PC: How do you currently divide your time?
AF: Nowadays, we often hear the words ‘work-life balance’. For me, my work is my life; it is part of who I am. I have the privilege of meeting people of all ages, from all walks of life and being part of their musical journey for a period of time.
As a freelance vocal coach, the majority of my week is spent teaching and mentoring vocal students on a one-to-one basis. I am also a specialist tutor in performance at Queens University, Belfast, where I prepare students for assessments and recitals, and I have been a tutor at Ulster College of Music (where I am also Trustee) for over 20 years, working with music theatre and classical singing students. Weekends are for the rehearsals I have as musical director, for various organisations.
PC: Could you give us a flavour of your work in Northern Ireland, and how musical theatre training has changed?
AF: I strongly believe that music has the power to unite, inspire and transform, and I am grateful for the opportunity to contribute to its lifeblood. My MBE, ‘for services to music’, is very much a shared celebration with every student, colleague and collaborator.
I have a diverse range of vocal pupils from all over Northern Ireland, from young singers just starting their journey, to mature students who have found a love of singing. Some will be working towards LCME exams and diplomas, some may be preparing for drama school auditions or upcoming performances, and some could be working solely on technique, to realise their full potential.
As musical director, I have had the privilege of working with various organisations, including Adoro, the choir I formed 15 years ago. This 30-strong SATB choir, made up of present and past pupils, adords its members performance opportunities at prestigious events or venues. I also work regularly with Belfast School of Performing Arts, as MD of their senior summer projects (this year sees the Northern Ireland premiere of Charlie and the Chocolate Factory) and of BSPA Voices, the school’s choir. I am also MD for Peter Corry Productions’ ‘Christmas at the Cathedral’ in St Anne’s, Belfast.
Musical theatre has very much grown in popularity in Northern Ireland over the course of my career. There are now many more opportunities for young people to get involved in productions, and we have more music theatre societies and drama groups that provide a wide range of experiences. During the past 20 years, young people have had greater access to professional West End productions and to touring companies. The industry has become more accessible. I believe this is one of the reasons why more talented young people are going to drama school and into the profession.
In the late 1990s, I was the first teacher in Northern Ireland to enter students for LCME Music Theatre exams, when the syllabus first launched. Since then, the success of my students has been a career highlight. I am so proud that, to date, 98 of my pupils have gone on to study Musical Theatre at leading UK drama schools; 515 have achieved their LCME Diplomas in Musical Theatre or Classical Singing; and approximately 3000 have passed graded exams, mostly with distinction.
Over the years, I’ve experienced overwhelming joy at seeing past pupils perform in professional productions or with touring companies.
PC: What advice do you most often give teachers of Musical Theatre?
AF: It’s all about the pupil! Look at them and see who they are. Listen to them and hear what they are saying. How will you gain their trust and build their confidence? Do they need work on their physicality and posture, so they stand tall with confidence? Do they need encouragement to break down emotional walls that they may have built around themselves? What are their objectives and how can you best help them realise their potential?
These are important questions every teacher must ask. Remember, a new student is vulnerable because they are singing and sharing a part of them: their voice. Be respectful of that and always treat that voice with care.
I encourage teachers not to work from a blueprint, as each pupil is an individual with a unique voice. You can’t do the same exercises with every pupil as they all have individual needs, so you must adapt your teaching. I also discourage working from a set list of songs, moulding pupils to fit in with these specific songs. Instead, mould your teaching around what’s needed. Think about characters that are within their playing age and that suit their physicality.
At the same time, it is important to encourage every pupil to think ‘outside the box’. When it comes to song choices, look at all genres of musical theatre and encourage pupils to embrace older material as well as contemporary.
With a new pupil, the most important thing is to ensure you lay the foundation to their voice. For me, this is breath support. Like a building, every voice needs a foundation, represented by good, solid technique.
PC: What would you say is the secret to exam success?
AF: I make sure that every pupil is completely prepared. I do not settle for anything less than the best a pupil can deliver. It is so important to make sure pupils have the respect for themselves and their talent to want to perform to the best of their ability. I encourage pupils to take ownership of the exam, and commit to self-directed learning where appropriate. When they do this, they are investing in themselves and their own musical journey and development.
Each student must also be able to relate to the pieces. They need to be able to invest emotionally in a character or story, and feel suited vocally and physically. Songs and material that are challenging and interesting make pupils work harder vocally. In addition, pupils will make better acting choices, connect with the text and deliver engaging and convincing performances.
PC: What advice do you most often give students?
AF: Believe in yourself and your ability. Be positive! Don’t compare yourself to others. You should be in competition with who you were last week, last month, last year – not with others.
Second, be receptive to all genres and styles of Musical Theatre, including those which seem old-fashioned. There are many vocal lessons to be learnt when preparing a legitimate lyrical ballad or other pieces from the repertoire’s golden-age.
Third, it’s important to manage pressure, particularly nowadays. Always think of coming to singing and performing from a relaxed place. It is so important to breath and release tension before you start to sing, using bespoke exercises. Being a musical theatre performer is very much like being an athlete. An athlete always warms up the body and muscle groups as part of their training, and the same is true here. Warming up should be at the forefront of teachers’ and pupils’ minds.
Finally, note that success is not something you are entitled to. Have the correct mindset. You will not be successful without hard work, commitment, perseverance and application. I always say ‘Prior Preparation Prevents Poor Performance’ – if you fail to prepare, then be prepared to fail.
PC: When teaching, what are your main technical bugbears?
AF: I think the first would be pupils who don’t know how to support their breath and sing through long sustained phrases. Breathing is the foundation of the voice, so we must know how to breathe correctly. So many people take short, shallow breaths. Good posture is also essential.
Other bugbears are poor phrasing and diction. So many people breathe where they simply run out of breath, rather than thinking about the phrase and what the text is saying. I always make students first say the lyrics of a song as a monologue. This not only gives them a better understanding, it helps with phrasing and knowing where to take breaths to deliver the text effectively.
PC: What is your preferred combination: an actor who sings or a singer who acts?
AF: I’m so pleased that LCME now offer two different pathways in Musical Theatre, with candidates able to choose between ‘for Singers’ and ‘for Actors’. This means that students progress in a way best suited to their skill-set.
Personally, I don’t have a preference when teaching. I was an acting singer, so maybe have more in common with this type, but I see everyone as a ‘performer’ and want to develop both their vocal and acting skills and techniques. I think it is very important for actors to be able to sing well and singers to be able to act well. As mentioned, it’s about the pupil: identifying areas that need most work and attention, so they can move forward as a rounded, confident performer.
PC: From a personal or teaching perspective, what are your go-to shows or songs?
AF: The Phantom of the Opera is my favourite musical. It completely inspired me when I saw it as a 16-year-old. I adore the beautiful melodies, the sweeping orchestrations, the epic set and staging, which all combine to tell a tragic story of love and loss. ‘Music of the Night’ was always on my set list.
When teaching, I use ‘Wishing you were somehow here again’ and ‘Think of me’ from Phantom with many female students. But, more generally, I encourage pupils to be open to learning songs from all periods within the genre. I suggest effective ballads that teach about phrasing, breath support and control. Rodgers and Hammerstein would be my go-to duo for this. I adore Carousel, especially the songs ‘Mister Snow’ and ‘Soliloquy’.
