Musical Collaborations at the RSC

  • Millie Taylor
Part of the Palgrave Studies in British Musical Theatre book series (PSBMT)


This chapter concentrates on the production of music: who is involved in that process, and what are the structures within which they worked at the RSC at the time of this study. The facets of this enquiry include questions around the nature of music management, the employment practices of composers and musicians, the economics of music production and the working practices for musicians in performance. The findings reveal that the slow pace of evolution during which individuals worked together for several years, and in some cases decades, had a positive impact on the creativity and the nature of the ensemble produced among its members.


  1. Addenbrooke, David. The Royal Shakespeare Company. London: Kimber and Co, 1974.Google Scholar
  2. Beauman, Sally. The Royal Shakespeare Company: A History of Ten Decades. Oxford: Oxford University Press, 1982.Google Scholar
  3. Chambers, Colin. Inside the Royal Shakespeare Company. London: Routledge, 2004.CrossRefGoogle Scholar
  4. Cross, Ian. ‘Music and Communication in Music Psychology.’ Psychology of Music 42(6), (2014), 809–19. Available at [Accessed 19.01.16].CrossRefGoogle Scholar
  5. Hosley, Richard. ‘Was there a Music-Room in Shakespeare’s Globe?’ Shakespeare Survey 13, (1960), 113–23.Google Scholar
  6. Lindley, David. Shakespeare and Music. London: Bloomsbury, 2006.Google Scholar
  7. Quayle, Anthony. The Sphere 8 March 1952, Reprinted as Director’s Note in Festival Season Programme, 1952.Google Scholar
  8. Sawyer, R. Keith. Group Creativity: Music, Theater, Collaboration. New York and London: Routledge, 2003. e-book.Google Scholar
  9. ACGB. ‘RST Balance Sheet’ 2nd December 1972. Arts Council of Great Britain (ACGB) papers, V&A Theatre Archive.Google Scholar
  10. Brown, Richard. Interview, National Theatre Foyer, London, 12 September 2014.Google Scholar
  11. Brown, Stephen. Telephone interview, 14 December 2015.Google Scholar
  12. Howells, Roger. Numerous interviews at the Birthplace Trust Archive between August 2013 and August 2017.Google Scholar
  13. Jones, James. Telephone interview, 22 January 2016a.Google Scholar
  14. Jones, James. Email follow-up, 23 January 2016b.Google Scholar
  15. O’Neil, Bruce. Interview, Rehearsal room at The Courtyard Theatre, 12 September 2016.Google Scholar
  16. Reynolds, Ian. Email exchange, December 2015 and January 2016a.Google Scholar
  17. Reynolds, Ian. Telephone interview, 14 March 2016b.Google Scholar
  18. Sekacz, Ilona. Interview, At her home near Stratford, 25 April 2016.Google Scholar
  19. Stone-Fewings, Andy. Telephone interview, 19 December 2015.Google Scholar
  20. Woolfenden, Guy, Tubbs, Michael, & Woolfenden, Jane. Group Interview at Woolfenden’s home, 21 November 2013.Google Scholar
  21. Yershon, Gary. Backstage at Old Vic Theatre, London, 3 October 2016.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Millie Taylor
    • 1
  1. 1.Department of Performing ArtsUniversity of WinchesterWinchesterUK

Personalised recommendations