Showing posts with label Q & A's
20 August in ,

Interview with Theatre Producer Katy Lipson.

It seems that over the past few weeks, the theatre industry is starting to get back to business as many new productions are lined up in the upcoming months. It is an exciting time for the industry that has been crippled as a result of the pandemic in the UK since March, but whilst it’s great to see that things are starting to pick up somewhat, the damage already made to the industry is still present. It does hit you when you suddenly realise you’ve gone 5 months without sitting in an auditorium, I for one cannot wait for theatre to resume over the near future. 

One creative individual who is definitely not allowing the pandemic to stop her from pursuing making work is Theatre Producer, Katy Lipson. Hands down one of the most influential and inspiring women within the industry right now, with her eye always firmly fixed on creating exciting productions for British and global audiences to enjoy. 



Lipson started her journey whilst studying, she wrote a show and wanted to put it on and then musically directed all of the shows with her first company. “I created a small company with a friend and we’d write new musicals”. Although not necessarily experienced as a producer, Katy Lipson was always a composer or a musician so she’d sit and play all of the music for the shows. “I did it for a 5 year period and whilst doing my degree, I attended a drama school, worked as a musical director, vocal coach and was an actor.” This period gave her all of the tools required to absolutely take it to the next level professionally. “It wasn’t until I was 23 that I questioned all of this experience, what do I enjoy the most? It was then I started thinking about producing and what it is. I knew then it was the time to step away from the smaller company with my friend. I think it’s important to mention this part of my journey because you don’t just start producing, something takes you there.” After taking a backseat from this company, Katy went on to form her company and the Aria Entertainment. The idea came in 2010 but it wasn’t until two years later in 2012 it was actively producing. “I had lots of different experiences but not in producing but when I started Aria I knew one thing. It would be run by me, it would be a company that produced musical theatre and that I would try and do as much content as possible. I like working at this pace and having my toes in different models at the same time. 8 years later, I’m now producing shows in fantastic venues up and down the country but also touring productions too. We were at a very exciting time in our journey until recently where everything has now taken a backseat.”


The pandemic has presented producers up and down the country with multiple problems over the month as Katy explains, “there’s always 3 issues as a producer; how do you cover your weekly operating costs as a company? How do you plan for the future when the theatres are closed and how do you start to raise money for new projects?” Obviously those three things aren’t happening at the moment as the pandemic has put a hold on that. “For me two shows closed in the middle of the coronavirus so I’ve had to deal with the huge losses of those shows, shutting the shows down, treating the companies as well as doing as much for them financially as I can without bankrupting myself. Treating investors well, communicating with investors, dealing with sets”. Two of Katy’s show sets are still in their theatres. 


“I’ve had to cancel so many future shows that were coming and tours. I hadn’t announced other shows that were coming this year that won’t happen. Every day I’m talking to theatres about when they might open, will they still keep me in mind.” Katy Lipson had to rebook a 26 week tour during a pandemic when “every other show is trying to rebook their tour and nobody knows when the pandemic will be over and theatres can open again. Everything keeps changing and you have to think about trying to keep your cast and creatives free, it’s so hard.” It’s challenged Katy to use this time to see how she could make something, whether it was digital, an audio project or outdoors. “In this respect it’s been good to know my strengths are that I can process this all at once. My strengths have allowed me to process so many conversations about other ideas which is how I got hold of C-O-N-T-A-C-T from Paris.” 


Image of Pippin the Musical, produced by Aria Entertainment. 
Image of 2017 cast of The Addams Family UK Tour, produced by Aria Entertainment.


Katy believes that the industry is starting to think outside the box about how to make content and make money during this time. “Nothing is ever going to replace theatre as we know it, nothings ever going to replace going inside the theatre and watching a beautiful show in these fantastic buildings. Nothing can ever replace that it’s just we’re trying to do what we can at a time where those places can’t be open because they’re not safe or can’t economically run Dear Evan Hansen on 300 people. That’s the issue presented to the theatres at the moment”. 


Katy Lipson’s work quick handed approach to bringing new and exciting productions at the forefront of the stage makes her a force to be reckoned with in the industry. Over the years she’s taken on bringing the stories such as Pippin, Hair, Little Women The Musical and Spring Awakening to audiences nationally and globally. But what’s her secret to delivering so many shows at once? “I plan a lot in advance so I have a list of shows that I’m probably going to do over the next 3-5 years, some might change or some I might add but really I can put a show on sale in January ready to go on stage in May, maybe, or sometimes quicker”. An example of her quick process is with the show The Last Five Years that went on sale in December and was on stage in February. She’s already thinking ahead to what shows she can probably tour in 2023 but “how do I book it now when half of the theatres are still not there and they may not survive”. 


Katy’s artistic growth is something that she is really inspired by as a producer, “I grew artistically in a way that I really admire and liked but I didn’t really think about growth finanically”. She’s also learnt about loyalty, “if you have great creative people in your team then stick with them. I am passionate about working with new talent and have brought in 30 new directors that I’ve never worked with before”. 


When it comes to representation of Katy as a young woman as a producer she believes this hasn’t affected her place within the industry, “I would say it harder being younger”. At the start of her career she felt it was hard to be taken seriously because she was younger and hadn’t done larger scale productions “so nobody would take my touring product”. Katy Lipson believes that it’s more about experience, and that takes “years of investment for people to take you seriously”. She would like to see more females within her role in the industry, particularly musical theatre producers. “I want to see more people passionate about musical theatre and seeing more of it on the stage because if we don’t see more of it, we’re not going to see change happen”. 


promotional image for C-O-N-T-A-C-T coming to London in August 2020.

Katy Lipson is part of the wider initiative amongst the industry to get theatre back on its feet and recently launched the news of C-O-N-T-A-C-T. In partnership with producer Mathilde Moulin and French theatremakers Musidrama, this UK premiere will invite audiences to experience a socially distanced outdoor experience like no other. “I wanted to make it bigger, 3 locations, 3 different times of the day in London”. The exciting thing about this show alone is that they want to expand it globally too! “I like the creative, you put your headphones on and watch the show in front of you. The actors are acting but you’re hearing their inner monologues inside your headphones, it’s really cool!” In the 3 various locations around the city with 3 casts.


C-O-N-T-A-C-T ‘explores the themes of mental health and anxiety through the eyes of Sarah as she is approached by someone she believes to be a stranger’ (source). The show is a 50 minute piece without an interval and audiences of no more than 15 per show. To access the audio audiences will download it from an app. 


You can find out more about C-O-N-T-A-C-T by visiting the Aria Entertainment website here. 


When Katy thinks towards the future of theatre she says she is “worried”. “How are theatres going to continue? With the Addams Family for example, how can I market my new tour when half of the staff aren’t even in those roles. How do we get things out there?” Katy Lipson does believe that the industry will survive the pandemic but “there will be less of us. There will be less theatres and less investment but we will get through. If we do have less shows maybe they will be supported more because there will still be audiences. It’s changed everything and it will take time to recover”. 


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13 August in ,

Q&A with Matt Hemley, The Stage Newspaper

The Stage is probably one of the theatre industry's most known print and online publications and it's been here since 1880. Although the pandemic has culled the industry for the foreseeable future and we're all wondering what this will mean on a long term basis, The Stage has continued to kept us up to date with everything we can know for now. You cannot imagine for a newspaper that has shared thousands of uplifting stories over the years now has to share the devastating news of redundancies and show loses coming to light over the last few weeks. It's paramount that beyond the gates of this pandemic, newspapers like The Stage continue to surface and I wanted to chat with their News Editor, Matt Hemley about his role and how the publication are getting through this difficult time. 

Matt has worked for the newspaper for 13 years, first as their broadcast reporter where he covered TV and radio. He gradually moved his way up through the ranks of this magazine and became news editor a few years back. We had a quick Q&A which I hope you'll really enjoy if you are interested in theatre and journalism. 


1. What is your role within the company?

As the news editor I look after all of the news content, in print and online. I decide what goes up on our website and what news we cover in the print edition. 

2. How did you get into your area of work?

I have always loved theatre and acting, and as a kid I went to a local drama school. I then studied acting at Bretton Hall, but when I graduated, I swiftly realised a career in acting wasn't for me. So I retrained in journalism, something I'd always been interested in (I set up a school newspaper at primary school) and after that I got a job in a local newspaper in Watford. But I always had my eye on The Stage, as I wanted to combine my two passions, so when a role came up in 2007 I applied and got it, much to my joy!

3. Can you give an overview on how your role works? How do you source your articles?

Working with a team of two reporters, I am responsible for ensuring our content is up to date and relevant. We have two deadlines a day - one in the morning and one in the afternoon, so we usually catch up first thing about what each of us is working on, whether it's something that's come into our inbox overnight, or something we've spotted on social media as being of interest. Having been at The Stage for so long, I have good contacts in the sector, so if anything big is going on, someone will usually let me know.

When the news is filed, it's my job to edit it, and make sure it's tight and fit for publication - though my team are so good they don't need much editing. I am very lucky to work with such talented people. We also have a weekly deadline for our print issue, which is on a Tuesday. So that day usually means I have my head down reading pages and proofing them. 

4. How long can it take for an article to be published?
Because of our two deadlines a day, we can get articles up very quickly. Sometimes within the hour, or less, if they are simple stories. For those requiring interviews and investigation, it can take longer - sometimes you work on a story for a couple of days, maybe even the best part of a week. They're usually the juicy ones. 

5. What's the best thing about your job?
The variety we get to write about, the brilliant subject matter (theatre is the best industry) and the lovely people I work alongside. 


6. What is the biggest challenge in your field of work?
The biggest challenges often involve exposing people who have not behaved very well in the sector, usually by not paying actors and crew. These stories are delicate and require a lot of work to make sure everything we say is accurate and backed up with documentation, which can be time consuming. The other challenges have been during the pandemic - we have been busier than ever trying to stay on top of all the goings on, and it's been quite relentless. That can take its toll on your mental health. 

7. Are there any misconceptions about your job?
That all we do is sit and watch shows! We do see shows, obviously, but as an industry newspaper, it's more about keeping people in touch with what is happening in the sector. It's not as glamorous as it may sound!

8. Is there an experience of working at The Stage that has stuck with you?
The Stage has provided me with so many opportunities, for which I am hugely grateful. One of them was interviewing my hero, Gloria Estefan, live on stage, to help launch her musical, On Your Feet! It was a dream come true. 

9. How has your team been working around the pandemic?
Very hard! We are small - just the three of us - and as I say, it's been relentless. It's mostly been bad news too, such as job losses and companies closing. That makes us really sad, as - although this is a job - there is also a passion for most of us, so we feel it when these stories break. The pandemic has been so brutal for so many people, and particularly those in theatre, I am so sad for all those people now without work, and all those venues having to make difficult decisions. 

10. Why do you think your role and newspaper are vital within the theatre industry?
More so than ever, I think The Stage is needed by the industry. It's become a place for people to keep on top of everything that has been going on at this time. I hope we continue to hold that place for many more years.

11. What can people do to support The Stage through this time?
Subscribe and keeping reading! 

You can access The Stage through their website, print and also an app. To find out more head to their website here. 
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22 May in ,

Vivi Bayliss' Ten Most Memorable Shows.

Midlands-based Vivi Bayliss has put together a list of 10 of the most memorable shows for her. As a theatre maker, Vivi has a huge variety of interests, but a lot of her directing work up to this point has been in an opera. A genre of theatre she kind of fell into when she was 18 and has steadily fallen in love with.  She's very young to be working in opera, a "young artist" in this genre can easily be around 30 years old. Vivi Bayliss has also undertaken a lot of directing work with youth companies, including British Youth Music Theatre and currently resident in a school, which is an interesting experience for her professionally. Most of her development has been training on the job or practising through the societies at my university has resulted in an experience that is very specific to her. 

As a choreographer, a lot of her work is in physical theatre, one of her favourites being a production of Road by Jim Cartwright. Vivi is fascinated by combining movement with other art forms to harness its narrative potential. Another huge part of her work is devised theatre. There was a stretch of around two years where she didn't work on any scripted productions, it's a method of theatre-making she is really passionate about. 

Here are 10 memorable shows that she'd like to share with us, enjoy!


William Shakespeare's 'King John' at the RSC. 

I saw this production when I was a teenager growing up in Stratford and grabbing £5 tickets to see anything and everything at the RSC put out. This meant there were some hits and some misses. This was definitely one of the hits. So vibrant and energetic, the 800-year-old king and his circle become more instantly relatable and engaging. I was sucked right into the world that Maria Aberg created, and she has been one of my favourite directors ever since. 



'Othello' by Frantic Assembly

I saw this on its 2014 tour and it absolutely blew my mind. Othello was already one of my favourite plays and Frantic Assembly a favourite company, but this production showed me something new in a story I knew so well. It felt so raw and you could feel the tension bubbling just under the surface the whole way through. Cassio's drunkenness and Desdemona's death still stand out in my mind. The combination of classic text and Frantic's signature movement worked so well. 

Watch the 'Othello' trailer here.


'Hamilton' by Lin-Manuel Miranda

I knew I loved this show long before I saw it. I played the soundtrack on repeat for months, but it was even better live. I can't lie, I actually cried during "My Shot" because I was so happy. Again, it created an infectious energy, I really got swept up in their revolution. The hip hop movement language felt both rough and refined and there's a lot more comedy in the show than I expected. It's a show that felt huge in scope but also had the capacity to zoom in on the tiny details and that takes real skill.

Watch the trailer for the smash-hit musical, Hamilton here.


'Come From Away'' by Irene Sankoff and David Hein

When I came out of the theatre, this felt like it was the best show I'd ever seen. It really shook up what a musical can be. With the movement language of a physical theatre play and strong folk influences in the music, this was not showy or big, but profoundly affected me. I cried on and off for the whole show. With multi-rolling and direct address, this was the story of a community, not a set of characters. My stand out moment will always be the praying.

Watch the trailer for the incredible musical Come From Away here. 


'Badass Be Thy Name' by Police Cops

This is the third hit show for the trio at the Edinburgh Festival Fringe. I saw their second show, "Police Cops in Space" in 2018 and fell in love with their absurd, chaotic style, but I think "Badass" is better. Delightfully self-aware, consistently surprising and bizarre, but occasionally heartfelt, it made me uncontrollably cackle in my seat and I think that's a pretty good thing to aim for. 

Have a look at an interview about Police Cop's work here. 


'Volpone' by Ben Jonson at the Royal Shakespeare Company. 

Another one from my teenage "any and all" theatre visits and another hit. The production didn't try to be any more or anyt less than the script required but was excellent fun. What really makes this show stick in my mind is the central performance given by Henry Goodman. From the second he opened his mouth I was transfixed. I think it was the first time I saw what truly excellent acting was. 

Take a look at the trailer for Volpone here. 


'Grounded' by George Brant

Originated at the Gate Theatre in London and seen on tour at The Theatre, Chipping Norton, this show was a bit different. A monologue about a female fighter pilot operating drones, it was so understated at the start, but son elegantly crafted that you were on the edge of the seat by the finale. It was a real thinker and caught my imagination in a different way. The set was also fantastic - mesh cube set in thrust with no exit.

Watch the trailer of Grounded here. 


'Harry Potter and the Cursed Child Parts One and Two' by Jack Thorne

Technically, this is two plays, but you have to see both parts, you just do. Much has been made of #KeepTheSecret so no spoilers here, but they really do create magic onstage, so much so that I audibly gasped at just a costume change. The movement is created by Frantic Assembly's Steven Hoggett, so is predictably excellent, and the theatrical approach means that the focus of the script is shifted away from the much-debated film plot, to the thematic core of father-son relationships. 

Watch the trailer of Harry Potter and the Cursed Child Parts One and Two here. 


'STOMP'

I finally saw Stomp in the West End about a week before it closed, and then a few months later again on tour. A series of vignettes with no dialogue, just percussion and movement, it's so hard to describe why it's so brilliant. It's innovative, it's infectious and also it's really funny. It's just pure joy and you're just desperate to know what they're going to do next. 

Watch a trailer for STOMP here. 


'Rooster' by Christopher Bruce, performed by Rambert

I saw the original performance of this dance piece on film while I was at school, and got to see a revival live on tour at The Rep, Birmingham. I love it because it feels like a relatable professional dance. It uses popular music, specifically Rolling Stones, but reaches to their essence and weaves narratives from them. Such simple motifs become intricate and elaborate sequences. The costumes are delightful and it's so playful.

Watch the trailer for Rooster here. 

A special mention to some of my favourite plays I've seen online, before and during this lockdown time, for making high-quality theatre accessible to all. My top 5: Othello at the National Theatre starring Adrian Lester and Rory Kinnear; One Man, Two Guv'nors at the National Theatre starring James Corden; I and You by Laura Gunderson at Hampstead Theatre, Flowers for Mrs Harris at Chichester Festival Theatre and Bandstand The Musical, directed and choreographed by Andy Blankenbuehler. 






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27 April in ,

INTERVIEW | David O'Reilly, Everybody's Talking About Jamie

We have been in "lockdown" for a month now, oh how life has shifted in that month. We've been attempting to follow workouts by the hundreds through social media, trying to organise our entire lives and navigate ourselves through a temporary normal. One of the people I've been tuning into regularly for the past month is David O'Reilly. Actor in the hit musical, Everybody's Talking About Jamie has been using his social media platforms to lift the spirits of people with his epic Dance with Dave Monday-Fridays as well as hosting a fantastic array of people to his platform to discuss a variety of important topics. O'Reilly has an infectious laugh and aura around him that makes his stuff highly engaging and I am delighted that he agreed to have a quick interview with me, enjoy! 


Before the pandemic, David was performing as Laika Virgin in London's West End production of Everybody's Talking About Jamie. The musical is based around Jamie Cambell's true story when he attended his school prom in a dress. Everybody's Talking About Jamie takes us on that journey from becoming a Drag Queen for the first time and going to his school prom, "Upon the journey, we are shown the difficulties and the ignorance that surrounds some characters and their attitudes towards it." David O'Reilly plays Laika Virgin, one of the Drag Queens at the Club Legs 11 where Jamie performs in Drag for the first time. "Along with the other Drag Queens, we take Jamie under our wing and prepare him for his performance as the opening act at this club night."

David O'Reilly explained that his favourite part about this character is "how unapologetically herself she is. She can be brash and loud but there is something normal and relatable about her at the same time". "The most challenging aspect of this job has been doing Drag make-up every night. I have little patience when it comes to make-up and I just want it to be perfect there and then but sadly it's an art and with that comes a requirement to practice and as they say, practice makes perfect. I have so many friends who paint their faces so incredibly well and look incredible!"

Unfortunately, over a month ago, the show closed due to the COVID-19 outbreak within the UK but David wasn't here as he was "in Dublin for his grandad's funeral who had died from a non-corona virus-related illness the weekend before. I heard the theatres were closed through the company WhatsApp group". 

"It's important to acknowledge we are feeling low and then remind ourselves of the positives. For me its about perspective and hope."

David is currently living with three of his best friends during the lockdown. "We know each other well enough that we can comfort each other if we are down or give each other space if we need it but most importantly we try and laugh as much as possible." Mentally David has been putting himself into projects; focusing on his writing and doing the regular Instagram content that he's become more known for over the weeks. "I am also making sure I get in contact with different friends every day. For them but for me to keep active mentally. Physically I will get out for a walk but not as much as I should be, so that's something to try and improve. I also don't punish myself if I can't stick to the routine. We are in incredibly weird times and it's important to acknowledge we are feeling low and then remind ourselves of the positives. For me its about perspective and hope."


On Monday-Friday's at 3:30, David sprinkles some joy with his Dance With Dave instalment. "I've always done silly dancing on my friend Amy's Instagram and I included it in my comedy show last year so we thought when the lockdown was brought in why not do a daily song, just having a dance and a laugh. Hopefully, it makes people smile and we have a laugh doing it. I love making people laugh, it's like an addiction for me." Creating the content is quite spontaneous with this, "sometimes on the day we don't pick a song until half an hour before and sometimes we plan it. A lot of the dancing is improvised and hopefully, that adds to it. I just want people to laugh, I want whoever tunes in to forget what's going for three minutes and laugh at me being a dick throwing myself around on the floor."

"The funny thing is Amy and Craig who do it with me are incredible in their own rights and have incredible credits to their names so it's hilarious to see them genuinely try and figure out what the hell I am doing!"

With regards to the Instagram Live videos I was aware of so many amazing people some friends some not who where all going through the exact same scenario as us and we all shared something and that was the question “How are you dealing with isolation?”. It was important for me to spread important information but also show that everyone is in the same boat. So my interviews hopefully give people some perspective. 

In the early evenings, David then opens up his Instagram live to a line up of stars to discuss an array of important topics. Some of the fantastic line up have already included Arlene Philips, Denise Welch and Aaron Renfree. "For me, it is important to find out how they are finding the lockdown and what they are doing to get through it. By telling their stories and routine they may inspire something watching to do the same. I try to keep it positive and we also talk about the journey they took to get where they are". These are fantastically engaging chats that I personally make time to tune into each day, I would highly recommend! 



"Broadening our horizons can only but aid us as actors so I’m opening myself to films and books I wouldn’t normally read in the hope of learning."

During this time I wanted to know whether David has learnt anything personally or as an actor, "I’ve learnt that preparation is key. I’ve also learnt that I just love to work and be busy. Broadening our horizons can only but aid us as actors so I’m opening myself to films and books I wouldn’t normally read in the hope of learning."

"The hardest part of lockdown has not being able to see my brother. We both live in London and see each other regularly but it's been six weeks and that is hard. Also knowing that I can't just jump on a plane and go home to visit Mam and Dad". When lockdown lifts and normality begins to resume, "I hope I take away the importance of appreciating the world around us and not take anything for granted. By that, I mean being grateful for what we do have." 
David concludes the interview by sharing advice to people during the lockdown and tips for keeping yourselves motivated, "I would say allow yourself to feel emotional but put in practice ways to stay positive. Set yourself a goal and something to work towards. Remember that health is wealth and kindness is key."

Follow David O'Reilly on Instagram and tune into his live content Monday-Fridays. 


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20 April in ,

Rosie Kay's 10 Favourite Dance Productions.


Rosie Kay is one of the leading female choreographers within the UK. Located within the West Midlands means we're able to embrace the athletic movement, rigorous research and intelligent theatricality that Rosie has become renowned for. Rosie Kay has been involved in an incredible amount of projects over the years including, choreographing the hit film Sunshine on Leith, 5 SOLDIERS and the Commonwealth Games 2018 handover televised live on the BBC Two in Birmingham. 

I thought it would be great to reach out to Rosie during lockdown so that she could share her Top Ten Dance pieces with you. "Let me begin with a caveat- by no means is this list exhaustive of all the amazing dance I have ever seen, nor is it indicative of all the great dance work I haven’t seen! These are works that in some way have stayed with me forever, and inspired and affected me in some way".

Nelken, Pina Bausch
I saw this work in the 1990’s, when Pina Bausch was programmed at Edinburgh International Festival. Her company rarely performed in the UK at that time, and was not well known at all. In fact, the theatre was not very full, and people even walked out- shocking now, when she is recognised globally as the genius of 20th Century dance. This work utterly mesmerized me, and blew my mind, expanding what I at the time (as a teenager) considered dance was, and I felt compelled by the beauty and the pathos evoked by the incredible performers. I was lucky enough to meet Pina Bausch in Wuppertal, and she truly was a legend.


Beach Birds, Merce Cunningham
I have been a huge fan of Merce Cunningham, since studying Cunningham technique while a student at London Contemporary Dance School (LCDS). It can appear to be rather dry and abstract, but once you shift your perceptions, and focus on the movement, you can see a lot of humour, intelligence and analysis of human behavior. I spent time training at the NY Cunningham studios in 2000, and I met Merce a few times- he would watch class, and I loved watching him move- his sense of space was extraordinary.


Les lieux de là, Mathilde Monnier Company
I saw this at the Edinburgh International Festival, and it’s a work that literally put me into some kind of altered state by the end. Like Cunningham, it takes a little while for your eyes and mind to adjust, you learn to read Monnier’s style and she builds layer upon layer of meaning that start to affect you emotionally in a very deep way. By the end I was in a trance, and this performance has stayed with me ever since, it was like watching the live, careful creation of a work of art. A mediation on nature, humanity and the very essence of time itself.



Hexen Tanz, Mary Wigman  
Wigman and Weimar Dance (German dance between the wars 1918-1932) was the subject of my final year dissertation at LCDS. This solo, which only a fragment of exists in faded celluloid form, was very inspiring and formed the inspiration for my first ever solo works premiered 1999 at Edinburgh festival fringe. I love watching the intensity of Wigman’s performance and the choreographic detail, it could be an anthropological study of an ancient tribe of witches, or it could be the beginning of a new movement of 20th century dance; Austrucktanz. I’m returning to solo work this year, after 21 years, and this reminds me of how inspired I was by Wigman.


Romeo and Juliet, Kenneth Macmillan
This is an all-time favourite work of mine, and Kenneth Macmillan is incredible at creating intricate, challenging choreography that also exposes real, raw emotion. I’d seen this work a few times, but my most memorable performance was by Birmingham Royal Ballet. I sat at Birmingham Hippodrome and I felt pierced in the heart- it felt immediate, honest and yet was also stunningly beautiful. I am creating my own version of Romeo and Juliet in 2021, and this version inspires and terrifies me!
READ MORE: Interview with Rosie Kay about her production 'MK Ultra' in 2017.

Solo Echo, Crystal Pite
Crystal Pite is one of the biggest names in dance right now, her work is unlike any other choreographer; unique, human and heartfelt. I loved this work created for Ballet British Columbia (Ballet BC) when I saw it in 2018, and I follow all of her work. I love the way she creates huge intricate patterns and with precise musicality- honestly, I don’t know how she does it!


Jewels ‘Rubies’, George Balanchine 
Balanchine is such a clever and vital choreographer, he reinvented ballet, particularly with New York City Ballet. His choreography of the female ballerina is exquisite- it’s sexy, provocative and seriously challenging for even the best prima-ballerinas. The central part of his work Jewels is called Rubies, and the dancers are clad in stunning red tutus. I used this as an inspiration for my work Fantasia- the approach to musicality, the sense of satisfying the audience visually, but also with a use of humour and deliberate provocation. This is a joyous work.

Mmm, Michael Clark 
Michael Clarke is a huge hero of mine, he makes really original work that you can always identify as his. Again, his humour shines through and the combination of technical excellence and visual verve is so inspiring. Mmm ends with one of the most stunning solos in dance history. I saw it at The Rep in Birmingham and was blown away.

WATCH: Mmm, Michael Clark Trailer

Bedroom Folk, Sharon Eyal and Gai Behar 
Through my role as Director of Dance Consortium I was lucky enough to meet the Artistic Director of Ballet BC, Emily Molnar and she invited me to shadow her at work at their Vancouver studios so I went up there last year after our first US tour of 5 Soldiers. I saw Bedroom Folk in rehearsal, in the studio, up close and personal, which is a huge privilege as an artist, and watched their rehearsals each day as the dancers honed the intricate moves.



Impressing the Czar, William Forsyth
I saw this performed by National Ballet of Flanders, and it is an extraordinary work. Forsyth has had a huge influence on both ballet and contemporary dance, and he is a really charming and generous person. This work dazzles in its confidence, bizarre and absurd humour and the stunning dancing.


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14 April in ,

INTERVIEW | Matthew Forbes, Zazu Lion King UK Tour

The theatres may be shut for the foreseeable future right now but continuing to chat about the wonderful industry is exactly what I am driven to do in the upcoming weeks. Other than listening to the musical soundtracks repeatedly during my working day or tuning in to one of my favourite musical theatre podcasts, taking part in numerous musical theatre quizzes and watching some fantastic stuff streamed online (thanks to WOS for this fantastic updated list of where you can watch some theatre stuff), I think we have the perfect opportunity to become more to theatre than we ever have. 

Up until recently, Matthew Forbes was performing in the UK Tour of The Lion King, which hopefully will be back to normal once their run hits Cardiff over the summer. With the uncertainty of so many shows up and down the country, supporting our theatres one way or another is pivotal to its future. Therefore enjoy this interview with Matthew Forbes about his role as Zazu, his career and the other shows he's already been involved in during his career. 



Matthew is not only a professional actor and voice actor, but he is also a director too! How long have you been doing each specific role in your career and which one stands out to you the most? 
I trained at the Royal Central School of Speech & Drama, graduating back in 2008. I’ve been working professionally as an actor and director since then. I began just focusing on acting in theatre, honing my craft and gaining experience in a wide variety of shows.. A few years after graduating I was lucky enough to get an audition for the National Theatre smash hit show; ‘War Horse’ and managed to secure a role. After working as a performer in London’s West End production of the show for three years I was asked by the National Theatre to join the creative team as part of the puppetry directing team.

I’d never directed a show on that scale before, and so was understandably nervous, but received wonderful guidance and support from the team at the National, since then I have worked on productions of ‘War Horse’ around the world. Following ‘War Horse’, I have worked as a Director on a variety of shows, bringing puppets and objects to life. I like to hope that having experienced both on and off stage gives me the ability to see the ‘bigger picture’ when it comes to putting on a show. I’m aware of the needs of both Actor and Directors. Hopefully, as an Actor I understand what the Director needs of me (even if it’s just as simple as being quiet while they figure something out), and as a Director I know that the Actors are looking for someone to ignite their creativity and guide them through rehearsals to achieve the finished product, but also just to tell them which side of the stage to enter from!

Read more: War Horse UK Tour Review.
Your work as a director takes a strong focus on puppetry, object manipulation and physical theatre. How did you become so interested in these within your own work?
‘War Horse’ gave me a huge education in the disciplines of Puppetry and Object Manipulation. The rehearsal process for that show is intense, it gives the performers a deep and complex understanding of the artform- it’s like doing a Master’s Degree! I enjoy bringing life to inanimate objects; it’s like being a child, and perhaps one of the purest artforms. It gets both the performers and audience to suspend their disbelief. We know the puppets are just inanimate objects but by investing so much in them (just as a child does with a cardboard box that becomes a spaceship) puppets often create a hugely emotional for the audience. Indeed the horses in ‘War Horse’ come to life on stage, the audience believe they are real, and that in turn causes a deep emotional connection, which often results in tears by the end of the show.
When you work on puppetry in particular in a director role, how do you create the different animals and characters in your stories? What is your typical creative process?
I always start with the script- if there is no script I work on the ‘treatment’ and style of the show to understand the basic foundations of the story. I always approach puppetry from a realistic point of view first- it’s important to know what the rules of the puppet are. Of course puppets can do anything… but it’s helpful to give yourself a framework to work within. I secondly check to see if a puppet is actually needed. Productions can sometimes include puppets because their ‘cool’ or ‘in vogue’, and not because they actually need them.

I personally think that a puppet should only be used if a human can’t do a better job. Once these initial questions have been answered I’ll then work with the performers using simple puppets made from paper on the basics of puppetry; breath, focus, weight, and effort. Once we’ve mastered these principles we’ll then move onto the specifics of the show, and rehearse each scene as you would a ‘normal’ show. I’d always ask the performers to try and rehearse the scenes as themselves first to understand the emotions or movements and then try to put them into the puppet. Puppetry often takes much more rehearsal to look good, this is something that people can sometimes forget. It’s a little bit like choreography in those first rehearsals; who holds this bit of the puppet? How do we move over there without tripping over each other? Once the logistics of the movements have been ironed out, there is then space to improvise.
" I enjoy bringing life to inanimate objects; it’s like being a child, and perhaps one of the purest artforms. "

Who/what inspires you and your work?
I don’t think I have a specific person who inspires me. I think I take inspiration from across all sorts of different areas; Actors, Directors, Producers, Music, and Fashion. I think as an actor it’s useful to be open to all kinds of influences. You never know what your next job is; and to be able a character truthfully you need to be open to whatever the character may be influenced by. I enjoy good storytelling; whether that be on stage, tv, film or radio- if the relationships between people are strong and interesting you can guarantee that the audience will be engaged.  


Is there any difference in the way you approach a puppet role as a performer? 
I don’t think so. The initial rehearsals are often a bit different- as humans we know how to walk, move, move, and how we can alter these to fit the character. With a puppet these are all things that need to be worked out logistically first; who controls this bit of the puppet? If I move this arm what does that do to the body? Once the practical questions have been answered in terms of how to operate the puppet then I’d say the rehearsal process is fairly similar.

You’ve worked on many shows as director, has one stood out than most and why?
When you work on a variety of different projects each stands out for different reasons; good and bad. I don’t think I have a favourite, it would be like picking you, favorite child! That said, I was thrilled to direct the world premiere of Sandi Toksvig’s adaption of ‘Treasure Island’; it was the first show to be produced at the reopened Leicester Haymarket Theatre. It was a brilliant family show for Christmas with a professional cast of nine, and a community sourced chorus of sixty! It featured songs, live music, dance, puppetry, and a guest appearance from ex-footballer Gary Lineker!


What’s the most challenging aspect of your job, either as a performer or director?

Erm… answering this question!? Hehe. 
Every job comes with its own challenges, I guess one of the biggest is ‘am I doing this right?’. Arts is always subjective; what one person like, someone else might hate. We all want to do the right thing, give the best performance, direct something groundbreaking, but none of us know what the ‘magic formula’ is, if we did we’d all be using it, all of the time! All we can do is persevere and hope that we’re doing the ‘right thing’, at the right time, for that specific project. 

"Zazu is an utter joy to bring to life. "

You are currently working on a variety of tours including Disney’s The Lion King, how did you bring the iconic character of Zazu to life?
Zazu is an utter joy to bring to life. I started with the script, and he has some of best comedy moments in the show. A lot of his dialogue was made famous by the wonderful Rowan Atkinson in the original animated Disney movie- so there are some big shoes to fill, but I hope that I’ve been able to make it my own. I’ve tried to be truthful to the original movie, but also give it a fresh twist.

Zazu is a puppet that I operate with two hands. My left hand is responsible for the wings of the bird, and right hand takes care of the blinking eyes and the movement of the mouth. I have to make sure that I lip-sync anything I say or sing with the puppet, and as I’m not hidden in any way I also have to perform the character within my own body too. Having these two things happen at the same time is something that Julie Taymor (the original director of the stage show) called the ‘Double Event’. The audience can see the puppet bird respond and can also see me and my response, both influence each other and the audience is able to process both things at the same time, which in turn giving them a deeper and more complex understanding.


What’s your favourite part about Zazu? 

Zazu has a brilliant sense of humour. He is the right-hand-man (or bird) to King Mufasa, and so has a lot of responsibility, he’s quick-witted and very intelligent. He’s desperate to look in control and so when young Simba plays tricks on him during ‘Can’t Wait to be King’ he gets very flustered, which is great fun to play on stage.



When you aren’t working on shows, what is your favourite thing to do to unwind?
I’m a big fan of Disney, so enjoy watching the classic movies. I’ve got several books on the history of Disney; it’s amazing to discover how Walt Disney created his huge empire, and how so many times it nearly all collapsed around him. He was incredibly passionate and driven and the story of Disney’s success shows that you can overcome adversity if you keep working hard.

"While we’re all staying at home, we’re turning to the Arts. We’re listening to music, watching movies, reading books, watching TV show and live theatre broadcasts."

How are you finding the current uncertainty surrounding the industry during the pandemic? How do you think people should continue to support the theatre right now? 
I think you could argue that this is the most challenging times for the Arts ever. Theatre, Film, TV & Radio are all dependent on people coming together, but in a world of social distancing, this isn’t currently possible. I’d urge people to support their local theatre, perhaps donate some money, or better yet, book tickets to see a show! Why not book to see something that you wouldn’t normally see (you’ve got plenty of time to do some research at the moment)! While we’re all staying at home, we’re turning to the Arts. We’re listening to music, watching movies, reading books, watching TV show and live theatre broadcasts. All of these things were created by artists, who currently are unable to work, and unable to create more content. If we don’t help the theatres, companies and institutions that produce this work then we won’t have any new content to enjoy in the future. 

If you can, please Support Artists, Stay Home, Protect the NHS and Save Lives!


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