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Meredith Braun

Lecturer Music and Music Theatre, Co-ordinator Joint Routes, Associate Lecturer Triple Threat, Vocal Tutor

m.braun@chi.ac.uk

As a Principal in Musical Theatre Meredith has been fortunate to have enjoyed an extensive national and international career, including roles in the West End as vocally diverse as Éponine in Les Misérables, Christine in The Phantom of the Opera, Lily in The Secret Garden and Belle in The Muppet Christmas Carol. Her work has had many facets; considerable recording experience including original cast albums and solo albums, 'straight' acting in television, film and advertising and regular collaborations devising, originating and performing new works.

The common thread throughout Meredith’s career has always been the passion to tell a story through song with technical expertise and informed truth and integrity. As a consequence of her broad musical experiences Meredith is now driven to strengthen the Music Theatre students' development and growth by investigating the needs of the Music Theatre student in communicating and working with other Music and Theatre Professionals.

Professional

Meredith has developed and teaches the Acting Through Song course for the Triple Threat Undergraduate Degree and is also is responsible for their Introduction to Music Theatre Module which focuses on the history and academic analysis of Music Theatre. In addition, she leads Vocal Development Masterclasses on both the Music and Music Theatre and Triple Threat courses with a focus on Acting Through Song, ‘Legit’ style and Storytelling. Meredith is currently developing Modules for the Music Theatre Students.

You can check out Meredith's website at www.meredithbraun.co.uk as well as her YouTube channel called meredithbraunonline.

PHD Supervision

PhD summary - Acting Through Song: Teaching the Music Theatre student to make connections. Supervisor – Professor Laura Ritchie.

The need for potent and effective storytelling in straight theatre is well documented, studied and many faceted. ‘Music Theatre’ can fall foul of being too tightly defined. Musicals must reflect society, communicate ideas and contribute to human empathy and understanding, as does straight theatre, literature and the visual arts. Music theatre is also arguably dependent on a plethora of techniques and is intrinsically highly collaborative. However, if the performers’ interpretation is generalised the form is less able to make meaningful statements. 

Greater connectivity of music, text, physicality and comprehensive historical and contextual understanding increases the potential for highly individualised performances. Furthermore, this originality firmly grounds the Actor’s commitment and ensures their connection with the audience. Truth is always more affecting than artifice.