LAMDA is often talked about as an exam route, but as this conversation with Jules Martin makes clear, it can offer young performers much more than a certificate. Jules, a LAMDA teacher who works with young people and adults, joins Lisa to explore how structured acting and communication training can help students build confidence, develop practical performance skills, and prepare for the realities of auditions, self-tapes and beyond. This episode is especially useful for young actors, parents supporting performers at home, and adult learners who are curious about public speaking or acting training. It gives a grounded, realistic view of what LAMDA can do, who it can support, and how to approach training in a way that keeps the work enjoyable, honest and useful.
What LAMDA actually is
Jules explains that many people think of LAMDA as the drama school in London, but it is also an examination board. Students can work towards recognised qualifications in areas such as acting, public speaking, Shakespeare, musical theatre, verse and prose. Lisa also clarifies that LAMDA stands for the London Academy of Music and Dramatic Art, though most people simply use the acronym. A helpful point in the conversation is that freelance LAMDA teachers are not employed by the LAMDA drama school. Instead, they use the LAMDA examination board to guide students through the training and assessment process. For parents and students new to the world of acting exams, this distinction is important. Jules also challenges the idea that LAMDA is only for young children. She has worked with head teachers on public speaking, actors who are not yet ready for drama school, and students who want to strengthen their communication skills for future careers. As she puts it, LAMDA can be “an open door for anybody”.
Beyond the exam result
One of the strongest themes in the episode is that LAMDA can support skills that reach far beyond the exam room. Jules talks about confidence, communication, resilience, self-expression and stepping out of your comfort zone. These are valuable for young performers, but they also matter in school, interviews, public speaking and adult life. For actors, LAMDA can also be a useful stepping stone before more intense training. A solo acting exam asks the student to stand alone with a monologue, without the support of a cast, costumes, lights or a set. That can feel exposing, but it is also excellent preparation for auditions and self-tapes, where actors often have to create a truthful performance with very little around them. Lisa and Jules also discuss UCAS points. They explain that higher LAMDA grades can contribute points, but there can be misconceptions about how those points are carried across. The useful takeaway is that different disciplines, such as acting and public speaking, may allow students to gain points in separate areas.
What makes strong solo acting?
Jules is clear that good acting is not simply about learning lines and delivering them neatly. For 11 to 18-year-olds in particular, she looks for depth, understanding and the ability to analyse a character. A monologue is not a speech floating on its own. It is one moment in a wider story. Students need to understand where the character has come from, what has just happened, who they are speaking to, where they are, and what is changing as the piece unfolds. Lisa describes this as avoiding the feeling of “play and stop” in a monologue. The performance should feel like part of real life, not a recital. Jules identifies “recital mode” as a common mistake in acting exams and auditions. Nerves can make students focus too much on getting through the lines, or worrying about the examiner or casting director. Instead, she encourages students to focus on thought processes, surroundings, imagination and truth.
Practical advice for young performers
- Read plays. Jules strongly encourages young actors to read scripts, not only watch television or films. Lisa adds that screenplays can also be useful for seeing how a story is translated for screen.
- Watch and observe. Students can learn from theatre, school productions, amateur dramatics, local performances and actors whose work excites them.
- Use imagination. Improvising around the world of a scene can help a student feel the truth of the character’s situation.
- Learn the craft steadily. LAMDA’s graded structure gives students progressive learning, with more challenge as they move up.
- Think professionally online. Jules advises young performers to be careful about what they post, especially as they begin to build a reputation.
How parents can help
Parents can make a real difference by helping children learn lines, asking interested questions, staying calm and keeping the focus away from results. Jules makes the point that children feed off their parents’ energy. If a parent is anxious about an exam, audition or casting, the child may absorb that stress too. This does not mean ignoring disappointment. Lisa notes that it is important to acknowledge how a child feels if they do not get the result or part they hoped for. But the achievement of preparing, entering the room, performing and trying again should be recognised. Confidence and resilience grow through that process. When choosing a teacher or class, Jules suggests looking for relevant training, experience with the syllabus, knowledge of assessment criteria, and a strong connection with the child. A good teacher should help the student feel safe enough to experiment, explore and have fun.
A grounded route into better acting
This conversation is a reminder that training is not about rushing a young performer towards an agent, a casting or a result. It is about building the skills, confidence and curiosity that allow them to keep growing. Whether through LAMDA, drama classes, theatre trips, reading plays or simply observing the world, young actors benefit from becoming, as Jules says, “a sponge” - open, interested and ready to learn. For parents, the episode offers reassurance that support does not need to mean pressure. For young performers, it shows that technique and imagination can work together. And for anyone considering LAMDA, it gives a clear picture of how this kind of training can help students become more confident, thoughtful and resilient performers.