Interview | ALEX BEAUMONT from DREAMBOATS AND MINISKIRTS

Dreamboats & Miniskirts is the sequel to the popular Dreamboats & Petticoats comes to Wolverhampton Grand Theatre from Tue 23 - Sat 27 June. Alex Beaumont who plays Bobby spoke about the show and the part he plays in it. 

This is your second run with Bill Kenwright’s production – what is it about this musical and your role that made you decide to continue into 2015?

The music, the 60s music, it’s incredible to get to sing it eight times a week, I really love 60s music. The character of Bobby, well, I do identify with him, I have a little soft spot for him, which makes me want to play him. We’re similar because we’re typical boys, we don’t really think about things, like girls feelings – an ignorant boy (laughs).

The cast must know each other so well now – is it like one big family?

Yeah, it really is. It’s also amazing to have the live band on stage with you as well because you feel like you have that support. Everyone gets on great, everywhere we go we all go for meals together or stay in digs together, so yeah, it really is like one big family.

You have a new Norman – how is Alastair settling in?

Brilliant, absolutely amazing, he’s such a pleasure to work with. We got on really well on and off stage, so it’s really nice. He has taken over from Ross (William Wild) and he probably was a bit nervous, but I experience the same thing when we started Miniskirts last year because there was only me and Ross who were new to the franchise, everyone else had been in Petticoats at some point. I did kind of feel it would be hard to slot in, but actually, it was really easy because they’re such a nice bunch of people.

For those that haven’t seen the show, tell us a bit about it and your character.

The show focuses on Bobby and Laura, they’ve just had massive success with Dreamboats and Petticoats, and in Miniskirts, you see how their relationship, professionally and romantically, is going to work and whether it will work. You also have recurring characters Norman and Sue, who are getting on nicely, they’re married. And then there’s Donna and Ray. Ray is now working in a salon in Bond Street and Donna’s working in her boutique and they’re going through every day relationship struggles too. They’re a little bit older, everyone’s matured apart from Bobby!

It’s a show set in the 1960s – do you find the audiences are of that generation or is it appealing to a younger audience?

A bit of both actually. Generally, the audiences we get are people who were the age of the characters in the show in the 60s, and the people we get to meet after the show, most of them will tell us it took them back to their youth and it was really nice to reminisce. But then also, that generation are then taking their children and their children’s children to come and see it as well. We’ve had young children in the audience, who, some of them, know all the words, which is brilliant. So it just goes to show that even if you weren’t around in that era, you can still appreciate it.

Has your music and fashion taste changed because of the show?

I’ve always loved 60s music, although it was more jazz and soul, Ben E. King, Ray Charles, Sam Cooke, all those great singers. And then in the show you’ve got Roy Orbison, Smokey Robinson and other amazing singers that you don’t really get these days. And their songs have stood the test of time and that’s why I like this kind of music. As for the fashion, I do like the Chelsea boots that I get to wear every night, and to have a nice sharp suit to wear is always really nice to wear.

You said you have grown as the show has gone on – how have you changed from your very first performance last August to now?

I’ve definitely relaxed into the role and what has really helped is finding those similarities between you as a person, and character, it makes it a lot easier to relate to. And it’s taught me not to be so hard on myself. Because it’s such a massive role in the dhow, no one’s superhuman, you learn how to conserve your energy but still make sure you give enough for every show. And those are skills that will hopefully carry on in the rest of my career.

At Wolverhampton Grand Theatre from Tue 23 - Sat 27 June. CLICK HERE to book tickets. 

Preview | TOP HAT (UK Tour) Interview with Alan Burkitt & Charlotte Gooch

Both fresh from the London production of Top Hat, Alan Burkitt and Charlotte Gooch talk about reprising their roles in Kenneth Wax's glittering stage production of the 1935 film which visits Wolverhampton at the Grand Theatre for two weeks from Tue 21 October - Sat 1 November.

For those Channel 4 viewers who saw The Sound Of Musicals earlier this year, you may remember Alan Burkitt as the ensemble member stepping in as the understudy for Jerry Travers on what should have been Gavin Lee’s press night. We asked Alan about his experience: 

I loved that night, everyone was asking me “are you terrified?” and to think about it, I probably should have been - it was a huge night in the West End but I always think with these sort of things that you get one chance, and I was going to take it! It was a lovely evening, the director went out before the show and apologised, saying that unfortunately due to illness Gavin Lee wasn’t going to perform in the show that night. The audience gave me a great big cheer and I thought “they’re with me!” so I went out there confident and had a great show and I got some lovely reviews the morning after.

Charlotte, like Alan, you’ve played your role in the West End production of Top Hat. How does it feel to be back with the show for the tour?

It’s great! I absolutely love the show, I love the role - it’s Ginger Rogers! Stepping into those shoes is a dream come true. When they asked me to come back I didn’t even have to think twice, to get into those costumes again and to do all of Bill Deamer’s amazing choreography, it was a no-brainer. To do the show with Alan too is great, we rehearsed so much together during our time in the London production but never got to perform. I was Dale when Tom Chambers was Jerry but I’d always rehearsed with Alan just in case, so when I heard he was Jerry for the tour I simply had to come back and finally get my chance to fall in love with him every day!

Alan, how challenging is the role of Jerry Travers for you, it seems rather demanding?

It’s very demanding! I’m hardly off stage for the whole of the first act. I don’t go off for at least 25 minutes, it’s pure song and dance and then straight into an acting scene! In the suits we get very warm, you’re sweating constantly and I’m eating like a Trojan at the minute to keep me going! Anything I like, cream cakes galore!

Charlotte, you’ve previously played Penny in Dirty Dancing, a show which happens to be at Wolverhampton Grand Theatre this September and now you’re playing Dale in Top Hat – did you have to learn particular styles of dance for these very different shows, or were they styles that you had experience with and could adapt?

They are very different, but it’s all within my inner dancer! When I came in to Top Hat I thought I’d get a little bit of a break after Dirty Dancing. Penny is all about high kicks and back bends but as it turns out, Dale does a few of those too! I love it though, dancing is my first love beyond everything… and the dresses! There’s a lot more to these costumes than the Dirty Dancing ones - I was strutting around in skimpy leotards but now I’m wearing these gorgeous dresses with feathers and miles of material! Getting into those dresses every day I feel like a princess! I’m the luckiest girl in the world to have been in both of those shows and the Grand Theatre is just as lucky to have them both within five weeks of each other.

Alan, do you a feel a pressure to live up to the movie, with Fred Astaire?

Not really, it’s such a nice thing that we’re bringing the 1935 movie version to the stage – it’s hard to believe that it hadn’t been done before now, but we’re not trying to be Ginger Rogers and Fred Astaire. People say to me, “that’s such a ‘Fred’ thing about you”, which of course is flattering and a great compliment – he’s my absolute idol, but I’m not trying to be him, this is mine – Alan’s version of Jerry Travers and if it’s looked upon with such admiration then that’s great, I’m doing my job!

How do you feel about stepping into Ginger Rogers' iconic role Charlotte?

I took over from Summer Strallen in the West End which was pretty nerve-racking anyway. She was the only person who’d ever played it before on stage. To replace her, I had to try and make the role my own. The biggest shoes to step into were Ginger Rogers’ but both me and Alan always say that we’re not Fred and Ginger and we’re not playing Fred and Ginger – we’re doing characters that were played by them and they’re absolute icons but we just try to do them justice. For anyone who’s a fan of the old Hollywood movie musical, you can’t go wrong with this. A benefit of seeing it in the theatre is experiencing it live, you’ll see the Top Hat you love, but as you’ve never seen it before. With a film you cut and edit and jump from scene to scene but on stage it’s all real and just flows so nicely. I think what’s been created here is really great and the all the Olivier Awards it’s won, including Best Musical speaks for itself.

In your own words, Alan, why should people come to see Top Hat?

It is the most enchanting evening you will have at the theatre. The musical is full of beautiful costumes, stunning choreography and is absolutely hilarious! Get a ticket, it’s perfection!

And Charlotte?

It’s a legacy, if you’re a fan of the old Hollywood movie you’ll love it! But even if you’re not or you’ve never seen it, it’s a fantastic all-singing, all-dancing piece of theatre with beautiful music, beautiful costumes, stunning choreography all wrapped up in the exquisite 1930’s style. It’s perfectly romantic, come along and lose yourself in this magical Hollywood world. It’s a funny story, you’ll laugh, you’ll cry and you’re probably going to leave tap dancing!

See Top Hat at Wolverhampton at the Grand Theatre for two weeks from Tue 21 October - Sat 1 November. Book tickets here. 

Interview | ALEXANDRA DA SILVA - August 2014

Alexandra Da Silva, who trained at ALRA tells us about her own cabaret show and some of her past experiences including Streets, the gritty musical that premiered at Hackney Empire.

Tell us about Streets, presumably that's where you met Kris Rawlinson, the MD for your cabaret show?

Streets was such a fantastic show to be a part of, because it totally changed to boundaries of what musical theatre can and should be. It was more like a play with a live soundtrack (with a bit of spoken word, beat boxing and street dancing thrown in for good measure!) but everything worked so well together and nothing felt out of place, mainly thanks to our MD Kris Rawlinson and our director Adam 'Bo' Boland. All the cast and creatives were from different walks of life and parts of the industry, but the belief we had in the show brought us all together and I think that's what made it so successful.

I played Lily, the pregnant but headstrong teenager which was a lot of fun! But I never had the chance to sing any of the beautiful music in the show (written by Finn Anderson) so when Kris and I were first talking about the gig, we both agreed it was a given that some Streets songs had to feature.

You were in Search For A Twitter Star, how was that experience?

One word: crazy! The whole process happened as I was graduating from drama school, so I was kind of flung head first into the industry which was scary, but really exciting and just what I needed. I had no idea that it would gain the momentum that it did, but social media is such a big part of theatre now and I think it was a clever concept to incorporate the two. I came second, but the whole competition taught me a lot about my voice, about how far I can push myself, and how powerful Twitter really can be!

Tell us about Panto Factor and your lead role last year?

With so many graduates and not enough jobs, I saw this opportunity to win a part in a professional panto and I just knew it was too good to miss. It was an X-Factor style competition, with video episodes aired on YouTube, ending with a grand final show at the Stag Theatre where the winners were revealed. I won the part of Maid Marian alongside Rebecca Lauren, who played Robin Hood. We had the best time, I've honestly never had so much fun on stage! However it can be quite tough; it’s long hours and a lot of shows (sometimes three a day), but it helped to have such a wonderful cast and crew. Christmas isn’t Christmas without panto!

What can we expect from your cabaret? Any particular songs that are a favourite of yours?

It will be a mixture of old and new musical theatre - some songs that everyone will know and love, and some that have been written recently by very talented friends of mine. I love songs that tell stories and have a character to them, and my close friend Joe Louis Robinson wrote something just for me that has such a wonderful arc; the audience can really relate to it. I guess that has to be my favourite song in the show!

Will this be the first time you've ever presented yourself in a solo cabaret?

I’ve done quite a few cabarets in the past as a featured guest, however I’ve never performed a solo cabaret before. It’s pretty daunting to think that it’ll be just me, a piano and a mic! But I’m so excited; a lot of planning and work has gone into the show so it will be fabulous. I’ve got some great guests too who will be coming along to sing some duets - Jos Slovick who was in Spring Awakening and Once, my fellow panto cast member Rebecca Lauren, and my best friend of 18 years Vangelis Polydorou, who is an up and coming singer/songwriter.

Who do you look to for inspiration in the musical theatre world?

For me, a performer that acts through song is someone that I admire and look up to - it’s great if you can hit those high notes but unless you know what you’re singing about then, in my opinion, it’s pointless. Jeremy Jordan, Kelli O’Hara, Rachel Tucker and Cynthia Erivo are a few of those that really tell a story when they sing, they are so wonderful to watch. But my ultimate inspiration and the reason that I’m an actress today has got to be Idina Menzel. Ever since I queued up in the freezing cold at 5am for day tickets to see her in Wicked, I have counted her as my idol. I was lucky enough to meet and work with her two years ago (there’s a funny story there which I’ll be revealing at the gig!) and she is even more fantastic in the flesh.

What are your favourite musicals, or the best that you've seen recently?

That’s a tough one! I recently went to up to Edinburgh for the Fringe which is a great place to catch new musical theatre. I went to see Finn Anderson’s (writer of Streets) new show Alba - A Scottish Musical and it was absolutely beautiful. I cried so much, his music always gets me! It’s been shortlisted for a few awards and rightly so - hopefully it’ll come and do a London run somewhere.

INTERVIEW with Sandra Marvin - March 2014

Sandra Marvin's theatre credits not only include her critically acclaimed performances of Miss Motormouth Maybelle in Hairspray in the West End and Tour but she recently appeared as Matron Mama Morton in Paul Kerryson's Chicago at the Leicester Curve. Amongst other theatre credits that include Porgy and Bess, Ragtime, A Midsummer Night's Dream and The Lion King at Disneyland Paris, Sandra can also be heard on the Oscar-winning soundtrack of the recent blockbuster film Gravity. If that wasn't enough, Sandra is now headlining her own cabaret show... 

You're about to do your first solo cabaret after quite while in some incredible productions. Lets start with last year - the majority of which was spent on tour with Hairspray. You're no stranger to Motormouth Maybelle having played the role in two UK tours and in the West End, how do you look back on your time with the show?

I have the fondest of memories of my time in Hairspray! It really is a timeless, funny, witty amazing show with the best music and biggest heart! And the people! I've met the most fantastic people, & many of my best friends on this job. To this day we all still have reunions to share the Hairspray family love! So much love for past casts, crew and creatives. Also nothing but love for the role of Miss Motormouth Maybelle! I'll always be "Big, Blonde and Beautiful!" - 'lol' ... Also getting the chance to sing "I know Where I've Been", such an honour. Loved being blonde!

And most recently you took on the role of Mama Morton in Chicago at the Leicester Curve - I believe this was always a dream role of yours? How was that experience for you?

Yes, she was one of my dream roles. Years ago, the first theatrical demo I recorded was "When You're Good to Mama", so finally being able to play her was certainly a dream come true. Also working with Paul Kerryson, we were given the opportunity to revisit the original play of Chicago and rediscover who our characters were and play their different traits. It was all very exciting and the fresh new choreography by Drew McOnie just topped it off! And such an amazing cast!

Sandra as Mama Morton, Chicago at Leicester Curve.

I've never known a theatre audience erupt quite like at the end of your song in Hairspray - I Know Where I've Been. You've more than proved that you've got an incredible voice. Do you remember a time when perhaps you discovered singing and worked and worked at it, or have you always known that this voice was there inside?

Ah, Thank you Scott! All I know is that I've just always loved singing! Whether it was when I was a kid singing along with my dad's old records, to this present day. Whether I'm on stage or letting rip whilst washing up the dishes! Singing lifts my spirits, and I hope that I can share that with people when I sing. I still have singing lessons now with my teacher Tom Pearce. I think it's good to make sure you keep up a good technique, but other than that, it's all about singing from the heart. "I Know Where I've Been" is a beautiful, powerful song that means a lot to me.

Who are your musical inspirations? Was there anyone or anything that inspired you to follow this career?

Well I'm the only musical one in my family, though they certainly introduced to some incredible vocalists from a young age. My mum and dad adored Tina Turner and Dolly Parton. Both phenomenal artists. There was of course also Whitney, Aretha and Ella too. But it was my sister who introduced me to Barbra Streisand's first album and I was hooked from then. I still adore all of these artists now and I'll be paying homage to many of them on Sunday too.

Besides these roles, you've appeared as a guest singer for Michael Ball, you've done intimate West End cabarets as part of a line up - but now it's all about you! What can you tell us about your cabaret show at Lauderdale House?

My passion for music is so varied, so I'll be singing jazz, musical theatre, soul, rock, acid jazz...! Many of my favourite songs to share with you all. But mostly Sunday will be a fun, laid back, intimate celebration of music that inspires me and touches the soul.

Sandra as Motormouth Maybelle in Hairspray, Shaftesbury Theatre.

For your upcoming concert, Sunday Sessions, you're re-united with your Hairspray-son Adrian Hansel, who played Seaweed, what does it mean to have him alongside you?

Adrian is actually my musical brother from another mother! We both have a love for very much the same type of music, though he's so much more current than I am. He often surprises me with a mix of "songs you don't know, but should know" playlist of the most amazing songs that become fast favourites. It's an absolute honour to have him with me, as not only has he one of the most stunning voices I've ever heard, he's also one of my dearest friends.

Is there anyone else we can expect to see as a guest?

I'm also excited and honoured to have Amy Diamond with me too who absolutely has the voice of an angel! My amazing MD Peter White, and Jonathan Cooper (the funkiest bass in town) and Dave Gonella (percussion).. All amazingly talented musicians so I'm excited to be working with again. We're gonna rock Lauderdale House!

Finally, what's next for Sandra? Anything you'd like to do?
I'm also singing Friday and Saturday 21st/ 22nd March at soul/jazz bar Hideaway, Streatham. Ooooooh and there is something that I'm excited about to be announced soon! 

You can book ticket's for Sandra's cabaret by clicking here or by calling 020 8348 8716. Sunday Sessions features Adrian Hansel and Amy Diamond at Lauderdale House on Sunday 23 March - 4:30pm. 

INTERVIEW with Kris Rawlinson - February 2014

If you're keeping up with current West End trends, you'll know that an evening spent in an intimate cabaret venue is the new way to enjoy the incredible talent that London's theatre-land has to offer. Right at the heart of it is Kris Rawlinson, a musical director who before he's even finished university has built up a pretty impressive CV. Kris took some time out of a busy schedule to chat about his experiences so far.

At what age did you first take an interest in music and what was the first instrument you learnt to play?

I was about four when I started to play piano. I actually only started because my sister was having lessons, and I was insanely jealous of her (she gave up pretty soon after…). I carried on having lessons through school, and learnt the recorder (as most kids do!). Since then, I’ve learnt the saxophone and gig in a soul band travelling around the country, which is a laugh!

You study music at university, was that because you just liked it or did you always know you'd like to be a musical director?

I’m studying Music at Goldsmiths in New Cross. Whilst at school, I always knew I wanted to do something music related; I used to MD quite a lot of amateur stuff, including school shows, local pantomimes, review shows, and full scale musicals, and even directed a few things too; it was something I just landed in by lending a hand as a rehearsal pianist, which led to arranging and then eventually MDing. As a person, I always have to be in control and aware of everything going on, so I suppose a musical director is the perfect job! I wanted to study music to further my musical knowledge, and am really enjoying the course. The modules are really interesting, and I’ve met a lot of great musicians and lecturers. I finish in April 2015, so not long left!

When you think of musical director, you don't really think of someone as young as you - do you think there's a call for more younger directors?

There will always be young musical directors working their way “up the ranks”. I’m not in any pretence that I’m going to breeze straight into a West End job – I’m enjoying working on some great projects, and some brilliant fringe/off-West End jobs and I’m happy to continue this for a while. Sometimes it’s good for people to work with different, younger musicians, who have had a different musical education to some of the West End greats. There are a lot of talented people out there all looking for the same job, but like anything, people will move on, and there will always be the next job waiting to be snapped up if somebody starts another one.

Tell us about some of the projects you've been involved in already...

When I moved to London in September 2012, I got involved with Interval Productions playing for a few rehearsals of their production of RENT. In February 2013, they approached me to talk about a new project they were co-writing/producing called Streets Project, and I got on board as MD and arranger. The show was brilliant and the music was incredible, and we were lucky enough to get a transfer to Hackney Empire for two shows. I was also Assistant MD for their next show, “Another Way” staring the beautiful Julie Atherton and Andy Coxon in September 2013. I’ve also worked as Assistant MD on Geek, The New Musical, which debuted at the Tristan Bates Theatre starring CJ de Moii (aka. Eggheads). I’ve also set up a few projects of my own including “West End Switched Off” that I’m sure you’ll hear about soon!

Some of the performers involved with West End Switched Off, including Jeremy Legat, Jordan Lee Davies, Chlöe Hart and Ambra Caserotti

You've teamed up with Ed Theakston to create Parallel Productions - tell us a bit about the company and what we can expect from it in the future?

Ed is one of my best friends, and is my right hand man, and always knows what I should do, so having him involved with Parallel was a no-brainer. We both have the same vision in regards to new work, and are both very passionate. We’ve got a lot of plans this year; we’re working on a series of intimate gigs, and will be producing some more Switched Off gigs. We’ve also got the big album launch for our debut album later on in the year, and will be working on a few other albums this year, but I can’t say much more! On a personal level, Ed and I are working on a few writing projects too which is exciting! Darren Bell has come on board as Associate Producer for Parallel, and we are working closely on a few secret projects after the success of A Very West End Christmas!

Congratulations on A Very West End Christmas! Who's idea was that? And how did you round up so many established MT performers?

Thank you! It was a day in summer of 2013 after I had been in the studio all day, and I had been chatting to Darren, who is a fabulous photographer, and we decided to do something for Christmas. Within a few weeks it went from a YouTube video, to a 5-track EP, and on the 14^th October, 50 West End guests (including the likes of Cynthia Erivo, Michael Xavier, Simon Deacon, Jodie Jacobs, Chloe Hart) gathered at the St. James theatre and recorded something special. It was released on 15^th December and money raised is going towards Great Ormond Street Hospital and Cry UK, with a donation to the Band Aid Charitable Trust. The recording process was fun, and there were definitely a lot of personalities to contend with, but it was nothing we couldn’t handle!

You can buy A Very West End Christmas! on iTunes here. (Yes, it's not always Christmas, but it's a good listen!)

Is there a lot of work out there for aspiring MD's? Or do you have to largely impress by creating your own work/gigs first?

If you know the right people, and have the right attitude, there is plenty of work out there, from rehearsal pianist, to teaching, arranging and orchestrating. There are lots of different paths to go down in terms of music; personally I love arranging and orchestrating, but obviously also love the feeling of a show or gig. I have a go-get-it attitude; if you want something, you have to achieve it yourself, and this is why I decided to set up Switched Off. It’s something I’ve always thought about doing, and last summer I was chatting to my bass player and he convinced me to just book studio time and do it. So I did! We’ve got our first album finished up and it’s being mixed and mastered at the moment! Because I am still studying at university, I’m not particularly looking for work, so I thought that whilst I can’t commit to a heavy rehearsal period, I have the time to think about other projects.

Are there any musicals that you'd particularly like to MD in the future? Or are there any new musical scores that you've been impressed with?

I have a very eclectic taste in musicals. I’ve always loved Wicked; I won’t tell you how many times I’ve seen it… I love it for many reasons; the story, the strong female characters, the score is incredible. So I guess MDing Wicked would be a dream come true – it’s probably the show that properly got me into going to the theatre a lot. I’m currently obsessed with Ordinary Days, by Adam Gwon, which I would love to MD. It’s a show about 4 people living in New York who’s lives all intertwine without them realising. One piano and four people creates so many possibilities in something that should be quite limiting, and the melodies are beautiful. “I’ll Be Here” is one of my favourite musical theatre songs.

Finally, we all hear performers advice on becoming an actor or a dancer but what advice would you give to aspiring musicians/MDs?

Go for it. There is always going to be somebody that’s better than you for a job, so when they get the job instead of you don’t worry. Things will always work out so don’t get put off. It’s about the right time and the right place, and networking and being a good sport will allow yourself to be in these situations. 

For more information on Parallel Productions, visit the website here. Or for West End Switched Off, click here. 

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WEST SIDE STORY (UK Tour) Interview with Katie Hall & Louis Maskell

WEST SIDE IN THE WEST MIDLANDS!

Think of mid-century musical theatre and you'd probably think of a tuneful slice of escapism, lavish sets and eye catching costumes... West Side Story's 1957 opening marked a significant departure from that formula and set a new template for the modern musical. Here, 55 years on, the musical sensation with music by Leonard Bernstein and lyrics by Stephen Sondheim is once again touring the UK as part of a major revival lead by an all-new energetic young cast, visiting the New Alexandra Theatre in Birmingham in April 2014. 

After an incredible matinee performance in Wimbledon, I caught up with Louis Maskell (Tony) and Katie Hall (Maria) to talk about their time with the show so far:

LM "In the show, Tony is quite an individual, he started the Jets and then left the gang to pursue his dreams and aspirations - obviously in those times that's pretty hard to do. He's a fantastic part to play because he not only oozes this masculinity but he also gets to fall in love... and so quickly, which I think is rather rare these days, that sort of 'love at first sight' moment."

KH "I haven't had one day where I've come into work and thought 'oh God, I've got to sing those songs again...!' it's amazing, and the music is so lovely to sing. Bernstein just knows how to write for the voice, it just feels easy because it's been done so well. I really like I Have A Love, that sits nicely in my voice!" 

LM "It took three very intense auditions to get the role, all of which were very lengthy and included lots of notes and workshopping of ideas. When I got the role, the rehearsals were even more so... actually though, that leant itself to the show which is like that and right from the off there was a sort of tension and an incredible passion, which Tony exudes. I love how sparse it all is too... this staging and  production really lends itself to the dark and gritty story."

KH "I can definitely remember the rehearsal day where me and Louis weren't allowed in the room, they were doing the dance of the Jets and the Sharks and they have to have a fight that's full of racial abuse and the director made them scream at each other and then dance the Mambo and we weren't allowed to see what was going on because our characters aren't part of it and we could hear all of this screaming and were like 'whats going on!?' - scary, it was very method!"

Katie and Louis as Maria and Tony

LM "When creating my version of Tony, there are definitely certain elements of the part that are cemented - you can't just skip on wearing a clown nose... but as an actor I definitely wanted to install elements that I had instinctively. Every actor is different but for this there definitely is a blueprint but within that we were allowed scope to explore. I researched the whole 1950's and read this amazing book called Egyptian Kings about the gangs of New York and learnt a lot, these guys were kind of like those in the London riots a few years ago - these guys weren't bad but they just had to do something to get the attention of the higher powers."

KH "The role of Maria has been quite of a stretch for me... obviously you can see I'm a white blonde girl! She's far from what I'm like, I'm from Peterborough and that's quite far from Puerto Rico! We sat down with our director and just asked ourselves questions like 'What was it like in America at the time, who was there?' and it didn't matter if it wasn't true fact it just helped us to gain a broader knowledge of things. I didn't read books like Louis did..."

KH "I've just come out of a 16 month tour of The Phantom Of The Opera and now I'm back on the road, but before that I did the tour of Les Misérables so I've basically been on tour for the last three years of my life! I like being on the road, it's fine... but I sort of miss home sometimes. The atmosphere within a touring company though is nicer compared to doing a show in town (London), because you're living, travelling and working with one another all the time so the relationships are a lot closer and we're more like a family and I quite like that about it. They're a really good bunch of people and I love working with them!"

This fantastic production of West Side Story plays at the New Alexandra Theatre, Birmingham for three weeks from 1 - 19 April 2014. Book tickets online here, in person at the Box Office or by calling 0844 871 3011. One not to be missed! 

Photos by Alastair Muir.

Cast List: Louis Maskell, Katie Hall, Djalenga Scott, Javier Cid, Jack Wilcox, David Delve, Jason Griffiths, Siôn Tudor Owen, Matthew Hawksley, Fraser Fraser, Bruce Aguilar Rohan. Samuel Salter, Scott Rayner, Matthew Croke, Charlie Cameron, Rachel Crocker, Fenia Tsikitikou, Rachel Ensor, Danielle Cato, Niko Wirachman, Sergio Giacomelli, Sergi Terns, Devon McKenzie-Smith, Nathan Ryles, Liam Paul Jennings, Sinead Kenny, Charlotte Baptie, Katie Singh, Challyce Brogdon, Nicola Coates, Lisa Dent, Dom Hodson, Alex Pinder. 

INTERVIEW with Cameron Sharp - October 2013

Midlands-born performer Cameron Sharp has had a rollercoaster few months. From graduating Mountview Academy and being signed by The Markham Agency to appearing as John in Axe: The Musical, a vocalist in West End Heroes at the Dominion Theatre and now a lead role in the West End production of Rock Of Ages. I spoke to Cameron about his whirlwind experiences so far.

How have  the last few months been for you?
Having finished my training at Mountview and playing some great roles in my 3rd year (‘Isaac Tallentire’ in “The Hired Man” and ‘Nicely-Nicely Johnson’ in “Guys and Dolls”), I left after showcase and was signed by The Markham Agency, who I couldn’t ask any more of and have been brilliant for me over the past months. My first job was playing a part in a tongue-in-cheek musical for the international conference of the company ‘Unilever’, but more specifically for ‘Axe’ (or ‘Lynx’ deodorant as we know them in England). That was a really bizarre, yet fun experience (and corporate gigs are nicely paid), so gave me a nice springboard from leaving Mountview into working with professional actors, MDs and Directors.

And then you got into the London production of Rock Of Ages with very little time to rehearse. How did that come about for you and how were the rehearsals?

I went along to the auditions, but had to dance first as I’d missed the first round. I’m a much stronger singer and actor than dancer, so I thought this might blow my chances straight off, but I was successful in each round. Then, the night before the final round, Rock of Ages was handed its closing notice and the auditions were pulled. I gave up any chance of being involved at that point (after a day of moping around and cursing the industry), but was contacted a day later and told that somebody still had to leave, so asked if I would like to come back in and be seen for alternate Drew/Swing, with the contract being 9 weeks, including rehearsal. Obviously (especially after how gutted I’d been the previous day) I was over the moon. I did a few days one-to-one work with the Resident Director/Choreographer and MD, and then got presented to the producers and casting director... and I was lucky enough to be offered the job. The feeling when you finally receive that offer is like nothing else (especially after getting to quite a few final rounds and missing out a few times like I had in the previous months).

Cameron as Franz, Drew and Joey Primo

I missed my graduation ceremony because of rehearsals for Rock Of Ages; they were incredibly intense – firstly because of the sheer quantity of material. I had to learn four different ‘tracks’, one of whom is a lead in the show, one a fairly large supporting role, and all of whom have lines and featured moments, as well as all of the ensemble dances and numbers. They were also difficult because it was only me being rehearsed into the show, so all of my days were just me and the Director or MD. Working one-to-one for that many hours is exhausting. Usually you take a few minutes to switch of your brain, or write down what you’ve done so far while somebody else is being focused on, but I never had that chance. Fortunately, the creative team here are brilliant and very personable and approachable, so it ended up actually being a great laugh and a really fun few weeks, even with all of the stress running alongside it.

I was a huge fan of the show anyway, before any involvement, and had already seen it 4 times since it opened, so for me it really was a dream to be involved, and the thing I found the most exciting was rehearsing on stage every day and getting to know the ins and outs of the set and staging! I felt like a fan being given the ultimate opportunity to nose around and actually take part in something I’d usually stare at with admiration and amazement!

★ CLICK HERE TO READ AN EXTENDED VERSION OF THIS INTERVIEW ON THE NATIVE MONSTER THEATRE BLOG ★

Visit Cameron's website: cameron-sharp.com

ROCK OF AGES runs at the Garrick Theatre, London until 2nd November 2013, visit the website here to book tickets.