General information about applying for our postgraduate courses and the audition process.
I had an amazing time on the course. It opened my mind to new possibilities in the field of performance and provided me with a spring-board for my career in the West End.
Graduated 2008, credits include The Lion King, and the original casts of The Book Of Mormon and Aladdin.
I loved my year at Central. This course enabled me to channel my creativity in many ways, which continues to materialise in unique opportunities that have allowed me a great freedom in my work as an artist.
Graduated 2009, credits include the female lead on sci-fi television show Extinct.
Central offered me the perfect opportunity to combine my love of music and theatre of all genres. The course emphasised the importance of being an artist and gave me a unique ownership of what it is that I do.
Graduated 2014, credits include Chava in Grange Park Opera’s Fiddler On The Roof and ENO’s Sweeney Todd.
One year, full-time, September start. Full-time, on-site attendance between July and August is not mandatory.
Master of Arts in Music Theatre (180 credits)
On the MA Music Theatre at Central, we see performers as creators, and regularly produce new works with professional composers, writers, directors and choreographers.
An established team of specialist lecturers and professional artists deliver classes and workshops. Our work is multidisciplinary: flexibility and sustainability are at its centre, and collaborative teamwork is the model. Research is embedded, reflecting the specific methodologies required by performers at a professional level.
The course is conservatoire-based, intense and demanding across four extended terms, with demands of commitment from students. The well-being of the students is fundamental and regular attention to physical, mental and intellectual well-being is uniquely supported.
This master’s level, conservatoire-style training provides the opportunity for music and theatre practitioners to develop performance techniques and creative skills and experience some of the diversity of music theatre forms.
Term One provides acting, dance and movement classes, alongside individual singing lessons that continue throughout the year. Conditioning classes underpin health and well-being for performers. Performance workshops, actor-musicianship and choral ensemble work are activities designed to synthesise skills.
Term Two includes several performances of an ensemble production in a studio theatre directed by a professional team showcasing the individual-specific skills of the company members. Opportunities to develop composition, writing, choreography and instrumental performance may be integrated into the curriculum. Skills learnt in Term One are targeted towards specialised performance requirements. An industry day brings students in to dialogue with agents and casting directors at the decision-making centre of the performer’s life.
Term Two concludes with an industry showcase.
Term Three comprises a full-scale public production of a contemporary work in the Embassy Theatre and the course frequently commissions and premieres new work. Acting, singing and dance/movement continue as part of preparation for that performance. The term ends with a unit which will prepare you for industry-standard audition techniques.
Term Four is devoted to the Sustained Independent Project, the character of which will reflect your strengths across research, writing, performing or creating. The research, performing and creating experiences from previous units contribute to this final piece of work also faces outwards to your career ahead.
MA Music Theatre is for performers, but we now offer a specialised pathway for composers and/ or musical directors who are also performers. Each case is taken individually and those interested will be invited to communicate directly with the Course Leader prior to audition.
Assessment is by public performances, process, examination and written submissions.
Offers will be based on merit alone. Scholarships are available.
Music Theatre, MA students come from many and diverse backgrounds and disciplines. Combined skills far exceed the traditional areas of acting, singing and movement which, however, remain fundamental. Diversity is regarded as a core ability, not only to enter the course, but also to survive the marketplace afterwards. The course encourages no division between creators and performers, establishing collaboration as the central ethic of performance.
You should normally have an undergraduate degree in a relevant field, (drama, theatre or performance studies), though applications from students of other disciplines will be considered, as will candidates who do not have a degree but do possess significant prior experience. Experience as a performer is essential. Entry is by audition; we look for potential and sustainable employability after the course.
We particularly encourage applications from groups currently under-represented in higher education, such as students with disabilities and members of Black, Asian and Minority Ethnic groups. Find out more information on Central’s commitment to equality and diversity.
Applicants for whom English is not their first language are required to prove their English language proficiency by gaining an overall score of 7.0 in an IELTS test. We do accept equivalent English language qualifications. Applicants are advised to gain this certification as early as possible.
The following activities may take place during the session:
Ahead of the audition, we ask that you prepare the following:
1) A document to example your writing style, a short essay entitled: “A personal perspective of musicals and music theatre today”. You are invited to reflect on your experiences and understanding of performing and/or creating. (500-700 words).
2) Two contrasting songs in any genre or style, both to be performed from memory. They should theatrical: the character and plot of the show needs to be researched as well as the dramatic function of the song, and its relationship to others in the scene. We recommend you choose short songs which demonstrate what you can do easily, rather than choosing something that you think shows you off. Songs must be presented with a piano score. You should pay attention to preparing the sheet music ready for the pianist. If you make photocopies, they should be single-sided and taped together along the long side using a tape which is able to be creased. Prepare for your audition by rehearsing with a pianist and singing the song in public beforehand if possible.
3) One contemporary monologue. You may be asked about your understanding of the play and the character as well as the specific situation and objectives. Your choice is important: you need to convince us that you are suitable, the right casting to be offered the role you have chosen as an actor. It might be best to prepare for your audition by taking some classes with an acting coach.
4) Prepare for your dance/movement audition by being as physically fit as you can. You will be taught steps or a combination on the day and we will note your speed at learning them and your ability to perform them. You would find it useful to attend dance classes and take regular physical exercise that favours co-ordination and alignment before the audition, if you are not already doing so.
5) We are interested in other abilities you have, beyond acting, singing and dance. As well as an existing degree - not necessarily in a related area - or professional experience equivalence, we are inviting prospective students to demonstrate expertise in other areas:
If you have composed, choreographed, written stage text or play an instrument, please be sure to give us an opportunity to evaluate your abilities by bringing evidence.
6) Please bring clothes to move freely in and a change of clothes if you require. We ask you to keep the day free as this may be a full day audition with a lunch break in between the morning and afternoon session.
Each year Central hosts a number of auditions outside of the UK, with a team of tutors from Central travelling to meet applicants. The international auditions are designed to replicate the London-based audition experience in every aspect (other than a tour of our site!). See our Event Finder for listings of upcoming audition locations and dates.
Central does allow applicants to undertake a distance audition for this course. If you live abroad and are unable to attend an audition in person you may, at the discretion of the Admissions Tutor, be offered the opportunity of a distance audition. If you are selected for audition in this manner you will be contacted (normally by email) in order to arrange a suitable time for an audition. This will be conducted on Skype, telephone or by ‘live’ email exchange and will normally be based upon material you will have been asked to submit in advance. The audition will be conducted by the Admissions Tutor in liaison with a colleague who will have sight of your submitted materials.
For further information see the How to Apply section.
The core teaching team reflects diverse performing and creative practice across a varied cultural stage: from musical theatre through to opera; from television to film; from classic acting to actor-musicians; from West-End franchises to innovative exploration; from creating new companies to new media. The course encourages self-motivation and entrepreneurship and brings students into contact with agents and visiting professionals.
Bill Bankes-Jones, Jo Davies, Janie Dee, Joe Deer, Suzy Catliff, Ed Goggin, Kate Golledge, Stephen Clark, Simon Greiff, Thomas Hescott.
David Charles Abell, Derek Barnes, Richard Balcombe, Joshua Rosenblum.
Andy Barnes, Ellie Collyer-Bristow, Jane Deitch, Lisa Hull, Anne McNulty.
View profiles of the academic staff who teach on this course. Click on each staff member to find out more about them.
The core teaching team also includes:
Steve Elias (dance), Emma Caplan (acting), Hazel Gold (dance), Maria Huesca (singing), Ewa Kolodziejska (coaching), Arthur Kyeyune (movement), David Merriman (music), Rebecca Reeves (research).
Graduate employment includes:
Sweeney Todd (ENO), The Commitments, The Scottsboro Boys, The Book Of Mormon, The Lion King, The Colour Purple, Ghost The Musical, Legally Blonde, Chicago, The Bodyguard, Beautiful – The Carole King Musical, Exposure: The Musical, Aladdin, Phantom Of The Opera, Les Misérables, Made In Dagenham.
Kiss Me Kate (Opera North and Welsh National Opera); Fiddler On The Roof (Grange Park Opera, the Proms); Seven Brides For Seven Brothers (UK tour); Love Story (Southwark Playhouse); On A Clear Day You Can See Forever (Union Theatre); Little Shop Of Horrors (tour); Blood Brothers (tour), Parade (Manchester); Dirty Dancing (tour); Singin’ In The Rain (tour); Calamity Jane (tour).
Skyfall; The White King; Perfect Hunch Of An Agoraphobe; Everyone Knows.
Casualty, Cuffs, One Child, (BBC); Hollyoaks, The Future Wags of Great Britain (Channel 4); The Girl’s Guide To Depravity (Cinemax, US).
Evie Frye in Assassin’s Creed Syndicate.
The Oresteia, Measure For Measure, 946: The Amazing Story Of Adolphus Tips (Shakespeare’s Globe); Caroline Or Change, The Amen Corner, A Pacifist’s Guide To The War On Cancer (National Theatre); Feast, Been So Long (Young Vic Theatre); Porgy And Bess (Regent’s Park Open Air Theatre); Posh (Duke of York’s Theatre).
Notable graduates of this course include:
Matthew Atkins (2013) theatre credits include Seven Brides for Seven Brothers (UK Tour), Sweeney Todd: The Demon Barber of Fleet Street (Twickenham Theatre), Hamlet (Open Air Tour) and The Rocky Horror Show (Manchester Palace Theatre).
Adebayo Bolaji (2008) film and television credits include Cucumber (Channel 4), Les Misérables and Skyfall. Theatre credits include Ghost The Musical, The Colour Purple (Menier Chocolate Factory) and The Scottsboro Boys (Young Vic).
Rebecca Jade Hammond (2009) theatre credits include Love Steals Us From Loneliness (Camden People’s Theatre), Sexual Perversity in Chicago (Tristan Bates Theatre) and A Streetcar Named Desire (Theatre Royal Bath).
Oliver Lidert (2007) West End theatre credits include Aladdin (Prince Edward Theatre), Beautiful (Aldwych Theatre), The Lion King (The Lyceum Theatre) and The Book of Mormon (The Prince of Wales Theatre).
Andrew Mathys (2006) theatre credits include Philip Pullman's The Firework Maker's Daughter (The Bloomsbury Theatre), Die Tote Stadt (The Royal Opera House) and James and the Giant Peach (Polka Theatre).
Felix Mosse (2013) currently plays Jean Prouvaire in the West End’s Les Misérables, his other theatre credits include The Book of Mormon (The Prince of Wales Theatre), Love Me Tender (No.1 UK Tour), A Winter’s Tale (Oxford Stage Company) andThe Heights (Connections Festival).
Ruth Clarke-Irons (2006) is a member of the Principal Theatre Company, with productions includingThe Merry Wives of Windsor, The Tempest and As You Like It. She also performed in the award winning UK Tour of Woody Sez.
Tsai Pao-chang (Taiwan); Robin Evan Willis (Canada); Victoria Atkin (UK/US); Windson Liong (Singapore and UK)
View profiles of the Class of 2018 for this course. Click on each student to see their CV.
View profiles of the Class of 2017 for this course. Click on each student to see their CV.