Professional Singer & Musical Theatre Performer | Vocal Coach | Musical Theatre, Pop & Contemporary | Vocal Artistry & Identity 

Find out more about Georgia

• When did you first develop a passion for music and your favourite instrument?

  Some of my earliest memories are standing on my bed singing Disney classics like Reflection from Mulan and I Won’t Say I’m in Love from Hercules. I started performing in local theatres across Staffordshire and Birmingham from around the age of six, in shows including Footloose, High School Musical and Fame, where I played Mabel. I also took dance classes in ballet and jazz and completed LAMDA examinations in acting and singing. Discovering Musical Theatre brought all of these interests together. My voice has always been my favourite instrument because it can tell a story in a way no other instrument can. It can change completely depending on the character, emotion, style or intention behind it, which is what makes it so fascinating to me.

• Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  If you put my Spotify on shuffle, the mood can change completely with every song - I can go from “Hey Jude” by The Beatles, to Les Misérables, to “Back to Black” by Amy Winehouse, to “Do That Again” by Malcolm Todd, to “Backwoods Barbie” by Dolly Parton, to SIX. I’m particularly drawn to artists with a distinctive vocal identity and incredible performance skills, such as Ariana Grande, Dolly Parton, Beyoncé, Renée Rapp, Chappell Roan, Queen and Prince. I love hearing how different artists use their voices and artistry to create something completely their own. I think that’s what makes music so exciting — there’s always something new to discover, even in a song you’ve heard a hundred times.

• Explain to us the most difficult or riveting course you could personally give to a student of music.

  One of my favourite sessions to teach is a repertoire session - taking a student’s existing rep folder, showreel or audition material and giving it a complete refresh. We can work on vocal technique, repertoire choices, musicality and vocal artistry, as well as exploring acting through song and finding stronger, more individual performance choices. I particularly love taking a song someone feels stuck with or considers a challenge and working on it until they have that “wow, that’s easy!” moment.

• What do you think is the most complicated instrument to master and why?

  The voice! Your body is the instrument, so unlike a guitar, you can’t simply replace a broken string. Every voice is completely individual - different tone, range, strengths and qualities. You have to learn how your instrument works and how to look after it, while understanding that it will continue to develop and change with you. That’s what makes teaching voice so fascinating - there isn’t a one-size-fits-all answer.

• What are your keys to success?

  More doesn’t necessarily mean better. Pushing for a bigger or louder note can create tension, oversinging or breath-holding - often producing the opposite of what we want. For me, great singing is about understanding your instrument, finding efficiency rather than force, and learning to let go. Good technique should give you more freedom, not make you work harder.
  
  I also believe in embracing imperfection, particularly in Musical Theatre. A beautiful voice is wonderful, but it means very little if it isn’t connected to the character, lyrics and emotion. Even in pop, moments of vocal fry, breathiness or a less “clean” sound can be the most dynamically captivating and interesting parts of a performance. The goal isn’t always the prettiest sound - it’s the sound that tells the story.

• Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  Stephen Sondheim, Renée Rapp and Freddie Mercury. I’d love to spend hours picking apart Sondheim’s lyrics and debating the hidden meanings and motifs in his work; talk to Renée about her journey from Musical Theatre into pop and finding her own vocal identity; and ask Freddie about performance, individuality and being completely unapologetic on stage. I suspect I’d have a lot of questions and very little time left to actually drink my drink!

• Provide a valuable anecdote related to music or your days at music school.

  When auditioning for my third-year shows, I auditioned for Disenchanted with “Screwloose” from Cry-Baby. I was asked to perform it again as though I were writing in my diary and needed to stay quiet so my parents downstairs wouldn’t hear. It was my first real experience of re-direction in an audition. My original performance was loud and performative; the second was quieter, more contained and layered - almost fighting an internal struggle between wanting to let everything out and keeping it secret. It taught me that bold acting choices aren’t necessarily bigger or louder; they can be layered, intentional and completely committed. I was cast as Cinderella, one of the lead trio.

• What are the little touches that make you a Superprof in music?

  Comfort is key for me. I want students to feel comfortable enough to try something ridiculous, make a mistake or completely change their approach without worrying about getting it wrong. I give students permission to go for it, because confidence can completely change what someone is capable of. Alongside my teaching experience, I bring real-world industry experience as a working performer, so I can draw on what I’ve actually experienced in auditions, rehearsals, performances and professional environments. I tailor lessons around the individual, their goals and how they learn best. I want students to leave feeling more confident, capable and excited to try something they couldn’t do before.