The West End Gala for The Stephen Sondheim Society Student Performer of the Yearand the The Stiles + Drewe Prize, celebrating up and coming performers and writers, returns this weekend, at the Savoy Theatre on 10 June 2018.
The annual competition, co-produced by the Stephen Sondheim Society and Mercury Musical Developments, features 12 of the top student performers from musical theatre and drama schools across the UK. Each performs a classic song by Stephen Sondheim and a new musical theatre song, written by members of Mercury Musical Developments (MMD). The winning student will receive the first prize of £1,000.
Writer and broadcaster Edward Seckerson, who returns as chair of the Student Performer judging panel, will be joined by actresses REBECCA TREHEARN (Show Boat), Rebecca Caine (The Phantom of the Opera), musical director Stephen Ridley (An American in Paris, The King andI) and Sondheim’s official biographer David Benedict.
Below, Rebecca Trehearn – who collected the 2017 Olivier for Best Supporting Actress In A Musical for her performance in the critically-acclaimed Show Boat – reveals all about the competition to Musical Theatre Review’s Tal Fox.
Can you tell us a bit about the background of this competition?
There’s the prize for the Stephen Sondheim Society Student Performer of the Year and The Stiles + Drewe Prize for best new song. All those performing have to sing one Sondheim song and one new composition, written by one of the Mercury Musical Developments members. Then we put our heads together and have a bit of chin wag about who we think is best and there’s an £1,000 prize in there as well. I’m looking forward to attending and seeing what this year’s contestants have to offer.
Why did you choose to get involved in this event?
I love Stephen Sondheim and I think it’s really important to support new talent. I’m interested to see what else is out there and I was quite honoured to be asked to be a part of it, I’m looking forward to it.
What are you looking for from your winner?
For me, it’s just a really well-rounded performance. Somebody who is completely invested in it and seems like they’ve grasped the character. I’m interested in the acting as well as the singing. What I’m not interested in is just a pretty voice. It’s just that ‘it’ factor that performers sometimes have. I’m looking for someone who is completely invested in the character and the song.
Everyone is going to be nervous, but somebody who can control those nerves and can avoid being self-conscious, because it’s their moment and I just hope they enjoy it. If you look at the people who have won the prize in the past like Alex Young and Taron Egerton, they’ve uncovered some really amazing talent in the past so I hope we can do the same this year.
What can you tell us about the previous winners?
I’ve worked with Alex before and Taron is doing films. Izuka Hoyle won last year and it seems that her career has just skyrocketed since then.
Why do you think competitions like this are so important to the industry?
I think it’s a great platform for new performers and helps bring them to the attention of the industry. It must be a really nice confidence boost just to be a finalist, never mind winning it. It exposes these performers to the industry in a really positive way and hopefully it will be a launchpad for their careers. I think it’s really important to support new talent and of course the financial boost is very useful as well.
Do all the judges look out for different qualities?
Everybody has their personal taste and everyone involved is well respected in the industry and very experienced. I’m sure everybody will have their opinions but we will come to an agreement in the end!
It’s special because it celebrates classics with new writing, do you think we still have space for both?
Yeah, that’s a real positive as well. Classics come back for a reason, but I think it’s brilliant that this competition gives a platform to new writers as well as new young performers, that’s really positive. Pop the two together and it’s just brilliant.
Do you prefer musicals that are well established or ones that you can put your mark on?
I would love to originate a character, that’s on my bucket list of things to do, but I don’t really have a preference. I like good work whether it’s new or old. If it’s a good production then I’d love to be in it, but I don’t really differentiate or have a preference.
Since it is supported by Sondheim, do you have a favourite Sondheim show?
Probably Sweeney Todd, it’s the show I did in my third year at college. I think it’s a masterpiece, it’s the most wonderful show. I love ‘Pretty Women’ and I always thought ‘Johanna’ is beautiful as well, but every single number is just genius in that production.
Host Tracie Bennett. Picture: Vivienne Vincent
What would you tell other budding young actors, writers or composers who want to get into the industry?
Do your homework and be nice. It’s such a tough industry and nobody wants to work with an asshole so be nice to everyone you meet on the way up because you’ll probably meet them on the way down. Be prepared, if you put the work in, hopefully it will come.
Would you encourage them to go for competitions like this?
Absolutely, I think it’s a brilliant thing. It can only be a good thing and a learning curve for performers so by all means.
What was it like being in Show Boat and winning an Olivier Award for it?
The award was just the cherry on the cake! We had all signed up for four weeks in Sheffield and that’s all we thought it was going to be. The fact that we then got a West End transfer was amazing, and then for the show to get the attention it did, be nominated for Oliviers, and then for me to find myself winning, it’s something that I never thought would happen. But it’s a testament to the hard work of the company and talent involved from everyone, from the creative team to everybody involved in that production. I’m really proud of it.
Where does it rank in terms of memorable moments from your career so far?
There’s lots of things but that’s got to rank near the top. Getting to take over the part in Ghost was a highlight for me, but that goes back to the very early days of my career and there’s all sorts of highlights along the way.
What’s next for you?
I’m doing Sweet Charity in Nottingham but I’ve got a few things in the pipeline before then.
Are there any roles you’d like to play?
There’s loads! I’d like to originate a part, like I said, I’d love a crack at Waitress if that ever comes over.
You say you’d love to originate a part, what kinds of roles are you drawn to?
I’d love to say that I can be that selective about it, but just interesting, well-rounded characters, characters that are recognisably human and have depth to them. People keep saying that you should play strong women but that doesn’t really mean much. A strong woman doesn’t necessarily equate to a well written part, women can be vulnerable and selfish etc, but as long as the character is well written and it’s something I can get my teeth into, that’s what I’m interested in.
In terms of shows that exist, could you give an example of a character like that?
Someone like Mrs Lovett, who is not always the most pleasant of human beings, but it’s the most brilliant role and one that I’d love to play one day.
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Follies star Tracie Bennett to host the Stephen Sondheim Society Student Performer of the Year West End gala – News
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