Spotlight On… Sandra Huggett

sandra1
Photo Credit: Curtis Brown

Actress, Sandra Huggett first found fame as Holly Hart, daughter of the central family in Channel Five’s Family Affairs. She continued to enjoy a successful career over on BBC One in Casualty, again playing a character called Holly!

Sandra has joined the cast of In The Club on BBC One playing the mouthy yet loveable, Maxine. The character’s storyline has been at the heart of the series, so far and the part of Maxine has enabled us to see a different side to Sandra’s acting ability. I caught up with the lady herself to discuss her latest role and chat about her career to date.

Sandra, thank you so much for talking to Break A Leg Review, how are you enjoying playing such a different role in In The Club?

I’ve really enjoyed it, it’s hard to explain how brilliant it’s been. For any actor to play someone so different is really exciting. Doing something different challenges you as an actor and having to do homework and research is great. I had watched the first series and loved the show, I’m also a big fan of Kay’s (Kay Mellor) writing. It was thrilling and I felt lucky to get it.

What was it like joining an established cast?

It was daunting, but I’d worked with Lorraine Cheshire (Geraldine in the show) before, I’d also worked with Jonathan Kerrigan and Will Mellor in Casualty. Working with Lorraine Cheshire again was quite exciting, especially as I knew our characters had a lot to do with each other. When I met all of the other cast members they were very welcoming and down to earth, they were looking forward to having new characters join the cast. We are like a family and it’s such an unusual scenario when you film a series like this, you bond very quickly and create a lovely network.

What’s been your favourite memory from filming the series?

My favourite scene was from episode four, the scene where the Social Worker tells Maxine that she might not be able to take her baby home. It hadn’t occurred to Maxine that she wouldn’t be able to take her baby home. Prior to this you see the idea, execution and the idea failing all very quickly and in real-time. She thinks she can take him home and doesn’t realise that she could be locked up for what she’s done. Her anger comes out first, followed by remorse, and luckily it all clicked for me in the end so I was relieved.

Kay said that the character of Maxine had to be liked by the viewers from the start, so that they would empathise with her later on. Kay does it so brilliantly that all I had to do was say the words. She has a clear idea of who she wants to cast, and her scripts also give a clear idea of who she is looking for. From reading the script, I knew what I wanted Maxine to look like.

Holly Hart in Family Affairs followed by Holly Miles in Casualty, what are your memories of those brilliant roles?

They were both brilliant jobs, Family Affairs was my first television job out of drama school. It was 2 years of 12 hour days, we drove ourselves to and from the studios, too. Upon leaving drama school I had received a tiny bit of TV technique training, but had mostly been trained for the theatre. Being in Family Affairs was like going to TV school! I learned so much, it was an amazing experience and I was devastated when we all got blown up on a boat!

As for Casualty, I was over the moon to get the job. I loved the character and I kept learning. It’s been 17 years and people still talk about Holly, I had some lovely storylines with Ian Kelsey, too.

What or who inspired you to become an actress?

Julie Walters was my inspiration, I loved As Seen on TV with Victoria Wood. I also loved Educating Rita, Julie can play anything from comedy to drama.

When I was 14 or 15 years old I auditioned for the school play as they needed a couple of extra actors. I auditioned to be Shona in Top Girls and I remember the first night of the show, the audience reaction to my scene, everybody laughed and I knew that’s what I wanted to do. I spoke to my Drama teacher because I wasn’t taking GCSE Drama, but he said I could do A Level Drama, anyway. I loved comedy, I loved comedians and that was what initially connected me.

Are there any roles that you’ve a particular ambition to play?

I’ve always wanted to do television and those roles are generally unwritten, more particular roles are usually in the theatre. I’ve always wanted to do comedy, so it’s more about the genre that I have an ambition to play than the role.

What’s next for you?

Praying each night for series three of In The Club! I’m not doing anything at the moment, but I’m hoping for more exciting work. I haven’t done theatre for a long time because it’s difficult when you have a small child, although I’m certainly open to doing theatre.

I really love British drama at the moment, it’s at a real high.

Thanks to Sandra for her time and a great insight into her fantastic career, long may you reign in comedy roles and otherwise, Sandra!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Feature Photo credit: Rollem/Matt Squire – For BBC

Advertisements

Spotlight on… Liz Robertson

In the 1990’s I was as regular a theatre goer as ever, thanks to theatre-loving parents – but one production captured my imagination above others, courtesy of one performer whose portrayal of Maria equalled that of Julie Andrews, in my humble opinion.

madame-giry
Photo Credit: Yousearch

Obviously, The Sound of Music was the show in question and the actress? Liz Robertson! I’ve followed her career and watched her play Madame Giry in Phantom of the Opera and Velma Von Tussle in Hairspray, as well as many other roles over the years. So it is with great pleasure that I present my Spotlight On… Liz Robertson!

Recently you’ve played Valerie Hobson, performed your one woman show Songs from My Trunk and taught a master class. How are you enjoying the variety and what have been your highlights over the past twelve months?

One of the great things that comes with age is the knowledge that if you don’t try things now they may never come your way again. Valerie Hobson as a one woman show was very scary, no one to bounce off and no songs to hide behind, but I can honestly say it has been a piece I am very proud of. I am about to take the show to Southwold Festival and revisiting her after a year has been illuminating. I have found different aspects of her character since the first performance over 2 years ago. Performing cabaret is another leap of faith. It has challenged me but the trick is to be yourself up there, and that’s not easy when you hide behind the role you are playing. I am working on a new show called Lerner without Loewe. I start rehearsals in New York in July and will perform it in that great city at 54 Below in October. Master classes are a joy. To see that raw talent in front of you is so exciting. The pupils are like sponges soaking up your ideas and comments.

You are THE Madame Giry for me, what are your memories of appearing in Love Never Dies and how did playing Madame Giry in Phantom compare with playing her in Love Never Dies?

Playing Madam Giry in Love Never Dies was testing. I was the only principal cast after the album had been recorded so the first day of rehearsals was terrifying. We started from the top of the show and ran through to the end and as you know it is all sung through, I just about held my own. However, having said that working with Jack O’Brien was one of the best experiences of my professional life. To be in at the birth of a new show is thrilling and to have a director who is so sympatico was heaven. Playing Madam Giry in Phantom at Her Majesty’s was a completely different experience. I was the, God knows what number take over, so the directorial needs that an actor craves were sadly, lacking. It is completely understandable, as important as a new cast is the finer points are often glossed over due to lack of time, or ennui. Thank goodness for Gillian Lynne who cracked the whip when she came to rehearse us. She opened my eyes to a role I had been playing for at least a month. Performing the role for the 25th Anniversary at the Royal Albert Hall was a highlight in my long life in showbiz. The attention we all received was bar none and, I think it showed.

What has been your favourite role to date and are there any particular roles you still have an ambition to play?

My favourite roles are Eliza and Mrs Anna. Both are feisty ladies and yet each completely different. Where as Higgins is the catalyst to make Eliza bloom she also changes the professor. Anna though is trying to bring the King into the western way of thinking and it doesn’t work.

Do you have a best-loved musical number to sing?

My favourite song is whatever one I am singing at that moment. I am looking to find new ways to present old songs. It’s fun.

What are the main differences you find between working with a company and a one woman show and do you prefer one or the other?

Working in a company you have a ready-made family who you live and depend on. A one woman show, you are on your own but then the only person you can let down is yourself. There are both enjoyable in their own ways.

When you take on a new role, how and where do you start? Do you have a personal process?

Every role starts with the script which I devour trying to get a handle on the character. But with me the wig and costume is the day I hopefully find her. I would love to revisit Eliza, I was 24 when I was cast and very inexperienced in acting. What I would do with her now! But I am too old. Heigho.

If you hadn’t become a performer, where do you think you career might have taken you?

I had briefly toyed with becoming a speech therapist but luckily for any future patients that never happened.

Favourite things (can I have your first reactions to these questions, please?):

Favourite hobby?

Long walks.

Favourite film?

I Know Where I’m Going starring a young Wendy Hiller.

Favourite time of year?

Spring.

Favourite holiday destination?

Well I am loving Italy where I am now

Favourite restaurant?

My husband’s kitchen!

Thanks to Liz for sparing the time to make this blogger’s dream come true! Wishing every success to you with your projects.

 

 

Spotlight On… The Little Gardener’s Director, Eva Sampson

The Little Gardener is set to bring an innovative take on theatre for children, an adaptation of Emily Hughes’ popular book, it will be going on a short tour. very soon.

I chatted to Eva Sampson who directs the piece, information about the show is below and you can find the list of venues here:

Performance Dates   
7th – 8th June: Lyric Hammersmith     King Street, Lyric Square, London, W6 0QL
25th – 27th June: Greenwich and Docklands International Festival
2nd – 3rd July: Watford Palace Theatre 20 Clarendon Road, Watford, Hertfordshire, WD17 1JZ
17th July: Latitude Festival Henham Park, Southwold, Suffolk
29th – 30th July: Stockwood Discovery Centre Stockwood Park, London Road, Luton, LU14LX

Performed inside a large glass box, containing a real-life garden, How It Ended, a visually inventive theatre company, tell the story of a little gardener and the garden that meant everything to him. The audience will be invited to tend to the garden while the little gardener is sleeping and, through their work (basic tasks such as planting and watering), the garden will come alive. The performance is as playful as it is inventive, featuring puppetry (in the form of the little gardener and his pet worm), and an original soundtrack composed by Darren Clark.

Hi Eva, thank you for talking to Break A Leg Review, where did the inspiration come from to transform Emily Hughes’ book The Little Gardner into an interactive piece of theatre?

We’re big fans of Emily’s books – she’s such a wonderful artist and a real joy to collaborate with. We’ve worked with Emily before on an adaptation of her debut book Wild which we workshopped last year.

The Little Gardener tells the story of a little gardener and the garden that meant everything to him. He worked very hard but he was just too little to make a difference (or at least he felt he was). One night, The Little Gardener makes a wish “for a little bit of help” and as he sleeps the local children  – inspired by his garden, help bring it to life. The gardener wakes to find his garden in full glorious bloom.  It’s a beautiful story and with such a poignant metaphor – you can’t help but feel inspired by it.

The Little Gardener to me, felt like perfect subject material for adaptation, particularly outdoor theatre – not only because of it’s outdoor / garden setting but because of it’s message; community and the active goodwill of others, has the power to give us hope. It seemed only right for the play to be set inside a large greenhouse! The majority of the piece will be viewed from outside the box, with audience members peering in. However when the little gardener falls asleep, the doors of the greenhouse will open allowing children from the audience inside to tend to the garden whilst he is sleeping.

I think it’s so important that your theatrical concept comes from a place of truth within your story – and this feels really truthful, as though it shouldn’t be done any other way.

How did you go about making the transition from book to your piece?

Well, the transition is still ongoing as we open the show on the 7th June, so we’re all very much in the thick of it!  Before entering into rehearsals we spent a lot of time working on the design concept and the dramaturgy for the production. I believe that if I have done the ‘homework’ beforehand, then I can enter the rehearsal room with the freedom to play and be as open as possible to discover new ideas/throw old ones out the window. It’s really important to us that the book’s images are re-imagined so that our audiences do not see a literal representation of the book played out in front of them. We believe in creating non-patronising, playfully inventive pieces which encourage children to use their imaginations.

Emily’s work is so richly layered that there’s always plenty to explore. Reading a book is obviously a very different experience to watching a stage show.  The reader can sit and gaze at a page – awash with colour and imagery for as long as they want, in the theatre we have steer that gaze and invite audiences into this ‘new world’ on stage, where these much-loved characters come to life.

Did you have certain spaces in mind to perform the productions, in? Were you looking for anywhere in particular to fit your own idea?
The great thing about setting the show in a large greenhouse is that it is a self-contained performance space, so we can essentially take the show anywhere, whether it be on Watford High Street or leafy Latitude!
Is this a new way of directing for you? Or have you done something similar in the past?
Over recent years, most my work has been aimed a children and young people. I’ve also directed several interactive pieces, now, working with great companies such as Look Left Look Right and Defibrillator. Making this kind of work presents some logistical challenges but essentially my approach is the same, it’s about telling a story and doing that as playfully and inventively as possible.
What led you towards a career as a Director?

I originally trained as an actor at East 15 but it wasn’t long before I took up directing. As an actor I was always more pre-occupied with the kind of ‘pictures’ we were making and the overall vision of the piece. I then began Assistant and Associate Directing as much as I could – I wanted to learn from directors I admired and respected. During the first couple of years I learnt that half of the job is about managing the ’temperature’ of the room and making sure that a company feels as comfortable as possible, so that they can be more open and playful.

Thanks to Eva for an insightful discussion, we wish every success to the production.

Featured Image Credit: Eva Sampson

Made in Dagenham ~ Wolverhampton Grand Theatre

Not for nothing are West Bromcwich Operatic Society winners of Best Am Dram Company 2016. With a strong cast which featured a talented cast of Principals, some of whom are regulars for the society and some not so well known faces, Made in Dagenham was a night at the theatre to remember.

The show is based on the film which was inspired by a true story which is set in Essex and based women getting equal pay in comparison to men, these women work in the stitching room at Ford in Dagenham’s car plant. There is a resplendent set, part of which is from the West End show itself and as ever, WBOS have the best orchestra behind them,

There are some splendid ensemble numbers which showcase the society, such as Busy Women, This Is What We Want and Everybody Out. Then there are a couple of excellent opportunities for the principals to shine, notably Same Old Story which is Connie’s big number (Connie is played by Eileen Woolley. Also, Ideal World performed by Sarah Moors as Barbara Castle. There is no doubt that Rachel Davies, who plays Rita O’Grady leads incredibly well in the role that actress, Gemma Arterton made her own in the West End production. Kudos also must go to Lorraine Foggin as Beryl, who f’s and blinds effortlessly and enough to make one realise that the sentences she speaks which contain the expletives, would not be the same without such words!

It’s a musical which not only has catchy and heart wrenching numbers, but also a script which builds the characters’ relationships slowly and meaningfully. I’m sorry to have  missed it in the West End, but I think that it was brought to life brilliantly by one of the most capable amateur societies.

You can still buy your tickets to see it: http://www.grandtheatre.co.uk/whats-on/musicals/made-in-dagenham/ it’s on until Saturday 28th May.

 

 

Spotlight On… Vicky Pegram

Strange Land is coming to Chelsea Theatre from 26th – 28th May and I caught up with Vicky Pegram to chat about her characters and see what she would say to promote their amazing production.

Tell me about the character(s) you play and what you find to be most interesting about the role(s).

I play Bianka, Lea’s aunt, and Nurse 1. I have found the roles to be very interesting and fun as I need to develop characteristics true to the characters, but also show how the two roles differ from one another.

What’s your favourite part of the production?

The favourite part of the production is scene 2. It experiments with using physical theatre techniques to emphasise the claustrophobia and discomfort of a train carriage.

Is there another role that you could see yourself playing? If so, which one and why that part?

Each of us, with the exception of those playing Lea, play multiple characters of different ages, therefore, we all have the opportunity to explore different characters and physicalisations.

What’s been the best part of being involved on the production?

My favourite part of the production has been the rehearsal process. Every member of the cast and production team have been a joy to work with, each bringing their own creative ideas and imagination to make this show as spectacular as possible.

What would you say to potential audience members to encourage them to come along and see you?

The talent of the cast and production team have brought this dystopian world to life. German expressionism combined with modern day musical theatre techniques make this show relevant, yet interesting, to the contemporary audience. You will be taken on an intriguing journey mixed with comedy and emotion enhanced by the folk music and clever lyrics written especially for this boundary breaking show.

Many thanks to you, Vicky – enjoy!

 

Spotlight On… Sini Tuulia

Strange Land is coming to Chelsea Theatre from 26th – 28th May and I caught up with Sini Tuulia to chat about her characters and see what she would say to promote their amazing production.

Tell me about the character(s) you play and what you find to be most interesting about the role(s).

 have three different roles (excluding the full company scenes): Dancing girl, Nurse, and Evalina the main leader of the revolt. As one of the dancing girls I get to be part of the world that the war hasn’t yet touched as a young, naive girl whose main worry is to be liked by her friends ad obviously boys. 

As Nurse I get to play a complete different character, as she’s utterly and completely exposed to the war and all that it does to the men in it. This allows me to explore how the war perhaps secondarily would have affected the nurses; they are not in the front line with the guns, but they have to deal with the aftermath, with all the death and sorrow and despair. Compared to the dancing girl in the first scene, the abstract, dream like qualities inspired by German expressionism are much more present in this hospital scenario. The jump from lightly heightened naturalism to this world, where scary and monstrous things are expected, is quite shocking for the audience but really inspiring for acting; playing with physicality and the expressionist idea of sharing your inner world on stage is in a much bigger part than any previous productions that I have been part of. 

Evalina, the main leader of the revolt has been the most interesting and challenging part of these three. I get to work with calming, direct energy but the objective is still to get the crowd inspired and ready to leave the safeness of everyday life through the revolt. The most rewarding part has been creating a past for the characters and playing with how it effects the present moment and the speeches. All the characters are so different physically and emotionally and exploring with these has been the most inspiring part of the production.

What’s your favourite part of the production? 

I’ve really enjoyed working with new text, new music and devising physical theatre. It’s challenging and exciting to work with cleaverly written text and music.

Is there another role that you could see yourself playing? If so, which one and why that part?

The expressionist influence on the show (protagonist that the narrative is based around) but the message of the show is actually about everything else that happens around her, the audience gets emotionally attached to her which enhances the political message. This is why I think anyone could basically be playing everyone, but the roles that we have now are the most suitable for us all.   

What’s been the best part of being involved on the production?

I’ve enjoyed working and devising with such a big cast. The amount of talent that I am surrounded with allows such a creative and supportive atmosphere to have fun and work in. The musical arrangements and new songs by Tim Gilvin are amazing, and singing those has been so so enjoyable. Working with Tim, Cathy and Jo is and has always been creatively and intellectually stimulating and enjoyable. Such a lovely process with such lovely and funny people!

What would you say to potential audience members to encourage them to come along and see you?

A great amount of young aspiring talent. The writing and direction of this new musical is revolutionary, emotional and intellectually challenging with great music. The dance style is an amalgamation of traditional and contemporary moves made relevant for today’s audiences.

Thanks Sini, have fun with the show!

Spotlight On… Allana O’Neill

Strange Land is coming to Chelsea Theatre from 26th – 28th May and I caught up with Allana O’Neill to chat about her characters and see what she would say to promote their amazing production.

Tell me about the character(s) you play and what you find to be most interesting about the role(s).

I am honoured to play Lea in our production of Strange Land. She is a young girl who is certain that there is more to life than her small town and she is determined to find out what is out there for her. She is head strong and opinionated, but also quite immature and has wild romantic notions that get her in trouble. She is compassionate and caring, she falls in love and then just as quick moves on to someone new. She cares for others more than herself and in the end, this is her greatest flaw. I don’t want to say much and give it all away, get your tickets and all will be revealed!

The most interesting part about playing this role is that I found so much of myself in Lea. I love her humour and wit, I can relate to her thoughts about seeing the world and spreading her wings. I think the hard part was to make sure I wasn’t just me on stage, that no matter how alike I may think we are, Lea is a character and is fictional. I realise I sound crazy now. I’m not I promise!

What’s your favourite part of the production?

My favourite part of the production has to be the train scene. I love the physical theatre element, I love the lyrics of the solo lines and the reactions of other passengers. Everyone can relate to an uncomfortable train journey, all arm pits and loud earphones. This train journey is different however, the awkwardness and intolerance of each other is portrayed through movement and I think it is extremely effective way of telling a story.

Is there another role that you could see yourself playing? If so, which one and why that part?

I could definitely see myself playing the role of the bosses wife! She is aggressive, drunk and loud. All character traits that I think I would be quite good at playing!

What’s been the best part of being involved on the production?

I can’t name a specific part that has made my involvement in this production so amazing, there are so many different elements I could mention. I could say the best part is the fact that everyone has an important part to play. As the main character, Lea isn’t the main focus in every scene which means there is opportunity for other characters to tell the story and have their say. As a cast, this brought us closer together as it’s not just male lead, female lead and then ensemble members that walk on and off in the background. Everyone is a character and the show could not go on without each and every person. This is interesting from an audience perspective as it’s not the same person singing or talking all the time. I could say the best part was working under the direction of Cathy Rosario and Tim Gilvin, the composer of the score. To get a chance to work with industry professionals is an amazing opportunity and as a cast we are so privileged to have such talented individuals in our company. On a selfish note, I could also say that the best part of being involved in this production is that for the first time in my performance career, I have the lead role. I am still in shock that I was trusted to lead such a diverse and gifted cast and I will be eternally grateful to have the honour to do so. Also for the first time in my training, I have the most amazing costume that isn’t dodgy looking or smelly. Quite an achievement! I loved this whole process for all the reasons above and more but most importantly this was truly a company effort, the cast is a family and Strange Land is the product of a rehearsal process filled with laughs, love, the odd fist fight and so much dedication.

What would you say to potential audience members to encourage them to come along and see you?

I would say try something new. When you go to see Cats or Guys and Dolls, you know what you’re going to see. Coming to Strange Land will be an experience you won’t forget! The unique story, the breath taking score and the cleverly written lyrics are just one element of an amazing production that you won’t want to miss out on. From a biased point of view, I’ve seen how much work has gone into this production. I could go on and on about how great it is but I’d rather you see for yourself! See an extremely talented cast bring a new story to life!

Thank you for your time, Allana – break a leg!

Spotlight On… Amber Marley

Strange Land is coming to Chelsea Theatre from 26th – 28th May and I caught up with Amber Maddison to chat about her characters and see what she would say to promote their amazing production.

Tell me about the character(s) you play and what you find to be most interesting about the role(s).

I play Frieda, Lea’s Nursing friend she is a very boisterous character and is extremely confident, so it is really fun to play her, and considering its an original production I get to really make her my own, alike all of the other cast members. I also have featured roles as a nurse and factory worker which has allowed me to explore the different physicality’s and personalities of each character individually.

What’s your favourite part of the production?

My favourite part of the production is Scene 7 where the entire cast are involved, it’s quite a still scene and explores the politics of the show which makes the production different to many others, we also spent a lot of time on this scene in particular towards our characterisation.

Is there another role that you could see yourself playing? If so, which one and why that part?

I don’t know really, I think I suit the characters I have been given, and I get the chance to show many different sides of my acting.

What’s been the best part of being involved on the production? Also, what would you say to potential audience members to encourage them to come along and see you?

Its been a very collaborative production, and I have also had the chance of being dance captain again which is something that I wish to pursue in the future. We have had a lot of free rein with our characters and since it is a newly written show we have been able to discuss options and take risks during rehearsals with our director. I have also thoroughly enjoyed working with Tim Gilvin our Musical Director for the first time and to sing originally written music is something extremely new to me and I would love the chance to do it again. Although the choreography is minimal the best thing about it is, that it pushes the plot forward creating a very integrated and contextual musical. Jo Roots’ choreography inspired by Frantic Assembly, Lloyd Newson and Pina Bausch has helped create a boundary breaking piece of german expressionist theatre that can be enjoyed by anyone.

Many thanks to you, Amber – a pleasure to interview you!

Spotlight On… Matt Spencer

Strange Land is coming to Chelsea Theatre from 26th – 28th May and I caught up with Matt Spencer to chat about his characters and see what he would say to promote their amazing production.

Tell me about the character(s) you play and what you find to be most interesting about the role(s).

So I play three parts throughout Strange Land, as do many other members of the cast. My two main parts are Severin an army soldier and Max a factory worker which contrast each other nicely. I find both characters rather interesting to play, normally type cast as the comedy guy I have been challenged to do a lot of straight acting. Severin believes that he is a war hero, until he meets his sudden end – but alas! Severin is soon pieced back together again almost like a Frankenstein moment. It’s really interesting to play such a creative part, I get to die and then come back to life all Torchwood like. Max is very much an artist. He has a way with words, in contrast to his colleagues he has a vision of the world in which he wants to live in, the way he describes what he see’s is fine poetry and through the clever writing of one of my monologues by Cathy Rosario it feels like a pleasure to bring her words to life.

What’s your favourite part of the production?

What’s my favourite part of the production? It has to be the finale number. The whole sense of community through out the whole cast and the closure of the story line in a beautiful song with meaningful lyrics created by Tim Gilvin. It brings such a lovely ending to such a clever story line with so many twists and turns from the beginning.

Is there another role that you could see yourself playing? If so, which one and why that part?

I would love to play the character of Kurt. The song he sings with Lea is such a nice song. Possibly one of my favourite songs in the show. Kurt has to deliver a speech to his fellow factory workers about some of the experiences he has been through since the break out of the war. Robbie who plays Kurt recites this speech so beautifully it just touches you and you can see everything he is saying. I have totally got that monologue added to my repertoire right now though!

What’s been the best part of being involved on the production?

I think the best part of being apart of Strange Land is that this is my first shot at working on a new musical. I love new musicals, and I strongly back new writing. The fact I have to create the characters myself from scratch with only minimal inputs from the director and no material anywhere online of anyone else portraying the part – it fell down to me to create these characters and truly make them my own. I’m a film lover who often binges out on Netflix anyway so watching films to get a sense of what my character could be like its a pleasure. Another thing I love about being apart of the show is the great material in which we are working with, it has brought our class a lot closer together and seeing as the majority of us are going our separate ways when we graduate the show is very fitting.

What would you say to potential audience members to encourage them to come along and see you?

Why should an audience come and watch? New musicals are the future of both the West End and Broadway supporting new writing helps the Musical Theatre world move along as it were. With such a professional standard show in London for just a tenner you cannot go wrong with Strange Land. It has such a compelling story line which will have you in tears by the end.

Thanks Matt, a pleasure to chat with you!

Blog at WordPress.com.

Up ↑

%d bloggers like this: