Jordan Luke Gage (Bonnie & Clyde, Titanique, & Juliet, Saving Mozart) - INTERVIEW

Summary

Podcast Summary: MickeyJoTheatre – Interview with Jordan Luke Gage

Episode Title: Jordan Luke Gage (Bonnie & Clyde, Titanic, & Juliet, Saving Mozart) - INTERVIEW
Release Date: August 13, 2025
Host: MickeyJoTheatre

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Introduction

In this engaging episode of MickeyJoTheatre, host Mickey-Jo sits down with acclaimed actor Jordan Luke Gage to discuss his illustrious career in theatre, recent projects, and his foray into musical writing. The conversation provides an insightful look into Jordan's journey, the challenges he has faced, and his ambitions within the theatre industry.

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Career Milestones and Breakthroughs

Jordan Luke Gage shares pivotal moments in his acting career, highlighting the roles that have shaped his trajectory in the West End and beyond.

• Breakthrough Role:
  "Strat in Battle of Hell was my first break into the West End," Jordan explains (11:15). This role not only marked his entry into major productions but also led to subsequent significant opportunities.

• And Juliet:
  Jordan credits the show And Juliet as a key factor that "put me on the map and solidified me as a leading man" (11:26). Originating a role in this production allowed him to showcase his talents and receive recognition from industry veterans like director Luke Shepard and writer David West Reid.

• Broadway Success:
  Reflecting on And Juliet's enduring presence on Broadway, Jordan expresses immense pride:
  "I personally, obviously, am biased. I think it's the best jukebox musical ever written. Just the way that the songs interweave within the show, it feels like they were written for that show." (13:12)

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Challenges and Growth as an Actor

Delving into the complexities of his roles, Jordan discusses the demanding nature of portraying multifaceted characters.

• Villainous Roles:
  Playing antagonistic characters has been both challenging and rewarding for Jordan.
  "I'll like to think that he has some redeeming features. I feel like you can only successfully play somebody who is a villain if they also counterbalance with qualities which we all possess, which are goodness and kindness and generosity." (07:01)
  He emphasizes the importance of depth in villain roles, ensuring they resonate with audiences on multiple levels.

• Physical and Vocal Demands:
  The role of Clyde in Bonnie & Clyde stands out as particularly strenuous:
  "You're using every part of your voice. You're still singing super high, singing super low, screaming, whispering, which is quite damaging." (15:13)
  Despite the challenges, Jordan finds immense fulfillment in these performances, describing them as both taxing and exhilarating.

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Behind the Scenes: Production Insights

Jordan provides a glimpse into the production aspects of his shows, particularly focusing on the theater environment and creative processes.

• Theater Atmosphere:
  Speaking about performing at the main studio of the Other Palace, he remarks:
  "It feels like everything is clean and everything works well, which in a lot of West End theaters... it's nice." (10:48)
  This positive environment contrasts with the often chaotic backstage realities of older theaters.

• Costume Design:
  Jordan has a particular affinity for costumes, especially those featuring distinctive jackets:
  "The Bonnie and Clyde costumes... I loved how dapper the suits were and his evolution from a street urchin." (14:16)
  These costumes not only enhance the visual appeal but also reflect character development.

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Transition to Writing: Redcliffe

Expanding his creative horizons, Jordan discusses his ambitious project – a musical titled Redcliffe.

• Inspiration and Development:
  Jordan embarked on writing Redcliffe out of a desire to address gaps he perceived in contemporary theatre, particularly concerning the LGBT community:
  "I knew I wanted to write something about the LGBT community because it's close to me, and I feel like it's also something that I've never really explored in the work that I've done." (20:15)
  The musical is inspired by a true story discovered in the Bristol Museum about a secret relationship between William Pritchard and Richard Arnold in the 18th century.

• Creative Process:
  Taking on multiple roles as writer, composer, and lyricist, Jordan shares the challenges and rewards of shaping Redcliffe, ensuring the characters are well-developed and authentic:
  "I've placed myself in each of them and thought, what would I need from this? Is this making sense to me?" (24:28)

• Future Aspirations:
  Jordan expresses hopes for Redcliffe to resonate with audiences and make a meaningful impact, much like acclaimed productions such as Hamilton:
  "I would love to be the Lin Manuel Miranda of Hamilton when this arrives at its final destination." (26:19)

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Reflections on Industry and Collaboration

Throughout the interview, Jordan emphasizes the importance of collaboration and the dynamic nature of theatre:

• Recasting and Evolution:
  He enjoys observing how different actors interpret roles he originated, viewing it as an opportunity for fresh perspectives:
  "It's exciting... to see people have their own take on things." (28:33)

• Audience Reception:
  Anticipating Saving Mozart at the Other Palace, Jordan is keen to gauge audience reactions and refine the production during previews:
  "I believe in it so much, and it's like any...the unknown is really...addictive." (32:24)

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Conclusion

Jordan Luke Gage's interview with MickeyJoTheatre offers a comprehensive look into his dedication to theatre, both as an actor and as a writer. His passion for creating authentic, impactful stories shines through, promising exciting developments in his upcoming projects. Listeners are left inspired by his commitment to the craft and eager to witness the evolution of his creative endeavors.

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Timestamps Overview

• [07:01] Discussion on portraying the villain in performances.
• [10:48] Insights into the theater atmosphere at the Other Palace.
• [11:15] Reflecting on his breakthrough role in Battle of Hell.
• [13:12] Pride in And Juliet's Broadway success.
• [14:16] Thoughts on costume design in his performances.
• [15:13] Challenges faced while performing as Clyde in Bonnie & Clyde.
• [19:20] Initiation of the in-depth interview with Jordan.
• [20:15] Journey into writing his own musical, Redcliffe.
• [24:28] Transitioning from actor to writer and understanding performers’ needs.
• [26:19] Ambitions related to Redcliffe and drawing parallels with Hamilton.
• [28:33] Reflections on recasting and actors' interpretations.
• [32:24] Excitement and apprehension about audience reception for Saving Mozart.

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Note: For detailed insights and further discussion, listeners are encouraged to tune into the full episode of MickeyJoTheatre.

Transcript

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[Interviewee]

Oh my God. Hey, Jordan. Luke Gage.

[Podcast Host]

Oh my God. Hey, Mickey. Jo.

[Interviewee]

It's very nice to see you.

[Podcast Host]

You too. It feels like I saw you quite recently, actually, at the Titanique. Kind of was. It was the press day.

[Interviewee]

We did a little. We did a little interview moment. I came to visit you in rehearsals.

[Podcast Host]

Yes. That was mad. So much has happened since then. It's crazy.

[Interviewee]

That was the last time I saw you on stage, but you've been very busy since then. Already into another show and you had a cute little destination wedding. You got married.

[Podcast Host]

I did. I had a little Italian escape wedding. It was, it was really beautiful. And then we did like a kind of mini moon there for a few days afterwards. We've got a honeymoon at Christmas, but it's been a really, really fun summer, finishing up Titanique getting married and now starting this crazy new venture, which we are right in the thick of in tech at the moment. So it's all coming to light. It's very exciting. It's very exciting. We're still like finding ourselves in this piece and it's been a real. What's the word? It's been a real. It's been a journey with this show because I think we all believe in it so much and we've faced some trials and tribulations along the way, so. But I think when you're creating anything original, that's always going to happen. And I feel like we're almost there with it. And we're about to open next week and it's exciting, it's really cool.

[Interviewee]

Fantastic cast. Intriguing premise. Tell us a little bit more about the story of saving Mozart.

[Podcast Host]

Yeah, so it's essentially the story of how Mozart rose to fame and the trials and tribulations that he faced along the way. The people who supported him in getting there and the people who were hindering him along the way as well. He had a very overbearing father. He had a rival who I play Antonio Salieri, who was the most successful classical musician at the time and really changed the language of opera and classical music in the 18th century. And Salieri sees Mozart coming up and is very threatened by his position. And so we have this rivalry throughout which hopefully maybe gets resolved at some point during the piece. But it's, it's also essentially a love letter to women and the, the female, the females in his life that brought him up to that place. And Mozart was very influenced by his older sister Nanelle, who was a super successful musician when she was younger, but obviously at the time women weren't allowed to perform. And so she, her, her career was cut short very, very early and Mozart rose through past her. And it's, it's, it's been so interesting reading about it and researching because, I mean, we've heard Mozart's music, but most of us don't know that this, that story happened and that it was really his sister that kind of like tutored him to get to that place and he owed so much of himself to her. So it's been. It's been a real lesson in history. It's been exciting. Yeah.

[Interviewee]

That's a detail of the whole thing that I don't think I really discovered until I was reading about this show. And so it's great that people are gonna find that out. I feel like in this sort of Post Hamilton, post 6 era, we're uncovering a lot of the forgotten or neglected women of history, which is really exciting.

[Podcast Host]

Yeah. And it's got that. It's also got that like six kind of female pop ballad vibe to a lot of the score, which I think the fans will absolutely love. It's like Amy Atkinson, Erin Caldwell, Gloria, they're all phenomenal. So, yeah, the music is really fantastic.

[Interviewee]

And with yourself as well. Vocals in this show is what I'm anticipating.

[Podcast Host]

I've managed to squeeze a B flat in somewhere in there, which I feel like is like my niche now. Every show I need to, like, try and get a B flat in. It's ridiculous. They always ask me in rehearsals, like, where can we put the B flat? Like, guys, there's more to me than a B flat. No, but I have. I have a couple of really cool moments in the show, which Taylor, our director and choreographer, we've kind of created this language to the piece and it's very ensemble based. And the movement of not just the actors, but also the furniture and the props and the set, it's like all kind of. It combines into this world, which is really unique and it's. Yeah, it's really special.

[Interviewee]

It's exciting. Sounds very interesting. Now, one of the characters I do know historically, because I'm not a music history scholar, but I've seen Amadeus is Salieri, and he is very much the antihero villain of that story. Would you say? Does it feel like a villainous role in this, or is he just an adversary?

[Podcast Host]

I mean, I will say I feel like I'm in my villain era right now. Yeah. Having the last few shows, I've been the villain. Yeah, he's definitely the antihero villain, for sure. I would like to think that he has some redeeming features. I feel like you can only successfully play somebody who is a villain if they also counterbalance with qualities which we all possess, which are goodness and kindness and generosity as well. So I don't think he's a one dimensional bad guy. I'm trying to find more interesting ways of showing the different sides of his personality so that when he does have those Moments, they hit even more, if that makes sense. But for sure, he's the villain of the piece. Yeah. Yeah.

[Interviewee]

And like you say villain era, and I mean a fun, campy villain moment that just happened in Titanique. But a lot of the characters you've played throughout your career have sort of become increasingly troubled and villainous as time has gone on. Toxic is a word.

[Podcast Host]

Toxic is.

[Interviewee]

I was chatting to Jamie Moscato just the other day about the capacity for playing a lot of these toxic young men. And I can only think of a couple of roles that have just been really earnest because I saw you do hair briefly, little concert moment and also like lighting the piazza, I want to.

[Podcast Host]

Say, which were both really only like one or two night. So I haven't had the opportunity to dive into just like a fully good.

[Interviewee]

Person, which the toxicity has been these extended runs just living with that.

[Podcast Host]

But honestly, those are the ones. Those are the roles that are the most fun to play.

[Interviewee]

Sure.

[Podcast Host]

Like, it's. It's just. I mean, Halloween. Everyone loves to dress up as the villain because, like, it's just fun to embody that. And that's a bad example. I just mean it's really. It's really fun to kind of. Yeah. Play with the different dynamics of a person rather than. I don't know. I'm not saying I would never just want to play like the out and out romantic lead, but I think a lot of those roles at times I could see maybe becoming a bit boring to do every night. And I like to have the meat of a character like a JD who has, you know, the switch and even Clyde, who you would say is the. Would you say he's the hero of the piece? Probably not. He's the protagonist. But he also does terrible things, but people still root for him. And it's finding those roles that have the complexity of the characteristics that I find super interesting to play. Yeah.

[Interviewee]

And he doesn't identify that way because he's the hero of his story and Bonnie's as well. Really? Is this the first time you're doing a show here at the other Palace? Cause Heather's happened. But you did Heather's at the Haymarket.

[Podcast Host]

Yeah, that's right. I did Heather's at the Haymarket. This is the first time I'm doing a show in the main studio. I did my workshop for Redcliffe downstairs, which was in the little studio, but no, first time on the main stage. It's a really cool space. The people here are great. The sound system is awesome. And it feels. It feels Like a lot of work has gone into this theater. I know it's been around for a long time and they obviously had a refurbishment, I guess maybe like eight to ten years ago. But it feels like everything is. I don't know how to describe it. It feels clean and everything works well, which in a lot of West End theaters, we love the Western theaters, but a lot of the times they're, you know, they've been around for 100 years and things are falling apart and people don't see what's happening behind the stage and the pipes that are bursting and all of these crazy things. That's a whole show in itself and a behind the scenes TV show. So it's nice. I'm really enjoying this kind of like clean atmosphere.

[Interviewee]

Amazing, amazing the things that come to matter once you actually get off stage and get into a run and go to work. Now, let's talk about some of the shows and some of the roles that have brought you here. And rather than me telling you everything that you've been in on stage, I will ask the question and you can tell me what the answer is now, which is the role that you felt gave you a breakout, whatever that might mean to you. What's the role where you first sort of felt seen by the industry?

[Podcast Host]

Maybe I would say it's. That's actually a really hard question to answer because I would say Strat in Battle of Hell was my first break into the West End.

[Interviewee]

Yeah.

[Podcast Host]

And that gave me the opportunity to lead a show. And it was the Dominion Theater, you know, one of the biggest theaters in the West End. So that was definitely a break for me. However, I would say and Juliet then kind of like put me on the map and solidified me as a leading man. So I would probably say and Juliet. And also I got that opportunity. It was crazy how that came about. But basically, the director for and Juliet, Luke Shepard, and the writer, David West Reid, who also wrote Schitt's Creek, Emmy Award winning show, they were watching Battle of Hell one night because he was in London, and they were like, what should we go see? And they won't see Battle of Hell. And that's then how I got called in. So the next morning I got a call and they said, would you come in and meet for Romeo tomorrow? It was like a super quick turnaround. There were like 17 people in the room from the producers, Max Martin, everyone. And then I booked that job. And so if it wasn't for Bata of Hell, it wouldn't have led to that. And if they weren't in the audience that night. Who knows if I would have even been seen? So it was very much stars aligning in that moment. But, yeah, I would say. And Juliet was the. It was the show that solidified me. And the first show that I originated as well, which I think. I don't know. I think that says something in terms of as an actor, it feels like when you're creating something, that's the work that I just feel the most fulfilled with. So I would probably say that it was my. Yeah, yeah, sorry. Most long winded answer.

[Interviewee]

No, no. Good answer, good answer. And now it's this exciting Broadway success as well. You've been over to New York a few times. I know. How fun is it to see and Julia up there?

[Podcast Host]

I mean, it's just so amazing. When we created it, we knew it would eventually end up there, but I think it's really hard for shows to last on Broadway. Most. Not most, but often they close after a few months. It's just so expensive to run. And the fact that it's still going. I think it's three years now. It's fantastic. It's so good. And also there were so many jukebox musicals around the world that have been created, and the fact that that's the one that is still going is a testament to the writing and the way that it's structured. I personally, obviously, am biased. I think it's the best jukebox musical ever written. Just the way that the songs interweave within the show, it feels like it was. The songs were written for that show. It's kind of crazy to think that they were standalone songs on their own. So, yeah, I'm super proud of the success it's had and to have played, like, a tiny part in that, originating it. Yeah, those are the kind of things that stay with you forever.

[Interviewee]

I could also ask you favorite costumes you've worn on stage, but I assume that very possibly might be the same show.

[Podcast Host]

Yeah, I would say. I'd say I always had. Tend to play roles that have amazing jackets.

[Interviewee]

I think that was such a great jacket.

[Podcast Host]

Yeah, that was a great jacket. When I did Battlefield, I had this amazing jacket as well. Bonnie and Kyda had really cool period jackets and suits. And a lot of summer runs, though.

[Interviewee]

I'm hearing warm on stage is what I'm hearing.

[Podcast Host]

Yeah. Or you're hearing hates the winter, doesn't want to leave the house and go to work. Yeah, no, I have tended to do a lot of summer runs. I would say the Bonnie and Clyde costumes as well. I did love those. I loved, like, how dapper the suits were. And also his evolution from. From the beginning being, like, you know, a street urchin at the beginning and how that costume reflected that into his evolution. Yeah, I really enjoyed wearing those clothes. Yeah, I love a costume.

[Interviewee]

I have a theory about where we might end up with this one. What is the role that has challenged you the most throughout your career?

[Podcast Host]

Yeah, Clyde, I would say. Is that what you were expecting? Yes, definitely it was. I would say each of the roles I've played have been challenging in their own way. And prior to that, I would have said Strat and Batter of Hell, because it was just relentless. And the vocal was crazy. And the energy, the level of energy to jump around the stage with fire going off all around you. It was madness. But Clyde. There was something about Clyde in the way that it's structured, where you barely leave the stage. You're using every part of your voice. You're still singing super high, singing super low, screaming, whispering, which is quite damaging. And then the. Just the depth of the scenes as well, and the material that you're tackling and the emotion, and that was such a journey. And I would always feel like I'd run a marathon after finishing a show each night. So that was the most challenging, but also the most fun. It was. It came hand in hand. There wasn't a day where I didn't want to go to work and do that show. I just, like, loved every second of being on stage. It was. It was special. It was special. It's crazy because Bonnie and Clyde did so well, and we obviously did two runs. We did the Arts, and then we came back and did the Garrick, and the show was selling out every night. And it was only because we. They had something else programmed to come in afterwards that we had to finish on the date that we were advertised to. And it's just crazy to think if that. If that hadn't been programmed, I wonder what the. Like, what life it could have had. How long would it have ran for? And, yeah, it was. But also, I like doing those short stints because you leave still loving it and wanting to do it, and I think that's important as well.

[Interviewee]

Yeah, yeah, yeah, you did. Heather's was a brief time because that was the return from. Through the Pandemic production show, the first show that opened.

[Podcast Host]

It was amongst one of them. Yeah.

[Interviewee]

Yeah. Because it wasn't gonna be at the Haymark. It wasn't scheduled to be, but I guess it was only Fools and Horses at the time, but they weren't fully ready. A lot of those shows weren't ready to come back. So other things, like Be More Chill happened at the Shaftesbury Pre, Anne Juliet and Heather's happened. But that was during the time of Social Distancing, still in theaters. I saw the show then, and then, I guess that concert version of Hair outside of the Turbine at Battersea on the Jetty.

[Podcast Host]

Yeah, that was the first thing I did, actually, post Pandemic. That was. I mean, imagine we've been locked up for three months, and then suddenly you're in a room with Arlene Phillips and, like, all of these absolute icons in the industry, and you're rehearsing Hair in. I think we rehearsed it in a day and a half, and then we were performing it on a jetty on the Thames, and you're like, wait, last week I was like, Social Distancing with my mom in the back garden. How is. Like, how are we here? But that was joyous as well. Like, and I think just the roar of the reaction from an audience who had been locked away for so long to, like, have that experience of actually having something tangible in front of you and being able to watch something that was. That was really cool. And then we took it to Norwich, obviously, and did this big production in this big circus tent. And then it came to the Palladium, which I couldn't do because I was doing Heather's. So that was a shame to miss out on that. But love that show. I would love to do a longer stint of that.

[Interviewee]

I was about to say, is there any role, maybe Hair, maybe Fabrizio, that you would love to revisit in a more substantial capacity?

[Podcast Host]

I'd say both of those. Both of those, definitely. And also Batboy. Bat Boy's mad and bonkers. And it's not for everyone, but there's something about Bat Boy that gets me. It was one of the shows I did when I was training at Mountview, and I just love Larry o' Keeffe's writing and his music is amazing. And I would love to do a longer stint of that. I'm thinking maybe like, a little Halloween month run somewhere would be really cool with the same Victoria Hamilton. Get her back, Jodie. Like, that could be a cool little.

[Interviewee]

We're ready to produce it is what I hear from this conversation.

[Podcast Host]

Yeah. Or you can produce it with me.

[Interviewee]

One of us will make it happen. Listen, but, yeah, I don't know Batboy very well.

[Podcast Host]

Did you see the concert of the.

[Interviewee]

Palladium No, I haven't had a chance. Yeah, they're about to do it in. They're doing another concert version in New York. But what I do know is that the people who do know that show love that show. It has this real cult following.

[Podcast Host]

It's crazy. It's about a bat who was the product of a woman having. Sleeping with a bat. Yeah. I mean, what more could you want from a musical, right?

[Interviewee]

Exactly. I mean, this is why musicals were created.

[Podcast Host]

You can create a musical about anything. I think we've discovered from Bat Boys. Yeah.

[Interviewee]

Which brings us beautifully into a conversation about you being a creative multi hyphenate, not just acting and belting the B flats on stage, but you are writing your own musical, which is in development, which you workshopped here, which I got to come and see, which was lovely, which is called Redcliffe. Tell us a little bit more about the show and maybe why you wanted to write the show.

[Podcast Host]

Yeah, so I started writing about two and a half years ago now, nearly three years ago. And it was at a time when I was going to see a lot of theater. And honestly, as brutal as it might sound, there was a lot of things I was watching and leaving feeling slightly deflated or.

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[Podcast Host]

Just kind of wondering, seeing the potholes in. In. In pieces of theater, which to me seemed quite evident in how to fix. And I think it was then that I started really tapping into this creative side of my brain. And I have originated quite a few shows now. So I think with that comes the responsibility of essentially being a creative in a sense, because it's very collaborative. Most of the time the director and the writers are taking on your opinions of things, even, you know, dialogue change, the way scenes flow, structural things. So I think I've always kind of like used this creative side of myself. And then it was when I was going to see lots of shows and kind of wondering how they maybe got to that place, when maybe I wasn't as taken by the pieces that I was just talking to my partner and he said, I think you should start writing something. You're clearly very passionate about this side of the industry as well. Find a subject matter that you're interested in. I knew I wanted to write something about the LGBT community because it's close to me, and I feel like it's also something that I've never really explored in the work that I've done. Not very much. So. I wanted to write a story, and I also knew I wanted to write a true story, because everything I watch when I'm at home are TV movies. I love to watch something that is based on a true story. I just feel more connected to it, knowing that somebody has lived this experience. So then I did my research, and it was just by chance I found this article the same week had been discovered in the Bristol Museum, and it was about these two men, William Pritchard and Richard Arnold, who had this secret relationship back in the 18th century, at a time when it was punishable by death to be gay. And I won't detail what happens in the article because I don't want to give too much away, but I. There was something in the article that really took me, and I just started by writing a song and showed it to my partner, and he said, this is really good. You should continue. And then I just kind of evolved from there and locked myself away for the next year and wrote this piece, and it developed it. And at one stage, I was going to get a book writer for and just kind of fell into writing the scenes around it because I could kind of see structurally how it would flow. And then it just happened that I ended up writing the book, music and lyrics, which I did not anticipate doing before, but now I'm actually glad that I stuck with, because I feel like I know what this piece is, and it's come on so much even since the workshop that you came to watch. Like, that was really integral, doing that workshop and getting the response from people and the things that people really loved and the things that maybe didn't quite make sense. And it's all part of the process and ironing out this, what will hopefully eventually be a successful piece of theater. So, yeah, right now, we're in development. It will be happening. We're hoping to announce shortly when exactly and where, but, yeah, it's on the horizon. Yeah.

[Interviewee]

Has it been interesting, sort of seeing the industry from a different vantage point as a writer and trying to sort of profile your own work and champion that and try and get interest in it, etc.

[Podcast Host]

Yeah, definitely. What's interesting is, like, obviously, nobody cares about your work as much as you do. So people can love it and like producers and theaters who have shown lots of interest over these last few years. But you're the one that's really pushing it, because it's my baby, it's my creation, and I can see the end. I can see the end product so clearly in my head. So that's been insightful. And also segueing from being an actor into being a writer, I think it's a really unusual stance that I have on being a creative, is that I can take into consideration the performers as well as the piece. And that's not me saying that most creatives don't. A lot of the time, that is the way. But I think it's understanding what an actor needs in a piece has really helped my evolution of writing it and fleshing out the roles. And I would like to think the characters in Redcliffe are very well developed and meaty at where we're at right now. And I think that's because I've placed myself in each of them and thought, what would I need from this? Is this making sense to me? How did I get here from the previous scene? What's happened? You know, all of those things which I think maybe if I hadn't been an actor, people would maybe slightly take for granted. So it's been. Yeah, it's been a whole experience and it's still ongoing.

[Interviewee]

I'm very excited to see where it goes. You played one of the roles. You played Williams in the version that I saw. Is that something that you have always envisioned? Is it just. The easiest thing to do right now is this. Are you going to be the Lin Manuel Miranda of Hamilton when this arrives at its final destination?

[Podcast Host]

I'd love to be the Lin Manuel Miranda. Absolutely. I definitely wrote that character based around myself and especially my vocal. But that's not saying that other people won't. I wouldn't see other people doing it. I absolutely would. And there's also been conversation along the road of maybe switching up the role and maybe me playing the other character. Dependent on who we get for each role. I could kind of like slip into. Into either. I would definitely love to be involved in the production. I just think this. And I imagine that's also why Lin Manuel Miranda put himself in his productions is. It's so cool to write something and see it come alive in front of you. But to write something and also be living in it is like a whole unique experience. And the workshop that we did, it was really challenging being on stage and performing it whilst also Making mental notes of the piece and trying to remember, like, okay, I need to tell her to maybe deliver the line in this way tomorrow. Okay, this bit I should probably cut. This isn't quite reading whilst also focusing on your performance. It's a whole thing. It's like literally doing this and. But I kind of loved that feeling and I found it quite addictive. So I would love to do that on a larger scale in a full production of the piece. So, yeah, I would say the plan is to still remain in the show. Yeah, yeah.

[Interviewee]

Exciting. As you should. And, I mean, Lynne, it's a good point, because similarly, he had to decide at a certain point if he was going to be Hamilton or if he was going to be Burr. There was a school of thought at one point, I think I read or I've just made that up. But, yeah, he had to decide which one he was going to end up doing from workshopping that material. It'd be really, really interesting if you ended up in the other role.

[Podcast Host]

That's the thing. There are so many wonderful actors that we've been discussing for both roles. And the role of William that I played, there's actually so many people that I think would be just so wonderful. So it all. It really all depends on logistics, who we manage to end up with. And working myself around that, I think, because, like I said, I feel like I could lean into either. So we'll see. We'll see. Watch this space.

[Interviewee]

Is it a gift as an actor or as a writer to have another actor step into a role that you've created, either literally written or something that you helped to develop, like Tom Francis went into. And Juliet. There's just been a cast change at Titanique. That's crazy. Is that, like, so interesting to go back and see how they do things differently? Or is it like, oh, I suppose you could too. You could make that choice.

[Podcast Host]

No, I love it. I love when people completely change things up and don't recreate what's done before, because I'd like to think that that's how I work. And I know that Richard Carson is in Titanic at the moment, which I'm hoping to go and see soon. And I've heard that he is entirely different in his approach to the role. He firstly does it British, which is great. He's also a heterosexual man, which I think what comes with that is a completely different insight into who Cal is. I mean, the way I played him, I think was very metrosexual. Edging on him a little bit. Yeah, but that's also because that's what the script gave me, and. And that's how I envisaged him. But so it's really. It will be really interesting to see a more masculine take on that. On that role. And, you know, I'm. I loved seeing people do. Do the roles I've done before. I think I saw Heather's, like, three times after I did the production, and everybody who I saw in it was fantastic. And, yeah, it's really cool, especially the jobs that you originate. Like you said, to have created this character and fleshed out who he is. And then the next person that comes along, takes what they need from that, from what you've given, and maybe says, oh, actually, I didn't quite. That bit's not aligning with how I feel I would portray it. And then you go and watch it, and you go, okay, cool. That. He kept that bit that I did. That's interesting. Oh, but he's doing this. Which actually really reads. It's not. I would never have thought of doing it like that. It's really cool to see people have their own take on things. Yeah. No, it's. It's exciting.

[Interviewee]

Yeah. And then, as someone who is writing their own musical, how fitting for you to be playing a composer here in Saving Mozart.

[Podcast Host]

I know. That is kind of funny.

[Interviewee]

At the Other palace, what is the thing that you're most excited about once the show gets on its feet?

[Podcast Host]

I'm really excited to see the reaction from people that come. I think it's really hard. And I've had this with every show that I've ever been a part of. Creative originating is there comes a stage in the rehearsal process where you're really unsure of how people are going to take it. And we. We had it with everything. I mean, and Juliet, Bonnie and Clyde, everything. There was a stage in and Juliet where we thought it was maybe gonna be a flop in rehearsals because we were like, God, are people gonna get this? Is it too much that Juliet singing Hit Me Baby one more time at the beginning after Romeo's died? Like, will this. Could this be the cringiest thing ever? And then I remember that first show in Manchester, the reaction. We instantly. We were like, okay, cool, this is a hit. So I think that's what's really exciting and scary about originating anything. And we're in that place right now where we. Where we think the piece is really great. And there were so many fantastic moments and so many bops, and the talent on stage is wild, where it could totally take off and become like, the next six, you know, so we're. We're. I'm apprehensive and excited to just kind of gauge the reaction from the audience. I think that's. That's the place where my head is at right now with the piece. I believe in it so much, and it's like any. It will change. We're going into previews, and over the next week or so, things will change and things will be cut. And that's just part of the process. So, yeah, it's very. This is why I love originating new work. That feeling of, like, the unknown is really. It's quite addictive as well. It's cool. Yeah.

[Interviewee]

Equal parts glee and terror. Like the sounds of.

[Podcast Host]

That's it. Glee and terror. That's the name of a show, I think, probably.

[Interviewee]

Yeah, it should be.

[Podcast Host]

Yeah.

[Interviewee]

I'm very excited to come and see the show, but I'm also really excited for audiences to discover it and for it to find its fans, like everything else you've done.

[Podcast Host]

Yeah. And also educate people. For people to educate themselves on this time period. And Mozart, which we're not taught about in school, you know, this. This show opened in Austria to rave reviews, and people went absolutely crazy for it. And people there are taught about this in school. Everybody kind of is familiar with the story of Mozart, so it will be really interesting to see if that. To see how that transcends over here. And I imagine 90% of the audience won't know much about his life. So it's always exciting teaching people. And it's the same with Hamilton. A lot of people here wouldn't have known anything about Hamilton. So I. Yeah, I love being. Like I said, I love being involved in things which actually happened. Like true stories. That's kind of my niche. Except for Heather's. I wouldn't say that's a true story.

[Interviewee]

It's just true to someone.

[Podcast Host]

Yeah. True to someone. Yeah.

[Interviewee]

Well, break a leg this summer in saving Mozart. Thank you for taking the time to chat to me about it.

[Podcast Host]

Thank you so much.

[Interviewee]

For 10 more seconds, I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a stagey day. Subscribe.

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