My YMT UK experiences

IMG_4240

Youth Music Theatre UK prides itself on being the ‘leading music theatre company for young people’, and I’ve been lucky enough to be involved in two of their productions during the last two summers, as both a band member and as an assistant musical director. These shows have been invaluable to me as someone trying to get more experience in the theatre world, and with YMT’s auditions tour happening right now, I thought I’d write about the two projects I’ve done.

In 2016 I decided to apply to play keyboards in the band for one of the organisation’s eight projects that year. Although I already had an interest in MDing and had some experience of it at uni, my plan was to be in the band that summer, and then AMD the following summer (which I did!). Anyway, I auditioned in Southampton in January, and then found out in April that I had been placed on a show called The Dark Tower. So after much anticipation I travelled to a boarding school in the south of England to begin the residential rehearsals. The cast of the show had already been there for a week, so myself and the other band members had to slot into both rehearsals and the social life! It was awesome staying in a boarding school, and the fact the rehearsal period was residential was so beneficial, because it meant we were never missing anyone, unlike rehearsals for other shows I’ve done. I became good friends with the rest of the band (and the MDs!), and after a week we travelled to London.

IMG_0734

The Dark Tower was performed at The Bussey Building in Peckham, and it was an immersive experience for the audience, with the production being set over all three floors of the performance space. Obviously this raised logistical problems, such as having to have a keyboard on each floor! We also happened to perform the show during some of the hottest days that year, and sometimes the temperature was unbearable, especially with so many people crammed into the space. I absolutely loved my first experience of YMT, which totally inspired me to apply to be an AMD for a show the following year.

IMG_0680

So, in 2017 I applied for the Creative Trainee scheme, and went to an interview in London, and a few weeks later I was told that I’d been placed on a project called Jabberwocky. Being on the creative team I rehearsed the project for the full two weeks, rather than only one like the previous year. We started rehearsing the show at another boarding school, with our cast of 36 girls aged 11-17. I much preferred being on the creative team and getting to be treated more like an adult, as on The Dark Tower the band were still considered to be ‘young people’. As AMD my responsibilities were to accompany some rehearsals, work on solo sections with small groups of the cast, and to teach some songs to everyone. It was amazing getting to work alongside a professional creative team, who also became our friends!

UNADJUSTEDNONRAW_thumb_950

After a week we travelled to Kent, as the show was to be performed at Theatre Royal Margate – one of the oldest and most haunted theatres in the country! The theatre is beautiful and it was such a privilege to get to perform there, and it was so nice to be able to have picnics by the sea during breaks from technical rehearsals! The shows went so well and I had such an overwhelming sense of pride for all of the girls in the cast once it was all over.

IMG_4187

YMT projects are such a good way for young people interested in performing to spend their summers. I’ve really appreciated everything both the projects I’ve taken part in have taught me, and I’ve met so many good friends and industry contacts. To anyone interested in doing musical theatre in the future – get involved!

Disclaimer: This is not a sponsored post, I’m just passionate about the company!

4. Theatre MDing: what I’ve learned

20614712_10209418652239701_1575689433_n.jpg

Prior to coming to uni, I didn’t really know what an MD was. I didn’t know that I’d maybe like to be one, and I certainly didn’t know that I’d go on to MD 8 shows during my three years of studying. So when I applied to be an AMD for my first show at uni (thank you, Drowsy Chaperone prod team of 2014/15), I still wasn’t sure what I was letting myself in for. I’d like to think that I now know a fair bit about MDing (musical directing), so here goes:

MDing is not just one job. It is many jobs.

The title ‘MD’ means that you direct the music of the show. So you tell the cast what to sing and how to sing it, and tell the band what to play and how to play it. But there’s much more to the role than just bossing people around! Most MDs also act as rehearsal pianists before the band comes in, and the conductor for when the band are involved. This means that the MD has to carry out two completely different roles between rehearsals and shows, which is TERRIFYING. When I had to conduct a show earlier this year, I felt so thoroughly unprepared because while I knew the music inside out, I was so used to playing it on the piano, not conducting it for a 12 piece band! Other jobs include leading vocal warm ups, making cuts and adding repeats, and liaising with other prod team members. So onto the next one…

The cast recording will almost definitely not match up with the score. Sorry.

There is nothing worse than coming into a rehearsal (a bit underprepared, oops), and realising that the choreographer has worked very very hard to make up a dance to suit a certain song or dance break on a cast recording… which doesn’t match up with the score in front of you. I’ve since learned to comb through the score before rehearsals even begin, but this is such a laborious task, and even if discrepancies are spotted, the MD then has to explain how many bars are added/missing, and often disappoint the choreographer in the process. I’m aware that this makes it sound like choreographers are hard to work with – they’re not and I’ve worked with some wonderful choreographers! It’s just very annoying when this happens. Argh.

Vocal warm ups will become anthems… and sometimes they will have dance routines.

Every rehearsal starts with a vocal warm up (except one time when I forgot), and these vary from the technical scaley ones to the funny tongue twister ones. I’m not really sure where we get these warm ups from – I’m pretty sure they’re sort of spread around in little MD circles as we impart our knowledge onto one another! ANYWAY, one of my good MD friends at uni introduced a warm up called Ba Bey Bee Bo, which *somehow* got its own dance. (Note: the choreographer was not involved and no bars were added or cut).

During breaks, everyone will flock to the piano.

Now, I don’t really get this one. Picture the scene: we’ve been rehearsing for a few hours, and the director announces that it’s lunch time. The MD leaves the piano stool and BAM – 5 cast members are crowded around the keyboard, desperate to get their hands on it and play some choons. Sometimes this results in an awesome jam session, but sometimes it just results in everyone else leaving the room!

No one else really understands your job.

Whereas most people know what a director does and how they do it, and what a choreographer does and how they do it, not very many know how MDing works. This seems to create an air of suspicion around MDs themselves, and I enjoy this. Not only does one get a fair amount of street cred from being able to play the piano, sometimes people seem a bit mystified by the ability to read music. It’s good fun, and sometimes makes it easier to gloss over mistakes…!

So yes, there are a few things I’ve learned through MDing 8 different shows while at uni. I have certainly learned a lot, and that’s very much down to all the other fantastic MDs I’ve worked with while doing these shows (Becky, Joe, Gem, Andy, Izzi, Ben, Dave, Robbie <3). There’s always more to learn, and I definitely hope to do more MDing in the future, but I’ll always check whether the cast recording matches up with the score first. (Disclaimer: it probably won’t).