Dreamboats and Petticoats @ The Playhouse & Cast Interview with Patrick Burbridge

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

"Inspired by the smash hit million selling albums DREAMBOATS AND PETTICOATS ONE, TWO and THREE, the West End's DREAMBOATS AND PETTICOATS THE MUSICAL, features some of the greatest hit songs of the Rock 'n' Roll era."

Playing at The Playhouse on Northumberland Avenue, Dreamboats and Petticoats features some of the biggest rock 'n' roll hits from the 50's.

Access @ The Playhouse:

The Foyer of The Playhouse is on two levels - there are three steps up to the bar area and entrance to the stalls. The theatre has a ramp that can be placed over these steps to allow access for both wheelchairs and scooters (although be warned, it is a little steep!). Once on the upper level, there is access to the Foyer Bar and an accessible WC. From here there is level access into the rear of the stalls, which has a gentle rake and a storage area for wheelchairs and scooters if you can transfer out.

If you require a wheelchair space, there are 2 in the stalls, in rows G and J, where a companion/carer can sit with you. If you can transfer, then there is allocation for 6 wheelchair or scooter transfers per performance to sit in any aisle seat in the stalls (subject to availability of course).

The Playhouse is installed with a Sennheiser infra-red sound amplification system that is available in all areas of the auditorium - to access the system, you will need to request receiving equipment from the box office in the foyer (small refundable deposit required) - both Induction Loop Necklaces and Headsets are available.

Assistance dogs are permitted into the auditorium at aisle seats, otherwise they can be looked after by staff during the performance. Currently, there are no audio described or captioned performances at The Playhouse.

There are performances of Dreamboats and Petticoats Monday-Friday Evenings at 7.30pm and Saturday Evenings at 8.00pm. There are also matinee performances on Thursdays at 3.00pm and on Saturdays at 4.00pm.

To book concession Access tickets to Dreamboats and Petticoats, please call: The Ambassador's dedicated Access Line on 0844 871 7677. For all other ticket types, please call: 0844 871 7627.


Access London recently had the pleasure of interviewing cast member Patrick Burbridge. We'd like to take this opportunity to once again say a huge Thank You to Patrick for taking the time to answer some questions...


AL: Dreamboats and Petticoats is a lively, fun and upbeat show, what is it like to be part of the cast?
PB: It's an absolute pleasure to be a part of such a great show. I've been in Dreamboats and Petticoats since it started way back in January 2009 and I've never stopped loving it. I've seen lots of different people come and go during my time as part of the cast and I've had the pleasure of working with some very talented performers. It's a real privilege to be in such a well received show.


AL: You play a character called Derek - can you tell us a bit more about him and his part in the story?
PB: Derek is a young teenager from St Mungo's Youth Club in Essex (scene of Dreamboats and Petticoats). He's either hanging out with the band, chatting up the girls, playing pranks and usually getting up to some form of mischief!


AL: You can play many instruments including, guitar, piano, sax and drums - what is your favourite instrument to play and why?
PB: My favourite instrument is the guitar. I've grown up listening to all sorts of rock music and from a young age I've always been obsessed with the guitar. I get a real thrill from playing guitar in bands and jamming great music. I also like to write my own music and I find the guitar is a great instrument to compose on.


AL: Do you get to use any of your instrument playing skills in the show?
PB: Absolutely. I'm an understudy for all three guitarists and the drummer so if they can't do a show for any reason, then it's my job to fill in for them. I've understudied in lots of shows during my time in Dreamboats and Petticoats. My usual role playing Derek also involves playing Keyboard.


AL: The Playhouse Theatre is a smaller venue than many West End theatres, does this allow you to feel more connected to the audience when performing?
PB: I think so, yes. Dreamboats and Petticoats is a rock and roll show, so I think it works best in smaller venues. This is because smaller venues are great for live music, you can create such a great atmosphere with rock and roll. It's much harder to create that atmosphere in bigger theatres because there is, quite simply, way more space to fill - you have to connect with audience members right at the back who seem almost miles away! There's also a limit to how loud you can turn up the music. You don't want to be deafening the front row by trying to make sure the back row have it at a decent level. Everyone watching should feel comfortable and be able to enjoy the performance.


AL: What is your favourite song/scene to perform in the show?
PB: My favourite part of the show is the finale. At this point, the show stops being a musical and turns into a rock and roll concert with 3 fantastic 50's hits. Usually, all the audience are up and dancing and the atmosphere can be really electric. I get such a buzz when I look out at the audience singing and dancing along. There's a real unification between the cast and the audience at the end of each show, both rejoicing in the love of such wonderful music. I've never experienced anything quite like it and I'm so fortunate to be a part of that night after night.


AL: How do you prepare yourself before performing?
PB: Before a show the cast meets on stage and does a physical and vocal warm up together. The physical warm up, led by our dance captain, consists of doing lots of stretches to prevent injuries when dancing and perhaps running a couple of routines to keep everything in check. The vocal warm up, led by our musical director, consists of singing lots of scales, exercises and sometimes a couple of numbers from the show. This warms up the voice and makes sure that you don't strain it during the show. There are over 40 songs to sing after all! Emotionally, I like to get really psyched up before a show. I share a dressing room with 5 other guys and we all enjoy a good bit of banter and listening to some quite upbeat music. It's a good, positive and fun atmosphere that gets me geared up well to do the show, particularly if I'm a little tired or feeling a bit under the weather.


AL: Can you sum up why audiences will love the show?
PB: People don't refer to the 50's as the 'golden age of pop' for nothing. There was a real plethora of fantastic songs written back then and performed by some incredible artists and singers. Not only does Dreamboats and Petticoats bring all this music back to life, it sets it all within the magical nostalgia of the 50's. The storyline of children growing up in a youth club in Essex will bring back great memories for many people. The innocence of youth, coupled with the charm and love from a bygone era proves to be a wonderful platform for some of the greatest music ever written. Even if you didn't live through the 50's, I think the joy in the music is so infectious that you can't fail to have a good time.


AL: If you could play any role in musical theatre, what would it be?
PB: If ever a musical is made of Back To The Future, I'd do anything to be in it! It's my favourite film of all time.

You can follow Patrick on Twitter @patburbridge


COMING SOON: The Globe, Victoria & Albert Museum, The Lion In Winter, More from Phantom 25 and Interviews

Phantom of the Opera & Interview with Christine Daae, Sofia Escobar

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

Access London has been posting about Phantom of the Opera's 25th Anniversary on and off for the last 6 weeks. Today saw the final Tuesday matinee ever at Her Majesty's theatre. As of next week, the mid-week matinee will be on Thursdays at 2.30pm. There are no other changes planned for the evening performances or Saturday matinee.

It's certainly been a big few months for Phantom with a major cast change and anniversary rehearsals in September, three anniversary celebratory performances at the the Royal Albert Hall in October, changes to the schedule of its mid-week matinee and announcements about its brand new 2012 tour that will see John Owen Jones leaving Her Majesty's to don the mask from February-Setember, after which Earl Carpenter will reprise his role as the Phantom. The cast also includes current London alternate Christine, Katie Hall, playing Christine.

Our next post on Phantom will include some Access information for the first stop on the Phantom's tour, Plymouth, tickets for this venue go on sale from 27 October.

Back to London and Her Majesty's Theatre, Access as always, is pretty strong and FOH staff are some of the most helpful and disability aware I know of in any London theatre. There is level street access for those using a wheelchair, scooter or cannot manage stairs, through a side Exit door on Charles II Street - simply inform someone at the front of the theatre and they will open these doors for you. This entrance leads into the rear of the stalls.

Access Facilities at Her Majesty's include: 4 wheelchair spaces in row S in the stalls, storage for wheelchairs and scooters, transfer to aisle seats, accessible WC, gentle rake in the stalls, very helpful ushers, 2 assistance dogs per performance allowed, hearing loop with 10 headsets available, seats with extra leg room ( E1, E25, F1, F25, G1, G25, N1 and N28 in the Stalls).

For Blue Badge Holders, there are spaces located in both Charles II Street and St James' Square. Both of these locations have 3-4 hour time restrictions on them up until 6pm, after which they are unlimited in time allowance until the early morning.

To book Access tickets for Phantom of the Opera, please call: 0844 412 4648. For all other ticket types, please call: 0844 412 4653.


Access London is delighted to share with you another interview to celebrate Phantom's 25 years. Today's is with our fabulous London Christine, Sofia Escobar. We'd like to take this opportunity to say a huge Thank You once again to Sofia for taking the time to answer some questions and for all her continued support.


AL: You've just extended your contract at Phantom for another year, until September 2012, are you excited about staying on during its 25th year?
SE: Very excited indeed! I wanted to stay for what I'm sure is going to be a very exciting time for Phantom of the Opera and all the Phans out there. It's a great honour to be part of such a magnificent production!


AL: Phantom is loved by audiences worldwide - why do you think it is so well-loved and has people coming back to see it time and again?
SE: It's a timeless piece of Musical Theater, it's got all the magic ingredients that have made it such a success all over the world, the story, the music, the love! It's pure magic. I'm sure it will be here to stay!


AL: The show has some truly spectacular sets and costumes - do you have any favourites?
SE: Christine's costumes are truly gorgeous but my personal favorite is the Blue Managers dress and cloak, I'd love to take it home with me after the contract! :)


AL: Phantom is getting a new UK tour for 2012 - are you aware of any changes to the show happening in London?
SE: Not that I know of, I dont think there will be any changes to the London production.


AL: The show has many special effects and technical elements throughout. Do you have a tale to tell of something going wrong/mishap during a performance?
SE: The other night in the final lair scene the boat didn't move so Phantom had to drag me out of the boat and did the scene walking in what should have been the lake... It was quite funny!


AL: What is the atmosphere like backstage during a performance?
SE: It's intense! Everyone knows what they're doing but there's always an awful lot going on backstage during a performance, it's quite a show! Lots of people running around with costumes, props! Actors in quick changes! A lot of fun! But I'm sure that for an outsider the whole thing would seem madness!


AL: Christine has rather a roller-coaster ride of emotions throughout the show. By the time the final lair scene arrives, what do you believe she is thinking and feeling?
SE: I believe she is extremely confused, hurt, sad and generally feeling lost. She doesn't know what to believe or who to turn to, I think she also feels alone but finds the strength within her to pull through and make her decisions. It really is a roller-coaster of emotions.


AL: You have played alongside several Phantoms during your time at Her Majesty's. Do they all play the role differently? And do you have to change the way you play Christine to suit their Phantom?
SE: Every actor brings their own way of playing the part to the show and that makes it very exciting when someone new comes in. I dont necessarily 'have' to change the way I play Christine but it happens naturally because I will be reacting to whatever the actor playing the Phantom gives me. It's more of an 'organic' change rather than a premeditated one.


AL: There have been productions of Phantom all over the world. If you could play Christine anywhere, where would it be and why?
SE: To be honest I wouldn't change where I am now. I always wanted to be in the London production, this is where it all started 25 years ago. Gives me shivers to think of it.


AL: Do you have a Birthday Message for Phantom and its fans?
SE: A huge thank you to all of you who love and support the show and have been doing so all through these years. Phantom turning 25 wouldn't have happened if it wasn't for all of you out there and all the wonderful audiences who keep coming to the show all over the world. Lots of love to all!


Thank You once again Sofia for that. You can see Sofia perform as Christine Daae at Her Majesty's until September 2012. Sofia performs 6 shows a week (currently Katie Hall performs the other 2) - as of 31st October, Sofia will not be performing on Mondays or Fridays. She is also on holiday from 27th October until 6th November.

To keep up with all of Sofia's news SEE HER WEBSITE
You can also follow her on Twitter @sofia_escobar
Sofia also has a page on Facebook






COMING NEXT: Dreamboats & Petticoats plus Cast Interview
COMING SOON: The Globe, London Coliseum, The Lion In Winter, More from Phantom 25 and cast Interviews

Phantom of the Opera's 25th Anniversary & Interview with Original Meg Giry, Janet Devenish

Welcome back to Access London and thank you for continuing to support disability access and awareness to the arts in London.

Continuing with Access London's celebrations for Phantom of the Opera's 25th Anniversary and the brilliant Access at Her Majesty's theatre, today saw the release of the 2012 tour information. The 2012 tour will star John Owen Jones (the current London Phantom) in the lead role from the tour's start in February (Plymouth) until half way through the Edinburgh run in September. After this, former Phantom and co Three Phantoms star, Earl Carpenter, will take over the role on tour. Christine is to be played by the current London alternate, Katie Hall. Access London would like to take this opportunity to wish John Owen Jones, Earl Carpenter and Katie Hall all the very best for the tour next year!

For all the information on dates and booking info, please see the OFFICIAL SITE HERE

Although Access London predominately focuses on events and venues in London, we will be providing readers with as much Access information as we can on the venues hosting the 2012 tour as we realise that not everyone can make the journey to London to enjoy the show at Her Majesty's.

John Owen Jones was originally scheduled to play the Phantom in London until 17 March 2012. Due to the exciting news that he will be playing the role in the tour, his final performance at Her Majesty's Theatre will be on 10 December 2011. Between then and March 2012, Earl Carpenter will play the role of the Phantom in London until Peter Joback takes over, as originally planned, in March. Watch this space for more Access info on the tour venues.

John Owen Jones has also announced that his new album will be released around the same time that the tour commences.
You can also catch Earl Carpenter, John Owen Jones, Matthew Cammelle, Rebecca Caine (and at certain performances Rohan Tickell) in the Three Phantoms concerts. For concert dates and booking information, see the OFFICIAL THREE PHANTOMS WEBSITE

If you can't get to any of the tour dates next year, don't forget, you can always watch the original show in London at Her Majesty's theatre. Access information for this theatre is as follows....

If you are a wheelchair or scooter user, or cannot manage stairs, then there is a side entrance on Charles II Street that has level access to the rear of the stalls and also a storage area for chairs and scooters and an accessible WC. When you arrive at the theatre, simply ask someone at FOH (usually people outside from about 30-45 minutes before a performance starts) and they will escort you around to this entrance.

There are 4 wheelchair spaces (with companion seats) in Row S in the stalls. If you can transfer then any aisle seat in the stalls can be booked (subject to availability of course!). The stalls have a relatively gentle rake. People making an access booking are assigned an usher to assist them, although a companion must accompany each access booking made and both are entitled to the Access booking rate.

Charles II Street also has several blue badge bays along it - these are time restricted until 6.00pm but not afterwards. There are also several blue badge bays in St James' Square which is a few minutes walk away down Charles II Street.

Her Majesty's has an infra red system with 10 headsets available (a receipt needs to be signed at time of collection) - ask at the box office or any member of staff if you wish to use one. Assistance dogs can be looked after by staff during the performance - a maximum of 2 dogs per performance. Large print programmes and braille cast lists are also available upon request.

To book your access tickets for Phantom of the Opera, please call: 0844 412 4648.


Access London is delighted to be able to share with you another interview we did with a former cast member for the show. Today's interview is with Janet Devenish who was the original Meg Giry in the London production. We'd like to take this opportunity to once again say a huge thank you to Janet for takign the time to answer some questions.

Phantom was very different to any other productions that opened in the 80s. Did you have any idea at the time how well loved and huge it would become?
Not at all! Really - I could see it was a great show but I did not foresee how hugely popular it would become.


Were you required to be pretty skilled at ballet in order to audition for the role of Meg?
Yes - there was a lot of pointe work in the show and you cannot gain that skill overnight. I did a lot of work with Gillian Lynne during the audition process which confirmed my ballet skills and I loved it!


What was your favourite scene to perform in the production?
I loved dancing Masquerade, but I also loved working with the wonderful Mary Millar as my mother - so any time on stage with her was special time.


Have you seen the show since you left? If yes, has it changed much since you performed in it?
I have seen it few times, and each time it has been different. I think it has varied depending on the cast, but I was not aware of huge changes that had been made to the actual content of the show.


Would you ever have considered going back to Phantom after you left, perhaps as Mme Giry?
If only my vocals would allow.... I could not sing that role, but I could bang a mean stick!


I understand that you now teach and choreograph but, do you still perform aswell?
No - I train the talent of tomorrow!


Did you seen the Phantom sequel, Love Never Dies? If yes, what did you make of Meg's character in it?
I found it very hard to just watch the show and appreciate it for what it was, as I found myself thinking 'Meg wouldn't do that' or 'Mme Giry would not have expected that of Meg'. I saw it very early days into the run, perhaps I could be more detached now, having seen it once, but it was too personal at the time - all those years later I still felt the character in me.


Do you have a Birthday Message for Phantom of the Opera and its fans?
Keep the magic alive. Phantom was a truly memorable part of my life, and it has brought great pleasure to so many. Happy Birthday to the greatest show!


Janet is the Deputy Principal and teaches Dance and Musical Theatre at the Stella Mann College. She also teaches at the Rugby Youth Theatre - teaching and inspiring the performers of tomorrow.

COMING SOON: The Globe Theatre, The Lion In Winter, The Lyric Theatre, Phantom 2012 Tour Access Info, More from Phantom 25 including interviews with Sofia Escobar, Stephen John Davis and more...

Phantom of the Opera's 25th Anniversary & Interview with Phantom, Scott Davies

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

First off, I must say a massive Thank You to everyone for your feedback on the last post, the responses have been coming in thick and fast about your stories from the Royal Albert Hall - some of you have asked if it is just issues from Phantom25 access seating I am interested in, no, it isn't, any access problems you have had at the Hall, from booking tickets, communication breakdowns to the seating itself.

I did say in the last post that this one would be dedicated to some of the issues that people have been having and some of the feedback I have received from the Hall after having several long conversations with them, including one very long one at the Hall itself after the Phantom25 performance on 1st October. However, due to the amount of messages, comments, Tweets and emails I have received on this, I am delaying this post until next week so that I can edit down all the main points you have been raising, please do continue to send in your stories if you have one though.

Also promised in the previous post was more information about Access at Her Majesty's Theatre....
If you are a wheelchair or scooter user, or cannot manage stairs, then there is a side entrance on Charles II Street that has level access to the rear of the stalls and also a storage area for chairs and scooters and an accessible WC. When you arrive at the theatre, simply ask someone at FOH (usually people outside from about 30-45 minutes before a performance starts) and they will escort you around to this entrance.

There are 4 wheelchair spaces (with companion seats) in Row S in the stalls. If you can transfer then any aisle seat in the stalls can be booked (subject to availability of course!). The stalls have a relatively gentle rake with a handrail along the wall. People making an access booking are assigned an usher to assist them, although a companion must accompany each access booking made and both are entitled to the Access booking rate.

Charles II Street also has several blue badge bays along it - these are time restricted until 6.00pm but not afterwards. There are also several blue badge bays in St James' Square which is a few minutes walk away down Charles II Street.

Her Majesty's has an infra red system with 10 headsets available (a receipt needs to be signed at time of collection) - ask at the box office or any member of staff if you wish to use one. Assistance dogs can be looked after by staff during the performance - a maximum of 2 dogs per performance. Large print programmes and braille cast lists are also available upon request.

To book your access tickets for Phantom of the Opera, please call: 0844 412 4648.


Access London is delighted to share with you another cast interview in celebration of 25 years of the show. Today's interview is with Scott Davies - Scott performed as The Phantom at both Her Majesty's Theatre and on the UK tour, he is currently the Standby Phantom in London. Access London would like to say a huge Thank You to Scott for taking the time to answer some questions....


AL: How does it feel to be part of such an iconic and much-loved show as Phantom?
SD: It's amazing! I still have to pinch myself when I walk past front of house before the show and think, oh! that's me!!


AL: Why do you believe the show is so loved and has audiences returning time and again?
SD: The story is just so simple yet offers everything an audience could want. Obviously the score is beautiful too.


AL: The Phantom's character is quite volatile. How do you go about getting into role each night?
SD: The show has a really clever way of cranking up the tension so a lot of the preparation happens within the actual show. It's really exciting.


AL: I'm sure you've been asked this a lot but, what is the make up process like to go through?
SD: No problem. My Make-up artist is fab and manages to do the make up quickly and effortlessly. We get on well so it's a nice time to catch up with each other.


AL: Do you have a favourite song/scene to perform?
SD: My favourite is the final lair because it shows the real extremes of the Phantom's character.


AL: You have played The Phantom at both Her Majesty's and on the UK tour. How did these experiences differ for you?
SD: Both were great but London is better because it's nice being at home.


AL: Her Majesty's has been the long time home of Phantom since it opened and so is completely set up for it, with staging, sets and technical elements. Does this differ a great deal when the show is on tour?
SD: The sets and props are identical so no differences there. Sometimes playing a larger house though changed the intimacy of the show that is created at Her Majesty's.


AL: Having played opposite quite a few Christines, does your performance change depending on which actress is playing her?
SD: Some reactions are different but my intentions remain the same.


AL: With a show like Phantom that has so many technical elements and special effects in, do you have a tale to tell of a mishap during a performance?
SD: I went on for the final lair on tour and there was no port-cullis, no throne, no organ, no candles, nothing!! Half way through the scene I saw the throne and organ being pushed on by a broom handle!!!


AL: Lastly, do you have a Birthday Message for Phantom and its fans?
SD: Thanks for your ongoing loyalty and support. Here's to the next 25 years!!!


Once again, Thank You Scott for your time and for supporting disabled access to the arts in London. Scott is contracted as the standby Phantom until September 2012. You can also see Scott perform in the English National Opera's production of Tosca at the London Coliseum as Spoletta - performances on 26, 28, 30 November, 2 December and 17, 21, 24, 29 January, with a signed performance on 24 January. To book Access tickets (and to join the Access scheme at ENO) please call: 0871 472 0666. For all other ticket types, please call: 0871 911 0200.


If you have a story about any any Access issue at the Royal Albert Hall, you can contact me at claire@horizon-va.co.uk
Or, send me a Tweet @HorizonVA


COMING SOON: The Globe Theatre, The Lion In Winter, London Coliseum, Royal Albert Hall Access Issues, More from Phantom 25 - interviews with Sofia Escobar and more...

Phantom of the Opera's 25th Anniversary & Interview with former Christine, Rebecca Caine

Welcome back to Access London and Thank You once again for supporting disability access and awareness to the arts in the Capital.

Many of you will already know that throughout September, Access London ran celebration posts for Phantom of the Opera's 25th Anniversary, these posts will be continuing throughout October. Today is officially Phantom's 25th Birthday, so, from Access London, a big Happy Birthday to the show and all current and former cast, crew and creatives - here's to another fabulous 25 years!

The show enjoyed a weekend of celebrations last week at the Royal Albert Hall where one of the concerts was also streamed live to cinemas across the globe on Sunday. Encore showings of this are happening throughout the next couple of months abroad, so make sure you check out your local cinema for any forthcoming showings. Those in the UK will see the dvd and cd recordings released in November.

Unfortunately for those who require disabled access and additional requirements to venues, it seems that the Royal Albert Hall most certainly did not deliver on this front to many last weekend - myself included. I have received many messages about this via email and Twitter and will be dedicating a separate post to some of the issues that people faced at the Hall this coming week. If you have a story of your own about Access at the Hall, I would very much like to hear about it - see my contact details below.

I initiated enquiries this week as to the Access failings at the Hall and these and any changes discussed will be in the next post.

On a more positive note, if you didn't make it to see the live celebrations at RAH or missed the cinema screenings, then don't forget, you can always go and see the show at its London home - Her Majesty's Theatre on the Haymarket. This theatre, I am pleased to say, is most definitely accessible and has some of the most disability aware FOH staff I have experienced at any London theatre - so thank you to everyone there!

More detailed Access information will appear in future posts but for now...Her Majesty's has level access to the rear of the stalls through a side entrance on Charles II Street. There are 4 wheelchair spaces in row S in the stalls with companion seats. If you can transfer, then you can book for any aisle seat and your wheelchair or scooter will be stored for you until the end of the performance. There is an adapted WC next to the accessible entrance/exit and wheelchair space users/transfer seats are assigned an usher to assist and order interval drinks if wished. Please see next post for more detailed explanations on seating at Her Majesty's and facilities for other disabilities.

In keeping with all of Access London's other Phantom25 posts, I'm delighted to share with you another interview with a former cast member, Rebecca Caine. Access London would like to offer a huge Thank You to Rebecca for answering some questions for us. Rebecca joined the original London cast of Phantom and then went on to repeat her role as Christine in the Canadian premiere of the show alongside Colm Wilkinson.


AL: When you joined Phantom, did you realise how big and how loved the music and story would become?
RC: I went in 6 months after it opened to alternate with Claire Moore and for a month Sarah Brightman so I wasn't quite original cast although I did perform with them.
Yes, I did realise because I had just come out of another big show, Les Mis, in which I created Cosette.
No one thought at the time either shows would run as long as they have.


AL: Have you been back to see the show since you left?
RC: Just once, when I went to see my friend Gina Beck a year ago. She was fabulous, I screamed all the way through.


AL: What was your favourite scene/song to perform?
RC: I never had a favourite but The Overture is spectacular.


AL: You played alongside Michael Crawford as The Phantom initially but which other Phantoms did you play alongside and who were your Raoul's?
RC: I opened the Canadian production opposite Colm Wilkinson who I'd worked with in Les Mis. We also recorded it. I played opposite many Phantoms including Peter Karrie.
My Raoul's were Steve Barton, Michael Ball and Byron Nease


AL: What emotions do you think Christine is feeling when she sings the song 'Wishing you were somehow here again'?
RC: I can't remember really. Sad about her father. I certainly felt it when I sang it for the first time after my father had died.
Though during my long run it was generally at that time I started wondering about what was in the fridge when I got home....


AL: You are part of the cast of The Three Phantoms. What is it like going back to sing songs you sang when Phantom first opened?
RC: Difficult to remember any of them as the BOYS will attest! I do notice I can sing them no matter how tired I am and that my body does the moves still. Muscle memory...


AL: Lastly, do you have a Birthday Message for The Phantom of the Opera and its fans?
RC: I'd like to thank ALW for my bathroom refit, Kitchen remodelling and Facelift Fund. x
HAPPY BIRTHDAY!


Once again, a huge Thank You Rebecca, your support for access to the arts is much appreciated.

Rebecca's recordings include the original Canadian cast recording of Phantom, which is personally my favourite recording of the show (for those that have asked me recently). To hear her sing as Christine Daae, pick up you copy from Dress Circle shop or their online store. You can also hear her sing as Cosette (the role that she created) in the original London cast recording which can also be bought from Dress Circle.

Rebecca's beautiful album 'Leading Ladies' can also be purchased from Dress Circle and features her performing 17 stunning tracks including works by Gershwin, Coward and Novello.

"It was the beauty of the music that first attracted me to this repertory, but when I began looking into the women who made it famous, I became increasingly fascinated by their personalities, and the lives they led. They were among the most glamorous stars of their days, on a par with today’s movie and television celebrities.

I do not seek to impersonate them but to interpret them. Their vocal qualities are quite different, from Gertie Millar’s soubrette charm in Moonstruck to Jose Collins’s richer operatic quality in Love Will Find a Way, Gertie Lawrence’s matchless style and Jessie Matthews energy and vivacity. Mary Ellis was a "cross-over" in the truest sense of the word, having started her career at The Metropolitan Opera, singing with Caruso and Chaliapin before she became a serious actress. Evelyn Laye starred in Bitter Sweet on Broadway. Lizbeth Webb could sound like a lyric soprano one minute and a 1950’s pop singer the next. Julie Andrews needs no introduction, being the most internationally famous of all these leading ladies, having become, like Jessie Matthews before her, a great movie star and one of the last true soprano voices in musicals.

I would like to thank Gerald Martin Moore for being the guiding force behind this recording. Without his his knowledge, inspiration and encouragement, this album would have never happened.

I would also like to thank him for his vocal versatility which has given us Noel Coward, American juv lead, George Metaxa, George Guetary, Vaudeville Boy, Hooray Henry voice, four cockney costermongers and my particular favourite, Olive Gilbert.

Rebecca Caine"

Rebecca also performs with the Three Phantoms which is soon to start its new concert dates later this month. She is currently scheduled to perform: 21 and 22 Oct at Wales Millenium Centre, Cardiff, 4 and 5 November New Wolsey Theatre, Ipswich, 6 Nov Bournemouth Pavillion, 19 Nov Theatre Royal Plymouth and 10 and 11 Feb 2012 at the Chichester Festival Theatre - if you can get tickets for any of these, make sure you do for a great and entertaining night out with some top class performers!

To keep up with all of Rebecca's news and performance dates SEE HER WEBSITE
You can also follow her on Twitter @RebeccaCaine


If you would like to get in touch about any Access issues you have had at the Royal Albert Hall, you can do so via claire@horizon-va.co.uk
Or, contact me on Twitter @HorizonVA


To buy any of the above recordings featuring Rebecca Caine and to search the treasure trove that is Dress Circle, visit the website www.dresscircle.co.uk


COMING NEXT: Royal Albert Hall Access
COMING SOON: More Phantom 25 posts & Interviews, London Coliseum, Les Mis, The Globe

Priscilla Queen of the Desert & Cast Interview with Steven Cleverley

Welcome back to Access London and Thank You once again for supporting disability access and awareness in the Capital.

Today's post is dedicated to the hugely popular and entertaining show that is Priscilla! Performed at The Palace Theatre on Shaftesbury Avenue, the show is a bright, colourful night out!

Unfortunately, The Priscilla bus is shutting its doors and leaving The Palace at the end of the year so if you haven't already seen the show, or want to see it again, make sure you book tickets soon!

For wheelchair and scooter users there is a shallow (about 3cm) step into the theatre though an Exit door on Shaftesbury Avenue - there is a ramp available to get up this also. Simply go to the front of the theatre and someone from FOH will escort you around to the entrance and assist you. This entrance leads into the back of the stalls (this area also has an accessible WC). There is space for 2 wheelchairs at the back of the stalls, with an adjacent companion seat. Alternatively, if you can transfer, you can book any aisle seat in the stalls. The theatre can store up to 5 wheelchairs and 1 scooter per performance.

Assistance dogs are allowed into the auditorium or staff can sit them during the performance (maximum of 4 dogs per performance). There is also an induction loop system at The Palace. There is no step-free access to a bar but staff are happy to go and fetch drinks for you at the interval - I found all staff to be amazingly helpful at The Palace and would like to send out a big Thank You to all.

To book Access tickets to see Priscilla, please call: 0844 412 4648 (current Access price is £25.00 per ticket for disabled person and 1 companion, seated in the stalls!). For all other ticket types, please call: 0844 755 0016.


Access London had the opportunity to speak with one of the cast members recently and would like to say a huge Thank You to Steven Cleverley for taking time out to chat. Here's what he had to say....

AL: When did you first become involved with the show?
SC: I've been doing the show now for two and a half years, I was in the original London cast and went through the whole rehearsal process. We did 6 weeks at the rehearsal space, called Jerwood Space, which is based over in London Bridge. So, we were there for 6 weeks with that and then we came into the theatre and did tech and everything, so I've been doing it for quite a long time.
It's nice because we're all like a family, we don't just come in and do our job, we spend a lot of time with one another - it is your extended family. We all get along well and have lots of laughs backstage.

AL: What was the audition process like?
SC: I got the audition through my agent. I'd just finished Le Cage Aux Folles so they said 'oh we think you'd be perfect for this' and I knew the casting director and she knew I had done drag before. So I went along to the audition process and I think I went to about 9 or 10 auditions. It was a really long process, especially because they were doing an original cast. I got offered the job in the August and then it took 6 months for the actual job to start. Obviously the creative team had to come over from Australia and it's not like it's round the corner so they came for long stints at a time, about 3 months.
It was actually quite painful trying to find out if I'd got it or not - I was sat at home waiting for the phone to ring - I couldn't believe it when I got the phone call!

AL: Did you realise at the time it would be such a long process for the production to start?
SC: Well the phone did ring at one point and they asked me to come back and read for....because I cover one of the parts in the show, Miss Understanding, so they called me back and said 'we'd really like you to come in and go through the script and do the song again'. From then until getting the phone call, I think it was about 4 or 5 weeks.

AL: You play more than one role in the show?
SC: Yeah I play Farrah and Young Bernadette

AL: What's it like playing more than one part?
SC: Well the thing is, everyone has their own little feature bits and then obviously you do your bits in the ensemble. We are always busy changing...I go from being a girl, being a drag queen, to being a man, then I go to being a paintbrush and things like that. And then in the interval I've got 15 minutes to get my drag make-up back on and go on again to play Young Bernadette and then I'm back to being a boy but I've still got a full face of make-up - so I keep my head down and have sunglasses on to hide the drag make-up.

AL: So with that many extreme costume changes, I assume it's all a bit manic?
SC: Yeah, it's crazy! The fastest change I do is I've got about a minute to get out of a cupcake and into a drag casino outfit and then come on - and I've got to be there as I've got a line. When we first started I was thinking, 'I'm never going to make this' and then now I just sort of walk round the back really breezy.

AL: Do you have a favourite costume?
SC: Young Bernadette, it's a big, spectacular costume - it's massive and lots of feathers.

AL: Any favourite songs in the show?
SC: My favourite is actually MacArthur Park when we're all dressed up as cupcakes because you look out to the audience and everyone's happy, smiling - that's probably my favourite bit.

AL: How do you prepare before a show?
SC: Normally, in our dressing room, I share with two of the boys, we've got our music playing very loud and having a laugh. I'm going onstage as an over the top drag queen - I've not really got to think about what I'm doing, it comes naturally. It is hard to wind down after, we go for a drink or like tonight I've got to go and do a gig afterwards. It's such a party atmosphere in a show like this, you can't often just go home.

AL: What's The Palace like as a theatre to perform in?
SC: It's great! I mean this building has got so much history with the shows that have been here. I mean, Les Mis was here for years and I remember coming here to watch it with a school trip and we went onto the stage to get shown the set - to think however many years later I am actually performing on that same stage is crazy!

AL: If you could play any part in any musical, what would it be?
SC: I would love to be a drag Velma Kelly in Chicago - do something like that, just because it's so camp! I've always wanted to be in Cats, that was the kind of show that got me into dancing, I loved it.

AL: What would you say to people that haven't seen the show yet?
SC: I think they should see it because it's a really feel good show and there's not many productions like this around. You can walk in here having had a miserable day and just forget about it all for 2 and a half hours - it's a really fun night out. We see people in the audience clapping and dancing away - I think London needs that right now.

AL: Lastly, if you could be in a production anywhere in the world, where would it be?
SC: Well I'd love to go over to Broadway and do something. I'd also like to work in Germany - my friend works there in Starlight Express and I've visited the country a lot - Actually, I'd love to do Starlight Express over there.

AL: Can you skate?
SC: No, not very well, but I could do skate school. I'd probably fail though, I'm so clumsy!


A huge Thank You once again to Steven for answering those questions. Remember, if you want to see the show, it closes on 31 December 2011, so get booking!!



COMING NEXT: More from Phantom 25 & Interviews
COMING SOON: Billy Elliot, Globe Tours and Exhibition, 39 Steps