This interview was conducted on the 30th of April 2024.
Course Studied:
BA (Hons) Actor Musician
Year of Graduation: 2023
Jonathan Rainey Reid (he/him) is a Leeds based actor musician hailing from Ireland who specialises as a composer, theatre maker and percussionist.
BA (Hons) Actor MusicianWhen 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.
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.
How important were the connections you made during your studies?
- Invaluable! At the end of first year wrongsemble did an audition workshop with us, and they then hired me for a tour a year later and have since hired me on another four contracts. Likewise, we had auditions with Northern Opera Group at the end of second year, and I’ve now worked with them on the creative team across their 2023 and 2024 festivals. Not to mention the other freelance companies who were brought in to mentor or teach us and have now continued to offer advice and support post-graduation, and the other students across courses who I’ve been able to work with outside of studies – like Joe Allen who I brought on as composer/musical director for a touring show with NOG.
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.
You worked recently with Northern Opera Group as a Director; how did you utilise the skills gained from your time at Leeds Conservatoire in this role?
While at LCon, I found that movement is the most helpful discipline when it comes to making bold choices and developing characters – both in terms of physicality and understanding – so a lot of the styles and disciplines taught by Eilon, Christina and Max are things I draw on a lot, especially a book Max recommended – Playing the Mask by John Wright – which talks a lot about following your inhibitions and being comfortable with the uncomfortable. A lot of the disciplines Laura McIntosh taught about collaboration and storytelling really helped me prepare for this show too, as it relied on just two performers to tell the story.
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!
What is your best memory from Leeds Conservatoire?
In second year, I started to help Katherine (Kaims) develop a passion project of hers after classes (and over pints in the pub), which led to us working with Deb(orah Jardine) to run some music workshops to develop the vocal arrangements and orchestrations – we had students from the muso course, folk, jazz & classical playing for us, and the wonderful Ruairi Rollins (Production Y3) producing the demos. Those sessions were hard work to put together but some of the most fun I’ve had collaborating on a piece. Then, last May we got to have two weeks of Research & Development with the then second year musos, expanding the characters & building the world, as well as arranging new pieces and staging part of the show. Working with two of my closest friends on what became a passion project for all of us has been an absolute joy and privilege, and something I don’t think would’ve happened anywhere else.
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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