Course
Overview
This new course is for actors interested in experimental and innovative approaches to storytelling. These include non-verbal and physical work, spoken word, specialist non-conventional narrative forms and experiential live/digital work.
Through your training you develop essential acting skills, while becoming part of a new generation of practitioners who can work across mediums to explore new forms of performance and space.
The course celebrates new ground-breaking and cutting edge work that directly addresses culture, diversity, and community engagement. It builds on our successful collaborations with some of the UK’s most exciting theatre companies, including Gecko, Slung Low and ThickSkin, who have worked with students to produce devised immersive, physical and experimental performances. These productions have placed the audience at the heart of the action while engaging with global voices, cultures and communities.
What You Will
Study
The Actor's Preparation: Contemporary Performance Principles I
In this module you integrate acting, movement and voice skills as you are introduced to, then deepen your understanding of conceptual approaches to acting. You explore a variety of global practitioner approaches as you develop the technical skills to understand and realise the fundamentals of contemporary practice. You understand how movement and voice skills can provide a framework for material analysis and the application of technique in interdisciplinary and interpretative storytelling. You work with a director or facilitator to create scene presentations that showcase your creative choices and working methods. You undertake a digital project that captures your ability to solve creative and collaboratives problems.
The Actor's Preparation: Contemporary Performance Principles II
In this module you continue to develop your ability to integrate acting, movement and voice skills through inventive performance approaches. You advance your technical interdisciplinary skills by applying them to challenging international work and via decolonised perspectives. You deconstruct and re-imagine traditional material to find bold and ambitious ideas and use digital technology and material within a creative performance to enhance storytelling.
The Actor's Preparation: Acting Principles III
In this module you deepen your understanding of how to apply your technical acting, movement and voice skills to an inventive performance. Working with a director or facilitator you create an original project that is inspired by a groundbreaking company or artist. It will enable you to create a brave, multilayered and interdisciplinary performance that demonstrates your understanding of global practitioner methods and creative research to an audience of your peers and staff.
Artistic Practice I [Shared Module across all BA Acting courses]
In this module, you will develop the necessary skills to create original work and extend your ability to work as part of a creative ensemble. Narrative and performance sessions include devised, verbatim and site-specific approaches to generating original works. As part of a small group, you create a short staged, digital or audio performance. Alongside creative skills you undertake research and development, understanding cultural perspectives and audience demographics to ensure your work is relevant to a contemporary audience. You are introduced to business and enterprise skills so you are familiar with the practicalities of staging and managing an event.
The Actor's Process: Contemporary Project I
This module enables you to explore experimental performance approaches, combining technology and live creation to analyse advanced approaches to contemporary performance. You adapt and expand your technical knowledge and interdisciplinary abilities as you test your contemporary performance skills in two projects. The first takes an experimental approach to performance concepts, highlighting international and intercultural approaches to storytelling, and the second utilises global and diverse concepts with a focus on the live theatrical experience and removing the ‘fourth wall’.
The Actor's Process: Contemporary Project II
In this module you test your developing contemporary and experimental processes with two distinct, alternative projects. One project focuses on a highly physical reimagining of classic or heightened text works, such as Shakespeare, through an experimental and contemporary lens. A second project introduces ideas of oral poetic performance (spoken word) and can be realised as a live, digital or integrated project, as well as an independent solo or company creation. Movement supports your ability to find physical expansion and play, with vocal approaches that allow you to adapt for verse, metre, rhyme and rhythm, as well as differing performance spaces.
The Actor's Process: Contemporary Project III
This research and development project provides an opportunity to collaborate with innovative performance makers in the creation of an original boundary-breaking work. Beginning now to mirror professional practice, you will receive structured direction and supervision in the creation and execution of a fully realised workshop presentation. You will undertake independent research in the development of a unique and pioneering contemporary work to an invited audience across several performances.
Artistic Practice II [Shared Module across all BA Acting courses]
In this module you develop your creativity by researching and originating a personal performance of your choice. This could be a script submission, micro-musical or play reading, short film or screening. You investigate cultural perspectives around your chosen subject area/theme to discover the technical demands of your piece and adapt it to ensure it is original and inventive. You further your business and industry skills, including project planning and target audiences as well as honing your audition technique.
The Actor’s Performance: Professional Contemporary Production I
In this module you work with professional performance-makers as well as students from other courses, to realise an original live public production. You reach professional standards and expectations, working independently to research and prepare for the rehearsal process and meet the vision of your director and creative team. You exercise your ability to demonstrate imaginative contemporary performance invention, professionalism, organisation and time management skills, and the repetition and recreation of work via performance technique.
The Actor’s Performance: Professional Contemporary Production II
In this module you build on previous performance experience, assuming full responsibility for your own preparation, process and production of work that meets professional standards. You work in simulated industry scenarios and are presented with challenging expectations which are representative of the real world. The module culminates in the production of a large scale performance for a public audience. Your interpersonal skills, independent methodology and professionalism is further tested through self-governed responsibility and engagement with collaborators.
The Actor’s Performance: Professional Contemporary Production III
For this module, you collate a professional promotional portfolio of live, digital and audio material that best demonstrates your individual creative output, ambitions and potential. This portfolio will be utilised as a resource to showcase you to industry and employers, following your research and evaluation of industry networks relevant to your future career. You take part in a portfolio presentation, generating unique content and promotional material according to your career plans and employment aspirations. Work produced on this module is public-facing and can be used when you present yourself to future employers.
Artistic Practice III [Shared Module across all BA Acting courses]
This module brings together your independent research, creative enterprise skills and professionalism as you advance your ability to develop and create new material. Supervised by a mentor, you adopt both a creative and a production role as you generate a brand-new piece of work for our annual festival of new writing. You may also improve your independent entrepreneurial and project management skills by developing a solo project.
How You Will
Study
-
Technical Skills Classes
-
Workshops
-
Performances
-
Seminars
-
Lectures
-
Independent Study
-
Group Work
-
Masterclasses
How You Will Be
Assessed
Your assessment takes place during practical classes and rehearsals, performances and your reflective journals. Overall, assessment is based on applications of technique in performance situations, either in front of an audience or in workshops.
The coursework element is focused on your future career, your working environment and critical life skills. In your third year you undertake an optional practical or written research project. Again, career focused and chosen by you.
Practical/written work ratio
80% practical work / 20% written course work
Validation
LIPA aims to have probationary degree awarding powers from September 2025 (subject to Office for Students approval). This is an exciting step, allowing us to take full control of our curriculum and course portfolio. In the unlikely event LIPA does not achieve probationary degree awarding powers, our degrees will be validated by Liverpool John Moores University.
Our
Facilities
Rehearsal Rooms
LIPA’s spacious rehearsal rooms are predominantly used for workshop-style teaching and as rehearsal spaces in the lead up to performances. Some of these have their own sound and lighting facilities. The biggest rehearsal room is large enough to enable it to be marked up as the stages will be in LIPA’s theatre spaces, which makes the critical final weeks in the rehearsal process period that much easier.
Dance studios
LIPA has four dance studios. Three of them have rafter high ceilings, including one with equipment specifically used for aerial dance. They all have top of the line Harlequin sprung floors, barres and full wall mirrors and each has a dedicated sound system with iPad access.
Dance studios are open for the students to use in the evenings and on weekends, when they are not in scheduled classes or rehearsals.
George Harrison Workshop Studio
Seating over 100 people, the GHWS is a fully equipped experimental performance space that offers creatives and performers a ‘blank canvas’ for productions. As well as immersive and promenade performances, it can also host more traditional theatrical productions with a variety of stage and audience configurations. It is also used as an exhibition, rehearsal and teaching space.
The Paul McCartney Auditorium
The PMA is the largest of LIPA’s performance spaces and is a traditional proscenium arch theatre. It can seat an audience of around 350 people and has flexible seating arrangements and staging configurations.
Each year over 30 performances take place in the PMA, acting students usually take part in around five to six performances over the course of your three years but not exclusively in this space. Some will be in here and the George Harrison Workshop Studio and also at external theatre spaces so you get used to performing in different types of venue. Some of your performances are to a public audience – some are to an invited audience only. We hold the majority of our large-scale masterclasses in the PMA and it is also used for presentations to the whole student body.
The PMA is complemented by a green room lounge area and dressing rooms.
The Sennheiser TV Studio
The Sennheiser TV Studio is a fully realised TV and broadcast studio. The studio, along with motion capture and editing, sound and grading suites, was completed in 2020. Students have access to state-of-the-art facilities and equipment to replicate a professional environment and support learning.
Costume and Wardrobe Department
LIPA’s wardrobe department has an extensive costume store and well configured spaces for design and making. Our design students plan, design and create costumes for around 15 separate productions throughout the year. You will usually experience this area when taking part in fittings for your performances.
Technical Services
LIPA’s Technical Services team can help with general technical queries and booking out equipment for short-term loan. Loan equipment includes musical instruments, microphones, various recording and playback equipment, digital video and stills cameras and AV equipment.
Term-time opening hours allow you access to Technical Services from 9am until 11pm every weekday and 9am until 5pm on Saturday and 11am until 5pm on Sunday. Outside of term time it is open on weekdays from 9am - 5pm.
Learning Resources Centre
LIPA’s Learning Resources Centre (LRC) is a specialist creative and performing arts library with an extensive collection of books, e-books, scores, CDs, DVDs, e-resources, print and electronic journals. Whether you are looking for individual songs or scripts, background research or creative inspiration, the LRC Team will be able to help. The LRC offer support sessions in ICT and study skills through subject specific lectures, as well as one-to-one and drop-in sessions, ensuring you get the most out of your study.
The LRC website provides the gateway to LIPA’s online catalogue and electronic resources and includes links to a wide selection of help sheets and video guides. In addition, LIPA’s virtual learning provision which includes Moodle, holds a variety of subject-specific learning materials, such as lecture notes, useful web links and module information. The majority of these services are available off-campus.
LIPA’s integrated learning environment has a variety of study spaces, including individual and group work areas, and an open-access computer suite. Facilities include printing, copying and scanning, plus binding and laminating equipment. A range of stationery is available for purchase to support your studies.
Opening hours during term time are Monday and Wednesday 9.00am to 6.00pm, Tuesday and Thursday 9.00am to 8.00pm, Friday 9.00am to 5.00pm. The LRC may be closed for some weeks in June and is also closed during July and August.
ICT Services
LIPA's Information, Communications and Technology Department provides the infrastructure and services framework that enable students to exploit the latest information and communication developments.
Industry-standard computer resources are running the latest productivity software on high specification workstations in dedicated computer suites. LIPA also has a colour A0 plotter, ideal for floor plans.
All PCs are installed with Microsoft Windows, Microsoft Office & Project as standard. There is also access to a range of additional specialist software installed on selected workstations. These include AutoCAD, Adobe Creative Cloud applications, EarMaster, Sibelius, MindManager, Vectorworks and WYSIWYG.
All workstations have access to the Internet, email and other electronic resources. There is free Wi-Fi access throughout our buildings for students and staff members via the Eduroam network which provides a world-wide roaming access service developed for the international research and education community.
Specialist ICT staff are available to answer questions, give assistance and advise on ICT issues.
LIPA Bar & Canteen
As well as serving food and drink, the bar and canteen are the hub of social activity within LIPA with both spaces licensed for performances.
The canteen is the venue for LIPA’s weekly gig night, The 2ube. Most Fridays the 2ube features live performances, showcasing musicians from LIPA and Liverpool’s music scene. The event is a collaboration between Management, Music, Sound Technology and Theatre & Performance Technology students.
The canteen also hosts open mic and jukebox shuffle nights, and independent student organised performances and benefit nights. The bar hosts regular quiz nights and Student Event Board parties.
The bar is open Monday, Thursday and Friday from 3pm - 11pm, and Tuesday and Wednesday from 3pm - 10pm, with extended hours for special events.
The canteen is open Monday to Friday from 8.30am – 3pm, serving food and drink at student-friendly prices.
LIPA is also home to a 92 Degrees Coffee shop. The popular Liverpool independent has a number of coffee stores and roasteries across the north west. It serves up barista coffee and cakes in the Art School Atrium during term time.
Meet The
Staff
Yusuf Khamisa
Programme Leader - Acting (Contemporary Performance)
Will Hammond
Director of School of Performance
David Salter
Head of Acting (Stage & Screen)
Stuart Crowther
Programme Leader: BA Acting
Rosemary Berkon
Teaching Fellow
Matthew Dudley
Lecturer
Arabella Gibbins
Teaching Fellow
Gary Horner
Programme Leader: MA Acting, Lecturer & Visiting Lecturer
Beth Vyse
Lecturer
Yusuf Khamisa
Programme Leader - Acting (Contemporary Performance)
Yusuf is an award-winning actor and director celebrated for his work in London’s West End and regional theatres. His directing credits include Children of Killers at Soho Theatre, The Accordion Shop at the National Theatre, and New Labour at Lyric Theatre Hammersmith.
Originally from Salford, Yusuf trained as an actor at London’s ArtsEd, graduating in 2008. Over the years, he has built a distinguished career as a teacher and leader in artist training, having taught at prestigious institutions such as ArtsEd, LAMDA, Mountview, and RADA. Yusuf’s dedication to fostering emerging talent is reflected in his senior leadership roles, including Associate Dean, Head of BA, and Equality, Inclusivity, and Diversity Manager.
Beyond teaching, Yusuf has contributed significantly to the arts sector. At the Lyric Hammersmith, he played a pivotal role in the Young People’s Programme, and as Development Director at IRIS Theatre Covent Garden, he drove innovative initiatives. A passionate advocate for equality, inclusivity, and diversity, Yusuf has designed and led transformative training programmes across multiple industries.
Currently, Yusuf advises Factory International (MIF), facilitates creative projects, and serves as a trustee for ThickSkin Theatre Company. His commitment to storytelling and inclusive practices continues to shape the cultural landscape.
Will Hammond
Director of School of Performance
Will has worked in theatre, TV, film and radio. Having worked across mediums and platforms, Will can support students to become adaptable. His credits include the BBC, Lime Pictures, Greenwich Films, West Yorkshire Playhouse, Paines Plough, Frantic Assembly and Soho Theatre. Will has won the High Sheriff Award for New Writing from the Stephen Joseph Theatre, judged by Sir Alan Ayckbourn. He co-wrote the musical Kate and the Devil, which was shortlisted for the Stiles & Drewe Best New Song Award 2015. He feels it is important for actors to cultivate their own independent approach to acting in preparation for sustainable careers.
David Salter
Head of Acting (Stage & Screen)
David is an award-winning theatre director and acting teacher.
Previously he has taught and directed at a number of drama schools including RADA, Mountview, Rose Bruford College, Drama Centre, The American Academy of Performing Arts, New National Theatre Drama Studio, Tokyo and the Manchester School of Theatre, where he led the Acting Programme.
David attended the Director’s Course at the Royal National Theatre Studio and has directed productions across the UK and internationally, including Brecht’s The Life of Galileo at the Studio Theatre, Washington DC. David was associate director to Peter Stein on David Harrower’s Blackbird at the Edinburgh International Festival, to Howard Barker on his production of Scenes From An Execution at the Barbican and on numerous productions at the Almeida Theatre including Richard II with Ralph Fiennes and the world premiere of The Shape of Things with Rachel Weisz and Paul Rudd.
publications
Contributor to ‘Actor Trainers on Acting: For The Twenty First Century’ Edited by Professor Anna McNamara for Routledge (upcoming)
Stuart Crowther
Programme Leader: BA Acting
Stuart (they/them) is an actor, writer, director and drag/performance artist. They trained as an actor at LIPA and completed their postgraduate studies at the University of Manchester and Rose Bruford College. They have appeared in cabaret, fringe theatre, West End productions, TV and film and are an Associate Artist with both All Things Considered Theatre and Threedumb Theatre. Previous work has been seen at the Royal Exchange, Square Chapel, Ambassadors Theatre (West End), Battersea Arts Centre, Unity Theatre, Pleasance (London and Edinburgh), Oldham Coliseum Open Air Theatre.
Most recent credits include - as a writer: Notre Dame de Paris (The Space, Isle of Dogs), DISCO(n)TENT (All Things Considered), as a director: Killer Queen (Sodomite, Hidden, UK tour), Gruesome Playground Injuries, as a performer: Spectrum (Amazon Prime), algebra (Unity Theatre, UK tour). They have taught at several institutions and universities throughout the UK and are a member of LIPA’s Equality, Diversity and Inclusion Committee.
Stuart’s work focuses primarily on the actor as an individual and the unique perspective each person brings to their work on a role. They encourage students to feel empowered through the use of active imagination and engagement with play and make-believe, whilst remaining committed to ‘telling the story’.
Stuart’s career has run the gamut from performing in squats and with political collectives, through to appearing in the West End and in film. They have worn many a hat and donned many a costume, and, because of this, Stuart has a broad understanding of how industry meets artistry. Stuart is committed to passing on the necessity for the actor/performer to develop their own unique voice and to stay true to the stories they want to tell.
Rosemary Berkon
Teaching Fellow
Rosemary is an actor, voice coach and community facilitator. She trained as an actor at ALRA and as a voice coach at The Royal Central School of Speech and Drama. As an actor Rosemary has toured nationally, performing at venues such as HOME theatre, The Leeds Playhouse, Theatre 503, The North Wall Arts Centre and Manchester Opera House. With a passion for new writing and outreach she has worked as a performer and facilitator to create original work that emphasises community engagement with various theatre companies including Odd Arts, Papatango, Quantum Theatre and Byteback Theatre.
She brings her experience as a performer and facilitator into her teaching, alongside her experience as a private coach, which sees her work with many different voices encouraging confidence and communication. She currently works with clients in preparation for auditions, public speaking (that has included TEDx talks) and at other drama schools.
Rosemary is fascinated by accents, how speech is made and the social implications of teaching this to actors. She is a member of The Voice and Speech Trainers Association, passionate about cutting-edge pedagogy and aims to work with a sense of community and inclusivity in her studio spaces.
Rosemary understands the resilience required to sustain a career in the theatre industry, she endeavours to share with honesty challenges from her professional experience and also her hopes for the future of the creative arts.
Matthew Dudley
Lecturer
Matthew has taught on and led professional training and degree programmes for over 15 years. After studying at Trinity College of Music and the Guildhall School of Music and Drama, he performed in the UK and in Europe. Matthew has taught voice, text and singing at several respected training institutions, including Guildford School of Acting and Italia Conti, and has delivered workshops throughout the UK for organisations such as Bristol Old Vic Theatre School and the British Voice Association. He is a certified Associate Teacher of Fitzmaurice Voicework and has taught on the certification programme in Los Angeles. His teaching is influenced by his study of classical and contemporary voicework, and incorporates movement work, mindfulness and concepts taken from his study of psychotherapeutic modalities.
Arabella Gibbins
Teaching Fellow
Arabella is an actor, voice-over artist and voice coach. Her one-woman show Big Bad won an Origins Award for Outstanding New Work and is touring this summer. Arabella is a singer-songwriter, musical comedienne and she’s even done backing vocals for Robbie Williams. As a professional performer Arabella understands the demands of the industry. Her valuable experience on stage and in the vocal booth means she is informed and knowledgeable in the rehearsal room.
Gary Horner
Programme Leader: MA Acting, Lecturer & Visiting Lecturer
Gary trained as an actor at Guildford School of Acting before going on to work professionally throughout the UK. Subsequently he went on to gain his MA from The Royal Central School of Speech and Drama in Voice studies and trained intensively with author of Freeing the Natural Voice, Kristin Linklater to become a designated Linklater teacher. Gary is an internationally recognised voice coach and director and has worked extensively within the UK Drama School sector.
Alongside being the course leader for the MA in Acting (Company) at LIPA, Gary continues to work professionally as a voice coach and director. Mostly recently, Gary was an associate voice coach on Henry VI part 3 at The Royal Shakespeare Company. Prior to this some of Gary’s credits include Matilda the musical (Cambridge Theatre, London), Acts of Resistance (Bristol Old Vic), The Boy with Two Hearts (Wales Millennium Centre / The Royal National Theatre), Brainstorm (The Royal National Theatre), Sour Lips (Oval House Theatre), The Arsonists (Watford Palace Theatre), Bush Bazaar (The Bush Theatre), Romeo and Juliet (The Chocolate Factory), Titus Andronicus (Bedlam Theatre/UK TOUR), In His Image (Hampstead Theatre), Reverie (Pleasance Theatre), Hello, Mr Capello (Watford Palace Theatre).
Gary oversees the development and delivery of the MA Acting (Company) course, as well as delivering across the BA and Foundation courses within the Acting department. He directs projects, final year productions and teaches technical voice and voice into text.
Working within the theatre industry with some of the biggest theatre companies and theatres around the UK allows Gary to understand the current trends within the professional sphere and ensures that the training he delivers at LIPA is relevant and fully prepares students for entering into the acting industry.
Publications/research
A non-elitist approach to Professional Development in Actor Training - Drama and Theatre Publication – Summer Term 1 – 2019/20 (Publication)
Northern Centre for Voice and Movement bringing Cultural Capital to a forgotten land – International Network for Voice Symposium – 2019 (Presentation)
Beth Vyse
Lecturer
Beth is a critically acclaimed and award-winning creator/performer. She recently finished an international tour of her own show As Funny As Cancer, she also has national and regional theatre, global RSC, BBC, and ITV credits to her name. Over the last 20 years she has worked tirelessly within an industry she adores to become an established comedian, director, and lecturer – sharing her wealth of experience to help educate and encourage those with her shared passion for performance.
What Our
Graduates Do
This is a new course and we expect our graduates to be fully equipped to gain sustained work with ground-breaking performance companies and practitioners as performers, writers, directors and producers. Some of our graduates may also set up their own independent theatre and performance companies. Our graduates will also have a strong skill set in acting to enable them to pursue acting work in more traditional theatrical productions as well as film, TV and radio productions.
Educational qualifications are important but limited in what they can tell us about you.
Your natural ability, your fit with what and how we teach, your growth and your potential are also key factors in our admission process. We can’t evaluate these solely on your educational achievements, so no matter which course you are applying for, we look for the following attributes on your application and at the interview stage.
Additional Costs
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section. After you accept our offer, we'll send you a list of books and equipment that we'd like you to bring. We recommend that you bring specific clothing and footwear for your practical classes. These are standard items of clothing that you will need as a working actor.
Here are the key course-related costs that we'd expect you to pay during your three years with us, in addition to your tuition fees:
Headshots and joining Spotlight
Headshots are vital marketing tools. In your final year, you need to invest in headshots to present yourself as a professional. We encourage you to undertake research into which photographer to work with. Our students typically pay around £80 to £120 for their headshots. Professionally taken headshots can cost over £300 in London. It is compulsory for you to supply a headshot so you can take part in the showcases which are an assessed part of the course.
Being a member of Spotlight is important for finding work in the UK, so you will need to join in your final year. (The Actors Spotlight Membership fee costs just over £150).
Showcases
The majority of the costs for your final year North West and London showcases are included in your tuition fee. We provide you with both a travel allowance and food allowance for your showcases, but we don't pay for overnight accommodation costs. Most of our students stay with friends or alumni. The showcase is an assessed part of the course so taking part in the showcase is compulsory.
Seeing shows
You should go to the theatre as often as you can. This is not compulsory, but it will help your development as an actor. Theatre visits are not covered by your tuition fees, so you'll need to cover these costs yourself. Most theatres offer student discounts and we are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see other actors performing in our shows. We offer discounted student tickets to make this as affordable as possible.
Optional stage combat training
During one of the vacations, we usually bring in a stage combat tutor for those of you that want to put yourselves forward for a qualification in this to add to your CV. You have to pay an examination fee and the cost for the training is shared between all of the students who undertake it. This is not a compulsory part of the course.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool is one the UK's cheapest student cities. Accommodation costs are relatively low, particularly compared to the south east of England, and the city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.
Additional Costs
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section. After you accept our offer, we'll send you a list of books and equipment that we'd like you to bring. We recommend that you bring specific clothing and footwear for your practical classes. These are standard items of clothing that you will need as a working actor.
Here are the key course-related costs that we'd expect you to pay during your three years with us, in addition to your tuition fees:
Headshots and joining Spotlight
Headshots are vital marketing tools. In your final year, you need to invest in headshots to present yourself as a professional. We encourage you to undertake research into which photographer to work with. Our students typically pay around £80 to £120 for their headshots. Professionally taken headshots can cost over £300 in London. It is compulsory for you to supply a headshot so you can take part in the showcases which are an assessed part of the course.
Being a member of Spotlight is important for finding work in the UK, so you will need to join in your final year. (The Actors Spotlight Membership fee costs just over £150).
Showcases
The majority of the costs for your final year North West and London showcases are included in your tuition fee. We provide you with both a travel allowance and food allowance for your showcases, but we don't pay for overnight accommodation costs. Most of our students stay with friends or alumni. The showcase is an assessed part of the course so taking part in the showcase is compulsory.
Seeing shows
You should go to the theatre as often as you can. This is not compulsory, but it will help your development as an actor. Theatre visits are not covered by your tuition fees, so you'll need to cover these costs yourself. Most theatres offer student discounts and we are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see other actors performing in our shows. We offer discounted student tickets to make this as affordable as possible.
Optional stage combat training
During one of the vacations, we usually bring in a stage combat tutor for those of you that want to put yourselves forward for a qualification in this to add to your CV. You have to pay an examination fee and the cost for the training is shared between all of the students who undertake it. This is not a compulsory part of the course.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool is one the UK's cheapest student cities. Accommodation costs are relatively low, particularly compared to the south east of England, and the city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.
