DaDA10 years

The Dance and Drama AwardsTen Years of Success

1999-2009

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…to enable more young, talented people

from a broader range of backgrounds

to access training of the highest quality

and equip them for careers in the

dance and drama professions

SLP College

Academy of Live and Recorded Arts

Arts Educational Schools London

Bird College

Cambridge Performing Arts at Bodywork

Drama Studio London

Elmhurst School for Dance

English National Ballet School

GSA Conservatoire

The Hammond

Italia Conti Academy of Theatre Arts

Laine Theatre Arts

Liverpool Theatre School and College

Millennium Performing Arts

Mountview Academy of Theatre Arts

Northern Ballet School

The Oxford School of Drama

Performers College

SLP College Leeds

Stella Mann College

Tring Park School for the Performing Arts

Urdang Academy

WAC Performing Arts and Media College

The Dance and Drama AwardsTen Years of Success

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What are the DaDAs?For the past 10 years the Dance and Drama Awardshave enabled over 16,000 of the country’s mosttalented performing arts’ students to accessprofessional vocational training and education indance, drama, musical theatre and technical theatre.

Funded by the Government through the Learning andSkills Council (LSC), DaDAs offer reduced tuition feesto students studying at 22 of the leading dance anddrama institutions in England and offer assistance withliving costs over the study period of two or three years.

Students on the DaDA scheme follow programmesof training which lead to nationally recognisedqualifications awarded by Trinity College London.

Who benefits?The DaDAs are for students over the age of sixteenintending to pursue careers in dance, drama, musicaltheatre or technical theatre. Students graduate havingbenefitted from first class vocational training that willenable them to work in the performing arts in the UKand overseas.

Programmes of study funded by DaDA have beenspecifically designed by employers and educationaliststo meet the needs of the performing arts industry.

DaDAs widen participation in performing arts trainingfor individuals in under-represented sections of society.

Why are they important?Without a DaDA, many students would be unableto train to the standard required by the industryand the profession would lose a large number ofhighly talented young people at a time when it hasan increasingly important contribution to make tothe cultural life of the country.

A sustained policy of DaDA funding has led to 10 yearsof unparalleled artistic and economic success.

Delivering First Class results• All DaDA institutions have been assessed at either Grade 1 (outstanding)

or Grade 2 (good) by the Office for Standards in Education (Ofsted)

• More than 95% of DaDA graduates were professionally employed in the

performing arts during their first year of graduation in 2006/07 and 2007/08

• Prior to the launch of the DaDAs in 1999 only 13% of students graduated

with accredited qualifications. Ten years later that figure is 100%.

Graduates now hold Level 5 or Level 6 (degree equivalent qualifications)

on the Qualifications and Credit Framework (QCF)

• DaDA courses are accredited by either the Council for Dance Education

and Training or The National Council for Drama Training and are validated

by Trinity College, London

Ten Years of SuccessFunding Dance and Drama Training

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Dame Judi Dench CH DBE

“The Dance and Drama Awardshave been one of the country’sreal success stories in recent years,providing many talented youngpeople with the support they so obviously deserveand so badly need. It is plain to see that this vital sourceof funding should be maintained and the achievementsof the scheme built on for future generations.”

Established professionals fromdiverse sectors of the industry

are unanimous in theirrecognition of the significant

contribution made by the DaDAs

Ten Years of SuccessWhat the DaDAs mean to the profession

Sir Derek Jacobi

“The DaDA Awards have alloweda generation of young talentedpeople, no matter what theirmeans, the opportunity to studythe performing arts at the highest level,thereby safeguarding the standards requiredfor the theatre profession.”

Gillian Lynne CBE

“One of the glories of the UK is therichness and diversity of its artisticscope, and the graduates of the22 Colleges who receive help underthe DaDA funding scheme are the future lifebloodof our theatres. I cannot stress too strongly hownecessary a good training is; apart from actually makingsure they get employment, it means better use ofexpensive rehearsal time and more scope for writers,directors, composers and choreographers. Also, it isthrough training in the theatre arts, especially in dance,that young people are taught that discipline andhard work are integral to progression in those fields.I have used several graduates of the DaDA colleges inWest End productions and can vouch for their results.”

Ms Elaine Paige

“Training for musical theatre isa serious and vitally importantbusiness. It takes dedication,discipline, time and resources.The Dance and Drama Awards have made it possiblefor talented young people, many of whom couldnot otherwise afford it, to undertake this essentialprofessional training and to go on to great thingsin the theatre industry.”

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Amanda Holden Actress

“Talent is not just something you are born with. It needs to be nurtured,developed and supported. The Dance and Drama Awards have playeda vital role in enabling young people, many from disadvantagedbackgrounds, to develop their natural talent through professionaltraining and to go on to make a vital contribution to the theatre industry.”

Stephen Mear Choreographer (Olivier Award Winner, 2006)

“I consider the Dance and Drama Awards Scheme to be an enlightenedadvancement for the training of young people. Also I laud that thebasic tenet of the Scheme is to award talent first.”

Darshan Singh Bhuller Principal Dancer

London Contemporary Dance Theatre, Choreographer/ Director

“Congratulations to the Dance and Drama Awards. This has been awonderful scheme and made a great difference in the lives of all theyoung recipients over the past 10 years. Well done!”

Liz Robertson Actress

“I have been lucky to have been continuously employed in the world oftheatre and dance for the whole of my working life. Throughout all thattime I have worked alongside many, many talented performers whosecareers have been enabled by the receipt of DaDA awards or similarpublic funding for dance and drama training and education.There can be little doubt that had these schemes not existed thecurrent standards of British performance would not have beenachieved. Additionally, many people from poorer backgrounds couldnever have broken free to becoming the huge performing talentsthat they now are. I call on all those who are considering the futureof the DaDAs to ensure that funds for vocational training are at leastmaintained if not enhanced.”

Richard Pulford Chief Executive

The Society of London Theatre/Theatrical Management Association

“For the past 10 years the financial assistanceoffered by the Dance and Drama Awardshas enabled a considerable number ofyoung people the opportunity to accesstraining of the highest quality and gainaccredited qualifications at leading vocationalinstitutions. This ensures those young dancersand actors are highly employable in what isa most competitive profession.”

Kwame Kwei-Armah Actor, playwright, singer and broadcaster

“Setting up the Dance and Drama Awardswas the act of an enlightened governmentthat understands the contribution the arts maketo our society. The results speak for themselves.The scheme has enabled young people from awide range of backgrounds to undertakeprofessional theatre training and to go on to maketheir mark in the industry. It will be even moreimportant in the challenging times ahead.”

Caroline Miller Director, Dance UK

“The Dance and Drama Awards provide a vital opportunity forexceptionally talented young dancers to train for their future careers.DaDA gives hope to both young people and their parents, relievingfinancial stress and anxiety, and allowing students and parents toconcentrate on the important business of training and starting outin a competitive career on a positive note. Without DaDA the Britishdance sector, which is undergoing a period of growth and outstandingcreativity would potentially lose the diversity of young talent who willbuild the strong industry of tomorrow.”

Thelma Holt Theatre Producer

“The Dance and Drama Awards have become a vital support system foryoung people who aspire to entering the profession. We have justifiablecause to be very proud of the fact that these Awards have helped tomaintain the universally acknowledged standard of our performingartists. They confirm that vocational training of the highest quality isthe greatest service we can offer to young people who wish to furthertheir artistic dream, regardless of their academic or social background.”

Gavin Barker Gavin Barker Associates Management and Theatrical Agents

“As an Agent I represent many professionals who have trained at aDaDA funded vocational college. It is essential that young artists canaccess funding to support their professional training in order to meet

the demands of the industry.”

Nick Allott Managing Director, Cameron Mackintosh Limited

“The musical theatre industry makes a major contribution to thecountry’s economy and, in difficult times, is more important thanever. Its contribution relies on talent and that talent needs to betrained and developed. The Dance and Drama Awards haveenabled many young talented individuals from all walks of life tofind employment, not only in the West End but in theatres aroundthe world, thus providing a vital boost for a vital profession.”

“…relieving financial stress andanxiety, and allowing studentsand parents to concentrate on theimportant business of training”

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Connie Fisher Winner of Andrew Lloyd Webber’s ‘How do you solve a problem like Maria?’

“The reality is that, without a Dance and Drama Award, I would not have beenable to train and would not have realised my dream of starring in the West End.”

Lara Pulver Stage and Screen Actress

“I was fortunate enough to train at a DaDA Institute; this was only possiblebecause I received a full 3 year scholarship. This industry is not elitist, it's talentthat prevails and fuels the business. Without such funding schemes, young talentcannot be nurtured. At times like these, it is more important than ever thatyoung people be given the opportunity to pursue as wide a range of careersas possible.”

Tarisha Rommick Currently performing in ‘Fame’

“The DaDA Award was one of the best things that ever happenedto me. It allowed me to follow my dream and gave me my theatre education.Since graduation I have worked continuously.”

Ibinabo Jack 2009 graduate

“Attending drama school without a Dance and Drama Award simply wasn't anoption for me - there was no way that I could afford the tuition fees as well asliving expenses in London. Having a DaDA has been a blessing, I am so gratefulthat I was able to complete my training knowing that my fees were taken care of.”

After her professional showcase Ibinabo’s phone rang constantly and she wascontacted by thirty-six agents. She has just been offered her first role sincegraduating and will play Pilar in Legally Blonde, Savoy Theatre, London.Ibinabo feels so fortunate that she was offered a place at a DaDA institutionand that with the help of the DaDA she managed to keep her head abovewater and complete her training.

Nicholas Duncan 2009 graduate

“I have recently graduated from a DaDA institution, to make my West End Debutin Mamma Mia. I have the DaDA institution to thank for this as the trainingI received was to such a high quality and they really set me up to leave andwork in the industry. However this was only possible as they offered me aDance and Drama Award at the start of my training.

Without a DaDA I would not have been able to attend college and I am certainI would not be where I am today. The fees for vocational training would havebeen too expensive for my parents to afford; and I know this to be the case forseveral other students who trained with me. The DaDA gave me the opportunityto go to college to train, and then get a job. For me the DADA was essential,so I am truly grateful for having had a government funded place”.

The DaDA Awards are granted tostudents who have the potential,the talent and the commitmentneeded to complete courses oftraining that are amongst themost demanding.

They come from all walks of life,but each has a story to tellabout the difference theirAward has made to their lifeand future prospects.

Ten Years of SuccessHow a DaDA helped me

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Hasina Haque 2008 graduate, currently performing

in the National Theatre production of ‘All’s Well That Ends Well’

and ‘England People Very Nice’

“I found my way to a DaDA institution through anoutreach programme funded by the DaDA Scheme.The Scheme then supported me throughout mytraining. Without it, my ambition of becoming anactor would still be unfulfilled.”

Chris Fossey 2009 graduate

“Receiving a DaDA was a lifeline for me. It enabled meto embark on a brilliant two year training programmewhich has prepared me for the demands of the industry.I have learnt so much and I have graduated with a realunderstanding of technical theatre disciplines. I havethe confidence and the transferable skills required andI look forward to realising my dream job as a DSM inthe West End.”

Jessica Edgar 2009 graduate

“I feel privileged to be in receipt of a DaDA, without itI would not be able to attend a vocational college andreceive the outstanding training that I am currentlygetting. My parents could not afford to pay for my feesfor the specialist training and the cost of moving awayto study. I am also fortunate to be in receipt of amaintenance grant which enables me to afford myliving expenses.”

Ashley Andrews Currently performing in Chicago

“I can honesty say that going to a DaDA institution wasprobably the best thing that could have happened forme. Previously I found it very hard to understand whyI seemed to be the one always in the wrong. I am avery out-spoken person, I say how I feel when I feel it,and this was always a problem... always told to be quiet,to behave, to concentrate! My concentration spanwas zero. I had ADHD.

I still have my personality and at times I do slip into the'child' inside me, but I am able to recognise this and tocontrol myself in lots of different situations. In my careerI meet lots of people, I feel I am now a very awareperson and can adapt effectively to fit in.”

Ten Years of Success

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“Receiving a DaDA was a lifeline for me

… it enabled me to embark on a brilliant

two year training programme which has

prepared me for the demands of the

industry … I have learned so much”

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Prior to 1999, there had been a random and nationallyinconsistent means of accessing funds to train in theperforming arts. Funding decisions were made by localauthorities as a result of applications from would-bestudents living in their regions. Some authorities madefunds available, others offered no financial assistanceat all and the prospect of a professional career coulddepend entirely on where one lived. Many talentedperformers were lost to the industry during a timewhen funding was uncoordinated.

The alternative to the limited amount of local authorityfunding available was for students to meet the cost oftraining, accommodation and subsistence themselves.Over a three year period this could amount to anythingbetween £50,000-£70,000 by today’s standards.The consequence was that only those who lived inthe ‘right county’ or who were in a position to payprivately were able to train and the British performingarts scene suffered correspondingly.

Many performing arts students were expected to fundthemselves, despite the enormous contribution theywould make to the cultural and financial wealth ofthe country on graduation.

DaDAs provide a fairer and more equitable fundingsystem that meets both the needs of students andthe industry, transforming the sector and turningexclusivity to inclusivity.

Since their introduction in 1999, DaDAs have enabledover 16,000 of the country’s most talented youngactors, dancers, musical theatre artists and theatretechnicians to access the highest standards ofprofessional vocational training and educationin the performing arts.

From a wide-range of cultural, socio-economic anddifferent ability backgrounds, DaDA students haveundertaken a programme of rigorous, intensive andhighly specialised study in learning environmentswhere the sole focus is on excellence of professionalachievement.

The funding is vital. DaDA graduates succeed.

Ten Years of SuccessHistory of the Dance and Drama Awards

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Design by Devised01903 873 188www.devised.co.uk

Produced by theSteering Committeerepresenting the22 DaDA InstitutionsSeptember 2009

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19 Performers College

20 Urdang Academy

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22 Academy of Live and Recorded Arts

23 David Bartholomew

24 The Oxford School of Drama

25 Rog Palmer

26 Devised

27 Steve Porter

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29 SLP College Leeds

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31 Italia Conti Academy of Theatre Arts

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33 Italia Conti Academy of Theatre Arts

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Photo credits

01 Liverpool Theatre School and College


03 Millennium Performing Arts


05 Millennium Performing Arts

06 Laine Theatre Arts

07 Devised

08 Urdang Academy


10 Peter Teigen

11 Mountview Academy of Theatre Arts

12 Liverpool Theatre School and College

13 Performers College

14 David Bartholomew

15 WAC Performing Arts and Media College

16 Mountview Academy of Theatre Arts

17 SLP College Leeds


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