Access London - 1 Today!!

Welcome back to Access London and a huge Thank You once again for your continued support for disabled access to the arts in London.

Today's post is somewhat different as Access London is celebrating its first birthday today!! I can't quite believe it has been a year since I launched this blog and posted the first welcome post - it's been a fantastic year, a lot learnt, hopefully some things achieved and help provided to those needing to know more about access to the theatre and arts in London.

This last year has seen many theatres, galleries, museums and venues reviewed on their access and I'd like to send out a huge thank you to all the staff at all the venues for their help and support over the last year, providing information, interviews and images.

My next Thank You goes to every reader of Access London for your loyal support and for helping to spread the word about it - it is so much appreciated. I do read every single one of your messages, comments, emails and tweets sent and I hope have managed to reply to them all (if I haven't yet, I will very soon, I promise). As I have mentioned on previous posts, if you have any questions about access to any venues, please don't hesitate to get in touch, if the venue hasn't yet been reviewed, it doesn't mean that I don't know details of the access there or the best person for you to contact, but more likely that I haven't yet gotten around to reviewing if officially. If however, you have any questions for people that have been interviewed on Access London (and many of you have sent me questions) it really would be best for you to send them to the person involved, so you can get the most accurate answers and information. I'd also like to thank everyone who has supported Access London and its posts on both Twitter and Facebook - I couldn't have done it without you!

This year Access London noted some important access issues at the Royal Albert Hall -after fairly extensive discussions with management at the Hall, specific changes and improvements were promised - some immediate and some on a more medium-long term plan. I am going back to see a concert there just before Christmas and will hopefully be able to come back to you with good news on some changes that have been made since the Phantom 25 celebrations in October this year. Another venue that presented access issues was the Palladium - not so much in terms of physical access but of disability awareness, staff training and treatment of those with disabilities. Again, various discussions have been had and letters corresponded (of which I received an extremely helpful and supportive one from Andrew Lloyd Webber's office) and once again, I hope to bring news of improvements made at that theatre very soon.

Some of the venues that have proven to be well geared up to help those with disabilities include: The Palace, Her Majesty's, Criterion, Gielgud, Southwark Playhouse, Royal Festival Hall, National Theatre, Victoria Palace, Haymarket, The Barbican and the Adelphi. There is still much to be done to improve the access for all to our theatres and arts venues in London but these theatres are some that have made an excellent start to being accessible and are showing a good example to others that really do need to look at their access: both the policies they put in place and the physical access to the theatre too.

Access London was recently lucky enough to work with Degrafik, a great young designer who has designed Access London's new logo - a huge Thank You to Damion for all your help. Access London feels it is a fitting time as any to reveal the new logo to you (although my Facebook friends have had a sneak peak at it a couple of weeks ago!)




Access London has been fortunate enough to be able to interview lots of cast members from some truly fabulous shows over the past year and I'd like to take this opportunity to say a huge Thank You for the time and support of: Rosemary Ashe, Gina Beck, Kieran Brown, Lee Bowen, Patrick Burbridge, Rebecca Caine, AJ Callaghan, Earl Carpenter, Steven Cleverley, Scott Davies, Stephen John Davis, Janet Devenish, Killian Donnelly, Cynthia Erivo, Sofia Escobar, Sophie Evans, Daniel Gourlay, Celia Graham, Richard Halton, Cameron Jack, Chris Jenkins, John Owen Jones, Paul Keating, Daniel Koek, Joanna Loxton, Myrra Malmberg, Frances Ruffelle, Simon Shorten, Emily Tierney, Katy Treharne, Tabitha Webb, Nick Wyschna, Michael Xavier.

Finally, a special Thank You to some for their continued support and fabulous generosity: Lee Bowen, Sofia Escobar, John Owen Jones, Rebecca Caine, AJ Callaghan, Myrra Malmberg, Nick Wyschna, everyone at The Cavendish Hotel, Her Majesty's Theatre, Palace Theatre, Adelphi Theatre, V&A Museum, and some special Twitter mentions for @LugiLou @inlondonguide @AboutLondonNews @kaydub89.

Access London has at least 2 awareness and fundraising events planned so far for 2012 including, an online charity auction for the beginning of the new year (to include lots of great theatre related items including signed cds and posters) and a charity concert for next September to coincide around the time of the paralympics. Details of the auction will be around from very early on in the new year and the concert throughout 2012, thank you for any and all support you can show for either event.

On that note (and after receiving many requests that I include it in this birthday post), I'll leave you with a video that has been taking Twitter and Youtube by storm over the last week - no, not the trailer for the Phantom25 dvd but, the latest challenge in the johnvskillian battle from the fabulous John Owen Jones and Killian Donnelly - watch for a great laugh and see The Phantom and Raoul as you've never seen them before - check out the rest of the challenges on their Youtube channel....

Phantom of the Opera & Interview with former Phantom, Stephen John Davis

Welcome back to Access London and Thank You once again for your continued support for disability access and awareness to the arts in London.

Tomorrow sees the release of the Phantom 25 dvd and to celebrate Access London has another post in our Phantom series.

This week also saw the release of tickets for venues 2 and 3 of Phantom's 2012 UK tour. Both of these will see John Owen Jones behind the mask as The Phantom and Katie Hall will star alongside as Christine. Phantom will arrive at the Manchester Palace Theatre 5 April 2012 - 19 May 2012. The theatre has wheelchair bays in the Cicrle and lift access to the Circle and Grand Tier. There is also an infra red loop system installed. Access Performances include: BSL - Thurs 26 April 2012, 7.30pm, Audio Described - Wed 2 May 2012, 7.30pm and Captioned - Sat 12 May 2012, 2.30pm. To book access tickets for the Palace, please call: 0161 245 6605. For more information, see the
Manchester Palace Website

Phantom will then be at the Bristol Hippodrome 23 May 2012 - 30 June 2012. For more information on Access performances and facilities, please call the Access booking line on: 0117 302 3222.


Back in London, Phantom's home is at Her Majesty's Theatre on the Haymarket. The stalls are easily accessible to wheelchair and scooter users via a side exit door on Charles II Street - simply inform someone at the front of the theatre and they will open it for you. This leads into the rear of the stalls and has an accessible WC. There is space for 4 wheelchairs and companions in Row S or, if you can transfer from your wheelchair or scooter, any aisle seat is accessible.

There is an infra red hearing system installed at the theatre and 10 headsets are available to use - ask in the foyer or an usher. A maximum of 2 assistance dogs are allowed in at any performance. Both large print programmes and braille cast lists are available on request.

To book Access tickets for Phantom of the Opera (currently available from £22.50 each for you and a carer/companion in the stalls), please call: 0844 412 4648. For all other tickets, please call: 0844 412 4653.

Please note: The Access rate is available to those with a disability, not just those who use a wheelchair or scooter - I'm simply pointing this out as I was at Her Majesty's last week and met a lady who was registered blind yet had no idea she was entitled to this - this rate and service are there for a reason and to help, so please do ring and check to see if you are entitled to them!


As with all of Access London's Phantom posts, I'm delighted to bring you an interview with another former cast member, this week - Stephen John Davis. I'd like to take this opportunity to once again say a huge Thank You to Stephen for his time and support.

AL: How did you become involved with the show?

SJD: I was called in to audition for the show’s associate and resident directors and musical director. I sang Lonely House from Kurt Weill’s “Street Scene”. They then asked me to prepare some of the Phantom’s music and recalled me twice. I was then offered the role of Joseph Buquet and “in house” cover Phantom. Luckily, I was able to perform as the Phantom on many occasions.


AL: Phantom is such an iconic show and so well loved, what did it feel like to be part of this worldwide phenomenon?

SJD: It always feels special when you appear in a show that has such an amazing history and is known by millions around the world. On the days when you’re feeling a bit tired, the buzz from the audience reminds you just how much the show means to those paying to see it.


AL: Who played alongside you in the role of Christine?

SJD: I rehearsed with the lovely Katy Treharne and I was thrilled when we did a couple of shows together. I was also incredibly lucky to work with Gina Beck, Sofia Escobar and Tabitha Webb.


AL: You played The Phantom for the 10,000th performance at Her Majesty's in 2010. What was it like to be onstage with Andrew Lloyd Webber and Michael Crawford to celebrate it?

SJD: It was pretty special to be honest. To be on the original stage at Her Majesty’s where the whole phenomenon began as the Phantom alongside the composer and the original Phantom was a day I will never forget. I will also never apologise for going on about it!!!


AL: What was your favourite scene/song to perform in the show?

SJD: I enjoyed all of it! Sorry that may sound a cop out but it’s true; The Phantom never makes a ”normal” entrance. The powerful first entrance behind the mirror going into the first journey and the boat, I loved the Angel scene at the end of Act 1 (although it was a little uncomfortable!). The Masquerade entrance and exit! The reveal from the cross after “Wishing”, the invasion of Don Juan disguised in the cowl that Piangi should be wearing.
Every scene had something in it that I could really enjoy playing. “Music of the Night” is obviously THE song but there isn’t anything that I didn’t love singing.


AL: What was it like to be a part of the Phantom 25 celebrations?

SJD: Another amazing experience. Don Attilio was such fun to play and the atmosphere was electric. A few of us agreed that we just had to stand at the bows and finale and try to take the whole spectacle in. The RAH is a pretty special place (even if I did rename it the South Ken Village Hall)


AL: In your opinion, why do audiences love the show so much and return to see it time and again?

SJD: The spectacle – Maria Björnson’s designs have never been bettered. The music is probably ALW’s best and the tale of a child being rejected by his own mother, growing up with the world recoiling from him when he has such passion for music and beauty inside is quite heartbreaking. People love a good cry!


AL: Have you watched a performance of Phantom elsewhere in the world? If yes, is it much different to the London production?

SJD: No. I’d love to see it on Broadway. I watched part of the film once.


AL: If you could play any role(s) in musical theatre, what would it/they be?

SJD: I’d like a go at Che in Evita and Albin in La Cage aux folles might be fun!


AL: Do you have a message for Phantom 25 and its fans?

SJD: Thank you! There wouldn’t be a 25th birthday if it weren’t for the “PHANS”. I really hope you enjoyed the RAH performance this year and 10,000th performance last year if you saw them. Here’s to the next 25 years!


You can follow Stephen on Twitter @stephenjdavis1

Stephen is currently appearing in the UK Tour of South Pacific. I saw this production when it was at the Barbican in London and would thoroughly recommend it. To see tour dates and venues, check out THE SOUTH PACIFIC WEBSITE

Access London - Cavendish Hotel Competition Update

Welcome back to Access London everyone. This is an update post on some more details relating to The Cavendish Hotel's Cocktail Competition and the brilliant West End show, Love Never Dies.

Earlier this week I posted another post about Access London's recommended hotel for 2011 - The Cavendish. In celebration of the Jermyn Street Festival - The Art of Being British - being held along Jermyn Street on Saturday 10th September 2011, The Cavendish have launched a fantastic competition with an amazing prize to be won.

You can read more about the Festival on my previous post.

The Cavendish are asking people to email in with your own creation for a cocktail. The cocktail is to be served alongside their own new Very British creation, The Red Rosa, throughout September in their bar. All you have to do, is come up with a cocktail of your own to complement it and then send the cocktail recipe and cocktail name to: competition@thecavendishlondon.com by Wednesday 24th August.

The winner will win a 2 night stay in one of The Luxurious Cavendish Hotel's Junior Suites with afternoon tea for two, your cocktail creation on the bar menu throughout September and of course you get to try your own cocktail too.

The update details are as follows: The prize (2 night stay) can be booked anytime up until the 31st March 2012 (excluding 31st December 2011). Also, for all my readers with disabilities, including wheelchair and mobility sccoter users and those who cannot manage stairs, the Cavendish are happy to book an Accessible Room or Executive Room for you instead. They have also assured me that they will do something a little bit extra special for these guests as the location of the Junior Suites may not be suitable for them.

To see more about The Cavendish VISIT THEIR WEBSITE HERE

In other news, just a quick update to remind you all that sadly Andrew Lloyd Webber's Phantom of the Opera sequel, 'Love Never Dies' will be closing in London in just 2 weeks time!! Access London went to see the show again last Friday and, as always, had a 'Phabulous' night out. The show has a beautiful score and lyrics, fantastic costumes and sets and a truly amazing cast, led by Ramin Karimloo and Celia Graham. Both the leads have a 'Phantastic' onstage chemistry and Miss Graham's 'Love Never Dies' won't fail to bring a tear to your eye and applauding for more. Mr Karimloo's 'Till I Hear You Sing' has, if possible, only got better since the show opened. The whole cast work wonderfully together on stage and it will be a loss to the West End when they close.

To book Access tickets to the show, please call: 0844 412 4648
OR, for all other tickets, please call: 0844 412 4651

Access London would like to take this opportunity to thank all the cast and creatives for all their hard work and wonderful performances and add a special thank you to Kieran Brown and Daniel Gourlay who both took time out for interviews with Access London a couple of months ago (please see previous posts to read these). Lastly, a big thank you to Ramin, Celia, Hayley, Adam and Liz for taking the time to stop and talk and for pictures at the stage door last week - your support for Access London is also heart-warming and very much appreciated, Thank You x

COMING NEXT: Access London Begins Celebrations for Phantom of the Opera's 25th Anniversary - Interview with former Raoul, Michael Xavier

The Wizard of Oz & Cast Interview - Part 2

Welcome back to Access London, thank you once again for your continued support for disability access and awareness.

Today's post is the last in our 2-part series on Andrew Lloyd Webber's, The Wizard of Oz at The London Palladium.

Before Wizard hit the stage at the Palladium, there was a massive investment in the disabled access to this iconic venue. This is obvious in the newly decorated access corridor which is accessed next to the main entrance steps to the theatre on Argyll Street. There is a new lift which can take a mobility scooter or wheelchair, carer/companion and a member from the front of house team to the stalls level in the theatre. There are a couple of fairly shallow slopes along the way but, apart from those, it is level and flat access all the way to the back of the stalls.

The stalls themselves are on a slightly steeper rake (although certainly not the steepest I have seen at a London theatre). There are several spaces for wheelchairs at the back of the stalls where a carer/companion can sit in the same row. Or, if you can transfer out of your chair, any aisle seat in the stalls in accessible to you. Wheelchairs and scooters can be stored at the back of the stalls and someone can bring them to you at the end of the show. If you would like a drink at the interval, this too can be arranged to be brought to you at your seat. There is also an accessible toilet in the area that the wheelchairs and scooters are stored during the performance.

This is a fantastic night out for the whole family, kids young and old! It sees the winner of BCC1's Over The Rainbow, Danielle Hope, in the role of Dorothy (with the runner up, Sophie Evans playing Dorothy every Tuesday) and also Michael Crawford's return to the West End stage. For more information about the show itself, please scroll down to yesterday's post where you can also read an interview with Sophie Evans.



Access London has been lucky enough to catch up with a couple of cast members from Oz and today's Q&A is with Paul Keating who plays Hunk and The Scarecrow....

AL: How did you get the part of the Scarecrow? Was it a long audition process?
PK: I first heard about Wizard of Oz coming to the West End when I was asked to play the Scarecrow in a short workshop of the new script, nearly a year before the West End opening. The workshop lasted a week and was held at The Really Useful Group's offices in Covent Garden. The Director, Jeremy Sams, asked for me - although we'd never worked together before, he'd seen me in a couple of other shows. It was no guarentee of being in the final production, but flattering to be asked. Some months later, when auditions began for the West End cast, I was asked to come and do a couple of movement calls with Arlene Phillips. I think in the space of 10 days I did 2 dance calls and also had to sing for Andrew Lloyd Webber and the team (most of who had seen me in the workshop). A day or two later, I was offered the part.

AL: The Scarecrow's costume in the production is fantastic. How long does it take to get ready and in make-up?
PK: It's a quick change for me. I only have about 7 minutes to get out of Kansas costume and wig and into Scarecrow costume and make-up. It's got quicker with practice but, there's no time to relax. The make-up ladies who do my face for me are amazing. They make a possibly stressful moment feel calm and fun.



AL: Just as in the film version of Oz, the actors playing the Scarecrow, Tin Man and Lion also play Dorothy's family in Kansas. Does the rest of the production stay fairly true to the film or were you given the freedom to adapt things?
PK: I was given complete freedom to recreate the role which was brilliant. I read the book and liked the idea that the Scarecrow is only a matter of days old. I have tried to make him like Bambi - bounding around with energy and enthusiasm. I don't think he's stupid at all, just rather naive and unworldly. Jeremy, the director, has always been supportive and steered me in certain directions, but from my point of view I have felt able to do my own thing.
In terms of the production, I think the creative team have been really imaginative and inventive. There's lots of new things to enjoy in the show, but fans of the film won't be disappointed either, as the iconic moments we all know and love remain.

AL: The cast of Oz range from those who have been working in the business for many years to those whose first professional role this is. What is it like working in a company like this?
PK: I love it. There's always lots to learn when you're surrounded by people with more experience. It's also nice to feel you can offer support to those who are a bit newer to it all. I can certainly relate to Danielle, who has been thrust into the limelight. My first role was the title role of the West End production of Tommy, it was a baptism of fire. I hadn't been to drama school either and was picked from a series of 12 auditions. I loved it but was rather like a rabbit in the headlights alot of the time. She has so much maturity, confidence and skill, I'm a little bit in awe of her. I wish I had had a bit more of that when I was starting out at age 19.

AL: What is it like working on an Andrew Lloyd Webber production?
PK: It's a very exciting experience. There's a well-oiled machine at work from the very start, ensuring things run as smoothly as possible. They've so many productions under their belt at RUG that I have felt more confident than ever before that I am in a musical with the best possible chance of succeeding - commercially and artistically.

AL: If you could play any role(s) in musical theatre, what would it/they be?
PK: I have always dreamt of playing Che in Evita. It was one of the first musicals I ever saw. I think it's Andrew's best to date and would give anything to sing those songs.


Access London would like to offer a huge Thank You to Paul for taking the time to answer our questions, I hope you enjoyed reading his responses as much as I did.

To book Access tickets to see Wizard of Oz, please call: 020 7087 7960/0844 412 4648.



COMING SOON: The London Eye, London Eye River Cruise, Tate Britain, Access London celebrates 25 years of Phantom of the Opera.

The Wizard of Oz & Cast Interview - Part 1

Welcome back to Access London and thank you for your continued support for disability access and awareness.

Today's post is on Andrew Lloyd Webber's fabulously entertaining The Wizard of Oz at the London Palladium.

You may remember the BBC1 programme 'Over The Rainbow', hosted by Graham Norton that televised Lloyd Webber's hunt for a Dorothy for his new production of The Wizard of Oz. The show concluded with the people's choice of Danielle Hope taking the lead role of Dorothy and the show's runner up, Sophie Evans, as the alternate Dorothy. The show sees the return of Michael Crawford to the West End stage for the first time since he appeared in The Woman in White.

This show is one for the whole family - for children and adults of all ages who want an entertaining, lively and fun night out, experiencing a show with all the well-loved songs from the film of the same name. The sets are magical with a revolve that holds the Yellow Brick Road and Dorothy's introductions to her new friends on her journey to the Emerald City. Some of my favourites include the cornfields scene where Dorothy meets the Scarecrow, The Emerald City scenes and also the Munchkin Land set. The costumes too are very special - from Glinda's sparkly, princess gown to the Tin Man's squeaking joints.

The brilliant performances from both Dorothys, The Scarecrow, Tin Man, Lion, Glinda, the Wicked Witch and of course Michael Crawford's numerous roles, including the Wizard are backed up by a talented ensemble who bring the larger scenes to life, filled with colour and laughs.

The London Palladium is located on Argyll Street - just off of Regent Street and close to Oxford Circus. Argyll Street itself has no kerbs and so access along it is straighforward. If you use a wheelchair or mobility scooter, The Palladium is brilliantly accessible - especially after its recent investment in disabled access. Front of house staff will be waiting outside and will let you in a side door (just next to the main entrance steps). Inside there is a shallow slope along a corridor to a lift that takes you and your carer/companion to the stalls level. The steward will guide you through the bar area and around to the back of the stalls. You will find an accessible toilet in this area too. The stalls are on a rake down towards the stage. There are several spaces for people who cannot transfer out of their chair. For those who can, any aisle seat will be accessible for you. The staff are all extremely helpful and will store your scooter or chair at the back of the stalls, bring you interval drinks and help you at the end of the show to exit.

To book access seats for you and a carer/companion and to discuss your access needs, please call: 020 7087 7960. For all other tickets and enquiries please call: 0871 220 0260

Access London has been lucky enough to speak with a couple of the cast members of the show and we are delighted to share their answers to our questions with you. Today's Q&A is with Sophie Evans, who was the runner up in Over The Rainbow and who plays Dorothy every Tuesday and also when Danielle Hope is away.


AL: You landed the role of alternate Dorothy after competing in BBBC1's Over The Rainbow. What was it like to be auditioned in front of millions on national TV?
SE: It was extremely nerve-wracking but amazing at the same time. Looking back, I had such a fantastic time that the nerves were overcome by the whole experience.

AL: How do you juggle training at Arts College whilst being part of a West End production?
SE: It is difficult as training is so tough on its own so to be in a West End cast aswell is extra tough. I do love being at Arts Ed. though, it's great to be getting that experience and to be working, a total dream come true!

AL: The Palladium is an iconic London theatre. What was it like to step out onto its' stage the first time your played Dorothy?
SE: It was so overwhelming. The London Palladium is such an iconic theatre that I have goosebumps thinking about my first night! The curtain calls were extra special, coming out and getting a massive cheer and standing ovation completely took my breath away and tears were streaming down my face - Joyful tears!

AL: Do you and Danielle discuss how Dorothy's character should be played or do you keep your thoughts separate?
SE: It's been great doing it with Dan but we have very different Dorothy's. That's what makes the show so interesting.

AL: What is your favourite song/scene to perform in the show?
SE: I love the Emerald City scene as all of the cast are on stage and it's so fun and colouful. That's when I really feel like I'm in a West End cast and a very talented one at that. I feel so privileged.

AL: What is it like working with an animal in live theatre?
SE: It definitely keeps me on my toes. I love dogs so it wasn't too difficult to work with them. The Totos we have are so obedient and I have gained such a bond with them.

AL: This is your first professional role. Have you received much advice from the more experienced members of the cast?
SE: Yes, especially Michael Crawford. He is such a legend in the theatre-world especially. He comes into my dressing room before every show, just for a little chat and some extra words of encouragement or advice, he's a great man to work with.

AL: If you could play any role(s) in musical theatre, what would it/they be?
SE: There are many roles I would love to play but the two I would really love to do are Glinda in Wicked! and The Little Mermaid. They are both such magical shows, like The Wizard of Oz. Hopefully one day I can get the chance to do them.

A huge Thank You to Sophie for taking the time to answer our questions. Our next, and final post, on The Wizard of Oz will include an interview with the talented and hugely funny Paul Keating who plays the Scarecrow in the show.



Feel free to post a comment and to follow this blog and spread the word.

COMING NEXT: The Wizard of Oz Part 2 - Meet the Scarecrow
COMING SOON: The London Eye and River Cruise, Tate Modern.

Love Never Dies @ The Adelphi Theatre - Part 2

Welcome back to Access London everyone, thank you for your continued support for disability access and awareness in the capital.

Today's post is the second and last in our two-part series on the musical Love Never Dies. To see the first part from yesterday which includes an interview with cast member Daniel Gourlay, please scroll down.

Love Never Dies is showing at The Adelphi theatre on The Strand and is currently booking into 2012. There are performances Monday-Saturday evenings at 7.30 and matinee performances on a Wednesday and Saturday at 2.30pm.

The music in this show is spectacular and shows Andrew Lloyd Webber on top form. There are some amazing lyrics and big numbers including, Till I hear You Sing (Phantom), Beneath a Moonless Sky (Phantom & Christine) and of course the title song, Love Never Dies (Christine).

The sets are quite literally 'Phantastic' with a glass carriage, beautifully crafted balcony set and all the wonders that the audience experiences in the Phantom's domain.

The three leads, Ramin Karimloo (Phantom), Celia Graham (Christine), David Thaxton (Raoul) are supported supperbly by the likes of Liz Robertson (Madame Giry), Haley Flaherty (Meg Giry) and some wonderful young actors who share the role of Christine's son Gustave. There is also a fabulous ensemble who really bring numbers such as those on Pier 69, Heaven By The Sea, Bathing Beauty and the dramatic Phantasma scenes alive.

Access London has been lucky enough to talk with a couple of the ensemble members. Today's interview is with Kieran Brown who is also the understudy for Raoul in the show. Here's what he had to say...

AL: I can imagine Andrew Lloyd Webber's musicals being extremely popular for actors wanting to be a part of them. What was the auditioning process like for you?
KB: For me it was rather unusual! I was pulled in at the last stage of auditions, having been out of the country working on A Christman Carol in Vienna when casting started. So after singing half a song to the production team, was given some material to look at and return within a day or 2 later. I learnt it inside out, went back in, did the suff once through and that was it! I did have to attend a dance call even though my track in the show doesn't require it, just to show that I CAN move (just), where I first met 2 of my fellow cast members, Mira and Vanessa. It was lovely to see them on day 1. All in all, I had it pretty easy re this job as far as auditioning goes. The hardest thing was the wait to hear if I got the job! I got the call 3 days before rehearsals started - there had been a mix up at the office and they thought they had rung me the week before and were waiting on my answer. By luck I had contacted our wonderful choreographer and he sorted it out within minutes.

AL: You have been part of many fantastic shows and performances, why Love Never Dies?
KB: Honest answer? It's a job! It is however a job I LOVE! I wanted to be in this show since it opened. It's still a bit weird actually. I told my agent months before that the one show I wanted to be in in town was LND and here I am. I auditioned for the original cast but didn't even get past round one so....

AL: The energy and chemistry is fantastic to watch as an audience member. What is it like to be part of such a cast?
KB: We have just the BEST team of people in the show. We have so much fun together and trust each other implicitly. Just watching performers like Ramin or Tam, Celia, David or Liz Robertson from the wings still takes my breath away. I'm particularly proud of and delighted to be working with Haley Flaherty who plays Meg. I think she is simply wonderful in the role and we knew each other as kids - we went to the same children's theatre school but hadn't seen each other for years! We have a strong ensemble too - I love watching the Only For You opening number from offstage and am in awe at how bloody good our dancers and accros are. I wish I could move like that!

AL: Just as with the original Phantom of the Opera, Love Never Dies has many technical elements in it. Do you have a tale to tell of something going wrong in a performance?
KB: Not really because as well as having the best team onstage we also have the best technical crew who know exactly what they are doing. Everyone from crew to wardrobe, wigs and make-up do their job brilliantly. We did once have a show stop because poor Haley got stuck in the balloon before Bathing Beauty. It meant that the audience had to wait a few mins so that the crew could get her safely down and our wonderful dance captain had to VERY quickly restart the number without it as most of the ensemble enter through it from substage. Everyone took it in their stride! Haley was hilarious though - people kept shouting up to her to make sure she was ok and she was more concerned as she had a friend in from home!

AL: You have performed a fair number of times in Vienna. What are the differences between performing there and on the West End stage?
KB: Well the budget for a start! The English language theatres that I have worked in in Vienna - where I lived for 6 years were generally much smaller - The Adelphi seats something like 1500 whereas the theatre I did A Christmas Carol in was about 100! And nothing quite matches the prestige of a West End show although I did love working in Vienna. I did some wonderful shows with some great actors and directors so....It's great to be home though!

AL: I understand you have directed several projects. Do you have any plans to do so again?
KB: I would love to do more directing, yes, but it's not a priority at the moment. I think eventually I will give up performing but it's still my first love. I miss the control though!

AL: If you could play any role(s) in musical theatre, what would it/they be?
KB: Well PHANTOM of course, in both shows, would literally be a dream come true for me (but unlikely). I have gotten used to the fact that I'm now too old for Marius but maybe JVJ or Javert one day! Joe Gillis in Sunset Boulevard is on my list as is Raoul in Phantom (though I don't think I have the matinee idol looks needed for that!). Krolock in Tanz Der Vampire or Kaiser Franz Joseph in Elisabeth (if my German was better). Basically I just wanna be a leading man! - That should be a song! If I ever get to play any of these, I'll let you know.


Access London would like to offer a huge Thank You to Kieran for taking part and answering the questions. To keep up to date with what Kieran is doing and his future projects and performances, check out his website at www.KieranBrown.com

To book access tickets to see Kieran and the rest of the cast in Love Never Dies, please call: 08444 124 648. For all other Love Never Dies tickets, please contact: 0870 264 3333.



This ends Access London's posts on the Love Never Dies series. Please visit again soon as there will be posts on another of Andrew Lloyd Webber's shows, The Wizard of Oz and also The London Eye, Tate Britain and Thames River Cruises.