for details on the support available. PART TIME WORK Part time casual work during term time may only be undertaken on the understanding that it does not interfere with any course commitments. Students on the BA in Acting are not permitted to accept professional acting work for the duration of the course. WORK RESTRICTIONS Achievement of an Academy Degree/Diploma/ Certificate does not carry with it the right to enter the theatrical profession in Great Britain. Overseas students should note that they are subject to the standard United Kingdom immigration regulations. HEALTH All courses require a high level of energy and commitment. Students need to be able to demonstrate their ability to complete what are considered to be the core elements of the course. In the rare cases where they are unable to do so, students may be asked to intermit in order to regain fitness and medical criteria required before the student returns to the Academy. All students are required to complete a medical history questionnaire prior to enrolment.

KING’S COLLEGE LONDON The following higher education courses are validated and degrees awarded by King’s College London: BA in Acting; MA in Theatre Directing; MA Theatre Lab; Foundation Degree in Technical Theatre and Stage Management; Postgraduate Diplomas in Theatre Design (Set And Costume), Theatre Costume, Sound Design for the Theatre, Property Making, Scenic Art, Scenic Construction and Stage Electrics and Lighting Design. ACCESS We consider diversity to be enriching and a vital part of what makes us one of the world leaders in providing vocational training. We encourage the opportunity for self-development regardless of age, background, colour, disability, gender, nationality, political persuasion, race, religious belief or sexual orientation. We welcome applications from disabled applicants and encourage them to disclose relevant information regarding any disability when completing their application form, to enable us to provide additional support during the interview/audition process, as appropriate. Should you wish to talk to someone with regard to disability, please contact the Head of Admissions and Short Courses, Sally Power. CONTACT US RADA 62-64 Gower Street London WC1E 6ED United Kingdom T +44 (0)20 7636 7076 F +44 (0)20 7323 3865 www.rada.ac.uk

@RADA_London RoyalAcademy OfDramaticArt 52

www.rada.ac.uk

PATRON Her Majesty The Queen PRESIDENT Lord Attenborough Kt CBE RADA COUNCIL Chairman Sir Stephen Waley-Cohen Bt Vice-Chairman Alan Rickman COUNCIL MEMBERS Catherine Bailey Zac Barratt Hon. Peter Benson LVO Josh Berger CBE Simon Berry Matthew Byam Shaw Chipo Chung Nicholas Cooper Katherine Farr Nicholas Gold Judy Grahame Stephen Greene Margaret Heffernan Mike Leigh OBE Adrian Lester OBE Geoff Locker Glen Moreno Paul Pyant Fiona Shaw CBE Anthony Smith CBE Robin Soans Imogen Stubbs Andrew Sutch Michelle Terry Richard Wilson OBE ARTISTIC ADVISORY COMMITTEE Michael Attenborough Catherine Bailey Eve Best Danny Boyle Burt Caesar Giles Havergal CBE Lindy Hemming Thelma Holt CBE Adrian Lester OBE Simon McBurney Rufus Norris Jonathan Moore Paul Pyant Alan Rickman Mark Rylance Fiona Shaw CBE Robin Soans Sir Stephen Waley-Cohen Bt Timberlake Wertenbaker DEVELOPMENT BOARD Joseph Abrams Deborah Bangay QC Duncan Bannatyne OBE Marcus Bicknell Aidan Clegg Theo Fennell Martin Fielding Daniel Gestetner Joyce Hytner OBE Richard Lissack QC Sharon Maughan Philip Noel Sam Phillips Piers Russell-Cobb Suhel Seth Sir Stephen Waley-Cohen Bt Richard Wilson OBE RADA AMBASSADORS Eric Abraham Gordon Ashbee Michael Attenborough Patsy Baker Peter Bennett Jones Josh Berger CBE Eve Best

Sir Kenneth Branagh Ralph Fiennes Michael Grade CBE Sabrina Guinness Thelma Holt CBE Sir Anthony Hopkins CBE Richard Johnson Francine LeFrak Martyn Lewis CBE Deborah Lincoln Dame Diana Rigg Piers Russell-Cobb Peter Sissons Lady Solti Sylvia Syms OBE Hugh Whitemore FRSL John Whitney CBE ACADEMY CONSULTANTS Consultant Otorhinolaryngologist John Rubin MD FACS FRCS Speech Therapist Dr Ruth Epstein PhD Chartered & State Registered Physiotherapist Kevin Lidlow BSc MCSP SRP GDP MBAcC Gower Place Practice: Dr Ali Alibhai, Dr Claire Elliott, Dr Mark Barrett MANAGEMENT TEAM Director Edward Kemp Director of BA Acting Course Geoff Bullen Director of Technical Training Neil Fraser Finance Director Linda Garforth Development Director Caroline Hawley Registrar Patricia Myers OBE Commercial & Marketing Director Bridget Taxy STAFF Associate Director Nona Shepphard Foundation Course Leader Andrew Tidmarsh Academy Dramaturg Lloyd Trott MA Theatre Lab Course Leader Andrew Visnevski ACTING & PERFORMANCE TEACHING STAFF ACTING John Beschizza Alex Clifton Christopher Heimann Annie Tyson MEDIA STAFF Head of Film, TV & Radio Edward Hicks Microphone Technique David Timson MOVEMENT & COMBAT Department Co-ordinator & Senior Movement Director Francine Watson Coleman Elizabeth Ballinger Katya Benjamin Philip d’Orleans Lorna Marshall Jüri Nael Jeremy Stockwell Bret Yount SINGING Department Co-ordinator Jane Streeton Jonathan Butcher

Frances Jellard Darell Moulton Philip Raymond Tom Wakeley VOICE & TEXT Lead Voice Tutor Joe Windley Helen Ashton Robert Price Zabarjad Salam David Timson John Tucker PRODUCTION & DESIGN TEACHING STAFF LIGHTING Head of Lighting Matt Prentice Assistant Head of Lighting John Gilroy PRODUCTION Production Manager Dave Agnew Technical Supervisor Simon Dixon PROPERTIES Head of Properties Deryk Cropper Deputy Head of Properties Davy Atkinson Deputy Head of Properties Elizabeth Peck SCENIC ART Head of Scenic Art Daniel Collins SCENIC CONSTRUCTION Head of Construction Mark Tweed Deputy Head of Construction Jeff Bruce-Hay SOUND Head of Sound Tshari King STAGE MANAGEMENT Head of Stage Management David Salter Stage Management Tutor Chantal Hauser THEATRE COSTUME Head of Wardrobe Diane Favell Deputy Head of Wardrobe Helen Chattaway Wardrobe Assistant Paul Aspinall THEATRE DESIGN Head of Design Gary Thorne ACADEMY ASSOCIATE TEACHERS Annabel Arden Lucy Bailey Mick Barnfather David Carey Rebecca Carey Michelle Chadwick Andrew Charity Andrew Cuthbert Caroline Eves Hugh Fraser Michael Gieleta Tim Hardy Alison Hodge Tom Hunsinger Nick Hutchison Trilby James Melanie Jessop Gareth Johnson Amit Lahev John Leonard Clara McBride Tanya Moodie Jonathan Moore Ian Morgan

Vivian Munn Deborah Paige Brigid Panet Daniela Peleanu Hardie Greg de Polnay Rowena Ritchie Darren Royston Matthew Scott Paul Sirett Alison Skilbeck Lucy Skilbeck Brian Stirner Adrienne Thomas Jessica Turner Ché Walker Phillipa Waller Kasia Zaremba-Byrne Alexander Technique Associates Dewi Matthews April Pierrot Howard Sykes Youth Company Director Philip Sheppard REGISTRY & APPLICATIONS STAFF Head of Admissions & Short Courses Sally Power Database & Registration Manager Sarah Gates For a full list of staff please see www.rada.ac.uk OUR MAJOR SUPPORTERS Thank you to our supporters: PRINCIPAL PARTNER Warner Bros. Entertainment IN KIND Green Hippo M.A.C. Cosmetics Midas Consoles Shure Distribution UK Stage Electrics Limited Triple E CORPORATE MEMBERS Card Partnerships Ltd Insignia Cards Ltd Premier Underwriting Ltd Sterling Insurance PRESIDENT’S CIRCLE Eric Abraham Celia Atkin Simon Berry Nicholas Cooper Sandro Forte Sir Stephen Waley-Cohen Bt BENEFACTORS Guy & Lidia Bradley EDUCATION & OUTREACH The Andrew Lloyd Webber Foundation ICAP Stavros Niarchos Foundation The Reed Foundation CAPITAL SUPPORT Nicholas Cooper The Sylvia Waddilove Foundation UK PRODUCTIONS, SHOWCASES & FILMS The Josephine Hart Poetry Foundation McInroy & Wood SCHOLARSHIPS & BURSARIES The Boris Karloff Foundation D’Oyly Carte Charitable Trust

Fenton Arts Trust Garfield Weston Foundation Gilbert & Eileen Edgar Foundation Raymond Gubbay The Harold Hyam Wingate Foundation The Leverhulme Trust The Ogden Trust The Richard Carne Trust Santander Universities UK South Square Trust Stanley Picker Trust The Wall Trust William & Katherine Longman Trust Richard Wilson OBE LEGACY PLEDGES Charles Barton Philip Carne Kenneth Cohen Sarah Cook Craig Crosbie Alastair Davidson Sheila Dickinson Maureen Elton Anthony Gardner John Gray Stephen Greif Dundas Hamilton Guy Henry John St Brioc Hooper Robin Houston David Hunt Martin Mitcheson Vivian Munn Nigel Pivaro Elizabeth Sebok Michael Simkins Felicity Trew Bruce Wall Camilla Whitworth-Jones Ronnie Wilson AWARDS IN PERPETUITY Eunice Black Fund The Constance Roberts Bursary Dame Irene Vanbrugh Bursary The Friends of RADA Bursary Garth Wilton Student Bursary – dedicated to Ann Wilton Gillian Wilson Memorial Award The John Thaw Student Bursary Kate Dreyer Memorial Bursary Keely Donovan Bursary The Lady Pilkington Scholarship Lionel Gamlin Scholarship Lord & Lady Attenborough Bursary The Marianne Pearce Scholarship Fund Mary Higgins Bursary Mary Morris Bursary Max Reinhardt Scholarship Peter Barkworth Bursary Peter & Sheila Bennett Bursary RADA Associates Hardship Fund RADA Student Hardship Fund The Rayne Foundation The Searle Foundation Sir John Gielgud Bursary St Clair Bayfield Bursary Sylvia London Student Bursary WCRS Student Bursary

ACADEMY ADVISORS, STAFF AND OUR MAJOR SUPPORTERS

ADVICE ACCOMMODATION The Academy does not have Halls of Residence but provides support to help students find accommodation which is suitable for them.

RADA 62-64 Gower Street London WC1E 6ED United Kingdom T +44 (0)20 7636 7076 F +44 (0)20 7323 3865 www.rada.ac.uk

@RADA_London RoyalAcademyOfDramaticArt

Registered Charity No. 312819 Founding affiliate of the Conservatoire for Dance and Drama

Design by: Ruth Bodimeade Photography by: Dave Agnew, Linda Carter, Yi Chou Chen, Dan Collins, Mick Hurdus, Fernando Mañoso, Clare Park, Keith Ramsden, Fran Reidy, Richard Smith, Matt Stuart, Sipke Visser Printed by: Impress Print Services Ltd

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