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1. Develop a repertoire of prepared songs from material from 1966 to 1999 for audition & portfolio purposes to a professional standard;
2. Demonstrate a synthesis of voice, body and mind in a complete musical performance with an authentic sense of individual expression and creativity;
3. Create sophisticated and layered characterisations that deliver dramatic complexity with ease and simplicity;
4. Understand the evolution of musical theatre, including knowledge of significant persons, eras, styles, and influences from the birth of the modern musical through the Golden Age to the present day;
5. Develop a comprehensive understanding of the vocal apparatus in its function and form;
6. Identify key elements of story, plot and narrative in a both script and performance and marry an understanding of textual analysis with the act of performance.

• John Kenrick, Musical Theatre: A History (Bloomsbury, 2017)
• Barone, OR & Tellis, CM, 2016, Your voice is your business: The science and art of communication, 2nd edn, Plural Publishing Inc, San Diego, California.
• Gates, Rachael, Forrest, L.Arick and Obert, Kerrie. The Owner’s Manual to the Voice – A Guide for Singers and Other Professional Voice Users. Oxford University Press, 2013
• Thomas, J. Script Analysis for Actors, Directors, and Designers. Focal Press. 2014. pp xxxi-xli. “Reading Plays”
• Knowles, R. How Theatre Means. Palgrave. 2014. pp 174-186 “Representation and Recognition” and “The world of the play.”
• Joe Deer and Rocco Dal Vera, Acting in Musical Theatre: A Comprehensive Course 2nd Edition (Routledge, 2015)
• Paul Harvard, Acting Through Song: Techniques and Exercises for Musical Theatre Actors (Nick Hern Bookes, 2014)

1. Rodenburg, Patsy. The Actor Speaks. New York: St. Martin’s Griffin, 2002
2. Taylor, Millie and Symonds, Dominic. Studying Musical Theatre, Theory and Practice. London: Palgrave, 2014
3. Kenrick, John. Musical Theatre, A History. London: Bloomsbury Academic, 2010
4. Green, Stanley. Revised and updated Ginell, Cary. Broadway Musicals, Show-by-Show: Eighth Edition. Minnesota: Applause Theatre & Cinema Books, 2014
5. McCoy, Scott. Your Voice: An Inside View 3 – Voice Science & Pedagogy. Scott McCoy & Inside View Press, 2019
6. Steinhauer, Kimberley, Klimek, Mary McDonald & Estill, Jo. The Estill Voice Model – Theory & Translation. Estill Voice International, 2017
7. Chapman, Janice. L Singing and Teaching Singing – A Holistic Approach to Classical Voice Third Edition. Plural Publishing 2017

All tutorials will be delivered in person, but virtual participation is acceptable for all lecture style sessions.

All music theatre students must undertake the Music Theatre Production course. It is both a skills-based practical course focussed on the three areas of acting technique, voice production and dance skills, coupled with the theoretical study in each of these areas. This includes key areas of ENSEMBLE SINGING, SONG REPERTOIRE and participation in semester long intensives in SONG & DANCE, ACCENT & DIALECT, ACTING FOR FILM and DANCE PATNERING. As such, all classes are workshop style where attendance is critical for skills development.

Ensemble Singing: 1 x 1 hour workshop each week
Song Repertoire: 1 x 2 hour workshop each week
Song & Dance: 1 x 2 hour workshop each week
Accent & Dialect: 1 x 2 hour workshop each week
Acting for Film: 1 x 2 hour workshop each week
Dance Partnering: 1 x 2 hour workshop each week

In addition to the listed contact hours per week, It is anticipated that students would spend 6-8 hours per week in preparing for workshops, preparing assignments and undertaking required readings.

Students are expected to maintain 100% attendance at all classes. See below for penalties. Independent Practice Students must prepare and practise all repertoire, technical exercises and other material assigned by their lecturers and arrive for each session fully prepared Class Activity All classes are practically based skill development. It is essential for growth and development that there is active participation at each session.

Out of Class Activity Acting and Voice will require students to present to the University community a showing of their semester’s work. These showings usually take place in the final week of classes or in Week 13.

Specific dance wear and rehearsal ‘blacks’ will be quired for all classes. Students will be given this information prior to the first class with clear instructions and guidelines.

Participation: Active and positive participation in 100% of workshops is expected. Students will need to seek approval from the Head of Music Theatre for any absence. This process is clearly explained in the Music Theatre Handbook in MyUni.

ALL MUSIC THEATRE ASSESSMENTS INCUR A 10% PER DAY PENALTY FOR LATE SUBMISSIONS. Extensions are only granted prior to the assessment due date.

Late assignment policy: Extensions are only granted when supporting documentation can be provided and then, and only then, by arrangement with the course lecturer prior to the due date and time. Extensions will not be granted under any other circumstance. Assessed work that is submitted late (after the due date and time) will not be examined for assessment or feedback. In the case of illness this will require a medical certificate, and in the case of personal (non-medical) circumstances you will need a letter of support from a University Student Counsellor. For further information please refer to the following website: http://www.adelaide.edu.au/counselling_centre/