IMPORTANT: Please note that this guidance pertains to the updated 2027 Musical Theatre Syllabus (for exams taken from 1st January 2027 onwards). For guidance relating to the 2021 Musical Theatre Syllabus (for exams taken before 31st December 2026), please see here: Musical Theatre Exams (Solo / Duo) - 2021 SYLLABUS

The Learner(s) should try to avoid playing in profile for too long, especially in duo examinations, as this masks facial expression.

The Learner(s) should try not to place themselves too near the Examiner’s table for the duration of the song as this limits their overall use of the performance space.

The Learner(s) should carefully consider the Assessment Criteria and whether they are required to use appropriate or effective use of the performance space. 

The content and context of the song should inform the Learner’s use of movement within the performance space. 

The Learner(s) should bear in mind the mood of the song, the character's feelings and their situation, and the character's movement (or lack thereof).

The Learner(s) should ensure that they perform their song(s) with appropriate focus.

When performing a song that is direct address to audience, the Learner(s) should focus on the imagined wider audience of which the Examiner is a part, and not directly on the Examiner.

In duo examinations, you should ensure that the chosen song(s) are shared equally between both Learners and that there is some degree of interaction between them, giving them both the opportunity to develop the characters they portray, and the opportunity to demonstrate their performance skills to Examiner.

When performing a duet, both Learners should be focussed within the world of their characters and, for each individual, on their duo partner where appropriate, as the other character in the song. 

Learners should also stay in character throughout their performance, listening and responding to their partner where appropriate.

When a solo Learner performs a solo song with an unseen character present, their focus should be within the world of their character and on the unseen character(s), who should be acknowledged, where appropriate.

When a solo Learner performs a solo song that is not a direct address to audience and doesn’t have an unseen character present, the Learner’s focus should be within the world of their character.

Where the Learner should focus specifically within the world of their character will depend on what the Learner feels is appropriate for the song.

Learners and Teachers may find  Stanislavski’s given circumstances and Uta Hagen’s nine questions useful to help Learners understand a character’s given circumstances. Stanislavski’s circles of attention and Declan Donnellan’s The Actor and the Target may be helpful references.