Comments

Comments below in order of posting.

159 Petitioners 

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Colin McPhillamy (Stage ’83). Colin graduated as Collin Johnson. He took McPhillamy as his professional name in 2001. He has worked from The Orkneys to South Australia, at The Royal National Theatre, the West End, on Broadway, off-Broadway, at the Sydney Theatre Company. He has worked in China, written comedy for the BBC. He has acted, written, directed, and produced. He has also taught at both undergraduate and graduate level—work which he is theoretically not qualified to do because he lacks a degree!

Mark Carey (Stage ’83) “This move is well over due. It’s crazy that those of us who have been slaving away in this business for 30 plus years are denied the qualification given to those doing the course today. To have a degree would open up many more avenues of work for us.”

George Roth (Stage ’85) “I came to Central having already earned a B.A. in English from Yale University, and I was hugely impressed with the intelligence, drive and curiosity of my fellow students in the Three-Year Acting Course.  It was a three-year immersion in the craft of acting, and the level of discourse, whether it was between faculty and students or between student and student rose to a level of intellectual rigor that would have suited the ivy covered halls of Yale.”

Mark Barnasuik (Stage ’83) “Since leaving the Central School I have worked in a number of educational settings within Local Authority, Charities as well as a range of Community Arts initiatives. The training I received from The Central School, (stage 83) has proven invaluable throughout my career and I have developed my practice over the years gaining respect from a range of professionals through multi disciplinary work. The status of the Diploma does not appear in any way to reflect the quality and standard of the training undertaken by myself and fellow students leaving The Central School prior to the introduction of the degree course. The diploma, although awarded from the Central School does not now carry the weighting it appears to deserve within the recruitment processes for most organizations. An education to degree level is now the essential criteria for most FE posts within training and education. Numerous other professions have recognised this within their occupational standards (eg.Youth and Community) and rectified the status of the diploma in relation to the date the qualification was achieved. This is to ensure that practitioners are not disadvantaged in prospective  employment opportunities pending the date they qualified.”

Robin Freeman (Stage ’84) “Having successfully completed the above 3-year course, I wholeheartedly support this petition.”

Gino Principato (Stage ’83) “I totally support the sentiment expressed in the petition.”

Barrie Hesketh MBE (Acting 1953)  “My London University diploma, though useful in the 60s to help persuade the Scottish Arts Council to grant money for The Mull Little Theatre, lost potency with the rise of polytechnics to university status, together with the spread of degree courses. I gave up mentioning my diploma as the years past – though privately valuing it.

I am not the only artist with academic interests so some recognition of this aspect of one’s capacities seems reasonable and enhancing – – and surely could be incorporated with a degree in the knowledge and practice of the arts of theatre.”

Dean Hollingsworth (Stage ’84) “I have been told by Education in Guernsey that I can’t even apply to teach Drama in the state schools without a degree, however, I can do so for the Private schools. Even though this is a vocational course.  Ridiculous.”

Matilda Thorpe (Stage ’83) “I am completely in agreement with this petition. It’s appalling that our right to work is restricted after completing our in-depth training equal to the courses now offered as degrees.”

Margaret Goldthorpe (Stage ’83) “I should like to write in support of this petition. The world has changed since we were at Central as Stage 83. Now a degree is a baseline qualification for many jobs, even in the theatre and especially in the USA. In this climate ex- Central students with just a Diploma can find themselves disadvantaged.  I understand that as there was no written academic component to the Stage 83 course it could be difficult to simply rename the diploma a degree. However, there are many precedents (eg HNDs) for conversion of a diploma to a degree. Perhaps a dissertation (say 12,000 words of a suitable standard) could prove to be a conversion route. It would not be reasonable to expect actors to return to college in mid career but such a dissertation could be undertaken at a distance, with suitable academic supervision. I think such dissertations would themselves be invaluable as a study resource for current acting students.”

Nick Hughes aka Nick Farr (Stage ’83) “In my business interests, producing film and theatre and representing other performers, an academic qualification had never been relevant until the climate for UK arts funding criteria tipped away from experience and track record towards the qualifications one had as a practitioner! My diploma is basically an attendance certificate, and has no value to anyone except those of us who know what it is worth – the ‘receipt’ from Central  for world class training. I would happily invest effort in gaining degree status if there were a way of doing so to further my efforts in raising funds to produce – thereby employing more performers.”

Max Gold (Stage ’81) “I combine my acting career with teaching and feel disadvantaged by the fact that I do not have a recognized degree.This seems unfair as those who completed the same course a number of years later have the BA qualification.”

David Beeler (Stage 89) “I earn my living as a professional SAG actor in Los Angeles.  For anyone looking to work in education or academics, I can see how critically important the change of a diploma to a degree could be. It would seem a shame that having attended one of the top drama schools in the world would be leave a graduate of the program at a disadvantage, not because of the world-class training, but because of a piece of paper.  It would seem to be to Central’s advantage for all previous graduates to have any and all opportunities to excel and thereby enhance the school’s reputation.”

Iain Charles (Hake) Acting “Excellent and important idea that would impact enormously and favorably on many of our lives! Good luck.”

Joanne Adams (Stage 89) “I believe the diploma I gained should be recognized as a degree.”

Tony Stowers (Stage ’88) “Would make a massive difference to my employment chances here in France where I now live – they are obsessed with strict qualifications.”

Sean Mclevy (Stage ’88) “As an ex student .i find the the fact that we don’t have an agree and yet degree equivalent . Actually ageist . As someone who is in education . Working in most of the top drama schools including central . And for three years being the head of the BA course at the Mountview academy . Seems rather silly that I can’t convert My diploma to a degree , as I was giving them out to my students and yet I don’t have one myself.”

Sarah Ball “I already have an honors degree in psychology, and although my years at Central we’re not considered at the time as ‘academic study’, it was a time within which I gained a wide and varied spectrum of knowledge regarding every aspect of theatre from theory to performance.

I now have 24yrs more experience in theatre and television to add to this knowledge and feel that it is unfair that I do not have a degree qualification to support this.

I am aware that degree status came in to the mix shortly after I left Central and am also aware of the minimum of academic work required to make the 3yr course into a degree. I would be happy to write a couple of thousand words on any subject regarding theatre that you can throw at me, if this can convert my 3 yrs hard work at Central into degree status, in this I am more than happy to oblige.

I am more than capable academically, if this is all that is required, then please let me know if something can be done. It is such a shame that because of ‘timing’ re: academic funding requirements, that many of us left Central with abundant knowledge, yet no recognised qualification,

I hope you will understand our plight. Kind regards, Sarah Ball.”

Darren Lawrence (Stage ’89) “As well as continuing my acting career I have worked extensively in drama education. Sometimes at my alma mater. It is increasingly becoming more and more difficult to get this work without a degree. It would cost the school nothing to do this for its ex graduated ( apart from lost revenue in a “conversion course”). The Welsh have been offering their ex grads this service for many years and I think it’s about Central did the same.”

Ian Dunn (Stage ’89) “Three years full-time study on one of the best courses in the country following the same structure and syllabus as the degree program which followed two years later – please acknowledge and grant Degree status.”

Geoffrey Hitch (Ex-faculty) “I was a faculty member from 1984 to 1992, teaching mostly in the Stage Course but also in Stage Management.  Mr. McPhillamy is absolutely correct in what he writes, and I support him.”

Edward Max (Stage ’89) “Yes please, I think it is right.”

Geoffrey Cantor (Stage ’87) “I asked about this very thing two years ago. It was grad work for me, and should be counted as being on the level of Yale, Juilliard, or any other grad program with attendant credentials and the opportunities consistent with a masters program.”

Catherine Fitzmaurice (Teaching ’58) “Before 1960, but all your points are applicable.”

Michael Kingsbury (Stage ’83) “Not having a degree can indeed disadvantage past students. My practical experience is often sought after in universities and I often take practical workshops in” starting your own theatre company”. I also teach on BA acting courses and was recently invited to validate a new MA course in drama at a leading university. The irony is that with thirty years working as an actor, director and writer I would find it difficult to find a permanent post in the various institutions I have taught at because I don’t possess a BA.”

Leonie Mellinger (Stage ’80) “‘I teach Personal Impact/Communication Skills and sometimes feel like the Lionel Logue character from ‘The King’s Speech’ when he’s asked ‘What are your credentials?’.”

Laurence Kennedy (Stage ’87) “I received recognition that I had a BA from Central when I applied for a post graduate course with no problem, so maybe this already applies, maybe not, but for others I hope so.”

Mark Zingale (Stage ’85) “I wholeheartedly support this common-sense and long-overdue proposal.”

Virginia Hammer (Stage ’88) Groovy. I did get a Masters’ degree of Elem. Educ. in USA – 1994 – but this is a great idea. “Those who CAN do: ‘TEACH’

Hilary Tones (Stage ’85) I agree that the world has changed and degree status has to be proved by paper qualifications rather than the fact of achieving a place at Central and completion of the course. I believe standards of acting cannot be marked in the same way as other subjects, however, I feel it is important to be awarded degree status for future job opportunities and education. I have worked as an actress right up to the present, especially at Shakespeare’s Globe and the RSC but who knows what the future holds and I consider it even more important as an older Actor to have the qualifications to develop my career in other areas such as teaching.

Paul (Sam) Webster (Stage ’84) Hope all our hard work is finally given the recognition it deserves.

Amanda Royle (Stage ’84) As there is little difference between the content of the old Diploma course, that I did and the new Degree course, it would seem unfair to deny the opportunity of a higher and more advantageous qualification.

Jane Menelaus (Stage ’83) I agree totally with all the above!!!!!!

Carol Royle (Stage ’76) Three years is a long time out of a lifetime to walk away with nothing but a piece of paper which means nothing.

I teach at The Actor’s Centre but it would be wonderful to be able to take this teaching further….

Alan Marston (Teaching ’69) I came back to teach Movement and taught the first groups to get a Teaching degree. I am signing this to help other people!!

Gillian Bevan (Stage ’78) Yes!

Ged McKenna (Stage ’85) During the last almost thirty years I have taught acting, written plays, directed plays and acted for many companies including The RNT, Cheek by Jowl, Shared Experience, The Royal Court etc as well as doing a fair amount of TV work. It appears now that to some organisations I am not qualified as a theatre/drama practitioner (Or whatever it is we’re supposed to be called). This seems a bit daft. Degrees are becoming increasingly worthless, but without them, experienced practitioners seem to be regarded as worthless too and their experience counts for nothing. We did the three years and if the course isn’t that different now, in all fairness, we should be awarded the Degree. I support this petition.

Adam Price (Stage ’85) I totally agree with Colin’s comments. A review process makes total sense. Best wishes.

Harriet Thorpe (Stage ’81) I have worked extensively for over thirty years onstage in numerous West End shows, at the National Theatre and on the Fringe, as well as on television and film. My training at Central allowed me to do all of this, and one of the greatest joys has been the opportunity to pass that training on. I have worked at many London theatre academies, was chairman of the Actors Centre, I am external assessor at the Royal Academy of Music and I run my own corporate training company with my sister, fellow actress Matilda Thorpe. However, because of outdated qualification boundaries, without a degree work opportunities for Central graduates are totally limited.

The irony does not escape me that earlier this year I was asked to be the guest speaker at a drama school degree graduation ceremony, despite having no degree myself! I see no reason why our esteemed qualifications should not be adjusted to match today’s more stringent criteria, and I lend my full support to this petition.

Catherine Russell (Stage ’86) It makes no odds to me what my qualification is called – at the moment. But I suppose if I ever wanted to teach it might be helpful if it were a degree as opposed to a diploma.

Sarah Ream (Visiting Director ’86-’89) If the applicants are willing to span any perceived gap between what they have already done in their Central training and what they would need to do to satisfy the current BA requirements, I feel it only makes sense to support them.

Given the high status and regard with which the entire entertainment community holds the Central School of Speech and Drama’s training program, it would seem a win-win for the current school to connect to its original program.

David Fenwick (Stage ’84) It would be very useful to be able to use for teaching etc…

Caroline Gruber (Stage ’81) I have always thought a diploma didn’t do justice to the level of commitment and sheer hard work required of the students on the acting course. I have received other diplomas since and they’re pretty easy to collect.

Neil Caple (Stage ’84) In 1981 I had to decide between a degree course at a good college or a place at CSSD. When asking Industry professionals their opinion, the answer was always the same. It was a ‘no brainer’ and I should snatch the hand off George Hall and study in Swiss Cottage. Having made that choice, I was awarded a discretionary grant by my education authority worth less than half that had I attended the degree course. I was, of course, grateful for any help no matter how small but struggled to get through college, and was a regular visitor to the college hardship fund. I feel I have been penalised twice, first financially, and secondly that my world class training is considered of less standing than a Polytechnic degree. I have now enjoyed an acting career of 30 years and counting and still thank the people who gave me such sage advice all those years ago.

Nick Grace (Stage ’69 & Regular Visiting Faculty and Advisor over several decades, Founder of the Alumni Association 2004) I think this is a terrific campaign and I wholeheartedly support it. I agree that we worked just as hard, if not harder than current students. We did at least two productions a term. They now do one. We did movement and voice every morning at 9.30. They don’t now. The 2nd years teach their warm-ups to the 1st years, once the 1st years have learned the basics! The main difference is that we didn’t have to hand in any written work …

Carol Harvey (Stage ’81) As well as acting I teach undergraduates on BA courses in NCDT drama schools. I also took over a post graduate course in an NCDT drama school for a short time. In terms of training, my time at Central was very different than drama schools today. We had a 42 week year for three years and we had longer days, we also attended on a Saturday morning for either Stage Combat or Playreading. We rehearsed parts in 3 plays in the first year and 6 in the second year. The third year we were cast in 7 of the 12 public productions. All this as well as voice, movement, dance, clowning, text shows, singing and devised pieces throughout the three year training. Today’s training offers only 3 productions in each of the 3 years with 3 terms of only 10 weeks. We had a much more intense and comprehensive training and I strongly believe this should be acknowledged with a BA Acting Degree.

Just to say that indeed many people who trained within the above years, whilst they have only a diploma, are in fact teaching undergraduates who upon graduation have a higher qualification than the tutor. As well as an acting career I have taught in a number of drama schools and indeed I was the acting head of a PG acting course at an accredited drama school. I think a conversion portfolio would be a wonderful idea as it would acknowledge those who have had most experience.

Nancy Crane (Stage ’84) In a profession as competitive and uncertain as the one for which I trained at Central, it would be invaluable to me and my pre-1992 colleagues if we could convert our Diplomas to Degrees. I respectfully urge you to consider this proposition seriously and help us move it forward to the next stage.

Ros Holness (Stage ’80) I left Central with no qualifications. Nothing to show for 3 years of intense work. Recently the headmistress of my daughter’s school suggested I should apply for a position at the school saying ” I could really do with someone like you”. Then she asked the million dollar question “What degree do you have?”.  I tried to explain that degrees weren’t given at Central, but I knew I’d lost her, along with a much-needed job. Please review your position in granting Degrees to Diploma Graduates of the school. Thank you.

Graham Norton (Stage ’89) Granting degree status to those diploma holders that require it seems like a no brainer. Practical and fair, it is clearly the right thing to do. The irony of being offered an honorary degree myself a few years ago is not lost on me as I sign a petition so that others should have the same treatment. I’m in the fortunate position where having a degree will not affect my career but as you well know others are not so fortunate. These people have done the work and now very belatedly require the proper recognition. I urge you to look on this petition favourably.

Zoe Wanamaker CBE (Stage ’70) It seems daft to train someone to “teach” and then not be allowed to do so.

James Austin (Stage Management ’89) Please consider

Anthony Brown (Stage ’83) Wholeheartedly support this campaign – only fair in my estimation. We put in the hours, we put in the work: it would be nice to have the recognition!

Neil Pearson (Stage ’80) Central often asks its alumni to return to the school to teach its current intake: take its classes, sit on its audition panels, direct its shows. If Central thinks us sufficiently highly trained to take on these roles — and, thanks to Central, we are — then what possible objection can the school have to giving us a formal qualification which confirms this?

If, by virtue of our training, we’re qualified to teach at Central, then we’re qualified to teach anywhere. We respectfully ask for a piece of paper which confirms this. How hard can that be?

Richard Fallon (Stage ’83): The extremely thorough training I received at CSSD richard_fallon01really has stood me in good stead over the years. The voice work particularly, which, in fairness, I resisted at the time, has been a gift to me that keeps on giving. It vitally supported me throughout my acting career, and now forms a cornerstone of the work I share in the corporate world. The 3-year acting course was, in my opinion, tremendously challenging, thoroughly preparing us for the rigour required to work in the profession. Personally, I have on three distinct occasions that I know of missed out on teaching work due to the lack of a degree qualification; the injustice of which was deeply frustrating at the time. I strongly urge you to do what, for me, is fair, just and right, and look on this petition favourably. Thank you.

Michael Rogerson (Acting ’95 Webber Douglas) I think the time and effort all the people in my year put in to get their diplomas definitely ranks along side any academic degree offered then or now. I wish you all the best in your efforts to have this recognised.

Mark Searle (Hayden) (Acting ’95 Webber Douglas) Think this is fair to level the playing field.

Tim Briggs (BA English Leeds University) it is unfair to disadvantage graduates who left drama school prior to the change of status of their graduation qualification.

Melissa Adotevi (Acting Webber Douglas ’94) This can only be a good thing.

Ashley Russell (Stage ’88) Thank you Colin for this.  If this conversion were to happen it would make a big difference for me going forward.

Cecilia Noble (Stage ’88) 100% behind this .

Martyn Ellis (Stage ’82) I believe that the diploma in acting that we gained on completing the course should be recognised in the same way as a BA.

Lesley Staples (Webber Douglas ’75) Please support this excellent endeavour.

Veryle Rupp (Webber Douglas ’78) This is necessary to carry on the craft as all teachers I. The U.S. must have a Masters which was not true at one time. Giving credit for that hard work helps us carry on the tradition or else it will die off.

Hilary Douglas-Wood: Head of Acting. Webber Douglas. 1975/2006 I am now Head of Acting at The Lir, National Academy of Dramatic Art. Trinity College, Dublin. I am a RADA graduate. The training my students recieved at Webber Douglas Academy of Dramatic Art was identical to the degree course I now teach in Dublin. It should be recognized as BA Degree status. It’s high time the injustice of this was recognized. Please expedite this matter. Hilary Wood.

Christopher Marino (Webber Douglas ’91) I think this would be a great way to honor Webber Douglas as the stellar and important institution that it was.

Ginnette Clarke (Webber Douglas ’75) I support this petition. Although having a honours degree in fine art, it does seem reasonable that the the Diploma is upgraded to degree level, to enable those professionals who have had extensive training for the theatre not to be disadvantaged if they are seeking to diversify, ie sharing their experience as educators, or creating their own company.

Philip Williams (D Philip Bach) (Webber Douglas ’74) Trained at “Webber Douglas” completed my course and have the Webber Douglas Diploma, I feel that we deserve degree status .

Lynne McQuaker (Webber Douglas ’76) Deeply desire to have my 3 Year Acting Diploma from Webber-Douglas Academy of Dramatic Art, later merged with Central School, acknowledged as a degree in order to utilize it to teach or further my academic studies. Please give serious consideration to this acknowledgment it would mean a great deal to older students seeking to enrich their later careers. Thank you.

Laura Jane Girling Stage ’87 I would very much like to think that our three year training were honoured with degree status.

Charlotte Shields Stage 2002 I graduated with my diploma in 2002, and have acted ever since. However, I am now wanting to change career and go into teaching, which I can’t do until I have converted my diploma into a degree. I am researching avenues to do this, but I think it would make sense for Central to offer an option for this too.

Peter Benedict (Webber Douglas) ’76 At the time I attended Webber Douglas, there were no Drama Degree courses that offered a comparable training for professional actors. I believe that students who graduated with a diploma should receive the degree qualification that was not an option for anyone committed to a career in acting at that time.

Robert Smith (Webber Douglas) ’98 I attended Webber Douglas Academy from 1995-1998 and sincerely hope that the board recognize those that trained and studied at this illustrious academy. Webber Douglas provided the very best in training and guidance. It’s legacy is still admired and revered by the whole acting fraternity.

Judy Clifton (Webber Douglas) ’84 Thank you.

Marianna Reidman (Webber Douglas) ’94 I wholeheartedly support this.

Daniel Gerroll (Stage ’74) Good idea.

Roy Drinkwater (Stage ’83) It’s about time this anomalous situation was dealt with.

Michael KIngsbury (Stage ’83)  I have acted and directed for leading regional theatres including west Yorkshire Playhouse, Salisbury Playhouse and have produced number one tours and West End transfers. I would like to teach and take on further studies but am thwarted in this because of the absence of a degree. Many ex students have enormous practical experience that could be unlocked by gaining the B.A. acting degree which would enable them to teach and thereby share that experience. i do hope the faculty can move this initiative forward.

Belinda Stewart-Wilson (Stage ’93) I wish to gain a Degree after 24 years of being a professional actor.

Caroline Glover (Acting and Performing Arts Diploma, Webber Douglas Acadamy of Dramatic Arts 2004.) I have wanted to have the ability to do a PGCE in order to teach for nearly 10 years now, last year I finally started a 3 year degree in order to achieve this. If I could do this, it would cut one year of finance necessary. I always felt I worked as hard, if not harder, to attain my diploma as did my BAHons counterparts. Long overdue & very welcome!

Tim West (Webber Douglas 1991) As Graduate of The Webber Douglas Academy of Dramatic Art do I qualify for this?

Petitioners listed by year of graduation

Caroline Glover (Webber Douglas 2004)

Stage 2002

Charlotte Shields

Stage (Webber Douglas) 2001

Nicola Hughes (Davies)

Stage 2000

Rachael Bavidge

Stage (Webber Douglas) 1999

Nicholas Ashley

Stage 1998 (Webber Douglas)

Robert Smith

Stage 1994 (Webber Douglas)

Marianna Reidman

Stage 1993

Belinda Stewart-Wilson

Stage (Webber Douglas) 1991

Christopher Marino, Tim West

Stage ’90

Michael Neill, Susan Randall, Angus Wright

Stage ’89

Joanne Adams, Sarah Ball, David Beeler, Georgian Dacombe, Ian Dunn, Doug Fields, Jonathan Firth, Iain Charles Hake, Mel Hudson, Darren Lawrence, Sean McLevy, Louise Mappley, Edward Max, Graham Norton, Lisa Orgolini, Jonathan Rigby, Clara Salaman, Clarence Smith, David Monteath, Lindsay Cooper

Stage Management ’89

James Austin, Helen Nightingale

Stage ’88

Erica Grant, Virginia Hammer, Eric Loren Hershenson, John Johnson, Cecilia Noble, Kerry Peers, Ashley Russell, Carol Starks, Sara Stewart, Tony Stowers

Stage ’87

Geoffrey Cantor, Susannah Harker, Laurence Kennedy, Gregor McElvogue, Trevyn McGowan, Nick Palliser

Stage Management ’87

Andrew Pike, Laura Jane Girling

Stage ’87 (Webber Douglas)

Clare Barry

Stage ’86

Catherine Russell

Stage ’85

Harry Burton, Ged McKenna, Teresa Banham, Tamsin Olivier, Adam Price, Nicola Redmond, Linus Roache, George Roth, Sophie Thursfield, Hilary Tones, Mark Zingale

Stage ’84 (Webber Douglas)

Judy Clifton, Amanda Royale.

Stage ’84

Neil Caple, Bill Champion, Nancy Crane, Serena Evans, David Fenwick, Robin Freeman, Nancy Gair, Victoria Hasted, Dean Hollingsworth, William Osborne, Amanda Royle, Paul Webster

Stage ’83

Michael Balie, Mark Barnasuik, Anthony Brown, Mark Carey, Richard Fallon, Margaret Goldthorpe, Nick Hughes, Michael Kingsbury, Jane Menelaus, Colin McPhillamy, Keith Osborn, Gino Principato, Matilda Thorpe, Tim Watson, Roy Drinkwater

Stage Management ’83

Audrey Cooke

Stage ’82

Michael Chance, Martyn Ellis, Eryl Maynard, Rupert Vansittart

Stage ’81

Wayne Jackman, Tanveer Ghani, Max Gold, Caroline Gruber, Carol Harvey, Colin Hurley, Francine Morgan, Harriet Thorpe

Stage Management ’81

Billie Williams

Stage Management ’80

Shane Collins

Stage ’80

Christopher Fulford, Ros Holness, Crispin Letts, Leonie Mellinger, Neil Pearson

Stage ’79 (Webber Douglas) 

Julie Cousins

Stage ’78

Gillian Bevan, Graham Ray

Stage ’78 (Webber Douglas)

Veryle Rupp, Anthony Best, Barrie Timson

Stage ’76

Michael Fitzgerald, Carol Royle,

Stage ’76 (Webber Douglas)

Lynne McQuaker, Peter Benedict

Stage ’75 (Webber Douglas)

Lesley Staples,  Ginnette Clarke, Lilja Thorisdottir, Michael Garland, David Woodcock

Acting/Stage Management ’74 (Webber Douglas)

Philip Williams

Stage ’74

Daniel Gerroll

Stage ’72

Martyn Richards

Stage ’70

Zoe Wanamaker CBE

Stage ’69

Nickolas Grace

Teaching ’69

Alan Marsden

Teaching ’58

Catherine Fitzmaurice

Acting 1953 

Barrie Hesketh

Post-92 Graduates (Webber Douglas)

Melissa Adotevi, Daniel Ball, Clare Boland, Tim Briggs (Leeds Uni), Adrian John O’ Donnell, Matthew Phillips, Michael Rogerson, Mark Searle, Daniel Taylor

Ex Faculty

Nickolas Grace, Geoffrey Hitch, Alan Marsden, Sarah Ream

Hilary Douglas-Wood: Presently Senior Lecturer, The Lir, Trinity College. Dublin. Ireland.

 

 

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