Hi Ellie! How are you? Thank you so much for chatting to Stage to Page today! Would you mind introducing yourself and telling us how you first got into ballet and acting?
Hi! Thank you for having me. 

I’m Ellie and I’m playing Meg in the Phantom of the Opera on the West End.

I started ballet from an early age, just for fun as most little girls do. I can’t say I remember how much I enjoyed it but I clearly did and with encouragement from teachers along the way, I became more and more serious about it.

I ended up attending a fantastic dance and drama school in Liverpool called Chiltern. From there I developed and was put forward for the Royal Ballet Lower School (White Lodge).

Chiltern have been and still are a huge part of my career as a student and a professional. 

You're currently playing Meg Giry in the West End production of Phantom of the Opera. Can you tell us about your character and what initially drew you to the role of Meg?
Meg is the best friend of the shows ingénue, Christine Daaé. Meg is the one who puts Christine forward to sing in front of the opera company, pushing her from the background of the corps de ballet to impress the managers with her ‘gift’. 

Meg is there throughout the story (usually in a place she’s not meant to be) and has a lot of concern for the unpredictability and safety of Christine’s life involving the Phantom and love interest, Raoul. 

I suppose I like playing her because she’s feisty and interesting and I get to be in range of scenes throughout the show.

Is there a certain amount of pressure performing in a show that's so well-loved and iconic in the world of theatre?
I think each performer will always put a certain amount of pressure on themselves to be as good as they can, because they care. We’re all passionate about what we do and take pride in what we produce, regardless of the status of the show. 

One thing I think about from time to time is that so many people have put so much into this production and had their part in developing the roles. We should certainly feel honoured to get to be a part of that legacy and it is important that we continue to respect their years of work. 

Without giving anything away, do you have a favourite song, moment or line of dialogue within the show?
‘Too long you’ve wondered in winter’ 

I love this line. I feel that it says so much about the Phantoms relationship and the involvement he has in Christine’s life. The Phantom is undoubtedly in love with Christine, however, he almost plays a replacement paternal role. 

‘Wishing’ is the most powerful moment in the show for me. It’s a culmination of Christine’s character, vulnerability and strength. She is remembering her father, but I believe it is in that moment, she becomes a woman. 

You attended The Royal Ballet School for your training. What was your time like there? Were there any particular high or low moments?
I have to say, I had huge highs and lows at the Royal Ballet School. I went right through the lower and the upper school, totalling 8 years training there. It’s hard to give an accurate answer without writing a novel but I am always very grateful for the opportunities I had there. It completely changed my life and it is very much a part of who I am today. My time there is responsible for lots of the ‘good and bad’ in me but with hindsight, it was worth it for the friends I made there alone! 

A friend and I were saying just a couple of days ago that it’s an incredibly niche place to say you’ve been to school and something we’re proud of. 

How do you ensure you stay strong and fit enough to perform? Phantom is quite the demanding show!
It is each performers responsibility to remain fit enough to perform to the best of their ability. This involves much more than using the show to keep us in shape.

I would say most of the industry is self sufficient. A lot of discipline goes into the making of performers of such a level and it isn’t really a question that we make sure to do external practice to keep us in the best shape we can. 

Rest is also a very important factor on an 8 show week! 

Regardless of gender and age, which stage role would you choose to play and why?
I have so many roles I would one day love to play. 

Anything showgirl is my go to, but if I’ve learned anything from my less than normal path so far, it’s that the unexpected is usually to be expected! 

I have no idea what I may or may not be capable of or what I’ll come across that I will want to make a goal of mine (as it’s usually whatever musical I go and see and love).

A question I ask every guest on Stagey Chat: my blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
I’m not sure whether I feel this would translate best in film but I am reading a book at the moment called ‘Shantaram’.

It’s an incredible true story about an Australian man who escapes imprisonment, exiles to the Bombay underworld and gets wrapped up in adventures of love, crime and the holistic living of Indian culture. It’s brilliant and I would highly recommend it. I am a lover of true crime so this book is ideal for me. 

I’ve already told as many people as I can to read it!

I was actually reading it in the train station not long ago and two people (separately) approached me to tell me that they had read it and how brilliant they thought it was. 

And finally, why should anyone reading this book tickets to see Phantom?
I have said this on multiple occasions, but… 

Phantom of the Opera is a musical that has lasted a whopping 35 years on the West End. I would say the proof is in the pudding in that stat alone. 

It was created by all the greats including Andrew Lloyd Webber, Gillian Lynne, Hal Prince, Charles Hart, Maria Bjornsen, the list could go on and on. These people are the top of their game in their fields and for such a collection of specialised talent to be in one musical, it is worth the trip! 

Thank you so much for chatting to us, Ellie. You can catch Ellie in Phantom, here.

 

Mosquitoes
Rating: ★★★★
Venue: National Theatre at Home (online)
Cast: Olivia Williams, Olivia Colman, Joseph Quinn and Amanda Boxer

Alice is a scientist. She lives in Geneva. As the Large Hadron Collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs Boson.

Jenny is her sister. She lives in Luton. She spends a lot of time Googling.

When tragedy throws them together, the collision threatens them all with chaos.

When lockdown was in full swing across the UK, I enjoyed a variety of shows from the comfort of my sofa, but most of them were concerts or musicals. Mosquitoes is the first play I've watched online, and it was through National Theatre at Home, which has a huge selection of past performances from the National. It cost just £5.99 for a three day rental period. With a cast as stellar as this, it was almost impossible to get your hands on tickets to this a few years ago, so I was excited to finally get round to seeing it!

The play follows the story of two sisters whose lives are thrown into turmoil. The sisters couldn't be more different if they tried. Alice is an anal, busy scientist, searching for the next big discovery on particles, whereby Jenny's life is chaotic and messy. Alice is level-headed and sensible, where Jenny is emotional and spontaneous. 

Jenny (Colman) is grieving the loss of her child, for which she blames herself. Alice (Williams) is working tirelessly on her latest discovery, while raising her teenage son, Luke. It explores the dynamics in families, in the face of loss, and how exhausting it can be to work through issues as a unit.

It goes without saying that the acting in this piece is sublime. Colman and Williams are a dynamic duo, who compliment each other perfectly. Where one is chaos, the other is order. It highlights how differently individuals react to certain situations, and find their own coping mechanisms; healthy or otherwise. 

While Colman and Williams are incredible, the standout performances for me came from Luke (Quinn) and Karen (Boxer). Quinn plays the awkward, overly-forward teenage son brilliantly. He is effortlessly funny, and smarter than most people give him credit for. Boxer plays the girls' mother and is quick witted, brutally honest and hyper critical of her children. Their acting is nothing short of exceptional.

I'll be honest, the reason the show didn't reach five stars for me was because of it's complexity. Some of the science went straight over my head, and I'm not ashamed to admit that. It's not simplified for the audience, so at times can be confusing. The piece also shines a light on how often females scientists are often pushed to the side, despite their level of intelligence. 

The ever revolving set, and harsh lighting makes for a simple, but effective design. The simplicity of the staging means the actors are completely on show at all times, and almost vulnerable; which just makes the cast's performances even more astounding. There are no distractions, or unnecessary props. Just the actors, and the audience.

As for the recording of the show, it was quiet at times, which I found quite frustrating. As this was shot a few years ago (and likely wasn't ever planned on being released), some of the angles weren't as sharp as you see from filmed performances now. However, it's given me a chance to enjoy this piece 5 years later - so no complaints here!

It's a thought-provoking play about the complexities of families, and adjusting to change. I will mention that it tackles many heavy themes such as child bereavement, addiction, loss and bullying. It's quite difficult to watch at some points, but it truly is sensational. The story is compelling, and the acting is superb - would highly recommend. 

You can watch Mosquitoes, courtesy of National Theatre at Home here.

Hi Hannah, thanks so much for chatting to Stage to Page today! How are you? And would you mind introducing yourself and telling us how you first got into acting?
Very well, thank you. My name is Hannah Morrish and I'm an actor and writer. I started acting in a theatre company when I was young, with directors who put on challenging plays (like Hamlet, Spring Awakening, Peer Gynt) and treated us young actors like professionals. I went on to the National Youth Theatre, and from then got into drama school.  

Your next production, The Darkest Part of the Night, starts previews on 14th July. Can you tell us about the play?
The Darkest Part of the Night is a new play by Zodwa Nyoni, and centres around a brother and sister, Dwight and Shirley, grieving the death of their mother, Josephine. Dwight is autistic, and in order to process his grief finds himself falling back into memories of his family and their experiences in Leeds in 1981.The play deals with prejudice and ignorance, systemic racism and ableism. But it is overall a play about hope, family, joy, and healing wounds. 

You're set to play Anna in the world premiere of The Darkest Part of the Night - how are you preparing for the role? Have rehearsals began yet?
Yes, I play Anna who is a newly-qualified social worker assigned to the family in 1981. We're almost at the end of rehearsals and Nancy Medina (the play's director) has had images and information all over the rehearsal room walls from the very first week, because the specific context and history of the play is so important, and we all need to have a very clear shared world of the play and our characters within it. That's been a huge part of preparing. 

With it being the world premiere of the show, is there more or less pressure on you as an actor, than if you're tackling an already established piece?
I'm aware of wanting to do justice to Zodwa's story. Her writing is so nuanced and I don't want to lose any of that nuance in performance. But there is also a freedom in knowing that this is the first time this story will ever be said.

Regardless of gender and age, which stage role would you choose to play and why?
I'd love to play Iago as a woman. I've always wanted to get inside the character's head. 

Did you always know that you wanted to be on stage growing up?
I did. My grandad collected plays, and when he died, he left his collection to me. Since then, I've always wanted to act. 

What are you most excited about for starting the run? And why should people book tickets to see the show?
I'm excited to see how the play changes with the audience. It's both a joyous and heart-breaking play. And a part of British history that is so important we remember, to challenge similar prejudices being held now and in the future. 

A question I ask everyone that appears on Stagey Chat. My blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
There are so many, but I've just been in a play with the actor Sophie Ward, and have just finished her first novel Love and Other Thought Experiments. It's one of the best, most moving novels I've ever read, and whilst I don't think I'd be able to adapt it myself, I'd love to try. 

Thank you so much for chatting to us, Hannah. You can catch The Darkest Part of the Night, here.

Jean Paul Gaultier: Fashion Freak Show
Rating: ★★★★
Venue: Roundhouse, Camden

Hi Alex, thanks so much for chatting to Stage to Page today! How are you? And would you mind introducing yourself and telling us how you first got into acting?
My name is Alex, and I first got into acting when I was around 6 years old. I used to go and watch shows such as fireman Sam and really enjoyed this. At one point I wanted to do Wallace and Gromit style animation but then I thought being an actor might be easier. And I have never looked back. 

You've started performances as the pirate in The Pirate, The Princess and The Platypus. Can you tell us about the show, and your character?
The show is about a Pirate that wants to be a Princess, a Princess that wants to be a Pirate and a platypus who is quite happy the way they are. My character, the Pirate, wants to impress his dad (The Dread Derek) but also wants to be happy and his true self. I think it's important to introduce children to theatre as early as possible. 

Do you think this show would be a good first theatre experience for the little ones? And what age range do you think the show is best suited to?
I think the recommended age range of 5+ is great but it’s also suitable for the whole family. It is a good experience for little ones as there are lots of funny characters colourful costumes, puppets and farting jokes. 

How does preparing for a show tailored to children differ from "traditional" theatre?
I think it’s exactly the same process. You have to put in just as much energy and focus as you do in ‘traditional’ theatre. I prepare exactly the same as it’s  essentially the same process for me as an actor. 

You've been in heavy shows like Witness For the Prosecution, to much more light-hearted shows like The Pirate, The Princess and the Platypus. Do you have a preference, or do you like the variation in what you do?
I like the variation but the main thing I enjoy is how much physicality and movement it involves. Plus playing lots of characters is great. Both in this and on my previous production it has involved lots of movement and shouting onstage. 

If you could play any character on stage, who would it be and why?
Macbeth is a character I would love to play. It would be great journey to explore and I like how he gets to his goal by any means possible. I would like to do this too because it would increase my appreciation for Shakespeare’s writing. 

A question I ask everyone on the Stagey Chat series, my blog is called Stage to Page. But if you could turn any book, from page to stage, what would it be and why?
Kindred by Octavia E Butler. The book is about a woman in 1970s America pulled from her life to help a slave owners child when he needs her. She gets stuck there, and the story looks at a comparison of her life in the 1970s to back before slavery was abolished. It’s science fiction novel for young adults. I believe I would be hard to do onstage but through the use of magic and special effects it could be done! 

And final question, why should people book tickets to see the show? 
This show has something in it for everyone and a lovely message about ‘being who you want to be’. We want the audience to understand that you don’t have to be one thing or another. It’s important for kids to hear and see this through real people onstage. It is also important for adults to see you don’t have to conform to what society thinks we should be too. It is also filled with music and catchy songs.

Thank you so much for chatting to us, Alex. You can catch The Pirate, the Princess and the Platypus, here. 

Mad House
Rating: ★★★★★
Venue: Ambassador's Theatre, London 
Cast: David Harbour, Bill Pullman, Akiya Henry, Hanako Footman, Sinead Matthews, Charlie Oscar and Stephen Wight 

In rural Pennsylvania, Michael (David Harbour) has returned to his childhood home to look after his dying father, Daniel (Bill Pullman). His siblings soon arrive, determined to work out how much money Dad actually has left and how they're getting their hands on it.

Now playing for a strictly limited season at the Ambassador's Theatre. 

If you've been following my reviews for a while, you'll know I'm very much a musical theatre lover, and besides Shakespeare, I don't very often venture into plays. But with such a stellar cast, featuring two of my favourite actors - seeing Mad House was a no-brainer for me.

The story itself is very much an exploration of death, and the ways in which a family deals with it. Mad House highlights the complexity of dealing with the loss of a loved one, and everything that comes with it. The good, the bad and the ugly. Michael (Harbour) has been a full time carer for his dad, Daniel (Pullman), for 11 months, with no help from the rest of his family. He is slowly dying of emphysema. As his father reaches his last days, siblings start to reappear and the already strained family dynamics are put to the test.

photo by: Marc Brenner

In the meantime, a hospice nurse, Lillian (Henry) has come to care part-time for Michael's father, and offer him some respite. Like every family, as you unravel each layer, the situation becomes more complex and secrets are revealed. This play is an unashamed look at loss, and how it can affect everyone in different ways. Whether it's greed, guilt, anger, spite - all these themes are explored. I almost felt like each sibling was an enhanced version of one of these emotions, and how a looming death can cause ripples within the family.

While the play is fresh and meaty, the most exciting part of this production is it's outstanding cast. Bill Pullman plays the dying father so incredibly well. While carrying around an oxygen tank for 95% of the show, to wheezing his lines and gasping for breath; Pullman is transformed into a frail, sick man. With the mouth of a sailor. All he wants is a whiskey, a cigarette...and a hooker. You can't deny a dying man his wishes, right?

David Harbour's character, Michael, recently spent some time in a "mad house" (rehab) to recover from ongoing mental health issues, and isn't long released before he's caring full time for his father. Harbour plays the caring, over sensitive role perfectly, and it's striking how vulnerable he seems throughout the show, considering his towering height. He and his father have a love/hate relationship, the reasons to which are slowly fed to us throughout act two; building until it reaches a crescendo. 

photo by: Marc Brenner

Another mention must go to Akiya Henry who plays Daniel's hospice nurse, Lillian. She's sharp, quick-witted, and above all, patient. She not only offers respite to Michael as a carer, but also reminds him that he's not alone in this crazy world. She's such a profound character, and is Michael's constant throughout the play.

It's worth mentioning that if you're easily offended, this is not the play for you. While you may have dabbled in dark comedy before, I would go as far as to say this piece is pitch black. It doesn't hold back on the harshness of death, and the cruelty in family dynamics. It's crass, it's hilarious. One minute you'll be crying with laughter, and the next you'll be moved to tears.

The play is just over two hours, and it simply still doesn't feel long enough. It's compelling, funny, but above all, real. The realness of this piece is what kicks you in the gut, and leaves you reeling for days after. If you get the chance to see Mad House - don't hesitate. I've seen plenty of mixed reviews, but I, for one, adored the show. And will be back very soon!

photo by: Marc Brenner

You can buy tickets to Mad House at Ambassador's Theatre, here.

The next interview in our stagey chat series, is with the amazing Ako Mitchell. Ako is currently in the West End production of Bonnie and Clyde as the Preacher. Ako's recent credits include: Charlie in ‘Dr Strange And The Multiverse Of Madness’, reg in ‘Hilda’ for Netflix; Award Winning Film at Berlin & Paris ‘Two And A Half Minutes’; Papa Who in ‘The Grinch’; ‘Caroline or Change’ for Chichester & West End; ‘The Colour Purple’ for Leicester Curve; lead role of Sweaty Eddie in original West End cast of ‘Sister Act’.

Get yourself comfy and join Ako and I for a chat about all things stagey!