Showing posts sorted by date for query Danielle Hope. Sort by relevance Show all posts
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Sunday 24 June 2018
In Conversation With... The Cast of Bat Out of Hell | Interview | Stagey Sunday
Welcome to the last week of Bat Out of Hell, Stagey Sunday! We're going out with a bang with TWO new posts. The first is an interview and look at some of the costumes with resident choreographer, Xena Gusthart which you can see here. This post is an interview with a selection of cast members with questions asked by you! Some answers are still coming in so you may just get a bonus Bat post later this week so keep an eye out!
What do you think makes the show appeal you both old and new fans of Jim Steinman/Meatloaf?
Rob Copeland (BatFish): The beauty of Jim Steinman’s music is that it hits you on the first listen and then has you hooked. So whether you are new to the music, or an old fan, you are almost guaranteed to leave musically satisfied. His music is so diverse and rich that it’s verging on a rock opera, hence him regularly being dubbed the Wagner of rock. For those who love the albums, it’s the beauty of seeing these story heavy songs brought to life on stage that you have been picturing all these years and, let’s face it, we are incredibly lucky to get to do it on an totally epic scale of set and general production. We regularly get spontaneous applause in the middle of the song Bat Out Of Hell and we are only half way through!
Rob Fowler (Falco): Our show appeals to all generations because there are misunderstood teenagers and dysfunctional marriages in all walks of life therefore I feel that the audiences of our show really identify with our characters.
Wayne Robinson (Jagwire): The variety in talent, the cast bring so much diversity to the show and there's something for everyone who loves a live show.
Sharon Sexton (Sloane): People have a huge connection with this music. Jim captures emotions musically like no one else I know. His songs are like rollercoasters that bring you on an epic journey. Just when you think a number is ending there is another twist and a new feeling. Also his lyrics are poetry and often deal with the idea of eternal youth and growing old and trying to hang on to what keeps us human. I think this type of storytelling brings older people back to their youth, giving them that taste of nostalgia and I think it equally appeals to young people who are just starting to get a sense of their own life. Wow. That’s deep. But that’s what makes his music special and makes this show appeal to so many generations.
What’s your favourite song to sing and what’s your favourite song that you don’t sing?
Danielle Steers (Zahara): Favourite song to sing aside from the obvious Two Out Of Three, my fave song is actually Rock and Roll Dreams! I get goosebumps every night singing that final chorus out front and seeing the audience, it’s such an incredible feeling!
Favourite song I don’t sing, would have to be It’s All Coming Back To Me Now, I love the harmonies and sing along backstage all the time! It’s so powerful!
Can you sum up having Giovanni as a partner every night in 5 words?
Charlotte Anne Steen (Liebeswooosh): I’d sum Gio up as a dance partner/love interest in 5 words as... reliable, consistent, fun, passionate and caring. We have a lot of fun on stage and I’m very lucky to have him as my partner.
You’ve recently opened an online store selling your art, do you have any other hidden talents?
Danielle Steers: Hidden talents? Hmmm, I bake, I play the piano, I sew, I’m good at cleaning.... I’m the perfect housewife really!
In Batchat you mentioned putting salt in Rob’s mouth on April Fools… can you expand on that story…?
Sharon Sexton: Um, no. ;-)
Basically there was a part in Who Needs the Young where I used to place my hand across Rob’s mouth when he sung a big note, and then I’d say my line before taking my hand away. Sometimes if he was feeling cheeky he’d lick my hand while it was there. So on April fools day, in the wings there happened to be some vaseline & some salt sachets ...and well - he got his commupance. But he gave as good as he got. I think in Paradise I ended up with a mouthful of chocolate...
If you could change one thing about Falco, what would it be?
Rob Fowler: If I could change one thing about Falco, it would be that the incident with Tink does not occur.
How is your Jagwire similar/different to others?
Wayne Robinson: I’ve never seen or heard the previous Jagwires so I can't comment on the finer details of similarity or difference. However we are similar when it comes to the book and score and completely different when it comes to costume who I thank John the designer for. He's done such an awesome job.
Do any of you have ideas about the backstory of your characters?
Rob Copeland: Well we sell a beer front of house that The Lost have made to fund their life style. My character (BatFish) is first seen in the on stage Dive Bar so I like the idea that he runs that operation. Essentially he is a party animal who brews his own beer and sells it to support The Lost.
Rob Fowler: My ideas of the backstory for Falco is as simple as he was once part of The Lost and he had to grow up when his wife fell pregnant with their daughter Raven.
Wayne Robinson: I'm quite similar to Jag in reality when it comes to his passions and even the way he conducts himself, I pretty much just play a younger version of myself each night, if I had any ideas to share it would be aspects and events from my own past but I won't share those yet.
Sharon Sexton: I think Sloane has hardened in her ageing and with life. She’s lost a lot of her sparkle when we meet her. In my mind she was a wild free spirited feisty rebel, and we see glimpses of it. I see her having a very tested relationship with her parents, particularly her father which is why seeing Falco and Raven struggle upsets her so much. And is what eventually brings her back home.
What’s the average number of costume changes per person?
Rob Copeland: I have seven costume changes in the show, and actually appear in one song twice as two different characters... (I will let the shows super fans work out which one that is), so actually it’s not too bad a show for costume changes for me. I know my mates doing Les Mis round the corner from us have a lot more than that in act 1 alone, so I can’t complain really! Plus we have an amazing team of dressers, wardrobe and wigs who make it all painless and easy. We would be lost without them (no pun intended).
Rob Fowler: I’m confident in saying I probably have the most challenging costume changes during the show. In total 12.
Sharon Sexton: Oh gosh no idea. For me 9.
The show is constantly evolving, how often do you have rehearsals for changes?
Rob Fowler: Normally changes with the new show will be rehearsed before the opening and during the previews.
Sharon Sexton: The show has kind of settled now. Usually we don’t ever change anything for the sake of change. Something has to be not working for a long time and discussed and edited and tested before we will even attempt to put anything different in so I think we won’t see any changes for a while. Though we are constantly in rehearsing covers, promos and events.
Wayne Robinson: There's always some tweaking going on every so often.
What’s your favourite costume you wear?
Sharon Sexton: Pencil skirt and red silk blouse and belt. In it she feels strong but still womanly and I adore those power shoes.
What’s the funniest thing that’s happened to you on stage?
Charlotte Anne Steen: I got hit straight in the stomach by the dolls head that Rob Fowler bats across the stage in Land of the Pig- I turned around and saw everyone trying not to laugh at me as I was lying there pretending to be injured!
What’s the hardest part of the show for you?
Sharon Sexton: Vocals. Particularly, All Coming Back to Me Now. Myself and Christina Bennington had to find a key to suit us both that meant the song wasn’t too low for her but not too high for me, so it’s in a key that tests both of us and it’s now higher than the original key - so it’s right at the top of my belt and an extremely long note which myself and rob has to work very hard to sustain matching time, breath, support and emotion.
If you could swap costumes with anyone, who would you choose?
Charlotte Anne Steen: I’d swap costumes with Mordema played by Emily Benjamin, I like the silver futuristic look of her costume.
What’s your funniest stage door experience been?
Rob Copeland: Well… there are two cast members called Rob... myself and the wonderful actor who plays Falco, Rob Fowler. I understudy Rob and we have similar facial hair/colour etc so I can see why this happened…A few weeks ago I left stage door, turned right immediately and walked briskly as usual to get home (I have a one year old daughter who has me up early so tend to try to get home as quickly as possible after the show ends).
A woman chased after me shouting: “Rob! Rob! Please will you sign my programme, I have seen the show lots of times now and I never manage to grab you and I think you are brilliant!”
I blush with a smile agreeing to sign her programme whilst pretending not to love that someone has finally clocked how ruddy brilliant I am as BatFish! It’s a miracle (considering I have no solo lines in the show..)
She opens it up and points towards Rob Fowler’s photo in the programme.
I then awkwardly have to explain that my name is Rob but I am not THAT Rob and she then very half-heartedly asked me to sign my biog clearly to make me feel less bad about myself...even though she wasn’t that bothered and was looking over her shoulder for the real Rob Fowler throughout... Excellent! Haha.
Rob Fowler: Coolest experience at the stage door all the fans singing happy birthday to me!
Sharon Sexton: Um probably when I’m not recognised at all and I offer to take photos of the others
What are some of the good and bad traits of your character?
Rob Fowler: Good and bad traits of my character, would be on one side he’s overprotective and on the other side everything he does is due to the amount of love he has for his family.
Wayne Robinson: Jag has no bad traits he's pure love
Sharon Sexton: Good- She has a heart of gold underneath the frosty. She sees the good in everyone. She doesn’t hold a grudge. And she’s a peacemaker.
Bad - she’s too soft sometimes. She is a little spoilt. She’s a bit vain and material things matter too much to her.
How do you maintain your vocal health singing the intense Steinman music every night?
Rob Copeland: Well we have a 15 minute vocal warm up every day which I make sure I do thoroughly and it’s other than that it’s just stamina that we have built up over time. When we first started rehearsals my voice was very tired every evening, but I have a pretty solid vocal technique now so have yet to experience any vocal problems. I also drink what feels like about 400 litres of water during every show and have cut down on alcohol intake as that can dry your voice out. I try and eat fairly well also. If you have a healthy diet it will only have a positive effect on your voice. We also have regular vocal sessions with our shows vocal coach Fiona McDougal and she really is excellent.
Rob Fowler: To be able to sing Jim Steinman songs in the original key eight shows a week half of the challenge is being born with the ability, the second half of the challenge is taking care, this being as cliche and boring as it comes, steam, drink water, sleep, eat healthy and exercise. The show may only last three hours but the work starts before we get to the theatre
Wayne Robinson: Careful warm up and not talking just to be talking.
Sharon Sexton: Warm up is key for me. I can tell everything when I warm up, exactly how I need to pace myself and what I need to do mouth shape wise to get through if I’m tired. Also I drink water and start getting ready at least two hours before the show. Tongue muscle massage and steam only when necessary. Other than its muscle memory.
Can you sum up your fans in one word?
Rob Copeland: I have never been in a show with such passionate fans. It’s really amazing to see. There is something about this show that people really feel is personal to them, and I love being part of that.
Rob Fowler: To sum up the fans in one word we have to be ... outstanding... but aren’t we all :-)
Wayne Robinson: I'd say the fans are loyal
Sharon Sexton: Inspiring
A huge thank you to the cast, crew and everyone at Bat for being part of this episode and the whole series. I hope you've enjoyed Bat Out of Hell Stagey Sunday!
To finish with a bang, we have a giveaway for you to win 2 tickets to Bat Out of Hell* To enter, RT this tweet and send us your best Bat look whether it be a makeover, an Andrew Polec impression, your own Bat choreography... the more creative the better!
Bat Out of Hell is currently at the Dominion Theatre until 27th October 2018
Post by Editor, Olivia Mitchell
Post by Editor, Olivia Mitchell
Photo credit: Specular
*T&C’s:
1) This entitles the prize winner to two tickets to Bat Out of Hell the Musical at the Dominion Theatre.
2) Prize to be redeemed by Thursday 23rd August 2018.
3) Valid on Monday to Thursday performances only
4) Tickets are subject to availability.
5) No cash alternative.
6) Travel to and from the theatre and any additional expenses incurred are not included within this prize.
Tuesday 12 September 2017
Grease (UK Tour), Edinburgh Playhouse | Review
The turn of Grease at the Edinburgh Playhouse transformed the theatre into a lively hothouse of hand jiving, bomber jackets and 50s nostalgia. With hundreds of costume changes, multiple set changes and an enviable line-up of cast and crew, including Tom Parker of The Wanted fame, this production of Grease was far from an understated affair.
The first surprise in the production came when the curtain initially lifted to reveal an exposed upper mezzanine level to the stage, where the live band was on display for all to see. With charismatic showmanship, the flamboyant conductor introduced each of his band members with the flick of the wrist, while they in turn stood up and gestured to the audience to boast their musical prowess. As far as warm-up acts go, this one was pretty spectacular.
Cut and the band are once again hidden from view (only to emerge later in a few choice scenes), with the show’s two star-crossed lovers emerging from opposite ends of the stage, raised on pedestals in a creative use of staging. Danielle Hope astounded the audience as Sandy from the very first note, captivating even the back seats with her commanding theatrical voice, with seemingly endless levels of range and depth. Tom Parker successfully portrayed the too-cool-for-school attitude of well-loved character Danny Zucko, but the powerful contrast at play between his boy-band tones and Danielle’s finely trained voice was at times, very clear to see. His “Sandy” solo was less than electrifying, whereas Danielle’s solo performances had the audience clinging onto every perfectly delivered note.
The supporting cast in this musical raised the energy levels tenfold; hand-jiving, flipping and jesting their way into the audiences hearts. Jan (Rosanna Harris) and Roger (Oliver Jacobson) were transformed from sideline characters into firm audience favourites. Each couple’s voices were paired to perfection, making for some harmonious duets. Special mention goes out to Alessia McDermott, who was standing in for ChaCha on the evening we attended; she high-kicked and smouldered her way through the show, leaving the audience clueless as to why she was only an understudy in the first place!
As far as performances go, this one was extremely physical, but the young cast kept pace the whole way through. It will come as no surprise to any viewer that the dance scenes were the brainchild of Strictly’s Arlene Phillips – the couple’s competition at the school dance featured more lifts and swings than you could shake a baton at. The razor-sharp choreography throughout was a real highlight of this performance, with not a single cast member slipping up during the lightning-speed handjiving sequences.
In a nutshell, this show was both ambitious and energetic in equal measure. The flashes, bangs, fire and sparks during the Greased Lightning song resulted in a real show-stopping moment, while Danielle’s voice reached dimensions far beyond what Olivia Newton-John could deliver in the movie version. Whether it was down to delivery or acoustics, some of the snappy tongue-in-cheek comments were unfortunately difficult to hear, and many of these jokes were as a result missed by the audience.
Overall, this was a very well-assembled production of an old school classic, delivered with such youthful energy and accompanied by great staging - viewers of any age or gender are guaranteed to get swept up by the excitement and extravagance of this show.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
Grease runs at the Edinburgh Playhouse until before continuing its tour.
Tuesday 11 July 2017
Grease (UK Tour), New Victoria Theatre | Review
Grease (UK Tour)
New Victoria Theatre
New Victoria Theatre
Reviewed on Monday July 10th 2017 by Valerie Field
★★★★
Grease first appeared on Broadway in 1972 but became really popular in 1978 when it was made into a film with John Travolta and Olivia Newton-John and became a cult classic. Set in the 1950’s as a High School Musical when Rock and Roll was extremely popular with the younger generation and the great Elvis Presley was on the scene, it was a cool time to be around and the musical is just as popular now as people are always eager to experience the nostalgia of their youth either because they grew up in the 50s or grew up with the film. This new tour revival of the show has all the classic songs and is a fun night out for any Grease lover.
The well known story revolves mostly around Bad Boy Danny Zuko and the innocent new girl Sandy after the two had a summer fling before unknowingly ending up at the same school. Tom Parker who played Danny in my opinion didn’t have enough presence on stage although as the show went on he seemed to come across a bit more confident especially in the dance routines. His voice was strong at points but he didn't quite reach the level of charm, charisma and roughness needed to really be Danny Zuko.
Michael Cortez as Sonny and Tom Senior as Kenickie both had much more presence on stage and I feel would have been better suited to the part of Danny. Both actors were funny, charismatic and over the top enough to steal the scenes they were in.
Danielle Hope was very good as Sandy and her singing voice had shades of Olivia Newton-John, she was wonderful as both the sweet, innocent Sandy and the sexy Sandy who comes in act two. George Olney was fantastic as Teen Angel/Vince Fontaine and had the audience really involved and with him throughout his scenes.
The costumes by Andreane Neofitou and choreography by Arlene Phillips really brought 50’s to life and the special effects were brilliant, especially when Greased Lightning came to life on stage. It was nice to see the orchestra on stage as they were great and really got the audience in the feel good mood.
All in all it's a very energetic and enjoyable show for any lovers or likers of the original.
Grease is at the New Victoria theatre until July 15th before continuing it's UK tour.
Tuesday 25 April 2017
Grease (UK Tour), New Wimbledon Theatre | Review
Grease (UK Tour)
New Wimbledon Theatre
New Wimbledon Theatre
Reviewed on Monday April 24th 2017 by Olivia Mitchell
★★★
Grease was certainly the word last night at the opening night of the show at the New Wimbledon Theatre. The classic hits and story which are loved by many had brought a varied crowd who all seemed extremely excited for a carefree, upbeat night at the theatre. With an abundance of hair-gel and budding romances that's exactly what the production provides, it's not faultless but it's feel-good fun.
The onstage band open the show with a high energy performance of 'Grease is the Word' which created an electric atmosphere and introduced the powerful instrumental players and ensemble in a brilliant way. Leading the cast as the sweetly innocent Sandy is musical theatre favourite Danielle Hope who is marvellous in the role. Her voice is strong and she captures the character extremely skilfully. Danielle certainly shines in the role with her rendition of the 'Sandra Dee Reprise' being a particular standout of the whole production.
Her romantic counterpart Danny Zuko is played by The Wanted's Tom Parker who seemed slightly out of place and nervous but did come across well at points. As the show went on he seemed to settle into the role more but there's definitely some room for improvement in terms of overall performance. Similarly, the other celebrity name, Lousia Lytton as the fiesty Rizzo is lacking a certain something. Her energy is high and her sass comes across well but her vocals let her down at points.
The ensemble are absolutely outstanding though, with each one owning their quirky roles perfectly and showing off their boundless stage presence. Gabriella Williams is absolutely splendid as Patty Simcox, her dancing, acting and whole performance is stellar and she provides hilarious comical moments through her peppy, excitable, exaggerated performance. I also loved Michael Cortez who was extremely energetic and had some brilliant one liners which he delivered with great comedic timing.
Arlene Phillips' choreography is retro and sleek and creates a great visual. The energy is the real key in this show and each move seems well thought out to provide optimum power and spirit.
You can't fault the production values of this show and despite some lacking moments it ticks all the boxes for an infectious night out and will please anyone who is a fan of the iconic musical.
Grease runs at the New Wimbledon Theatre until April 29th 2017 before continuing on it's UK Tour.
Tuesday 23 August 2016
In Conversation With... Natasha O'Brien | Children of Eden | Interview
Last week I had the pleasure of sitting down and chatting with Natasha O'Brien who is currently starring as Eve/Mama Noah in Children of Eden at the Union Theatre (which I reviewed here.) Natasha is an incredible performer and I got to pick her brains about all things stagey, see what we discussed below:
For anyone that doesn’t know, can you explain a little what Children of Eden is about?
So Children of Eden is, its a show in two parts, its almost like, each act, they're very closely related but they’re almost like two separate shows. The first act is the story of Adam and Eve and Father, the creation and act two is the story of Noah, and the Ark, and all the animals. But ultimately Christian Durham the director wanted to stray away from the tendency to get too religious with the show and he wanted to make the show about family and parenthood and what it means to create something and to raise something and ultimately the difficulty of letting it go to become its own thing.
Have there been any challenges with bringing this script to life?
I think trying to make this show palatable for a wide audience can be a challenge sometimes, especially nowadays the show has a tendency to be picked up a lot of religious amateur groups and it really lends itself well to those kinds of theatre groups but to take it into a broader arena maybe with a more professional cast and crew can be a challenge. I think Christian’s done a really good job making the themes very universal and just making the material watchable.
Are Eve and Mama Noah anything like you?
Yeah totally, we all bring elements of ourselves to our characters, you have nothing else to go on than your own experience. Mama Noah, she’s definitely very no-drama , she’s very chilled out, very grounded and i elected to make her that way because thats what I immediately took from her and I mean that was just sort of my first impression and I branched from that to create her. With Eve I think her precociousness and her, I don’t wanna say petulance but just a little bit of cheekiness, I really identified with that. More so in my younger years, I think that there’s a sense of wonder there that I just admire and love about that character, the way she's written and hows she's so flawed. I mean for all intents and purposes she is sort of the antagonist in the first act. You know, if she didn’t eat that apple… there would be no show, but at the same time you love her for it and you see the humanity of it and she is the embodiment of humanity and their flaws and how we have to learn how to love ourselves in spite of it all.
What will the audience be thinking about in the car as they drive home after this show?
I think the show really goes out with a bang, from my experience, what I’ve witnessed and what people have said to me is that from ‘Ain’t it Good’ onwards you can tell that we’re rapping up the show and there are two really big, beautiful vocal numbers. You know, ‘Ain’t it Good’ is such a big piece, for me personally but just for the whole cast, energetically its really joyous and then ‘In The Beginning’ is just really vocally beautiful, the harmonies are so rich and we really get a chance to showcase the true chemistry and love and fun that we are all having together as a company and that seems to really resonate with audience members. I think vocals and the score are something people remember, they leave the theatre and they’re really happy and singing. At least I hope so!
Can you sum it up in 5 words?
Sum up the show in 5 words?! What! I just got so nervous, I just got so anxious! Okay, Family. Love. Encouragement. Belief. Trust. They’re off the top of my head without thinking too much about it which I shouldn’t anyway!
Have you found any differences between Canadian audiences and UK audiences so far?
Yeah! When I think about it the average theatre goer in Canada is much much older and we don’t have as thriving a theatre scene in one city. In London theatre is so engrained in the culture and so much indie theatre is supported by so many age groups and people from different backgrounds, there’s theatre being produced that is really so marketable, like on the West End you’ve got the massive tourist attractions but on the smaller scale, the local community with come to smaller venues like Children of Eden at the Union Theatre and we just have a much more young, excitable and supportive theatre community here in London. Its incredible and its what helps to keep the theatre industry alive. Its struggling in Canada which is one of the reasons I left, we have such a small populations spread over such a huge land mass and in order to work in Canada you have to travel all across the country, which I did. I worked everywhere from Alberta to Montreal and everywhere in between. Whereas in London you can kind of keep it, if not London based then UK based and have an actual career because there are always interesting projects coming up. There’s an actual scene here. And without an audience there’s no industry, so the audience members are younger, more enthusiastic, more supportive, more critical as well. They’re just more seasoned.
Was being a performer something you always yearned for or did you have a different career path in mind when you were younger?
Yeah. I did my first musical when I was 6 and I just kind of always did musical theatre and have always known that was it for me. There was a brief moment in my life where I had a dalliance with the idea of maybe becoming a lawyer just because I liked the sound of my own voice and I considered quite strongly becoming a paramedic. I think its like that seeking of thriving under pressure and drama, but ultimately I chose musical theatre. But it was definitely what I’ve wanted to do my whole life and something that I’ve always had as a part of my life. I’ve always done shows, I’ve always had music and performance in any form like speech competitions or saxophone exams, just always some kind of performance.
What’s the last thing you do before you step out on stage?
You know what, I always look at myself in the mirror. Not like, “how am I looking?” but I spend a moment, have a sip of water and just focus. Its more to tune out everything around me, sometimes backstage before a show can be quite frenetic, the energy can be quite crazy and especially with this show the energy is so high and everyone is having such a good time and we’re all very much in love with each other but I need to make sure that I’m really focussed because the first act of this show goes by in like 10 minutes for me. I never stop so I just sort of stare and myself in the mirror for a few minutes and zone out, almost like an open eyed meditation in a way. Have a sip of water, make sure I pee and I’m good to go!
If you had a magic wand, what show would you do next?
Oh my god, if I had a magic wand! I would love to be in Wicked, oh god I would love it! When it first came out I was just starting drama school so it was just a part of a really magical, exciting time so my feelings attached to the music and everything, its visceral. And I mean, come on, its Wicked! It’d be amazing although part of me gets scared at the concept of that cause its like ‘oh god, every night!’ its a lot!
Alternatively I’d love to do Into The Woods, I mean any role, obviously I’m too old and too tall to play little red now but I think the bakers wife and one day I would love to play the witch. I would love to do Into the Woods and I really love Urinetown! Its so clever and good and the music just takes the piss out of every musical ever written. I would love to be in Les Mis; speaking of musicals it takes the piss out of, it just rips into Les Mis and I would just love to do it because its just a classic and to play Fantine- have a Wicked first act and then boom done!
Whats your best piece of advice for an aspiring performer?
I will share a piece of advice that Nancy Sullivan and David Thaxton shared with me back in February. There’s this amazing company called W1 workshops who I heard about from my friend Carrie O’Dowd who's also a performer and they run these incredible intensive workshops that are super affordable and always in a centrally located area and Nancy and David are both incredible, well respected established performers.
Anyway, the piece of advice that they gave and this resonated so strongly with me, they said: change your environment, surround yourself with people who are doing what you want to do and join in. Do it. Do the workshops. Take the coachings. Go to the classes. If you want to be in this industry, put yourself in the thick of it and surround yourself with people who are doing what you wanna do.
Its really easy to shy away and get overwhelmed and to let our ego and jealousy kind of cloud us but the most important thing you can do is surround yourself with people doing what you want. Its inspiring, it kicks you in the ass, it gives you an idea of whats going on and from a very practical perspective, you’re networking which is so important. I think networking gets such a gross name but networking is really just talking to people, being a normal, interesting human being with something to say and if I can’t have a conversation with someone and make them feel comfortable then I do not belong on a stage! If I can’t talk and make you feel comfortable, I am not an actor!
So I think that is probably the best piece of advice and it is exactly what has afforded me this opportunity. I mean, I’m brand new to this city, I knew no one in this industry when I moved here and it was just about throwing myself into these workshops, finding them online, going in, shaking hands, getting up with your rep and saying, “Hey Danielle Torento, we’ve never met but I’m gonna sing this song for you now” and you know, follow up emails and just do it!
Change your environment. It might be one thing you do differently a day, just one thing at a time and as you change your environment you start to develop this foundation and confidence in yourself that you are in fact, doing it. Because being an actor isn’t just being on stage, its really hard to explain that to people who aren’t in the industry. I don’t just show up somewhere 9 to 5 and have people tell me what to do, its all offstage. That [the performance] is the holiday, thats the treat, the bulk of the work is an unbelievable amount of groundwork, so, change your environment. That would be the advice… and its not even mine, I’m just passing it along because I think its a golden nugget of wisdom.
A huge thank you to Natasha for a wonderful chat!
Children of Eden at the Union Theatre is booking until September 10th, make sure you book to see this fantastic show! Tickets are available here.
Read my review of the show here.
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