Course
Overview
We focus on the individual. You are not just an actor, but also an artist. Here you can become an independent, inventive practitioner.
You can be someone who harnesses what’s unique to you and tackles diverse performance styles across different platforms.
Accreditated By:
What You Will
Study
The Actor's Technique I: Acting I
In this module, you examine the techniques of different practitioners and how to apply their approaches to character and scene. Practitioners studied include Constantin Stanislavski, Michael Chekhov and Sanford Meisner. Through individual and group work, you develop the necessary skills required of a naturalistic Stanislavski-based approach such as improvisation, textual analysis, practical realisation of contemporary text and reflection. Towards the end of the module, you harness the core principles of these techniques to perform a psychologically driven contemporary text.
This module content is indicative.
The Actor's Technique I: Acting II
This module builds on your learning from the other three modules in The Actor’s Technique. You bring together the psychological, physical and vocal techniques you’ve learned so far in a directed workshop presentation of a classical naturalistic play. Alongside this, you produce an analytical journal so that you can reflect on your methodology. Screen Acting is also introduced in this module to allow you to start applying naturalistic styles to different contexts.
This module content is indicative.
The Actor's Technique I: Movement
Through this module, you develop a working knowledge of anatomy and physiology. You explore the fundamental components of movement and space including weight, tension, effort and rhythm. By focusing on these technical principles, you work towards neutrality and centering by improving your balance, strength, flexibility and co-ordination and reducing your habitual tension. You learn how the individual body relates to the world around it and to group dynamics and how to utilise psycho-physical awareness in relation to building character and worlds.
This module content is indicative.
The Actor's Technique I: Voice
This module gives you the fundamental knowledge of vocal anatomy and physiology to help you understand the potential of your voice as an expressive instrument. Through different creative and technical avenues, you investigate resonance, range, speech and text. You focus on improving spinal alignment, flexibility and strength, and breath awareness. At the same time, you work towards eliminating any tensions, which may inhibit breath and vocal release. You improve your listening skills and learn how to analyse sound and use your voice in differing and challenging spaces.
This module content is indicative.
Artistic Practice I
In this module, you develop the necessary skills to create original theatre and extend your ability to work as part of a creative ensemble. You learn about research initiatives, devising methods and project management skills and apply these to creating a new piece of work. As well as taking on a company role in the creation and production of the work, you assume a production role to broaden your abilities. This could include writing, directing, design or production management.
This module content is indicative.
Cultural Perspectives I
Through this module, you learn to analyse practitioner approaches and historical acting works. You develop a solid foundation of theoretical, historical, contextual and critical studies which inform your work throughout the course. You investigate acting traditions and examine the evolution of genre, style and practitioner approach. Practical classes link your learning of theorists and philosophies to your technical training in The Actor’s Technique. Finally, you produce a written assignment which enhances your analytical skills and understanding of the work in Acting 2.
This module content is indicative.
The Professional I
This module is designed to help you achieve sustained work in your chosen profession. You learn about the different elements involved in putting on an event, including planning, budgeting, rights and clearances and digital marketing. By working as part of a small team with students from other subjects to create a one-off event, you learn first-hand about the importance of collaborating and develop essential interpersonal skills including negotiation and persuasion. Through this module, you also learn to reflect on your own personal and professional attributes and skills. This self-development technique stands you in good stead throughout your professional career.
This module content is indicative.
The Actor's Technique II: Advanced Acting
Through this module, you explore advanced acting approaches and are introduced to notions of the ‘theatrical’, audience communion and psycho-physical bravery. You look at developments in dramatic form from contemporary and classical techniques, before progressing onto 20th and 21st century styles, genres, practitioners and methodologies. A directed scene study allows you to explore advanced principles of acting in challenging styles and genres. A workshop studio presentation gives you the opportunity to engage with the audience as spectators and raise awareness of ideological and political implications of the material.
This module content is indicative.
The Actor's Technique II: Advanced Movement & Voice
This module progresses the founding principles of movement and voice taught in your first year. Building upon technical exercises, you learn how to address the physical demands associated with heightened performance and sustain movement choices for an extended scene or role. Voice classes prepare you for heightened text and speech. You focus on areas including listening and vocal-analysis skills, and voice and speech, word and text approaches. This module combines with The Actor’s Process: Advanced Acting to allow you to consolidate all of the skills taught across these two modules.
This module content is indicative.
The Actor's Process: Project I
In this module, you apply and combine a range of acting skills and practices across both live and recorded media, including a spoken radio piece. You examine voice, text and speech, physical expression and engagement, and advanced acting styles. You take on more responsibility for realising the demands of the material and are expected to identify appropriate methods and techniques for approaching classic, period and heightened works. To support and develop your self-expression and understanding, you take part in a verbal reflection of your methodology and presentation.
This module content is indicative.
The Actor's Process: Project II
This module provides further opportunity to put into practice the range of skills and techniques you’ve developed, culminating in your first performance to a public audience. You are introduced to innovative texts, works and practitioner approaches in advanced live and recorded forms, styles and genres collaborating with a boundary-breaking theatre company and/or practitioners. Mirroring professional practice, you are given more independence and receive structured direction and supervision in the creation and execution of a fully realised character. You undertake research and keep notes on your work throughout the module, which forms the basis of a written critical analysis of your personal process.
This module content is indicative.
Artistic Practice II
Through this module, you are able to advance a complementary skill associated with creating and presenting an original new work. The available options may change from year to year but in the past have included: exploring writing or directing for stage and screen, producing and project management, or musical theatre skills. You research, create and present a relevant project such as a script submission, play reading, short film, or staging a screening or performance. Your process is equally important, so you also produce a written review of your work which shows your understanding of applied techniques and reflects on how you could improve.
This module content is indicative.
Cultural Perspectives II
This module builds on your knowledge of theatre and acting practice within the major artistic, intellectual and critical movements of the modern era. You examine critical theorists, theories and philosophical perspectives on texts, theatrical forms, media, styles and genres. Bringing together research, theory and practice, you then explore these concepts through your practical work in The Actor’s Process. Your learning in this module furthers your understanding of the contextual significance and interpretation of works, playwrights and artistic creators to enhance your approach to developing characters and worlds.
This module content is indicative.
The Professional II
In this module, you gain the knowledge and skills to plan a project, which will stand you in good stead for creating independent work. You learn how to consider industry demands, promotional tools and initiatives, and analyse audience targets and demographics. You undertake research to produce a career plan and funding options. There is the opportunity to connect your work in this module with your work in Artistic Practice II and project-based work in your third year.
This module content is indicative.
The Actor's Performance: Production I
This module allows you to experience simulated professional practice, with industry-standard expectation, contexts and processes, including auditioning. You work with professional theatre-makers, including students from other courses, to realise an original public production. Following casting, you work autonomously and combine rehearsal and performance skills, using a fluent methodology which incorporates psycho-physical and vocal aptitude to meet the vision of your director and creative team. There is also an emphasis on profiling yourself as a professional actor. An evaluative written report allows you to reflect on the production process and how this could support your future creative development.
This module content is indicative.
The Actor's Performance: Production II
Through this module, you consolidate your experience recorded media, taking part in both the production and performance of a short media project in film, voiceover, radio, ADR or gaming. You collaborate with creatives and are required to engage with concept and marketing or artistic value. You research and fulfil the pre/post-production requirements and expectations of an assigned role, and work within high-pressured and challenging environments which match the real world. As well as your final, edited media project, you are assessed on your professional engagement and reflective analysis of your work.
This module content is indicative.
The Actor's Performance: Production III
In this module, you assume full responsibility for your own process and producing work which meets professional standards. By working in simulated industry scenarios, you are presented with challenging expectations which are representative of the real world. The module follows a similar structure to Production 1, culminating in a final public production. Your independent methodology is further tested through self-governed responsibility and engagement with collaborators. Again, you are expected to undertake self-promotion to interact with the industry and you reflect on your process, professionalism and performance through a verbal evaluation.
This module content is indicative.
Artistic Practice III
Following on from previous Artistic Practice modules, you advance your development of a complementary discipline or concentrate on an additional skill which supports the creation of original new work as part of our festival, staged outside the building. Again, you receive mentored supervision in your chosen area leading to a performance event which showcases your work. Following the event, you reflect on how your additional skills impact on your professional profile, the artistic impact of your work and areas for development and progression.
This module content is indicative.
Cultural Perspectives III: Contextual Project (Option)
In this module, you embark on an independent research study to explore an issue which links to your personal interests and ambitions. You are required to submit an initial proposal of your research, which then forms the basis of a 6,000-word dissertation. Your dissertation should examine cultural and historical contexts and perspectives that define textual and theoretical readings in live or recorded media. It should also analyse practitioner approaches and evaluate the creation of performance. This allows you to demonstrate advanced analytical research skills and written communication skills.
This module content is indicative.
Cultural Perspectives III: Practical Project (Option)
This module brings together your practical and research skills to develop a solo practice-as-research project. Your project allows you to demonstrate your ability to work independently and take on responsibility for a project over a period of time. Possible projects include a staged performance, play reading, script submission or a short film. Your work should reflect an awareness of the relevant cultural and historical contexts and respond, through practice, to an appropriate research question.
This module content is indicative.
The Professional III
In this module, you prepare for your next steps after graduation. With links to your performance-based work, you focus on presenting yourself to the industry. You cover essential elements including audition and interview technique, creating a showreel, building a website for self-promotion and developing other marketing tools. You are encouraged to improve your entrepreneurial and project/event management skills by taking on a production role in the management of your presented work in Artistic Practice 3.
This module content is indicative.
How You Will
Study
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Technical Skills Classes
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Workshops
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Performances
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Seminars
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Lectures
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Independent Study
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Group Work
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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
Validated By:
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.
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.
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.
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.
Meet The
Staff
Will Hammond
Head of Acting
Andy Blake
Course Leader BA Acting
Rosemary Berkon
Teaching Fellow
Stuart Crowther
Lecturer
Matthew Dudley
Lecturer
Arabella Gibbins
Teaching Fellow / Visiting lecturer
Gary Horner
Course Leader MA Acting (Company), Lecturer & Visiting Lecturer
Sophie Mensah
Lecturer
Beth Vyse
Lecturer
Will Hammond
Head of Acting
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.
Andy Blake
Course Leader BA Acting
Andy has worked in Theatre, TV, Film and Radio. He trained at 'Mountview Academy of Theatre Arts’ and has taught in various institutions delivering actor training. Andy has numerous professional credits. His theatre includes Road', 'Romeo & Juliet', 'An Inspector Calls', 'Casting the Oracle’ and 'Death on the Wards'. TV Credits include 'The Innocence Project', 'Shameless', 'Boy A' and 'Poppy Shakespeare’ and a high profile TV commercial campaign. He has recorded a couple of projects for BBC Radio Drama. He has an advanced qualifications in Stage Combat and an MA in Scriptwriting. Andy has a love for improvisation and film making. He believes that acting training should be safe and inclusive and that all actors should develop their own toolkit that works for them.
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.
Stuart Crowther
Lecturer
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.
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 / Visiting lecturer
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
Course Leader MA Acting (Company), 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)
Sophie Mensah
Lecturer
Sophie Mensah is a professional actress with experience in theatre, television, and film as well as voiceover and extensive work in corporate role play. She is a member of Spotlight, Equity and a proud member of The Actors Benevolent Fund.
Sophie has taught as a freelance acting teacher at institutions such as The Royal Central School of Speech and Drama, East 15 Acting School, St Mary’s University and more. She has extensive experience in coaching actors in their audition technique. She specialises in text analysis and developing the actor’s personal methods of approaching and developing a character.
Sophie has an MA in Actor Training and Coaching from the royal Central School of Speech and Drama and studied a BA Hons in Acting at E15.
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
Working as performers, directors, writers, producers and running their own companies, their career achievements have included:
Amy Murphy (2020)
Joined the cast of BBC’s Holby City in 2021, playing the regular role of nurse Kylie Maddon.
Theo Nate (2020)
Laenor Velaryon in the Game of Thrones prequel, House of the Dragon.
Greg Jones (2019)
Winner of a BBC Carleton Hobbs Bursary Award. Radio credits include Elsinore, Middlemarch, A Charles Paris Mystery and The Archers. Voiced one of the government/NHS COVID-19 information films.
Jessica Reynolds (2019)
Malva Christie in Outlanders for Starz, title role in feature film The Ballad of Audrey Earnshaw and the pivotal role of Rachael in BBC comedy My Left Nut.
Ebony Jonelle (2018)
Appeared in Top Girls at the National Theatre, played Rosalind in the National's As You Like It at Queen’s Theatre, Hornchurch. Performed in the UK and Ireland tour of Les Misérables, making her West End debut in the socially-distanced concert performance.
Sade Malone (2018)
TV roles in BBC comedy My Left Nut, The Queen and I and Casualty. Recorded multiple radio dramas for the BBC and was nominated for best debut in the 2020 BBC Audio Drama Awards.
Joelle Brabban (2017)
Played Emilie in the national tour of War Horse and leading roles in the 2019 season of Theatre by the Lake. Recent credits include Derby Theatre’s Little Mermaid online and online reading of The Odyssey with Jermyn Street Theatre.
Rachelle Diedricks (2017)
Played Debbie in Take That musical The Band UK tour and West End and was a member of the cast of Harry Potter and The Cursed Child, West End.
Ash Matthews (2017)
The ABC Murders and Doctors for the BBC and The Alienist for Netflix.
Stephen Smith (2017)
Established Threedumb Theatre with other graduates, they produced Six Plays One Day, a showcase for new writing at Tristan Bates Theatre. His credits include the acclaimed one-man show Dog/Actor. Streamed a series of performances during lockdown including 2021 OnComm finalist, Within.
Jurell Carter (2016)
Plays regular Nate Robinson in Emmerdale for ITV.
Leanne Best (2002)
Cold Feet for ITV, Tin Star for Sky Atlantic and Line of Duty and Four Lives for the BBC.
Jamie Lloyd (2001)
Artistic director of Jamie Lloyd Company.
Adam Penford (2001)
Artistic director, Nottingham Playhouse
Gallery
GRADUATING Actors 2023
It is with great pleasure that we present our graduating Actors from BA (Hons) Acting and BA (Hons) Acting (Screen & Digital Media) for 2023.
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.
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"When I met LIPA students, I was struck by their commitment to continual improvement to develop their craft. "
Woody Harrelson
Actor, writer, director, producer
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"LIPA is serious about actor training. The students are committed, keen and smart. And training alongside musicians, dancers and technical crew gives them an invaluable sense of the profession as a whole. "
Samuel West
Actor, director and artistic director
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"I occasionally go into schools and universities and sometimes students can be a little bit shy and they hold back, but there’s clearly an atmosphere here of being on the front foot."
Simon Armitage
Poet Laureate
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:
Script fees
Each year, you are asked to buy Acting scripts for your roles in assessed performances. The costs for these are likely to work out roughly as follows:
- First year acting script fees: £20
- Second year acting script fees: £25
- Third year acting script fees: £40
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 represents great value for students. Accommodation costs are low in comparison with other places in the UK, particularly the South East. 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
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:
Script fees
Each year, you are asked to buy Acting scripts for your roles in assessed performances. The costs for these are likely to work out roughly as follows:
- First year acting script fees: £20
- Second year acting script fees: £25
- Third year acting script fees: £40
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 represents great value for students. Accommodation costs are low in comparison with other places in the UK, particularly the South East. 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.
