Using an 8-point plan as our structure, we will explore some of the most challenging elements of play directing, by actually directing some plays.

Each participant will be assigned or will choose a short section of a play; and over the duration of the course, will have the opportunity to develop themes, character and vision, via a series of directing prompts and interventions.

The participants will serve as actors for each other’s directing work. In this way there is an opportunity to perform, but also to develop as a director through the experience of being directed by others.

You do not need to have directed before to do this course, but a clear understanding of it as a role is advised.

We will be covering use of prompts (techniques), staging issues, text work, character development, physical action, creative integration, dynamics, and noting.

It will be a useful and fun course, accessible to all, but also active and following a tight structure.

(The focus will be on contemporary texts, but participants can bring texts to work on, as long as they have not already directed it, and it is written by a professional writer. Remember, however, that participant numbers are limited.)

This course will be looking at the basics of improvisation while ensuring we don’t censor ourselves.

We will learn to follow impulses, and not just focus on the ‘improv’ trap of ‘being funny’ – although often it will be!

We will then expand further with a character-based, extended form improvisation – the Mike Leigh technique – and explore what it’s like to stay in character for longer periods of time without text.

We will work both in pairs and larger groups, getting comfortable by playing and being silly, whilst exploring how to create entire worlds without anything in the space to help. The techniques of juggling objectives and of scenic goals will be used, alongside literally making everything else up as we go!

Improvisation is so much more than just ‘yes and’.

This course will focus on the physical and expressive elements of voice used in theatre performance. It will be a practical rather than technical course and will allow participants to explore and practise elements of voice and speech as a group, as well as solo as comfort levels grow.

There will be focus on breath, connection between voice & body, and voicing on impulse. We will use a variety of approaches to voice and performance, as well as the practical understanding of physical voice production. A range of physical exercises and approaches, and varying texts will be used to facilitate this process.

The course is suitable for all levels of performer, and no prior experience is required. We engender a space where we are encouraged to voice outside of our comfort zone and test assumptions about our vocal abilities. It will be a supportive and fun environment, full of practical learning. So come and (re)connect to the joy of your own voice!

This course entails going deeper into the musical idioms and techniques that are used in musical theatre, and singing generally.

Great musicals usually draw from these distinctive styles that are then shaped and incorporated into a traditional musical theatre framework. For example: Spring Awakening taking from folk; Oklahoma and Waitress from country; Chicago and Cabaret from jazz; and Phantom and Les Mis taking from the classical tradition.

We can also include Jukebox Musicals, as well as original musicals that co-opt musical styles to conjure a more compelling and authentic musical soundscape.

Practically, what does that mean for performing in a production/ singing live? How do we take these idioms and put them in a theatrical context? We will cover how your versatility as a performer can suit the style of a show, and adapt to different modes of expression.

In short, going deeper into varying musical worlds and working on the fundamental musical building blocks that have informed the creation of the great shows and songs through time.

This course will be practical, active and fun, with bouts of group work. It is suitable for everybody who wants to sing, irrespective of experience, level or ability.

Janice and Tom will be co-running a musical theatre course. This will focus on:
a.   Music/ singing/ voice & expression
b.   Physicality and movement/ character/ story
c.   Most interestingly, what happens when a and b collide.

We will sometimes work together in a full group, and other times individually with half a group each; and we will be working on songs and scenes from a variety of (great) musicals.

The course will examine the technical and expressive demands of both ensemble and solo work in musical theatre. We will also explore some techniques for supporting the demands of performing in musicals.

You do not have to be able to read music, or be dance trained, or even have performed in musicals to do this course. (Though it's also obviously not a disadvantage.) It will however be a physically active course, and people should be prepared for that, within reason. No-one will be expected to sing solo if they don’t wish to.

It will be fun, inquisitive, with lots of useful takeaways on style, techniques, preparation and expression.

We will be exploring character choices for actors, initially by looking at what makes us ‘us’, and what unique and useful qualities we can bring to our characters from within ourselves, rather than cosmetically creating characteristics, and ‘sticking them on’.

We’ll do this through a number of exercises and observations, focussed on revealing character. Then we will explore monologues and duologues and apply the outcomes.

We will also dig into how to approach new text, how to annotate, and make new choices; specifically for monologues, and not make it feel like we are just ‘doing a speech’!

This is perfect for auditions for societies, drama schools, for productions, self-tapes, or simply to expand your actor’s toolbox.

In this bespoke course we will explore areas of heightened text and performance, and experience some of the training and exercises linked to this field.

The focus will be on non-naturalistic texts with heightened forms. These can include stylised modern plays, new writing, or current adaptations of classic plays. It also includes classic works (Greek, Shakespeare, Lorca, etc.) as well as verse plays and performance poetry/ song.

As a group, we will explore texts from plays in various genres, and train ourselves via a series of specific exercises related to the texts in question.

The course will be inspiring, eye opening and enjoyable, and maybe a little challenging at times. It is suitable for all participants, whether they have previous experience of this type of work or not. The classes will take place in a supportive, calm and open group atmosphere.