By Linda Badger.

Emma Clark only graduated from her full-time studies in 2009, but she already has numerous theatre and television credits to her name. The young star is gracing the Australian stage again in The Addams Family musical, currently playing at Sydney’s Capitol Theatre. Dance Informa’s Linda Badger got the chance to chat with Emma between rehearsals.

What is your background as a performer?

I originally trained in classical ballet at the Jane Moore Academy of Ballet for 10 years. Then in my adolescence I took classes at Dance World Studios. To further hone my skills I completed two years of full-time dance at Patrick Studios Australia, graduating in 2009.

I always enjoyed singing in choir in high school, but I didn’t take my singing seriously until I was 18, when I began lessons with Susan Anne-Walker. I’ve seen a few teachers since then and have recently started vocal coaching with Peter Bodnar.

Tell us a bit about your role as an ‘Ancestor’ in The Addams Family musical.

I play the ‘Saloon Girl’ Ancestor.  My character is straight out of the Wild West in the 1850s. It’s a sassy role, and the beautiful costuming brings my ghostly quality to life.

Emma Clark (centre with arm raised) as ‘Ancestor’ in The Addams Family. Photo by Jeff Busby

What was the audition process like?

Like most auditions, The Addams Family audition process was extremely nerve racking. We have been blessed with an incredibly warm and nurturing creative team, so from the start of the audition process the energy of the panel was friendly, which helped make it not too daunting. There were quite a few dance rounds and lots of singing and scales to the highest of high notes. Most of the ensemble members cover the leads in the show, so there was also scene work to prepare and perform.

Were you an Addams Family fan growing up?

I wasn’t really allowed to watch TV growing up, so I have become a fan in my adult life. Since getting into the show I have caught up on the original black and white TV version that was filmed in the 1960s. My mum says she loved watching it as a kid. It is clever and darkly witty – a style that is a parallel to the musical.

What has been the best, and the most challenging part of the experience so far?

One of the most challenging things has been building up the stamina to sing the opening number, which includes some high-intensity dancing! There is also a fair amount of partner work in the show. It has also been extremely enjoyable, although challenging, to learn the infamous tango.

Any highlights of the show we should particularly look out for?

Without spoiling any of the magic of theatre, all I can say is that this show will surprise you. It is extremely touching and the family themes that run throughout the story line will make you realise that the Addams family, even though creepy and kooky, many not be too different from your family.

You have had quite a few roles in various shows, what is unique about this role?

I’ve never played a dead person before!

The cast of The Addams Family. Emma Clark can be seen behind ‘Uncle Fester’. Photo by Jeff Busby.

What is the most exciting place you have travelled to so far in your career?

The most exciting place I have travelled to would be the Philippines. I went there on my first contract, which was with Cats. I was cast as ‘Cassandra’. I will never forget the excitement and nerves that I experienced in my first job. Everything was new; the wigs, the crazy makeup and the demands of an eight-show week. I relished in the challenged and I will never forget it.

If you could perform any show, what would be your dream role?

Chicago. I will play ‘Velma’ one day…fingers crossed.

Any advice for young performers who are hoping to chase the dream of performing in musical theatre?
A quote from Don Miguel Ruiz’ book ‘The Four Agreements’¹ – this is the fourth agreement and something I live by: “Always do your best: Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance simply do your best, and you will avoid self-judgement, self-abuse and regret.”

We want to wish Emma and the cast of The Addams Family all the best with the show!

The Addams Family is currently playing at the Capitol Theatre Sydney. Tickets are available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. For more information, visit www.addamsfamilythemusical.com.au.

Source:
Ruiz, Miguel: The Four Agreements: A Practical Guide to Personal Freedom
(A Toltec Wisdom Book), Amber-allen Publishing Inc.
Publication Date: November 7, 1997 | ISBN-10: 1878424319 | ISBN-13: 978-1878424310

Photo (top): Emma Clark. Photo courtesy of AB Publicity 

Capitol Theatre, Sydney
22 March, 2013

By Linda Badger.

Going to The Addams Family, I was excited to be re-living a part of my childhood; The Addams Family was a TV show I loved when growing up. I have a special affection for the character ‘Wednesday’, who this musical was based around. I was around the same age as her when I was first introduced to the show in the form of re-runs of the black and white variety. And then there were the movies, of which I was also a fan. One would hope, knowing this show is somewhat an iconic part of our Australian childhood, that we might be able to catch a glimpse of that in this musical version of the show. Not so. The musical version was an entirely poor and weak version of its TV counterpart.

The cast was a talented group of singers, dancers and actors. They delivered their lines extremely well, and had us in stitches at many points throughout the performance with some highlight comedic moments. The show did not fail in terms of talent and ability on the part of the cast; they did what they could with what they were given. If one was not an experienced performer or too knowledgeable of the original show, they may really enjoy it based purely on the comedic factor, and the talent of the cast.

The really disappointing factors of this production were mostly in the writing and the structure of the show itself. It launched all too quickly in to the guts of the story itself, almost expecting that everyone who came to watch the show would already have a full background and knowledge of The Addams Family characters and their quirky nuances – this would not be the case for most people under the age of 25.

Most songs had quite interesting lyrics, but at times tried to fit way too many lyrics and ideas into the one number creating an Olympic-sized feat for the performers to deliver. Usually when one attends a musical, there are some songs that stick with you and you want to download the soundtrack or buy the CD right away. Not so with this show. A lot of the songs and their melodies also felt ‘borrowed’ from other musicals.

Having a special affection for Wednesday, I found her character to be the most unlike her original character in the ‘musical style’ version of herself; she was entirely the preppy American teenager with a slightly try-hard ‘emo’ side. I do not believe this musical was about making fun of the original, so it surely fell short in the character development phase. Wednesday was originally described by creator Charles Addams in this way: “Child of woe is wan and delicate…sensitive and on the quiet side, she loves the picnics and outings to the underground caverns…a solemn child, prim in dress and, on the whole, pretty lost…secretive and imaginative, poetic, seems underprivileged and given to occasional tantrums…” This was nothing like the version we see in the musical. Other characters were more developed towards authenticity of original self, but there was not a sense of the cast being able to really embrace who their characters were.

The choreography was undeveloped and very predictable, and did not blend well into the story. One does not expect to see eisteddfod style choreography (prepare, double pirouette, jumping jack) in a character’s introduction, in a professional show. Some moments were interesting, but overall, it was quite poor and not as interesting as I would have expected.

All in all this was probably the most disappointing and underdeveloped musical I have seen to date. It was extremely funny, but disappointing in so many other ways. It is always worth going to see a show that is based on something as iconic as The Addams Family, but if you’re a fan of the original show it may not live up to expectations.

Photo (top): The Australian cast of The Addams Family. Photo by Jeff Busby.

Gasworks, Melbourne
March 23, 2013

By Rain Francis.

New Zealand-born choreographer Michael Ralph has been working away tirelessly in the independent dance scene – and it shows. Fresh from winning Most Outstanding Choreography at Short + Sweet Melbourne last year, he has created his first full-length work, Now & Then.

His concept for the show was simply to do what he loves best: bringing “old school” back. Mission accomplished. Now & Then is pure entertainment from start to finish. Expect to be transported back in time by a cast of strong, sharp and sassy dancers.

Now & Then is split into three parts, the first being What is This Thing Called Love? Set to the timeless music of Cole Porter, this section features five men and five women. A loose narrative of searching for ‘the essence of true love’ is interwoven through the collection of numbers, which includes Begin the Beguine, Too Darn Hot and Night and Day.

Part Two, Ladies of Hollywood, is a fun and sexy tribute to stage and film choreographer Jack Cole, whose work shaped the careers of Hollywood stars Marilyn Monroe, Chita Rivera and Betty Gable.

The finale is Ralph’s award-winning 2012 work Project Elvis, which has been reworked for a larger cast. It’s easy to see why this number was so popular at Short + Sweet. It’s exciting, stylish and perfectly executed by a super hot cast. Project Elvis is set to remixed versions of popular Elvis Presley songs Bossa Nova Baby, Can’t Help Falling in Love and Blue Suede Shoes, and elicited a standing ovation from the completely packed house.

Special mention must go to costume and props coordinator Gemma Kelly, who gave the entire show that extra bit of polish.

Michael Ralph’s work is fun, smart and highly professional. He’s surely the next big thing in musical theatre choreography – look out for him.

Photo from Project Elvis, courtesy of Michael Ralph.

By Kristy Johnson.

The Addams Family will be making its musical debut this year in Sydney on March 23^rd. The freakishly fun production will feature all the signature characters and stay true to the quirky original theme. In celebration of the news, Dance Informa caught up with Chloe Dallimore and Teagan Wouters who will play the roles of ‘Morticia’ and ‘Wednesday Addams’.

Chloe Dallimore

Congratulations Chloe on landing the role of Morticia Addams! Do you enjoy playing roles in family favourites like Annie and The Addams Family ?
I think the beauty of something like Annie or The Addams Family is that people already know (the story), and they have a sense of what they might expect. They come with that to the theatre, which is terrific, but it also adds pressure as a performer to make sure that the characters that people have loved and grown up with are portrayed as genuinely, and with as much integrity and love as possible. We don’t want people walking away going, “oh that’s not what I imagined”. We want them to feel as if they’re being totally transported into that family or story that they have loved so much. So it’s a big responsibility, whereas with something like Chicago or Sweet Charity it’s a little more of a blank canvas and the audience is not so familiar with the specifics of the show.

When reading reviews of your performances, critics make note of your great comic timing. Have you always considered acting to be one of your great strengths?
I began as a dancer, so that’s the thing that seems to come most naturally for me. Singing was next and then the acting was something I discovered in my late teens. I think comedy depends so much on the other performers around you as well. We’ve all seen comedy sketches where all the performers just gel incredibly well. So I’ve been very lucky in my comedic roles to be cast with other actors who also have brilliant acting instinct. I’ve learnt so much from them and the audience teaches you a lot about acting. You’re always trying to fine-tune the audiences understanding of the character. So acting is something I probably work hardest on when I’m preparing for a role, and I try to be as instinctive as possible.

Speaking of other great actors, how was it working alongside Todd McKenney in Annie?
We’ve had a fantastic time together. Probably the greatest thing about working with him is his ability to bound onto that stage with 300% energy every single night, no matter what kind of day he’s had. You feel that energy next to you and you have to meet it. He’s also wonderful at talking constantly about how we can improve something. He’s very open and very generous, so I think it’s been a very successful and wonderful working partnership.

How do you ensure you’re in peak condition during performance season? Do you try and fit in dance classes here and there?
The difficulty I have is that I move around so much that it’s very hard to commit to certain dance classes. Another part of my life is Pilates and Xtend Barre. Xtend Barre is a really safe way of working out with all your Pilates principles. It really targets the muscles but protects all the joints so you can keep your body safe and still challenge it to its maximum. Not only am I teaching it, but I also put myself through my own Pilates and Xtend Barre practice every day. I find that it offers me the opportunity at this stage in my life to strengthen and keep my body strong, toned and flexible, without fatiguing myself before the eight shows a week.

Chloe is currently teaching Xtend Barre classes at Emergy Pilates Lounge in Sydney. Visit www.emergypilates.com.au

Teagan Wouters

Congratulations Teagan on securing the role of ‘Wednesday Addams’! How excited are you to be part of this production?
I’m so excited! I can’t wait for it to start quite frankly! I’m thrilled.

Can you tell us about the audition process?
I initially auditioned in December [2011] for the musical director and the casting agent. That was my first audition and then I got a call back a couple of months later to audition with the American creative. It was a really fast audition! I worked with them for maybe 20 minutes or so. It was a really simple process, which was good. I wouldn’t say it wasn’t hard though. I had to prepare two songs from the show and sing those, and there were about four scenes from the show that I also had to do.

Do you think your study in musical theatre at the Victorian College of the Arts prepared you well for this role?
Absolutely! I think any sort of study that is about the theatre is going to help you with auditions, researching roles, and all that kind of thing. I’m definitely very grateful for my training at the VCA.

When do rehearsals begin?
We haven’t started yet. We don’t start rehearsing until the end of January.

Have you met the rest of the cast yet?
I’ve met a couple of them at the launch. I’ve met Chloe Dallimore, Meredith O’Reilly and a few others. Everyone’s lovely and I think it’s going to be a really fun cast to work with.

Do you feel any pressure working alongside performers who have been in the industry for a long time?
I don’t think I feel pressure. I think it’s definitely a case of being so excited to work with people of their calibre! I’m sure I will learn a whole heap off them. I’m really excited about it.

Would you say musical theatre is your passion? Are musicals what you would like to continue doing?
Yes, I think so. I studied musical theatre so I think it’s my ultimate passion. I wouldn’t mind getting into TV and film though. I really like the vibe of the live audience; seeing their reactions and the feeling you get from performing live. I do think this is where I will begin and probably end up.

The Addams Family opens at the Capitol Theatre Sydney, March 2013. Tickets available through Ticketmaster. Visit www.ticketmaster.com.au or call 1300 723 038 for bookings. www.addamsfamilythemusical.com.au

WIN A DOUBLE PASS!
Dance Informa has 2 Double Passes to giveaway to the preview performance of The Addams Family at the Capitol Theatre, Sydney on Tuesday March 19.

To Enter: Email info@danceinforma.com with your Name, Date of Birth, Email Address, Postal Address and Phone Number and answer this question: “Who will play Morticia Addams in the Australian production of The Addams Family?”
Entries close Feb 20.

Top photo: The Australian cast of The Addams Family musical. Photo by James Morgan.

Capitol Theatre Sydney
Saturday November 17 2012

By Kristy Johnson.

There was no denying that the show went off with a bang at Capitol Theatre Sydney, on Saturday 17^th November. Chitty Chitty Bang Bang was the perfect family musical that had the entire audience clapping along.

Based on the 1968 film of the same name, the car was definitely the star of the show. Flying through the air, it garnered gasps from both children and adults in the theatre. At first, it seemed there were a few small malfunctions with getting the car into the air, however being the first night of the show, a small mishap could be expected.

An all Australian cast did their best on stage, with standout performances from David Hobson in the role of the eccentric inventor ‘Caractacus Potts’ and Rachael Beck as ‘Truly Scrumptious.’

I wasn’t surprised to see live dogs bound on to the stage. For family musicals, live animals are a definite crowd pleaser and director Rodger Hodgman did a fantastic job in keeping the children entertained.

One of the downsides of the show was the dancing. The choreography seemed to lack a bit of ‘oomph.’ At times it felt like I was watching dance routines at an eisteddfod. However, what seemed to hold the dancers together were the great costumes and set that tied in well with the whole story.

The performance did feel quite lengthy as well. Towards the end of the second half, I was feeling edgy and ready to get up.

However, with all that being said, I did leave the theatre feeling happily entertained. I wasn’t the only one, with the cast receiving a standing ovation. If you’re after a light-hearted fun musical for the family, then Chitty Chitty Bang Bang ticks all the right boxes.

For tickets visit ticketmaster.com.au.

Photo: Chitty flying by  Kurt Sneddon.

Starring David Hobson and Rachael Beck, Chitty Chitty Bang Bang, the “most fantasmagorical stage musical in the history of everything”, flies into Sydney’s Capitol Theatre from November 16. The award-winning musical will then take over the stage at Melbourne’s Her Majesty’s Theatre from January 30, 2013.

You’ll believe a car can fly in this fun stage adaptation of Chitty Chitty Bang Bang that features sensational sets, stunning special effects, an irresistible story and memorable classics such as “Truly Scrumptious”, “Toot Sweets”, “Hushabye Mountain” and, of course, its Oscar-nominated title song “Chitty Chitty Bang Bang”.  All these ingredients add up to a West End and Broadway blockbuster the whole family will love.

Presented by Tim Lawson, Chitty Chitty Bang Bang will be directed in Australia by Roger Hodgman and features sets and costumes by renowned English designer Anthony Ward.

Based on the timeless novel by Ian Fleming, author/creator of the James Bond franchise, the production features music and lyrics by the legendary Sherman brothers, composers of Mary Poppins.

Originally written by Ian Fleming for his son, the much loved 1968 film Chitty Chitty Bang Bang, starring Dick Van Dyke and Sally Ann Howes, was part of many childhoods. The movie began life as a personal dream of James Bond producer, Albert R. “Cubby” Broccoli.  As with all his film projects, “Cubby” Broccoli surrounded himself with the very best British talent available to ensure the success of Chitty, which at the time was publicised as the largest and most expensive musical ever filmed in England.  The director, Ken Hughes, who had also adapted the screenplay with prolific children’s author Roald Dahl, led the British film crew. The Sherman brothers, fresh from major success with Disney Studios, provided the score and songs, earning an Oscar nomination in the process.

Chitty Chitty Bang Bang the stage musical opened at the London Palladium to rave reviews in April 2002.  The London production was nominated for 3 Laurence Olivier Awards in 2003, including Best New Musical, and won Best Musical at the Variety Club Awards in 2003. Chitty Chitty Bang Bang broke every box office record and continues as the longest running musical ever to play at the London Palladium. The Chitty stage car holds the Guinness World Record for being the most expensive prop in the history of British theatre!

The Broadway production of Chitty Chitty Bang Bang received 5 Tony Award nominations, 10 Outer Critics Circle Award nominations and 4 Drama Desk nominations during its Broadway run at the Hilton Theatre.

The fantastic adventures of this out-of-the-ordinary car that flies through the air and sails the seas, are reaching a new generation through an enthralling and enchanting stage musical. Make sure to get your tickets! Tickets are now on sale. Visit www.chittychitty.com.au.

WIN Tickets!
Win 1 of 2 Double Passes to see a special preview performance of Chitty Chitty Bang Bang at Sydney’s Capitol Theatre on November 16!
Email info@danceinforma.com with your Name, Email Address, Postal Address and Phone Number and answer this question: “What famous pair wrote the music for Chitty Chitty Bang Bang?”
Entries close Oct 20.

How strong is your Broadway Brain? Test your knowledge of the world’s greatest musicals.

By Rain Francis.

Jersey Boys is a documentary-style musical based on the story of which band?

a) The Who

b) The Four Seasons

c) The Four Tops

d) One Direction

What is the longest-running show on Broadway?

a) Cats

b) Les Miserables

c) The Phantom of the Opera

d) Wicked

Which of the following was NOT based on a film?

a) The Lion King

b) Chicago

c) Saturday Night Fever

d) Sweet Charity

What do Movin’ Out, Moonshadow and Mamma Mia have in common (besides all starting with M)?

a) They were all directed originally by Bill T. Jones

b) They were all adapted from novels

c) They are all ‘jukebox’ musicals

d) They were all choreographed by Twyla Tharp

True or false: Grease the movie came before Grease the musical?

Cabaret was based on a book by which author?

a) Christopher Isherwood

b) Emily Bronte

c) Charles Dickens

d) William S. Burroughs

Which of the following is NOT a character from Annie?

a) Miss Hannigan

b) Rooster

c) Molly

d) Annie Oakley

In which musical would you find Peggy Sawyer, Dorothy Brock and Julian Marsh?

a) The Producers

b) Hello, Dolly!

c) My Fair Lady

d) 42^nd Street

Who choreographed Gypsy, West Side Story and On The Town, among many others?

a) Bob Fosse

b) Jerome Robbins

c) Twyla Tharp

d) Steven Sondheim

Which Andrew Lloyd Webber musical is derived from poems by T. S. Eliot?

a) Cats

b) Starlight Express

c) Evita

d) Jesus Christ Superstar

ANSWERS:
1 – b; 2 – c; 3 – b; 4 – c; 5 – False; 6 – a; 7 – d; 8 – d; 9 – b; 10 – a

Top photo: West Side Story. Photo by David Wyatt.

By Kristy Johnson.

Opening to rave reviews in Sydney, An Officer and a Gentleman is continuing it’s packed out season. Part of its success no doubt lies in the choreography. Turning a Navy drill sequence into something for the stage provided a challenge for choreographer Andrew Hallsworth. Yet what we see on stage is something quite naturalistic and a true testament to the work of one of Australia’s most talented visionaries.

Here, Dance Informa chats with Andrew on the creative process behind the musical.

How did you find the experience of choreographing for An Officer and a Gentleman? Was any part of it challenging?

Well, what was challenging was the physicality of it. When the candidates go through their training program it includes lots of climbing, jumping, crawling on the floor, getting dunked under water, and gun drills. So that was kind of challenging but exciting at the same time. It was something I’ve never really done on stage before. And because I wasn’t going for a ‘dancey’ kind of version, like a West Side Story where the men all dance around the stage, I had to find a choreographed sort of physicality that looked naturalistic. That was really challenging. How many times does a push up look like a push up? Or an ab exercise look like an ab exercise? It has to look like something else because you’re doing a musical.

Had you worked with any of the dancers before on other productions?

Yes, there were quite a few of them I had worked with before, including Amanda Harrison and Bert Lamonte. There’s a whole bunch of them I had worked with on other shows, whether they’d been musicals or something else. Then there was sort of a new crew that had come in. So it was all about finding new professional relationships with them.

'An Officer and a Gentleman' rehearsals

How far in advance did you begin rehearsals?

We started seven weeks out from the opening, so we had four weeks in the rehearsal room and then we were in the theatre for three weeks. It was about seven weeks all up.

Is that generally how it works for other musicals?

It’s about the same. It’s usually seven to eight weeks. We started in March and we opened in May, and that’s the usual kind of set up for those big musicals. I’m doing a production company show in Melbourne at the moment and we have two weeks to get it up and running. We work really fast. You have to surround yourself with really good, experienced people.

Were you present at the auditions for An Officer and a Gentleman?

Yes, I sure was. We workshopped it over two years leading up to when we opened. We did a big workshop in Melbourne, and then we went to New York and had a workshop there. And then just before we started rehearsals, we just did a mini workshop which was with actors around the table to hear the flow of it again, and the auditions happened before that. Probably six months leading up to the opening. So it’s been a two-year process.

Do you think Australian musicals are on the same level as what you see on Broadway? Or is Broadway on a much grander scale?

It’s on a grander scale because there are so many more shows there. You go to New York and you see that the whole midtown area and every street has got three theatres on it on either side of Broadway. Clearly it’s the mecca where musicals were born and they do it the best there, without a doubt. But Aussies are as strong as the Americans are. Our production of Priscilla in Australia was just as strong as the Broadway production that’s just about to close. But there’s just that Broadway thing….I don’t know what it is. It’s that whole midtown section and every night there’s billboard after billboard, so whenever you see a show there, you’re just so enraptured in all the musical theatre around you. It just makes everything much grander and more professional. As far as talent goes, I think there’s just more dancers there. When you audition in New York you see dozens and dozens and dozens of people for one particular role. There are just so many shows there and so many more stars.

Having started out as a performer, do you prefer to be on the other side of the creative process and be involved in choreography?

Yeah, I do.  I loved performing in shows, but even when I did my first show when I was 17, I was interested in the process of how they built the musical up. I’d always watch rehearsals even if I wasn’t in the dance routine. I’d always sit in and watch. I was never interested in being a leading man or anything like that. As soon as I had a few shows under my belt, I started wanting to be a dance captain and wanting to be an assistant and just that general progression towards going ‘well I like choreographing, let’s see whether this is going to happen or not’. I was lucky enough to align myself with Ross Coleman who kind of mentored me for 12 years, and then I was choreographing my own shows. Having him there and pushing me opened a lot of doors to what I’m lucky enough now to be able to do. It’s always been something I’ve been interested in.

The Lyric Theatre, Sydney
May 2012

By Kristy Johnson.

A film classic has come to life on stage at the Lyric Theatre, Sydney. The 1982 American drama film, featuring Richard Gere and Debra Winger, tells the story of a U.S. Navy aviation officer candidate who comes into conflict with the Marine Corps Gunnery Sergeant who trains him. Working class heroes Zack Mayo and Paula Pokrifki are able to overcome their upbringing and personal obstacles to achieve their dreams.

Definitely one for the ladies, An Officer and a Gentleman features an athletic cast of handsome Navy recruits who perform an intense, physical dance and drill marathon. Bert Labonte as Sergeant Foley plays the role perfectly, taking the men through their paces and breaking off into song with his powerful tenor voice. His rendition of I’ll Be Damned could easily be considered the standout performance of the show.

Amanda Harrison and Ben Mingay in An Officer an a Gentleman. Photos by Brian Geach

Ben Mingay and Amanda Harrison, in the roles of Zack Mayo and Paula Pokrifki, are a perfect fit for a great love story. Amanda is the most consistently strong in the performance, providing stellar vocals. Humour also adds strength to the production, keeping the audience entertained throughout the opening scenes.

Credit must be given to the choreographer. It must have been a challenge to incorporate a dance and drill sequence to match the sergeant’s commands, but it looks effortless.

The set is what you would expect. Audience members are taken through the confines of a Navy compound and a budget motel, however the special effects are outstanding. The diving scene is portrayed superbly with the scene appearing as realistic as possible.

If you’re after a thoroughly entertaining performance, An Officer and a Gentleman is your match.

By Kristy Johnson.

Already in its third year in London, this smash hit is heading down under to Sydney in October. Having won seven major awards including Best New Musical 2011 at the Olivier Awards, this all singing, all dancing, romantic comedy, doesn’t look like it’s going to slow down anytime soon.

Based on the Hollywood film Legally Blonde starring Reese Witherspoon, college sweetheart and homecoming queen Elle Woods heads for Harvard Law School to try to win back her ex-boyfriend, Warner, after he dumps her for someone more serious.

The all-star Australian cast includes Lucy Durack who plays the lead role of Elle Woods, Rob Mills in the role of Warner, David Harris, Erika Heynatz and Cameron Daddo.

Dance Informa caught up with Lucy and Rob, who starred together in the Australian cast of Wicked, after the launch party in Sydney.

Lucy Durack as 'Elle Woods' in Legally Blonde. Photo (c) Brian Geach.

Lucy Durack

You must be absolutely thrilled to play the lead role of Elle Woods. How excited are you?

Oh extremely excited! It’s a role that’s going to be so much fun to play. I auditioned for nearly a year so it’s one that I’ll be really grateful for and certainly not take for granted.

Can you describe what the auditions were like?

The auditions were in Sydney early last year, and then in November they flew me to London for my final lot of auditions.

The first auditions were like your regular auditions but once I got to London that was pretty nerve-wracking. I knew a lot of money had been put into sending me there and I just hoped I could come up with the goods. So I was very relieved when I did.

Had you always had a keen interest in becoming involved in this particular musical?

When I got cast in Wicked, we saw Legally Blonde overseas and I thought it was such a fun show. I had grown up watching the film, so I really love it. It was certainly one that I had my eye out for. I was hoping that it might come out to Australia and I could audition for it. So I’m very grateful that I got it.

There are great names such as Rob Mills, Erika Heynatz and Cameron Daddo playing roles alongside you. What has it been like so far, to work with them on this new project?

Well I’ve only met Erika once and that was at the launch but she was so nice, and I really think we are going to become great buddies. Rob and I have been friends for a long time so I’m absolutely thrilled. And on top of that we’ve got David Harris – he’s such a great guy. And then we have Cameron Daddo and I’ve never met him before but I’m really looking forward to working with him also.

Rob Mills

Congratulations on landing the role of Warner. Had you watched the film Legally Blonde, prior to auditions?

Yeah, I think in high school. My mum actually watched it a few weeks ago. She asked me if I was the nice boy at the end, or the boy who breaks up with her (laughs).

Can you describe the audition process for us? Had the producers from London come out to Sydney for this?

Yeah, the producers came out here for the auditions, kind of like how the team for Wicked came out here also. That was pretty cool. I got sent in for the role of Emmett, but as soon as I walked in to the auditions they said no. They said you’re not Emmett, you’re Warner. Come back on Friday for Warner. So I came back on Friday for Warner and I got Warner (laughs).

How excited are you to be playing the role of Warner?

I’m really looking forward to it. I’m just happy to get any part in the show!

The cast sounds amazing, and I know you have already worked with Lucy before. Were you excited to work with Lucy again, having worked alongside her in Wicked?

Absolutely. We talked about the shows that were coming up during Wicked. I knew she was very keen to play the role of Elle Woods and I have to give great props to her. She’s very inspirational and a tremendous role model. If you want something, then you have to work hard for it. She got two of the biggest roles in musical theatre in Australia in the last four years, which is pretty amazing. She comes from a good family, a good upbringing. I’m really looking forward to working with her again. She’s extremely professional. She works really hard at working on scenes, making sure that everything is always getting better. She’s never one to throw it in, so to speak. She leads by example and is a great inspiration for everyone.

With the show starting in October, when do rehearsals begin for you?

Around late July. I’m really looking forward to it.

The international award-winning hit LEGALLY BLONDE THE MUSICAL is premiering at Sydney Lyric Theatre, The Star on October 4, 2012. For more information, visit LegallyBlonde.com.au

Top photo: Rob Mills and Lucy Durack in Legally Blonde. Photo (c) Brian Geach

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