Showing posts sorted by relevance for query Wicked. Sort by date Show all posts
Showing posts sorted by relevance for query Wicked. Sort by date Show all posts
Friday 16 March 2018
Wicked (UK Tour), Bristol Hippodrome | Review
Wicked (UK Tour)
Bristol Hippodrome
Reviewed on Thursday 15th February 2018 by Isobelle Desbrow
★★★★★
Come with me to the Emerald City...
Wicked is a phenomenal show that has been taking the West End by storm over it’s 11 year run and I’m pleased to say that the tour equally amazing. The cast couldn’t have been better and it was a privilege to be able to watch Glinda’s understudy take to the stage during the matinee performance at the Bristol Hippodrome.
Amy Ross’s Elphaba is the seamless combination of good and wicked. Every note she sings is bone chillingly beautiful and her stellar diction allows us to hear every word and become immersed in the story. A stand out was ‘Defying Gravity’ which was a perfect way to end Act 1 and left me eager so the final half.
Unfortunately Helen Woolfe (Glinda) wasn’t performing for this performance. Instead we were treated to the equally cheerful and Popular Charli Baptie who has an excellent voice and plays a fabulous, frilly, humourous Glinda who manages to have depth, light and shade in her performance.
The glorious music is note perfect and I was pleased that it was not too loud (as I have experienced previously) so dialogue could still be heard whilst it was being accompanied.
The dancing was crisp and spell blindly visually; whilst the cast’s singing made each song sound new and exciting. The quality of this tour is almost West End standard and I’d thoroughly recommend anyone who can’t get to London, to see this show as it flies round the UK on it’s current tour.
If you get the opportunity, spend One Short Day watching Wicked as it’s a tour not to be missed!
photo credit: Matt Crockett
Sunday 4 June 2017
In Conversation With... Rachel Tucker | UK Tour | Interview
Rachel Tucker is basically theatrical royalty, with a an impressive resume, an incredible voice and an extremely dedicated following. Currently touring the UK and about to start her second stint at the Zedel in London, Rachel was lovely enough to discuss what we can expect in her concerts, how she stays motivated, her dream role and much more...
What are some of your career highlights so far?
Wicked on Broadway, it was my absolute dream. The I'd Do Anything programme was a highlight, I loved it, it was great. Oh Wicked 10 is definitely the most recent highlight, it was amazing and a great night.
What keeps you motivated to keep working even when you're knocked down?
I guess the belief in myself, I know I can do it. I think people get confused with not getting the job, they think that it's a personal thing and 99% of the time it's not. It's just you're not right for them or at that particular time or moment for whatever their reasons are. But it's about remembering that it's not me, it's them. I mean not them, but their choice, not because I'm bad but because they don't want me.
Elphaba is obviously a very iconic role. How do you add your own spin on such well known songs and characters?
I try and approach it with a fresh look at it and as close to Rachel as I can because I think it's important to not copy and not be what everybody else thinks you should be and also because it's boring to do it the way someone else has done it when you're not being true to yourself. I'm a very honest person and I think it's very important to be honest with everything you think and how you approach the music and songs and interpret it as close to yourself as you possibly can.
You have a lot of repertoire, so what can people expect when they come and see you perform your solo concerts?
I like an eclectic collection of songs. I've grown up with old school musicals and entertainers and also love very current stuff like Ed Sheeran and I love standards, like some jazz standards. I also love modern musical theatre as well as the old stuff. So yeah, a real mixed bag. A real collection... and a few surprises thrown in for good measure!
If you could bring any guest star on stage with you, dead or alive, who would you pick?
Sammy Davis Jr, Bette Midler and Sting. Oh and probably Beyonce!
You've performed in a variety of venues both in shows and on tour. Do you prefer the bigger, elaborate ones or the smaller, more intimate ones?
They're all different, each of them brings a different thing. The intimate ones I think will be good to start out for me because they're more informal and I love that. You know, I'm not a formal girl, I love being casual and being able to see people and their reactions so that'll be nice. But I also love the big theatres where you have to look up to the balcony and get people joining in and singing along. So I like both.
You're taking this tour to Broadway with 54 Below, but would you ever consider touring it over there?
I think maybe in time, I mean it's taken ten years for me to be able to realistically tour the UK and these things I think take time so I think it'll be a little while longer before doing anything like that in America.
What's one talent you wish you could have?
I wish I could read music or play an instrument. Specifically the piano!
What are some funny moments you had either on stage or off stage?
Oh wow.... funny moments. I'm trying to think what ones I can tell you! At one point when I first did Wicked, I came back from holiday and I completely left out the whole bit of why Elphaba snatches the green bottle before 'Popular'. I literally couldn't remember a word of it and poor Gina Beck had to prompt me and say "was it because your mum was.....?" and she had to literally recite the whole paragraph and I just agreed with her. It was very scary!
Have you ever sneezed or got the hiccups in a performance?
Oh yeah completely. When I did The Wizard of Oz in Belfast, someone sneezed to me and I couldn't finish my lines cause I was laughing so hard. So absolutely, yes.
If you had a magic wand, which show would you do next?
Ohhh which show would I do next? I'd probably do a new show, a brand new show to originate and create a new role, yeah.
If you could go back to any era, when would you go to?
I think I'd go back to the 60s or actually probably the Hollywood MGM era like 20s or 30s
What is your go to karaoke song?
I recently went with my friend and I did 'Simply The Best' by Tina Turner!
What's the best piece of advice you've received or would like to give to someone hoping to get into the performing industry?
You've got to absolutely know your worth, know how good you are and be realistic with yourself and whether you can hack this industry. And think seriously if there's something else you could do then you probably should go and do it because you know, there was nothing else I could do and I think you've got to be very dedicated and very driven and passionate and care a lot about it. And have patience, it takes years and years to get anywhere. It doesn't just happen over night!
A huge thank you to Rachel for taking the time to talk to me. All of Rachel's shows at the Zedel are currently sold out but you may be lucky and get a return! All information about her upcoming dates can be seen here.
Interview by Olivia Mitchell, Editor
Sunday 17 March 2019
Passion vs Obsession in the Theatre Community
As someone who feels things very strongly, I often find myself fixated on certain topics or hobbies, in the way that when I enjoy something, I will focus my attention on it as a means to make myself more knowledgable about it/better at it. In any creative industry, emotions are heightened already and in theatre especially, it's almost natural that trends occur and passions become prevalent. However, the line between being passionate and obsessive can sometimes become wavy or unclear and there can be an almost scary intensity with which people feel.
Let me start by saying that I think being passionate is fantastic. Having something you can enjoy, relate to and immerse yourself in is truly joyous and caring so much about something can really fill your life. The issue however, is when this passion becomes too much and begins controlling your life, rather than enriching it.
As someone who attends the theatre an average of three times a week, there are many times where I become completely enclosed in the theatre bubble and almost forget that there's a world outside the stagey community. In terms of my life at this time, it isn't a problem as such because the majority of my friends are in the same circles and I have a pretty well-rounded life with and without theatre. When I was younger this was a different story though...
I have always been a theatre fanatic, from when I saw my first musical (Beauty and the Beast at the New Victoria Theatre) I was hooked and haven't looked back since. Like many theatre people, I went through a Wicked phase... like, really went through it. I would listen to it 24/7, create artwork, research the performers, perform it, get my friends to perform it, basically I was obsessed. Whilst I don't regret this phase in my life at all because I was super young and it was something I enjoyed, I do see it in a different way. I was living my best life, but at that time, I was not surrounded by theatre loving people which meant whilst I was in the theatre bubble, I was alone. This is where one problem with crossing from passion to obsession comes into play. By focussing 95% of your attention on something your peers can't relate to, you do face the trial of isolating yourself. There may be an online community alongside you, but in the real, non-virtual world, it's just you.
However, as I said, during my Wicked (and subsequent Les Mis) phases, I was young and this outlook certainly comes with age. The issue with obsession is when it continues into adult life. Barely a day goes by when a West End performer doesn't have to call someone out for overstepping boundaries. A video recently circulated showing a girl publicly hating on a performer and explaining how she has no qualms about verbally abusing those she doesn't like; whilst a number of high profile West End people regularly have to reign people in on their instagrams and twitters for overstepping. So when does passion reach a dangerous level?
Obviously it doesn't take a brain scientist to answer this. People overstep when they try and integrate themselves into the lives of the performers they admire. Be it trying to become their friend, burdening them with their problems or just contacting them constantly. Boundaries have always been an issue in the film and television industry but with the ever developing rise of social media, way West End actors are reaching higher profiles, and the way it's so easy to access a theatre performer compared to a screen actor, means it's a problem which seems to be rapidly seeping into the theatre community and is actually doing a lot of damage.
There's also the aspect of fans often being drawn to, or purposely attaching themselves to unknowns/swings/understudies and 'lesser' cast members (not that anyone is less worthy or talented but you get the gist). It's almost as if people feel they'll be more likely to form a bond with someone who not everyone is trying to chat to. The idea of someone being less well known so therefore easier to, for lack of a better word, target, just feels wrong. Absolutely support the entire cast, crew and team but don't use someone just to validate yourself and feel closer to a show than you are in reality.
Most performers are nice people and they're not going to out you for these things because it would be an awkward conversation to have, but just because you have a nice stage door experience, or because you get friendly at the theatre with them, remember that it's all within the theatre bubble.
Now I completely understand putting energy into theatre because it is, after all an escape and I'm definitely guilty of investing my emotional wellbeing into a show, however, not in terms bringing the actors on stage into that. As human beings, the performers of course do care about the people they talk to and I'm sure take a genuine interest in what they're being told, but at the end of the day, someone at stage door who is not actually a friend, is never going to care as much about you as you care about them so it's not fair to expect them to shoulder your issues.
I know this is all pretty much common sense, and I'm not trying to be preachy about boundaries, but for the few people who may read this and recognise some of the obsessive actions in their own lives, perhaps this can act as a gentle reminder that theatre itself is all an act, and the people who put it on, have very real, very personal lives outside of what you see on stage/social media. Of course be supportive and engaging, and be passionate, but keep in mind that there's a world outside theatre. Your life is there to be filled with as many things to make you happy as possible, but so are the people's who you admire and they pick what they fill it with, so don't use all your energy trying to make yourself an integral part of it off stage. Live your life, love shows and support actors, just keep it chill sometimes, and if you really have a lot to say, keep it to your whatsapp chats.
I hope this doesn't come across as overly negative because I really do admire people who love theatre and I so relate, but continual drama clearly means some people are unable to isolate the real from the stage so I wanted to throw my two pence in! Stay stagey!
I have always been a theatre fanatic, from when I saw my first musical (Beauty and the Beast at the New Victoria Theatre) I was hooked and haven't looked back since. Like many theatre people, I went through a Wicked phase... like, really went through it. I would listen to it 24/7, create artwork, research the performers, perform it, get my friends to perform it, basically I was obsessed. Whilst I don't regret this phase in my life at all because I was super young and it was something I enjoyed, I do see it in a different way. I was living my best life, but at that time, I was not surrounded by theatre loving people which meant whilst I was in the theatre bubble, I was alone. This is where one problem with crossing from passion to obsession comes into play. By focussing 95% of your attention on something your peers can't relate to, you do face the trial of isolating yourself. There may be an online community alongside you, but in the real, non-virtual world, it's just you.
 |
| the peak Wicked days |
However, as I said, during my Wicked (and subsequent Les Mis) phases, I was young and this outlook certainly comes with age. The issue with obsession is when it continues into adult life. Barely a day goes by when a West End performer doesn't have to call someone out for overstepping boundaries. A video recently circulated showing a girl publicly hating on a performer and explaining how she has no qualms about verbally abusing those she doesn't like; whilst a number of high profile West End people regularly have to reign people in on their instagrams and twitters for overstepping. So when does passion reach a dangerous level?
Obviously it doesn't take a brain scientist to answer this. People overstep when they try and integrate themselves into the lives of the performers they admire. Be it trying to become their friend, burdening them with their problems or just contacting them constantly. Boundaries have always been an issue in the film and television industry but with the ever developing rise of social media, way West End actors are reaching higher profiles, and the way it's so easy to access a theatre performer compared to a screen actor, means it's a problem which seems to be rapidly seeping into the theatre community and is actually doing a lot of damage.
There's also the aspect of fans often being drawn to, or purposely attaching themselves to unknowns/swings/understudies and 'lesser' cast members (not that anyone is less worthy or talented but you get the gist). It's almost as if people feel they'll be more likely to form a bond with someone who not everyone is trying to chat to. The idea of someone being less well known so therefore easier to, for lack of a better word, target, just feels wrong. Absolutely support the entire cast, crew and team but don't use someone just to validate yourself and feel closer to a show than you are in reality.
Most performers are nice people and they're not going to out you for these things because it would be an awkward conversation to have, but just because you have a nice stage door experience, or because you get friendly at the theatre with them, remember that it's all within the theatre bubble.
Now I completely understand putting energy into theatre because it is, after all an escape and I'm definitely guilty of investing my emotional wellbeing into a show, however, not in terms bringing the actors on stage into that. As human beings, the performers of course do care about the people they talk to and I'm sure take a genuine interest in what they're being told, but at the end of the day, someone at stage door who is not actually a friend, is never going to care as much about you as you care about them so it's not fair to expect them to shoulder your issues.
I know this is all pretty much common sense, and I'm not trying to be preachy about boundaries, but for the few people who may read this and recognise some of the obsessive actions in their own lives, perhaps this can act as a gentle reminder that theatre itself is all an act, and the people who put it on, have very real, very personal lives outside of what you see on stage/social media. Of course be supportive and engaging, and be passionate, but keep in mind that there's a world outside theatre. Your life is there to be filled with as many things to make you happy as possible, but so are the people's who you admire and they pick what they fill it with, so don't use all your energy trying to make yourself an integral part of it off stage. Live your life, love shows and support actors, just keep it chill sometimes, and if you really have a lot to say, keep it to your whatsapp chats.
I hope this doesn't come across as overly negative because I really do admire people who love theatre and I so relate, but continual drama clearly means some people are unable to isolate the real from the stage so I wanted to throw my two pence in! Stay stagey!
Saturday 18 November 2017
Rachel Tucker with Stagebox Choir, Shoreditch Town Hall | Review
Rachel Tucker with Stagebox Choir (Concert)
Shoreditch Town Hall
Reviewed on Friday 17th November 2017 by Olivia Mitchell
★★★★★
If you're a regular reader of this site, you'll probably have twigged that I'm a huge fan of Wicked star, Rachel Tucker. Most recently I saw her perform as a special guest at Kristin Chenoweth's concert and previously in Wicked and her solo concerts at the Zedel; every single time she has completely blown me away with her effortless performances and last night was no exception.
Rachel is a masterful performer, both in terms of her faultless vocals and her ability to embody and live every song she sings. She is magical in the way she transports the audience into her thoughts and make us feel the emotions she's portraying as if we're experiencing them ourselves. The way she interprets songs is unique, extremely moving and I find it incredibly impressive how she is able to switch so quickly from one mood to another.
During act 2 Rachel came off the stage to perform an a capella folk song which had the audience in enraptured silence but within moments of finishing she snapped back to her larger-than-life, joyous self and had the audience laughing out loud. That ability to manipulate an audience's emotions is truly remarkable.
The set list for the night included something for everyone from theatre classics such as 'Children Will Listen' to pop songs and a personal favourite, her own composition 'I'm Falling' which always wows me. This varied programme meant the night flew by and by the time it came to her second encore we still wanted more! Other stand outs included 'The Man That Got Away' and Kris Rawlinson's stunning arrangement of 'No Good Deed' which brings new life to the Wicked classic. Kris and Rachel make the perfect duo, bouncing off one another both comedically and musically. Also great, were Jodie Steele and Amanda Coutts who doubled as stage managers and back up singers- 'Proud Mary' was brilliant and got the entire audience on their feet!
With a few ex-Elphaba's and Galinda's in attendance, it was Emma Hatton who took the stage as the special guest of the night. Dressed in a suitably emerald dress, Emma joined forces with Rachel to perform a jazzed up version of 'I'm Not That Girl' and a lively version of 'That's Life'; the two work wonderfully together and it's so enjoyable to see them having fun on stage together. Also joining Rachel were the Stagebox choir who helped out with a notably touching performance of 'You Will Be Found' from Dear Evan Hansen.
Overall it was just a joyous night of glorious music. Rachel is one of the most versatile performers I've seen; funny, relaxed and charming, her voice is like no other. Powering through every song with her own personal style- belting it out and emotionally reigning it in with equal skill and motivation. Rachel is at the top of her game- a master of her craft who continually delivers time and time again. This was billed as Rachel's 'biggest solo concert to date' but I sincerely hope things get bigger and bigger for her as she continues to charm and wow audiences around the world... but preferably mostly in London so I can be at them all!
Watch my vlog of the concert here
Watch my vlog of the concert here
Monday 7 October 2024
West End Does: Christmas in Oz Casting Announced
West End Does: Christmas is returning this December, and this year, it’s bringing a delightful Oz-themed twist to the festivities. The concert will blend holiday classics with beloved songs from The Wizard of Oz and Wicked, just as the film adaptation of Wicked prepares to grace UK cinemas a few days before the event, making for perfect timing.
The concerts will feature two choirs and a full West End orchestra, all under the direction of musical maestro Samuel Wilson. This year’s impressive lineup includes notable musical theatre stars, particularly alumni from Wicked: Louise Dearman, Sophie Evans, Alice Fearn, Oliver Tompsett, Liam Tamne, and Claudia Kariuki, who have all played key roles in the production.
Hosting the event will be Rob Houchen and Matt Lucas, both known for their work in Les Misérables, promising an evening filled with festive cheer and theatrical magic.
Produced by Chorus Productions Ltd, West End Does: Christmas in Oz will take place in two concerts at Cadogan Hall in London on Sunday, December 1, 2024, at 2:30 PM and 6:30 PM. Tickets are available now through the Cadogan Hall website, so be sure to secure yours early for this festive celebration!
Thursday 10 February 2022
Full Main Stage Line Up Announced for the 2022 Gaiety Musical Theatre Festival
The Gaiety Musical Theatre Festival is pleased to announce the full main stage line up for this year’s festival at Ragley Hall, Warwickshire.
Britain’s Got Talent Winners Collabro, West End and Broadway star John Owen-Jones (Les Misérables, The Phantom of the Opera), direct from London’s West End Sophie Evans (Wicked, Wizard of Oz) and musical theatre star Lauren Samuels (Bend It Like Beckham, Grease).
They will join fellow headliners Kerry Ellis (We Will Rock You, Wicked, Oliver!), Lee Mead (Joseph and the Amazing Technicolor Dreamcoat, Wicked, Legally Blonde the Musical), Cassidy Janson (&Juliet, Beautiful: The Carol King Musical, Avenue Q) and Marisha Wallace (Dreamgirls, Hairspray, Waitress) at Gaiety Musical Theatre Festival on Sunday 1st May 2022.
Gaiety Musical Theatre Festival, which will take place in the beautiful grounds of Ragley Hall in Warwickshire and is set to become a new highlight of the theatrical calendar.
This brand-new musical theatre event is a must-see for any theatre fan, with ten hours of spectacular entertainment across several stages, family fun at the fairground, and a profusion of excellent food, drink and delights in the festival village.
The London Musical Theatre Orchestra will accompany the star-studded main stage line-up.
Further artists to be announced.
Monday 23 November 2020
Thespie Present Streamed Concert Series with Dozens of UK Stage Stars
Theatre discovery platform Thespie today announces the Reunited Series, bringing together more than two dozen of the UK’s top musical theatre artists for a series of filmed concerts premiering throughout December. Developed by Aimie Atkinson, Thespie’s Creative Producer and the Olivier nominated star of Pretty Woman and SIX), each concert presents ensemble music performances (filmed in COVID-secure London venues), and ranges from musical theatre hits, to pop music, to favourite Christmas songs. The program of each concert has been developed by the artists involved and will also include intimate interview footage.
The concerts are designed to inspire global theatre audiences, by bringing the UK’s best musical theatre talent directly to their homes this holiday season. The artists collectively represent over two and a half centuries of experience on UK stages; their recent credits include The Prince of Egypt, Pretty Woman, SIX, & Juliet, Come From Away, Wicked, The Phantom of the Opera, Les Misérables, and Kinky Boots.
Thespie Creative Producer Aimie Atkinson commented, “We’re thrilled to be bringing you our first shows—high-energy, joyful concerts with great production values and astonishing vocal performances. I am so in awe of the level of talent working with us to make these December shows incredibly special. You are in for a treat.”
The series begins with the premiere of Unlimited: The Songs of Stephen Schwartz on 3 Dec at 8pm GMT, a celebration of the famed composer’s works including Wicked, Pippin, Godspell, Children of Eden, and The Prince of Egypt, Schwartz’s newest musical. The nine artists in the concert (Nikki Bentley, Sophie Evans, Alice Fearn, Alexia Khadime, Melanie La Barrie, Carl Man, Dianne Pilkington, Liam Tamne, Oliver Tompsett) all starred in Wicked during its first 14 years in London, and two (Khadime, Tamne) are in the current cast of The Prince of Egypt. Schwartz himself will make a special appearance in the program, with further details to be announced.
Oops!... I Streamed It Again... premieres 10 Dec at 8pm GMT and is a high-energy concert of favourite classic pop, rock, and musical theatre songs. The concert is performed by five artists who met as part of the original company of the UK musical & Juliet: Jordan Luke Gage, Tim Mahendran, Grace Mouat, Oliver Tompsett, and 2020 Olivier Award Winner Cassidy Janson.
Next up is the return of the artists from The Reunion, with an empowering concert of songs by famous girl bands through the decades: Girl Power premieres 17 Dec at 8pm GMT. Expect the tight harmonies and true sisterhood vibes that these artists have come to be known for since they first met as the original West End queens of the musical SIX. Girl Power stars Aimie Atkinson, Alexia McIntosh, Grace Mouat, Millie O’Connell, Natalie Paris, Maiya Quansah-Breed and Jarneia Richard-Noel.
Finally, the fourth instalment of the Reunited Series arrives on the 21 Dec at 8pm GMT. All I Want For Christmas Is Theatre is a love letter to the tradition of seeing theatre with those you love during the holiday season. More than three dozen top UK theatre artists are lending their talents to this special concert, featuring classic Christmas songs of all styles. Performers from Unlimited, Oops!... I Streamed It Again, and Girl Power will all be featured, alongside more than a dozen more, to be announced in the coming weeks.
Streaming tickets for a single concert are £12.50 ($15) if booked early (by 30 Nov), or £15 ($18) if purchased in December. (10 other currencies available.) Purchasers of the first three concerts will have 72 hours to watch, and purchasers of All I Want For Christmas Is Theatre will have 7 days to watch with their households. An Extended-Access bundle (£37.50/$45 in Nov; £45/$54 in Dec) gives purchasers access to all four concerts from their premiere through 31 December, and provides a 25% discount over booking the concerts separately. All concerts and the bundle can also be purchased after their premiere, with the same window of access (72 hours, 7 days, or through 31 Dec.)
The Reunited Series and Thespie’s original content initiative support its work to foster the connection between artists and audiences on its theatre discovery platform. Thespie’s first original production, The Reunion, was one of the bestselling paid theatre streaming events in the UK, selling tickets to 3600 households across 65 countries; and employed 35 live entertainment workers who received over £30k in income from the event.
Thespie founder Tyler Stoops said, “Watching our first concert, The Reunion, revived my spirits, and hundreds of viewers told us how meaningful it was, how inspired they were, and how much fun they had. So I’m thrilled we can deliver four more concerts for audiences at home around the world, just in time for Christmas. I think all of us are ready for some joy and excitement.”
Thespie offers listings for theatre streaming, theatre music & audio, theatre eBooks, educational resources, live London theatre, theatre news, and more. Audiences can use Thespie to stream the Reunited Series and more than 400 other shows, or to discover over 1000 more shows available on other popular platforms and services, such as Disney+, Amazon Prime, and Audible.
Tuesday 23 August 2016
In Conversation With... Natasha O'Brien | Children of Eden | Interview
Last week I had the pleasure of sitting down and chatting with Natasha O'Brien who is currently starring as Eve/Mama Noah in Children of Eden at the Union Theatre (which I reviewed here.) Natasha is an incredible performer and I got to pick her brains about all things stagey, see what we discussed below:
For anyone that doesn’t know, can you explain a little what Children of Eden is about?
So Children of Eden is, its a show in two parts, its almost like, each act, they're very closely related but they’re almost like two separate shows. The first act is the story of Adam and Eve and Father, the creation and act two is the story of Noah, and the Ark, and all the animals. But ultimately Christian Durham the director wanted to stray away from the tendency to get too religious with the show and he wanted to make the show about family and parenthood and what it means to create something and to raise something and ultimately the difficulty of letting it go to become its own thing.
Have there been any challenges with bringing this script to life?
I think trying to make this show palatable for a wide audience can be a challenge sometimes, especially nowadays the show has a tendency to be picked up a lot of religious amateur groups and it really lends itself well to those kinds of theatre groups but to take it into a broader arena maybe with a more professional cast and crew can be a challenge. I think Christian’s done a really good job making the themes very universal and just making the material watchable.
Are Eve and Mama Noah anything like you?
Yeah totally, we all bring elements of ourselves to our characters, you have nothing else to go on than your own experience. Mama Noah, she’s definitely very no-drama , she’s very chilled out, very grounded and i elected to make her that way because thats what I immediately took from her and I mean that was just sort of my first impression and I branched from that to create her. With Eve I think her precociousness and her, I don’t wanna say petulance but just a little bit of cheekiness, I really identified with that. More so in my younger years, I think that there’s a sense of wonder there that I just admire and love about that character, the way she's written and hows she's so flawed. I mean for all intents and purposes she is sort of the antagonist in the first act. You know, if she didn’t eat that apple… there would be no show, but at the same time you love her for it and you see the humanity of it and she is the embodiment of humanity and their flaws and how we have to learn how to love ourselves in spite of it all.
What will the audience be thinking about in the car as they drive home after this show?
I think the show really goes out with a bang, from my experience, what I’ve witnessed and what people have said to me is that from ‘Ain’t it Good’ onwards you can tell that we’re rapping up the show and there are two really big, beautiful vocal numbers. You know, ‘Ain’t it Good’ is such a big piece, for me personally but just for the whole cast, energetically its really joyous and then ‘In The Beginning’ is just really vocally beautiful, the harmonies are so rich and we really get a chance to showcase the true chemistry and love and fun that we are all having together as a company and that seems to really resonate with audience members. I think vocals and the score are something people remember, they leave the theatre and they’re really happy and singing. At least I hope so!
Can you sum it up in 5 words?
Sum up the show in 5 words?! What! I just got so nervous, I just got so anxious! Okay, Family. Love. Encouragement. Belief. Trust. They’re off the top of my head without thinking too much about it which I shouldn’t anyway!
Have you found any differences between Canadian audiences and UK audiences so far?
Yeah! When I think about it the average theatre goer in Canada is much much older and we don’t have as thriving a theatre scene in one city. In London theatre is so engrained in the culture and so much indie theatre is supported by so many age groups and people from different backgrounds, there’s theatre being produced that is really so marketable, like on the West End you’ve got the massive tourist attractions but on the smaller scale, the local community with come to smaller venues like Children of Eden at the Union Theatre and we just have a much more young, excitable and supportive theatre community here in London. Its incredible and its what helps to keep the theatre industry alive. Its struggling in Canada which is one of the reasons I left, we have such a small populations spread over such a huge land mass and in order to work in Canada you have to travel all across the country, which I did. I worked everywhere from Alberta to Montreal and everywhere in between. Whereas in London you can kind of keep it, if not London based then UK based and have an actual career because there are always interesting projects coming up. There’s an actual scene here. And without an audience there’s no industry, so the audience members are younger, more enthusiastic, more supportive, more critical as well. They’re just more seasoned.
Was being a performer something you always yearned for or did you have a different career path in mind when you were younger?
Yeah. I did my first musical when I was 6 and I just kind of always did musical theatre and have always known that was it for me. There was a brief moment in my life where I had a dalliance with the idea of maybe becoming a lawyer just because I liked the sound of my own voice and I considered quite strongly becoming a paramedic. I think its like that seeking of thriving under pressure and drama, but ultimately I chose musical theatre. But it was definitely what I’ve wanted to do my whole life and something that I’ve always had as a part of my life. I’ve always done shows, I’ve always had music and performance in any form like speech competitions or saxophone exams, just always some kind of performance.
What’s the last thing you do before you step out on stage?
You know what, I always look at myself in the mirror. Not like, “how am I looking?” but I spend a moment, have a sip of water and just focus. Its more to tune out everything around me, sometimes backstage before a show can be quite frenetic, the energy can be quite crazy and especially with this show the energy is so high and everyone is having such a good time and we’re all very much in love with each other but I need to make sure that I’m really focussed because the first act of this show goes by in like 10 minutes for me. I never stop so I just sort of stare and myself in the mirror for a few minutes and zone out, almost like an open eyed meditation in a way. Have a sip of water, make sure I pee and I’m good to go!
If you had a magic wand, what show would you do next?
Oh my god, if I had a magic wand! I would love to be in Wicked, oh god I would love it! When it first came out I was just starting drama school so it was just a part of a really magical, exciting time so my feelings attached to the music and everything, its visceral. And I mean, come on, its Wicked! It’d be amazing although part of me gets scared at the concept of that cause its like ‘oh god, every night!’ its a lot!
Alternatively I’d love to do Into The Woods, I mean any role, obviously I’m too old and too tall to play little red now but I think the bakers wife and one day I would love to play the witch. I would love to do Into the Woods and I really love Urinetown! Its so clever and good and the music just takes the piss out of every musical ever written. I would love to be in Les Mis; speaking of musicals it takes the piss out of, it just rips into Les Mis and I would just love to do it because its just a classic and to play Fantine- have a Wicked first act and then boom done!
Whats your best piece of advice for an aspiring performer?
I will share a piece of advice that Nancy Sullivan and David Thaxton shared with me back in February. There’s this amazing company called W1 workshops who I heard about from my friend Carrie O’Dowd who's also a performer and they run these incredible intensive workshops that are super affordable and always in a centrally located area and Nancy and David are both incredible, well respected established performers.
Anyway, the piece of advice that they gave and this resonated so strongly with me, they said: change your environment, surround yourself with people who are doing what you want to do and join in. Do it. Do the workshops. Take the coachings. Go to the classes. If you want to be in this industry, put yourself in the thick of it and surround yourself with people who are doing what you wanna do.
Its really easy to shy away and get overwhelmed and to let our ego and jealousy kind of cloud us but the most important thing you can do is surround yourself with people doing what you want. Its inspiring, it kicks you in the ass, it gives you an idea of whats going on and from a very practical perspective, you’re networking which is so important. I think networking gets such a gross name but networking is really just talking to people, being a normal, interesting human being with something to say and if I can’t have a conversation with someone and make them feel comfortable then I do not belong on a stage! If I can’t talk and make you feel comfortable, I am not an actor!
So I think that is probably the best piece of advice and it is exactly what has afforded me this opportunity. I mean, I’m brand new to this city, I knew no one in this industry when I moved here and it was just about throwing myself into these workshops, finding them online, going in, shaking hands, getting up with your rep and saying, “Hey Danielle Torento, we’ve never met but I’m gonna sing this song for you now” and you know, follow up emails and just do it!
Change your environment. It might be one thing you do differently a day, just one thing at a time and as you change your environment you start to develop this foundation and confidence in yourself that you are in fact, doing it. Because being an actor isn’t just being on stage, its really hard to explain that to people who aren’t in the industry. I don’t just show up somewhere 9 to 5 and have people tell me what to do, its all offstage. That [the performance] is the holiday, thats the treat, the bulk of the work is an unbelievable amount of groundwork, so, change your environment. That would be the advice… and its not even mine, I’m just passing it along because I think its a golden nugget of wisdom.
A huge thank you to Natasha for a wonderful chat!
Children of Eden at the Union Theatre is booking until September 10th, make sure you book to see this fantastic show! Tickets are available here.
Read my review of the show here.
Monday 1 August 2016
In Conversation With... Kerry Ellis | Murder Ballad | Interview
Rewrite This Story caught up with the fantastic Kerry Ellis about her upcoming musical Murder Ballad, working with Brian May, Wicked and more. Check out what she has to say...
For people that may not know about your career, what would you say some of the highlights have been?
There are so many highlights I've been very fortunate to do some incredible things I guess one of the biggest was playing Elphaba on Broadway which was a childhood dream, another was performing in Verona with Brian May live on Italian television in an incredible venue that is like the Colosseum in Rome.
Was being a performer what you always dreamt of or did you have a different career path in mind when you were younger?
I always knew that I wanted to perform I just didn't know how my career would work out, it sounds very cliche but it was in my blood and still is.
I got to see you perform at the Hampton Court Festival with Brian May and you both seemed so natural and at home with each other… Why do you think you work so well together? What have you learnt from one another?
I think the reason Brian and I work so well together is because we both share the same passion for music and performing, or shows and albums and performance is now very simple it's all based around a voice and the guitar the things we care about so it just seems very natural. There is a lot of drama and atmosphere but also a lot of laughing and fun.
Let's talk about Wicked a little bit. Elphaba has become such an iconic character in musical theatre, what was your favourite and least favourite part playing her? Would you like to don the green paint again for the upcoming film?
Playing Elphaba was an incredible experience, in the West End and on Broadway, of course I would love to be involved in the film in some way and I can never say I wouldn't go back to the show ever again however I have such wonderful memories that will stay with me forever.
It's tough so it's like running a marathon eight times a week physically, emotionally and vocally it's tough but also one of the most rewarding roles I have ever played.
You’re an inspiration for many people hoping to get into musical theatre, whats your best piece of advice for an aspiring performer?
You have to love this industry, it can be so competitive and hard at times but also it's one of the best jobs in the world, there are many knock backs many tears but if you are strong enough and passionate enough it's worth the fight
You’re set to star in Murder Ballad from September, can you explain little about the shows storyline and how your character Sara fits into it?
I think you just need to come and see the show. I'm really excited about it it's a forehand are very intimate show something I've never done before. All the cast are stars and I think it's going to be show not to be missed.
Murder Ballad is set in a bar right? You’re used to performing in much bigger venues, how do you feel about performing in the more intimate Arts Theatre?
I'm a little nervous if I'm honest but I like the challenge and I always like to try new things, it's going to be a very new experience of performing so intimately as a character.
Sam Yates will be directing us and I have full confidence that he will make this show incredible.
Can you describe ‘Murder Ballad’ in 5 words?
Dangerous passionate electric emotional and fun
Interview by Olivia Mitchell, Editor
A huge thank you to Kerry for taking the time to answer these questions!
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