Tony Nominee Tom Francis on 'Sunset Boulevard'

Summary

All Of It Podcast Episode Summary

Title: Tony Nominee Tom Francis on 'Sunset Boulevard'
Host: Alison Stewart
Release Date: June 4, 2025
Guest: Tom Francis, Tony-nominated actor portraying Joe Gillis in the Broadway revival of Sunset Boulevard

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Introduction to the Episode

In this episode of All Of It, host Alison Stewart engages in an in-depth conversation with Tom Francis, a Tony-nominated actor making his Broadway debut as Joe Gillis in the acclaimed revival of Sunset Boulevard at the St. James Theater. The episode delves into Tom's journey, the intricacies of his role, and the innovative aspects of the production directed by Jamie Lloyd.

Tom Francis's Journey to Sunset Boulevard [02:33 – 05:08]

Alison Stewart begins by exploring Tom Francis's path to securing his role in Sunset Boulevard. Tom recounts the discovery of the role through his agent about a year and a half prior:

Tom Francis [02:33]: "I found out through my agent I was doing another show and I just finished and I decided that I was gonna take some time out of theater for a bit."

After a period of creative hiatus, where he focused on writing music in a studio, Tom was approached to audition for the role. The audition process was intense, spanning nine auditions over two weeks, focusing on various songs and scenes pertinent to Joe Gillis's character.

Tom Francis [04:12]: "It felt so good being in the room. I just really clicked with Jamie. I really clicked with Alan Williams, our musical supervisor, and like, Fabian Aloise, our choreographer."

His strong connection with the creative team, particularly director Jamie Lloyd and choreographer Fabian Aloise, bolstered his confidence in landing the role.

The Audition Process and Securing the Role [03:36 – 05:08]

Alison inquires about the specifics of the audition process, to which Tom elaborates on the rigorous selection:

Tom Francis [03:42]: "The audition consisted of a lot of the material. So there was about four or five songs for Joe...and a few of the narration parts in the."

Despite the intensity, it wasn't until the third or fourth audition that Tom sensed he might secure the role, thanks to the rapport he established with the director and the production team.

Tom Francis [04:12]: "I was like, well, this can only be a good thing. And it turned out to be good."

Collaborating with Director Jamie Lloyd [05:23 – 07:38]

A significant portion of the conversation centers on Jamie Lloyd's directorial style and its impact on the production. Tom shares his admiration for Lloyd’s ability to strip down the grandiosity of Sunset Boulevard to a minimalistic yet emotionally potent presentation.

Tom Francis [05:23]: "He truly directs a show, the way he uses, like, sound design and the way that he uses light...he truly knows how to get to the heart of you as a performer."

Jamie Lloyd's approach emphasizes simplicity and emotional depth, allowing the performances and the story to take center stage without unnecessary distractions.

Deep Dive into the Character: Joe Gillis [07:22 – 07:38]

When discussing his character, Joe Gillis, Tom emphasizes the writing's strength and the character's complex arc:

Tom Francis [12:39]: "He starts off incredibly disillusioned with a pretty tough industry...eventually decides that it's not the life that he wants and that he was happier at the beginning."

Joe Gillis's journey from disillusionment to introspection and eventual realization forms the emotional backbone of the story, and Tom highlights the character’s intelligence and internal conflict.

Behind the Scenes: Technical Challenges and Innovations [08:04 – 10:54]

A standout feature of this production is its use of live camera work to blend the theatrical experience with cinematic elements. Tom discusses the physical and technical challenges posed by the heavy cameras and the necessity to perform both for the live audience and the camera simultaneously.

Tom Francis [08:09]: "I just try and just sort of slow my heart rate down and I just try and focus in."

The collaboration with the video team, including Joe Ransom and Nathan Amzai, ensures that the performances are seamlessly captured, enhancing the storytelling without overwhelming the actors.

Developing On-Stage Relationships [16:41 – 18:33]

Tom shares insights into building chemistry with his co-star, Nicole Scherzinger, who portrays Norma Desmond. Utilizing the "grid method" devised by Jamie Lloyd, the actors maintain a heightened awareness of each other’s movements and cues, fostering a deeply interconnected performance.

Tom Francis [16:41]: "We spend a lot of time sort of figuring out this grid method...it's like a spider web."

This technique ensures synchronized performances, even during intense and minimalistic scenes, making interactions appear natural and compelling.

Costume and Character Development [11:58 – 12:24]

The minimalist black-and-white costumes play a crucial role in character portrayal. For Tom, the decision to keep his character's hands in his pockets is a deliberate choice to convey non-verbal cues and body language.

Tom Francis [12:00]: "Me and Jamie decided that I'd have my hands in my pockets for a lot of the show."

This subtle detail enhances Joe Gillis's persona, adding layers to his character without the need for elaborate costumes.

Highlights and Special Moments [18:51 – 24:25]

The episode touches upon memorable moments from the show, such as the six-minute stretch where Tom's character transitions from the theater to the streets of New York, exemplifying the production's innovative approach to storytelling.

Tom Francis [19:12]: "Just remember to breathe."

He emphasizes the importance of staying grounded during physically demanding sequences, highlighting the support from his camera operator, Shayna McPherson, whose dedication is pivotal to the seamless execution of these moments.

Additionally, Tom discusses his experiences and relationships with fellow cast members, including Broadway veteran Mandy Gonzalez, from whom he has learned the importance of fully immersing oneself in the performance.

Tom Francis [18:33]: "Stop performing from Mandy. God, she just eats it up every single time."

Personal Insights and Future Endeavors [22:05 – 23:48]

Beyond the stage, Tom shares his passion for music, his prized possession—a guitar—and his plans to release a record, reflecting his multidimensional artistic interests.

Tom Francis [22:58]: "It's just such a fun thing to have...I love playing guitar."

He also hints at an upcoming TV project, marking his first foray into television, which he describes as a "baptism by fire" but ultimately a rewarding experience.

Closing Thoughts

The episode concludes with Alison Stewart highlighting key moments Tom hopes audiences will remember, such as the impactful 11 o' clock number and the energetic "Let's Do Lunch" sequence. Tom underscores the brilliance of the writing and the joy he finds in performing these standout numbers.

Tom Francis [24:25]: "I think that it's just brilliant... I get to go absolutely crazy in that number."

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Takeaways:

• Collaborative Synergy: Tom Francis's success in landing the role of Joe Gillis is deeply rooted in his strong rapport with director Jamie Lloyd and the creative team.

• Innovative Storytelling: The revival of Sunset Boulevard employs live camera work and minimalistic staging to offer a fresh, emotionally charged interpretation of the classic story.

• Character Depth: Joe Gillis is depicted as an intelligent and conflicted character, navigating his disillusionment with the entertainment industry and his complex relationship with Norma Desmond.

• Technical Mastery: The production's integration of theatrical performance with cinematic techniques presents unique challenges and opportunities for the actors, enhancing the overall narrative.

• Personal Growth: Tom's experiences in the production not only mark his Broadway debut but also showcase his versatility as an artist, balancing acting with his passion for music.

For those interested in experiencing a modern take on a classic musical, Tom Francis's portrayal of Joe Gillis in Sunset Boulevard promises a compelling and innovative performance that redefines Broadway storytelling.

Transcript

[Alison Stewart]

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[Alison Stewart]

You're listening to all of it on wnyc. I'm Alison Stewart. The revival of Sunset Boulevard has earned seven Tony nominations. One of those is for my next guest, Tom Francis. Tom stars in this production as Joe Gillis, a meh writer who finds himself caught in the web of the aging and homicidal actress Norma Desmond. Directed by Jamie Lloyd, the new version of Andrew Lloyd Webber's musical strips down the story's Hollywood grandeur for a minimal yet affecting presentation. Modern black and white clothing, little to no sets. The production uses live camera work to show the emotion of its leads and to highlight the fickle nature of working in the entertainment industry. Tom is making his Broadway debut not just in the theater, but out in the streets of New York. He sings the title track outside the theater, crossing the street, walking and singing straight into Shubert Alley. We all watch him in the theater, on a screen, until he reappears in person. It's six minutes of thrills because anything can happen in six minutes in New York City. Sunset Boulevard swept the Olivier Awards when it played in London and it's nominated for Best revival of a musical at the Tonys this Sunday. The show's run was extended until July 13, so you have a little more than a month to see this incredible production. I began my conversation with Tom Francis by asking him when he first heard there might be a Sunset Boulevard revival.

[Tom Francis]

This would be about a year and a half ago, I reckon. A year and a half ago. I found out through my agent I was doing another show and I just finished and I decided that I was gonna take some time out of theater for a bit. Cause I'd been doing some shows for like quite a while and eight shows a week. It takes its toll on your body. So I was like I just want to have a. I want to have a bit of time to reset and. And so I. I went away and sort of hid in a studio and wrote music and stuff for. For a few months. And my agent called me and went, there's a. There's a. There's a show which I think we should put you in for. And I was like, what is it? She went, sunset Boulevard. And I went, okay. She went, jamie Lloyd's directing. And I went, okay. She was like, angelo Webb is attached. I was like, okay. I was like, this sounds cool. So. So, yeah, so then we, yeah, went in, did. Did quite a few auditions for it and. And then now we're here, and I can't really believe that we're. We're doing the show on Broadway.

[Interviewer]

I heard you had to do nine different auditions.

[Tom Francis]

Yes, it was. It was quite intense over two weeks.

[Interviewer]

So what did the audition. What did it consist of?

[Tom Francis]

The audition consisted of a lot of the material. So there was about four or five songs for Joe, like some of the narration parts. Sunset Boulevard, the title track, and then the last song, which I completely forgotten the name of, but it's like the. It's in the Sunset Boulevard. And then a few of the narration parts in the. And a few of the scenes. So. Yeah.

[Interviewer]

When did you start to think during those nine auditions, like, why might have gotten this role?

[Tom Francis]

I reckon around about the third or fourth. Because, yeah, I reckon around about the third or fourth, I was like, I. It felt so good being in the room. Like, I just really clicked with Jamie. I really clicked with Alan Williams, our musical supervisor, and like, Fabian Aloise, our choreographer. I'd worked with him before at drama school, and he knows that I'm not potentially the strongest dancer of all time. And. And. And so you did a pretty good.

[Interviewer]

Job, I must say.

[Tom Francis]

Thank you. I move and he knows that I'm a mov. And there was one of the auditions was he was teaching me some of the choreography and he was. He took extra time with me, shall we say, to make sure that I. I did it to the best of my abilities. And when. When people go the extra mile, I was like, well, this can only be a good thing. And it turned out to be good.

[Interviewer]

Jamie Lloyd is so interesting. I mean, he did Betrayal on Broadway, Cyrano at Bam Doll's House, Jessica Chastain. He's a very cool sort of stylized director. What had you heard about working with Jamie Lloyd or what his process was like?

[Tom Francis]

I hadn't. I hadn't heard much about his process. Because I was pretty fresh out of drama school, so I didn't know enough people to sort of have an insight as to what. What the process of putting on one of his shows was. But I'd. I'd seen one of. Yeah, I'd seen some of his stuff back in London and he. And I just remember being like this. This man, the way he uses everything, like he truly directs a show, the way he uses, like, sound design and the way that he uses light and the way that he, like, does crazy things with sets and costumes and stuff. He truly directs. I was just like, I have to work with his brain at some point. So then getting the opportunity to do was just out of this world. I mean, he really does find a way to get to the essence of everything. I think that's. That's the really incredible thing about him, is he fully knows how to get to the heart of you as a performer, and he knows fully how to get to the heart of the show. And I think stripping everything back, like we do in the show, that's how he does it. Because there's no fluff. There's nothing for you to get distracted on. You've just got the words and how they're being said. And when you make it that simple, it's just so effective.

[Interviewer]

What did he help you, Tom, understand about Joe Gillis, when you first had to engage with the character of Joe?

[Tom Francis]

I think that. That the words are enough. I think I came in at the beginning and I felt like I was doing. I came in and I was very much like, cut out that business like a character. And he was very much just like, you know, you need to just. Just say the words. And that. That was how I got in to the character, like, literally. And Don Black and Christopher Hampton and Andrew, they've written this incredible show and it's all there. You don't have to do much. You really don't have to do much. That's what you taught me.

[Interviewer]

There's this great picture of Andrew Lloyd Webber standing next to Jamie Lloyd, and Andrew Lloyd's very posh, and Jamie Lloyd looks like the coolest guy you'd meet in a pub. He's got, like, tattoos, silence down his face.

[Alison Stewart]

So what is it about.

[Interviewer]

What does he do about. Do with a classic that makes it modern?

[Tom Francis]

He just. He respects it and he throws nods to. To the original productions and lets it do its thing, but then also completely and utterly shifts the focus and shifts the lens on how the story can be told.

[Interviewer]

My guest is Tom Francis. He plays Joe Gillis in Sunset boulevard at the St. James Theater. You spend a little time in a body bag.

[Tom Francis]

Yes.

[Interviewer]

On stage. What goes through your mind as they are zipping you into the body bag?

[Tom Francis]

Remember all the lines. I think that's normally what's going through. I don't know. I just. Deep breathe. I. I try and just sort of slow my heart rate down and I just try and focus in and. Because I don't really have any time to reset offstage because I'm on stage for most of the show. And so. So, yeah, I just try and try and get myself into, like, as much of a Zen space as possible, which is a bit counterintuitive being in a body bath because, like, yeah, it's obviously not a natural place to find yourself in eight times a week, but. But yeah, so that's what I do. I just. Deep breathe.

[Interviewer]

Also, in your, in your role, you utilize these cameras. It's a little bit like a Steadicam, and you have to hold it on your lap initially and you project it onto this huge screen. First of all, how heavy is the cam?

[Tom Francis]

The camera is so heavy.

[Interviewer]

It's really heavy.

[Alison Stewart]

Right?

[Tom Francis]

The camera is really heavy. And actually just shout out to Shane McPherson, because I feel like you're probably. Are you going to talk about the walk around at some.

[Interviewer]

We will.

[Tom Francis]

Okay, well, I'll save it for then.

[Interviewer]

Okay.

[Tom Francis]

But. But yeah, they know. They are. They are really. They are really incredibly heavy. I'm not sure how many pounds, but I think they're actually heavier than London as well. But yeah, there's a. There's a lot of stuff on the rig.

[Interviewer]

How long did it take you to learn to use it? To use it?

[Tom Francis]

Well, well, I'm lucky because I only have to use. I only have to use it once where I hold it.

[Interviewer]

Okay.

[Tom Francis]

And the rest of the time I'm getting shot with other people. With other people. But for me, I'm quite lucky. I mean, I'm sat down holding it, but I'm doing a car driving sequence. Like, it's like a car chase. And I kind of learned early on that if I. If one shoulder saw, I can just lift it up and then it looks like I'm steering.

[Interviewer]

Okay.

[Tom Francis]

So. So then I'm kind of just doing that. So I'm switching the weight over. So. So that's how I kind of get past that.

[Interviewer]

How do you go back and forth between performing for the house, the people in the house, to the back of the house, but then also performing for the cameras?

[Tom Francis]

Yeah, it did Take a while. We have an incredible video team shout out to Joe Ransom and Nathan Amzai. They are sort of the brains behind how the cameras work and with Jamie, how the shots look. And so it was a lot of conversations of them being like, just trust what you're doing and maybe don't do that eyebrow because it looks so huge.

[Interviewer]

On the big screen, Right?

[Tom Francis]

And so. And it just kind of becomes a muscle memory where, like, now it feels unnatural to not be switching between this tiny performance where the camera is less than a foot away from your face or giving a performance out to sort of 1700 people. So now it feels. It feels quite good. But it did take a while. It took a lot of them being like, stop looking at the screen.

[Interviewer]

I say, what did you see when you first saw how huge?

[Tom Francis]

I was like, wow, I need a skincare routine. But, yeah, no, no, it was. It was overwhelming. It was overwhelming. But. But that was a moment where we were all like, this show is going to be incredibly special because we just never had. I remember they told us not to talk to people about it, but I remember going home and talking to my mum and dad and my brother and my sister about it. I knew I could trust them. And I just remember being like, so this is the kind of vibe of the show. And they were like, that is completely and utterly unheard of. It's not. It's not done in British theater. Like, it's groundbreaking. I was like, yeah, this is. It feels really special.

[Interviewer]

It's interesting because the costumes are fairly minimal. They're black and white and for the entire cast. And sometimes when you talk to actors like, oh, the costume gets me into the role, you know, I'm curious, what do those costumes do for you? Which are very subtle and very, you know, one note, almost.

[Tom Francis]

For me, it's probably more about. It's probably more about my body language with the costume. Me and Jamie decided that I'd have my hands in my pockets for a lot of the show. And so that kind of was a massive in for me. And so having my hands in my pockets just sort of. At least I've got pockets on my costume.

[Interviewer]

My guest is Tom Francis. We're talking about Sunset Boulevard. He stars as Joe Gillis. If you had to describe Joe's arc in this piece, what would Joe's arc be?

[Tom Francis]

He starts off incredibly, incredibly disillusioned with a pretty tough industry. And as he works his way through, he kind of gets offered a deal with the devil, almost, which he ends up taking and sees what it's like to have a substantial amount of wealth and. And things that he's never had before. And. And I think it always plays with him because he's a very intelligent man, and I think that he. Yeah, he's. He's sort of very confused as to why he's ended up in the position that he's ended up in and eventually decides that it's not the life that he wants and that he was happier at the beginning. Before it all becomes too late.

[Interviewer]

Is it true that initially you were told not to watch the movie?

[Tom Francis]

Yeah, I've still not watched it.

[Interviewer]

You still not watch it?

[Tom Francis]

I'm not allowed to, no. We're very. We're very. We've got. We've got, like. We've got very. Not. They're not rules, but they're. They're. They're tenants. Yeah, they're sort of ideal ideologies behind the show in. In which that, like, we've created our version, and it's very important for us to sort of keep that as. As intact as possible. So. I've never read a review. I've never watched or. I've not listened to our album yet. Like, the. That's probably like one of the. I mean, I've heard Sunset Boulevard because it's been all over social media, but, like, I've not listened to any of the other songs. Yeah, I. I watched the Olivier thing, but that was the first time that I saw myself do the thing. And. Yeah, we've never. We've never seen anything. We've. We've never watched anything to do with ourselves because we don't want to mess with the production.

[Interviewer]

Well, I'm gonna make you listen to something in just a minute.

[Tom Francis]

Well, yeah, we can do it. We can do it. It won't mess it up too much.

[Interviewer]

Well, let's listen to this clip of Joe and Norma, who's played by Nicole Scherzinger, and she had a little bit of a clue that. No. That Jo is having an affair with Betty. This is from Sunset Boulevard.

[Nicole Scherzinger]

You went out last night. Didn't you join?

[Tom Francis]

I went for a walk.

[Nicole Scherzinger]

You took the car?

[Tom Francis]

I drove to the beach.

[Nicole Scherzinger]

Who's Betty Schaefer?

[Tom Francis]

Surely you don't want me to feel like a prisoner in this house.

[Nicole Scherzinger]

You don't understand, Joe. I'm under a terrible strain. It's been so hard. I even got myself a revolver. The only thing that stopped me from killing myself was the thought of all those people waiting to see me back on the screen. How could I disappoint them. All I ask is a little patience, a little understanding.

[Tom Francis]

Norma, there's nothing to worry about. I haven't done anything.

[Nicole Scherzinger]

Of course you haven't. Good night, my darling.

[Tom Francis]

I should have stayed there. Poor Norma. So desperate to be ready for what would never happen. But Betty would be waiting. We had the script to finish. One unexpected love scene. Two people both respect a kind of happy ending.

[Nicole Scherzinger]

So much.

[Tom Francis]

Good job with the album. Right.

[Interviewer]

You and Nicole didn't meet until the first day.

[Tom Francis]

Yeah, yeah, the first day.

[Interviewer]

How did you develop. This is such a boring question, but it is interesting. How did you develop your relationship on stage? I think it's interesting.

[Tom Francis]

No, I think. Yeah, I think it's great. The. So basically, we have this. We have this method in the. In the Jamie Lloyd Company, which is a gridded method, and there's. There's a grid on the stage, and everyone's feeding into this idea of. Of the grid. And so we spent a lot of time sort of trying to move at the same times and trying to. Like, we. And yeah, you kind of like, you have three different paces. You can run, you can walk, you can. And then you could, like, sprint, you can change, you can go as far, whatever, but it's all on a grid. And so we spent a lot of time in the first few days, the. Mainly the four leads. David Thakson, Grace Hodget, Young, Nicole, myself, and basically, we spent a lot of time sort of figuring out this grid method. And it's really weird because you become. When you surrender yourself to that idea and everything, you become really, really aware of the other people on stage. It's almost like a spider web kind of thing. So. And everyone's their own spider. But any type of vibration on that grid, you are completely aware that they're there. And especially with some of Jamie's direction, there's loads of the show where we're not even looking at each other, but we're having conversations. And that idea and having that foundation was the. Was the most incredible thing for all of us because it just meant that we were so connected with each other and in a really special and beautiful way. So it felt really natural when we started.

[Interviewer]

It's interesting because Mandy Gonzalez is playing on Tuesday. She's playing that role, and she's kind of a Broadway legend. I mean, she was in the Heights originally. She was the second Angelica Houston and Hamilton for six years, and now she's.

[Tom Francis]

Absolutely killing it in some symbol of art.

[Interviewer]

I was gonna ask you. This is your first time on Broadway. What have you learned from her.

[Tom Francis]

Stop performing from Mandy. God, she just eats it up every single time. She just really knows how to come in and just go do it. Here we are. Yeah. She's so in it. It's, it's. It. It truly is. It is remarkable watching her every single day. Well, every Tuesday. Sorry.

[Interviewer]

All right, we're gonna talk about the beginning of Act 2. You leave the theater, you're singing the title song. You have to walk across 44th street into Shubert Alley, back through the theater. It's a six minute stretch. What is really important to you as an actor in that six minutes when you leave the theater?

[Tom Francis]

Breathing. Breathing, yes. Just remembering to breathe. Just remember to breathe. Breathe. And just lock in with our camera woman. We've got a fantastic camera woman called Shayna McPherson.

[Interviewer]

Hi, Shayna.

[Tom Francis]

Um, she's genuinely the beating heart of our production. She does quite a considerable amount of the shots in, in the show. And she carries that camera down 7, 8, 8 flights of stairs on a twisting staircase. This camera is so heavy as well. Like, I. Like I would not. I would really struggle. I think most people would really struggle to Harry this camera for that long. And she just does it effortlessly. And then. And then, yeah, and then we leave. We leave. And so, yeah, I'm very supported by her. I just kind of lock in with her. I look in with the camera and then everything else kind of goes blurry. In fact, there's a picture. There's a picture that I think the New York Times have. And in the picture I'm blurry, but everyone else in the background is in focus. But for me, when I do the walk around, it's like the opposite. So I'm completely. And you know that film Limitless.

[Interviewer]

Yeah.

[Tom Francis]

I use this as, like, as an example. It's like that. So that you're walking through and everything is going. And then you're just. You're just in the. In the zone.

[Interviewer]

What is something that you see or you have seen that we can't see because we're just focused on you and the camera and you're thinking, oh, my God, there's a bunch of Girl Scouts coming at me. What's. What has come at you on.

[Tom Francis]

On that street in London, we had quite a few bridesmaids, which was. Which was an interesting one, but they got siphoned off sometimes. Deliveroo drivers. They look quite confused. And Uber eats. Uber eats drivers. Yeah. But to be fair, you predominantly see. Most of you will see everything that I will see, but you normally see the reaction afterwards. So I'll see, like, I'll see the person being asked to move out the way and then the audience will see the confused look as a crazy man with a headset is singing Sunset Boulevard, but like, through the streets of New York.

[Interviewer]

And you're also. It's just you singing.

[Tom Francis]

Yes. I mean, it's wild, actually. Yeah. If you're watching me, it does just look like I've lost it. And I'm walking around singing Sunset Boulevard, but I've got the orchestra in my ears. But to everyone else, it does look like I'm doing the song Acapella.

[Interviewer]

You have such a strong voice, but it can also be a really. A modern voice. Have you ever thought about putting out a record?

[Tom Francis]

Yes, yes, we are, we are. We are in the process of that.

[Interviewer]

Really, as we speak. Because if you go on your Instagram and you scroll back, you can see you performing, like in the stairwells. We actually found this clip of you performing. It's like on a beach.

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It's.

[Tom Francis]

Oh, yeah, let's play that. Holding me back Gravity's holding me back I want you to hold up the palm of your hand why don't we leave it and die? Nothing to say and everything gets in.

[Interviewer]

The way when did you first start singing?

[Tom Francis]

When I was like. I love Harry.

[Interviewer]

Harry Styles, by the way. Yes.

[Tom Francis]

I probably started singing when I was about 11, I reckon. 12. 11, 12. And then, yeah, I kind of loved it.

[Interviewer]

In one of those interviews, like backstage at so and so, I think was and Juliet, they said, what's your prized possession? You said, my guitar.

[Tom Francis]

It is. Yes.

[Interviewer]

Why is your guitar your. Your prized possession?

[Tom Francis]

It's just such a fun thing to have. It's just such an. It's such. I. I think they're beautiful. I genuinely think guitars are beautiful and I think it takes so much skill to make them. And it's so fun to like be able to just sit down and, and play it. And I don't. Yeah, yeah, I just. I just. I love, I love how guitar sound and I love playing guitar.

[Interviewer]

Do you do it to relax now?

[Tom Francis]

Yes, yes, yes, 100%. It's the best relaxation.

[Interviewer]

I read that you are going to be on our TV screens, computer screens in you.

[Tom Francis]

Yes.

[Interviewer]

Would you know when it's coming out?

[Tom Francis]

So I'm not sure if I'm. How to say. I'm actually. I didn't ask anyone if I could say that. Actually. That's one that I will. I will ask, but, but no, it's, it's. It's not. Not too long away. I don't believe, but I'm so excited for it to come out. It's the first TV thing that I've ever done.

[Interviewer]

Oh, really?

[Tom Francis]

Yeah. My first ever TV job. So it was a bit of a baptism by fire, but it was incredibly fun and the entire team there is just fantastic. I couldn't. I couldn't have wished for a better first job in TV that everyone from the cast, the crew, the producers like, everyone.

[Interviewer]

You're a little busy right now. If someone who watches goes to see Sunset Boulevard, what is one place in the show that you want them to pay close attention to? Either because it means a lot to you, or you think it's a really poignant part or you just think it's really cool the way they were able to do it.

[Tom Francis]

I think there's a few. There's. With one look for me is very special because I just think that it's. I think there is just brilliant writing from. From the boys that they just smash an 11 o' clock number about 15 minutes into the show. I think that's just brilliant. So that is one of them. And the other one would be let's do lunch because I get to go absolutely crazy in that number. And exerting that much energy is very fun.

[Alison Stewart]

That was my conversation with actor Tom Francis. He is Tony nominated for his performance as Joe Gillis in the current revival of Sunset Boulevard.

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