Why LAMDA Matters for Drama Schools

The London Academy of Music and Dramatic Art (LAMDA) offers the most widely recognised graded examinations in speech and drama in the UK. For drama schools, LAMDA exams serve multiple purposes: they provide structured learning goals for students, tangible evidence of progression for parents, UCAS points at higher grades for university-bound students, and a credibility marker for your school. Being a registered LAMDA examination centre, or regularly entering students, signals to parents that your teaching is rigorous and standards-aligned.

LAMDA is not the only examining body. Trinity College London and the English Speaking Board (ESB) also offer graded drama examinations. However, LAMDA remains the most popular choice among drama schools, and its syllabuses are the most commonly requested by parents. The principles in this guide apply broadly to all examining bodies, but the specific detail is LAMDA-focused.

Understanding the LAMDA Streams

LAMDA offers several examination streams, each with its own syllabus, assessment criteria, and progression pathway from Entry Level through to Grade 8 and beyond into diploma-level qualifications.

Acting

The Acting stream is the most popular and involves performing monologues (solo acting) or duologues (paired acting) from published plays. From Grade 4 upwards, candidates must also demonstrate knowledge of context, character analysis, and the playwright's intentions. At Grade 6 and above, candidates perform two contrasting pieces (one classical, one contemporary) and answer questions about their preparation process and interpretive choices.

Key preparation points for the Acting stream:

Piece selection is critical. LAMDA provides a recommended repertoire list, but candidates are not limited to it. Choose pieces that are age-appropriate, within the student's emotional range, and offer clear opportunities to demonstrate the assessment criteria for that grade.
Learning lines must happen early enough that rehearsal time is spent on performance quality, not memorisation.
Context work should begin as soon as pieces are selected. Students need to understand the full play, not just their extract.
Physical and vocal warm-ups should be part of every preparation session to build good habits for the examination room.

Musical Theatre

The Musical Theatre stream combines acting and singing. Candidates perform songs from published musicals and are assessed on vocal technique, interpretation, characterisation, and physical expression. From Grade 6, candidates perform two contrasting songs and answer questions about the musical and their preparation.

Preparing students for Musical Theatre exams requires collaboration between your drama teaching and any vocal coaching provision. Key considerations:

Song selection must match the student's vocal range. An ambitious song choice that stretches the voice beyond its comfortable range will lose marks on vocal technique.
Backing tracks must be prepared in the correct key and provided on a USB device or CD. Test them in advance on the equipment available in the examination room.
Characterisation is weighted as heavily as vocal quality. A technically perfect but emotionally empty performance will not score well.
Movement and staging should be appropriate to the examination space, which is typically a small room, not a stage.

Verse and Prose

This stream focuses on the spoken word: poetry and prose extracts performed with understanding, clarity, and expression. It is an excellent starting point for younger or less confident students, as it removes the acting demands of character work and focuses on vocal delivery, comprehension, and communication.

Verse and Prose exams are also popular with students who enjoy reading and literature but are less interested in theatrical performance. They provide a complementary pathway that keeps these students engaged with your drama school while building genuinely useful public speaking and presentation skills.

Self-Taping and Digital Submissions

LAMDA introduced digital examination options during the pandemic, and self-taped submissions have remained as a permanent option alongside face-to-face examinations. For drama schools, this creates both opportunities and challenges.

Advantages of Self-Taping

Students who suffer from acute performance anxiety may perform better in a familiar environment.
You are not dependent on examiner availability or travel schedules.
Recordings can be reviewed before submission (within the rules, which vary by examining body).
Geographic flexibility: students who cannot travel to examination centres can still enter.

Technical Requirements

LAMDA specifies detailed technical requirements for self-taped submissions. These include camera positioning, background requirements, lighting standards, audio quality, and file format specifications. You need a dedicated space where these requirements can be consistently met. A plain background, good natural or artificial lighting, a tripod-mounted camera or phone, and an external microphone are the minimum.

Managing the Self-Tape Process

Block out specific self-taping sessions in your timetable rather than allowing students to record at home. This ensures consistent technical quality, allows you to provide final coaching notes, and maintains your quality control over what is submitted under your school's name. Schedule these sessions at least two weeks before the submission deadline to allow time for retakes if needed.

Self-taping is not easier than a live examination. The camera is unforgiving, and the examiner will watch the recording with full concentration. Prepare students for self-taping with the same rigour as a face-to-face exam.

Paired and Group Entries

Duologue entries in the Acting stream and group entries in the Communication and Group strands require careful coordination.

Pairing Students

Match students of similar ability and commitment levels. A strong student paired with an unprepared partner will be frustrated and potentially disadvantaged. Consider personality compatibility as well as ability; students who work well together in class will generally produce better examination performances.

Scheduling and Logistics

Both members of a pair must be available for the same examination slot. If one student is ill on examination day, the other cannot be examined. Build contingency into your scheduling by entering paired candidates early in the examination session, and have solo pieces prepared as a fallback where the syllabus permits.

Examiner Scheduling and Examination Day

If you are a registered LAMDA examination centre, you will arrange examiner visits directly through the LAMDA portal. If you enter students through a local public centre, you will book slots through that centre's coordinator.

Running Your Own Examination Session

To host examiners, your venue must meet LAMDA's requirements for room size, heating, lighting, and a separate warm-up space. The examiner will need a table, chair, good lighting, and access to refreshments. You are responsible for providing a steward who manages the schedule, brings candidates to the examination room on time, and ensures the examiner is not disturbed.

Create a detailed running order with time allocations for each candidate (LAMDA provides approximate timings per grade). Build in five-minute breaks every hour and a longer break after every three hours. Communicate the running order to parents at least one week in advance so they can arrange drop-off and collection.

On the Day

Ensure all candidates arrive at least 30 minutes before their slot.
Provide a warm-up space where candidates can run through their pieces quietly.
Have copies of all pieces available in case a candidate freezes and needs a prompt.
Keep backstage calm and quiet. Nervous energy is contagious among young performers.
Collect all feedback forms from the examiner at the end of the session and distribute results to parents promptly once they are released by LAMDA.

Key Takeaways

Piece selection is the single most important factor in examination success. Choose material that fits the student's ability, age, and the assessment criteria for their grade.
Start context work and line learning early so rehearsal time focuses on performance quality.
If offering self-taping, control the process centrally rather than allowing home recordings.
Pair students of similar ability and commitment for duologue entries, and always have contingency plans.
Create a detailed examination day running order and communicate it to parents well in advance.
Track results, feedback, and progression across terms to demonstrate the value of your LAMDA programme to parents.