Musical director
Mark Collins
28
Mark Collins, 28, grew up in Dorset and studied in Cardiff and Bristol. He is now a freelance musical director and his credits include the Take That musical Never Forget and How Do You Solve a Problem Like Maria for the BBC.
"I made my West End debut playing piano onstage in Notes From New York at the Donmar Warehouse"
Hometown
I grew up in Weymouth, Dorset, and currently live in Bristol and London
What do you do?
Self-employed musical director and also a pianist, composer, arranger and vocal coach
How long have you been at it?
Since gaining my MA (a second, higher-level degree) at the end of 2001
What was your very first role in theatre?
Musical director for various amateur companies in Bristol. I made my West End debut playing piano onstage in Notes From New York at the Donmar Warehouse, March 2004.
What else have you done in theatre?
In the last year:
* MD of Never Forget, the Take That musical (MD)
* Musical Supervisor for Myths & Hymns, UK/European Premiere
* MD/Arranger for City of Angels, English Theatre, Frankfurt
* MD/orchestrations for Three Sides, London & New York
* MD for Singin’ In The Rain at the Courtyard, Hereford
* MD/arranger/pianist/vocal coach for How Do You Solve A Problem Like Maria? BBC/Andrew Lloyd Webber
Have you got qualifications?
* An MA (a second, higher-level degree) in composing for film, television and theatre from University of Bristol
* A music degree from Cardiff University
* BTEC national certificate in creative music
What did you do before you worked in theatre?
I worked as a vocal coach for South Gloucestershire Music Service
and composed music for some short films and an independent feature film
How did you make the move into theatre?
One of my students told me about an amateur production in Bristol. I successfully auditioned and after two years on the stage, became musical director. Within a further two years I was the main MD in Bristol.
I then looked towards working in theatre full time as it is a very sociable industry. You work with a production team, musicians and cast, so it’s a lot less lonely than being a composer.
A friend of mine from Weymouth who directs the acclaimed Notes From New York series asked me to play for the next installment. I made my West End debut at the Donmar Warehouse and then every job I’ve done since has somehow stemmed from those gigs.
What did you want to be when you grew up?
A musician of some kind – I don’t think I knew exactly, but at university I wanted to be a film composer. Perhaps that’s something I will have the opportunity to come back to.
What do you do all day?
I talk to directors, producers or musical supervisors either on the phone or in person, and when on board with the project will read the script, study the score and assist in the casting of the production. I have had auditions ranging from one day to five weeks. Sometimes I have an assistant MD, and on larger scale productions you have an arranger, orchestrator and orchestra fixer. On smaller scale shows, I’ve done everything myself.
A typical rehearsal day for an MD involves warming up for and accompanying music & dance calls, teaching or cleaning solo/ensemble vocals, and working through changes to the score and cues.
In performance, there will be rehearsals for understudies or clean-up calls, the MD takes the warm-up around an hour before curtain up, and conducts the performance. Sometimes I watch and note the show and my assistant MD will conduct, as this keeps up high standards.
What’s the best thing about your job?
Working with talented singers and musicians, and the feeling that you have helped create something that people enjoy so much
And the worst?
The fact that the industry thinks that jukebox musicals, ie those that feature the greatest hits of acclaimed artists, are the only profitable way of creating new musical theatre. Very few producers are investing in totally original musicals – and that’s a real shame.
What’s your dream job in theatre?
Musical director or supervisor for a project with real musical integrity, that is artistically and commercially successful
Got any wise words for someone who wants to be where you are now?
Find a teacher who will inspire you to work really hard on music theory. To do this job, you need to know everything about music: you need to have great sightreading; spontaneous transposition; be able to conduct; arrange and have knowledge of every instrument for orchestration; have an ear for the smallest mistake and detail; know lots of great musicians; be a good communicator; and be a leader as well as a team player.
