Singing on Stage

Jane Streeton studied at the Royal College of Music and is a soprano soloist in opera and concert internationally. Jane has worked as singing coach and vocal adviser for film and with the BBC, in West End Musicals, at the RSC, the National Theatre and Shakespeare’s Globe. She is Co-ordinator of the Singing Team and Course Leader for the Musical Theatre Short Courses at RADA. Philip Raymond studied at the Royal College of Music. He has been a tenor soloist in recital, oratorio and opera in the UK and abroad. He was Head of Music at the Webber Douglas Academy of Dramatic Art and currently teaches singing on the BA, MA Theatre Lab and Foundation Courses at RADA.

• DedicationPreludeIntroductionChapter 1 A Short History of Singing at RADAChapter 2 The Actor’s Way InChapter 3 Bel Canto in PerspectiveChapter 4 The Role of the Singing TeacherChapter 5 The Role of the StudentChapter 6 Making a Plan – The ContractChapter 7 Fundamental Principles – Posture and BreathingChapter 8 Ways we Work with Actors – ExercisesChapter 9 The Role of the Coach and the AccompanistChapter 10 The Actor’s Solar SystemChapter 11 Acting Through SongChapter 12 Musical Form and StorytellingChapter 13 Listening and the Voice as a Musical InstrumentChapter 14 An Approach to Vocal and Theatrical StylesChapter 15 Some Stylistic InfluencesChapter 16 Thoughts on RepertoireChapter 17 Unaccompanied SingingChapter 18 Practising and Taking the ReinsChapter 19 The Next Step – Workshops, Masterclasses, Cabarets, Small RolesChapter 20 Preparation for AuditionsChapter 21 Rehearsals and PerformancesChapter 22 TroubleshootingChapter 23 MiscellanyConclusionCodaBibliographyIndex of Listening SuggestionsPhotograph and Illustration Credits

The authors of this book explain the excellent singing techniques taught at RADA, which are vital for any actor or serious drama student. My singing training at RADA has seen me through musicals and Shakespeare from Miss Saigon to King Lear.