Don't lose The Arts!

There has been a lot of criticism by the big bosses in the Houses of Parliament that arts degrees limit your chance of making a career and make you unemployable. 

I beg to differ, Politicians. 

I did a degree in drama, performance and theatre arts at Staffordshire University. Quite simply, the best three years of my life. I got so much self confidence and I learnt so much. 

Drama isn't just throwing yourself around a stage looking silly (Even though we do a lot of it) it was also about presenting yourself in front of people. Being someone different for an hour and a half on stage then finishing the show, taking off the costume and the make up and being yourself again. 

How many times have you walked into a shop or called a help line in a call centre and the person dealing with you looks like, or sounds like, they're about to throw a hissy fit? Chances are, if you employ a drama student, they will smile at the atrocious customers, they'll always look like they want to be at work and they'll always be willing to help. Isn't that what employers want and, essentially, what the customers want?

'Drama kids' are always outgoing and confident by the time they've finished their degrees. Fact. We bond. Make friends easily. And we always stick together. During my time at University, sitting in the Drama Block, I saw so many people grow and change. By the time I graduated, I walked across the stage as a completely different person with different people that I sat with on my first day. 

A photo from my Graduation day

Ironically, by limiting the arts, you're limiting people's chances at improving their own self confidence and the ability to find themselves and, as a result, the chance of improving their careers. It makes me angry that people say "Drama is such an easy subject" - I think you'll find that we wrote just as many essays as every other course. Our exams were a lot harder because we'd be rehearsing for them a lot longer than others and then we'd have to do them two or three times in a week with a lot more to remember. The whole time being watched and graded by both our lecturers and our peers. So tell me, how is that easy? Okay, we don't need to learn the names of various species of animals and we don't need to know every element on the periodic table and what they do, but neither do most politicians. 

Without drama and the performing arts, I don't think I would have anything else to contribute to the world of work, which is even more ironic. I would not be half the person that I am today. And I'm sure I'm not the only person to say so. 

Coming soon to a computer near you...

Keep an eye out over the next few months, as this blog is (hopefully) going to be a lot more abuzz with exciting things.

If I remember to write them!

A Plea to the Casting Directors

When I was little, my dream was to be in musicals. To relive the same story, night after night, without anything changing, singing songs about love, feelings and so much emotion, just sounded like my idea of perfection. Bursting into song at every possible opportunity, having overly-flexible friends who know every step to the random dance routine that would commence in the middle of the street. 

To you, that might sound a little hellish, but to me, it's exactly what I've always wanted. Jazz hands, harmonies... It's just a wonderful world to be part of! 

Obviously though, there isn't room on the West End for everyone. If there was, there would be more theatres than people in London. For every Star on the West End and Broadway, there are thousands of people watching, listening, admiring and hoping they'll get there too. 

But, this isn't another one of my annoying 'Dog Eat Dog' posts. (Thank goodness) 

This is a plea to the industry. 

You notice that they always cast big stars or well known names into the main parts in musicals all the time. You'll see 'so and so is playing The Phantom this season' and think... Well, what about the thousands of young men who are perfectly capable of playing that part who are only in the ensemble, or haven't even made it that far? 

Surely it's not fair to give the part to someone who will perform a mediocre performance just because their name will bring in a huge crowd. They did it with the original performance of 'Phantom', they cast Michael Crawford as the original Phantom because he was so big at the time as part of a comedy series, so they knew people would want to see him singing in a serious role...  But he wasn't the greatest. Don't get me wrong, he was wonderful, but when you look at other phantoms, such as Colm Wilkinson (Who took on the role when it moved to Canada) and the MARVELLOUS Ramin Karimloo, Crawford doesn't look quite as good anymore. Obviously, they couldn't have cast Ramin in the original performances of 'Phantom', but when you think of the fact that he is one of the only people to have played most of the strongest male characters in the West End, including  the Phantom and Raoul in The Phantom of the Opera; and Jean Valjean, Enjolras and Marius in Les Misérables, it seemed fitting that they cast him as the Phantom in the original performances of 'Love Never Dies'. He wasn't the biggest name they could have chosen, instead they went with talent and, as a result, created a star. 

The way it should be on the West End.  

If you are worried about not being able to make it on the West End stage, follow Ramin's example. Start small, work up some experience, make a name for yourself and work your way to the top. Don't bring yourself down because you didn't get the part. It's not always because you're not talented enough, just keep working and get yourself noticed. You'll get there eventually. 

Dog eat dog world..

It's a commonly known fact that show business is impossible.

People can try their whole lives to get into the business, and get absolutely nowhere.

Yet others can simply walk into a room and have everything they ever wanted.

So, how do you know if you're good enough to get to the top? The answer; you can't. You'll never know how truly good you are. You're your own critic as well as your biggest fan. You're never going to be impartial to yourself, nor are you likely to be honest.

It's a tough world. You could be top of your game and then lose it within seconds. Or you could be at the bottom, and be in the right place at the right time, and suddenly shoot straight to the top.

In all honesty, you could be the greatest performer, but it means nothing if you're not willing to take a chance and step out of your comfort zone. You need to be able to show your work to others in order to get an impartial view of yourself, or you could go around believing you are better or worse than you really are. And that's what brings you down.

Feel confident enough  in yourself so you can stand in front of a panel of complete strangers and say "I'm auditioning for this part. And I am good enough". And you will be able to believe yourself.

"The Razzle Dazzle will never fade."

"The Razzle Dazzle will never fade." - The words of 'Chicago' Producer,  Barry Weissler, as the word breaks of the shows departure from the West End after a 15-year run, a record held by only 5 other shows:  Les Miserables, Phantom of the Opera, Blood Brothers, Cats and Starlight Express. 

Chicago originally opened in the West End at the Adelphi Theatre on November 18, 1997, it was then transferred to the Cambridge Theatre in April 2006, where it ran for five years. The show then opened at the Garrick Theatre on November 7 2011, where it will be performed for the last time on September 1, 2012. With music and lyrics by Fred Ebb and John Kander, the musical tells of Roxie Hart, an aspiring performer sent to prison for murdering her lover. 

The production has seen many a famous face perform the lead roles of Velma Kelly, Roxie Hart and Billy Flynn during it's 15 year run. Including America Ferrera, of Ugly Betty fame and West End legend, Ruthie Henshall and, I'm sure, will return to the West End in all it's glamour and 'All That Jazz' with many famous names ready to tread the boards.


The news is released as the show prepares for a tour, reaching every stretch of the UK. Tour details are avaliable here, and tickets are currently on sale. 


From the website of  'Chicago': "From its stunning Fosse-style choreography, to its central concept of the ‘celebrity criminal’ and its themes of corruption and justice, audiences have been thrilled by the story of vaudeville star Velma Kelly, chorus girl Roxie Hart and top Chicago lawyer Billy Flynn." 

Though the show is closing, I am hoping that the show might come back to the West End pretty soon. It's one of the few classic musicals that can be revived and still remain timeless, even though it is set in 1920s America. It's very rare to see a musical from the 1970s to be so popular in today's theatre, so it is refreshing that, though it is closing in the West End, the tour is selling so well, as it is proving difficult to get tickets. I have hope that a revival is in the future for the production, maybe in 5 or 10 years, giving local groups the opportunity to perform it and give it a new edge. The show is a perfect blend of Fosse-style choreography and Ebb and Kander music and lyrics giving a perfect blend for the musical which will remain timeless. 


The show is on now so get your tickets before they sell out! 

Looking forward to the future...

These days, it's tougher than ever to try and get into the Performing Arts business, and even harder to become an actual performer. In the dog-eat-dog world of theatre, you often need to work from an early age to be worthy of performing on the stage.

However, in light of Andrew Lloyd Webber's new ITV show, in which he searches for a Jesus for his national tour of 'Jesus Christ Superstar', is all the hard work that other performers put in becoming pointless?
Some performers go through years of vigourous training just to become a member of the 'ensemble', when people who enter competitions like these are suddenly thrown into the limelight.

It seems these days you either need exceptional talent or exceptional money to be able to 'make it'. You either have to be able to afford the exceptional fees of the drama schools or be talented enough to gain a lucky break. 

So, for ordinary people who can't afford drama schools and aren't lucky enough to be exceptionally talented, what can they expect from the Performing Arts industry? The answer is: Disappointment. It's a tough reality, and it's unfortunate.


When asked if they feel there are pressures for young actors, a student said "There is a pressure to look your best and be really different or to have a typical look and that [casting directors] are looking for both of these, instead of someone in the middle." They also feel that attending drama school  is better as "the schools have a reputation" and give you a boost into the industry as there "can be a bias towards those who attended a drama school as opposed to a University student."

There is so much unknown talent that never gets unsurfaced because they haven't been given the same opportunities that some privileged people have, so have to sacrifice their dream and enter a mediocre job.
With all this lingering over young hopeful's heads, is this possibility of disappointment pushing people away from the industry? 

As a drama student, I find that the low chances of getting into the industry are making me much more determined to get on stage. The competitive edge of the industry pushes me to better myself and be better than the competition.

It has never been the easiest industry to enter in to. Even in the early days of Theatre, it has proved difficult. Yes, in Greek theatre, it was Townsmen who would perform in the Ancient Greek Amphitheatre, but from then onward, women weren't even allowed inside, let alone allowed to perform. The struggle for performers is one that has been around since the origins and will remain for years to come. 


Though, with so many different shows and opportunities out there for people to perform, why is it so hard to get into the industry? Could it be the constant funding cuts to the arts? Or could it be that reputation is everything in this business? In order to get anywhere, you need to know the right people and tread the right path. 


With that in mind, let me leave you with something to think about. If in order to get somewhere in 'show business' you need to know the right people, should people who don't know anyone give up? 

Viva Forever? Or just a short run then back to the drawing board?

So news broke this week of the new Spice Girls musical 'Viva forever' making it's way to the West End. 


As a musical lover, and a Spice Girls 90s kid, I would normally be all over this like a moth to a flame, but I just can't get hyped about it. It just seems, to me that Jukebox musicals have been and gone. Maybe if it was released at the same time as 'Jersey Boys' or 'Mamma Mia', it might have got me more excited. 

I might be wrong. There may be some fabulous songs and dance numbers and some witty one-liners, as Jennifer Saunders is helping to write the book. It might be a hit. According to theatrepeople.com, 'Viva Forever! is a feel-good fable about the ups and downs faced by a mum and her daughter Viva, when the latter enters a TV reality singing contest.'.  To me, and this is my personal opinion, it seems a little bit cliché. Although musicals are good when they're cheesy, there is often a line that you shouldn't cross. I can see that they're aiming for a 'Glee' and 'Smash'-type audience with the plot, but I'm not sure if I can see it being a rock solid plot.

I'll leave an open mind about the show. I may be wrong, it may be the new 'Mamma Mia' and I'm just here saying bad things about it for no reason. I really hope it is a good show simply so that the Jukebox musical isn't given a bad name. 

The shows 'Jersey Boys', 'American Idiot' and 'Mamma Mia' have all set a high bar for The Jukebox Musical. Will 'Viva Forever' reach their high standards?