Literature on Triple/Quadruple threats

The wicked stage: is it enough to be a 'triple threat' performer? by Sarah Green, 2011.

Sarah Green is a musical theatre graduate and writer for 'A Young Theatre' which is an organisation committed to supporting and nurturing emerging creative talent in theatre and the arts, founded in 2009.

My last blog which discussed the article 'Musical Theatre Students Are Becoming Quadruple Threats'
By Maggie Gilroy. Discussed briefly the potential need for a fourth element but focused more on the other elements that are now taught in Colleges as well as the expected, singing, dancing and acting classes. This article prompted me to do some further research into whether a fourth element was required in the current industry, as if a fourth element is now required, this is something 'professional auditionee's' that have already graduated, need to know. 

This article begins by discussing how the term 'triple threat performer' is a well known key term in the industry. 

'maybe there is even the need to be a ‘quadruple threat performer’. The Lion King requires you to learn puppetry and even stilts for some animal characters, Starlight Express required performers to be on roller skates, and many shows now require you to be both an actor and a musician.' (Green 2011, pg 1)

This is a very important point as this quote highlights productions that are currently running on the West End or in Germany that require a fourth skill. From speaking with my sig, the three skills mentioned here (puppetry, stilts, skating) are not taught at any of the colleges they attended. 
These shows are not the only productions that require a fourth element. 'Avenue Q' also requires puppetry skills, 'Into the Heights' requires you to be able to rap, and the latest trend in Musical Theatre is to have an ensemble band, where the performers on stage also play instruments, rather than having a pit. For example they have just cast actor musicians for 'footloose' which is an all singing all dancing musical. 

'It wasn’t until I left uni that I realised that I could make a career out of doing my two loves – playing instruments and musical theatre. I saw it as a way into the industry.' (Katie Pritchards, 2011)

In this article Katie Pritchards, who has performed in numerous west end shows, gives her fourth element, playing an instrument, the credit as to how she got into the industry. I asked my sig whether they felt being a quadruple threat was important in the industry currently and I got unanimous feedback, with the following subjects definitely being required at colleges now;

'basic gymnastics needs to be seen in all colleges now - I know a few colleges have it - but there are so many times you are expected to have a 'trick' in auditions' - sig

'definitely an extra skills class, even if it just taught us to do something like a walk over' - sig 

'acro is definitely the way forward and needs to be taught everywhere' - sig 

'playing an instrument can also be a huge help now, and can be another way of getting your foot in the door- sig

'as a boy, I see guys at auditions get kept for the next round all the time based on whether they can trick or not - their dance technique is practically irrelevant - spinning on your head is 'in'' - sig

'I think all colleges should do one off courses in puppetry, just so you can put on your cv that you have experience in certain fields' - sig

This article as well as my sig feedback indicates to me that there are a multitude of subjects that could be added to drama school's curriculum to fit the current industry. This articule highlights the importance of playing an instrument, as well as touching on productions that require stilts, skating and puppetry. My sig have also pointed out the need for acro lessons and the importance of having a 'trick'.


Sarah green(2011) The wicked stage: is it enough to be a 'triple threat' performer?. Available: http://www.ayoungertheatre.com/the-wicked-stage-is-it-enough-to-be-a-triple-threat-performer/