Issue10

THEATRE. AS YOU’VE NE V ER SE E N IT BE FORE .

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ONLINE TOP TWEET; AVA ELDRED @LIKEALULLABY @WEAREMMAG UM...I JUST CLICKED ON TO YOUR WEBSITE...THAT TRAILER IS AMAZING ISN’T IT?! #MUSICALSHOPS GAME; SAMUEL J MULLIN @SAMUELJMULLIN @WEAREMMAG SUNDAY IN THE PARK WITH GEORGE AT ASDA CAA @CHADLDN @WEAREMMAG TOPMAN OF LA MANCHA MARC @MARCOTALK @WEAREMMAG JESUS CHRIST SUPERDRUG TANYA LEWIS @DRAMATICMISTY @WEAREMMAG WESTFIELD SIDE STORY

E D I TO R S L E T T E R Well, hello! For those of you new to M, this is our tenth issue and we have had a little redesign, our new website is live, you may have seen our incredible trailer by the talented Chris Young and Bruno Collins, and we are planning more for the future to be revealed shortly!

2013 has been booming with great musical theatre; Book Of Mormon, Once, Merrily We Roll Along, The Color Purple, A Chorus Line and many more filling the West End and the fringe!

As always, we’re here to chat, and for banter, so get in touch and tell us who and what you’d like to read about in our next issue, and log on to our brand new site, read more reviews, buy tickets, read past issues, and much more.

Enjoy. And spread the love.

CHRIS Twitter @wearemmag @chrisdclegg www.wearemmag.com

THE TEAM CONTENTS 4 THE NEWS DESK

CREATIVE DIRECTOR CHRISTOPHER D. CLEGG @chrisdclegg chris@wearemmag.com

6 DAVID BEDELLA

EDITOR PETER HOLLAND @PeterJHolland

13 SHIP OF DREAMS

REVIEWS EDITOR ED THEAKSTON @EdTheakston

14 NEW YORK STATE OF MIND

PHOTOGRAPHY

15 SMASH

MATT CROCKETT @mattyc24 www.mattcrockett.com

17 STEVIE WEBB

MARK YEOMAN @MrMarkYeoman

22 RE;VIEWS 26 THE SWINGERS 32 CYNTHIA ERIVO 38 ON THE GO 40 @WESTENDPRODUCER 46 LOUISE DEARMAN 56 TALENT 64 LISTINGS

PREDRAG PAJDIC http://pajdic.com CONTRIBUTORS JONNY VICKERS KIRK JAMESON BEN VIVIAN JONES MICHAEL BURBACH DAVID BLACKETT STYLE ASSISTANT PERRY JUBY RUNNER JACOB SPARROW PR MARK SENIOR PR www.markseniorpr.com mark@markseniorpr.com AD MANAGEMENT John Good Ltd info@johngood.co.uk WITH THANKS TO ANDREW HARCOURT HENRY AT HILLGATE PRINT

THE NEWS DESK WITH KIRK JAMESON @jamesontweets

TOP STORY Not content with dominating Saturday night television, Simon Cowell is now bringing the reality casting process to the London stage, news that would make even the most discerning theatre lover feel slightly nauseous, were it not for the angle at which this musical is being approached.

I Can’t Sing has been penned by national treasure Harry Hill who will use TV shows, such as The X Factor as inspiration for this musical spoof.

Despite its poking fun at the very thing which has made him a house hold name however, Cowell is happy to plunge thousands into the project as its co-producer. The show will open at the Palladium early next year and early reports are that this will be the hottest ticket in town! Book early!

TAKEOVER OF THE MOMENT West End favourite Anna Jane Casey has taken over the role of Mrs Wilkinson in Billy Elliot; the musical this summer. Rumour has it Billy’s previous teacher, Gillian Bevan is passing on the baton only to pick up a rolling pin… Watch this space!

WHAT’S THE BUZZ? Tony Award winning musical comedy The 25th Annual Putnam County Spelling Bee to embark on a UK Tour with Darren Day and Niki Evans.

IMPORTS/EXPORTS Broadway actor Christopher Fitzgerald is currently taking on the title role in Cameron Mackintosh’s new production of Barnum with opened in Chichester this July. Best known for creating the role of Boq in Wicked, Fitzgerald has fought off stiff competition from any of our home grown talent to play the infamous showman and founding father of the circus ring. Cameron Mackintosh is under no doubt he is the man for the job however, having recently said “Barnum needs an actor who can sing, dance, juggle, be a clown and an acrobat—and this man can do all of that”.

British theatre director Laurence Connor, best known for staging the 25th anniversary concert of Les Misérables at the O2, will be spending most of his year across the pond as he transfers not one, but two of his recent success’ from home soil to American audiences. The 25th anniversary production of “Phantom of the Opera”, which has just finished a 16 month UK tour, will begin its journey around the states later this Summer, just before Laurence’s reworked version of Les Misérables opens on at the Imperial Theatre on Broadway early next year.

THE CHANGING FACE OF THE CITY News that the ill-fated Spic e Girls musical Viva Forever would close in July, didn’t induce much in the way of shock when it was announced earlier this year. What did get chins wagging however was show chosen to replace the flop at the Piccadilly Theatre; the touring production of Dirty Dancing, last seen in the west-end in 2011. The notion of a “second chance” isn’t completely unfamiliar however following a post-tour return for Spamalot to London’s Playhouse Theatre; now taking bookings until late autumn. Let’s then hope that this news offers some hope to the triumphant production of Singin in the Rain, which despite rave reviews, has left the Palace Theatre for a national tour this summer. Based on the MGM classic, Singin in the Rain makes way for another screen adaptation, this time of the 90’s cult-classic, The Commitments; previews from September. Serving an alternative to this endless diet of juke box/film adaptations, Andrew Lloyd Webber is also on the lookout for theatre to house his latest offering, an original work surrounding events of the Stephen Ward/John Profumo scandal. The musical will open at the end of the year at the Aldwych Theatre, a move that finds Top Hat (a show that found success on tour) homeless. If the above is anything to go by, however, the current occupants of the Aldwych needn’t abandon hope completely; a (second) London residency is only a tour away!

BUSINESS QUARTER One of London’s most celebrated fringe venues, the Union Theatre was threatened with closure earlier this year, when National Rail announced plans for development in the area. Despite 15 successful years and increasing attention from audiences and critics alike, the studio theatre, which is built within the arches of a Southwark viaduct, was handed its 6 month notice this May. Founder and artist director Sasha Regan immediately set about creating a petition against the venues’ closure, which boasted over 10’000 signatures within a matter of weeks. As a result Network Rail have withdrawn their plans and are now in negotiations with theatre regarding improvements to the venue’s structure and surrounding building s; good news in the short term but nothing is for certain. Despite its insecurity however, the theatre have confirmed a strong summer/autumn program for 2013.

IN LOCAL NEWS It isn’t unusual for smaller venues to try their hand at musicals which have recently received much bigger outings. In these cases however, it is normal to let a few years go by between productions. This year however, three of England’s most renowned regional theatres are tearing up the rule book and presenting titles that have only recently received high profile presentations. Despite its Olivier award winning run in London last year, a new production of Sweeny Todd will be mounted at the West Yorkshire Playhouse in October this year. Not too far away in Sheffield, Daniel Evans will then present his revival of Oliver! at the Crucible just months after Cameron Mackintosh’s UK tour of the same show. And finally Paul Kerrison, the artistic director of the Curve in Leicester, will present his revival of Chicago this Christmas following a 12 year runoff the Encores! version in London.

AND FINALLY American country star Carrie Underwood will star as Maria von Trapp in a brand new version of Sound of Music later this year. Specifically intended not to rival the 1965 film, this fully staged production will be broadcast live on NBC during the Christmas holidays. With Craig Zadan and Neil Meron at the helm (the creative forces behind the USA hit Smash) this is definitely one to watch out for!

D AV I D B E D E L L A THE SHOWMAN GOES ON. PHOTOGRAPHY MARK YEOMAN WORDS BEN VIVIAN JONES

David Bedella is known for his role as the Devil in Jerry Springer the Opera, FrankN-Furter in The Rocky Horror Picture Show and to many as plastic surgeon Dr Carlos Fashola in hospital drama Holby City. Having been part of joint venture After Show at the Alleycat Bar for the past year and a half, he has now refined it into his own show; David Bedella and Friends, same bat-time, same bat-channel. We meet on the train platform, not quite Brief Encounter, as this was quite possibly the longest and most enjoyable interviews I’ve ever conducted.

A couple of enchiladas (not quite like mom used to make) and a few margaritas later, I turn the tables on Mr Bedella.

Have you always wanted to host your own show?

My manager at the time asked, If you had your choice right now, what would you be doing? I’ve done films, I’ve done television, I’ve done lots of musicals, the one thing I haven’t

done is to host my own variety show. An American variety show where there’s a star and a band on stage and sing anything, Michael Buble. Back to Judy Garland.

(The waitress arrives with our margaritas, which he shows me how to drink properly). That’s what I want, bring on people from the arts, talk to them and even if they’re not singers, tease them into singing a song with me.

What makes it such a success?

The audience feel like they’re sitting in my living room, privy to conversations they wouldn’t normally hear, ‘I hated it‘, ‘I hated that person‘, ‘Don’t say anything to anybody it’s between us‘.

Obviously you have a wealth of guests to invite.

When you work with someone and they know someone and you’re all out together, everyone exchanges numbers in a very lovey, showbizzy way,

so I realised there are people I can call and say ‘Hey, do you wanna come down for the night and do this?’ And they say ‘Yes‘.

Since coming to the UK you’ve worked a lot but where did it all start?

My first fifteen years in the business were as a dancer, and if I’m honest I wasn’t really that good (he laughs, that rumbling deep laugh) but I used to get job after job! I discovered early on that if you give good face, they don’t pay attention to the rest. Later I realised I could sing and that would take me to a whole different place.

Jerry Springer was your first big job over here. Was that weird coming from the States and almost being thrown back there?

Leaving Jerry Springer behind was one of the best things, day after day putting the worst part of our humanity on screen and wanting us to celebrate it.

Begrudgingly I met

with the creative team and they handed me sheet music and it was all these (starts singing) arpeggios. I thought, ‘Wow, this is proper classical writing’ and I loved it, we fell in love with each other in the first meeting.

Do you have a favourite part that you’ve played?

‘Hmmm…’

Was it in Holby City?

That was plain fun. That was one of the hardest times I’ve been through, filming Holby City all day and doing Jerry Springer at night.

It almost killed me.

I used to spend the whole night learning the lines for the next day’s shoot, then drop that, head out to play Satan. Finish Jerry, go home and then the car would be outside the house at 5:30am to take me to the studio. I used to say, ‘I’m not gonna complain about this, it’s every actor’s dream!’

Talking of every actor’s dream, I saw you in Roadshow at the Menier, which I believe was your first Sondheim?

The whole Sondheim experience, I loved it. It was complicated, difficult and a challenge but to meet him and have dinner with him, it’s once in a lifetime and something I never expected to happen. He sat there and told me what he thought of my interpretation of his role and that was, you know, that’s mind blowing isn’t it?!

Who’s your ultimate musical theatre role model?

This is very telling because I’m so old (rumbling laugh) you won’t know anyone I’m talking about. Len Cariou, the original Sweeney Todd on Broadway, do you know who he is?

Yeah Nah you’re just saying that (shoots me a disbelieving look and laughs). I remember thinking there’s some-

one with a voice like mine doing a lead role. Growing up lots of guys were bass-baritones, Oklahoma, Camelot, I don’t know when we got into this the higher you sing the more perfect you are for a lead mentality. I have to say the main thing I latched onto was that they were great actors, they took people into another world, made them believe that they were that person, in that place and that time.

To this day it’s what inspires me more than anything when I watch someone on stage.

Do you inspire yourself?

Ha ha ha, I look in the mirror and I say ‘I wish I was you’.

I turn on my Jerry DVD and I just sit there.

Ha ha (inspiration strikes) Mandy Patinkin! I can watch his performance as George in Sunday in the Park, he’s so immersed in the character, you’re glued!

CONTINUED

Has anyone ever left you starstruck?

Glenn Close gave me a standing ovation in the middle of Jo Allen’s! The waiter came over and said, ‘Excuse me sir there’s a lady trying to get your attention’ and all the way down the far end of the restaurant was Glenn Close. In the middle of the restaurant she stood up and she started clapping and the entire restaurant joined in and when all the applause died down she said, ‘I thought you were magnificent.

If it’s not an imposition when you’re through with your meal would you like to join us for dessert?’.

It was so out of a movie, I was shaking, it was a magical evening.

Needless to say these are merely snippets of an incredibly enjoyable margarita fuelled afternoon full of rumbling laughter and quite a few things that really shouldn’t go in the interview! But spending time with David is a joy, so head on down to David Bedella and Friends for a feeling of real naughtiness, and a splash of the charm oozing from Mr Bedella. Better the Devil you know!

You can follow David on Twitter @DavidBedella and @Bedella_Friends for more info on the show!

Victor/ d n a l e b a M & k rade, Mac

Victoria

ehind Pa b m a e t e h t m ro F Danielle Tarento Southwark Playhouse presents ith in association w

26 JUL - 31 AUG

TITANIC MUSIC AND LYRICS BY MAURY YESTON BOOK BY PETER STONE DIRECTED BY THOM SOUTHERLAND

0234 7 0 4 7 0 2 0 : e c Box Offi k u . o c . e s u o h y la p southwark

“The greatest American Musical to have been written in 15 years” Sheridan Morley, The Spectator

THE SHIP OF DREAMS

WORDS CHRIS CLEGG

In the final hour of 14th April 1912 the RMS Titanic, on her maiden vo voyage from Southampton to New York, collided with an iceberg and ‘the unsinkable ship’ slowly sank. It was one of the most tragic disasters of the 20th Century. 1517 men, women and children lost their lives.

Maybe not the right subject for a musical? Well, based on actual characters Ma aboard the greatest ship in the world, Maury Yeston (who also penned Nine & Grand Hotel) and Peter Stone’s stunning musical focuses on their hopes and aspirations, and does so beautifully! The show won 5 Tony Awards, including Best Musical, Best Score and Best Book when it premiered on Broadway and this th chamber reworking comes from the creative team behind the acclaimed Southwark Playhouse musicals, Parade, Mack & Mabel and Victor/Victoria.

Thom Southerland, who is at the helm of this ship, tells us more about this version; “This is a chamber version of Maury Yeston and Peter Stone’s musical TITANIC. In this production you can expect to witness at very close quarters not only the grandeur, eleg egance and scale of the Titanic but also the very heartfelt personal stories of those who sailed with sa h her. The piece draws mainly from factual accounts and tells the story of how many people of different social classes boarded Titanic bravely setting off to the new world with hopes and dreams of a new life and how in a matter of hours their live ves were re changed forever.” Producer Danielle Tarento added “Rather than being a musical about a ship, it will hopefully become a musical about a group of very different people who went through a huge collective tragedy. It It’s about class and status and how the human spirit copes with disaster.” Which, to me anyw yway, sounds much more appealing than a big budget soulless piece.

What Danielle and Thom have done so well in previous productions will, hopefully, be acheived in the all new Southwark playhouse, after needing to move from it’s home due to TFL needing even more space! “The new Southwark Playhouse is completely different to the old tunnels and nd vaults of the previous venue in Tooley Street.” Thom let’s us know.

“Like the old venue, the here are re two perforce spaces (TITANIC is being permed in the larger of the e two) but unl nlike the Vaults it is much more of a black box space.

This enables es us to totally transport an audience into the world of the piece, hence us choosing to stage TITANIC.” Sheridan Morley of the Spectator called TITANIC “The greatest American Musical to have been written in 15 years” and Danielle and Thom both have a soft spot for the musical “There are certain lines in the opening of TITANIC that make me w weep just listening to the recording... so God knows what it’ll be like actually seeing it!

Also, it’s ’s based on real events that touched so many peoples’ lives. It’s a privilege and a great responsibility ty to tell their story as honestly and movingly as possible.” Thom agrees; “I have admir ired this piece for a long time as it tells a very human aspect of the story.

Unlike other dramatisations of the story, this allows us to see a broad range of stories and always portrays the reality and truth of the events” The show, wh which will play 26th Jul - 31st Aug at the new Southwark Playhouse, will no doubt attract attention not only for its sensitive subject material, but also for this now ‘Unsinkable’ Producer/Direct ctor team of Danielle Tarento and Thom Southerland.

For more info and tickets go to titanic.swkplay.com

T H E R E I S N OT H I N ’ L I K E A DA M E WORDS MICHAEL BURBACH @BANANABASKET

Dame Helen Mirren appears on stage before me. I am a New York City boy in London for the first time. I gaze up in wonderment at The Dam Dame, who is dressed to the nines as Queen Elizabeth II. Instinctively, out of respect and enthusiasm, I prepare to join the applause of the audien audience ce of The Audience. Only there isn’t any. I could have heard a pin drop. drop op.

This isn’t a fluke. The same thing happens when I see Dame Judy Dench in Peter and Alice. And miraculously, ly, no cell phones ph interrupt pt the pe performance. No whispered pe murmurs, s, no dainty-yet-oh-so-irritatin ty-y ing crinkling of cellophan cellophane-wrapped candies. No snoring from grumpy Long Island husbands ds. Now, I can get hip to the game pretty quickly, y, and it’s clear I’m not ot in Kansas anymore. Well behaved audiences. I could get into this.

In America, even the most wretched of turkeys get an almost instant standing ovation. When I spring out of my chair in excitement at the end of the fabulous West End revival of A Chorus Line, I feel a little naked as I realize I am one of four people standing, one of whom is my American fr friend. It has become crystal clear in just a few days tha hat things gs over the e po pond are jjust a little more reserved;; contained. In a word, British.

No matter where I go in London it seems to be the same story. ry My quirky, loud, and apparently much-too-forward personality is somewhat of a shock to the English population. In a Br Broadway theatre, re, I’d have no problem turning around and hissing, “zip it” t” to an offenderr sitting in the row behind me. In London, my toothy grins rins and “what’s what’s up”s seem to be the quickest up qu way ay to a cold shoulder.

By the end of my week stay, however, I think I’ve cracked them. As I sit politely at the matinee of the incredible The Curious Incident o of the Dog in the Night-Time, I very calmly strike up a conversation wi with the woman next to me. To get g my y way y in with these people peop I realize ze a milder approach pp is necessary. ry And maybe yb softening g my Rs a bit.

I chat with Mòrag, an ancient Scottish woman with a mustache, aboutt our theatre-going experiences. By the end of the fifteen minute interval, I’ve gotten a few laughs out of her. But it isn’t until halfway through act two that I am truly touched. I let out a quiet sniff as I choke up. Shortly thereafter I hear a similar sniff from Mòrag. I turn to her, and with a split-second glance, we know we have shared something special speci cial.

I may y have been 3,500 3, miles from my y home in New York,, but I was once again reminded of why I return to the theatre again and again.

Despite sp differing g transatlantic standing ng ovation and entrance applause se rules of etiquette, Mòrag and I were able to c connect and be moved.

Such is The Universal Language of Theatre.

S M A S H , B L E S S YO U , W H AT W E N T W R O N G ?

WORDS DAVID BLACKETT @BOYSIES @

SMASH,, the ‘adult Gle Glee’ lee’ held eld so much uc promise but has sadly died under the weight ig of its sepia pi tones and self indulgence. ge Forr those e that’ve missed out, SMASH centred around the creation of Bombshell, a new musical based on the life of Marilyn yn Monroe. It featured a top op notch cast including g Debra Messing g (f (from here on in known wn as Grace), Anjelica je ca Huston usto and Jack Davenport, avenport, the back backing g of Stephen Spielberg and a plet ethora of cameos from Broadway legends. So far not so terrible. Marilyn was a sassy broad, d, her lif ife had potential po to make an interesting ng yarn y and on paper pap these people p pl looked like the right gh folk to do it. So why y is it all coming ng to an end after jjust two short years? ye The e main ma problem started in Episode One. Itt was clear clea those involved volved did didn’tt have faith aith in the pr premise.

They y didn’t believe that pu putting g on a show was a dramatic enough ug task. Instead they ey decided to soap opera it up with ridiculous story-lines ysuch as Grace delaying ying the adoption pt of an Asian baby (her adopting a baby not some s randomer) and her teenage son getting all angst ridden because he was promised pr a baby y and he wanted the baby by and if he couldn’t ge get a baby by then he was going to hold his is breat breath unti until he turned blue blue.

Bombshel ell, the show within a show, was one of the strongest points of the series. The highlight of each episode was ge ep getting g a gl glimpse ps of what th the final pr production would be like. The songs ng written by y Shaiman and Wittman were actually y incredible,, The main thread in Season One was who would ge Th get the pa part of Marilyn. ly Sadly ly this wasn’t carried out in the st style yl of Saw but instead with busty y chorus line veteran Ivy y Ly Lynn waging ag g war ag against yo young g gi girl with a dream,, Karen Cartwright ig (p (played ye by the extremely ly unlikeable Andy dy McPhee.)) It didn’t work,, you knew you yo y were meant to be rooting g for wholesome Karen but her lack of visible emotion and soulless eyes just caused a collective co ective chill. c Then en there was ‘every every holes a goal goal’ Elliss who decided for no particular reason that he was g going ng to make all shades of p peanut flavoured hell descended upon the cast and crew ew of Bombshell. There was no actual rhyme or reason to his evils (or the days (o ys he decided to be go good od)) and he didn’t seem to want any ny p particular outcome ap apart from maybe yb meeting g the blue fairy ry one day ay and becoming g a real boy. oy Thankfully, ly, as q quickly ly as yo you can say y ‘oh Christ did I jjust dream the Bollywood yw episode’ this all go ep got kicked out the window for Season Two. Gone were Grace’s family, ki ly, burned to ashes was her vast selection of scarves and she moved in with her gay bestie in a truly ly unique qu line of story y telling g and a complete mp stretch for Grace’s acting g skills. We waved g goodbye ye to Anjelica je Houston throwing g martin ma mart inis is in the face of o all al and sundry and said hello he o to a brand new ew opening ope ng sequence where you, the beautiful audience, can pretend she’s splashing her juices over your very own visage. The drama of ‘will Bombshell make it to broadway’ ay was removed because we all knew it would and an even newer brand new musical Hit List was introduced along g with its own band of misfits.

The Th e decision to put Ji Jimmy, y, leader eade of the misfits, is ts, front ont and centre was one o of the biggest flaws aws of Season Two. Jimmy y was meant to come across as tough ug and edgy, gy, a boy y with a troubled pa past but with th the heart of a poet. But his constant hissy sy fits about changes ge to his art jjust made him look petul ulant. Along with Jimmy came his p pet Kyle Goblinweed who’s soul purpose was to look doe eyed ey at Jimmy y whilst he, e, Jimmy, my, slapped appe his dick across Kyle’s Ky face (if (i Karen was unavailable) unt until his is eventual eventua Rent inspired nspired deat death.

However there is a soft (l (like Anjelica je Huston’s face)) space sp in our heart for SMASH. No one will be able to tell you y the story ry of Hit List or how performers pe were able to hop p between shows as though ug contracts were a dirty ty word that must never be mentioned. But even in all this nonsense there was almo most a great show that felt that it was just on the verge of being fully formed. Lets just hope that this doesn’t spell the end of adult musical drama on our TV and the continued success of Nashville will see do broadcasters coming back to this idea of small screen musicals again in a new and interesting way.

MUSICAL THEATRE TRAINING AT ITS FINEST ONE-YEAR FOUNDATION MUSICAL THEATRE BA [HONS] IN PERFORMANCE ACTOR MUSICIAN ONE-YEAR MA/PG DIPLOMA IN PERFORMANCE

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STEVEN WEBB THE JOKER PHOTOGRAPHY MATT CROCKETT WORDS BEN VIVIAN JONES

Steven Webb has a wealth of credits under his belt from theatre to screen, History Boys to Bad Girls, and all from the age of eight years old. Most recently he starred as the title role in the world premiere of Lionel Bart’s Quasimodo and set a world record of his very own.

Did you enjoy going back to where you started with another Lionel Bart musical?

My agent said, “They think you’ll be a great Quasimodo”, and I thought that was offensive! On the first day we were rehearsing in a church, aptly, and we did a sing through and it was a weird moment of thinking these have never been sung by a cast and it’s over fifty years old; it was incredible.

The design concept was really clever for the King’s Head - Lionel Bart wrote if for Drury Lane with eighty people and we were in the back of a pub with eight people.

This is the second Lionel Bart lead you’ve played isn’t it?

I did Oliver! when I was ten and Quasimodo is the second title character he’s ever written, so I’m the only person in the world to have played two Lionel Bart title characters.

How did you find the transition from panto into something more serious?

It was great, I love panto, I always manage to do really contrasting things in the year, which sort of earns me panto. I’m going back this year to do Jack and the Beanstalk.

Since Oliver! was Departure Lounge your first musical?

Yeah, I’m a huge Dougal Irvine fan; whenever I’m doing a gig I always sing one of his songs because they’re perfectly in my key. I’m either very low or very high and my middle range

is not quite there. I can either do Mariah Carey or Barry White.

I remember I first saw you in Bad Girls!

Ha ha!

That’s hilarious, no way!

That was a weird one, I did a few episodes in Series Three and then five years later they called me because they were writing the character back in but I had to re-audition for my own part because it had been so long. Being at the audition with other boys going up for the part was weird but luckily I got it again. Otherwise it would’ve been Like an Australian soap, hoping they won’t realise it’s a new actor.

So what’s on the cards next?

It’s a year long thing but we’re not allowed to talk about it. It’s gonna be the most exciting thing I’ve done (squirms trying to hold back the excitement)…that’s all I can say.

I never knew you were from “The Wirral”. You don’t have much of a…

Wirraly…accent.

Do I not? Ha, Wirraly…Wirralian…

Wirraleon? When I was eight I went to open auditions at the Liverpool Empire.

So you didn’t have stagey parents?

No, they wanted me to be a doctor or a lawyer. HIYA! (Waves in the overly camp way that every doctor and lawyer do…) They were supportive but they still think I’m gonna grow out of this phase.

Phase? You know that other thing?

It’s not a phase either!

Ha ha! Yeah exactly! Still gonna do that. I moved here when I was ten to go to Sylvia Young Theatre School but I never had much of an accent.

What has been your stagiest moment to date?

When I met Barbra Streisand backstage at her concert. I was taken into her dressing room and she held out her hand and said (in his best Barbra voice) “Oh hello darling”, and my response was, “Oh my god you actually talk like that!”. It just came out, so I just shut up and stood there. That’s stagey isn’t it?

Stagey?! I think you’re bordering on blasphemy.

I’m probably more stagey than I realise.

Who have you been most starstruck by?

I get star-strucked by sports stars as they’re such a different realm.

Who have you learnt most from working with?

Back in 2003 I did Midsummer Night’s Dream in Sheffield. So daunting; first time I’d done a Shakespeare and regional theatre, I was 18. Michael Grandage said I had to learn every line before I arrived…he meant your part…

I thought he meant the entirety of Midsummer Night’s Dream…I didn’t tell anyone I learnt the whole thing!

Samantha Spiro and Nancy Carrol, the two of those, seeing how they handled the text and how they worked changed my perception of everything, they inspired me to take things seriously.

And do they know now that you learnt the entire script?

No! When this is printed it will be the first time…

And what’s next? Tell us more about the Secret Theatre at the Lyric!

Well, basically it’s a company of 20 people (10 actors and 10 creatives) who have come together for a year to produce ‘Secret Theatre’. Which will be a year of shows in rep. We open 2 of them in the next two weeks and then add a third in October and so on. Until in spring next year we will have 6 or seven shows playing at once in rep. Some if the plays are classics , some new writing. But the audience will never know what they’ll be seeing as the titles of the shows are simply ‘show 1’, ‘show 2’ etc. we open show 1 in just nine days!! The 29th. I can’t wait to see what people think. It’s theatre that’s going to provoke and poke.

Some people will undoubtedly hate what we’re doing. But that’s fine by us.

We welcome any reaction as long as its strong. And we’re not afraid of failure!

After Secret Theatre Steven will be also appearing in Panto at the Lyric Hammersmith this year!

Follow @MrStevieWebb for more info or log onto http://www.lyric.co.uk/ for more on Secret Theatre.

THE SWINGERS KATY HARDS SAM LATHWOOD ROSIE HEATH BENJAMIN BROOK WE TALK TO THE OFTEN UNDERRATED, NEVER UNDERESTIMATED, SWINGS FROM FOUR OF THE WEST END’S BIGGEST SHOWS.

PHOTOGRAPHY MARK YEOMAN WORDS PETER HOLLAND SET DESIGN JOEL HARTHILL HAR AND MAKE UP ABBY NAYLOR / JANE BERGSTRÖM STYLING PERRY JUBY / BELINDA BISSONNETTE MCWILLIAMS

You’ve travelled all the way from Clacton on Sea on a stuffy crowded coach, you’ve endured having a strangers armpit thrust in your face during 26 agonising minutes on the tube, and you’ve tutted approximately 43 people who have cut in front of you, tripped you or barged into you whilst trying to elegantly cross Leicester Square... But it doesn’t matter. You’ve made it to the theatre and the moment you’ve waited for all day is nearly here. You’ve spent over the odds for your ticket, you’ve just been shafted on two glasses of wine, and you’re currently debating whether to spend the extra four quid to get a brochure instead of a programme... But imagine if half the cast had called in sick that evening.

We’ve all experienced the audible groan when the announcement blares over the audience ‘The role of the Phantom/Ms Trunchbull/Javert/Tracy Turnblad, will be played by...’ And the unnecessary disappointment before we often realise the understudy gives the performance of their life... But what happens if one of the twenty ensemble members is ill in Les Miserables, or one of many umbrella armed chorus members can’t make it to the theatre that night.... does the barricade get half built? Do the rain fall a little less?

Cue the Swing.

A team of swings behind every successful show are there, waiting, ready to swing into action at the first call of any problem to make sure you - the paying audience member, get the same show you read about in the glitzy reviews of the tabloids.... And you wouldn’t even notice.

We caught up with Katy Hards from A Chorus Line, Sam Lathwood from Hairspray, Rosie Heath from Mamma Mia & Benjamin Brook from The Book of Mormon.

First of all, what is a swing?

Sam: One of the most valued members of a cast!

Katy: We learn lots of different tracks (parts) in the show so that as soon as anyone goes of sick, injured or on holiday they have a replacement, so the show is exactly the same.

Ben: We have to be able to cover one or more part at any given time Rosie: we’re hardcore

But how does this differ from an understudy?

Ben: A swing has the responsibility of knowing the whole show, individual dialogue, harmonies , spacing, quick changes, back stage traffic....

Rosie: We have to learn everyone’s dance parts, including scene changes Sam: I cover four boys in my cast and have to be prepared to step on stage for any of them.

Katy: I cover seven girls on ‘the line’.

Ben: where as an understudy focuses on a main part - both of which are difficult.

That’s pretty tough - what does a swing do in rehearsals?

Katy: It’s the hardest time for a swing, whilst everyone else is being taught their one track, show swings hover round trying to learn everyone’sbits and not get in the way.

Sam: I did lots of writing, so many coloured pens, drawing out and learning all the choreography.

Rosie: We have what are called swing bibles, writing down what everyone does in the show.

Ben: I have had moments of thinking ‘S**** my brain is going to explode’ Do you have to work hard outside of the theatre to keep fit?

Ben: I workout before or between shows...

Katy: well to be honest I have a gym membership but I don’t go that often.

Sam: I’m lucky that I get to be on stage quite a lot so my fitness level maintains itself through the intense choreography Rosie: I have my own fitness regime I do at home most days.

So do you spend a lot of time waiting in the wings?

Rosie: I’m on all the time!!

Katy: It is so different week to week Ben: At the moment we are are all under a holidayrestriction so I’m making the most of chilling out.

Sam: I’m very lucky - I’ve been on stage consistentlyfor the past three weeks now Rosie: You get the odd day off every now and then, but never get bored.

CONTINUED

Doesn’t this swinging lark ever get confusing?

Sam: There’s always a little sense of panic at the start but you underestimate how much you know... Then you start to enjoy and relax as the show goes on Katy: You constantly have to think in advance of the number, who you are so that you don’t go on in someone else’s place or sing the wrong part.

Do you ever feel like the Swing gets forgotten? Or people just understand what you do?

Katy: Definitely! I think a lot of the time people assume that if you are a swing that you are not good enough to be a part - the reality is you have to be intelligent enough to play lots of parts and do it well enough so that the paying audience member would never know a difference.

Rosie: People forget how hard our job is.

Ben: The way I see our job is not for the glory, it’s about keeping the show going.

Sam: in my opinion, everybody should experience being a swing at least once in their career.

If you could put your keys in a bowl and swing for one night in another show what would it be?

Ben: Singin’ in the Rain to get soaking wet Rosie: We will Rock You - the music is just awesome Sam: Wicked!

Katy: it would have to be ‘Charlie and the Chocolate Factory’... Do they get free chocolate?

So come on spill the beans what really happens backstage?

Sam: Haha well that would be telling.

Rosie: We’re all very social, so if I’m off ill got and sit at the side of the stage.

Katy: We work through the show as different characters but most of the time we entertain each other.

Ben: Last week we tied a standby up and whipped him with a belt.... But that’s all I’m saying before I get us all fired!!

So there you have it, when you flick through your programme in the interval eating your overpriced tub of Cornish ice cream, have a look to see if you can spot some of the unsung heroes who quietly slip on and off stage, often unnoticed but always ensuring that the curtain rises and you get the show you’ve paid to see.

CYNTHIA ERIVO THE MUCH PRAISED STAR OF JOHN DOYLE’S PRODUCTION OF ‘THE COLOR PURPLE’ PHOTOGRAPHY MARK YEOMAN WORDS CHRIS CLEGG STYLING PERRY JUBY HAIR AND MAKEUP JANE BERGSTRÖM

LAST T I M E W E S PO K E TO YO U WAS JUST B E FO RE TH E SI ST ER ACT UK TO UR- H OW WAS T H AT EXPER I ENCE FO R YO U? Qui te f ra n kl y i t wa s a m a zi n g !! Not j u st b e ca us e o f the rol e bu t be c a u s e of t h e pe op le I g ot to wor k with som e of t h e a ma z i n g l ove l y p e op l e, we ki n da en d ed u p b e i n g a fa mil y a n d I m e t my g org e ou s pa rt ne r! !

Th e w h ol e t h in g wa s fu l l on , fa st pa ce a n d gl i t tery, it re al l y i s on e of t h os e m om e n t s i n t i m e t h at I ’ ll j u st neve r forge t i t .

YOU’R E NOW STARR I NG I N T H E CO LO R P UR P L E AT TH E M ENI ER CH O CO L AT E FACTO RY W H AT WAS I T TH AT AT T R AC T ED YO U TO T H I S SH OW? Th e stor y, th e j ou r n ey, t h e foc u s on wome n a nd th e ir lives a s in di v i du a l s . I love t h e way e ac h wom an h as the i r ow n st r u gg le ye t s om e h ow f i n ds st re n gt h w i th in to h e l p on e a n ot h e r t h rou g h , it s t h rou g h t h i s very thin g t h at t h e re l at i on s h i ps come ou t , s exu a li t y i s dis cove re d a n d expl ore d. I t ’s j u st s pe c i a l . Real l y, rea l l y s pe c i a l.

TH E SH OWS T H EM E’S I NC LUD E R AC E, SEXUA L IT Y, REL I G I O N AND ACCEP TANC E- H OW D O YO U T H IN K A SHOW SET IN THE EARLY 1900’S REFLECTS OR RELATES ISSUES I N O UR S O CI ET Y TO DAY? I thi n k i t re l ate s compl e te l y, t h e ti m e in w h i c h the play i s s e t , re al l y doe s n ’t c h a n ge t h e i m por t an ce of the i ss u e s con f ron te d. Th e s e a re i ss u e s t h at , eve n now, p e op l e st r u gg l e w i t h eve r yd ay. I t s my be l i ef that , eve n t h ou g h t h e a cce p t an ce of d i ffe re nces i s gett i n g be tte r eve r yday, we as a s oc i e t y st il l h ave a lo t of wor k to do, m ay be l e ss s o t h a n i n t h e e arly 190 0s bu t st i l l t h e re ’s wor k to be don e.

I ca n ’t di s p u te t h at we h ave com e a l on g way b ut the re a re d e fi n i te l y a few 100 odd mil e s to g o. To parap h ras e a kn ow n st ate me n t from a ca m pa i gn we l l known i n t h is are n a “I t ca n on ly ge t b e t te r ” .

CONTINUED CONT CO NTIN NT INUED IN

YOU N OW HAVE TH E SH OW I N FR O NT O F I T ’S F I RST EVER UK AUD IENC E, W H AT ’ S T H E REACT I O N L I KE, AND HOW D OES IT F EEL TO B R I NG T H I S CH AR AC T ER TO LIFE? The reac tio n has b e e n i n c re d i bl e a n d ove r w h e l mi n g , and I feel rather lu c ky to b e a pa r t of t h i s w h ol e eve n t of o ur s. It has b een t h e r i de of my l ife a n d I am so th an kful. It ’s time to ge t in to t h e fu l l sw i n g of th i n gs now I think .

THIS IS YOU R FIRST S H OW AT T H E CH O CO L AT E FACTORY, A FTER TO URI NG L ARGE H O USES FO R OVER A YEA R HOW DO YO U F EEL AB O UT B EI NG I N SU CH A S MA LL VE NUE? Ac tu ally EXTREME LY exci te d, t h e M e in e r h as s u c h a won d erful rep u tati on t h at I ’ m j u st gl a d to b e a pa rt of so mething they a re re s pon s i b l e for. I gu e ss for a show o f th is k in d t h e s i ze of t h e ve n u e c an on l y add to th e inten sity o f t h e p i e ce an d t h e h e at of t h e tim e and place, b ring it on I s ay !!!

YOU’VE A LWAYS H AD O NE FO OT I N T H E M USI C WORLD ALONG W I T H T H EAT RE- ARE YO U ST I L L WORKING ON YOUR OW N MAT ERI AL? T EL L US M O R E AB OUT THAT. Abso lu tely, still w r i t in g, p u t s i mpl y , wh e n I ’m n ot on sta ge, I’m o n st a g e if you s e e w h at I m e a n? I g ig qu ite a b it, mainly w i t h my ow n st u ff, I ’ve n eve r se e n any reaso n no t to. I l i ke t h e h a rd wor k an d I e n j oy t h e difference be twe en pe r for mi n g a s m e a n d b e i n g a cha rac ter. When th e re i s n ews you ’l l be t h e fi r st to know !

THIS IS YOUR SECO ND T I ME SH O OT I NG W I T H M WHAT’S IT LIKE TO B E B ACK ?

Eve n b etter than I re m e m b e r, I t s a b i t l i ke com i n g ba ck ho me excep t i n ste a d of j u m pi n g i n to s om e t h in g co mfy wh en yo u ge t t h rou gh t h e door, you s l i p i n to a pair o f 5/6 inch h e e l s , h a i r, make u p a n d g orge ous cloth es. I co uldn’t be h ap pi e r !

You can fol low Cyn th ia on twitte r @Cy n th ia EriVo

ON THE GO CAN’T SIT IN A THEATRE FOR HOURS? WANT TO SING A LONG ON THE TUB? LEAVING THE SHOW HUMMING? THEN LOAD UP YOUR IPOD WITH THE BEST OF THE THEATRE AND IT’S STARS.

LES MISÉRABLES: ORIGINAL MOTION PICTURE SOUNDTRACK The biggest musical movie in recent years, Les Misérables took the box office by storm in January.

The full soundtrack is now available – recorded live on set, as the production team like to remind us every chance they get! The recording, music by Boublil and Schönberg, includes the Academy Award nominated new song ‘Suddenly’, as well as all the other ‘hits’. It does take a step away from the many more legit stage recordings that have been released over the years, but Anne Hathaway’s heart wrenching rendition of ‘I Dreamed a Dream’ is worth the price of the album alone. Then men don’t all measure up, but if you can put up with some questionable casting, this is a must for Les Mis fans. (Also available is a ‘Highlights’ album).

Label: Universal Republic Records Release: December 2012

13: NYMT WEST END CAST RECORDING Directed by composer Jason Robert Brown himself, the National Youth Music Theatre cast recording of 13 is a strong album from the youthful cast. A charming show about the trials of becoming a teenager and the longing to fit in, while the cast lack the professional sheen of their Broadway counterparts their energy and talent is quite something. The album includes two previously unrecorded songs, as well as new lyrics and musical scoring. Definitely worth a listen.

Label: Ghostlight Records Release: December 2012

IT HAPPENS ALL THE TIME: MEGAN HILTY Star of Smash, Megan Hilty released her debut solo album in March. The album shows a different side of Hilty, famous for Broadway roles including Glinda in Wicked and Doralee Rhodes in 9 to 5: The Musical. With a nicely varied choice of songs, the album is an easy listen.

While it doesn’t always show off her powerhouse vocal talents, give it a shot. Label: Sony Masterworks Release: March 2013

BOMBSHELL: – ORIGINAL CAST RECORDING PIPPIN: NEW BROADWAY CAST RECORDING For the first time since it premiered over forty years ago, Pippin has been revived on Broadway.

With a score by writer of Wicked Stephen Schwartz, including the favourites ‘Magic to Do,’ ‘Glory’ and ‘Corner of the Sky,’ Pippin tells the story of a young prince on a death-defying journey to find meaning in his existence. Originally directed by Bob Fosse, this fresh look at Schwartz’s deeply conceptual musical will certainly make for interesting listening.

Label: Ghostlight Records Release: June 2013

For any musical theatre fan, the Golden Globe nominated NBC series Smash has become an addiction. Bombshell is the show, written by Marc Shaiman and Scott Wittman (writers of upcoming Charlie and the Chocolate Factory), that comes from the bitching, the infighting, and the belting that happens on a weekly basis on Smash. The first season followed the creation of a new musical about the life and death of Marilyn Monroe, climaxing in the Boston try out of the show. The second season picks up as Bombshell tries to transfer to Broadway, but of course there is more than a few bumps along the road.

With Megan Hilty and Katharine McPhee sharing the role of Marilyn, and appearances from Bernadette Peters, Anjelica Huston, Christian Borle, Nick Jonas and Debra Messing, the fulloriginal cast recording is quite something.

Label: Columbia Release: February 2013

ERIC WOOLFSON’S SOMEWHERE IN THE AUDIENCE Eric Woolfson is perhaps not the most mainstream of musical theatre composers, and is perhaps known for being part of the duo at the centre of progressive rock band The Alan Parsons Project. However, this abum is a selection of music from four of his musicals - Gaudi, Gambler, POE and Dancing Shadows (three of the songs from Dancing Shadows have never been recorded before!) Performed by some of musical theatre’s brightest stars from both sides of the pond, including Oliver Tompsett, Louise Dearman, Sharon D. Clarke, Steve Balsamo and Anna-Jane Casey, it’s a brilliant listen for all, whether you’re familiar with Woolfson’s work or not. Label: Limelight Records Release: March 2013

KINKY BOOTS: ORIGINAL BROADWAY CAST The stage adaptation of the cult British film Kinky Boots features a warm and witty book by Harvey Fierstein and a musical score from rock icon Cyndi Lauper, in her theatrical debut. Directed and choreographed by Jerry Mitchell, the story follows Charlie Price who has suddenly inherited his father’s shoe factory, and the fabulous drag queen Lola. The unlikely pair finds they have more in common than they thought, and together inspire each other to succeed. On the album, Stark Sands plays Charlie Price and Billy Porter plays Lola. Which a team like that, how could this not be a whole load of wonderful, with a sparkly helping of camp on the side?

Label: Masterworks Broadway Release: May 2013

FOR MORE RE;VIEWS, OFF-WEST END, UK TOURS AND MORE LOG ON TO WEAREMMAG.COM

BEHIND THE MASK WEST END PRODUCER. EXCLUSIVELY FOR M. PHOTOGRAPHY MATT CROCKETT WORDS JONATHAN VICKERS

I’m willing to bet all the money in my pocket (the princely sum of £2.67) that if you’re reading this, you have heard of twitter’s most infamous theatrical tweeter: @westendproducer.

He is illusive, articulate and incredibly likeable, while his thorough knowledge of the business, coupled with his unrelenting and often acerbic wit, makes him a powerful influence on an industry that is addicted to social media as an outlet for comment and debate; But how did it all begin?

“A few years ago, in one particular project I was involved in, I was struck by how ‘down’ everyone was,” he offers. “People’s enjoyment in the art had seemed to disappear, and I wanted to remind everyone of what a fun, energetic, and marvelous business we work in. Yes it is hard, and yes it is a job – but some people were just taking themselves far too seriously; I wanted to remind people of the hilarity and joy they should be getting from theatre and show business.

It is such a ridiculous industry, and like any other is full of politics, rules and hierarchy – and I wanted to voice that.”

There have been names floated, assumptions made and several fact scrutinised but the truth of the matter is, even after over two years of searching, we’re all still completely in the dark as to who the self-proclaimed “theatrical impresario” is. Even with over 30,000 loyal followers, he still manages operate under a veil of anonymity.

“It allows me to be truthful. If you give anyone a mask they will have no fear to tell the truth. Being anonymous allows me to be honest about everything I know about theatre and entertainment, without fear of colleagues feeling threatened by what I say. Although in honesty I never say anything hurtful – I only ever want to tweet things that help, support, and nourish theatre: It is my passion; my work; my love.”

As in any walk of life actions speak louder than words, and as @WestEndProducer’s fan base has grown, he has utilised his considerable influence to champion young talent within the business he so vocally seeks to promote. “(Promoting young talent) is hugely important. It is one of my passions, hence Search for a Twitter Star last year, and Search for a Twitter Composer this year.”

His first “twitter venture” was a huge success at London’s Lyric Theatre and was the first entirely ‘tweet friendly’ performance, encouraging the audience to tweet throughout)

CONTINUED

“New talent of any kind has a difficult job – now more so than ever. Competition is huge, jobs are in demand, and making a name for yourself is hugely important.

I find these days that the quality of performers is incredible. It really is awe-inspiring.

And there are so many new voices and raw individuals that need to be helped so their talent can reach a new audience. It’s simple: new talent needs a new audience, and new audiences need new talent.”

You do get the sense that this is a man, or woman, that relishes their new found online status in the best of ways seeing the potential & good his character has made, and that social media in general, can have a positive effect on the business.

“Social media is a marvelous tool. It is fabulous for marketing, promoting, and making new contacts. It is also used by everyone – and used correctly can be an excellent tool for performers and creative - to market themselves, and create their own personal audience. Most importantly, however, it is fun.

People share their thoughts, upload naughty images, and say things that they perhaps shouldn’t, dear.”

To anyone who monitors his tweets on a regular basis @westendproducer is well informed as to the inner-workings of the business, adding to the industry’s desire to listen and respond to his feelings about the condition of professional theatre today. He is enthusiastic: “The West End is in a very good place. There has been a huge resurgence in every kind of theatre in the West End recently – bringing new work, revivals and work from across the world to a wider audience. Of course financially it is more expensive than ever to mount a show in London, and this sadly has reflected on ticket prices. However, the biggest indicator about the continued success of theatre is that in 2012 West End theatre revenues were higher by 3.1% than the year before – to £528,375,874.

And there has been year-on-year growth for the past eight years.This year is a very exciting one – with lots of marvelous new shows opening and premiering in London. We are the theatre capital of the world. And it is a thrilling time to be involved in it, dear.”

I ask him if he sees his account as comedic or satirical: “My Jean Valjean teddy says I am comedic. My Lloyd Webber glove puppet says I am satirical. I, however, just think I’m honest.”

And with that he tells me he has to end our online exchange: He informs me that he needs to call Sondheim about their new project; he has just finished the finale of Free Willy – The Musical and he believes that “ ‘My Willy Is Free’ may be his strongest work to date, dear.”

Am I any closer to knowing who the West End Producer is? No. But Even if I did know I wouldn’t say a word; he’s still got a lot to say, and who am I to ruin the fun, dear?

LOUISE DEARMAN A GOOD WITCH OR A BAD WITCH, WHICH?

PHOTOGRAPHY PREDRAG PAJDIC STYLING ELIZABETH MCGORIAN HAIR AND MAKE UP NINA VAN HOUTEN WORDS PERRY JUBY SHOT ON LOCATION AT THE ROYAL INSTITUE OF BRITISH ARCHITECTS www.architecture.com

So it’s a Tuesday morning and we at M are very excited to be meeting and shooting with Louise Dearman. There is just one problem; we’ve accidentally sent her to the wrong location. Maybe.

We‘re not sure. But in just the blink of an eye, though, she arrives. Whether she arrived by bubble or broom we daren’t ask, but we were greeted by a warm smile and the reassurance this shoot would turn out amazingly.

“

“

HOW CAN I CALL THIS MY JOB? SOMETHING I LOVE SO MUCH. Louise has come a long way from her first professional job as the narrator in Joseph, an experience she is incredibly grateful for. ‘It was crazy. I graduated Laine Theatre Arts on the Friday and was off to Swansea to start rehearsals on the Sunday. I was very lucky to get my first job so fast’. Joseph also holds a special place in Louise’s heart, as it was also one of the first West End shows she ever saw.

Musical Theatre is something so special to her, that even after a list of credits that include Evita, Guys and Dolls, Kiss Me Kate and Jekyll and Hyde she can’t quite believe it’s her real job, ‘How can I call this my job? Something I love so much. Just having the opportunity to make a career out of what was just a hobby at one point?’

Wicked is the show that has skyrocketed Louise into a fandom even she was taken aback by. On the M set, Louise was very complimentary of the fan support and when asked why she thought Wicked was such a success, responded with, ‘We are in our 7th year here in London so we must be doing something right. The audiences go crazy every night and that’s because every element of the show is so breathtaking. The wonderful music, fabulous costumes, set design and the characters who truly draw you in and take you on a very special journey for two and a half hours.

The audience laughs, they cry and the reaction is always overwhelming at the end, that’s what’s important.’

Louise’s star turn as Elphaba in Wicked is not completely new to her, as she already won audiences over with her portrayal as G(a)linda, the other central female character in the show.

Louise is the only ever person to have played both roles and has done so to critical acclaim. When asked which character she preferred to play, Louise really couldn’t decide. ‘Playing Glinda was such fun. I love comedy and playing her really quenched my thirst for that. Also, to explore the soprano part of my voice was a challenge and a big change for me. I love all that Elphaba stands for: being yourself and not following the crowd, standing up for what is right and sticking up for others. On top of that, the obvious thrill of playing Elphaba is the chance to sing those incredible showstoppers. I love them both.’

Being back in Wicked at the Victoria Apolloi may not have been a first, but what we were about to ask from Louise was. We proposed the idea of draping her in a vintage red dress and cape down a public stairway. Well, of course, she was more than happy to comply and loved the idea. During her time lying down on the staircase Louise kept us entertained by asking passers-by to join her, and even asking one for help, proclaiming that she had just fell.

When asked how the shoot went Louise told us, ‘I have had such an amazing day at the photoshoot for M. I feel like a 1950’s movie star! This is my idea of heaven: the clothes, the make-up and the glamour. It’s been a very dramatic shoot and I can’t wait to see the outcome.’ It’s not only this, but Louise feels passionate about the cause. ‘M magazine is a must for anyone who loves music and theatre. There is nothing else quite like it out there.

It offers that glossy magazine look with photoshoots of your favourite theatre stars with detailed interviews.

It’s going to grow and grow and I’m very proud to have been a part of it.’

In response to that, Louise, we are proud to have you.

Louise can be followed on twitter @LouiseDearman and for more information on Louise’s album and upcoming book visit louisedearman. com

LEON COOKE TALENT PHOTOGRAPHY MATT CROCKETT

WE DECIDED, BECAUSE WE CAN, THAT WE WON’T ASK LEON, CURRENTLY STARRING IN BARNUM, ANY QUESTIONS. WE’LL JUST LOOK AT HIM. AND WE ARE HAPPY WITH THAT CHOICE.

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P E R F O R M A N C E | E D I TO R I A L | P O RT R A I T

W W W. M AT T C R O C K E T T . C O M

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