A Rainbow Renaissance

Preparing for a pint in the pub? I think I’ll hold off a few days until the beer gardens calm down a little. It has now been 109 days since I last slept in my “home” bed in London, having stayed at my parents in Cheshire since my tour was curtailed. I still have all my winter stuff with me! All being well I’ll be getting back to London later this month for a proper sort-out.

My days have been a mixture of reading, news-watching, exercise (regularly getting out for a run each weekday morning, mercifully), some music software learning or piano playing, with evenings spent catching up with friends or some TV. I’m trying to learn a new food recipe a week, but my dad’s taste are quite finicky these days, so I’ve tended to tread carefully with that more recently.

The Theatre - and wider Arts - Industry continue to cry out for government support. In response, the politics veers more to getting venues open as quickly “as it is Covid safe to do so”, seemingly unaware that most therefore won’t fully open until the virus is under control, bringing the whole debate back to financial support - both for companies and individuals - for the time being. While the whole saga is clearly depressing, the increasing amount of broadcasters, media publications and MPs pressing the government on this issue brings with it a sliver of optimism for the future.

June saw the Black Lives Matter movement really galvanise, with the real systemic shift being the realisation from across the world that this was as much an issue for white people as it was if you are another skin colour. The difficult realisation was that by standing aside and leaving it once again for black people to fight solely, you could make yourself part of the problem, not the solution. Rather than standing aside, it was finally time to stand side-by-side. This summer has felt like a cultural shift rather than a moment, and I desperately hope that this momentum is kept up for as long as it takes.

Unfortunately, this brings us back full-circle to the prior issue: the rapid demise of the arts industry as we know it. It will return, of course, but great progress was being made in equality: race, gender, age, class… Those producers with available money will be the first to mount a comeback, and I worry that it deprives a voice to those who will have been left in the worst situation post-pandemic. The emergence of young performers, technicians, creatives and designers from poorer backgrounds could be near-non-existent in these next few years, and the cultural hole could be massive. My hope is that those with the remaining funds (or grants) prioritise equality in a similar way to how an Industrial restart needs to really focus on green energy and climate change. The next chapter in this country’s legendary Theatre Industry should be its own Rainbow Renaissance, rather than a Whitewash.

Have a fabulous July, and try not to drink a shot of Covid-19 by accident!

Holding Pattern

I hope you are all enjoying your newly government-mandated gatherings of up to 6 people outside and a visit to a car showroom! Lockdown officially continues, and for the theatre industry it’s looking like it will need to be in place for a very long time. The month of May, from an industry perspective, was focused on the financial survival of both the individuals who work in theatre as well as the survival of theatres themselves. At the moment it feels both are towards the bottom of a very long to-do list for this government, and pressure must still be applied to MPs and keep exposure of the issue to the general public at its maximum.

I’ve continued my lockdown isolation at my parents’ house in Cheshire, having completed 11 weeks here now. It’s only the three of us now, with my sister escaping back to her home in France with her daughter halfway through the month, followed a week later by the pet cat needing to be put down. It’s certainly a quieter start to the month than the last one.

My education of music technology continues very steadily, as the draw of the warm sunny weather for the past few weeks has meant I’ve not been at the keyboard as much as I perhaps expected. I have at least been able to play about with the mechanics of Logic on my laptop out in the garden! I have also been continuing my running program, complemented by a bit of Joe Wicks in the morning, and was delighted to smash through the hour mark on a 10km run - something I didn’t expect to be able to do until July. My current record stands at just above 58 minutes! I’m feeling very healthy and fit thanks to all of this extra time to hand to exercise.

The coming month obviously won’t be much different to the last, other than continuing to monitor the latest lockdown rule changes with a view to getting back to my home in London soon. Thanks to all of you who continue to visit this blog while nothing much is happening, and hoping that you are all coping as best you can during this time. Have a lovely June!

The Waiting Game

In the absence of live shows and any meaningful work, April saw me largely contemplating my next (small, gradual) steps. I’ve been buoyed to see the myriad of different ways colleagues are reacting to this sudden harsh shift, whether it be online performances, workshops, or even helping out in the local supermarket or hospital. Inevitably the Beautiful company wanted to do their own version of those performance-at-home videos, so we have all recorded instrument tracks and vocals (all with video!) from our respective homes and that should be out in the wider world in the next few days. I got the impression everyone appreciated a little musical project to allay the repetition of lockdown…!

I have been looking to upgrade my own at-home setup as my current keyboards are pretty old. I purchased a Roland RD-2000 stage piano and have managed to successfully get it communicating with my laptop, ready for any future piano track etc. I even took the time to need the operating manual from cover to cover! Throughout May I plan to do a similar thing with MainStage (which I’ve only ever used passively rather than programmed) and eventually get into the real nitty-gritty of Logic. I would have done that this past month, but the combination of sunny days and a toddler running around has meant I’ve been outside in the garden more often than sat at the keyboard.

There has been a smattering of work meetings and colleague catch-ups via Zoom (largely involving a coffee or a beer, let’s be honest) and occasionally I have had to remember how to keep the brain ticking over for professional interactions! Life seems to move quite slowly these days compared to pre-pandemic, so talk of future projects brings quite the mental jolt. I’m still not looking too far ahead, though, just waiting to see what restrictions are eased first and what effect that has on any prospective work. Until next month!

Covid-19 Hits

March 2020 won’t be forgotten in a hurry. As the month began, we were already well aware of the impending pandemic, if not totally aware of its eventual impact. I had bought alcoholic hand gel from Boots in Woking in February - very much a scarcity these days! - and was encouraging the band to keep up their hygiene whenever at work. Some chatter over a meal or a post-show drink would turn to the virus, but it wasn’t until we started our (what would turn out to be) final week of the tour in Cardiff that I could really see what was about to hit.

Like a looming dark storm cloud, it felt like only a matter of time, yet we carried on with shows (and even rehearsals!) as normal. The week of Cardiff was when Italy went into lockdown, and the need to halt mass gatherings here was already very obvious. As the week went on it felt stranger and stranger to be doing shows to 1,000+ OAPs in a theatre in Wales. The message from our producers was not to panic and continue on as normal until government advice changed.

Merely as a precaution, I removed my valuables from the tour at the end of that week, but I did feel as though we were going to at least open in our next venue, Sunderland, before a ban on mass gatherings came in. As it was, when Boris Johnson announced on Monday 16th that he would prefer if people didn’t go to the theatre, that was enough for SOLT & UK Theatre to close all productions. Our get-in in Sunderland was turned into a get-out, and still a fortnight later the show (and everyone’s belongings) remain locked on trailers somewhere in the UK.

Friday of that same week was when Boris Johnson officially called for theatres to close, and as a result our contracts were immediately terminated, with the rest of the tour now cancelled. I had decided to hold my position in Cheshire, with my parents, which is where I am to this day and expect to stay until non-essential travel is once again permitted. The fact that the industry I work in disappeared overnight has taken quite some getting used to, but I try and concentrate my mind on helping the NHS as best I can by keeping myself and the rest of the family safe from the virus. I also try and remember that when I feel slightly useless and a burden to society: the best use I can be right now is to stay inside and not do anything!

So the diary is completely empty now and I don’t expect to be back in a theatre until the middle of next year. Hopefully it will be sooner and that will be very welcome, but I’m readying myself to hunker down for the long haul. Whether I find a hobby or another line of work is for another day - at the moment it is small steps, as well as actually enjoying an earlier-than-expected break! For now I am back running around the (local) Cheshire countryside, aiming for 10k at some point, trying out some new cooking recipes (we’re taking it in turns as a family to make each other dinner), getting some box sets and films ticked off, and I suppose at some point I should get back to some piano practise.

I’ll keep this blog updated monthly as ever, but of course there will be a slightly different “lockdown” slant for the time being! Stay well, everyone, and stay inside.

Covering Arrangements

The tour continues! At the show proper we have already have all our understudies ready and prepared to go on, with dress rehearsals completed for every role. One of our 1st covers has already completed a whole week covering illness, and its testament to her and the rest of the understudies and swings that the performances remain at their absolute top level.

Talking of super covers, Assistant MD Luke Holman made his conducting debut in February - a triumphant first few performances and a fabulous opportunity for me to finally see this show from out front. I certainly have my work cut out when it comes to noting the music side of this show as everyone on stage and in the pit are maintaining their brilliant accuracy! I’m not convinced that I am going to tire of playing this show.

As for the venues, Northampton’s Derngate welcomed us back with open arms. I’m always struck with how friendly everyone is in this city - proper service with a smile wherever I went, and this was maintained by the local staff at the theatre. It was great to see some truly fabulous cafes, restaurants and pubs springing up since my last visit in 2016. There’s even a brand new local coffee roastery across from the theatre which makes a mean espresso!

Eastbourne was struck with the first of the February storms while we were there, so not a great time to be on the coast! It was also sad to see the damage from the big hotel fire which has closed the promenade by the pier. The Congress Theatre has had a nice redesign, though, and again I was delighted to find that a couple of fabulous coffee shops (both run by Urban Ground) had appeared.

Woking was a delight - my favourite orchestra pit of the tour so far, with lots of space and good acoustics for a pop show. We of course had to visit Pizza Express! And we finished the month in Bristol - it’s only been 9 months since I was last here with Matilda, so the week was spent visiting some of my favourite haunts: Small Street Espresson, Cargo, Bare Grills, Three Brothers, plus the legendary King St and its associated bars. This was also the week Greta Thunberg visited, plus the Bristol Light Festival was on, so it was all happening!

March is dominated by some of the big venues as we play the Alhambra Theatre, Bradford, Cardiff’s Wales Millennium Centre, The Empire Theatre of Sunderland before seeing out the month back in the capital at Wimbledon Theatre. We then all get our first well-deserved week off!

All Aboard!

We are open and on the road! It’s a bit crazy to think that since 2020 began we have completed rehearsals, teched, previewed, opened, moved venue three times and completed the first cover run for the understudies! But this is to be expected from a fast-paced weekly tour.

This tour covers most of the United Kingdom, but we aren’t hanging around, usually playing just 5 days in each city. We opened in Bromley to a near-100% capacity run with great reviews all round, especially for our amazing Carole, Daisy Wood-Davis, who has to be one of the hardest working actors I have had the pleasure to rehearse with. She had never played piano before getting this part! The Churchill Theatre, Bromley, was actually the theatre she used to go to as a kid, so to open this tour there was even more special for her.

The rest of the cast provide bucketloads of talent, with practically every person on stage getting to front one of the many iconic numbers included in the show. We have of course been joined on the road with a ridiculously good band of musicians, and our technical & backstage support is the envy of the industry. Everyone is upbeat at the expectation that we have a great tour ahead!

Our second venue was Hull - its New Theatre even Newer since my last visit in 2013. Having been a Capital City of Culture recently, the theatre has been transformed inside with a brand new backstage and (mercifully!) a larger pit. Notoriously viewed as a bit of a backwater these days, I took great pleasure in seeking out some gorgeous amenities in the Humberside city, including great coffee, fabulous beers and some seriously incredible food from across the region and the wider world - a great reminder that Hull was once at the epicentre of international shipping.

Next was Aberdeen, a city I always look forward to visiting. I usually end up driving, but this time it made more sense to fly, which meant I missed seeing the stunning Aberdeenshire countryside on my travels. The Granite City, however, still stands proudly and I was able to seek out some of the great restaurants, pubs & bars that I remembered from previous visits, notably Brewdog’s very first bar and The Grill, a legendary whisky pub on Union Street. The theatre is small but perfectly formed, and thankfully there were no problems with snow during our visit as often happens in the winter months.

As I type, the show is moving into its 4th venue: The Derngate, Northampton. The tour stays fairly south for the month of February, playing Eastbourne, Woking & Bristol. We have a bit more rehearsal to go as we work with the remainder of the understudies, the second covers, as well as preparing my Assistant Musical Director, Luke, for his first conduct. Although the schedule is busy, we do at least get Sundays AND Mondays off, leading to the rather novel luxury (in our theatre industry) of a proper two-day weekend. Lovely!

Happy Normal Visual Acuity

Happy New Year! Rehearsals for Beautiful have been well underway and we are into our fifth week. The rather pleasant disruption of the Festive season has meant that the rehearsal process is a little more stretched out than usual, but we managed a non-stop run in the studio before we broke up for Christmas which pleased everyone, not least our splendid cast.

The show is a joy to rehearse. More of a play than I first imagined, the legendary songs are largely performed within the context of the story, e.g. at a concert, a bar gig, an audition, a studio recording session. This means more of a focus on the acting sides, but has meant that the moments of polished performance have to be well-rehearsed to make sure that polish is evident, and equally those times when songs are performed “for the first time” or as a demo need to maintain that fresh in-the-moment feel. It’s really quite different to those musicals when a character breaks into a song as an emotive choice or to move the plot along.

Another thing I wasn’t expecting was to teach so many people how to mime instruments! I knew that our Carole needed to play convincingly, as well as our alternate and 3rd cover. However a dozen or so members of the company also play at some point in the show. So far in my career I have avoided too many piano lessons, dabbling in teaching children when I was in the latter stages of my university course. To now find myself teaching the fundamentals of posture, fingering and rhythm was quite the surprise in the first week! It’s not just piano, as we also have cast who mime on guitars, bass and drum kit. It’s certainly made for quite the change!

We are ten or so days away from our first preview, so there are an exciting few days ahead: we complete studio rehearsals with our last few runs of the show, then the band arrive for rehearsal calls. We move into tech at the Churchill Theatre, Bromley and finally add set, lighting, sound, wigs & costumes. We are hearing that the run in Bromley is almost sold out, and we all can’t wait to put this production in front of an audience!

After our first venue, the show moves north to Hull, and then even farther north to Aberdeen. I’m looking forward to both: I haven’t been to the New Theatre since its renovation, and Aberdeen is a beautiful part of the country that could look stunning in the depths of winter - fingers crossed for non-disruptive but pretty snow! Hope to see some of you on my travels with the show throughout 2020.

Before We Begin

It’s the first day of advent, and not for the first time in my life, it’s the start of a new working year. To get shows ready for January, they often start rehearsal before Christmas. These next few months are dominated by my brand new role as Musical Director for Beautiful: The Carole King Musical.

It’s the show’s second outing on a domestic tour, playing pretty much every city it can, week on week, throughout 2020. I took my mother to see the show in London during its run at the Aldwych - Carole King’s music was very much part of my childhood; her hits ringing through the house as I got ready for school, or playing on a cassette in the car. Needless to say we had a fabulous time, and I’m so delighted (as is mum!) to get to be Carole King’s piano fingers, accompanying the wonderful Daisy Wood-Davis in the title role!

Rehearsals start tomorrow, and I’m looking forward to meeting the rest of the cast. In six weeks time we will be playing to audiences in Bromley, and somehow in all that time I have Christmas in Cheshire to factor in. You can find full details of where the tour is going here.

November was understandably dominated by the end of the run of Falsettos. I was playing all performances, as the original MD had moved on to another show, and it was quite the work-out for the fingers! In fact, everyone in the cast admitted in the final week that the show had been one of the most taxing (emotionally & technically, as well as physically) to perform night after night. Everyone was sad the “tight-knit family” had to break up after the final night, but relieved they could finally have a holiday!

Family-wise, my parents managed to make it down to London just in time to see Falsettos and soak up the capital in general, and in the week before Beautiful rehearsals began I squeezed in a quick city break to Vienna. My sister is currently working out there on a cabaret show called Palazzo (look it up - it’s fab!) and so the rest of the family (husband Barry and 9 month old Léonie, my niece) are all staying out there. I hadn’t been to Vienna before, so I made sure to do all the touristy things, soaking up the Christmas markets (pictured above) and some warming Glühwein!

Have a fabulous Christmas, and I will update again on all things Carole King-related in January.

Freelance Mode (in falsetto)

October has ended up being a real taste of the freelance life - the variety of which I really miss when on a full time show (although full disclosure: I obviously miss full time work whilst freelancing, so there’s a definite “grass is always greener” mentality playing out here!). The month began with promo work for my next main show - still under wraps, but the photo above offers you an extremely cryptic clue!

Meanwhile, I have now taken over full time at Falsettos, running at The Other Palace until later this month. It’s one of the most physically demanding scores I have played, and by the sounds of it the performers get quite the vocal & acting workout as well. Thankfully the audiences remain fantastically supportive, and the ovations at the end are a treat and feel well-deserved. Whilst personally it is a demanding show to play, the music is gorgeous and beautifully written for piano, so it is a real joy to sit down at 7:30pm each night (plus the matinees, of course!) and get to accompany some of our best musical theatre performers around at the moment. My merry band made up of Rich on drums, Guy on woodwind and of course Josh on keyboard are an equal delight. I’m thoroughly enjoying making sweet music with them of an evening!

I’ve had a bit of a blast from the past, working on rehearsals for international versions of both Matilda & Chicago. My role was simply as rehearsal pianist, but it was lovely to metaphorically poke my head in the room and check back in on both of these wonderful musicals. There was also a bit of looking into the future as I had the opportunity to work alongside the original creatives of Be More Chill, a Broadway musical that has its UK premiere next year. They flew over to audition performers for its West End run, and from what I saw in the room this promises to be a very exciting show! The premise is unapologetically bonkers and the music is loads of fun.

November is dominated by the last few weeks of the run of Falsettos, as well as prep for my next to-be-announced show. Keeping busy, as ever!

Autumn in the Capital

My Capital Ring walk is going well! I am a third of the way round already, reaching Wimbledon Park having started in Woolwich. The next leg through Richmond Park should be quite stunning, especially if the weather is as good as the photo above (fingers crossed!). I can highly recommend the walk, which takes around 2-3 hours a day and is really easy & (mostly) well signposted. I use the app Go Jauntly as a companion, which keeps me on the straight & narrow.

As you can tell, I am enjoying home life back in London once again. It has been the best part of two and a half years on tour, so I have a lot of to-dos saved up! Another aspect has been West End shows - the list has grown longer month by month! Through September I managed to catch the Open Air Theatre version of EVITA before it closed, as well as TINA THE MUSICAL & WAITRESS. I am an addict for the Film with Live Orchestra series, so I took some mates to see The Empire Strikes Back at the Royal Albert Hall the other day. Hearing that theme played live in front of you with the “opening crawl” on the big screen is quite something! Yesterday I saw the intriguing play WHEN THE RAIN STOPS FALLING, directed by the gorgeous Gemma Maddock who was voice coach on the Matilda tour. I’ll try and get a handful more shows done before I start full-time on Falsettos at the end of October.

Talking of Falsettos, I have now conducted my first few performances of this UK premiere run of the musical. My first show was actually brought forward by a week, so a somewhat relaxing week and a half at my parents in Cheshire was more like a lengthy piano practise session! My parents didn’t mind too much, thankfully. Once back in London, my first stab at playing the show went well. It’s one of the busiest shows I’ve ever done: my fingers hardly leave the keys for each of the 70 minute-long acts! But the score is beautiful, the cast & musicians are unbelievably good, so it’s a real delight to play. I’m looking forward to getting back to The Other Palace soon! A reminder that I take over as Musical Director full time for the last four weeks of the run from 28th October.

My trip to Cheshire, barring the odd afternoon of piano practise, was some much-needed respite after the last year or two of work. I even took my dad to watch football and cricket, and we were at Old Trafford on the Sunday that the Ashes were retained! My childhood home town of Altrincham hosted the final stage of the Tour of Britain cycling, and the centre & market were really bustling. It’s so great to see the town I grew up in becoming a real established gem in the North West.

October stays relatively quiet, so my adventure around the Capital Ring will continue. I’m going to get my act together and have a little break/retreat somewhere, and preparations for my next TBA show will also continue. Hopefully it will stop raining at some point and we can enjoy some autumn sunshine!

Matil-Done

21 months since the first preliminary children’s rehearsals began, the Matilda UK Tour played its last performance in Norwich. What a show! What a journey! I was 34 when I was told I would be Musical Director for the production, and 37 when it finished. Only my on/off work on Chitty Chitty Bang Bang has lasted longer, and only on Chitty, Chicago & Joseph have I played more performances.

The final couple of weeks proved a great send-off. I got a chance to play the big Keys 1 piano chair on the show, swapping with my Assistant MD Mike for one of the shows in our 9-performance week. Having begun on the show as a Keys 1 deputy in London I’ve been itching to give it another go on the tour. There was a raft of social occasions in the final week, beginning with an Alice In Wonderland-style tea party for the children, then an awards party where the orchestra won for “Commitment to the Cause” (pictured above) - an award celebrating the fact that we were the only department to survive the entire tour without anyone leaving. I also won “Head Boy”, whatever that means…

These two events were followed by the traditional Band Curry and then finally a big end-of-tour party thrown by the producers, with Matilda alumni making the pilgrimage to Norwich to say goodbye to the show. There were speeches, presents, and a chance for me to show everyone a film I had been making of the tour, right back to the first day of (adult) rehearsals, with each day of work represented by a one-second clip. The film ran for nearly 12 minutes, and was a pretty intense watch, as you can imagine!

Final days are always a bit strange. There were two shows and a get-out, and it was never going to be possible to say a proper goodbye to everyone. However there were more lovely words at warm-up, plus a company photograph, and then a small handful of us who weren’t immediately setting off home headed to the nearby pub to dissect what on earth had happened over the past 21 months…!

Returning to London, I was surprised at how quickly I acclimatised. I had a lot of touring luggage to sort through, and a few bin bags worth of items & clothes were removed from the flat before I fully unpacked! Then after a few days of sorting & chilling, I turned my attention to my next show: Falsettos. Running at The Other Palace, this is the first time this musical has been performed professionally in the UK. I am Associate Musical Director on this, which means I help out whenever the Musical Director (the marvellous Richard John) needs to be away. As I write, the show has just opened in previews and is running until the end of November (see my now/next page for a little more information and a link to book tickets). I will be conducting some performances from the end of September.

I have got my act together and started to see shows that are soon to close in the West End. I’ve seen JESUS CHRIST SUPERSTAR at the Barbican, ALADDIN at the Prince Edward, COME FROM AWAY at the Phoenix, THE SECRET DIARY OF ADRIAN MOLE at the Amabassador’s & ON YOUR FEET at the Coliseum. All fantastic productions, but I will be directing everyone I know to see Come From Away! A tremendous feat of theatre.

Finally, I’ve decided to walk (and maybe jog a bit of) the Capital Ring, which is London’s footpath equivalent of the North & South Circular, but involving more parks and quiet-ways. I’m just putting this in writing to ensure I stick to my goal…! It’s in 15 sections, so I’m hoping to get it done by the end of next month. Are those famous last words? I hope not…

Working The Fingers

The last complete month of this first Matilda UK Tour is done. The show completed its run in Southampton and is now residing at its final venue on this long road, the Theatre Royal, Norwich. The smallest of the theatres we have played, but some of the most welcoming audiences of our entire tour! This Norfolk city sparkles in the warm summer sunshine, with incredible buildings around every corner. There are so many churches here that my digs are actually in one, converted into a lovely modern flat!

I turned 37 at midnight on Press Night, so I was “treated” to a rendition of Happy Birthday from most of the company (thanks guys!). The following day, a few of us (including the whole orchestra) headed out onto the pitch & putt and crazy golf courses of Eaton Park for a day of golf competition. Suffice to say I didn’t win…!

Also this month, a week’s holiday between venues were well-timed enough for me to head back up north for my traditional visit to the Manchester am-dram circuit, helping out with their annual charity Showcase at the Lowry. Always a top fun day seeing old faces, and a great workout for my fingers to play songs from such hits as Miss Saigon, Little Shop of Horrors, Heathers & Everybody’s Talking About Jamie.

Talking of that final show, I decided to pop and see ETAJamie’s West End run as I didn’t know the show too well. A really lovely story, well performed, I was intrigued enough to dig out the old BBC documentary on iPlayer that it was based on!

With just over two weeks to go, thoughts turn both to giving this show the amazing send-off it thoroughly deserves, as well as to what is to come post-Matilda. For me, I’m looking forward to getting started on Falsettos, which is currently in rehearsal, as their Associate Musical Director. It’s my first time back in London working on a show since I was Associate Conductor on Jersey Boys almost three years ago, so it’s high time I show my face in the capital once more! That runs until November, and I hope to be able to share news with you next month about a show I will be MD-ing through 2020! Stay tuned…

Return of the Mayflower

Finally proper summer temperatures have arrived, just in time for our matinee performances! Thankfully, though, the Mayflower Theatre, Southampton has just had a state-of-the-art air-conditioning system installed, meaning the dressing rooms and stage/pit are all nicely temperate. It helps, also, that Southampton sits by the water, meaning temperatures aren’t as stifling as in other areas of the South of England.

I’ve also been quite lucky that my digs for Southampton are on a boat! The cooling water below means my room stays a lovely temperature. I’ve been looking forward to staying on this houseboat all year - I last stayed with the couple who owned it back when I did the Hairspray tour in 2013. They’ve renovated another part of the boat since then, meaning that I have a rather luxurious en-suite double on the top deck.

Talking of renovations, although it was less than two years that I was last at the Mayflower (with Addams Family), the theatre has had another spruce-up. Adding to the backstage extensions when they extended the dock area in recent years, the auditorium has had a lick of paint. I was also pleasantly surprised to find that they had enlarged the pit, utilising under-stage space that was previously a corridor. The new pit is sensational and I’ve never heard a show sound as good as that out front before! The Mayflower had always been a head-scratcher for sound designers and music supervisors, but it looks as though future productions should have a very lovely stay at this venue.

The show itself ticks along nicely. Cast are starting to audition for new projects and everyone backstage is asking about post-tour plans. There are less than two months to go until the tour is done and dusted! We played a rather hilarious post-show game the other day which involved jumbling up little-known facts about our colleagues and then matching up with the correct name. I only managed to guess 2 people out of the entire company! The winner got 20, no idea how, but it was a great chance to find out just how little you actually know about the people you’ve worked with for the past 18 months!

July sees us play Southampton for one more week, then we have a well-earned final holiday week before we open in Norwich. It’s also that time of year again when I pop to Manchester to be a part of Showcase. Oh, and I turn 37! Who’d-a-thunk-it…

Nine Lives

Joseph 2005, Jerry Springer: The Opera 2005, Scrooge 2006, Chitty Chitty Bang Bang 2007 & 2009, Hairspray 2013, Wicked 2015, The Addams Family 2017… Matilda the Musical marks my ninth visit to the Bristol Hippodrome with a musical! It’s a theatre that inside & out hasn’t seen very many changes, remaining one of the quintessentially traditional venues on the touring circuit. However I’ve watched the city adapt and develop over the years into quite a place.

The streets teem with art & culture. Fine coffee, vegan bakeries & cider outlets are in abundance. Takeaway cups and plastic bags are on the verge of being outlawed (or at least massively frowned-upon). Musicians descend on the Harbourside almost in flashmob-style, bringing crowds singing & dancing with them. A Cat Cafe (You & Meow, of course) is a recent addition to the establishments by stage door. Cuisines are so far-reaching that I’m managing to eat in a different establishment every single day, and loving every single one of them.

We’ve just completed half term week. It sold out months ago, so the Hippodrome requested we add a ninth performance which took place on Friday afternoon. With only five-or-so weeks notice, impressively that performance also sold out! Audiences as ever have been fabulous, and we have one week left here before we move on to our penultimate venue, Southampton.

The end is looming into view, now, with just over two months left. The tour feels like it’s taken over half my life, and yet counterintuitively the warmth of June has had us all reminiscing of the heat this time last year in Milton Keynes & Birmingham, which only feels like five minutes ago! It’s definitely one of the peculiarities of working on a tour that lasts more than a year. It almost makes it feel like a proper job…!

Scottish Getaway

It transpired that, with the sheer length of the Matilda Tour (both in performance weeks and rehearsals) I had accrued some additional holiday days. An unexpected bonus, I decided they weren’t going to be wasted days. Most of the scheduled weeks off from the show largely end up being time to take stock at either my flat in London or at my parents in Cheshire. If I’m in London, it invariably turns into a week of admin, washing and theatre-going with the odd box set thrown in of an evening. So I took a few days towards the end of our run in Edinburgh with the aim of driving as far north as anyone can get on the UK mainland.

Before that we had the task of settling the show into the Edinburgh Playhouse for its Scottish premiere. By my workings-out, Matilda the Musical played to its biggest ever audience in the world at this theatre, with over 3,000 patrons in watching at most performances. It’s definitely a different scale to the intimacy of RSC Stratford or the Cambridge Theatre, London! But it made the story & score all the more epic, the performances that bit more rewarding and the ovation at the end just that tiny bit louder…!

Edinburgh is my favourite city to tour to. So many things to do and see, so much history, fine food and drink, and walking around Old and New Towns is an utter joy. I was in two minds as to whether this was the city where I should have holiday, but having now clocked up over a year’s worth of work in the Scottish capital, I felt as though I wouldn’t be entirely missing out. So in the final week, my car and I set off north, visiting Inverness, John O’ Groats, the far north and west coasts of the Highlands, as well as the Isles of Skye & Mull. Whisky Distillery tours, fabulous food, incredible views, seriously comfy accommodation and exceptional wildlife abounded across my six days and 1,031-mile trip. The photo above was on my final day, as the clouds parted at the perfect moment to capture what much of the trip felt like. I was very lucky with the weather!

Back now in London on the official week off and it is Bristol next for five weeks, my favourite English city to tour to (I don’t count Manchester as I feel biased having been brought up there). With no more rehearsals or auditions on the horizon, everything feels really rather settled on the tour. There’s a real feeling of just enjoying these final few months of the most epic tour I’ve been a part of since my Chitty days.

11-show week

The Matilda company survived Bradford! Not that there’s anything explicitly wrong with the Yorkshire city (indeed the city centre continues to improve and the curries were absolutely fantastic) but we hit cast change hard at the end of a gruelling 16-week run non-stop. Our final week saw 8 performances and 3 dress rehearsals - an 11-show week!

Once the curtain came down on that 11th performance, however, a week’s holiday awaited us. The tour has essentially been paused for 7 days. No emails, no WhatsApp messages, just everyone enjoying some away time before hitting the next venue. Next? Edinburgh!

I have arrived two days early into the Scottish capital, largely to enjoy the sights of the city before our busy first week setting up the show here. We are still busy rehearsing the new children - they have each done one performance in front of an audience, so to ready them for the change of venue they get three days in a rehearsal room first. As ever, these new kids have amazed and humbled me with their work ethic. Every single one pulled it out of the bag in that final week in Bradford. Our 3 new Matildas - Sophie, Olivia & Freya - totally stepped up and should be rightly proud of their achievements after ten weeks of rehearsal.

We are only in Edinburgh for 4 weeks. I could have easily done 10 weeks here! But we’ll make the most of it and I can’t wait to seek out the social life here to see what’s changed and more importantly which of my favourites are still here.

So it’s the end of my week off - a week where I purposefully didn’t make many plans and ended up hiring in a hot tub for Mother’s Day! I had one of my usual Cheshire Chill-Outs, made extra special by the fact that my new niece was around for the week. I thought about heading off to a nearby spa hotel, before deciding that I could bring the spa to my parents’ house instead…! My mum was rather pleased, as you can imagine. Cheers mum!

New Arrivals

A little late with my update this month, which only serves as evidence of how ridiculously busy things have been over the past few weeks. I left Plymouth early to head back to London, working with the new cast of children as they prepared to join the tour. The show has now moved to Bradford, and current cast met new cast as everyone congregated at the Alhambra (and its very useful studio theatre doubling up as a rehearsal space) to complete the rehearsal process for 20+ new pint-sized members of the Matilda cast.

As I write, we are halfway through technical rehearsals. We tech Act Two next week and then we dress and open them the following week, before hot-footing it to Edinburgh, our next venue! Back to Bradford, though, and I’ve been ensuring I find time to sample its famous cuisine of Pakistani Desi flavours and sumptuous curries. I’ve been trying to find more of the well-established favourite haunts around the area, and was blown away by Shimla Spice up in Shipley. I still have Mumtaz and Akbar’s to cross off this time around!

In family news, my sister (whose birthday is today, in fact) gave birth last week, making me an uncle for the very first time! Welcome to the world, Léonie. Apparently I have to teach her piano at some point.

Snow in Plymouth?

Almost… not quite. Into February, and the Matilda tour is in Plymouth. Whilst most of the South West of England has been cut off by snow, the coastal city is just slightly sodden. We’ve been here almost three weeks, and with rehearsals for the new cast of children taking place elsewhere in the country, our full attention has been on the show each night, as well as making most of the winter season in this seaside resort!

Audiences have been flocking to the Theatre Royal in this usually quiet post-Christmas period, making us feel very welcome here in Devon. This is my fourth show here, and I have been rediscovering the likes of the Barbican, the Hoe, and visiting Fort William Yard for the first time. Our two woodwind players on the tour, Sue & Duncan, own an old mill a few miles north of Plymouth, and they hosted the most amazing Sunday meal a few days ago. I couldn’t think of a better way of spending a weekend at this time of year!

A great feed with the fabulous Matilda Band! L-R Yvonne Parsons (cello), Sion Jones (trombone), Andrew Corcoran (me), Mike Steel (Assistant MD), Felix Stickland (guitar), Simon Wells, Duncan Ashby (woodwind), Sue Phipps (woodwind), Jim Davies (trumpet).

We have just over two weeks left in Plymouth, then all hell breaks loose in our next venue, Bradford, as Cast Change meets Matilda Tour. Better enjoy the relative calm while it lasts!!

Christmas in Cardiff

For a few short weeks, the Matilda tour has felt more - how should I say - ordinary? Rehearsals have purposefully not been scheduled over Christmas and New Year, largely due to extra performances and prescribed days off. Other than a few rehearsals for our new male swing and a returning Matilda preceding that, the tour has had a chance to really settle down nicely again with a run of continually sold-out performances at the Wales Millennium Centre, Cardiff.

I was fortunate enough to get three whole days off over Christmas, returning to Cheshire once again to be with my parents. A very Chilled Christmas! Lots of great food, drink and relaxing. Perfect. Most of the company managed to have similarly relaxing times, and spirits have been high. We’ve just celebrated New Year 2019, with about half of us watching fireworks explode over the theatre from Roald Dahl Plass. All very apt.

Attention does of course now turn to 2019, the year that the first Matilda Tour will come to an end having started rehearsals way back in late-2017. In the immediacy, we have rehearsals! Elliot Harper’s run as Miss Trunchbull is about to begin, and he starts with us tomorrow. In just two weeks, rehearsals for our final cast of children will get underway in London and carry on until April. Then there will be just four months left of this epic tour. Time really is flying.

I hope you have all had a lovely Christmas and I’ll be back with an update in a month’s time once we’ve all settled into 2019!

Well-Deserved R&R

Did I really say rehearsals had ended in my last post? I should have known better…

The behemoth that is the Matilda UK Tour has now finished its fantastic Manchester leg and everyone is having a well-deserved week off before moving into the Wales Millennium Centre, Cardiff Bay, for a six-week run over Christmas. Most of the company have jetted off to find slightly warmer (or colder!) temperatures, whilst I plumped for a few days R&R at the Cheshire Abode, before a few days sorting out and catching-up back at my London flat (which I haven’t really seen since July).

The final few weeks in Manchester were busy on two fronts (not including the 8-show weeks): we completed our search for our final cast of children for 2019, culminating in a big weekend of auditions in London (shared with the West End production). Rehearsals begin again in January - not too far away! We have also welcomed Tom Mather to the show, who will be one of our swings. Brand new to the musical, he has now been in full-time rehearsals with us for the past 3 weeks and has already made a (brief) appearance during a couple of numbers in the show when we had a few people off. We continue to rehearse him into the rest of the show over the coming weeks as we settle into our Welsh run.

I’ve managed to catch a few other shows during the pockets of down time, finally seeing the fabulous Kinky Boots when it arrived in Manchester. Whilst back in London, I’ve tried to catch shows that I know close soon: Company at the Gielgud, and Bat Out Of Hell at the Dominion. I don’t think I could’ve seen two different types of musicals if I had tried! But really glad I got to see both fantastic companies before they end their runs early next year.

Talking of 2019, I don’t think I will get back to London in any notable capacity until at least February now. Our six-week run in Cardiff, which includes a busy Christmas schedule immediately followed by rehearsals for our new Miss Trunchbull, Elliot Harper, then goes straight into a few weeks at the Theatre Royal in Plymouth. I do at least get back to my parents in Cheshire for a couple of days around the Big Day itself, so that’s something to look forward to. Have a great Christmas! More updates in the new year.