YMT participant Hannah talks to us about her first audition experience and where she has gone from there
It had always been my desire to go into performing even though I was too scared to study it!
I remember my first audition with YMT very clearly, I was incredibly nervous, as although I had always wanted to go into performing, I never had the guts to gain the experience. Two minutes into the audition my nerves went and I felt completely at ease; the panel were so friendly and made the experience enjoyable and I didn't feel pressured or worried about making a fool of myself in the slightest.
I decided to book because it seemed like the perfect opportunity to regain some confidence I had lost, and it had always been my desire to go into performing even though I was too scared to study it! I remember feeling excited and anxious when I received the confirmation email, but looking back it's one of it not the best decision I've ever made!
YMT make their auditions fun and not scary in the slightest
Be yourself! There's only one of you in the whole world, as well as in the audition room! Nerves are natural of course, but know that by being yourself, you immediately have an advantage over everyone, no matter what your experience. And try to enjoy it too! YMT make their auditions fun and not scary in the slightest, so see it as a workshop rather than an audition, it really helps with nerves!
Just do it
Just do it. And keep going. Don't deny this industry of you and your incredible talent, it needs you just as much as you need it!
Hannah Jones, performed in YMT's, A Teenage Opera, 2017 and Yorkshire Skills Course, 2016, Hannah is currently studying at Leeds Trinity University.
Youth Music Theatre UK's National Auditions for Performers and Musicians are open for applications, take a look at the list of dates and locations on our website here. Audition to be part of an incredible summer season of new music theatre and star in a brand-new show!
I chose to do YMT purely for enjoyment as I love playing in pit bands and it seemed like a great experience
Thank you to Molly for sharing this really inspiring story with us, and best of luck at Uni!
I wanted to share something about my experience with YMT that has been super important and great for my life!
I was part of the production of The Legend of White Bear Lake last year (before starting my final year of A Levels), I played clarinet and bass clarinet in the band. The show was incredible, it was inspiring to be with such talented musicians and creative people – especially Caroline Wigmore (writer) and Gen Green (composer) and the whole creative team.
I chose to do YMT purely for enjoyment, as I love playing in pit bands and it seemed like a great experience. I had no idea until two months later, when I received a certificate through the post, that we would receive Grade 8 Musical Theatre in Production for being part of the show!
Prior to that, I had been really struggling with what to do at university – I loved music but since I hadn’t done the A Level it wasn’t really an option for me. There was nothing else that really appealed, so I was going to leave applying to university until next year – until I got that certificate in the post. This made me realise that Music at university was an option as I now had a grade 8 qualification! This made me so happy, and I started researching universities straight away. I am really happy to say that I received offers from 4 universities to study Music, and this is basically all down to YMT. Molly Clark, YMT Company of 2016
YMT MUSICIAN AUDITIONS are now open for applications email firstname.lastname@example.org to book and for further information, more info can also be found here. YMT PERFORMER AUDITIONS are open for booking too, dates and locations are listed on our website here.
Hear some fascinating behind the scenes insights from the Ellis Kerkhoven, Director of YMT's exciting new musical adaptation, Children of the New Forest.
It's 2647. A civil war has been raging for 25 years. Two factions fight for land and food: the Upholders and the Returners. With no clear victor, and a population consisting almost entirely of orphans, chaos now reigns as the last vestiges of society brakes down.
The show is set in a futuristic, dystopian version of our own world. Technology has advanced and already reached its decline after natural disasters destroyed all electronic energy production. A World unplugged. Lost and disconnected to natural resources, skills and farming techniques. The clock is ticking and it’s only a matter of time before all pre-farmed food runs out. Almost all adults are dead. And now the youth are forced to find new ways to survive...
Image by YMT Designer Emma Lynch - Children of the New Forest
Children of The New Forest explores life for young people in a War zone, the complications and prejudices that arise from being raised on a particular ‘side’ and inheriting the older generations outdated disputes. It deals with the loss of family, the denial of personal dreams and ambitions and the loss of human connection with Nature. Ultimately the main message of the show is about the necessity to break free from outdated conventions in order to obtain peace and freedom.
Many things have influenced my work in this show; from the state of the World’s current affairs to theatre productions I’ve seen recently. Director Sally Cookson’s National Theatre production of Jane Eyre inspired me with her inventive use of a ‘playground' set, and William Golding’s book Lord of the Flies provided me with the feral energy needed for a piece like Children of the New Forest. The Hunger Games (Suzanne Collins) was a constant reference for our dystopian-yet-recognisable world too.
Creating a world like this on stage is both exciting and problematic. I'm hoping to strike the right balance between the post-apocalyptic dystopian civilisation and it’s ever advancing surrounding natural forest habitat. The show uses the essence of the original novel as a stimuli only, so we’ve taken full artistic licence and created a new version of the story that feels relevant to current events whilst suggesting what a future could look like if we allow the dark side of history to repeat itself over and over. The idea behind the design of the show is to combine elements of both the derelict futuristic City with the wild natural force of the Forest. Just like the play’s inhabitants - it’s on the edge! Feral - with remnants of a lost society being reclaimed by the powers of nature.
I’m so excited to be working with the talented young people at YMT again. This production is going to give everyone a chance to tap into their passions, explore who they are and what they believe in - and create a show that will mean something to the audience watching. As with all my shows, I intend this one to be very physical, with puppetry and object manipulation being made possible by the ’salvaged junk world’ we inhabit. It’s fast paced with loads of locations so we’ll never stand still for long. The task is to make sure the audience can follow the plot and know where we are at all times, whilst feeling fully connected with the characters story. YMT always manage to discover and bring together the most talented young artists in the country (and beyond!).
Don't miss Children of the New Forest, Barbican Theatre, Plymouth, 26-27 August | Booking
"Thus, the thing began… why was she doomed to be seen and coveted that day by the wrong man, and not by some other man, the right and desired one..."
YMT is excited to present Tess of the d’Urbervilles being performed at the Theatre Royal, Winchester from the 1st-3rd of September.
What is Tess of the d’Urbervilles about?
Free-spirited country girl Tess Durbeyfield knows nothing of the world outside her own village but then she finds a job that will change her life forever. When she is caught between her wealthy, manipulative, cousin Alec and the handsome, educated, farmer Angel Clare, a dark love story unfolds leading to seduction, abandonment, and murder. Tragedy is unavoidable as Tess finds she is powerless to change her fate.
We caught up with Director, Gerry Flanagan, to gain some insights into his inspirations for the peice, and what to expect from this production.
Gerry has chosen to go down the route of devising. There will be no initial script. This is a brilliant way to not only allow the show to organically evolve over the rehearsal period, but it adds no limits to where the production can go and the involvement of the cast in its development.
Why Did Tess of the d'Urbervilles stand out as a piece of literature that you wanted to turn into a musical?
“It is Hardy's finest novel and has injustice as it's central theme. Other themes are the domination of women by men and the changing ideas of social class. The novel is rich in emotion and desire as Tess struggles to be true to herself and her dreams. All these elements make her story ripe for musical theatre”
What style will the musical take?
“This will be a strong ensemble piece, an exciting blend of physical theatre, expressive movement and playfulness. There will irreverence but no parody as Tess reveals to us the beauty of tragedy.”
What are you most excited about in this production?
“Working with such a talent group of young performers to release the emotions and dreams of a young women who struggles fearlessly against men and society who constantly try to master her.”
What can you expect from this musical adaptation of Tess of the d'Urbervilles.
Director Gerry Flanagan, alongside award-winning composer Pippa Cleary, brings this dark love story to life with an exciting blend of physical theatre and compelling songs mixed with vibrant storytelling and physical comedy. Set against Wessex countryside and Winchester, Flanagan plays with Hardy’s ingredients yet remains faithful to his themes. Taking a dynamic approach to classic British theatre, this extraordinary love triangle plays out against the backdrop of late 19th Century country society. Flanagan’s wealth of experience as clown, commedia specialist and director, alongside award-winning composer Pippa Cleary, brings the piece to life in an unexpected and energetic way.
Gerry Flanagan is Artistic Director of Shifting Sands Theatre, founded 1998 to create stimulating, accessible theatre that is both comic and emotionally rich, currently touring The King Lear. A teacher at Universities and colleges for over 20 years, Flanagan has run a wide range of devised projects. Further credits include Box to Hawaii, Fools!Fools!Fools! and Don’t Let Go!
Pippa Cleary is a composer, writer and musical director, who has written many shows with collaborator and book writer Jake Brunger. Credits include The Secret Diary of Adrian Mole Aged 13 3/4, and MTM award winning shows Jet Set Go! and The Great British Soap Opera. Pippa won the Arts Foundation Fellowship Award for Composition for Musicals in January 2012 and in 2011 she won The Times Christmas Carol Competition with In the Snow. Pippa trained in composition and singing at Bristol University, Guildhall School of Music and Drama, Conservatorio di Santa Cecilia in Rome and L’Université d’Aix en Provence.
The show will be performed in Winchester, which is partly where the original book is set. Working in the environment in which the characters belong to will help the cast gain a greater understanding into their character’s psyches, and the atmosphere of the original story. Don't miss Tess of the d'Urbervilles.
1 – 3 September | Theatre Royal, Winchester | Booking
Friday: 7.30pm | Saturday: 2.30pm & 7.30pm | Sunday: 2.30pm
Tickets: £16 / £10 concessions / £45 families
YMT is excited to present their brand-new musical adaptation Children of the New Forest.
Children of the New Forest is a musical adaptation for a new generation brought to life by Writer Caroline Wigmore and Composer Jen Green, together they have written and composed a contemporary, dark and atmospheric peice of music theatre. Hear all about the making of the musical from this creative duo as Caroline and Jen discuss their process and their shared creativity. You can also pick up some helpful tips from the experts on 'how to' write a musical! More below.
What is the main message in the story?
This show is about war and the impact it has on ordinary people's lives - whether they're living in 17th century England, the current day, or the future. How would we react if we were born into a different time or place? Would we live up to the high standards that we hold fictional characters to? This is especially potent in today’s society.
What influenced your work on this show?
Not what people would expect, but the genre of science fiction has been a huge inspiration of this production; especially in the development of the world of the show. Some books and movies that have inspired this world are Suzanne Collins’ The Hunger Games, Veronica Roth’s Divergent series and the sci-fi classics including Joe Haldeman’s The Forever War. In terms of the musicality, the creative team have deliberately chosen to give this show a ‘folk rock’ sound. Inspirations have been drawn from a wide variety of artists ranging from Duncan Sheik and Andrew Lloyd Webber to Bob Dylan and Jimmy Eat World.
“I'm really looking forward to working with everyone! This is the premiere of the show, and a fantastic opportunity to get involved in shaping the characters and the musical feel of the show - we can't wait to bring it to life."
How long does it take to write a musical?
"Usually it takes years (sometimes a lot of years). That doesn't mean that we are working exclusively on a single show, though. Many writers have multiple shows in progress at the same time, and will put one show on pause because of a commission for another show."
Do you ever fight with your writing partner?
"Ha. No, but we sometimes have different opinions. Usually if we can't settle on something, we try it out in a reading or on stage. Simply telling another writer that you don't like what they have written isn't helpful - If you don't believe they have made the best choice, it is best to respectfully explain why, and also to offer another idea."
How do you pick stories to tell on stage?
"We look at stories that excite us. Excitement isn't enough though, there needs to be a reason why the characters are singing - otherwise the story might be better suited as a play, film or book. Ambitious central characters who go through some sort of major change is another thing we look for."
If I want to write a script, where do I start?
"Pick a short story with a clear beginning, middle and end.
A story can be as short as once scene.
Decide who your central characters are and start with few characters, perhaps 2 or 3, and make sure they are very different from each other.
Demonstrate what makes the characters different from the other characters through action: for example if your character has a bad temper, put them in a situation where the audience can see what makes them lose their temper, and how the other characters feel about it."
If I want to write a song, where do I start?
"Musical theatre songs often use a structure which is called AABA. It means that the song starts with a musical verse (A), and then the verse repeats (A) with perhaps a slight variation. Then a different musical idea - often called the bridge - is introduced (B) and then the verse (A) repeats. This is a fantastic structure for developing a character's emotional journey. There are plenty of exceptions that don't follow this rule though! Experiment with taking your favourite musical theatre song, analysing its structure, and then using that as a starting point for your own song."
BACKGROUND INFO - CREATIVES:
Book & Lyrics – Caroline Wigmore: Caroline Wigmore is a London based musical theatre writer and composer originally from Minnesota. She holds a BA in Musical Theatre Writing from the University of Minnesota and a MA in Musical Theatre Writing from University of London, Goldsmiths. She has a particular interest in folklore, classic literature and historical pieces. The Van Winkle concept recording, which was released under SimG Productions, was nominated for Best New Concept Album 2014 by Broadway World.
Music – Jen Green: Jen is a composer, orchestrator and arranger. She has written extensively for theatre and musical theatre and regularly writes with Caroline Wigmore. Their shows include The Legend of White Bear Lake (YMT 2016), The Bachelor Girls (YMT 2015, Weston College 2016) and Van Winkle - a folk musical (S&S finalist 2014).
The Children of the New Forest | 26 – 27 August | Barbican Theatre, Plymouth | Booking
Saturday: 2.30pm & 7.30pm | Sunday: 2pm
Tickets: £12 / £10 / £40 families (2 adults & 2 children)