Showbiz Christchurch returned to the Isaac Theatre Royal stage in full force for 2016 and pulled off the perfect hat-trick of Mamma Mia!, Hairspray and Evita to full houses and rave reviews. Showbiz have announced their 2017 season and it is set to be another stellar three production line up of unmissable theatre and music.
The 2017 year begins in March on a fabulous big bus called Priscilla, Queen of the Desert. This extravagant musical has over 500 outrageous costumes, 200 magnificent headdresses, a spectacular new bus custom built in Christchurch, and a hit parade of dance floor classics including ‘Don’t Leave Me This Way’, ‘I Will Survive’, ‘Hot Stuff’ and ‘Shake Your Groove Thing’.
From 26 – 28 May the Isaac Theatre will be alive with the sound of Rodgers and Hammerstein. This full scale concert – with a live Broadway-style orchestra, vocal soloists and a chorus of over 100 from Showbiz and NASDA – will feature songs from Oklahoma!, The Sound of Music, The King and I, South Pacific, Carousel, amongst others.
In September the soulful Broadway musical comedy Sister Act will have audiences feeling divine. Based on the hit Whoopi Goldberg movie, Sister Act features original music by legendary composer Alan Menken, who wrote the music for Beauty and the Beast, Aladdin and Little Shop of Horrors.
Tickets for all three shows are on sale from Thursday 24th November. Showbiz will be repeating the popular full season discount offer which was so successfully introduced for the 2016 season. Discounts of 10% for one show, 20% for two and 30% when booking for all three performances will be available on all Premium and A Reserve seats until 31st January 2017.
Tickets start from $55.00
All bookings at Ticketek 0800 842 538 or www.ticketek.co.nz
“This is slick, colourful, polished entertainment with evocative backdrops, brilliant live musical accompaniments, attractive choreography, dazzling costumes, and topped off by committed performances from a gigantic cast. With Sister Act, Showbiz Christchurch triumphs once more with a full razzamatazz theatrical extravaganza.”
“You hope for a show where everyone is doing their best and here it is. Not surprisingly every member of the cast deserves the thunderous applause which, on opening night, extends to a number of curtain-calls.”
The Press: Sister Act entertaining and engaging
By Tony Ryan
“What could easily have been the all-too-usual big brash Broadway approach, emerged as entertaining, engaging and even, at times, genuinely moving. The show is superbly cast, from Monique Clementson’s impressively portrayed Deloris Van Cartier, to the consistently believable and focused performances of the entire ensemble.”
“The chorus of nuns is, perhaps, the real star of Sister Act …”
”The added incongruity of gangsters singing and dancing contributes further comedy, which made the outstandingly performed Lady in the Long Black Dress (Chris Symon, Blair McHugh, Rychalo Thompson) a real highlight.
“All the solo contributions were excellent with no weak link, but I must mention Nick Purdie’s (Curtis Jackson) singing of When I Find my Baby…”
“Set (John Harding), costumes (Lesley Burkes Harding) and lighting (Grant Robertson) played a significant part in the show’s effectiveness with some creative visual effects that completed a highly enjoyable night of musical theatre.
Backstage: Review – Sister Act is ‘fabulous, baby’
By Kate Divett
“Clementson offers sass, vulnerability and humour to create a character the audience connects with. Her vocals are rich, soulful and powerful.”
“Other performances are solid and in safe hands. Sarah Greenwood Buchanan is outstanding as the Mother Superior, her song Haven’t Got A Prayer is marvellous. Nick Purdie (Curtis Jackson) offers his smooth voice to the truly vile gangster role. Chris Symon (TJ) holds back his stunning voice to provide terrific comic relief, and is joined by fellow ‘thugs’ Blair McHugh (Joey) and Rychalo Thompson (Pablo) to woo the nuns in Lady in the Long Black Dress. Matthew McMenamin (Eddie Souther) is well cast as the nice guy who gets the girl in the end. Ian Lester (Monsignor O’Hara) is at his best when in full-blown preacher-mode.
“And then there are the nuns. A terrific gathering of incredibly talented women.”
“…. the sum of this production’s various parts is entertaining and leaves you with a sense that you’ve just been through a disco workout. Sister Act is indeed a fun way to end the Showbiz Christchurch season.”
Tearaway Review: Is It a Sister Act? Broadway Comedy Hits Christchurch
By Aaron Dahmen
“Sassy, stunning and beautiful – the final production of the 2017 Showbiz Christchurch season was near close to perfect.”
“With pitch perfect renditions of the greatest Broadway hits, each song was met with an equally powerful audience response. Simply put: they loved it.”
“Maintaining engagement through masterfully crafted comedy, one never felt out of touch as the storyline developed – inspiration for facilitating a further creative masterpiece.
“Ending on a final Sister Act finale – this was the moment where everything came together. The moment where the show name in question was brought to the forefront, and duly delivered.
“A Sister Act through and through; can I hear an Amen?”
The Star Review: Diva-fever and dancing nuns “will leave you dazed”
By Georgia O’Connor Harding
“This show is a visual spectacle, and when those nuns get down to boogie in their sparkling get-ups under gleaming stages lights, it will leave you dazed – seriously, this show is bright.
“But there is a heart-warming substance behind all those sparkles which stars a vocally powerful cast led by the bold Monique Clementson.”
“The nuns made the show, especially in large ensemble numbers Take Me to Heaven and Raise Your Voice.”
“A highlight is when Nickie Wellbourn, as the no-nonsense Sister Mary Lazarus, raps – no surprise that received a big applause.
“The choreography was clever, especially the dynamic performance of When I Find My Baby, featuring gangsters and edgy dancers, Ella Wilson and Jenna Morris-Williamson, as hookers.”
Man Found Dead in South Philly Alleyway Linked to Mob
Homicide detectives are investigating the death of a man whose body was found in a dumpster in a South Philly alleyway on Christmas Eve after an autopsy revealed that he had been shot, police reported.
Police have identified the man as Ernie Williams of South Philadelphia. Sources familiar with the investigation said Williams is believed to be a mob gangster who had a prior arrest record. He is a known associate of Curtis Jackson, a local nightclub owner with family links to Carl “Better Days” Jackson of the Northeast Philly Irish Mob. The body was discovered in a commercial alleyway in the early hours of Christmas morning behind the club owned by Curtis Jackson.
Officers from the Philadelphia Police Department responded to the scene and the body was transported to the Office of the Chief Medical Examiner, which declared the death a homicide.
Local Nightclub Singer Missing
Friends of singer Deloris Van Cartier are growing increasingly concerned about her safety after she went missing from the central city nightclub where she was auditioning on Christmas Eve.
Van Cartier, whose real name is Doris Carter and formerly worked for McDonald’s, was hoping the audition would launch her professional singing career.
Police are refusing to comment.
Queen of Angels Church threatened with closure
Queen of Angels Cathedral and Convent may be shut down completely as a chronic lack of priests and falling attendance sees Masses canceled.
Sources close to the parish believe that an offer to purchase the buildings has been received by the Archdiocese from two antique dealers.
The situation at Queen of Angels is so critical that weekday services have been canceled and Sunday Masses are only held every second weekend.
Aging priests, a lack of young seminarians and a plummeting number of practicing Catholics have left the Church facing an unprecedented crisis.
The institution in other districts have dealt with the same turmoil by shutting churches and clustering whole parishes.
And it may not be long before more churches in Philadelphia are forced to do the same, it’s been warned.
Monsignor O’Hara told the Philadelphia Bulletin: “Weekday Masses are disappearing because if there’s only one priest who has to travel around three or four churches, plus do funerals, weddings, visiting the sick and administration, it’s impossible.
“Some parishes have more than one church but only one priest, so there might be Mass every second day in each church.
“But older people are now finding their local church doesn’t have Mass and they can’t get to another church so that’s a major issue.”
Priests across Philadelphia have been asked to count Mass-goers over the next three weeks, an audit which could lead to the cancellation of Masses which have poor attendance.
Expanding Antiques Business Behind Church Offer
The two antique dealers behind the offer to purchase Queen of Angels Church have been identified as Mr. Swanson and Mr. Lardner of Bachelor’s Antiques. They have a showroom in the city and specialize in buying and selling antique, vintage and mid-century design pieces, including furniture, ornaments and jewelry.
Antiques are in Lardner’s blood; his family had antique shops in Bella Vista and his first purchase was a Georgian tea caddy when he was seven.
“We outgrew our city premises and rented a shop in South Philly for a month this time last year, and that was really successful” said Lardner “This building was always one we liked and we would be lucky to secure it.”
Wannabe disco diva Deloris snuck out of the convent with nine Sisters (and one musical director) to record a track she’s been working on.
Here they are performing for The Breeze Canterbury 94.5 with James and Hilary – but don’t tell Mother Superior, she’ll go mental!
The final production in the Showbiz Christchurch 2017 season opens at the Isaac Theatre Royal on 8 September. Sister Act – A Divine Musical Comedy follows the exploits of 1970s wannabe disco diva Deloris Van Cartier as she escapes from her gangster boyfriend. Having witnessed him commit a murder, she is put in protective custody in the one place the cops are sure she won’t be a found: a convent!
Disguised as a nun, Deloris finds herself at odds with the rigid lifestyle of the nuns and their uptight Mother Superior. Using her unique disco moves and singing talent, she inspires the nuns to create a more contemporary choir and they become the hit of the community. Word of their success reaches her ex-boyfriend Curtis, who arrives with his gang to settle the score with Deloris.
Sister Act is directed and choreographed by New Zealand Arts Foundation Laureate Sara Brodie who has an extensive list of directorial credits to her name including over eighty productions for theatre companies throughout Australasia. Her last Showbiz Christchurch production was directing Monty Python’s Spamalot in 2015.
Musician and composer Matthew Everingham is directing the score of gospel and disco music written by Tony and eight-time Oscar winner, Alan Menken (Aladdin, Beauty and the Beast, The Little Mermaid, Little Shop of Horrors).
Monique Clementson will play Deloris, the same role she recently performed in Invercargill Musical Theatre’s production of Sister Act. Clementson is a big ‘70s fan who grew up listening to disco hits and counts Sister Act I and II as her favourite movies. Growing up in Nelson, she and her older brother would compete against each other to sing the high notes in the gospel hits that featured in the Sister Act movies. It wasn’t until Clementson attended the National Academy of Singing and Dramatic Art (NASDA) in Christchurch in 2014 that she realised her favourite movies had been turned into a Broadway musical featuring all new original music.
Nick Purdie will perform the role of the gangster boyfriend, Curtis Jackson. Purdie played alongside Clementson as Cop and love interest ‘Sweaty’ Eddie in the Invercargill production. Jackson’s gang will be played by Chris Symon (TJ), Blair McHugh (Joey) and Rychalo Thompson (Pablo). Matt McMenamin will perform the role of Eddie.
Veteran musical theatre and cabaret entertainer Sarah Greenwood-Buchanan steps back on stage as Mother Superior. Her most recent supporting lead role was as Tanya in the sell-out Showbiz season of Mamma Mia! The principal nuns will feature Hannah Falconer (Sister Mary Robert), Kate Taylor (Sister Mary Patrick), Nickie Wellbourn (Sister Mary Lazarus), Anne-Marie Cotton (Sister Mary Martin of Tours) and Glenda Bailey (Sister Mary Theresa). Ian Lester will play Monsignor O’Hara and Raoul Neave will appear as the Pope.
Clementson and Purdie will be joined on-stage by a cast of more than 50 nuns, gangsters, altar boys, singers, dancers and musicians to create a stunning looking and sounding show with all the pizzazz of Broadway.
“The auditions for Sister Act were a revelation as auditionee after auditionee sang incredibly well – which of course meant we had to turn away some very good singers. It is a credit to the voice teachers in Christchurch,” says Brodie. “I am looking forward to hearing our Nuns singing together for the first time, which given their individual talents will be quite something.”
The Showbiz Christchurch production of Sister Act – A Divine Musical Comedy will be at the Isaac Theatre Royal from 8-23 September.
It was while completing research on the representation of females in New Zealand theatre for her Bachelor degree that Dearna Doglione came across some statistics that shocked her. She grew increasingly unhappy with numbers showing that while women formed the majority of the theatre audience, they were significantly under represented backstage, on stage, as playwrights on mainstages, and at executive management level in New Zealand theatres. “I knew that many women I admired also felt uneasy with the state of New Zealand theatre but helpless to implement change. I felt it was time we got together to talk about tangible steps forward together in the industry,” says Doglione.
This provided the impetus for her to organise the first Christchurch Hui for Women in Theatre on Sunday 2nd July 2017 at the Exchange Christchurch which was attended by 30 female theatre producers, performers, directors, educators, dramatists, marketers and backstage crew.
Inspired by a similar event in Wellington in 2016, the Christchurch hui provided an opportunity to bring together in one room conversations that are already happening separately about how to address the gender imbalance in the industry and discuss what sustainable actions could be taken to improve the situation.
Topics as diverse as pay scales and equity; mentorships and professional development; and how to increase the number of plays written by women performed on mainstages were raised and discussed. Some of the outcomes included steps to improve the overall representation of women in theatre; and shared platforms for collective conversations and support.
The hui was facilitated by Co-Artistic Director and Producer Holly Chappell of Two Productions. “This first women’s hui was about listening, connecting and trying to figure out how to make some change,” says Chappell. “In leading this hui, I really wanted to listen, value and guide us all towards achievable outcomes – tangible things that could really make a difference. It was really exciting to be surrounded by a room of strong, intelligent and driven female artists and we can’t wait for the next one!”
Following an exhaustive search, we are thrilled to announce that Monique Clementson will be following in the footsteps of Broadway and Hollywood actor Whoopi Goldberg to perform the lead role of Deloris Van Cartier in Sister Act.
Cheeky, vivacious and with loads of charm, Monique will take to the Isaac Theatre Royal stage as ‘Lady Fabulous’ in Sister Act – A Divine Musical Comedy on September 8th. This hit Broadway musical features original new music by Tony and eight-time Oscar winner, Alan Menken (Aladdin, Beauty and the Beast, The Little Mermaid, Little Shop of Horrors).
More Cast Members Announced
Showbiz Christchurch is staging their first traditional concert in a major theatre in 79 years. Since its establishment in 1938 (under the name Christchurch Operatic Inc), Showbiz has entertained over two million audience members with major musicals. From 26-28 May Showbiz will present a grand concert ‘An Evening of Rodgers and Hammerstein Classics’ at the Isaac Theatre Royal in conjunction with the renowned National Academy of Singing and Dramatic Art (NASDA).
With a chorus of 120 singers, 14 soloists and a Broadway style orchestra – all under the musical direction of Richard Marrett – the concert will feature some of the best loved works of Richard Rodgers and Oscar Hammerstein II from the Golden Age of Musical Theatre, including: ‘Some Enchanted Evening’, ‘The Sound of Music’, ‘Younger Than Springtime’, ‘People Will Say We’re in Love’ and ‘I have Dreamed’.
Marrett will conduct a 30 strong Broadway style orchestra made up of the city’s leading professional musicians.
The concert is proving a popular choice with young and old, and many of the chorus and soloists have fond memories of enjoying Rodgers and Hammerstein musicals with their parents or grandparents. “My mum used to sing ‘Climb Every Mountain’ to me as a lullaby when I was a little,” says 24 year old soloist soprano and chorus member Jane Leonard (Priscilla, Queen of the Desert, Evita, The Phantom of the Opera). “I remember putting our video of The Sound of Music on at any chance I could get, and singing and dancing along.”
Soloists Michael Bayly and Donna Alley will open the concert vocally with the aptly named “It’s a Grand Night for Singing” from State Fair. Bayly and Alley are not just singing partners on-stage, but are also partners off-stage after meeting through a shared love of musical theatre. Bayly trained in opera and performed the title role in the Showbiz 2010 production of Sweeney Todd before taking up the role of General Manager with the company. Alley performed the coveted role of Carlotta in the 2015 Showbiz season of The Phantom of the Opera.
Royal Conservatoire of Scotland trained singer Celine Rosa Tan comes to the concert with a wealth of performance experience in international musicals and television roles. She will make her Showbiz debut as part of the chorus and in a duet with Nigel Withington with a number from The King and I.
Other soloists include Mezzo Sopranos Amy Bowie, Greta Casey-Solly, Dearna Doglione and Kira Josephson; Sopranos Jane Leonard and Charlotte Taylor; Baritones Nick Hollamby and Terry McCartan; and Tenors Jack Fraser, Nigel Withington and Blair McHugh – all who also lend their voices to the 120 strong chorus.
The orchestra will feature alongside the singers, bringing the total number of performers onstage to 150. “This promises to be a masterpiece of musical theatre in concert, on a grand scale,” says Showbiz President Markham Lee.
An Evening of Rodgers and Hammerstein Classics will be performed at the Isaac Theatre Royal from 26-28 May 2017.
Tickets: Ticketek.co.nz/Showbiz or 0800 842 538
For as long as there’s been theatre, there’s been drag. Transvestism on stage, which began as a form of sublimation (casting men in female roles to exclude women from the arts), eventually became a way for men and women to explore nuances of understanding of gender as society has evolved.
Following on from Shakespearean times with the King’s Men, to cross dressing in popular Hollywood culture (Some Like it Hot, Mrs Doubtfire and Victor/Victoria), Priscilla, Queen of the Desert is a modern expression of a tradition dating back to the earliest theatrical performances.
Much western theatre history traces its origins back to Ancient Greece, including the custom of male actors in female roles. Greek society considered women unfit for the stage ensuring their complete exclusion from the theatre productions. Early Greek theatre was staged at festivals attended by men only, which reinforced the need for men to perform as women.
Shakespeare and Drag
The revered bard wrote some of the greatest female roles for the stage, such as Lady Macbeth, Cleopatra or Juliet, yet it would not have been until 1660 when James II lifted the gender restrictions on stage that these roles would have been performed by women. All the original performances of Shakespeare’s heroines would have been given by men or adolescent boys, cross-dressed to give their audience a guide as to their dramatic gender.
Castrati, Early Opera & the Church
Women were forbidden to appear on stage in the Vatican ruled Papal States from the middle ages until the 19th Century, giving rise to one of the more extreme sacrifices for music, the Castrato. In Vatican choirs and early Italian Opera, female roles were performed by male Castrati. Boys were castrated prior to puberty, and as adults possessed very high, yet powerful voices. The most successful Castrati achieved rock star status and great wealth. Female roles on stage were performed by Castrati in early Opera, and although the practice declined, it was not until 1903 that it was banned by the Vatican.
The Victorian era, far from being prudish, saw an explosion of cross dressing on stage. The stars of the theatre world were frequently men dressed as women, and this gave us the first recorded use of the word ‘drag’, used as theatre slang to refer to the long skirts of the day that would drag across the floor as the leading actors filled the stage with their flamboyant performances.
Panto Dames and Principal Boys
Pantomime is a predominantly English theatrical tradition still popular today in Commonwealth countries. It draws its roots from folk theatre and commedia dell’arte, and grew in popularity during Victorian times, surviving to the modern day with its traditions of gender reversal and cross dressing accepted without question. The leading male juvenile role is commonly performed by an attractive young woman, in fitted garments such as tights or breeches – creating a gender tension throughout the romantic scenes with the principal girl. An older male actor as the frequently unattractive Pantomime Dame is a source of much of the humour.
Christchurch Operatic Inc’s Drag Connection
During the first and second World Wars, Kiwi troops in Europe and the Middle East were entertained by the New Zealand Army ‘Concert Party’, with female roles performed by men. Private Stan Lawson excelled in his role as a female impersonator during WWI. The “Digger Pierrots” as the troupe were named post war, toured New Zealand, Germany, Australia and America to great acclaim, appearing at the Theatre Royal, Christchurch in 1919. Stan Lawson retired and went on to become the original producer of the first Christchurch Operatic Inc productions (now called Showbiz Christchurch) from 1938 onwards.
Listen to The Breeze Review by James and Hilary
Christchurch talent coup in entertaining ‘Desert Queen’ fabulousness
Staging Priscilla Queen of the Desert has to be one of Showbiz Christchurch’s most ambitious undertakings. Cast and crew must grapple with the challenges of 500 costumes, 200 wigs and headpieces (primarily sourced from previous productions), the choreography and vocal demands of an array of disco tunes and pop songs and some moments of pure pathos in the midst of camp chaos. For the most part, Showbiz can be proud of this epic spectacle.
Read full review: What’s Up review by Ruth Agnew
Priscilla shakes her groove thang
Full of fabulousness and the original pre-meme Felicia, this camp costumed comedy caper has more mince and flesh on display than the Mad Butcher. More funny, funky, flash cheese than the Canterbury cheesemonger.
Not that the story matters so much as the sights and sounds of the sensational set-pieces, but essentially it’s about drag racing across Australia. It’s the tale of two drag-queens Mitzi (Isaac Pawson, last seen in the Court Theatre’s pert musical comedy Legally Blonde, but also swimmingly good in The Little Mermaid) and Felicia (an unflinchingly brave Tom Worthington), and a transgender woman Bernadette (the versatile Cameron Douglas, who impressed in the terrific That Bloody Woman, among many recent Court appearances). The tart, tucked trio are contracted to perform a drag show at a casino in Alice Springs in the remote Australian desert. Beautifully bitchy, they head west from Sydney on a fine feathered, rather reckless roadtrip aboard their pink party bus, Priscilla.
Well chosen, the three male leads’ voices blend beautifully, even hampered by unwieldy Ocker accents and some technical sound issues.
The sheer exuberance of the entire triple-threat cast matches the calibre of the astonishing OTT costumes, which damn near steal every scene.
The touching father-son storyline as well as the budding romance manage to be poignant and heart-warming, amidst the extravagance of hundreds of costumes.
The Christchurch crowd is always a bit staid and standoffish to start with but by the frocking-up of the Australian-themed finale the marvellous cast had earned the standing ovation. This accomplished quick-change diva-licious cast deserves a crowd ready to party. Eat your heart out, Adele.
Read full review: Backstage Christchurch review by Margaret Agnew
A stunning array of costumes that just keep on coming
Cameron Douglas is particularly impressive as the ageing transgender performer Bernadette, played by Terence Stamp in the film. He is utterly convincing and embodies the tricky role with aplomb.
Emily Burns, Jane Leonard and Naomi Ferguson are also fabulous as the three glittering divas that descend on wires from above to provide a kind of camp Greek chorus and knock-out some disco classics.
The flying singers are just one of many impressive feats of stagecraft on display in this technically outstanding production. Priscilla the bus becomes a character in her own right – turning on the stage, roaring across the outback and providing a lofty stage for dance numbers.
There is also a stunning array of costumes that just keep on coming like an unending waterfall of glitter and feathers.
This show is a great excuse to hear some rocking pop tunes performed with style and verve and enjoy some Broadway standard production values.
Read full review: The Press review by Charlie Gates
Amid the Gloss, Most – but Not All – Comedy Rooted in Truth
Showbiz Christchurch does spectacle really, really well. Their production of Aussie jukebox musical Priscilla, Queen of the Desert plays to their strengths; it is a glitzy, glamorous, camp, high energy carnival that really pushes its cast to deliver an outrageously over-the-top evening of entertainment.
Read full review: Theatreview by Erin Harrington
By Kineta Knight Booker
If you think belting out pop tunes, while wearing big wigs, big costumes and big makeup and flying was challenging enough, try adding in a fear of heights to the mix.
That’s exactly what one of the Divas in Showbiz Christchurch’s Priscilla, Queen of the Desert will be working to overcome this month as the trio will spend a lot of time suspended above the stage during the show.
Jane Leonard, who plays Diva 2, used to love abseiling and rock climbing but a bad abseiling fall a couple of years ago broke her confidence with heights. However, she’s working on it.
“I went to Adrenalin Forest last year and forced myself to get used to heights again. At the end of the day we knew it was in the job description so whatever previous feelings or fears I have towards heights can’t overcome the feeling of singing some banging tunes with some equally banging ladies,” Leonard says.
Showbiz Christchurch’s general manager, Michael Bayly, has assured Jane that every possible technical safety precaution is in place. “We work with the finest technical crews in New Zealand. The Divas will be safer than Lady Gaga at the Superbowl!,” says Bayly.
The three Divas provide much of the live entertainment in the stage spectacular. Without a doubt, Showbiz has chosen three of the city’s biggest vocal talents.
Although she’s keeping a tight lid on her plans for 2017 with a determined “Watch this space”, the naughty sparkle in her eye always tells more than she’s letting on. “I would love to give you more information, but that I can not disclose,” Burns laughs.
Some might consider that a ‘diva’ response, but secrecy and tight contracts is the business of show business.
Leonard adds, “Beyonce said, ‘Diva is the female version of the hustler’… You’ve got to do your own hustle. Hustling doesn’t need to be a negative thing. Hustling is finding your work, working towards your craft in our field. That’s your hustle.”
Leonard too had a big 2016, starting the year in Poppins, then We Will Rock You, Ben McDonald’s HMS Pinafore, kids shows at The Court, Showbiz’s Evita and ended the year in Legally Blonde. She hopes to keep the momentum going, but remains as elusive as Burns when it comes to her next project. She works as a nanny and teaches drama between acting gigs. “You audition and you may get offered a contract, but you can’t really disclose information.”
Naomi Ferguson has been a stalwart on the Canterbury music scene for many years and last appeared on stage for Showbiz 10 years ago as Grizabella in CATS. She has since started a women’s performance company, Empress Theatre Collective, which will have seasonal events this year, and appeared as Blanche DuBois in last year’s Repertory production of A Streetcar Named Desire.
Ferguson reflects on her role as Blanche while looking towards her new role as Diva 3, and says it’s a “spectrum opposite kinda role”. She says “Blanche was awesome but emotionally devastating every night, so this is more like – woohoo, party! And I get to hang out with these two cool ladies and make three-part harmony which is such a treat.”
And “hang out” they will. Ferguson doesn’t mind the heights the Divas will be soaring to, and says “This is just like abseiling in crazy costumes.”
Listen to Kineta Knight Booker’s entire interview the Divas:
Postscript: In April 2017 Emily will move to Los Angeles to begin rehearsals in famed Broadway and West End composer Stephen Schwartz’s new show Born to Dance for the Princess Cruise Lines.