South Pacific & Nick Wyschna Interview - Part 2

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

Our last post was the first in a two-part series on South Pacific, currently playing at The London Barbican and part 1 of our cast interview with Nick Wyschna - if you missed it, please scroll down to read more. Since then, I have checked with The Barbican box office and Access seats are selling very fast for this production. South Pacific is only at The Barbican until the 1st October when it leaves to go on a UK tour. After this date, you can catch it in Milton Keynes, Manchester, Glasgow, Bristol, Oxford and Southampton throughout the rest of 2011 and into 2012.

If you qualify for Access Seats at The Barbican (have a disability as stated under the disability Act) then don't forget to register for The Barbican's excellent Access Scheme. The scheme allows you to register your details for free so that the box office can assist you in booking the best seats for your particular needs. It also means that, if you use a wheelchair or mobility scooter, you can watch South Pacific in the stalls at The Barbican for only £7.50 a ticket for you and your companion. The scheme entitles you to free blue badge parking in one of The Barbican's car parks - simply take your ticekt to the box office on arrival and they will provide you with your exit ticket. To book Tickets, Access Seats and Blue Badge car parking, please call the box office on 020 7638 8891. To register for the Access Scheme, please see THE BARBICAN'S WEBSITE

After the popularity and all the messages (thank you) sent in after part 1 of our interview with Nick Wyschna, Access London is delighted to share with you the second part - a huge Thank You goes out to Nick again for taking the time out to talk. This second part focusses on Nick's debut album 'Lost In The Wilderness'.

AL: What was it that prompted you to decide to record an album?
NW: I don't know, it sounds quite big headed to do something like that but, I don't think I'll ever be any better and I wanted to actually capture a moment when I was OK. I don't think I'll be doing this job forever, simply because of the money, that was half the reason for it. Another reason is that I was going to work on a cruise ship and to sell an album on a cruise ship is quite nice because people like to take a souvenir home and I was the lead singer on the ship, so it was good to be able to sell it onboard.
Plus, I trained at The Royal Academy of Music and so I was surrounded by all these amazing musicians, so I had lots of friends that were willing to do it with me, which was incredible. And if you listen to it, the band are just....it's only a 4 piece but it's superb.

AL: The band was something I was going to ask you about....if you had worked with them before?
NW: They are amazing lads. I love working with the guys. I'm not into the stereotypical and bad side of what people think the industry is like - I've surrounded myself with mates and people and I'm blessed with that and some amazing friends. They really did me a favor, I was dead chuffed with it.

AL: It does have almost a gig-like sound to it....
NW: I wanted it to sound like that.

AL: It does, as if you've got the band right there with you in the room when you listen to it, quite intimate...
NW: Well if I'd have had my own complete choice, I'd have done it as a live recording, which I didn't, as it's not really practical but, I wanted it to sound as live as possible and most of the takes were in one block, it's not cut and paste. If there was a tiny mistake I didn't really mind, as long as it wasn't flat or anything like that but I didn't mind if a particular note wasn't held for the right length - I wanted it to sound raw.
The original master of it was really raw and rocky, I loved it. But, I wrote off to the record label, Making Records, who are a label for musical theatre people - they've got an album with Julie Atherton and Gemma Atkins - they're fantastic. So I wrote to them and sent them my rough demo, just to ask their opinion as to where I should go from now, not expecting anything to come of it. Then Guy James, the Producer, called me and said 'we'd like to have a meeting with you, we think you've done a great job on this, producing it yourself'. So I went and met him and he said 'we'd like to sign you to the label' - which meant that they re-mastered it and made it sound a little bit less raw, they haven't taken it all away but they've made it alot cleaner - it's much better quality, it's shop quality now. So they did that and thanks to them it's been packaged lovely, they put good money into the album cover and it's a much better product thanks to them.

AL: Your voice does have a jazzy sound to it, do you have many influences in that area?
NW: Neil Diamond. I love jazz, I love swing and I've done loads of it so I can't help but be influenced by that kind of vocal sound.

AL: The choice of tracks on the album are from quite contemporary musicals - how did you go about choosing them?
NW: Well I didn't want, against my mum's best wishes, as she wanted me to do all the Les Mis stuff and I wasn't up for that. I didn't want it to be a self-indulgent album, I wanted to do stuff that people don't always hear. I think there's only one track on there that people would really really know and that's 'High Flying, Adored' from Evita. Other things from The Life people haven't even heard of that musical a lot. I've got Wicked on there, I've got a track from Jason Brown's album which isn't strictly speaking from a musical but it's from JRB who's a musical theatre composer - so they're all songs that are less known. I wanted it to be really contemporary.

AL: I think that helps with the gig/live sound you wanted. If you did Les Mis, it would certainly be a very differernt type of album.
NW: Yeah. If I did that, it would have been very self-indulgent. When I first decided to do it, I knew I wanted to do an album of contemporary musical theatre and I think that's what I've got.

AL: If you did make another album and could have anyone to come in and sing alongside you on it, who would you choose?
NW: Paulo! (laughs). My God but he would make me look really rubbish. But there's so many people. Dan Koek has got a lovely voice, he's playing Cable in the show (South Pacific), but he'd upstage me too so I wouldn't choose him (laughs) but I don't know, there are so many...we have a very talented cast here too.

AL: Would you like to be part of any of the shows that feature on the album?
NW: Well I got down to the finals for Fiyero in Wicked for Germany, so I had to learn the whole score in German, I'd never spoken German before, so it was very intense but, I really wanted the job, but I didn't get it - I would have loved to have been in that. I'm getting to the age now where I can't play young leads so that would have been my last chance to play that kind of part.

AL: You must have really wanted it, to learn it all in German?
NW: Oh my word! I can still remember it, it's imprinted on my brain, the madness!

AL: How long did the recording of the album take?
NW: About a week, working full days. Clive Cherry produced and recorded it for us in a shed at the bottom of his garden, so that's another thing that I think contributed to the live sound, I loved it! And he's an old rocker, long hair, really cool guy. It was fantastic with all the lads, the band, lots of fun.

AL: Do you play your own gigs?
NW: Well I run a company called Prestigious Entertainments which is an entertainments agency and I book out anything to do with entertainment for weddings, corporate events, that kind of thing. That's where I started, I started my career singing swing, jazz and Blues Brothers at weddings and it kind of snowballed and people were asking me if I could put them in touch with a harpist or choir for their wedding and I was saying 'no'! Then I thought, 'why am I saying no?', I trained at The Royal Academy, I know all these musicians, so I just started saying 'yes' and it developed into a business. It's not massive and I couldn't make it massive yet as I'm too busy with other things but I do want it to get to that stage. If I do cut back with tours and musicals, I want it to be in place so I'm not scrabbling around - I think it's very important as an actor to have something to fall back on.

AL: But you would carry on performing yourself?
NW: Oh yes, absolutely. I do, as soon as I'm out of work, out of a musical, I'm straight back into corporate and weddings.

AL: Would you ever make another album?
NW: I'd love to. But I think I'd wait. If I got a lead role in a show then I'd probably re-master this one or bring a new one out, they're very expensive to do (laughs).


A huge Thank You once again to Nick for answering all those questions. Nick's album, 'Lost In The Wilderness' is available to buy from his website www.nickwyschna.com
You can also follow Nick on Twitter
@NickWyschna
For Nicks entertainments agency, see the Prestigious Entertainments Website

COMING NEXT: Phantom of the Opera's 25th Celebrations - Interview with former Christine Myrra Malmberg
COMING SOON: The Tempest, Priscilla, The Globe Theatre and Exhibition

South Pacific at The Barbican & Cast Interview - Part 1

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

Today's post looks at the Lincoln Center Theater production of Rodgers and Hammerstein’s classic musical, South Pacific, currently playing at the London Barbican before going on a UK tour. The show is at The Barbican until the 1st October. After that it will tour the UK and currently has shows booked in Milton Keynes, Manchester, Glasgow, Bristol, Oxford and Southampton.

Whilst at The Barbican, South Pacific is showing on Monday-Saturday evenings and has matinee performances on Thursday and Saturday.

The Barbican is completely accessible to those using a wheelchair or mobility scooter. However, it is a large venue and so for those who find walking difficult, The Barbican does have three wheelchairs for visitors' use, subject to availability; these can be pre-booked by calling the Box Office on 020 7638 8891. The main entrance on Silk Street is ramped and has lifts nearby, allowing access to all levels within the Barbican.

An induction loop is provided in the Concert Hall and Cinema. Visitors with hearing aids can make use of this facility by switching their hearing aid to the 'T' position. A radio network system is provided in the Theatre and Pit - visitors with hearing impairments may benefit from this facility. Headsets can be collected from Theatre Stalls Right prior to performance.

Assistance dogs may be taken into the auditoria or left with a member of staff. Adapted WCs are provided on Levels -2, -1, G, 1, 2, 3 & 4.

The Barbican also has its own Access Membership Scheme - this allows those with disabilities to register your requirements for free so that your needs can be met. The scheme also entitles you to the fantastic Access Rate tickets for shows (the current Access Rate for South Pacific is £7.50 each for a disabled guest and their companion!!). You can also pre-book a blue badge car parking space at The Barbican and park for free - to do this, book your space with the box office on 020 7638 8891 and when you arrive at the theatre, take your show ticket to the box office and they will provide you with a free exit ticket for the car park. To book tickets and find out more about the Access Membership Scheme please visit THE BARBICAN WEBSITE

South Pacific itself is a fabulous show with a beautiful score and an extremely talented cast, including several cast members from the US Tony Award winning show - reinvented for British audiences, this show is a must-see either at The Barbican or on its UK tour later this year and into 2012.

As promised in previous posts, Access London is delighted to bring you an interview with one of South Pacific's cast, Nick Wyschna. Access London would like to take this opportunity to once again say a huge Thank You to Nick for taking time out to answer some questions. Nick's interview will be shared in two parts, so here we go with the first.....

AL: How has it been to work with Paulo (Szot) and Loretta (Ables Sayre) and has it been helpful for you all to be working with them as they have done this show before?
NW: Well we did the first week, week and a half, without them because they were doing other things. I think Loretta was working in Hawaii and Paulo was doing an opera somewhere else, so we didn't have them for the first week and a half. We were learning the show on our own and then they turned up, and obviously they know the show very well, and they are phenomenal. It didn't make it harder at all as their knowledge helped the rest of the cast learn the show to a more broader depth.

AL: That's great! So they were a real support for you all?
NW: Absolutely. I mean, to learn the show from scratch is hard anyway and also exciting but having someone there that's already done it and is happy to reinvent their show - because they're so open - they're not playing the same shows they did on Broadway. That's what Bart, the Director, wanted - they're not precious about it at all, they will work with the new cast, this is a brand new production of it.

AL: That's really good to hear...
NW: Yeah, it's nice because we were all worried about that because they've already done it and with Bart aswell - Bart's directed it twice now, on Broadway and on the US tour. The first day he said 'this is not the same production, this is a reinvention of the same show', and he's stuck to that.

AL: A production for the UK then?
NW: Absolutely, yes. The body of it is the same but you've got different actors and they do it in different ways. I think that's very important for Bart to keep and for Paulo and Loretta to reinvent it.

AL: Yes, they need to make sure they kept it fresh?
NW: Definitely, and they have done - they've kept to their word for sure.

AL: How did you get involved with the show and land a part in it?
NW: My agent. This show has been spoken about for a while and it's been on and off kind of thing but they were seeing everyone in this industry, so many wanted a part in this so I think I did maybe 6 rounds. But I've got an agent, a manager, who puts me up for these closed auditions and they just whittle you down slowly so, a couple of dance calls, a couple of singing calls. We found out quite quickly actually, which was nice. And it was a nice audition process aswell as sometimes the panel don't make you feel completely comfortable so you don't perform at your best. Whereas, with these guys, Neil Rutherford who's head of casting, he is one of the nicest guys you'll ever meet and he makes you feel so at ease so that you can be yourself, have a laugh with them and so they see the best of you - I think that's so important.

AL: That's fantastic, so they can really get to see what you can do then?
NW: Yes, you've got to be able to be yourself. First of all you've got to be talented, second you've got to be someone who can work in a team because we're together for 12 or 13 months and if there was one person in who wasn't a team player then it could go absolutely 'tits up!'. This is a fantastic company, everyone has gelled and it's accommodating and not back-stabbing, it's just a lovely company.

AL: Do you think that it's quite a 'British' thing to be supportive within a company, or not?
NW: I don't know. I worked in America, I did a show in New Orleans and I found them to be just as lovely but it's just a completely different work ethic. I can't really put my finger on it - from day one, it has been so supportive. Before day one we all got a letter from Neil Rutherford saying 'Bart's requested everyone off book for the first day of rehearsals', now I've never heard of that. I mean, I've not worked for years and years, I've only done six years, but I've never had anything like that! To be off book for the first day of rehearsals - so we do a full read through off book -it was incredible! So, we started at that level, so then you start at a place where you can carry on working from, rather than learning your lines on the job, which is a waste of time.

AL: Do you have a favourite part of the show?
NW: The songs are all incredible, I don't have a favourite song as it's such a beautiful show. I love watching Paulo, he is such a natural actor, everything is just so truthful and Loretta aswell. And Loretta has had no training, never been to drama school, it's just amazing!

AL: Are you looking forward to the tour as you only have 7 weeks at the Barbican before you go off on that?
NW: Seven weeks here, yeah. Then we've got a tour planned for 12 months or so - I know we go to Milton Keynes and Manchester to start with. I am looking forward to it because the job is just immense. I've just finished a tour five months ago in Mamma Mia, an international tour, and that was hard - touring is hard anyway but touring internationally throughout most of the year is super hard, so I'm looking forward to being in the UK - you can use your phone for free!!! I've got a girlfriend so I don't want to go too far and this means on my days off I can get home to see her and that's important to me and my family of course.
The thing is, I'm not in a position where I can choose my jobs so, if they said to me 'you've been offered an international tour' then I would have to say yes, but this is much better for me.


A huge Thank You to Nick Wyschna once again and I hope you all enjoyed reading this interview. Part 2 of Nick's interview includes lots of great information about his album so please check back with us to catch up with him again - due for posting on Sunday. In the meantime, to find out more about Nick and his Album 'Lost in the Wilderness', please VISIT HIS WEBSITE HERE
You can also follow Nick on Twitter @NickWyschna

Watch the official trailer for South Pacific here....



COMING NEXT: Nick Wyschna - 'Lost in the Wilderness'
COMING SOON: The Tempest, Billy Elliot, More from the Phantom 25th Celebrations and cast interviews

Access London Celebrates Phantom of the Opera's 25th Anniversary - Interview with Katy Treharne

Welcome back to Access London and Thank You once again for your continued support for Disability Access and Awareness in the Capital.

Today's post continues on with our popular series about Phantom of the Opera's upcoming 25th Anniversary in October. In previous posts we have looked at the access at Her Majesty's theatre and also the access and disabled facilities at the Royal Albert Hall where the celebration concerts are being held on the 1st and 2nd October 2011.

As mentioned before, the public tickets for the celebration concerts have unfortunately sold out but you can still celebrate this iconic and beautiful show by watching it at Her Majesty's Theatre on the Haymarket. The show's current cast see's John Owen Jones playing The Phantom and Sofia Escobar playing Christine Daae.

The Haymarket main entrance to Her Majesty's does have several steps up into the foyer. However, if you notify a member of the front of house team (there is always someone outside from about 45 minutes before the start of a show) then they will escort you round to the level, accessible entrance on Charles II Street. This entrance leads straight into an area at the rear of the stalls (there is also an accessible toilet in this area).

If you have booked a wheelchair bay then a member of staff will show you to your space. If, on the other hand, you have booked to transfer into a seat then you will be escorted to your seat - your wheelchair or scooter will then be taken to a storage area at the back of the stalls and brought back to you at the interval or end of the show. You can also arrange to have interval drinks brought to you at your seat.

To book Access Tickets for Phantom, please call 0844 412 4648. For all other tickets types and bookings, please call 0844 412 4653:

If you are a Blue Badge holder and are driving to the theatre then there are a couple of Blue Badge spaces on Charles II Street and also on St James' Square that is at the end of Charles II Street. Suffolk Street and Waterloo Place also have disabled parking available. Many of the blue badge parking bays in London have time limits on them during the day - however, most of these expire past 6pm, so for evening performances at the theatre, you are fine to park in them all evening.

Please remember that Westminster Council does not allow most parking on Single and Double Yellow lines for blue badge holders.

For a map of blue badge parking spaces in the area around Her Majesty's Theatre and the Haymarket, please see THIS SITE


Along with all the access information and advice on Her Majesty's Theatre and the Royal Albert Hall, Access London is proud and honoured to bring you interviews with current and former cast members of Phantom. In this special series, previous interviews have seen former Raoul, Michael Xavier and former Phantom, Richard Halton share their responses with us.

For today's post, Access London is pleased to present an interview with Katy Treharne - a current cast member in Phantom, playing The Princess in Hannibal and understudy for Christine Daae. Access London would like to take this opportunity to once again say a big Thank You to Katy for taking the time out to answer our questions.....


AL: Phantom marks your West End debut. What did it feel like when you first stepped out onto the West End stage?
KT: The first time I went out and performed my ensemble role was the most nerve-wracking but amazing moments. It all was a bit hazy as we were in rehearsals for four weeks and then we opened and it all seemed too sudden.


AL: How did you audition and land the part in Phantom?
KT: I got an audition through my agent and I was extremely lucky to get the part straight from college. I felt really honoured that they took a chance on me as they didn't know anything about me and I hadn't worked professionally before.


AL: Phantom's such an iconic show. How does it feel to be a part of this phenomenon?
KT: Being part of such an iconic show makes you feel part of it's history. When you meet the "PHans" at stage door and they tell you how man times they've been to see the show and how much they still love it, it makes you realise what a beautiful piece of theatre it is and also, with shows in the West End closing and Phantom is approaching its 25 Anniversary you can feel proud to be a part of it.


AL: You play the Princess in Hannibal among other parts in the show. What is the atmosphere like backstage with everyone dashing about?
KT: The atmosphere at the beginning of the show is something special. When the audience are watching the chandelier rise with the brilliant orchestra playing everyone's rushing back and forth the stage getting changed and into position. That moment gives me goosebumps.


AL: You understudy for the female lead Christine Daae. Have you had many chances to perform this in front of an audience, what was it like?
KT: I have been one of the luckiest understudies in the West End as in the two years I have been in Phantom I have performed Christine, to date, over 90 times. It would be incredible by the time I leave to reach 100 shows but I won't be disappointed if not as I have had so many wonderful receptions from the audiences I have performed to.


AL: In your opinion, why is Phantom of the Opera so well loved and brings back audiences time and again?
KT: It is such a tragic love story, I think everyone can relate to the main characters. The music is very beautiful and audiences nowadays know all the songs, whereas you can go to a new musical and there could only be one or two recognisable songs. The sets and costumes are also iconic and a lot of effort is put into the show as a whole.


AL: The production has some amazing costumes and sets. Have you got any favourites?
KT: Talking of costumes and sets there are so many wonderful costumes. My favourite Christine costume is the Blue Managers costume as it is so period and I love the colour blue and the design of the dress is so flattering.
Maria's set designs are so well planned. I was lucky enough to visit the Opera House in Paris and I realised how she had captured the true essence of the opera house and brought it to the stage. I stood on the real steps and got quite chocked up.


AL: What is your favourite part to perform in the show?
KT: When I'm on as Christine, my favourite scene is the Final Lair with Phantom and Raoul. This scene is Christine's pivotal moment that she flits back to the Phantom and tries to show him that there is goodness and love in the world. The build up to the kiss is a very passionate scene and you can really show a different side to Christine.


AL: If you could play any role(s) in musical theatre what would it/they be?
KT: There are so many roles that I would love to do. I'd love to be Cosette in Les Mis, and also Maria in West Side Story. Gershwin is a genius and the vocal parts he has written are just perfect for the voice.


AL: Do you have a Birthday message for Phantom and its fans?
KT: I hope that all the fans really support the big birthday plans for Phantom in October, I don't know any details myself, but there is a huge opportunity to show the world what an amazing show Phantom is.


Katy will be appearing at Her Majesty's until Saturday 3rd Spetember 2011, when there will be a large cast change, if you can get there to see her before then, please do, and support the show and Katy. Wishing you all the best for the future Katy.
Katy will also be appearing in the Phantom 25th Anniversary Concerts at the Royal Albert Hall. To keep up to date with her news, you can follw her on Twitter @katy_tre

The London O2 - Batman Live Arena Tour

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

Today's post is dedicated to Batman Live! - a spectacular, stunt-filled extravaganza that has been hitting arenas around the UK. It is currently at the O2 Arena in London until the 4th September 2011.



The show features all the major characters from the famous comic book series including: The Joker, The Penguin, The Riddler, Catwoman, Poison Ivy, The Scarecrow, Two-Face, Lt Gordon, Robin and of course Batman himself, aka Bruce Wayne. Joining them on the stage are some really impressive set pieces that include, Gotham City, The Batmobile and even a hot air balloon!

Following the story of the loss of Robin's parents at the circus they worked at and the subsequent friendship between him and Batman, the story includes as many highlights as is possible in a 2 hour show. Although, in my opinion, it isn't really the story that is the reason to see this show but the amazing acrobatics and stunt work that is involved from beginning to end.

The screen that is used as the backdrop to the set is also very impressive and spectacularly used throughout - allowing the audience to be transported from the streets of Gotham city to the depths of the Batcave to the circus and asylum in a good old fashioned comic book fashion.

The show is running at The O2 Arena in London until the 4th September when it then moves onto Liverpool, Nottingham, Dublin and Belfast. The O2 has a dedicated Access Booking Line that can be used to book all events at the Arena. To book Access tickets for Batman Live, please call: 020 8463 3359. For all other ticket enquiries, please call: 020 8463 2000 or BOOK ONLINE

There is plenty of car parking available at The O2 and for disabled parking, you can book a dedicated disabled bay when you book your event tickets, just ask for details. From the car park's disabled bays, you need to cross a small O2 internal road and then it is a short journey to the entrance.

We found all the staff to be very helpful with wheelchair and scooter users and happy to help. There are dedicated wheelchair areas in Block 101 at the Arena, right next to the stage, so you have fantastic, close-up views of the show. When you book a wheelchair or scooter ticket, you are actually reserving a space in this area and not a specific location, so you will not receive a seat number, although the whole section is in clear view of the stage anyway. There are two ramps to access this area and event staff are always nearby throughout the show if you need any help.

Photographs can be taken throughout the show but, PLEASE TURN THE FLASH OFF AS THIS IS VERY OFF-PUTTING FOR THE CAST, especially when they are performing stunts.

All in all, an enjoyable night out for kids of all ages!!

Access London Celebrates Phantom of the Opera's 25th Anniversary

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

Last week, Access London launched the first in its series of special posts to celebrate Phantom of the Opera's forthcoming 25th Anniversary this October. The last post highlighted the fabulous access to Her Majesty's Theatre, on London's Haymarket, that is home to Phantom.

Her Majesty's Theatre has level access to its stalls from street level, through a side door on Charles II Street. In my experience, Her Majesty's has some of the most helpful and attentive FOH staff, ready to assist those with disabilities. Those with a disability can qualify for the special Access Rate to see the show: Access tickets can be booked through the See Tickets Agent on their dedicated Access Line: 0844 412 4648. For all other ticket types for the show, please call: 0844 412 4653.

For more details on the Access at Her Majesty's, please see our previous post.

Phantom is celebrating its 25th Anniversary with several concerts being held at The Royal Albert Hall on the 1st and 2nd October 2011. Unfortunately, the public tickets for these events have now sold out but you can still enjoy the magic of Phantom by watching the London performance at Her Majesty's Theatre - the current cast sees John Owen Jones as The Phantom and Sofia Escobar as Christine Daae.

For those who did manage to buy tickets for one of the concert performances, the Royal Albert Hall has many facilities to cater for its disabled visitors. Ramped access to the hall is located at Doors 1, 3, 8, 9 and 12. Public lifts are located at Doors 1 and 8 and serve all levels from Basement to Gallery. The Arena Foyer bars can be accessed via a platform lift from the Basement level at Door 1.

There are fourteen wheelchair spaces, with adjacent companion seats, situated in the Stalls at Ground floor level. There are also six wheelchair spaces in the Circle at sections P, R, V and X and four spaces within the unreserved standing area of the Gallery. Many concerts and performances at the hall (including Phantom's 25th concerts) allow free entry to a carer/companion for each disabled visitor.

The hall has several wheelchairs onsite that can be reserved by disabled visitors to use throughout their visit. There are accessible facilities on each level of the hall. The hall also has 10 Blue Badge parking spaces that can be booked in advance and used for free during your visit. For all access enquiries (tickets, wheelchair loan and parking spaces), please call the hall's dedicated Access Booking Line on 020 7070 4410.

The Royal Albert Hall also has a service called 'Access List' that allows disabled visitors to join, for free, and register their needs in order to make booking access tickets an even smoother process. For more details on this service, please call the Access Booking Line on 020 7070 4410.

Our previous post on Phantom's 25th Anniversary Celebrations included an extremely popular interview with former Roaul, Michael Xavier. Access London is delighted to now share another interview with a former cast member with you - Richard Halton. Access London would like to take this opportunity to once again thank Mr Halton very much for taking the time to answer our questions and support disability access and awareness.

"Between 1997 and 2003 Richard spent much of his time at Her Majesty’s Theatre in London’s West End. He first played the part of Monsieur André, a role he enjoyed for a total of two years before becoming the walking cover of The Phantom in 1999.
Overall, he had the pleasure of performing Erik over 100 times."







AL: You joined the cast of Phantom after it had been running for over 10 years. How did it feel to be part of such an iconic and much-loved show?
RH: To be part of such a truly great production like Phantom ranks right up there as one of the highlights of my career.

AL: You played both the roles of Monsieur Andre and The Phantom, how did this come about?
RH: When I came back to the show in 1999, Cameron offered me Andre with 2nd cover Phantom, so it was a no-brainer to accept really!

AL: Who has played opposite you as Christine and Raoul?
RH: Christines - Myrra Malmberg, Meredith Braun, Debbie Dutcher, Charlotte Page, Celia Graham, Claire Hammacott, Jo Pullen, AJ Callaghan. Raouls - Mike Sterling, Gardar Thor Cortes, Matt Cammelle, Robert Finlayson.

AL: What was your favourite song or scene to perform as Andre and then as Phantom?
RH: My favourite scene as Andre was Prima Donna and my favourites as Phantom were the 1st Journey (in the boat) and Music of the Night.

AL: You have performed in many operas and West End productions, which are closest to your heart?
RH: Favourite roles and productions close to my heart are - Ravenal (Showboat), Onegin Guglielmo (Cosi), Marcello (Boheme) and of course Phantom!

AL: Do you have a Birthday Wish for Phantom and its fans?
RH: My Birthday Message to the Phantom of the Opera cast, crew and fans - Many congrats, a quarter of a century and still going strong. Here's to the next 25! x


Once again, a huge Thank You to Richard for answering our questions. To keep up to date with Richard's news you can VISIT HIS WEBSITE HERE
You can also follow him on Twitter at @richiehalton

To keep up to date with all of Access London's posts, you can follow this blog or follow us on Twitter at @HorizonVA

There is lots more to come on Phantom's 25th Anniversary Celebrations, including lots more interviews with current and former cast members - up next, current cast member and Christine Understudy.

Natural History Museum - Age of the Dinosaurs

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

As we are nearing the end of the school summer holidays in the UK, this is an additional post this week for those looking for something to do as a family over the next couple of weeks.

The Natural History Museum is located in South Kensington and has an enormous permanent collection of interesting and fun objects, with interactive activities, cafes and shops. This year has also seen a very popular exhibition at the museum - Age of the Dinosaurs.

This exhibition is due to close on the 4th September 2011 and so now is the perfect time to go and visit the museum to enjoy this and the permanent collection before the new school term starts. Although the museum does have a permanent collection on dinosaurs including, fossils, models and animatronics, this special exhibition takes you on a journey through the time of the dinosaurs and includes lots of interactive fun for the whole family. It also has animatronic dinosaurs and objects to see, touch and hear, all 'fangtastic' fun!

The exhibition is open from 10am until 6pm everyday and you can book tickets at the museum's information desk or online via the museum's website HERE

Ticket prices are £10 for adults, £6 for children and concessions (including students and disabled visitors), £28 for a family ticket and also 1 companion/carer can enter for free with every disabled visitor.

The exhibition is fully accessible for those using a wheelchair or mobility scooter. There are wide pathways leading around the route of the exhibition and all the cases are at a height visible to those using a wheelchair. There are a couple of places throughout the exhibition where forest and jungle scenes have been recreated with dinosaurs in - these are fully accessible but are quite dark inside. The paths are all clearly marked though and fully accessible with just a couple of gentle slopes.

The museum itself has its main entrance on the Cromwell Road. However, this entrance has many steps leading up to it. For the accessible and step-free entrance, please use the Exhibition Road entrance that has a level access foyer and lift up to the main exhibition level. The cafes are access friendly and there are accessible facilities onsite. For any questions relating to access, please call the museum's information line on: 020 7942 5839.

The museum also has several wheelchairs that it can loan to visitors for the duration of their visit, to book one, please call the customer service line on:
020 7942 5839. There is also a limited amount of disabled blue badge parking onsite. Due to road works that are currently being carried out on Exhibition Road, these spaces are slightly more limited so it is best to ring in advance to book one on:
020 7942 5888.

Although the Age of the Dinosaurs is a paid exhibition, you can visit the permanent dinosaur collection, or any of the museum's other permanent collections for free everyday.

COMING SOON: South Pacific, The Tempest, Phantom of the Opera's 25th Celebrations

Access London - Theatre Update

Welcome back to Access London and thank you once again for your continued support for disability access and awareness in the Capital. Firstly, thank you for all your lovely messages about my previous post on Phantom's 25th and the interview with former Raoul, Michael Xavier. If I haven't already replied to you, I'm really sorry and I will reply asap. Lots more to come on that and lots more exciting interviews too.

Today's post is one of Access London's regular theatre updates. Just to remind all readers that The Lincoln Center Theater's production of Rodgers and Hammerstein’s classic musical South Pacific has opened at The Barbican. Currently finishing its first week of previews, the show has opened with great success.

I saw the show this week and will bring a longer and fuller post next week, including a cast interview.

Until then, please book your Access tickets as soon as possible as they are selling very quickly. The Barbican has its own Access Scheme which is free to join and you are able to register your details with your specific needs (wheelchair or scooter user, hard of hearing, unable to manage stairs etc) and they can then help find the best seats for your needs. The wheelchair and scooter accessible bays are at the back of the stalls but because of the height of the venue and the steps (rather than rake) down the stalls, the view is completely clear and you really don't feel very far from the stage at all.

Each wheelchair or scooter space comes with an additional chair for a companion or carer, who can buy their ticket at the same amazing Access Rate as you. The staff are all incredibly helpful at The Barbican and happy to assist. I would suggest however that if you are unsure of whether or not you may need to use a wheelchair, if you are not a full-time user, then on this occasion perhaps you should. The Barbican is a very large venue and although the Access is all very good and there are lifts to all levels, bars and facilities, it can be a fair walk from the car parks or drop-off points.

Joining the Access Scheme also allows blue badge holders to park for free in The Barbican's car parks - simply take your Access theatre ticket to the box office on arrival and they will provide you with a free ticket to get out of the car park after the show.

To book tickets for both Access and regular seats, please call the box office on: 020 7638 8891. To register for the Access scheme you can either phone the box office or complete the form online HERE



September will see the opening of The Belle's Stratagem at The Southwark Playhouse, near London Bridge. The Red Handed Theatre Company's production of this play runs from 6th September until 1st October 2011. There will be performances Monday-Saturday at 7.45pm and a matinee performance on Saturdays at 3.15pm.


"London, 1780. And it’s marriage season. But one group of wily women are determined to challenge the status quo.

Young Letitia Hardy is shocked when her fiancée returns from the Continent convinced that English women are dull. Defying convention, she sets out to gain his love with an ingenious scheme to prove him wrong.

Meanwhile, Sir George is trying desperately to protect his wife from the evils of high society. He hasn’t counted however on two of London’s most rambunctious wits, Miss Ogle and Mrs Rackett, making it their mission to convert her into a lady of fashion.

One of the most popular plays of its time, The Belle’s Stratagem, has not been performed in over a century."

Directed by Jessica Swale, The Belle's Stratagem has a fabulous cast of 16 and stars the talented Gina Beck.

There is level Access in the theatre and dedicated wheelchair spaces and accessible facilities. There is also the opportunity to transfer to a seat too. The Southwark Playhouse' Access policy allows a companion/carer to go in for free when accompanying a disabled visitor. Tickets for this production start from only £10.

To book both Access and regular tickets for this exciting new prodcution, please call the box office on 020 7407 0234. For any Access queries, please email admin@southwarkplayhouse.co.uk


COMING SOON: South Pacific, Priscilla Queen of the Desert, The Tempest, Natural History Museum