I feel totally inspired after the session with Cerys last week, and learned so much. I am now armed with a clear action plan and have had so many questions answered!

I urge you to watch the recording, even if “getting into schools” isn’t on your to-do list right now - you may find that there are ideas in there of things you can do that you hadn’t even thought of (I know that’s the case for me).

You also have the option of listening to the workshop as a podcast on Spotify (just search for Gabi’s Speech and Drama Community, and make sure you’ve linked your Spotify and Substack accounts, so you get the full recording).

Below is a summary of what was covered in the meeting, to whet your appetite, and a copy of the slideshow that Cerys used.

I have also signed up for Cerys’s masterclass on school partnerships on Wednesday, 23rd September at 8pm - I hope to see some of you there! Here’s the link to book your place.

School Partnership Training Session

Cerys Keneally from the Approaching Schools Academy led a training session on building school partnerships for LAMDA class providers. Cerys explained her background as a former teacher and dance business owner, and outlined her three service offerings:

* School program creation

* Approaching Schools Academy training

* Vibe Mastermind groups (for established providers)

Why do schools purchase drama programs?

Cerys discussed how schools approach purchasing drama and speech programs, explaining that schools don’t buy specific drama programs but rather solutions to problems they face. These might be:

* attendance issues

* behaviour problems

* curriculum requirements

Cerys highlighted the new enrichment framework in England that emphasises personal development and external partnerships, noting that drama and arts programs align well with these priorities. It is the first time that external providers have been specifically included as the “third workforce” within schools (the first being the teachers, and the second being the support staff).

Cerys advised us to focus on communicating how their programs address school priorities rather than just marketing the features of their drama classes, as this approach is more effective in securing school investments.

A Clear Sales Strategy.

Cerys discussed the differences between selling to parents and schools, explaining that schools make more logical decisions based on factors like staff workload, budget constraints, and justification requirements. She emphasised the importance of positioning drama services as solutions to schools’ pressing needs around behaviour, well-being, and attainment rather than presenting them as optional extras.

Cerys provided a clear framework for approaching schools, recommending that providers demonstrate their value, show curriculum alignment, and offer clear benefits that address specific school priorities.

Build on the connections you already have.

Cerys shared strategies for scaling educational workshops, including packaging existing content for multiple schools and following up with previous clients. She explained how we can leverage our existing relationships with schools to introduce new workshop offerings.

Slideshow

Kerry Woods-Shelley, who has taught LAMDA for 36 years and examined for 20 years (until retiring last year) joined us at the GSDC July Meet up and let us pick her ample brains!

As well as answering the questions below, she also covered these areas:

* Common mistakes that teachers make

* Ensuring that your students’ introductions help contextualise their pieces, which can help the examiner award marks (even though the introduction itself is not marked)

* Approaching pieces from the perspective of the Knowledge Questions

Here are the questions that teachers asked Kerry:

1) There have been some recent reports of students being interrupted and cut short during the knowledge section. Is there anything we can do as teachers to prepare them for this?

2) From a teacher preparing for PCertLAM for the first time: how much movement is expected/allowed for the poem and prose extract? In V&P up to G8 some students haven’t done more than a few small gestures – does this change with PCertLAM given that they have to provide an explanation of staging and movement for all of their pieces?

3) In Speaking in Public exams, what are examiners looking for in body language/staging to show a contrast between an entertaining or informal speech and a formal speech?

4) How do examiners feel about very young students taking high grades? I know you have to be objective, and can’t pre-judge… but is it unpopular with examiners?

5) For an ROA exam, my pupil had to wait for over 30 minutes before the examiner appeared on screen. Then, when the exam finally started, there was a technical glitch and my pupil could only see herself on the screen. She was quite upset. What would you consider an appropriate amount of time to wait for an online exam to begin?

6) How does the choice of piece affect the marks? For example, if a student chooses a prose extract from a book aimed at quite young readers but it’s a high grade, would the examiner mark them down?

7) What would a Lamda examiner would do if a child recites confidently and well but has difficulty in pronouncing V/W/TH? I have a student with a strong accent, which affects his clarity, but it’s not his fault.

I actually passed the final question onto Kerry after the session had ended because I found the email in my junk folder! Here’s her reply:

This probably would not be a problem. A mark maybe taken from clarity of diction criterion, but not enough to change brackets eg 17 rather than 19 or 20. And in the feed forward notes I might say something about continuing to strengthen some consonant and digraph sounds.

You can find the answers to the other questions, and much more, in the video - or by listening to it in podcast form on Spotify (just search for “Gabi’s Speech and Drama Community” and make sure you connect your Spotify account to your Substack account to make sure you get access to the full recording, rather than just the preview).

For those who don’t have time right now to watch or listen but don’t want to miss out, here’s a summary of what was covered:

This week’s video is designed to support both teachers and students navigating Grade 6 Acting, Verse and Prose, or Speaking in Public, particularly when it comes to breathing techniques and voice production.

It comes as the result of a question asked a training session this week: “But how do you actually teach it?”

It’s a brilliant question and highlighted an important point - I’ve shared lots of resources and handouts on this question, but I’ve never actually gone through the sequence in which I teach students about the mechanism of breathing.

A Simple Three Step Teaching Sequence

This video works best as part of a three-step learning process:

STEP 1: Slow, clear explanation.

Don’t rush it. Depending on the length of your classes, it might take the whole lesson. During this step, I recommend that your student listens rather than taking notes. They need to hear and understand the concept.

STEP 2: Independent consolidation.

They go away, think about what they’ve learned in class and deepen that understand through reading and watching videos.

STEP 3: Teach it back.

At the next class, as them to explain it back to you. This is the real test: if they can teach it clearly, then they understand it.

This video can sit at Step One (initial teaching) or Step Two (consolidation) depending on what you need. If you feel confident teaching the mechanism of breathing yourself, then go for it, and ask them to watch the video for homework. If you are slightly shaky on the concepts, then use the video as the initial teaching tool and ask them to go home and look at other materials to consolidate what they’ve learned. You can use the slideshow that I’ve shared at the bottom of this article (the one I use in my own classes) and here’s a link to the now famous video of my lovely husband explaining breathing:

What the Video Covers

The focus is on the mechanics of breathing and how this underpins vocal technique. It explains the following key concepts:

I’m very excited to share this with you because it genuinely exceeded my expectations. I haven’t done any proper work on voice since I was at drama school LAST CENTURY! And so all my vocal warm ups are tired and remembered quite hazily from long ago. I loved learning new exercises and an approach that will really engage our students, young and old.

We were joined by voice coach Imogen Read, who brought a rare combination of drama school expertise and real-world LAMDA teaching experience.

Below is a summary of what we covered, but you will need to watch (and join in with!) the video in order to really understand the principles, exercises and techniques.

The foundations of safe, effective voice work

Before jumping into exercises, we looked at the five building blocks of healthy voice use:

* A free body (alignment, not tension)

* A free breath (low, responsive—not forced)

* Easy phonation (no hard or breathy starts)

* Resonance (letting sound carry, not pushing it)

* Articulation strength (clarity without strain)

One line that stuck with everyone: tension kills vibration.

Practical vocal health

* Why hydration is a long game (not a pre-exam fix)

* The power of “vocal naps”

* How to use humming and yawning as reset tools

* What to do when there’s pain or coughing

A full, teachable warm-up

Imogen shared a complete warm-up structure built around a “vocal shower” metaphor: playful, memorable and effective.

It moved through:

* Waking up the body (yawn + stretch)

* Breath connection (fricative “steam” sounds)

* Resonance activation (gentle vibration work)

* Range exploration (sirens without strain)

* Articulation (speaking with ease, not effort)

Solving the three most common student issues

This is where things got especially useful for teaching:

Our March Meet Up focused on teaching LAMDA in various settings, and we discussed different teaching environments and their challenges. We explored:

* Teaching Online via Zoom/Google Meet: which subjects work best

* The Challenges of Teaching in Students’ Homes: managing behaviour when the parent is in earshot!

* School-based Teaching and the various payment models: Admin vs Profit

* Profit Margins in Different Settings: don’t forget to factor in indirect costs

* A Cost-Profit Breakdown Calculator designed by me, just for Speech and Drama teachers

You can find out all the details by watching the video above OR by listening to the podcast on Spotify (just make sure you link your Substack email address to your Spotify account to get access to the entire episode, and all the previous ones too).

If you don’t have an hour spare to watch/listen… then here’s a summary of what we covered, and of course the very helpful spreadsheet - you fill in your income and costs per class, and the spreadsheet will calculate your profit per class and across the whole year. You can see in an instant what the loss/benefit will be if you add or take away a student, increase the teacher’s fee or increase the cost to parents. This is how I double check that every class I’m running stays in profit… and if it isn’t I can see what the easiest fix would be.

Teaching Online via Zoom/Google Meet:

Some subjects lend themselves more easily to online lessons: Verse and Prose, and Speaking in Public - there are no requirements about effective use of performance space. When teaching Acting/Devising online then make sure the student has a good set up, with a clearly marked performance space that fulfils the requirements of an ROA Exam. You can find these in this guide, which clearly explains the floor space required and how much of the student needs to be visible to the examiner for each exam (e.g. waist up, knees up, feet up). Of course you can teach online and still prepare students for live exams - in which case, my recommendation would definitely be to have the final three or four lessons in person.

Parents like not having to leave the house so it makes it easier for them, and it opens up new opportunities like teaching students in other countries. For example, teaching students in China means that you can work online in the morning with overseas students, and after-school doing live or Zoom lessons for UK students.

Costs are low, except for a pro Zoom account which is less than £20/month, and you can have students coming back to back without a gap in between for pick ups/drop offs etc - so it is a very economical way of teaching.

Teaching in Students’ Homes

The logistical challenge here is covering the costs of public transport/petrol/parking and travel time for what might be quite a short lesson, if it’s 1:1. This can be overcome by teaching for more hours by including siblings (e.g. three siblings for 30 minutes each gives you 1.5 hours teaching time), or charging parents for your travel time as well as your contact time. If you’re lucky you can also find several families within a very short distance of each other, giving you just a few minutes travel time between each one.

Another challenge is managing behaviour - this can be more difficult in a student’s home than in a school setting, especially when parents are present and allow behaviours that wouldn’t be tolerated in a classroom (e.g. eating during the lesson or jumping on the sofa).

School-based Teaching

There are two main models that I have come across here, and the one that works best depends largely on why the school is offering LAMDA classes to their students:

I was teaching a Grade 5 Verse and Prose student on Monday, and he was struggling with suspensory pauses… as I was explaining what they are and how they work I found myself getting quite excited! They are my favourite pause, and do work magic in poetry.

I wanted to share my enthusiasm for these curious little creatures a bit more widely, and so I’ve created a video for you to watch yourselves, but also to share with your students if you think it would be helpful for them!

Other posts that are relevant that you may want to look at:

* The Difference Between Verse and Prose: a teaching idea.

* Verse and Prose Knowledge: Grade 4 and 5

Please note: the syllabus has changed since I wrote this post - students will no longer fail the exam if they get ONE pause wrong, but the rest of the information is still accurate.

* Shakespeare Level 2 knowledge: Caesural pauses and enjambment

* Pauses and Phrases: Grade 5 Verse and Prose Knowledge

Below is the screen I shared in the video with a summary of suspensory pauses:

* What they are?

* How do do a suspensory pause?

* Examples.

Feel free to print this out and share it with your students!

This meet up of Speech and Drama Teachers covers policies for matching LAMDA exam grades to appropriate ages, handling sensitive content in drama classes, and selecting suitable plays for students of different ages and maturity levels.

Hi everyone - here’s the video of our October meet up for you to watch at your leisure… unfortunately my internet connection was not as strong as it usually is, so there are a couple of moments where I cut out… but it’s only a few seconds at a couple of points.

Did you know that these videos are available as PODCASTS so you can listen on the go! I’ve tried to make it accessible without the slideshow and scripts that I share on the screen, so why not take me along next time you do the washing up or walk the dog?

If you go to Spotify and search for Gabi’s Speech and Drama Podcast you’ll find me there - or just click this link. You will need to link your Spotify account to your Substack account (use the same email address) and that way you’ll get access to the full length podcasts.

I’ve attached below three useful documents:

* The visual handout of Stanislavski’s key principles (shared last week, but I thought it made sense to include it again here).

* A reminder of each of the Key Principles, and some practical tasks to connect that Principle to performance.

* Four monologues with exercises linked to each that focus on one or more of the Key Principles:

* The Long Road by Shelagh Stevenson - using Joe’s opening monologue to explore objectives, emotional truth and circles of attention.

* Absurd Person Singular by Alan Ayckbourn - using Geoffrey’s monologue at the start of Act 2 to explore subtext and objectives.

* Three Sisters by Chekhov - using Natasha’s monologue in Act 2 to explore the ‘magic if’

* Twelfth Night by Shakespeare - using the duologue in Act 3 to explore given circumstances.

I can’t share the first two of these pieces as they are in copyright, but below you will find Natasha’s monologue (not the translation I usually use which is in copyright, but it’s pretty good) and the Twelfth Night duologue.

For those who prefer to read rather than watch, here’s a summary of the meeting:

Overview

The meeting focused on discussing LAMDA's newly released additional set text options for Level 2 exams. We aired concerns about guidelines for original speech content.

We had a look at the plays that are now on the ASTL while discussing challenges related to finding …

Meeting Overview

Many students finish their LAMDA exams weeks before the end of term, leaving a teaching gap. In this meeting we explored ways of keeping sessions purposeful, engaging, and “un-cancellable” during this in-between time — especially for solo students or pairs.

OPTION 1: If they’ve taken an exam early in the academic year then they could take a “bonus” exam. I’ve had students complete Grade 5 Solo Acting in March/April, and then take a Grade 4 Speaking in Public exam in June/July. They have already shown themselves to be motivated and hard-working, so if you drop a grade (as it’s a new subject, and they won’t have too long) then they can often manage it!

OPTION 2: Start working towards their next exam straight away.

OPTION 3: Follow some of the ideas suggested below. Thank you to everyone at the meeting to came up with some of these brilliant ideas! I’ve created a downloadable one page handout of “Post-Exam Activities for Speech & Drama Teachers” for you to carry around with you, as well as my “secret mission park bench” cues.