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Sunday 8 July 2018
A Stagey Guide to Singing... Sharon Sexton, Danielle Steers, Christina Bennington | Bat Out of Hell | Stagey Sunday
Happy Stagey Sunday everyone! I hope you had a wonderful Pride yesterday and are enjoying the glorious weather. I'm actually on holiday in Corfu but that doesn't stop me from bringing you the newest instalment of this month's Stagey Guide to Singing! Bat Out of Hell month may be over but the Bat fun isn't over as this week we have stories, advice and information from the three leading ladies of the Steinman musical: Sharon Sexton, Christina Bennington and Danielle Steers...
What has your vocal journey been like?
What has your vocal journey been like?
Sharon Sexton (Sloane): I have been singing for as long as I can remember and was always told I had a "good voice" though no one in my family was a performer. I sang in school and my mum enrolled me in a youth music group when I was 5 and I lived for my weekly class. I learned all sorts of material and fell in love with musical theatre. I went to a couple of different local singing teachers and joined the school choir as a 1st soprano, though I always remember being jealous of the altos and wanting to learn their lines, because I thought their lines were more challenging and I found harmonies fascinating.
There was nowhere in Ireland that taught the musical style I wanted to sing so I studied what video footage I could find of the greats like Bernadette Peters, Doris Day, Elaine Paige and Lea Salonga; studying their mouth shapes and imitating them. The same with Whitney and Mariah. I finessed all the riffs and set myself challenges in completing them. I ended up training classically in the Conservatory of Music in Dublin, which gave me a really solid foundation and understanding of my instrument, but all I wanted to do was sing contemporary musical theatre and belt. So I went through a host of singing teachers and robbed bits from everyone until I developed a technique that worked for me.
My voice has definitely changed over time. I try and keep my top C soprano in check but like anything- when you don't use it that often, it gets rusty and I've accepted I shall probably now never be Christine in Phantom, I'm much more of a mezzo these days.
There was nowhere in Ireland that taught the musical style I wanted to sing so I studied what video footage I could find of the greats like Bernadette Peters, Doris Day, Elaine Paige and Lea Salonga; studying their mouth shapes and imitating them. The same with Whitney and Mariah. I finessed all the riffs and set myself challenges in completing them. I ended up training classically in the Conservatory of Music in Dublin, which gave me a really solid foundation and understanding of my instrument, but all I wanted to do was sing contemporary musical theatre and belt. So I went through a host of singing teachers and robbed bits from everyone until I developed a technique that worked for me.
My voice has definitely changed over time. I try and keep my top C soprano in check but like anything- when you don't use it that often, it gets rusty and I've accepted I shall probably now never be Christine in Phantom, I'm much more of a mezzo these days.
Danielle Steers (Zahara): I've been singing for as long as I can remember. I went to an amateur dramatics group from around the age of 10 and still go back there now to help out and put on shows etc... My voice has definitely changed over the years. I couldn't belt until I went to college at 16 and only learnt how to twang and other techniques from my first few jobs. I have always had a low voice though, people always thought I was a lot older than my years due to the maturity of my voice.
Christina Bennington (Raven): It’s been a long and exciting one. I began singing at school at the age of 7 and was in very high standard choirs for my entire school life at Methodist College Belfast. We rehearsed every day and it’s where I learnt the disciplines of sight singing, vocal maintenance and musicality. I took classical lessons and was convinced I wanted to be an opera singer until I fell in love with musical theatre.
I started training in earnest at the Guildford School of Acting with Steven Luke Walker. Together we pushed my voice to extremes in every style so that I felt comfortable approaching anything. He’s a genuine wonder and I owe a lot of my jobs to his skill and teaching. I still see him when I have a new job or auditions because there’s always more to learn.
What/who got you into music?
Sharon: I can't ever say I remember my life without being completely obsessed with music. My dad had an amazing vinyl collection and I could sit for hours with headphones just getting lost in the music.
Danielle: I actually have no idea, I didn't grow up in a particularly musical house. I just loved singing; it was how I expressed my emotions. I remember watching all the old MGM movies on TV and thinking how wonderful they were and wanting to be in them!
Christina: My house was always filled with music and I still thank my Dad for a lot of my musical taste. He had carefully curated car CDs and amazing records he would play on his HiFi. My family are involved in amateur theatre in Northern Ireland so I got involved in pantomimes as a child. I’ve seen home videos of me imitating rockstars and opera singers from the age of two so I think it was always in me!
Your voice is so smooth but strong at the same time. What are your tips for conveying the emotion of songs whilst maintaining power?
Danielle: Why thank you, luckily the songs I sing in the show sit very well with an altos range, meaning I don't need to think too much about technique and I can just let rip with my emotions.
I think power comes with emotion and even if you don't have the most powerful voice you can still make a song powerful by meaning every single word you sing and telling the story through the song.
Bat Out Of Hell is a tough sing, during rehearsals how did you adapt to the vocal challenges it presents?
Sharon: The tricky thing with Steinman's music is that it is so passionate and it reaches such great heights both musically and emotionally. The most difficult thing for me was finding a way to keep the passion and make the rock sound, but finding a technique to do it safely 8 shows a week, without losing that grit. I do a lot of belting and growling in the show, which I had to sing in to muscle memory and which I continuously have to keep in check.
At the beginning of rehearsals the sing for Sloane seemed almost overwhelming, and I felt I was pushing myself to my limits, especially when we started moving keys up, but I was in rehearsals with Rob Fowler who is a vocal gymnast genius! And just when I felt I was getting to grips with my vocals, we would be working with the musical supervisor and Rob would ask "can I try something here?" and then sing and incredible riff and then go "Shazza could then sing that up a third no? or maybe you could octave that, or you could jump up and do a waaaaah there?" and I would clear my throat and go "uh uh, nope" and he said - "try it and if you can do it once, you'll find a way to do it 8 shows a week". I didn't know him very well at the time - but I was damned if I was going to be shown up! He pushed me to give so much vocally and believed in my ability to match him on stage, more than I ever did. All my numbers are duets with Rob so having that support and belief in a vocal partner on stage really gave me confidence to build the role vocally. And I think when you're on stage, yes technique is important but sometimes a lot of what comes out of your mouth, depends on the belief you have in your head.
Do you have any personal/random techniques for maintaining vocal health?
Christina: I’m afraid the secret for me isn’t very rock and roll! Sleep, hydration and avoiding too much stress and tension. Looking after myself is the best way to deliver a consistently strong 8-show week. It’s easy to be focused on that for a job that I love so much. My top tip is not to do a crazy vocal warm up. You don’t need to belt or push yourself there – it should be about activating the right things and setting up your voice for what the show requires – not a singing competition!
Vocal health is obviously so important but do you have any coping techniques for the mental side of performing such as when you lose your voice or feel unmotivated?
Danielle: I think a lot of the time when you "lose your voice" it can be a mental state. Sometimes if I know I have a big event coming up or new opening I "lose my voice" but it’s all in my head. You just have to trust that it will work, even maybe change your technique to get out certain notes.
Steaming is a massive factor, drinking lots of water, I also like to keep my voice lubricated by having two Jakemans per show. When you feel unmotivated it's hard, especially with a show like Bat where you cannot give it any less that 100%! All I try to remember is why I'm doing what I'm doing, that people have paid good money to come see the show; the audiences reaction always helps us perform like it’s the first time every time.
Steaming is a massive factor, drinking lots of water, I also like to keep my voice lubricated by having two Jakemans per show. When you feel unmotivated it's hard, especially with a show like Bat where you cannot give it any less that 100%! All I try to remember is why I'm doing what I'm doing, that people have paid good money to come see the show; the audiences reaction always helps us perform like it’s the first time every time.
Steinman’s songs have some crazy belting so vowel modification must be important to make everything clear and safe to sing. Is that something you do naturally when learning music or do you change depending on the mood/style of the piece?
Christina: Vowel modification is necessary to keep the sound safe and consistent the higher you sing. Steven has always taught me ways to make it subtle and to make the song work for my voice. It comes naturally now but it’s most useful if we have a week with lots of other vocal commitments outside the show. Technique is most useful when you’re tired. It enables you to modify safely and thin the sound down to help get back to full strength without compromising the sound of the show.
Not only do you sing flawlessly in the show, but you’re also very humorous in the role, how do you bring that humour, comedic timing and lightness to your voice whilst still maintaining its power?
Sharon: For me if I try and think "I have to be funny here" I will never make you laugh. I just commit 100% to the thought process of the character and believe in the truth of the moment. I find if you hunt for a laugh, you won't get it. So a lot of it is about storytelling and when I am in my head acting wise, the right noises just come out of my mouth... I hope...
You dance as lot as well as singing in the show, what are your tips for doing both at once?
Danielle: Gosh this is a hard one, this is something you go through every day at college. It's super hard especially if you're singing a different rhythm to what you're dancing, which happens a lot in Bat. The best thing to do is to sing along from the start of learning the choreography so you can get it into your head right from the go, then you can also work out where is best to breath. It's hard work!
You’ve been doing the show for a while now so there must be a lot of muscle memory involved but are there any moments which are difficult or that you have to think about whilst performing?
Sharon: My body is well oiled in the machine of the show now and my chords know what is expected of them, so yes it is actually getting easier to sing the role, the longer I play it, but on tired or ill days I do completely rely on my technique and have to step out of my character's head. ‘All Coming Back To Me’ can be tricky because of the blocking, I'm walking, in heels, on a raked stage, filled with track marks that like to eat my stiletto heels and it is highly emotional, so I have to play the feelings but I sometimes have to really concentrate on my breath and placement of that long "Now" note for 14 counts. I have to move the placement around to sustain it sometimes. There is no greater feeling that the days where my voice is on top form and I can just get lost in the emotion in that song.
I also ironically find the last three lines of the show that I sing, really sneak up on me sometimes. It’s the very end of Anything For Love. Myself, Danielle (Zahara) and Christina (Raven) sing a little trio "I would do anything for love" to close the show and I have done a huge amount of belting and growling and crying and think it's all over and then go "oh gosh, this bit" and I have to take the high harmony in a very soft angelic voice which is very unlike any other part of the show for me, so I suddenly have to replace everything into my mix!
Danielle: Sometimes you can go into auto pilot, it does happen, but I always have to be careful during "two out of three" it’s such an exposing song and everyone knows the words so I feel I really have to concentrate, also if you don't you end up not putting the emotion across. I also have to think about Tinks death scene, again, if you just go into auto pilot there’s no emotion there. ONE MORE.... DANCING DEAD RINGER IN THOSE HEELS!! Really have to concentrate in those haha!
Christina: There’s definitely a degree of muscle memory but I’m never happy with what I’m doing. There’s always more to learn. I concentrate on different parts of the score for every week and explore making them bigger, stronger or smoothing transitions. The most difficult section for me is the ‘tuck jump chorus’ of For Crying Out Loud. Belting on almost one note as I jump with Andrew across the stage takes a lot of physical energy which needs to be balanced with not throwing too much breath at the sound.
We know by now that I’m your breath control’s number one fan. Are there any particular exercises you do/have done to help with supporting?
Christina: Haha thank you! You’re too kind. Breath control is an interesting one. I think a lot of people assume you need a big breath for a long phrase. As with a lot of singing, the rules aren’t one size fits all. In this style of music it’s often not the case. For a clear belt, I take a small high breath and support by resisting the breath in my rib cage. This can often lasts me many lines eg. the passage in Heaven Can Wait that I know you’re a fan of!
For me, a lot of ‘breath control’ throughout the show is really about recovery breathing and fitness. I do as much interval sprinting and high intensity training as I can to ensure that I have the stamina for songs like ‘For Crying Out Loud’. If your body is strong and ready your voice will be too.
Who would your dream duet partner be?
Sharon: Male - I'm already singing with him 8 shows a week….
Female - Stevie Nicks
Danielle: In terms of the show I’d have to say Rob Fowler, but in life Shirley Bassey 100%
Christina: Andrew Polec of course! I’m beyond lucky to get to duet with him every night. Our voices fit well together. He is so resonant with so much weight in the sound which really gives me permission to use the full depth of mine.
There are a lot of women I would love to duet with who I admire greatly. Hmmm. Amy Lee from Evanescence, Louise Dearman, Gina Beck, Laura Michelle Kelly, Rosalie Craig. I guess I’ve been inspired by all of them in different ways. Actually I did sing ‘At the Ballet’ in a concert with Louise so I suppose that’s sort of one already achieved!
What is your pre-show warm up like?
Sharon: So important to me. I think it's important mentally and physically as when I start I can feel my brain sending all the signals to my voice going "ok, it’s that time of the day again" and it begins to anticipate what is expected of it. It's like starting the engine of a car before a long journey. I try not to use an awful lot of vocal energy during warm up. I keep it very light and subtle. A lot of closed mouth sirens, quiet humming, lip trills, slowly and focused so that I can just check in gently on every note. I'll also do a neck massage and loosen up my tongue muscles. I always do some amount of physical warm up but on days where my voice feels dry or tired I will really push myself with the dancers warm up, just to get my blood pumping in my muscles, which is so important to make my voice work.
Danielle: We start with a physical warm up so I like to make sure my back and legs are super warm because of what is required of me, also the neck for head banging purposes! Then we do a vocal warm up which is super important as we sing loads! Then we do fight call which is so everyone can make sure their fights are all good and safe before the show.
Christina: I love our full company physical with our dance captain Courtney. It gets my body woken up and prepped for the marathon that is Bat Out Of Hell. Then I take it easy in the company vocal. It depends what I need each day.
What’s your top piece of advice for aspiring performers in terms of finding and maintaining your voice?
Sharon: Know your limits. Accept them.
Slowly and carefully continue to try work around them but remember your voice is unique, so embrace what you can do and let go of what you can't.
If it hurts, stop. It should never be painful.
Sometimes less is more - in terms of effort and support. A lot of people have the misconception that you must support and push and be tense on the big high belt notes when in fact the opposite can be so much more effective.
Listen to your body when it's telling you that you need a rest. You only have one voice and if you are a performer - it is your life insurance, so never compromise it for anyone or anything or any production. It needs you to be smart to take care of it. When you need a show off, take it, because if you sing on a tired voice in a long run, it always, always catches up on you. Vocal massages are little gifts from heaven! Find a good therapist!
Danielle: Always try new things, I didn't find my voice until I was about 18. Before then I had a very limited range and wouldn't have even dreamed of being able to sing the songs I can now. I still have a long way to go and I'm always trying to better my voice. It’s a case of playing around with different genres as well to see what fits well, rock, pop, jazz, musical theatre, legit? So much to choose from. Also.... don't smoke!!!
Christina: I would say don’t compare your voice to anyone else. Yours is unique and wonderful! Absorb as much knowledge as you can and decide what works for you. Be disciplined in looking after your instrument and practise!
Sending a massive thank you to Sharon, Christina and Danielle for giving us all their inside information of all things singing! Join us next Sunday for a tips from someone with All That Jazz!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Photo credit: Specular, Christina Bennington, Danielle Steers
Sending a massive thank you to Sharon, Christina and Danielle for giving us all their inside information of all things singing! Join us next Sunday for a tips from someone with All That Jazz!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Photo credit: Specular, Christina Bennington, Danielle Steers
Thursday 24 January 2019
Vision of You: Live with Rob Fowler and Sharon Sexton, The Space at Studio 88 | Review
Vision of You: Live
The Space at Studio 88
Reviewed on Thursday 24th January 2019 by Olivia Mitchell
★★★★
After releasing their album Vision of You, back in December, Rob Fowler and Sharon Sexton have taken their exploration of the backstories of Falco and Sloane (the pair's characters in Bat Out of Hell) to new levels with a series of concerts about how the duo came to be.
Featuring a mixture of the Vision of You album and additional songs, the evening is an entertaining and dramatic look at two well loved Bat characters and is certainly a fitting antidote for the fans still mourning the loss of the show at the Dominion Theatre. Starting from when Falco and Sloane meet with 'Falling Slowly' and ending with a bittersweet duet about the couple's life and romance, 'Always Remember Us This Way', Rob and Sharon do a brilliant job of storytelling and taking the audience on a journey.
Of course, both Rob and Sharon are vocal powerhouses and they don't fail to deliver top notch performances that are gritty but controlled. Combined with Steve Corley's magical, musical skills and the intimate but booming Space at Studio 88, the couple are able to show various sides of their voices and complement each other remarkably.
The ups and downs of the Falco Family relationship are brought to life further by Erin Ong's beautiful artwork which is projected between songs to fill in the story gaps. There are a number of aspects of the artwork, staging, lyrics and costumes that directly mirror Bat Out of Hell, and avid fans will have a great time picking out the subtle references to the show. Fans will also hear some familiar people accompanying the artwork, with Georgia Carling, Katherine Hare, Jordan Luke Gage and Patrick Sullivan lending their voices to dramatic points in the plot and bringing their Bat characters to the screen.
The love Sharon and Rob have for the characters they have created is evident through their album and live performances, and the work they have put into these concerts is so visible. It's clearly a labour of love for the duo and it's only right that all three performances at The Space have sold out. Bat fans will love this character development, but even if you're not a fan of the show, there's no way you'd be underwhelmed by the incredible talent and dedication the pair exude.
If you want vocal gymnastics, raw performances, drama, angst and romance, then Vision of You, both live in concert and recorded is for you.
photo credit: Specular and Olivia Mitchell
Sunday 17 June 2018
Get West End Ready With... Emily Benjamin | Bat Out Of Hell | Stagey Sunday
Welcome back to Stagey Sunday! This week is very exciting as we get to see star of Bat Out of Hell, Emily Benjamin as she transforms into her character Mordema.
Mordema is a rugged member of The Lost, known for clawing her way around and just being generally cool and rugged. Emily talks us through her amazing makeup for the character and why she decided to make it the way it is.
We'll let the video speak for itself! If you fancy creating a Mordema look, be sure to tweet it to @RewriteThisWeb with the hashtag #StageySundayBOOH and you could win a special Bat prize!
All the products Emily uses:
Foundation
-Maybelline Eraser Eye
-NYX Total Control Drop Foundation
Powder
-Benefit 'Hello Flawless' Matte Powder
-Kryolan Setting Powder
Blusher
-Bourjois Paris Number 33
-HEMA Blush Stick (for Mordema's scar)
Bronzer
-NYX Matte Bronzer
Eyes
-MAC Passionate Eyeshadow
-MAC Carbon Eyeshadow
-NYX STFU Eyeshadow
-Kat Von D Tattoo Liner
-Bourjois Volume Reveal Mascara
Lipstick
-NYX Liquid Suede Matte 'Cherry Skies' (for The Lost symbol)
-NYX Liquid Suede Matte 'Alien'
See you next Sunday for an exclusive feature on the choreography and costumes in the show!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Post by Editor, Olivia Mitchell
Monday 10 September 2018
Proms in the Park, Hyde Park | Review and Five Reasons to Go
I have always loved the BBC Proms especially the last night which I have only ever seen on the TV. I was never really that aware of its alter ego The Proms in the Park, that is until last night. A friend and I were not only fortunate enough to attend this musical extravaganza but we were also given access to the VIP and Press arena. I can honestly say that it was one of the best evenings out I have ever had.
Every year the line-up of performers changes, this year as in previous years the event was hosted by the multi-talented Michael Ball. He was absolutely perfect in this role, linking everything seamlessly whilst making everyone feel included and thoroughly enjoying himself, which was totally infectious.
The afternoon kicked off at 3pm with the BBC DJ Tony Blackburn, who was then followed by the London based, Country, Folk, Pop quartet The Wandering Hearts. We were then treated to outstanding performances from The Rock Choir with the BBC orchestra followed by Lisa Stansfield, who performed some new material and wowed us all with her older hits. Matt Goss was next accompanied by the BBC Big Band, his set was not only excellent, but he also personally surprised and shocked a superfan.
Another highlight was the hugely talented and energetic cast from Bat out of Hell, led by Jordan Luke Gage and Christina Bennington, who had everyone on their feet belting out the songs. Just a small plug, if you only go to one show in London this year go and see Bat out of Hell, you won’t be disappointed! Also, on the bill was the young saxophonist Jess Gillam and award-winning songwriter Albert Hammond who were both outstanding.
The Maltese opera star Joseph Calleja was wonderful, and my personal favourite Josh Groban performed a truly beautiful version of Somewhere over the Rainbow, among other stunning songs. It was then time for the headline act which this year was Gladys Knight. What a fantastic performance she gave, she still has the most incredible voice and had all 40,000 of us dancing and singing along to all the hits we know and love.
Then came the iconic flag waving finale, it was so amazing to be part of this experience which was being mirrored over at the Royal Albert Hall. We all played our part in the rousing renditions of Land of Hope and Glory and Jerusalem. A spectacular firework display was a very fitting end to a truly wonderful day. I hope to be fortunate enough to go again next year and as if the musical performances aren’t enough of a reason to go, here are 5 more:
- This event is in the most glorious setting of Hyde park in central London, arrive early and take a stroll around this magnificent space. Maybe take a boat out on the lake, marvel at the stunning plants, trees and statues or simply sit peacefully and watch the world go by for a while, before entering the arena.
- This is a wonderful iconic event to attend, whether with a group of friends, as a couple or a family but even if you went alone you wouldn’t be for long. The camaraderie amongst the attendees was like nothing I have ever experienced at a large event or concert. People of all nationalities and ages from tiny tots to shall I say a more mature contingent were sharing, stories, drinks, food and lots of laughter.
- Whatever your taste in music there is absolutely something for everyone, from musical theatre, to Opera, rock, pop and disco. This is a wonderful opportunity to see a multitude of fantastically talented artists at one venue.
- The organisation of such a huge event, 40,000.00 people attended, is mind boggling and needs to be seen to be believed. I have no idea how something like this is put together so slickly. From the fabulous selection of food and drink vendors, the security, the staging, lighting, superb sound and visuals to the properly plumbed in toilets. Certainly, a feat of engineering in themselves.
- This event is a wonderfully eclectic mix of music, food, fun and revelry mixed with the superb Pomp & Circumstance associated with the Proms. In the words of a fellow reveller “it made you proud to be British”.
★★★★★
Friday 5 July 2019
Rhianne-Louise McCaulsky on Taking Her Version of Rizzo on Tour in Grease the Musical | Interview
Grease is the epitome of a cult-classic musical, after various revivals and reinventions, there's a new tour taking over the country. In this refreshed production, Rhianne-Louise McCaulsky takes on the iconic role of Rizzo and took the time to chat to us all about the experience...
Tell us a bit about your career and highlights so far?
My first job out of college was cover Nabalungi/Swing in The Book Of Mormon (West End). I stayed there for a year and had the best time there. I then went into Bat Out Of Hell as ensemble/1st Cover Zahara. I have been so lucky to have the experiences I had and the memories I made on both of those jobs. We performed for Prince Harry, performed at Proms in the Park in front of thousands. Mental really. I’m now performing as Rizzo in Grease the UK and Ireland Tour and am having the time of my life. I’m so grateful for the career I’ve had so far.
You finished performing in Bat Out Of Hell at the beginning of the year which featured the iconic Jim Steinman music. Grease is a cult favourite, what’s it like bringing these well-loved songs and characters to life?
It has been amazing learning and performing this well-loved musical. I grew up with Grease, my family and I watched it pretty much every weekend, I used to sing Hopelessly Devoted To You and There Are Worse Things I Could Do to my teddies in my room haha! So to be performing in it every night really is a dream come true. I never tire of the music and it’s been amazing getting to put my own stamp on the characters, particularly Rizzo.
Rizzo is a very layered character, which sides of her are you most excited to discover and perform?
Rizzo is a very layered character indeed. I wanted to try and explore as much of her as I can, and I’m still learning about her every performance I do. I love getting to play the fun, nonchalant side of her seen in Look At Me I’m Sandra Dee as well as the heartbroken side of her in There Are Worse Things I Could Do.
Does this production stick true to expectations from the movie?
This production still has the fun loving elements from the film; however the creative team have really encouraged us to focus on the truth of the story. We are working class teenagers growing up in the 50s facing all sorts of problems such as body image, love triangles and pressures to fit into society. It’s a lot grittier than the film.
What part of touring are you most excited about?
It’s my first tour so I’m super excited to get on the road. I think I’m most excited about seeing other parts of the country and exploring. I love travelling!
If you could play any other character in the show, who would you play?
If I could play any other character in the show it would have to be Kenickie. He is just so bloody cool! He also sings Greased Lightnin’ and that gets me pumped every time I hear it.
What’s the last thing you do before you step out on stage?
The last thing I do before I step on stage is usually drink some water, have a mint and take a couple of breaths just to focus myself. I start the show in the first wing on my own so it usually gives me time to get myself together and focus on the show.
You have a five minute break in rehearsals, what are you doing?
If I have 5 minutes in rehearsals I would probably be eating, ha! Or recapping dance steps usually.
What’s a fun fact that people might not know about you?
If I wasn’t an actress I would love to be a journalist. I love writing and talking to people. I have short novels that I have written at a young age in my room.
What’s your best piece of advice for an aspiring performer?
LOVE WHAT YOU DO! Keep yourself healthy and keep learning. Never stop working hard. See as much theatre as you can to keep your motivation going.
Grease is currently touring the UK and Ireland, information and tickets can be found here
Interview by Editor, Olivia Mitchell
photo credit: Manuel Harlan
Thursday 22 November 2018
In Conversation With... Patrick Sullivan | Doctor Dolittle | Interview
After starring as Blake in Bat Out of Hell, Patrick Sullivan has swapped a motorbike for a cycling bike and a whole load of animals, as he becomes Matthew Mugg in Doctor Dolittle. Patrick told us what we can expect from the show, what Matthew is like and what he'd love to do next...
Can you tell us a little bit about Doctor Dolittle and what we can expect?
Doctor Dolittle is a beautifully charming family show. It deals with important issues like the way we treat animals and in turn the environment. It has real heart and integrity and stands up against some of the more well-known family classics like Mary Poppins and Chitty Chitty Bang Bang.
You recently starred in Bat Out of Hell which is very different from this show, what drew you to Doctor Dolittle?
It was actually that huge difference that attracted me! I had the most incredible time creating and working on Bat. As a cast we were given such freedom to develop and adapt our characters. I had never done a show like Doctor Dolittle and reading the script the character I play, Matthew Mugg, really felt like something I wanted to work on! It's a very traditional show with great song and dance numbers which I've always wanted to do!
As you mentioned, you’re playing Matthew Mugg, what’s he like as a character?
Matthew is a very sweet innocent guy, with the best of intentions. He's an Irish immigrant and so doesn't have any family of his own in Puddleby, where the show is set, so he builds his own family when Doctor Dolittle takes him in. We see Matthew repeating this gesture when he takes in a local orphan Tommy Stubbins. He is driven by a kindness and warmth of character that I find very admirable!
Puppets are a key part of this production, what has the process of learning to work and move with them been like?
It's been a very rewarding challenge! I have had zero experience with puppetry prior to this show so I was really starting from the ground up! It's fantastic to be able to create reality where animals can pack a suitcase or do a dance number! It's really magic!
Have you got a favourite puppet in the show?
I might have a soft spot for him Chee Chee the chimpanzee...
Can you sum up Doctor Dolittle in five words?
Charming
Rich
Joyous
Fun
Heartwarming
If you had a magic wand, which show would you do next?
Oh a very difficult question. I don't really have a favourite show! I would love to do A Man of No Importance or else Catch Me If You Can. I think those are two shows that have never got the attention in London they deserve.
If you could go back to any era, when would you go to and why?
I know this isn’t the question but I'd much rather go into the future a hundred years and just see how it all plays out.
What’s your top piece of advice for aspiring performers?
Perform as much as you can. I was very lucky growing up in Ireland where there was considerably less competition for shows, especially for boys, so I was given loads of opportunities to play parts and develop a stage craft before I ever went to college! I was very lucky but there are still opportunities to be had if you look in the right places!
Also just try and be nice to people! It’s easy to forget to treat people with respect.
A massive thank you to Patrick for taking the time to chat to us. Doctor Dolittle is currently touring the UK until 2nd November 2019
Interview by Editor, Olivia Mitchell
photo credit: Alastair Muir
Monday 31 December 2018
Olivia's Top 10 Shows of 2018
2018 has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in an order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats. 2019 is the year of change for West End theatre as a lot of beloved shows close and we get a number of new shows and shows from across the pond. I can't wait to see what next year provides and if we get anything like the treats from this year, it's going to be truly wonderful...
This was one of the wackiest nights out at the theatre. Alan Menken's score, accompanied by the changing natural light, a dancing tongue (shoutout Billy), and a host of standout performances, you couldn't help but smile and laugh at this treat of a summer show.
My heart was torn out and I ugly cried most of my train home but this was a magical theatrical experience. Highlighting the struggles of grief, this production cleverly used simplistic, ensemble staging to create a highly moving, highly polished, yet still raw piece of theatre.
This is one of the most truthful productions I have ever seen in my life. The outstanding cast seemed as if they were living the show for the first time as they travelled through Nine Nights of mourning with humour and depth in perfect balance.
This show deserved better. Mythic was a whole host of self-aware-hilarity accompanied by the catchiest music. A modern twist on the Greek Gods, it was 90 minutes of unadulterated brilliance and I can only hope 2018 isn't the last time this show graces the stage.
Robert Hastie's revival of The York Realist was 130 minutes of theatrical perfection. Handled with genuine care and a real attention to detail, this was a beautiful exploration of love, class and life.
All I can say is that London is not ready for the perfection that this show is. Book your tickets NOW.
Toby Marlow and Lucy Moss are the best thing to happen to British theatre in a long time. Telling the stories of the wives of Henry VIII, Six uses modern musical styles, mixed with laugh out loud one liners, out of this world performances from the Queens and it's just spectacular. It's a show for all ages that is sure to wow audiences for years to come as they keep coming back for their royal fix.
This is another gem of a show from Trafalgar Studios. Arinzé Kene gave the most devoted and energy fuelled performance I've ever seen. Misty is vibrant and fresh as it uses the dual-narrative structure perfectly to leave you wordless.
If The Rink was a person, I would've married it by now. Caroline O'Connor gave a masterclass in acting and this show needs to come back right now. Roller blades, delightful music and fabulous staging made this a faultless production.
I saw Hadestown twice this year but if I could've made it 20, I would have. I truly can't describe how special this show is; the lighting, staging, choreography, ensemble, leads and music come together to create an emotional journey and spectacular theatrical experience. The entire show is painfully relevant and the whole spectacle of it is exceptional.
So there we have my Top 10 Shows of the year, do you have any of the same ones? I'd like to give mention also to Bat Out of Hell which became a huge part of my year and provided some wonderful memories; and the BTA who put on two fantastic shows: Spring Awakening and Bring it On which featured stellar performances from the stars of the future.
For me, this was the year of female led performances and a real forward movement in the showcasing of diversity in theatre which are two huge positives in the industry. Lets hope for a continuation of these changes in 2019! Wishing you a the stagiest of stagey 2019s!
-Olivia x
-Olivia x
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