When did you first start pursuing your career as an Actor Musician, and what inspired you to do so?

 

I remember very clearly going to see a tour of Sister Act that was muso and seeing a nun wearing a belt of various percussion instruments and thinking, “That’s my future!”. Not long after I saw a stage adaptation of the film Good Vibration about the formation of the punk scene in Northern Ireland which was honestly the definition of excellence in theatrical storytelling. Both productions utilised musos to heighten the worlds in very different ways, and seeing what this allowed for was a big push to follow the same path.

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The Coup Coup Club - SlungLow

Photo by Emily Goldie ©

How did studying at Leeds Conservatoire prepare you for working in the wider industry?

 

From day one, we were trained to be multi-disciplinarians. Any avenue of theatre or performance we wanted to develop our practice in alongside our studies, we were encouraged to. Being trained in this nature means you’re more understanding of what other departments need throughout a creative process from pre-production through to performance. It also means I can more easily be employed across multiple departments. Whether as an actor-musician or assistant director/deputy stage manager, having key transferable skills like the ability to read score, understanding how an actor interprets a note, and what is/isn’t achievable on certain instruments make you an indispensable part of a team.

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The Not So Grimm Twins - Summer 2022 Tour

Photo by Antony Jones ©

Could you tell about some of your most memorable performances/contracts to date?

One of the most memorable contracts was assisting on a new opera by Conor Mitchell and Mark Ravenhill last November. I’ve long admired the work of The Belfast Ensemble and their commitment to the arts scene in the North of Ireland, and so getting to assist Conor on The Headless Soldier was a bit of a pinch me moment – working with an iconic company at the Lyric Theatre as my first gig at home is something I won’t forget for a long time.

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Rat Ship (End of The World) Cabaret - Leeds Theatre Festival

Photo by Igor Gwiazdowski ©

What's coming up next for you in terms of projects or contracts?

Well, this Thursday I’ve got the final concert of Flights of Fancy with National Opera Studio and Opera North where I’ve been assisting Martin Duncan, then I’m back in Belfast to work on Riot Symphony with the Belfast Ensemble and Ulster Orchestra. At the end of the month I’m swinging into The Not So Big Bad Wolf with wrongsemble for a few shows, before returning to The Belfast Ensemble for The Doppler Effect at the Festival de Marseille over June/July. Finally I’m back in Yorkshire to assist Amie Burns Walker (who I first met while studying at LCon) on Get Wed, the new immersive summer show at Harrogate Theatre. On top of all that, I’m also working with Eija Gibson on a new theatre company thanks to seed funding from the Conservatoire – we’ve just had a photoshoot with Cían O’Riain to launch it so keep an eye out for it on socials!

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The Coup Coup Club - SlungLow

Photo by Emily Goldie ©

What was the most important lesson you learned during your time in Leeds?

Make bold offers, make big mistakes, and always learn from both.

What advice would you give to a prospective student thinking of applying to your course?

 

Be true to yourself and don’t compromise anything for the sake of what you think a panel wants to see. Be ready for a lot of work and long days, but also a lot of fun. Ultimately, if you enjoy collaboration, being challenged, (cheap pints) and endless cultural opportunities, then just go for it!

 


We'd like to say a huge thank you to Jonathan for chatting with us!

Check out Jonathan online:

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Find out more about BA (Hons) Actor Musician

Find out more about what our successful graduates have been up to in our Alumni Profiles

 

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