Ross Harmon (2:39)

Yeah, so, I mean, Get Down Tonight is. Is, in its essence, the KC and the Sunshine Band musical, jukebox musical. With all of his amazing hits, it's not kind of a jukebox musical in a sense that you expect to hear about his story of how he became famous and this hit and that hit. Harry definitely wanted to do something different, and this is more an exploration of his friendships and the people that meant so much to him. And I love the fact that we're telling a story of friendship and how being human and being friends with different people teach you so much. And nothing's linear, nothing's easy, so we have to treat each other with kindness and do the hard things, sometimes have the hard conversations. So I love the fact that we're telling a story about friendship accompanied by some of the most iconic tunes of a particular period of time. And on the subject of those tunes is kids younger than me know the songs. And for a song that was written now, 50 years ago, multiple songs written 50 years ago, to be so timeless and iconic is so rare. And I said to. I said to Harry, what do you think makes a song timeless? And he said, joy. Joy we needed back in the 70s, and Lord knows we need some joy now. So I think that's what makes the songs timeless is the kind of simplicity of the fact they are only about joy.

Mickey Jo Theatre (4:12)

Go on, then, tell us some of the songs that people will know but won't necessarily realize were all written by the same person and are all in this show.

Ross Harmon (4:20)

Shake, shake, shake, shake, shake, shake, shake your booty get down, get down, get down, get down, get down tonight Baby, give it up what else? That's the way I like it. Please don't go. What's so nice is we've got all of those, the ones you expect to hear. And then Harry's also written quite a lot of new stuff in the last 10 years, which gets woven in as well. So it's kind of that really nice balance of songs you expect to hear and new songs, which feels fresh in a. In a jukebox musical where you kind of come to expect to hear the 20 hits, but here you've got kind of probably 15 and then five that you've never heard before, which has been really nice to. To sing those because there is a certain expectation of the ones that everyone knows to how they're going to sound. So to sing songs that nobody's heard means that we can put our spin on it. And Harry's been very gracious about letting us do our thing, which is so nice.

Mickey Jo Theatre (5:26)

Yeah, yeah. This is an awful lot of what I liked about the show is, you know, there's been a lot of jukebox bio musicals, and they can start to feel a little bit formulaic with the, like, it's the rise to success. Oh, they're never going to get famous. Oh, my gosh, they are. What do you mean? All of their money has got all of these things. And there is a degree more cleverness and nuance in this show, I think, and a beautiful sensitivity and sentimentality to it as well. And these lovely characters and, like you say, a really nice story, ultimately, about friendship and someone reflecting on the way they want to be remembered, but also the way that they want to remember and look back on their own life as well. And he's been very involved with the development of the show, and you've obviously had the chance to meet him.

Ross Harmon (6:08)

Yeah, yeah. I think sensitive. That you use the word sensitive, that's a really. It's a really important thing. That was a really important thing for us in the process because he's still alive. He's still kind of very involved in. He's still a performer, he's still touring. It's not like we're writing and doing a musical about someone who lived in the 1500s. This is so current and so relevant to someone who is very much still present. So we had to have that sensitivity around certain issues which. Which for him are so. So vulnerable and so personal. But he is so wonderful and still, like. I've got unread WhatsApp from him last night because obviously the time difference, so I'll take the time to respond to him later. But he's still so present in the show now and in our lives, and that's a really, really special connection for us as actors. When you get a script and you sign up to do a show, you don't kind of predict or expect that personal connection with someone who is so celebrated for good reason, and then to have a personal, human connection with them is even more special.

Mickey Jo Theatre (7:26)

Does it add to the pressure of it at all? Not only knowing that you're playing a real person who is still alive, but also then meeting them and sort of trying to take detail from that, or do you put that to one side?

Ross Harmon (7:37)

I've definitely tried as best I can to Put that one side again. I suppose the word sensitive comes to mind. I have to be sensitive to the fact that this is a real person. So I don't want to be a caricature. I don't want to be a version of him that is unfair or unjust or also too real for him that he can't compartmentalize and distract. But, yeah, there was a pressure. I definitely just approached it the same way as I would approach any show. I got the script, I looked at the character, I saw their flaws, I saw their, you know, their strengths, their weaknesses, and then you build on it from that. There's also a balance of when you're creating a character, how much of yourself do you bring to the character versus how much is not yourself? And Harry and I are very similar in some ways. One of our first conversations, the. That we had before I started rehearsals, he said, in the early days, I tried to do it all myself. And I thought, God, I really relate to that and that there are just some things that we really, really resonate with on a human level. So there haven't been. It wasn't that difficult for me to lock in. But I do think I've crafted a version of Harry which feels really appropriate to the real human, but then also kind of dramatized enough that he was able to see it as my. My Harry versus not just a video recording of him himself.

Mickey Jo Theatre (9:03)

I suppose now you've really arrived as a leading man in London musical theatre. I want to talk about some of the shows and previous roles that have brought you here. Did I read that this is not your first jukebox musical? Did you do Mamma Mia on a cruise ship?

Ross Harmon (9:18)

So I graduated from London School of Musical Theatre in July 2019, and two weeks later I booked Mamma Mia For Royal Caribbean playing Sky. So within two months of leaving drama school, I was. I was packed up to Miami to go and rehearse for my first job, which was. So looking back on it now, I didn't want to go away on the cruise ship. You know, I had a partner, I had a house, I had a life here. But we understood that that was the right thing at the right time. And I learned so much on that job. What to do, what not to do, how to behave, how not to behave. And I'm so grateful that that was my first experience making a script which is. Which is 20 years old, feel current. That was really, really interesting process to go through as a graduate, working with, especially with Mamma Mia being such a wide age range. That was A really, really valuable process as a graduate as well. So, yeah, my first job was Mamma Mia. And that was. I look back on it so fondly. Obviously that got cut short because we were halfway through the contract and Covid happened.

Mickey Jo Theatre (10:31)

I was gonna say July 2019, sounding like a very fateful time to be entering the industry.

Ross Harmon (10:35)

Yeah.

Mickey Jo Theatre (10:36)

I'm thinking just logistically about wearing giant flippers on a stage that's technically moving.

Ross Harmon (10:43)

Yeah. The things that they can achieve on a cruise ship is mind boggling. We always do two shows. When you do a cruise ship show, you do. We did Mamma Mia. And then we did one of Royal Caribbean's own shows, which was so much more dancey and the singers sang and the dancers dance. But what they were doing with the aerial stuff was crazy. We always did a tech run before every. Every first show of the cruise. And some days you would get to the tech run and the aerials would just be swinging like this and people's harnesses, they're about to get into. But. But yeah, just truly the most engaged audiences. And yeah, it was a wonderful, wonderful first job. I'm so grateful for that.

Mickey Jo Theatre (11:26)

Yeah. Yeah. And then the first time I ever saw you on stage was as we were reemerging from the closures of all of the theaters at Heather's at Theatre Royal Haymarket. Socially distanced audiences. You were there with my friend Joaquin doing that show and one of two jock roles that you did, I guess almost back to back. Because then it was. But I'm a cheerleader shortly afterwards.

Ross Harmon (11:48)

Yeah. I mean, both of those. Obviously it was Paul Taylor Mills. And that's kind of. I suppose that's how that all locked into place when he needed someone for cheerleader. But it's so funny because that's so not me, that I'm so not a jock. And so I suppose playing roles like that has been so valuable to me because it's been been. I've been able to tap into playing a character which is so far from myself, which is. So then when I get a character like Harry, who is so like me, I can do both. And that's been really. I've been really grateful for that kind of variety. Someone did say to me the other day, though, is it kind of a stipulation when you go in for a show, you have to take your top off? Cause I've literally. I think Wicked was the only job that I've done where I've not been top.

Mickey Jo Theatre (12:38)

That would have been a curveball in Wicked if suddenly that emerged in the.

Ross Harmon (12:40)

Show, Fiera just comes out in the Jodbas, just really feeling on it.

Mickey Jo Theatre (12:45)

It's a very warm matinee performance.

Ross Harmon (12:48)

So. But, yeah, no, I'm super grateful for the variety. And I look back on. I look back on life, but definitely on my career. And I look. And I've been in the right place at the right time with the right people, learning the right lessons, and I'm so grateful that that's the way that this is kind of gone. I've played supporting roles, I've covered lead roles, and you learn so much from covering not just the people that you cover, but. But from being thrown on. I went honest Fiero before my dress run, so. So it was. That was a. That was a whirlwind. And so the lessons that you learn to get you here are so valuable. And I. When I came to do this, I didn't feel imposter syndrome to lead a company because of the lessons that I'd learned along the way. If I'd have been in this position as a graduate, I think there would have been different complications. Sure, I would have stepped up to the plate. But I feel like I've earned. I feel like I've earned where I am, and that's a really, really nice place to be.

Mickey Jo Theatre (13:50)

We have to talk more about Wicked and your time there. You were in the show until March of last year and covering Fiyero. I want to know what the ensemble track was like. Was there a vocal solo? Was there a. No one wants the Wicked era?

Ross Harmon (14:06)

So I. I was a big Wicked fan growing up.

Mickey Jo Theatre (14:08)

Right.

Ross Harmon (14:09)

Like, it was my. It was my show. It was my kind of theater awakening, if you like. And. And I look back on that time of my life between the ages of, I don't know, 11 and kind of 14 so fondly, because I had this community of people that were outside of where I lived, that we had shared common, like, interests. And. And I'm so grateful for that show bringing me that as a teenager. So then the opportunity to be in the show, I. It almost feels like a different show to the show that I was kind of obsessed with as a kid. It's a real weird kind of compartmentalization in my head, but I'm so grateful for the ensemble track because I got to be in Emerald City. I got to be in Loathing. I got to be, you know, in the opening and in all of the amazing ensemble bits. I was a guard in Divine Gravity every night. And if I'd have just gone in to play Fiyero, I would never have had those experiences. So I'm super grateful for the ensemble track. My. I was thinking, okay, first cover, Fiyero. I'm rock up on day one and I'm going to be. No one mourns the Wicked. Yeah. And Hannah Tweed, the associate, goes. And so Fergus will sing, no one mourns the Wicked. And I was like, oh, no. So it transpired that I was in a. That I was in a vocal crossover track, which is far more dancy than I was anticipating on being signed up to. But again, I stood up to the. I stood up to the job and did it to the best of my ability. But mine was Glinda. Is it true you were her friend? And defaming our poor wizard. That was my. That was my. That was my moment with the mustache. Yeah, yeah.

Mickey Jo Theatre (15:41)

The one that's almost a full sentence and not quite the answer to Les Mis is like, and in a bed.

Ross Harmon (15:47)

Exactly. But to be part of that show, particularly when the buzz, you know, I was out of it by the time the first film came out, but it.

Mickey Jo Theatre (15:56)

Was on its way. Yeah.

Ross Harmon (15:57)

When the buzz started happening. And to work with that cast as well, like Alexia. I remember watching Alexia when I was, you know, a teenager, and then for her to come back and triumphantly do what she did and to work opposite her and to learn from her and to, you know, be her friend. And that. That was a. That was a really cool kind of moment for me. And since, kind of my journey of going from, I suppose, theatre kids to performer, it was a really cathartic thing for me to be in that show and to do that thing and see the children that. The kids, the young adults come and connect with the show and watch the show and have that experience with was. Was really special. But I didn't ever feel like I was in Wicked.

Mickey Jo Theatre (16:44)

Yeah.

Ross Harmon (16:45)

Until my last show and I was going, I don't cry. I'm not a crier. I'll probably cry in a couple of weeks when it's hit me. And then there I am, waiting for the curtain to go up in the clump. The curtain goes on the last show. Curtain goes up, the audience applauds. And I just. Just dissolved. I couldn't sing anything in the opening. And I was thinking, God, I've got to talk in a minute. I've got to talk in a minute. So I was just like, glinda's a true. You're her friend. But that moment of, wow, I did that. I've done that. Didn't hit me until the last show and I'm so grateful for the journey and for what I learned and for the friends that I made on that job who are still my best mates now. It was really special for me.

Mickey Jo Theatre (17:32)

Was Alexia Elphaba the first time that you went on as Fiyera, who was my first.

Ross Harmon (17:37)

I think it was Amy Webb because she, she ended up being my first show and my last show. And now, you know, me and Amy are still really close mates now but. But to then be part because Amy had such a long journey with that show. So then to be on for Fiyero for her last show was really wonderful thing to do that for my friend. And yeah, there was a lot of kind of full circle closing of the circles on that job for not just me but for a lot of. A lot of cast members. It tends to be a show that people have a long journey with. So there's a lot of real emotional attachments for people in that show. Not just in that show though as well. There's a lot of emotional attachments for fans of the show. I don't understand how something can be such a phenomenon to so many millions of people. And then obviously I, not obviously I did the Hunchback concerts recently. So to sing to Stephen Schwartz was a really wonderful experience as well. And I got to meet him and bless him, he is the most, most gracious human. And Jonathan the director said, oh, Ross was in Wicked and Steve, Stephen went, I know, I know, it's nice to see you. And I thought if you do remember who I am. That's so like amazing because he must see so many videos for approval and stuff. But if you don't, then you've just handled that situation very graciously and that just shows who he is as a person and why someone he's been so successful.

Mickey Jo Theatre (19:13)

Would you go back to Wicked if they ever needed a full time Fiyrer?

Ross Harmon (19:16)

Yeah, definitely. The door is definitely not closed. I was back on standby a couple of months ago ago and, and I got a text the other day but I was here so. So I'm, I'm very grateful to still be in the, you know, in, in the. In the circle. Yeah. Petra, the. The. The was it associate.

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Ross Harmon (21:07)

The resident in town, I think she's the associate. I don't know the titles, but Petra, there's only one Petra. She said to me, the door never closes, darling. And I thought, well, thank you so much because that's a wonderful thing for you to say when there are so many people that could, so many talented people that could do the job. So it's. Yeah, I'm super grateful to still be in the Loop.

Mickey Jo Theatre (21:32)

Well, they'd be very lucky to have you back. I'd love to get to see you as Fiera. Who was the first Elphabur you saw when you saw the show?

Ross Harmon (21:39)

I saw Idina three times in London.

Mickey Jo Theatre (21:41)

Yeah, I saw Idina once, but I was 11 and I remember Green and defying gravity and knowing that this was significant but not having the understanding of why.

Ross Harmon (21:52)

Yeah, I think just the scale of it as well for something that in that period of time, 2006, I mean the show, some of the people that work backstage have been there since, since it opened and they do the same plot every day and they're just the loveliest people that, that just, that just keep the magic literally happening. But I think being in that theater and, and the excitement of Idina coming over, that was a. I can't think of anything since then that's had quite the kind of longevity. It's a phenomenon that I would love a piece of that pie Love a slice of that pie.

Mickey Jo Theatre (22:33)

Now, from getting to spend time in a longer contract to something a little bit more short lived. Shucked earlier in the summer at Regent's Park Open Air Theatre. I love that show. I loved the London production. I was so sort surprised and intrigued and excited when it transpired that it was going to come over here and be outside. We were like, is this going to work? It makes a lot of sense. And it was so lovely, it was so charming. What was it like to be on that stage with all of the realities of doing it outdoors and that lovely company?

Ross Harmon (23:07)

Yeah. Oh, my goodness, what a lovely company. When I left Wicked, I kind of drew a line and said, you know, I adore musical theatre, but I am a singer and I am an actor separately, and I'm quite happy to do some singing bits, do some acting bits, but musical theatre, I feel like I've done what I need to do and then that's the most cliche thing for any musical theater actor to say. But then Shucked came into my inbox and I just thought, well, I'll go meet the team. I've not seen Jill since. Since Jersey Boys ages ago. And. And you know, Jill Green's the most wonderful, wonderful casting director and the team are gorgeous. And I went in and I really connected with the material and we had the most hilarious dance audition where we were doing line dance around the piano like it was. It was all from start to finish, just joy. And then to have assembled that group of people, even, even the tech team, like Sophie at the dsm. She's. She's our DSM on this as well. And so I've got to do two jobs with her this year and she's. She's the most wonderful human. I keep saying the most wonderful human. But I am really, truly this year have been surrounded by. From Shucked and then this just special people who love what they do take it seriously enough, but not too seriously and we just have a laugh. And that was. Shucked was coming from Wicked, where they have a formula that you learn and you deliver and that formula works for them. Shucked was the opposite. Shucked said, yes, we've done this on Broadway, it's on tour at the minute, but we want to find it, we want to find the new version, we want to find your version. So all of that went out the window. I think the corncob kick line was about the thing that was the same and then everything was authentic and fresh and well, if that doesn't work, then let's try something different, which is so rare for a Broadway transfer. And then to do it outside was. Was, I think, the absolute most perfect setting for that show. And for Regent Smart to do a Broadway transfer is rare. Probably the first and maybe only time that we'll see that. And they took a risk and I think the risk really paid off. I think the biggest compliment that you can get when someone comes to see a show from non theatre people is when they go, I've booked to come back because I've got some wonderful friends that don't do this as a career that will always support me, and I'm so grateful for that. But when someone texts you and goes, I'm bringing the girls from work, that's like. That is when you know it's really resonated with an audience who will come regardless because they want to support you. But for them to come back is. Is a. Is a real testament to a show. And I think it's one of those shows that do. I think it has commercial appeal, where someone off the street will go and see that over Les Mis? Probably not. And. And I don't think the team are. I don't think the writers, and I love the writers, I don't think they would disagree with me. But the show wasn't created for that reason. The show was created to tell a really honest, truthful story and make people laugh, and it was created for joy and joy only, and that's really powerful.

Mickey Jo Theatre (26:31)

Yeah, it's nice, I think, to be able to be the show that can surprise an audience who don't necessarily know what to expect, because on the poster, it's Korn. And then even when I was telling people about the show when it was coming over here, they're like, you saw it in New York. What is Shucked about? I was like, it is Korn, and it's really hard to be able to offer more than that. But then you go see a Les Mis, you go see a Wicked. There's all of this expectation of epic and huge and the icons that have been in it, but then something like Shucked, you're sort of surprised by how delightful, how charming it is, the heart that it has. And I think that's probably true of a show like this as well. Here at the Charing Cross.

Ross Harmon (27:07)

Yeah. Yeah. I think. I think Shucked is so unique in what it does because there's no other show which. Which I can think of, which is just one liners after one liners and if you're not giving a one liner, you're setting up the next one liner. But then the songs are not silly. So you've got this really silly script. But then these really truthful, heartfelt country kind of cemented in. Country is so expressive in its storytelling anyway, so you're kind of not desensitized. You're desensitized to the humor because the songs aren't stupid. So it's like this gorgeous kind of balance. Whereas something like Get Down Tonight, the expectation is absolutely there to hear the songs, how you. How you know them. So to go from Shocked, where people come with no expectation and their kind of expectations are exceeded because everyone leaves with a massive sense smile on their face. I think the expectation for us here at Get Down Tonight is they expect the songs to be great. But there's. There's a, there's a, there's a kind of point in, in our show here where the emotion kind of takes you by surprise because we have kind of been kind of surfaced kind of. Oh, what should we do? Should we do a musical? Yeah, what musical should we do? Haha. Fun. Let's go to the disco. It's been kind of surfaced for a while and then all of a sudden the truth.

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Ross Harmon (29:34)

And the emotion takes you by surprise. And hopefully we exceed people's expectation with the music as well. But I do think this show definitely. People come for the music and they. They end up being taken on a journey which maybe they weren't expecting to go on.

Mickey Jo Theatre (29:49)

Yeah, yeah. Now you're halfway through the run here at the Charing Cross for the last few weeks. What are you most gonna be cherishing and enjoying about your time in this show?

Ross Harmon (30:00)

Do you know what? I've got some. I've had some friends that have worked at the Charing Cross and they're like, oh, it's a really tricky venue. The sounds, this. It's long and narrow, so you can't connect with the audience. And that's not been my experience at all. The sound design is impeccable. And I think because it is long and narrow, they have had to design it differently to an ordinary kind of wide theater. And so I feel really supported by what I can hear. And that's because of the space and the sound. I feel really connected with the audience because I break the fourth wall so much. So all of these kind of expectations that I came into working here, I haven't personally experienced. What am I going to miss? I don't know. It's hard to tell when you're in a run and you're just kind of getting it done. You know, the eight show week is always a thing, especially in London, especially in autumn when the seasons are changing. There's so much else going on that it's not just doing the job, it's getting to work. So an ho week is tricky and we've got quite a packed schedule as well. But I definitely. I'll tell you what I love, and this is probably what I'll miss, is just the energy and being in a show where we have a lot of fun on and off stage. And that is infectious to the people that come and watch the show. I love being in the show because you just have the most stupid talks in the dressing room. In fact, last night I said, if somebody recorded what we were talking about right now, there would be some kind of investigation. Not because it's inappropriate, because the stream of consciousness that comes out of our mouths in that dressing room after a show is just bonkers. And I suppose that that's what I miss when I'm not in a show is the camaraderie that we have offstage, the special connection that we have offstage, and then how that then translates on stage. And this show in particular, People have said to me, you look like you're having such a wonderful time. You look like such a unit on stage, which is exactly how we feel. And again, that was very similar for Shucked was people said to us, you feel like. We feel like you were having the best time. And I said to people, I don't feel like I've worked a single day on this job. I feel like someone's going to come up to me at the end of Shucked and give me like a telling off because I just had so much fun every day. And I suppose that's the key to life though, isn't it? Find something which makes you belly laugh every day and do it. And I feel lucky to do that. And that's what I miss when I'm not in a show. You know, I love doing what I do when I'm not in show and gig and create music and produce and develop. It fulfills me so much. But the belly laughter that comes from being in a show is so unique.

Mickey Jo Theatre (32:59)

Well, I can't wait to see that joyous show with you in it this afternoon. And audiences have a few more weeks to catch it here at the Charing Cross Theatre. But thank you for taking the time to tell us about it. It's been lovely to sit down with you and you. Thank you so much for listening to this interview. If you enjoyed it as much as I did, make sure to subscribe to my theatre themed YouTube channel or follow me on podcast platforms and comment down below letting me know who you would like me to chat to next. I hope that everyone's staying safe and that you have a stagey day 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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