Eva Noblezada and Reeve Carney (Cabaret, Hadestown) - INTERVIEW

Summary

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MickeyJoTheatre Podcast

Episode: Eva Noblezada and Reeve Carney (Cabaret, Hadestown) – INTERVIEW
Date: December 29, 2025
Host: MickeyJoTheatre
Guests: Eva Noblezada & Reeve Carney

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Episode Overview

In this lively, in-depth interview hosted from the dressing room of London’s KitKat Club, MickeyJoTheatre sits down with Eva Noblezada and Reeve Carney—married in real life and starring as Sally Bowles and the Emcee in the current acclaimed West End production of Cabaret. The conversation explores the unique energy they bring to the show as a couple, the differences between Cabaret in London and Broadway, their personal and professional journeys, and reflections on Hadestown, Gatsby, and what it means to share both their lives and the stage.

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Key Discussion Points and Insights

1. Playing Together As a Married Couple

• Unique Experience: Reeve and Eva reflect on the rarity and specialness of coming back to Cabaret married, after both appearing individually in various productions.
  • "I don't know how often it's happened that an engaged couple does a show, goes away to get married and then comes back as a married couple doing the same show." — Reeve Carney (01:37)
• Did Marriage Change Their Performances?
  • Eva acknowledges feeling changed for the better but isn't sure how much their offstage dynamic seeps into their performances. They note that some inside jokes resonate more with audiences post-marriage (02:03).

2. Onstage Dynamics & Improvisation

• Hadestown Echos & Improv in Cabaret:
  • Reeve discusses the improvisational freedom encouraged in the KitKat Club production—sometimes his ad libs went too far, but the team guided him to maintain structure while personalizing his MC (03:12).
  • "They encourage a lot of improvisation and then they kind of pull you back when it's a little too far... They let you know, different MCs bring whatever they have in their mind." — Reeve Carney (03:12)

3. How Did This Joint Casting Happen?

• Manifesting the Dream:
  • Both had been hoping for years to appear together in Cabaret. A friend and producer had once suggested it, and the timing finally aligned (04:41).
  • "We were definitely putting it in the ether for like years." — Eva Noblezada (04:41)

4. West End vs. Broadway: Differences in Cabaret

• Intimacy of the KitKat Club:
  • Eva compares the intimacy of the London space with the “abyss” of the larger Broadway theatre, emphasizing how the immersive venue suits Cabaret better and allows for bolder, more personal performances (05:58).
  • "This is much smaller, but more intimate, which I think suits the show way better, in my opinion." — Eva Noblezada (06:11)

5. Balancing Personal and Stage Lives

• Passing Each Other in the Night:
  • Despite being leads in the same show, they spend little time together on stage, which is a sharp contrast to their roles in Hadestown (08:05).
  • "We're just so, like, you're either in these amazing costumes and, like, being dark or, you know, we're just in completely different scenes, completely different headspaces." — Eva Noblezada (07:39)
• Collaboration with the Audience:
  • Both appreciate the show’s demand for presence and collaboration with both each other and the audience energy (09:12).

6. Reflecting on "Hadestown" and Theatrical Journeys

• First Night Memories:
  • Returning to the West End for Hadestown was electric; audiences gave “rock concert energy” (11:24).
  • "It was almost like that every night here for that particular run, it felt like an opening night or someone's last show." — Reeve Carney (11:43)
• On Evolving Shows:
  • Both note how shows—and their own performances—are transformed by new casts and creative teams, keeping each production unique (12:39, 14:28).

7. The Craft and Challenges of Sally Bowles

• Returning To Where It Started:
  • Eva reflects on her early days in London theatre, acknowledging how much she’s grown and how formative her time has been (16:38).
  • "Being able to say that it's my job and falling in love with it even more throughout every job that I do... and also like being able to work with my best friend and my husband is like. It adds just layers of just juiciness and it's just. It feels really heavenly at this point." — Eva Noblezada (16:38)
• Channeling Real Emotions Into Performance:
  • She discusses how playing Sally Bowles lets her transform her own anxieties and frustrations into art. The physical style of the show (performed in-the-round) invites a new technical discipline and sense of accomplishment (16:38, 27:39).

8. Sharing Multiple Projects and Artistic Future

• Addictive Collaboration:
  • Eva and Reeve both express a desire to keep finding projects together, valuing both the personal and artistic fulfilment (20:23).
  • "There's no beating this." — Eva Noblezada (20:23)
  • "No, if Eva's in it and, you know, same." — Reeve Carney (21:01)
• Performance Rituals:
  • They describe their post-show routine: long, detail-obsessed movie nights, pausing to discuss every creative element—a glimpse into their shared passion for art (21:06).

9. Discussing "Gatsby" and Musical Preferences

• Returning to "Gatsby"?
  • Both loved their time in Gatsby and fantasize about revisiting it together (22:06). Eva asserts a particular favorite song, “For Her”, and the particular thrill of singing with a live orchestra (23:03).
  • "The energy of a pit. It's like it, like, trembles. The earth trembles. That's fantastic." — Eva Noblezada (23:27)

10. Cherishing the Final Weeks in Cabaret

• What They’ll Miss:
  • For Reeve, the unique intimacy of the London production—the ability to connect directly, eye-to-eye with audience members every night—is singular (24:41, 25:24).
  • "Everywhere I look, I can make a connection with someone in a truthful way, and it will probably inspire my performance on any given night." — Reeve Carney (25:24)
• Physical Comedy and Personal Touches:
  • They highlight how small personal gestures—even a cheeky butt-slap—have found their way from their real life into the show (26:09).

11. Technical Challenges and Acting Craft

• Balancing Technique and Emotion:
  • Eva walks through layering character essence over technical requirements, especially when the staging demands stillness—“less is more” in this space (27:39).
  • She reveals she pictures a tiny director-self in the audience, continually self-critiquing to improve reach and subtlety.

12. What’s Next?

• Concerts & Future Projects:
  • They discuss which Cabaret songs might enter their concert rotation and joke about ways to reinvent “Money” and “Married” for concerts or future productions (30:00).

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Notable Quotes & Memorable Moments

• On Doing Cabaret After Marriage
  "Maybe, I mean I definitely feel like I've changed, like obviously for the better."
  — Eva Noblezada (02:03)

• On the Creative Freedom in the West End Production
  "They encourage a lot of improvisation and then they kind of pull you back when it's a little too far."
  — Reeve Carney (03:12)

• On Audience Collaboration
  "The audience... is a part of the story. Like their energy is... an evolving factor. It's... part of the alchemy of it."
  — Eva Noblezada (09:12)

• On Recapturing Theatre’s Magic Post-Pandemic
  "It was like similar energy to our first show back from the Pandemic of like, thank God that theater is here and we're in it."
  — Eva Noblezada (11:58)

• On Artistic Partnership
  "There's no beating this."
  — Eva Noblezada (20:23)

• On Cherishing the KitKat Club
  "Everywhere I look, I can make a connection with someone in a truthful way, and it will probably inspire my performance on any given night."
  — Reeve Carney (25:24)

• On Bringing Real-Life Playfulness to the Stage
  "The butt move we took from our real life because we sometimes do that on the street to make people laugh."
  — Reeve Carney (26:24)

• On the Challenge of Performing in the Round
  "It's always kind of floating around, like, to make sure, like, oh, I'm out of light...But after doing it so many times, I think, like, you just find a way to, like...in that moment I can look down and, like, place my feet and, like, no one will ever know."
  — Eva Noblezada (27:39)

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Timestamps for Important Segments

• [01:37] – Returning as a married couple to Cabaret: initial impressions.
• [02:03] – On the effect of marriage and inside jokes in the show.
• [03:12] – Reeve on improvisation and creative freedom.
• [04:41] – How performing together came to fruition.
• [05:58] – Contrasts between Broadway and West End settings.
• [09:12] – The role of audience energy in shaping performances.
• [11:24] – Reflections on returning to the West End with Hadestown.
• [16:38] – Eva’s journey from her London debut to today.
• [20:23] – Artistic partnership—plans and hopes for more joint projects.
• [22:06] – Discussing Gatsby and favorite musical moments.
• [24:41] – What they’ll cherish most about the show and each other.
• [27:39] – Technical challenges of performing Sally Bowles in the round.
• [30:00] – Future plans: which songs in concert rotation?

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Final Thoughts

This episode is a colorful, affectionate portrait of two top-tier theatre performers at work and in life, balancing technical brilliance, personal creativity, and deep partnership onstage and off. Whether discussing backstage rituals, stagecraft minutiae, or the ongoing evolution of major musicals, Eva and Reeve radiate passion, humor, and a love for theatre that makes this conversation both richly insightful and heartwarming for fans and newcomers alike.

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Transcript

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[Interviewer]

Oh my God. Hey. I am here at one of the best shows in town, cabaret at the KitKat Club, aka the Playhouse Theatre in London to meet its two current stars in the iconic roles of Sally Bowles and the emcee. Real life married couple Eva Noblezada and Reeve Carney, best known to audiences for their originating performances in Hadestown, are currently lighting up the West End stage a few weeks ahead of their final performances in this show. I am here to meet the pair and ask them what it's been like playing these roles in the West End. So here we are in your dressing room at The Playhouse Theatre, aka the KitKat Club here in London, where the two of you, newly married, are starring together in the acclaimed West End production of Cabaret. How exciting is it to be doing the show here in London?

[Reeve Carney]

It's incredible. We love London. We love this show. I mean, and we're thinking, I don't know how often it's happened that an engaged couple does a show, goes away to get married and then comes back as a married couple doing the same show. Very special.

[Interviewer]

Yeah, I mean, I guess people say to newly married couples like does it feel any different? Do you think the show, if audiences saw you in the couple of weeks before you actually got married and then came back again afterwards, has anything changed?

[Eva Noblezada]

Maybe, I mean I definitely feel like I've changed like obviously for the better.

[Reeve Carney]

Wicked.

[Eva Noblezada]

But I think that adds like a surgeons of energy. I think, I don't know how obvious I can spread that into my performance. But I don't know. Maybe. But sometimes people laugh at the joke.

[Reeve Carney]

Which is, yeah, our relationship obviously is quite different in real life as compared to these particular characters. Sure. But I guess, yeah, there's one Little kind of inside joke that sometimes gets a bit more of a laugh than other times. Speaking about asking her to be his wife. First night we got a big laugh. It depends. But I almost like it when they don't because I feel like then it implies that I may have disappeared more into the character and they don't even connect that. But who knows? It's great either way.

[Eva Noblezada]

Does your second show sing a line like that?

[Reeve Carney]

Oh, yeah, yeah.

[Eva Noblezada]

What was Hadestown?

[Reeve Carney]

But which one? Just all of that, like, yeah, when.

[Eva Noblezada]

I say, oh, he's crazy.

[Reeve Carney]

Oh, yeah, right. That's true.

[Interviewer]

Is there a tiny little Hadestown nod in this production as well, or is it a coincidence of the script because you run off at the end of Two Ladies.

[Reeve Carney]

That was me.

[Interviewer]

Yeah.

[Reeve Carney]

I mean, there's a lot of improv. They encourage a lot of improvisation and then they kind of pull you back when it's a little too far. And some of mine were a bit too far. I didn't realize when I got the material for my audition for this, it said for the KitKat girl introductions, it said, rosie ad lib. Lulu ad lib. I didn't know that was all ad lib. I thought that was in the script. So I came in with a full on thing that I had written and they were laughing. But when I got here, Tom, our amazing associate director, said, yeah, that is pretty out there, you know. And so we had to pull most of those out. But it was essentially, it was great in terms of the structure of the show. Some of that stuff was removed because they wanted to save it for two ladies to build the show towards that. And that made a lot of sense to me. And I love the way this is structured. So it makes sense why some of my ad libs were removed. But they kept that one and they've kept a bunch of them. And it's great. Like they let you know, different MCs bring whatever they have in their mind. And sometimes it works, sometimes it. It needs to be edited.

[Interviewer]

Yeah, yeah. Now, my biggest question since the two of you were announced for London and it broke social media is how exactly that came to happen. Because you were doing the show on Broadway. You saw her in the show on Broadway. Was it already decided by that point that you were gonna do it together at some stage? Was it an idea that occurred to someone? Where did that kind of arise?

[Eva Noblezada]

We were definitely putting it in the ether for like years. I mean, like years, like how amazing you'd be as emcee and like, I mean, obviously, but I'm not sure, like, what happened exactly. Like, who was like, let's make it happen. But whoever it was, they're extremely smart, and we're very grateful for that.

[Reeve Carney]

Yeah. We're not sure, but our friend Ira Gilbert, one of the producers, investors on Hadestown, he took us to dinner, like, must have been, like, four years ago. And he's like, I have your next show. Where is he? Like, cabaret? Like, well, that'd be cool. But at that point, he was saying that because no one knew, I guess, yet, or the public didn't know yet whether Eddie was going to come to Broadway. And so, like, oh, hey, sure. But I didn't receive a call for an audition for it at that point. But thankfully, it came after Eva's run, at the very tail end of Eva's.

[Eva Noblezada]

Run, like, two weeks before.

[Reeve Carney]

Yeah. And I don't know. Yeah. We're not sure who it came from, but it was nice that that was put out there in some way. It's been so much fun.

[Interviewer]

And for you, I mean, it's got to be very different doing the show with Reeve. It's also a slightly different version of the auditorium. It feels a little bit more intimate in some ways. What are the other differences, to your mind, of doing the show on Broadway versus here in London?

[Eva Noblezada]

I feel like the energy in that theater was so different because on our old site here, looking out, it was just an abyss. It was so, like, 1400 seats, I think.

[Reeve Carney]

Yeah.

[Eva Noblezada]

And this is much smaller, but more intimate, which I think suits the show way better, in my opinion. But, I mean, what's cool about this team is that they really allow a true type of collaboration with the artists. Like, here's the structure now go buck wild. And with that, we were able to make kind of, like, new, like, structures together and new, like, relationship archetypes with each other and with ourselves and the piece. So it changed anyway just from the space and who was in it, what they were bringing in their characters. And with Reeve, like, kind of figuring out what type of dance we were going to have, like, carrying different, like, themes of the story and how we were going to, like, you know, push and pull and yin and yang it. And I. It was cool because you'd seen it so many times. I think you might have. You knew so much about, like, the world, and then coming here, you had, like, a lot of that.

[Reeve Carney]

Thanks.

[Eva Noblezada]

Which, I mean, anything you do, you just, like, elevates the piece you do.

[Reeve Carney]

Baby, I got to see you even ten times on Broadway. So I'm. And I think I'm gonna get to see her once.

[Eva Noblezada]

Yeah, I get to see you too.

[Reeve Carney]

Because they swing us out for one show during the holiday schedule because it's so intense. I guess. So. That'll be nice. That's the only downside to doing it. And there's not. There's not a downside to doing it, but you know what I mean. Like, I don't get to watch her do it in every scene. But our time together on stage is really amazing every night.

[Eva Noblezada]

And I will say, when we have, like, whenever we're at work, I feel like I don't see him at all because it's just like. We're just so, like, you're either in these amazing costumes and, like, being dark or, you know, we're just in completely different scenes, completely different headspaces, so. Which is really cool.

[Reeve Carney]

Yeah, yeah. It was the same in Hadestown. I mean, different relationship dynamic. But we used to say that like, oh, nice to see you again after three hours.

[Interviewer]

Yeah. But it's a very different thing as well, because in Hadestown, you're playing these young lovers. And from an audience perspective, there's something really lovely about getting to watch a real life couple falling in love night after night on stage. And there's a kind of beautiful story being told there with this. It got announced and we were like, oh, amazing. Works for you. Works for you great. And then you think about it and you're like, they don't see each other all that much. There's not a lot of actual crossover on stage. You get to introduce a lot of her performances and there's that brilliant moment of collision a little later in the show during I Don't Care Much, which is always so interesting to see because it's different. I've seen the show 12 times, but it's been a different pair of people every single time, which has been so rewarding because everyone does it so differently. And the way that you played that moment with. With Orville is like a different version of what it is with the two of you. So, yeah, I think that's. What is it like sharing a show together, but sort of only glimpsing each other as you pass between scenes.

[Eva Noblezada]

I guess sharing anything with you is amazing. And it's cool because we are sharing the stage at the same time. Like we have our full show that we do. Like, it's. I don't know, it's not like a 50, 50 show. It's like 150. 150 collaboration. Like we're growing this thing and evolving this thing together. And what I love that you said in one of your interviews was that the audience is. That is a part of the story. Like their energy is. Is evolving factor. It's. It's part of the alchemy of it. So.

[Reeve Carney]

Yeah.

[Eva Noblezada]

And you're so brilliant in welcoming them in. And immediately we feel like, I trust this and I'm. You know what I mean?

[Reeve Carney]

Yeah. Well, thank you. I mean, this team is really amazing. I mean, I don't know. I really don't know how they present the story or the goals and objectives to each performer coming in, but for me, I found that there were a lot of internal, sort of invisible things as a part of this production that. That they made me aware of upon our first rehearsal. That really helped set things in motion because I came up with a lot of ideas that I ended up not really using, simply because I was basing that off of different versions that I'd already seen. And being with this team over here, I think all the teams are so amazing, but they just have, I think, a slightly different edge to what they're wanting to achieve with this story in London. And it's been exciting to shape, to have that shaped together, you know, in collaboration with this team.

[Interviewer]

Of course. You were both on a West End stage earlier. My gosh. Earlier this year.

[Eva Noblezada]

Yeah. February.

[Reeve Carney]

Yeah. Yeah.

[Interviewer]

It's been a long 20, 25.

[Reeve Carney]

It really has.

[Interviewer]

And then you must have gone back. Gosh. Were you straight into rehearsals for Broadway Cabaret?

[Eva Noblezada]

This is my fourth production this year. I finished Gatsby late January and then we went to Hadestown and then went back to New York to do Cabaret and then came back to do Cabaret. So it's been a wild 25.

[Interviewer]

Very blessed, lots of different roles, but coming here to do, of course, Hadestown was here at the National Theatre. We both had the chance to see it there.

[Eva Noblezada]

Oh, my gosh.

[Interviewer]

But quite a substantially evolved show by the time that it then went to Broadway. You get to come back here as sort of conquering champions. Did you have any anticipation of what that first night audience reaction was going to be? Because it was like rock concert energy.

[Reeve Carney]

Yeah.

[Eva Noblezada]

I'll never forget that.

[Reeve Carney]

Yeah. And it was crazy because it was almost like that every night here for that particular run, it was. It felt like an opening night or someone's last show, which was really incredible. We didn't know what to expect, but that was. Definitely feels good having people, you know, respond that way.

[Eva Noblezada]

Absolutely. And Andre, what we love about Andre is that he takes his time. So it was cool because. Because people were so, like, you know, excited to be there. We were all, including the audience, able to really sit and stew in that moment of, like, similar energy to our first show back from the Pandemic of like, thank God that theater is here and we're in it and we're watching it, and we're about to watch a show that we love, that we have a really strong relationship with. So that was really special coming back and doing that with that with the West End crew too, who had been doing it and like, that the two oceans colliding was really special. And we love them over there.

[Reeve Carney]

In some ways. That was our favorite version. So I'm really glad they filmed it because we did that show in so many different ways because that team kept evolving over the course of the many years that we were part of the show. And yeah, it felt like every version, we did 2019 version before the pandemic, coming back from the pandemic was a different version. It kind of shifted throughout that whole time. And then I feel like I don't know what your experience was, but it felt quite different to us. The Hadestown UK pro shot version. I don't know what they're doing with that, but, you know, we hope we find out soon.

[Eva Noblezada]

We'll be the last to know.

[Interviewer]

I was gonna say, have you seen any kind of a little glimpse of.

[Reeve Carney]

We may have seen things.

[Eva Noblezada]

We may have seen. Yeah. What I think they should do is I think they should open the Walter Kerr and the Lyric Theater and then play the pro shot in the theater.

[Reeve Carney]

Yeah, that'd be cool. Yeah.

[Interviewer]

Yeah, that'd be cool. Yeah, that would be special. No, it did feel. It always feels like a different show. And it's a little bit like with this production of Cabaret compared to some of the previous long running revivals. They have allowed not only performers who never had the chance to even be seen or considered for some of these roles before tell the story of, but what that does to the show is it changes it completely. The version that Billy and Marisha were doing, the version that opened over here, it's almost like a very different show every time. Hadestown has that because the casting is so malleable, because it's like Andre originates this brilliant role and then Lilias is obviously going to do it completely differently. Melanie LaBarrie over here and Cedric Nair, and that's just Hermes. In all of these roles from one night to the next, you get a very different version of this story that always gives you. Again, it's Another easy show to go back to.

[Reeve Carney]

Yeah, it's amazing to be a part of both of those. Yeah, I mean, things that last this long. And Cabaret has always been one of our favorite shows just in general. And this production, I guess. Yeah, I guess what I was trying to say before is I'm so familiar with the film and so familiar with Sam Mendes production, which are completely different. And I wasn't completely aware of what their original impetus was for this production. And it is entirely different from any of those. And so having the ability to get that guidance and then really dig into that has been extremely enjoyable and rewarding because I think part of my instinct would have been to bring in some of the elements from those former. And you have some of those elements, but to bring in more of the elements from the other versions, the originals and, you know, the former revivals. And they just read slightly differently in the context of this production. And so this team, I really can't say enough amazing things about this team. It's been so wonderful working with them.

[Interviewer]

We had the chance to speak very briefly at the gala nights. That's right. But we actually. We briefly met years ago at the stage door of the Prince Edward Theatre.

[Eva Noblezada]

Years ago. As in 50 years ago.

[Interviewer]

As in 50 million. And I have a. Oh, my God. An entirely different lifetime ago.

[Reeve Carney]

Whoa. That doesn't even look like you.

[Eva Noblezada]

That's like, oh, my God.

[Reeve Carney]

You gotta show your picture. That's on par with Eva's picture from when she was 16.

[Eva Noblezada]

I can just feel how much we're obsessed with theater, dude. And I'm really loving that fake theatre kid energy. Wait, I have to show you this too. I'll show you after the interview.

[Reeve Carney]

Because you did, Tom.

[Interviewer]

Yeah, but I was going to say, how different does it feel? Because that was like a huge career breakthrough moment for you. But in one of the most demanding roles ever written that is always played by a very young performer being turned into a star with a lot of weight of expectation because it was the first really major West End and then Broadway revival since the Lea Salonga of it all. And I think there's so much. What has it been like coming back to London, doing Hadestown the couple of times doing this? Has it been a different experience?

[Eva Noblezada]

Oh, yeah, it's been. I love London. This is like my 6 year ish kind of living here. And I definitely feel like I'm a Londoner. And if. If you don't agree, then I. Sorry, I do. Yeah. I just think that theater is so. It's so important to Me and it always has been from when I was a little girl. So being able to say that it's my job and falling in love with it even more throughout every job that I do, despite challenges and despite expectations and also like being able to work with my best friend and my husband is like. It adds just layers of just juiciness and it's just. It feels really heavenly at this point because, you know, every girl wants to be Sally Bowles. And I remember singing maybe this time with a YouTube karaoke in my closet when I was like 13 years old and like being like one day and I. But I feel like that love that I had really, I did. I worked as hard as I dreamed about being on the stage. So it's really fun to come here and be challenged and also leap over those hurdles and learn more about who I am as an actress and also as a young woman, but also be telling a story that is needs to be told in this setting and in this. The way that the message is being kind of pushed out and like like handed to you, like secretly, but then shoves you into the wall. Frex's vision for this has really sat with me and kind of stirred up like long, long like on the shelf feelings that I've had of like anger and. And deep rage and sadness and grief and anxiety that the industry maybe has like given me a little bit, which is fine. But what's cool about the show being in the round and playing this character, I can alchemize that and transform that into performance. And also at the end of a show, like we're knackered, we're exhausted and then you kind of. I feel quite accomplished. Even if it wasn't my best show, I feel like I did the best I could and that's the best I could have done.

[Interviewer]

Yeah.

[Eva Noblezada]

So yeah, very different experience. And also if I. If you had told me at Stage door you'll be working with. I knew you were trouble as the MC in the West End and he's your husband. I would have just ascended lots to.

[Interviewer]

Process a lot to take in on that piece of information alone.

[Reeve Carney]

Yeah.

[Interviewer]

Was Spider man happening around the. Was that a couple years afterwards during that music video? Is that where. Not during that, but like when mystic on was happening a few years before.

[Reeve Carney]

I did that from 2010 until September 15th, I think. 2013. Wow. So, yeah. And I left right around that time.

[Interviewer]

Where was that 10 year anniversary? Where was that? Yeah, I think just a simple concert with Mike Sands. Nothing.

[Reeve Carney]

There has been a lot of recent Interest. I get a lot of DMs and things about. You know, people are very curious about the show now more than they were even then, in some ways. I'm not sure what that's all about.

[Interviewer]

But my friend Brendan put together a documentary on YouTube that's had.

[Reeve Carney]

Oh, I think I saw. Yeah, that was great. I think I saw that one. Yeah.

[Interviewer]

So I'm curious for the two of you. There are a lot of performers who are married to other performers in the industry. It's sort of a quirk of that. To get to share the stage together even once, to get to do it in multiple shows. Is that now something that is so addictive and sort of artistically rewarding on another level that you would want to keep looking for other projects that you can keep doing together?

[Eva Noblezada]

Yeah, there's no beating this.

[Reeve Carney]

Yeah. I mean, we do concerts together, too, so it's, like, amazing. I mean. Yeah, we have a lot of fun ideas that we. Yeah, yeah.

[Eva Noblezada]

And we work in many different outlets, like theater and music and cabaret spaces and, excuse me. Concerts. So I feel like we can really. We have a really good, like, deck of things to pull from.

[Reeve Carney]

Yeah.

[Eva Noblezada]

If, like, however we're feeling like, if we don't want to do eight shows a week, we can go. Okay, well, with this time, let's plan a fricking tour where it's just you and me and some musicians.

[Reeve Carney]

Yeah. No, if Eva's in it and, you know, same.

[Eva Noblezada]

I'm signing up.

[Reeve Carney]

Yeah, yeah.

[Eva Noblezada]

I'll be assistant. I don't care if I'm on the stage or in front of the camera. I'll. I just want to be in the same space. Well, just because. Also, like, how we watch movies, for example, if the movie time is two hours, it'll take us.

[Reeve Carney]

Yeah, we watched the Goonies last night. It's like 90. What is it, like 100 minutes? We watched. We probably said four hours.

[Eva Noblezada]

Yeah.

[Interviewer]

Three, four hours.

[Eva Noblezada]

Because we'll pause and we'll look at the scenery and we'll comment on costumes. We'll comment on, oh, what a great moment. We'll rewind and talk about it.

[Interviewer]

And then let's really unpack. The Goonies. Yeah.

[Eva Noblezada]

Oh, my God. Great film.

[Interviewer]

There's this post show last night. Is this what's happening after curtain comes down? Raucous applause. Go back home, watch the Goonies, and.

[Eva Noblezada]

Then go to bed at 7:00am Sometimes, you know, but that's what you do.

[Interviewer]

Hey, it's the life of a stage star.

[Eva Noblezada]

Life for show girl.

[Interviewer]

Yeah.

[Eva Noblezada]

Yeah.

[Interviewer]

Gotta make it work now, Mr. Jeremy Jordan returned not too long ago to the Great Gatsby on Broadway. Is that a show, like, speaking of cabaret that you were in and then you come back to with Reeve alongside? Is that a show you could do together at any point?

[Eva Noblezada]

Hell, yeah.

[Interviewer]

Different kind of a green light.

[Reeve Carney]

Yeah. I mean, I've seen her in that show, like, 12 times, and we saw it here on the West End, too.

[Eva Noblezada]

Oh, it's fantastic.

[Reeve Carney]

It's. Yeah, it is. It is amazing. I mean, I think that that team's amazing, too. I love that production, and I think it's like, it makes sense that it's translating in multiple places. I wish it had stayed here longer.

[Interviewer]

Yeah. The vocals in that show always. I mean, when the two of you were doing it, you and Jeremy, we were at the first performance in Paper Mill, and we were like, oh, these are some songs. These are when we heard for her the first time in Beautiful Little fool.

[Eva Noblezada]

And for her's, like, right at the top of the show. That's like the third song in. So people are like, oh, that's where we're going. That's where we're starting from.

[Interviewer]

I have beef with the theater community because everyone is covering. Past is catching up to me and, like, doing that on tiktoks and cabarets and whatever, and I'm like, that's a great song. But for her is the one that's the song.

[Eva Noblezada]

A lot of shades, a lot of colors in that song, and it's the orchestrations of that. Nothing beats a jet to holiday. Nothing beats singing those types of songs with that large, that big of an orchestra in a pit. To me, like, that's like, I love what we're doing now, and I love that we're surrounded like this by the musicians. I love a pit.

[Reeve Carney]

The energy of that.

[Eva Noblezada]

The energy of a pit. It's like it, like, trembles. The earth trembles. That's fantastic.

[Reeve Carney]

I actually did one of those Gatsby songs in one of my cabaret shows. Yeah. Do you want to guess? I'll tell you as soon as you want. But, I mean, that's one of my.

[Interviewer]

Favorites actually occurring to me. Good. No, go tell me.

[Reeve Carney]

Valley Vastures.

[Chris Duffy]

Oh.

[Reeve Carney]

Which is just like. It's such an interesting old choice. Yeah. It's so fun.

[Eva Noblezada]

You love that one.

[Reeve Carney]

Yeah.

[Interviewer]

I can hear it, though, in a sort of plinky, plunky, kind of like Hadestown, New Orleansy kind of.

[Reeve Carney]

Yeah. I kind of. My approach, at least in my mind, was like, more like doing it as if David Bowie were to do a cover of it. I mean, I'm the same. I'm just saying, like, that I love David Bowie. So, like, putting a little bit of my influence from him into it. But such a great score.

[Eva Noblezada]

The whole thing sounded amazing.

[Interviewer]

Now you have a few weeks left here in cabaret in the West End. What are you gonna be cherishing about the glimpses of each other? Well, I guess the moments that you're gonna have to actually watch each other do the full show entirely. What are you sort of holding onto in possibly the last few weeks of playing these roles?

[Reeve Carney]

I enjoy this so much. I mean, probably. I'd say more than anything I've probably done on stage this like. And I think.

[Eva Noblezada]

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[Chris Duffy]

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[Eva Noblezada]

It's native.

[Reeve Carney]

The difference for me is the fact that I get to make eye contact with everyone throughout the entire show if I choose to. And so every night feels so fresh and different. I mean, it always is like that in theater. But just having like an unlimited amount of scene partners is so cool. I mean, you don't get this in every role. And so I just try to make the most of every moment in that sense. The fact that, like, wow, I'm getting to actually, everywhere I look, I can make a connection with someone in a truthful way, and it will probably inspire my performance on any given night. So I'm absolutely loving that because obviously, working with Eva, when we've done that in a few shows, which is. We're so grateful for that. So. And we don't have as much time on stage looking at each other. In this show.

[Eva Noblezada]

The only two times we touch each other are literally when in Mama, I bend you over and I go to your butt. And then in I don't care much when you turn me around and then you pull my hair. Those are the only two moments other than the bow where we're physically in contact.

[Reeve Carney]

And the butt move we took from our real life because we sometimes do that on the street to make people laugh.

[Eva Noblezada]

We have so many bits, it's crazy.

[Interviewer]

I love that you explained that. Not just. And we took that from real life and just let.

[Eva Noblezada]

We like to make people laugh. Yeah, I'm gonna miss the beginning of the show. To me, like, I get so emotional thinking about it, but also hearing it like that first, like, that first drum was so iconic. Like, and then hearing the cymbal crash, the audience goes berserk. And then hearing Reev sing Vilkleman to me, I just go, that's so crazy. That's so crazy in the best way. Obviously.

[Interviewer]

I'm such a nerd about this production. I've seen it so many. There's so many little logistical things that I'm fascinated by, like the lift and the circumference of that and get it. Because the way you perform that song at the end is so gut wrenching, is so raw and just giving yourself over to it. But then I'm watching it and I'm thinking you as a performer have to end up on the right spot so that, like, not one foot is going down without the other one. Or it hasn't just gone and you're still there next to it. Like, oh, I guess it was over there. Like, is it a lot to manage or does it become a muscle memory thing after doing it in two different places?

[Eva Noblezada]

I feel like just overall, like, the way that I like to layer, like, the essence of a character on top of technicality and knowing where to look. And also I have a little. I picture a little bumblebee or a little tiny fly that's sitting in different seats of the theater. That's my director self to be like, oh, I don't think that reached. I don't think that movement was bigger. I think that movement was too small. So, like, there's. It's always kind of floating around, like, to make sure, like, oh, I'm out of light. I'll make sure note of that. Like, give that to the little director. But after doing it so many times, I think, like, you just find a way to, like. Because in that moment I can look down and, like, place my feet and, like, no one will ever know that. I'm making sure that I'm like, center on the left. But the technicality thing, it's sometimes for me in this space, the hardest challenge is knowing when to be still. Because I'm quite a person in general, it's so hard for me to strip that back, movement wise. Because watching in this auditorium, less is more. So that's been my biggest challenge with this. But it's a good challenge. And I think Sally kind of has to fight against, like, that somewhat adhd, which I absolutely have thing of, like. And I think the audience likes to see that. Because I've seen the show with. Not 12 times, I wish, but we've seen it as much as we possibly could have.

[Reeve Carney]

Yeah.

[Eva Noblezada]

With so many different combinations. And like you said, it's so powerful every single time. Like, it hits every single time. But it is quite technical. And I think that's the beauty of it. It's like we're magicians. Like, we won't. You don't know that. Oh, I won't give it away. But that last moment in the show that involves you.

[Reeve Carney]

Okay.

[Eva Noblezada]

That's, I think, my favorite in the whole show. Do you know what I'm talking about? Yeah, of course you do.

[Reeve Carney]

Which part exactly? Of it? But just a very. Yeah, yeah.

[Interviewer]

We'll talk about it off camera. And everyone can speculate in the comments.

[Eva Noblezada]

Yeah, yeah, yeah.

[Interviewer]

As they can also speculate and comment with which other shows they would like to see the two of you do in future. On Broadway, in the West End, around the world, perhaps.

[Eva Noblezada]

Yeah. That'd be fun.

[Reeve Carney]

Sounds good to us.

[Interviewer]

Yeah, yeah. Which of the cabaret songs are gonna head into the regular concert rotation for you?

[Eva Noblezada]

Well, it was funny. We already had one in there.

[Reeve Carney]

Yeah. But we weren't doing anything like we're doing here. And in fact, now you don't. Even in this production. It's just done by the mc. Sally's not in that one. We had done a version of Money. But it's so funny. I remember saying at the time, as a joke, because she was just going to. Did I say that live on stage? Don't consider this to be my audition for the show, because I am not doing it the way that I would do it. Which is true. It's not anything the way that I've done it here.

[Eva Noblezada]

But I love our version, though.

[Reeve Carney]

Yeah. I don't know. It's weird. Like, I would love to do Vilka, man. But you need a lot of people to pull that off. But. And how would you do that? I don't know.

[Eva Noblezada]

We'll get him. I'd be happy to do it.

[Interviewer]

If you could find a way to make Married kind of exciting and up tempo.

[Reeve Carney]

Yeah.

[Interviewer]

Give me. Because it's a lovely moment in the show, but give me something a little musically exciting.

[Eva Noblezada]

Yeah.

[Interviewer]

With that, I feel like.

[Reeve Carney]

Yeah.

[Eva Noblezada]

Married with a Tyler beat.

[Interviewer]

Yeah, yeah, yeah, yeah. While showing pictures from your wedding.

[Reeve Carney]

We had a string octet at our wedding, and we had planned to have them play that, but we ran out of time. Sure.

[Eva Noblezada]

That would have been really fun.

[Interviewer]

I mean. I mean, too many great ideas.

[Eva Noblezada]

Yeah. Yeah.

[Interviewer]

Anyway, thank you so much for having me. Thank you for coming to the West End and gracing us with these fantastic performances.

[Reeve Carney]

Thanks.

[Interviewer]

You're both brilliant in the show together and individually. I look forward to seeing you both on stage again.

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Thank you.

[Reeve Carney]

Thanks so much.

[Interviewer]

Thank you so much for listening to this. I hope that you enjoyed. If you did, make sure to subscribe to my theatre themed YouTube channel. Don't miss your chance to see Ivan Obizada and Reeve come Carney as Sally Bowles and the MC in Cabaret here in London. They are just sensational. And make sure to comment down below with which musical theatre roles you would like to see them take on together next. In the meantime, thank you so much for watching and as always, I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Micky Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.

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[Interviewer]

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[Eva Noblezada]

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