Stages Magazine Autumn Winter 2024

stages Inside this issue:

THE QUEEN OF BIRMINGHAM IS BACK!

Alison Hammond returns for her second panto run! P10

BEYOND THE BALLET

delve into the magic of The Nutcracker P8

CARRIE HOPE FLETCHER shares her dressing room must haves P15

MAGAZINE Autumn/Winter 2024

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contents

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Welcome to

stages...

In our 125th year, the summer of 2024 delivered delight after delight.

We’ve enjoyed 10 weeks of the fantastic Hamilton on our main stage, welcoming over 124,000 visitors. We have seen breakdancers and outdoor arts fill our streets with B-Side Hip-Hop Festival and Birmingham Weekender. And, we have welcomed our first cohort of Access & Inclusion Advocates, launched the new artist development programme - Hippodrome Origins, and made fantastic progress with our Musical Theatre Writers Group.

We are also thrilled to share our first in-house produced work with audiences as our festive family musical The Jingleclaw takes its place in the Patrick Studio this December. Written by Robyn Grant and Tim Gilvin, the new musical has a fantastic cast and creative team who are set to bring the The Jingleclaw to life.

In this latest issue of Stages, we invite you to delve into the magic and secrets behind The Nutcracker (p8) and catch up with Alison Hammond who makes a return to panto this year, playing the Magical Mermaid in Peter Pan (p10)! Towards the back of the magazine, you can get to know our Head of New Work and Artist Development, Sophia Griffin (p14) who gives us a glimpse into the department and shares their plans for the future.

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HIPPODROME HEADLINES

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BEYOND THE STAGE The Nutcracker

10-13 IN CONVERSATION WITH Alison Hammond

14-17 LIFE IN THE THEATRE My Journey Into...

New Work & Artist Development Team My Life in Showtunes What I’ve Learnt...

18-19 GET TO KNOW US In My Dressing Room Five Reasons to See...

Settle down and enjoy catching up on everything that’s been happening on Hurst Street. I hope to see you at the Hippodrome very soon.

Photography: Ayesha Jones, Bill Cooper, BRB, Joe Bailey, Lachlan Monaghan, Simon Hadley, Rida Suleri-Johnson.

Jon Gilchrist Artistic Director & CEO

@brumhippodrome

See all of our latest shows

Birmingham Hippodrome Theatre Trust Ltd, Hurst Street, Southside, Birmingham, B5 4TB Tickets & Information 0121 689 3000 Group Bookings 0121 689 3010 Events 0121 689 3200 birminghamhippodrome.com Registered Charity Number 510842

Front cover: Peter Pan p10.

All casting correct at time of going to print.

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WELCOMING OUR ACCESS & INCLUSION ADVOCATES Find out more...

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Hip Hip Hooray!

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hippodrome headlines

Earlier this year, we welcomed our first cohort of Access & Inclusion Advocates. The group of 21 Advocates have been meeting monthly, sharing experiences and ideas which will help to break down barriers for individual and community access to theatre. So far, the Advocates have met members of staff, met with Access Consultant - Dan Edge, seen shows, attended Birmingham Weekender Festival and had opportunities to network, volunteer and speak publicly. You can read or listen to the Advocates biographies on our website.

In June our Communications Team were recipients of the PRCA Dare Award for Best In House PR Team.

The team work throughout the year to deliver fantastic campaigns and behind the scenes content, spreading the word about the work we do on and off stage here at Birmingham Hippodrome.

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In our first produced musical, Birmingham born Alexia McIntosh will play The Jingleclaw, the show’s namesake. The Jingleclaw is the endearing and mischievous creature at the heart of the story. Alexia is an Olivier award nominated actor and What’s On Stage winner, she has played Anna of Cleves in the worldwide smash hit SIX the Musical and the role of Candy Floss in our 2021 panto Goldilocks and the Three Bears. We cannot wait for you to see her back as The Jingleclaw in this festival family treat.

hippodrome headlines

INTRODUCING ALEXIA MCINTOSH AS THE JINGLECLAW

THE WEST END IN SOUTHSIDE! At Birmingham Weekender Festival in August, audiences were treated to the first ever Hippodrome Live! Wowing a packed Hippodrome Square with hit after hit, West End shows including & Juliet, SIX and Tina - The Tina Turner Musical, showcased a fantastic taste of what will be arriving on our stage in the coming months.

STANDING OVATIONS ALL ROUND From the 54 participants in our Musical Youth Theatre (MYT) to the 350 students in our Hippodrome Education Network (HEN), our youth and participation programmes have been busy! Back in May our HEN groups performed showcases inspired by recent musical - Wicked and Hamilton, and our MYT cohort recently produced Dreamland, telling an abstract version of A Midsummer Night’s Dream, set during the declassification of Area 51.

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BIRMINGHAM HIPPODROME CELEBRATES 125 YEARS

In October we marked the 125th anniversary of Birmingham Hippodrome. Starting as The Tower of Varieties and Circus in 1899, we have been a leading performing arts venue that continues to entertain people from across the West Midlands, year after year. Here you can enjoy unseen show posters and historical photographs, we hope you love reminiscing as much as we have done!

COMEDY In 1973 Carry On London visited the theatre for one week, featuring nearly all of the original cast. A TV movie was filmed that featured highlights from the production.

Rowan Atkinson brought a one-night show Rowan Atkinson in Variety on 16 February 1986, performing alongside frequent comedy partner Angus Deayton.

Richard Johnston is also pictured in this image. He was the youngest theatre director, appointed at the age of 26.

ICE SHOWS An Ice Show called Humpty Dumpty was at the theatre in the spring of 1956. In character, it was almost like a pantomime on ice.

The Hot Ice Show, is a long-running show produced by the Blackpool Pleasure Beach. The show appeared on the Hippodrome stage in 1988 and consisted of daredevil stunts and spectacular costumes, all set to popular music of the time.

MUSIC

hippodrome headlines

Duke Ellington made a total of three appearances at Birmingham Hippodrome, two in the mid-1930s, and one almost 40 years later in 1971.

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Sixties icons Lulu and Gerry and the Pacemakers visited the Hippodrome as part of their 1989 tour.

Lulu has performed here on four other occasions: Gene Pitney and Lulu (1965), The Beach Boys and Lulu (1966), Lulu (1971), Guys and Dolls, playing the lead character, Miss Adelaide (18 May - 8 June 1985).

OPERA In 1990 D’Oyly Carte Opera Company came to the theatre with The Pirates of Penzance. The performance was very well-received by audiences and the show garnered rave reviews.

ROYAL VISITS In 1995 Princess Anne visited the theatre to watch Jack and the Beanstalk and met with performers backstage after the show.

In 1999 Her Majesty Queen Elizabeth II came to the theatre to watch the Royal Variety show. The acts included, Barry Manilow, Birmingham Royal Ballet, Westlife, Charlotte Church, Cliff Richard, Ken Dodd and the compere was Brian Conley.

SUMMER IN SOUTHSIDE

This summer B-SIDE Hip-Hop Festival and Birmingham Weekender festivals brought thousands of visitors to the city to enjoy dance, music, circus, installations, workshops and street theatre.

In June, B-SIDE Hip-Hop Festival welcomed dancers from all corners of the globe to celebrate the four main elements of hip-hop: breakin’, graffiti, DJ’ing and MC’ing.

Dancing qualifiers, graffiti workshops, talks, zine making, a basketball hangout and Street Sounds Radio block party entertained visitors.

hippodrome headlines

Out & About:

Showcases from Marshon Dance, Xi Studio & Rare Collective wowed audiences in The Bullring.

We also saw the culmination of Break Mission’s Breakin’ and All Style Dance and QueerSide’s Dance Championships.

Over August Bank Holiday, Birmingham Weekender 2024 filled our streets, squares and stations with colour, joy and world class performances.

Audiences enjoyed everything from acrobats covering themselves in tape to poets performing to commuters; aerial performances that brought people to a standstill to a square filled with coloured foam!

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THE NUTCRACKE BIRMINGHAM ROYAL BALLET’S

Birmingham Royal Ballet’s The Nutcracker has been delighting audiences at Birmingham Hippodrome since 1990 and continues to be a family favourite every year. Sir Peter Wright gifted his production to the city when Sadler’s Wells Royal Ballet moved to Birmingham. Now, 34 years later, the Company’s Head of Costume, Elaine Garlick, lets us into the secrets behind the magic that we know and love so well.

How many years have you been working on The Nutcracker?

“I’ve been working for BRB for ten years now. I came from the Royal Opera House in London (now the Royal Ballet and Opera), where I worked on the Royal Ballet’s production of The Nutcracker.

beyond the stage

BRB’s Nutcracker was the first ballet production I worked on when I started with BRB and ten years later I don’t need any notes anymore, I can do the work pretty much blind folded now!”

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What is the oldest costume currently in use within The Nutcracker?

“There are lots of original costumes from when the production first opened 34 years ago but the oldest period style costumes are worn by Clara’s grandmother and grandfather at the sumptuous Christmas Eve party in Act I. The costumes feature dark brocade and jet beading which is complemented by rich red scenery. You can almost hear the audience gasp as the curtain goes up!

Worn by some well-known names from Marion Tait to Sir David Bintley, these costumes have stood the test of time, and the velvet, beading, brocade and lace are still holding up well.”

The reaction to the show is incredible each year. Why do you think audiences are so fond of The Nutcracker?

“It’s complete entertainment and signals the start of the festive season.

Many saw it as a child and now their children are coming to see it! It’s a fantastic tradition here in Birmingham, akin to having Christmas crackers at home on the big day, it truly is perfection.”

What does the process of getting costumes ready each year look like, when do you start preparations?

“Because we perform The Nutcracker every year we can work on the costumes all year round.

We run a red, amber, and green traffic light system for costumes.

Green costumes are the ones recently replaced and still in good condition.

Post show they can be put straight into storage at our costume store in Dudley where they are held in a temperature-controlled environment to protect them.

Amber costumes are the ones in need of tender loving care. Some of these costumes are kept in our Costume Store at BRB so the costume team of ten can work on them throughout the year.

Red costumes are those that need replacement or serious repair before they can be put back on stage. This can range from the replacement of floppy tutu bases to perennial broken rat tails! We are in constant communication with the brilliant designer John Macfarlane.”

How often do the costumes have to be refurbished/reworked?

“After each season but it depends on wear and tear. Clara’s costume for instance is quite fragile. The silk organza used for the skirt can become torn and thin with usage.

Dry cleaning fluid and hairspray, for instance, can really dull the shine of sequins and stones over time, so we

must replace them on a regular basis.

And the nets used in the tutus can collapse after so much wear, so they require mending too. The headdresses are cleaned annually to remove hairspray and prevent sweat from corroding the wire bases. The costumes worn by the guests at the Christmas Eve party, however, are hardier as they are worn for the period dances which put less stress on the costume.

Every year and every show the cast changes. It takes approximately six weeks to refit and alter the costumes for the forthcoming year’s cast. We must make sure the existing costumes are fitted to each individual dancer’s size as we have dancers joining and leaving at every season.”

beyond the stage

KER

How many costumes are worn throughout the ballet?

“This is one of the largest productions of Sir Peter Wright’s The Nutcracker and certainly in the BRB repertoire. It features the full company of 60 dancers who wear over 150 costumes - that doesn’t include the dozens of wigs, ballet shoes and tights. The costume team is certainly kept busy.”

What is the quickest costume change?

“The quickest costume change is for the role of Clara. Clara has three changes which involve two members of the costume team and one wig person. They are very skilled and work together to ensure that the ballet dancer is back on stage quickly.

Quick change rooms are built on the back of the stage behind the scenery with costumes laid out in a way that allows them to be stepped into quickly.”

NUTCRACKER IN NUMBERS:

_ The show includes 40 wigs and 30 facial hair pieces which are looked after by the dedicated wigs department _ Each year 45 pairs of shoes are dyed to match the costumes _ Every day the Rats’ legs are hand washed and combed _ The dancers use 1 litre of shimmer per show for the Dance of the Snowflakes scene _ It takes the dancer playing Clara approximately 30 seconds to change from her party dress into her Nightdress

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ALISON HAMMOND

returns to this year’s panto Peter Pan as the Magical Mermaid in conversation with

By ROZ LAWS

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No, what Alison craves is the feeling she got last year when she walked onto the Hippodrome stage.

in conversation with

Alison Hammond is in the grip of a new addiction and she can’t wait to feel the high it gives her. It’s not alcohol, as she barely touches a drop, and her sweet tooth is under control.

“The audiences here in Birmingham are like none other,” says the This Morning presenter. “There was a roar when I walked out on stage last year for my first Hippodrome panto. That feeling of warmth and love, I’ve never felt that before, anywhere. It’s like a drug and I really missed it, so I’ve come back for more. I need more love!

“They asked me to come back about six months after we finished, and I said yes quite quickly. It’s a no brainer for me because it’s my home town. I got on really well with my co-stars Matt Slack and Andrew Ryan, we grew so close and really became a little panto family. And coming back to the Hippodrome feels like coming home, as the staff here are incredible and make you feel so welcome.”

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Alison starred in Jack and the Beanstalk last year and is returning as the Magical Mermaid in Peter Pan, with Matt Slack - in his 11th consecutive Hippodrome panto - as Smee and Andrew Ryan as his mum, Mrs Smee, plus Billie-Kay as Tink. Rhiannon Chesterman will play Wendy Darling and Noah Harrison will be Peter Pan. During the last show, Alison busted out the moves as she performed a dance from Strictly, in which she competed 10 years ago.

It turns out this was her favourite part of the panto.

“I loved doing it. It used to take me until the next scene to recover, but by the end of the run I could recover within two minutes and I felt so much fitter.

“The biggest challenge of panto for me is my fitness and keeping healthy. Whenever I do lots of dancing I have to keep an eye on my ankle.

I had a bit of an issue with it last year but I was helped out by Birmingham Royal Ballet - I’m so lucky being here at the Hippodrome as their facilities are brilliant, with massages and so on.”

Alison has also returned for a second stint at hosting The Great British Bake Off on Channel 4, alongside Noel Fielding, and she reveals what she learned from her debut last year.

in conversation with

“I was really strict with myself this time. Last year I noticed that Noel hardly ever touched the food, so I was like him this year and only tasted the food if it warranted a handshake or was the best one of the day.

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Alison as the Magical Mermaid in the 2024 panto Peter Pan

Andrew Ryan, Matt Slack and Alison Hammond as Mrs Smee, Smee and the Magical Mermaid

in conversation with Alison at the launch of the 2023 panto Jack and the Beanstalk

Alison can resist alcohol though, which is probably why she looks as fresh as a daisy when we chat the day after the National Television Awards.

“I will have a Bailey’s at Christmas, but even then I usually don’t finish it,” she says.

Alison was one of just five stars in the running for the Presenter award at the NTAs, in a shortlist voted for by the public. She was up against Bradley Walsh, Claudia Winkleman, Stacey Solomon and Ant and Dec, and the duo won the award for a record-breaking 23rd year running.

“I knew I wouldn’t win it, it’s impossible going up against Ant and Dec. But I was thrilled to just be nominated.”

Alison might allow herself one tipple at a lavish party she’s planning for next February.

She turns 50 three days after Peter Pan ends, although this presents her with a dilemma.

“Do I have the party the week before so my panto family can come, before they head off on holiday, or the week after? I like to have my birthday party on my actual birthday, but will anyone come on a Wednesday? It’ll be in my back garden, I’ll get a marquee.”

Alison’s moved house last year and although a bit further from her home city she says, “Once a Brummie, always a Brummie. I’ll always come back, you can’t take the girl out of Brum.”

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My Journey Into...

Birmingham Hippodrome’s Head of New Work & Artist Development, Sophia Griffin started her career in the arts as a facilitator and performer.

Sophia and her team work to make the Hippodrome a vibrant and supportive home for West Midlands creatives. Sophia tells us about her career highlights and moments that have inspired her.

Tell us about your role at Birmingham Hippodrome.

I lead the New Work and Artist Development team and am very fortunate to work alongside two brilliant people, New Work & Artist Development Coordinator Maria-Magdalena Mineva and New Work Manager Anna Himali Howard.

life in the theatre

The department has been designed with artists at its heart, our focus is to support them to develop their craft and make new work. We do this through a number of programmes, including Origins, Writer’s Block, Playspace and Gathering. We have also redesigned two new spaces within the theatre, The Artists’ Lounge and Studio 4 for people to connect and be in community together.

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What inspired you to work in the creative sector?

I was fortunate that growing up I was supported by family and teachers to explore my creativity and have many memories of putting on living room shows!

In many ways it was inevitable that I would pursue a career in the arts. Working as an artist and working in this industry can be really difficult, but every time I’ve moved away I’ve always been pulled back.

What has your career journey looked like so far?

I’ve worked across several industries, working in sales, marketing, facilitation and project management, as well as having an independent artistic practice.

My first role at Birmingham Hippodrome was Head of Community and Talent Development, working with our wonderful community of young people. My previous work experience, interests and passions have combined perfectly for my role now.

What has been a career highlight of yours?

Launching our wonderful department!

Having a department dedicated to working

with local artists for the first time at the Hippodrome feels really special. I continue to feel privileged and blessed to be able to expand our offer to local artists in such a meaningful way.

the building, the Hippodrome has such a great energy. The feedback we’ve had from artists about how open the Hippodrome feels has been lovely to hear.

I’m also currently writing a play for The Belgrade Theatre, directed by Corey Campbell, so all going to plan that will soon be another career highlight!

Tell us about what we can look forward to from the New Work and Artist Development team in the coming months.

Hippodrome Origins, is our brand new artist development programme for playwrights and theatre makers. We hope it will be a rich development opportunity, embedding artists at the core of the Hippodrome. We’re excited about working alongside the cohort for the next 18 months - expect to see lots of updates as well as new and exciting work being made!

We’re also looking forward to exploring work with our commissioned artists as we enter their next stages of research and development.

What have you found to be the best advice that you’ve received throughout your career?

I’ve been fortunate to receive mentoring both formally and informally. One piece of advice I’ve been given is to develop strong relationships with peers. Find collaborators you can dream and build with, the people who challenge and champion you. To be able to grow and develop alongside people I deeply respect and admire has been brilliant for me, both professionally and personally.

Why is it important for theatres and creative organisations to support new, emerging and local creative talent?

Artists are at the centre of creating culture; they respond to and reflect on the world around them, offering ways for people to come together and experience stories that they can relate to, be inspired by or learn something from. To continue producing exciting and innovative work, you must start by supporting new and emerging talent. There is an abundance of talent here in the West Midlands, artists have a huge amount of heart, passion and so much to say.

What has been the most exciting thing to see since launching the New Work team in November 2023?

The most exciting thing has been to see so many artists using the space, whether that’s to read a play and have a drink in the Artists’ Lounge, attend an event or be part of a residency. Whenever we have artists in

What advice would you give for anyone wanting to forge a career in the arts right now?

A question that comes up a lot is ‘can I call myself an artist?’, I’d say working ‘day jobs’ doesn’t make your artistic practice any less valid. Lean into peer networks and support, some of my best collaborations have grown from working with friends. And of course, join our Hippodrome Creatives Community! We have a warm and supportive team and an ever-growing community of artists.

Find out more about the New Work and Artist Development Team and current opportunities.

NEW WORK & ARTIST DEVELOPMENT IN 2024

life in the theatre

Anna Himali Howard, Sophia Griffin and Maria-Magdalena Mineva.

The New Work and Artist Development team has welcomed over 150 members of the Hippodrome Creatives Community into our rehearsal spaces since launching in November 2023.

Through their work the team have helped 14 local artists access Hippodrome rehearsal spaces through our Playspace programme. Throughout the past year they have also organised and hosted Hippodrome Creatives social events for brilliant shows including Unfortunate, TONES, My Son’s A Queer (But What Can You Do?) and Bullring Techno Makeout Jamz.

Four scratch nights and Writer’s Block events have taken place within the building, the team have supported four co-commissions with local theatres and hosted two residencies for new and emerging artists.

And finally, they have welcomed the first cohort of Hippodrome Origins artists to their new artist development programme which will continue throughout 2025.

The Artists’ Lounge is open until 10am - 5pm Monday - Friday and can be accessed by the Hippodrome’s reception on Thorp Street.

Follow the QR code on page 14 to find out about new opportunities and the Hippodrome Creatives Membership.

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MY LIFE IN SHOWTUNES

Composer, lyricist and University of Birmingham alumni Tim Gilvin is the creative writer of showtunes from Unfortunate The Untold Story of Ursula the Sea Witch, Cable Street and Stay Awake, Jake.

Over the past year, Tim has been working alongside writer Robyn Grant, developing the music and lyrics for the Hippodrome’s first produced musical, The Jingleclaw. We spoke to him about the showtunes that have influenced and inspired his work, and the first showtune that gave him those goosebumps moments.

life in the theatre

The showtune that has inspired me th is year is…

The Last Ship, from The Last Ship - I’v e been revisiting this musical, and the tit le track is a true fo lk tune.

A showtune that pu ts a spring in my st ep is…

Singin’ in the Rain from Singin’ in the Ra in - all the songs in this show are infus ed with an almost delirious optimism joy. and

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The showtune that I love which alway s surprises people There’s Gotta Be So is… mething Better th an This from Swee Charity - although t this doesn’t surpris e people as much when I say “Listen as to this great 12th century plainchant ”.

The showtune that reminds me of my childhood is…

Look at Me I’m Da ncing from Salad Da ys - this was a stap on long Gilvin fam le ily car journeys!

The first showtune that I fell in love wi th is…

No Place Like Lond on from Sweeney Todd - as a preten music undergradu tious ate, hearing the ric hness and comple this score opened xity of a whole world to m e.

The showtune I lov e singing at karaok e is…

Lost in the Wildern ess from Children of Eden - except no really because no t way am I sustaining those top notes.

The showtune that I am most proud to have worked on is…

Unfortunate from Unfortunate - our drag-inspired rewo of Ursula’s iconic sc rking ene from The Little Mermaid!

The showtune that gives me goosebum ps when I hear it liv is… e Funeral: There is a Fountain/It Don’t M ake Sense from Pa - it was one of the rade first shows I saw in Lo ndon and I had goosebumps for th e entire show but especially this song .

The song I’m curre ntly listening to on re peat is…

Through Heaven’s Eyes from The Princ e of Egypt - a heav God-tier banger! enly,

Scan the QR code to listen to the playlis t of Tim’s favorite showtunes.

life in the theatre

JAMES LOVELL

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What I’ve Learnt from Matthew Bourne’s Swan Lake

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James Lovell trained at Elmhurst Ballet School in Birmingham and joined Matthew Bourne’s New Adventures in 2018, becoming their youngest ever Principal dancer at the age of 19. Next year he will play the part of The Prince, a character tormented by the realities of his life as the son of a monarch.

You have been with New Adventures since 2018, tell us about your time with the company?

Six years have flown by, I’ve been lucky to have played such a wide range of roles during that time. Within four productions I’ve played more than 15 different characters, aged 10-80 years old, ranging from comedy to tragedy. My technical ability has become more diverse and by bringing such a variety of characters to life, I feel more in tune and aware of my acting ability than ever. I feel I’d do myself an injustice not to describe myself now equally as a dancer and an actor. So, it’s been a journey to say the least.

It’s been 30 years since the premiere of Matthew Bourne’s Swan Lake, it has since gone on to become the most successful dance theatre production of all time. How does it feel to be going on tour with a cast of brilliant dancers portraying such an iconic story?

I’ll always feel a huge sense of pride and responsibility when it comes to Swan Lake. Firstly, because the legacy is huge,

and secondly because I know we carry the baton to continue expanding such a legacy.

I feel such excitement and anticipation as the only Principal man within the cast to have performed it before. And on returning myself, I know what I can expect and how to savour every bit of it from the first rehearsal to the last performance.

You will return to the show this tour as The Prince. What are you most looking forward to about playing the part?

I always think the coolest thing about my job is that I get to make thousands of people feel whatever emotions I want them to in the space of two and a half hours. And this is just the role for that. I will spend my career searching for a role that demands so much physically and emotionally like the Prince does. You’re metaphorically (and a bit literally) thrown around and faced with some of the deepest feelings we can experience as humans. I can’t wait to put myself through all of that and take the audience along with me.

What have you learned from your time with New Adventures, has Matthew Bourne’s advice influenced your dancing?

Matthew has given me so much to enrich my performing ability, and it’s always done in the clever way of a suggestion rather than a demand, which is why I love his direction. But one thing that regularly comes into my head when I’m in the moment on stage, is the use of vocalisation, and silence and stillness.

Both are so powerful in different ways in a dance theatre production. When used at the right time it encourages audiences to lean out of their seat and break that barrier between the auditorium and stage.

What does it mean to you to be back in the West Midlands where you trained to be a dancer?

Birmingham will always be a home away from home. The Hippodrome is one of my favourite venues; the audiences are always amazing and knowing that my old teachers and friends are in the auditorium supporting me is a special feeling.

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In My Dressing Room with...

CARRIE

HOPE FLETCHER

get to know us

Three-time WhatsOnStage Best Actress in a Musical winner, Carrie Hope Fletcher, will be coming to our stage in March 2025, playing the lead role Calamity Jane. Carrie will be riding in from the Windy City to entertain us all and talked to us about her dressing room must-haves.

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Hey Carrie! Thanks for chatting to us about your dressing room essentials. How are you feeling about touring the UK with Calamity Jane next year?

I can’t wait! I’m so excited to tackle this role because Calam (Calamity Jane) is unlike any character I’ve ever played. She’s a bit of everything! She’s comedic, she has a romantic story, she’s the action heroine with her gun and her whip… what’s not to love?

Throughout the tour you’ll be using many different dressing rooms across the country. What items will you bring with you to make your dressing room feel like home?

I always have a travel kettle because I am an avid tea/coffee drinker! I also have this amazing contraption called a Brewdini for loose leaf tea. It’s fantastic! I’ll also always have my laptop with me to edit videos and keep chipping away at my current writing projects. And then the essentials like my

toothbrush/toothpaste, throat sweets, normal sweets for a little interval energy boost and make-up, brushes and remover!

But also…at many venues I’ll have my daughter with me, so I’ll also have a bag filled with nappies, muslins and toys!

Do you like to have music playing whilst you get ready or in between shows? What is your go-to playlist or album to put on before a show?

I always like the lofi playlists on Spotify!

I often can’t concentrate or write when the music I listen to has lyrics, so I like instrumentals, but something that is a little bit jolly and upbeat!

Have your dressing room essentials changed over the years of acting in different shows?

Aside from all the stuff for my daughter, not really! What I’ve needed before, during and after a show has always remained the same! I’m a real creature of habit!

If you could only have one item in your dressing room, what would it be?

A kettle!

What is the item that you wish you could take to your dressing room, but you aren’t allowed?

I’m quite a simple gal so I can’t think of anything that I’m not already allowed to have! Maybe something extravagant like a popcorn maker or a candy floss machine!

Do you have any pre or post show rituals?

Always a cup of tea in the interval! And I’m someone who gets ready super early, so I usually get ready and then wander around the dressing rooms to chat to people!

How do you unwind after a show?

Usually, an episode of something on Netflix with some tea and toast but now that I have a daughter, I reckon it’ll be straight to bed before an early wakeup call!

A soundtrack to raise your spirits!

1. Shakespeare’s romance meets punchy pop in this jukebox musical with songs made popular by Robyn, the Backstreet Boys, Katy Perry, Demi Lovato, P!nk and Britney Spears. The fantastic choreography brings the drama and sparkle of pop music videos to the stage.

has been met with critical acclaim across four continents, receiving 13 WhatsOnStage nominations in 2020 and winning six, as well as winning a Mousetrap award for spectacular set and a Black British Theatre Award with Miriam-Teak Lee as Best Female Actor in a Musical.

2. This loved musical adapts one of the

4. Queer representation may not be the

Award winning and show stopping!

3. & Juliet is the recipient of three Olivier awards and nine nominations. The show

From the minds of a wonderful creative team…

5. & Juliet has an award winning creative team, book writing from Schitt’s Creek’s

An epic love story with a new lease of life!

greatest love stories of all time into a modern masterpiece. Juliet’s time in the story does not end in the sixth line of the prologue this time, she continues to have adventures of her own for a whole 180 minutes. Whether you’re a die-hard Shakespeare fan or on the hunt for a fun night out, & Juliet is the one for you!

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& Juliet

Five Reasons to See…

David West Read and songs from 22-time Grammy-winning songwriter and music producer Max Martin.

Queer joy and acceptance at its core.

main focus of this show, but the character of May who is non-binary offers a beautiful story of queer joy within the tale.

May explores her journey through Britney Spears’ I’m Not a Girl, Not Yet a Woman in addition to her devotion as a friend to Juliet.

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