Stage Whisper
Whisper in the Wings Episode 573
(upbeat music) - Welcome back everyone to a fantastic new whisper in the wings from stage whisper. Pack your bags, everyone just here crossing the ocean and the city of London for our show today and joining us to talk about the incredible world renowned work that they are part of. We are joined today by the actor who plays the role of Clifford Bradshaw, Michael Aumko Lindsey, and he is here to talk to us about his show, Cabaret at the KitKat Club, which is now playing at the Playhouse Theatre in London. And you can get your tickets and more information by visiting KitKat.club/cabaret-london. It is very important that you, that last bit, otherwise you'll be directed to the other production of this amazing show happening here in New York, of course on Broadway at the August Wilson Theatre. But for today we are going to visit the original of this production over in the West End. And I am so excited as we get this opportunity. So let's welcome in our guest, Michael, welcome in to Whisper in the Wings from State Whisper. - Thank you, thank you, it's great to be here. Thank you for hopping over the pond to come chat to me. - I'm so, so excited that you are here and that we get to talk about this show, which has been on everyone's lips, I feel like for the last two years. The show has been incredible. What a brilliant reimagining of a classic theater piece. So why don't we start by having you tell listeners who maybe have no idea what cabaret is? What is cabaret about? - Yeah, I mean, I'm gonna steal that word you just used there, it's a great one, is that reimagining? It's a reimagining of, it's a candor and air classic called cabaret. The story is set in Weimar Berlin, so 1920s, 30s Germany. This sort of, this period of cultural explosion, you know, in Berlin, of fall, we slip into fascism. It's sort of generally about how we can sleep walk into fascism, the sort of sweet delusions we live under and live with as that happens. But it's beautiful, it's a beautiful demonstration. You see the incredible world that people lived up. So fall obviously, the world's got turned on its head into something completely ugly. - Yeah. - That is a brilliant, brilliant synopsis of the show. And I think as listeners were listening to this, I mean, now more than ever, it's insane that a piece from the '70s and '90s, 50 years later is even more relevant with its thoughts and its ideas and God forbid its events, you know? So this is incredible that you were a part of this amazing work, and it should be noted, I mean, the way that the story is told is brilliant. As I understand, it's an immersive experience. There's a reason why we include KitKat Club and everything from the title itself to the location. It sounds so much fun. - And really, it truly is, yeah, it is. - So let me ask you, how is it that you came upon this particular piece? - You know, just in the same way that, you know, most actors we do, your agent sends you an email, hanging off your phone, the agent sends you an email saying, "Hey, they want to see you for this thing." And so, and then you make your decision and say, "And in this case, it was a very quick, absolutely, "for me." Ironically, I'd actually done this production once when I was younger at university, but sort of an Amdram group. So I'd come across the show before, but for this particular production, yeah, it was an email from my agent. But I loved it from when I'd done it when I was younger. So it was very quick, yes. I'd love to be seeing who it is. - That is fantastic. - Yeah. - What has it been like developing this current iteration of cabaret? - You know, I stepped into an already existing thing. You know, this show began in '21 on Earth. Eddie, and my name is Jesse Buckley. Well, my wife, Duncan is that incredible original cast. And it was this already incredibly established thing that, you know, as you say, took the theater world by storm. And so it was very exciting in that way. But it was great because what I joined, it was three of us that were newcomers. It was myself, car, delivery, and then we tried away. It was a shoring because, you know, the concept is, is tried and tested and in a sense, it felt robust and exciting in that. But equally, you know, we felt very creative because we could bring ourselves to us, you know, our shared perspectives into the narrative, how we understand it, how we see it. As you've said before, this story is scaringly relevant. It's scaring even a terrible. So a lot of different, you know, timeframes. 1920s, 30s, Germany, notwithstanding. So we could bring ourselves and our understanding of this narrative to it. And in a, you know, Cara and I, his Cara Cara would do in this club, Sally. And that Sally and Cliff relationship is very close. We just started from scratch really. And slowly, sort of built this thing together with our creative team. I'm so endlessly grateful to them for facilitating that, that process for us, that we felt that we did begin from scratch, even though this is an existing success. And they trusted us enough to sort of give us blank slate and then guide us towards this thing, this tone. But yeah, it was, it was incredibly creative process development, so I had a little bit of time and I felt that the relationships and the characters happened organically. And then when we had, 'cause the current cast were obviously still performing at night. And so when they started sort of making a presence into our rehearsals, you know, they'd be, they were working hard, they'd come in and rehearsed us during the day and then head off, we went home and they'd head off and go into a show in the evening. So that was a whole other experience for them, which I don't experience later if I guess will come to that. But they weren't kind of being welcome in a way that felt very safe to sort of have very funny and do this, set up this framework around us that they knew so well that we could go to play with them. But yeah, it was really exciting, it was creative but at the same time, safe. But what else could you wish for as long as? - That is so amazing. Wow, what a marathon for some of these actors who go through with this, that's wonderful. Well, I want to snowball off a thought that you had mentioned at the beginning of that answer and I want to know, is there a message or a thought you were hoping audiences take away from this piece? - Wow, it's interesting because I think something that runs within this as like a whole sort of zoomed out, there's so many relationships within the show that have completely different textures can completely different energies, you know, people colliding to each other's lives and have effects on each other and there's so many things that you can dig into. But if you kind of zoom out, one thing that I think is really apparent is just how easily things untangle. You know, in the world when there's a status quo or things are heading on a certain direction, there's a feeling of sort of that can feel quite robust, like this is the way the world is. And I think it can be alarming how quickly those things can completely untangle. And I think that in itself is, it's a message, it's an important message for us all to understand that, you know, the things that we love or the things that we understand about the world. They're not a given, nothing that we have is a given. I think that's a really important message in the show, how far we can travel from where we were and how quickly that can happen. You know, you think about that, it just, you know, the situation turned on its head, you know, from this incredibly free, liberating city from a perfectly genuine identity museum and queer identity museum. And at first in this show, in particular, as well as racial identity museum and how that suddenly can sort of turn into what we understand about not to genuinely. So I think that is something that is really important as a message in the show, but also it's an important to understand the joy of that and the beauty and how these things happen in cycles. But I think by and large, one thing that I think is really beautiful about the show is the difference in perspectives. You know, when something like this is happening, when your world is being shaken and things are turning on its head, everyone's perspective, everyone's approach, everyone's reaction is gonna be so different. I think the show does a really beautiful job of describing or showing you these different perspectives and where they're coming from. It's so hard as human beings supposed to understand each other. And I think the most beautiful pieces of art help us understand our neighbors better and I think this show does that. And I guess I just hope that people can also away from it and understand where people are coming from when there's like these happening in the north. - Oh, it's like, it's all one of those four ages. I really love the messages in this show. But I guess those are some of the bigger, the bigger messages I think that are important. - I love those thoughts though, but it's still, as you mentioned, just as relevant. That's the frightening thing. And so understanding how these ideas translate is really, really, really important. So I love that. It's a beautiful-- - Yeah. - Yeah, 100%. And I think how having created this around all their casting and just every element of it, me, the design, the costumes, the choreography, to represent what it was then as well, the core identities. That was a huge part of Berlin's still having a culture. But how do we show that and represent that today as well? And I think that's gonna be a real job like that. - That is wonderful. - Yes, yes, yes. So that leads to my final question for this first part, which is who are you hoping have access to cabaret at the KitKat Club? - Oh, you know, this is something that I think, because everyone, you know, everyone, I think the best thing is holding a message for everyone. And that in itself, actually, it sounds a bit of a simple answer, I guess, but it can be a bit more radical than it sounds to create access for everyone to see something. 'Cause that's a difficult thing, you know? So I would just hope that anyone can come and see this as I think anyone can take a message from it. You know, I've talked a lot about them, right? They have so many beautiful characters to use. And I think that in itself, I'd love to see that. I'd love to see people from various different racial backgrounds coming to see the show. I'd love to see people from all sorts of walks, like I wanted to see it, because, like I said, there are perspectives for everyone to relate to, to feel seen, and so truly, it sounds simple, but everyone, and I think that actually, as a concept, is quite radical and quite difficult to do, but, you know, it's a good goal to head for, but to make it accessible for everyone to see. Because at the end of the day, these issues, these things, they affect us all, not just some, you know? I mean, there are lots of different ways. There's lots of, there's different opportunities to see tickets, but to see the show, to get tickets, yeah, I would really hope that we can create access for everyone to these countries. (upbeat music) (upbeat music) - Well, for the second part of our interview, we love giving our listeners a chance to get to know our guests a little bit better. Pull the curtain back, if you will. And I would love to know, what are who inspires you? What playwrights, composers, or shows have inspired you in the past, or are just some of your favorites? - Yeah, it's such a tough question, I find this. 'Cause honestly, it sounds maybe cliche, but every time I watch something on stage, someone is inspiring me, whether that's an actor on a stage who is just so free. But, you know, the actor, when you see it in the writing, or you watch a director make a bold choice, or, you know, you're watching costume on lighting or design, something is always there to inspire me. So, I find this really difficult to answer, 'cause I just love to see artists take bold, creative decisions, and just, you know, feel, you watch them feed their creativity, and their creativity. So, truly, every time I watch something, I think it's fine, which is why I love going to see things so much. I mean, I adore writers like Thral Abbe and the Cranley. I did a play for him last year on just November, December for choir boy at the Bristol Vic. And, it was, it's a beautiful play, firstly, honestly, such a pleasure to be a part of, and feel like I've made a family of artists being a part of that. And when he came to come and, as he came, he flew over, even though he was about to start his artistic director, the Gafflin, he found the time to fly over to Bristol to support us, and he was just an incredible speaker, and his insights were beautiful, and it really enhanced the show, but also, I just, I got the feeling this is someone that really looks at the world and has made it their mission to understand people in the world. And so, he was super inspiring. A lot of, obviously, some times, music, playing rights like mine. Shakespeare, all the classics, I do what I'd honestly adore. But, truly, every time I watch something, I feel inspired. Recently, I saw there's a new play in London that recently came back with the Black Forest with considered civil side when he gets too heavy, and that was incredible to demonstrate and show something that hasn't been shown or told before, to put sides of his young life in London, having been seen in the bravery of the work, and to put that up, you know? The effects by Joseph and Jamie Lloyd at the pub they see at the ring at Taylor Russell, Coben the whole book, Smith, Michelle Austin, incredible play. Also, reimagining of something of a previous script. Honestly, I could be here for hours, but I just, I love to see Bond work, and it just makes me excited because I think that the core creativity, for me, or what makes being creative, so exciting about it, it's most exciting for me as well, you feel freedom. And so, when I see other people being brave, it inspires me to the same. - I love that answer. I love that list. What amazing, amazing shows and artists on that. Thank you for that. I know that you've been very busy with your show, obviously, but have you had a chance at all of the C&E great theater lately? You might be able to recommend to our listeners. - Well, this is the only problem. I actually haven't had a chance to see him quite recently because we've obviously coming into the show, rehearsing, and then with the cast change and our shows, I've had hardly any time to watch anything, so I'm really excited for the next month. I think I've got a little bit of holiday time, but I'm going to try and watch two things. But I did happen to see, most recently, I did happen to see a picture during Greg and Sarah Snook in it. Gosh, that was an absolute feat. I couldn't believe what I was watching. It was so innovative. I love Sarah Snook as an actor anyway. Obviously, I watched it in succession, but I thought it was an incredible show. And what they sat out with that show was also incredible. You know, they had, it's hard to explain, but they had about five or six, maybe seven screens, and she was performing on stage, which was a one-woman show, where she was playing all the different characters, but she was on this stage performing, and while she was performing, there were a bunch of camera operators all at the same time with her. And so she would be doing a scene, maybe straight to camera, and then other times she'd have a mirror in her hand and be performing to the mirror, and there was a camera behind her, and on the screen, we'd be seeing her perform, her performance to, but while at the same time, watching her do it on stage, and obviously finding her mark seamlessly, because everything was choreographed, and then other scenes were on the screens, there were pre-recorded versions of other characters that she was also performing, that then she was doing scenes with it at the same time. Obviously, perfectly timed. It was honestly incredible, and there were these moments of action where, you know, she would do something, but basically, she'd hit another character that was on another screen somewhere else, because she was performing to have a camera across the room, and it was a technical feat. I was blown away, I couldn't believe it. So that was something I saw recently that I thought was incredibly bold, incredibly new, and obviously just a testament to Sarah and the whole team, and that was very exciting to watch. But like I said, I haven't had too much of a chance to watch things recently, because I've been so into the cabry land, but excited, as I said, to watch "Slave Playing" and people post these things, which is next to my list. But as well as that, I did see an enemy of the people, actually, as well, when I was in rehearsals, which I know just, just maybe was on boardway with "Journey". Not totally sure, but that was with Matt Smith, and that was extra to me. Yeah, like I said, that journey is starting soon, but I've been watching lots of film and TV, so that's been keeping me busy. - That is fantastic. Some wonderful suggestions there. Well, let me ask you, what was your favorite part about working in the theater? - I have so many on Zoom. I must streamline this. Speaking briefly, I love rehearsals. The discussion, the time, so by the time you get to explore things, you're not every, as an actor, not every project you're doing, yeah, you're afforded that time, sometimes you'll have a quicker scheduling with a spell in the audience, something like (indistinct) So in being at the land, you have so much time to explore and discover before you even come to the film. So that rehearsal time, it's beautiful. Community with the people, the things that you make and the fact that you're in, you're in it. And so you're locked in for some months, and you're an adjustment of people, and there were days when I come into work, and many life is beating you down a little bit, and within minutes, you're just laughing, 'cause the people in your dressing room are outrageously funny, or telling you funny stories, and you just connect on a certain level. And so that, for me, is a beautiful aspect of theater. Just that community that you build within your cast crew, people that are taking care of you, come to your hair, but I think I do cost you, is it helping you address you? And those small conversations you have, just to get closer to people, I don't know what that's expecting. So close to every aspect of the show. And aside from that, sort of the play of it, the challenge that we create is the repetition. I think it's something that is very easy to do. Just doing something, the same show over and over, eight times a week, how many mods we're doing it. And that challenge of recreating something, you've got to connect, but then keep connecting it every single day. And you can't be precious, you can't, there's some days that certain things connect better than others, and you just keep losing everything that comes back to that initial feeling of freedom, and creating without inhibitions, and getting out of your own way to keep creating, even if something wasn't quite perfect that day. And so releasing yourself from that perfectionism just allows you to do so much more free as not listening. Who wants art that's perfect? It's meant to be messy, like humans. So that in itself, that repetition is a gift, is your sort of force to just keep re-meeting over and over again this material, and you'll expect it on the material. So I'm really grateful for that, as although it's a challenge. Oh, yeah, I think that's as a streamer as I can make the answer. Otherwise, I'll be, I'll be going on and on. But yeah, I do love this here, so. I love that answer. That is such a fantastic answer. And that leads to my favorite question to ask guests, which is, what is your favorite theater memory? In 9-1. Oh, oh, you're killing me. My favorite theater memory. OK, it's so hard. There are so many things that I just euphoric about. The thing that jumps to my head straight away, I did a production of Disney's Newsies in London last year. And on our final night, our final show, we had a three-tier tower in the show. And the theater was such an interesting design, with it sort of having lots of different levels in the stand, and it was a different area of New York like Brooklyn and Manhattan. And when I was glad to sing Santa Fe, I had to walk up to the top of the towers and the other incredible moon behind it. I think the light, the design team, I've made. But from that top tower, such a high theater, I could literally see every single thing. And I could also see down the stairs past the audience to where some of the back wings were. And when I went up to sing Santa Fe, everyone has left the stage after a big strike scene. And I was already starting to cry at this point, because it was, you know, final show. I'm trying to hold it together so I can keep to every story. And I go up the stairs and I start singing in the song. And I come to the middle of the tower. And I can see down the stairs to, like I said, the back wings. And every one of the Newsies was sort of stood arm in arm, watching in support. And it looks out, starts singing in the song. And it all looking towards me arm in arm. And I was just, it was the most beautiful, sort of, just image of support. And we had such a great, can't say brother, because we were, you know, there were so many dead genders, but just this, like, family feel. And it just, I just felt so hummed and supported in that moment. And, like, we'd gotten through this thing together, because it was such a challenge in the show. And I was singing that song. That was such a challenge of the song. And it just really hit me. And I felt very, very careful. So I think that's probably the first one that jumps to my head. - I love that memory. That's such a beautiful memory. Oh! - Truly, truly, truly. I was in tears now. - I was gone. - Okay. - Well, that, yeah. Thank you so much for sharing that memory with us. As we wrap things up, I would love to know, are there any other projects or productions that you have coming on the pipeline? And we may be able to plug for you. - Oh, do you know, I happen to know that. So something I'm doing next is being announced next week. So I'm still on embargo. I still can't say today, depending on when this airs. But it's being announced next week. So if you keep an eye out on my socials, then I will definitely be reposting it. It's an incredible project I'm super excited about. That starts right after the end of cabaret. But please, yeah, please keep a look out. But it's just, it's just about to be announced. I can't say it at the moment. But yes, if you keep an eye on my socials, then you'll definitely see something coming up. - Oh, and we will, we will. This is exciting. And that's a great lead into my final question, which is if our listeners would like more information about cabaret at the KitKat Club, or about you, maybe they'd like to reach out to you. How can they do so? - Oh, great. Well, my Instagram is my name and first part of my surname. So Michael Ahumka, which is Microsoft with AEL, and Ahumka's about A-H-O-M-K-A, and then Undiscore. That's my Instagram, and I usually put updates to stuff on there, as much as I can deal with social media. And then we're on the KitKat Club, cabaret, they've got the London version as Instagram account as well, KitKat Club, L-D-N for London. And then obviously the website that you mentioned, they can keep up to date there. But yeah, on socials, that's what it is on Instagram. - Amazing. Well, Michael, thank you so, so much for taking the time to speak with us, for sharing your amazing show and these wonderful, wonderful insights from your time in the theater. So thank you very much for your time today. - Thank you so much for having me. This was honestly such a pleasure. Thanks for taking some time early in the morning to see me. Yeah, it's been brilliant. - Thank you. My guest today has been the incredible actor, Michael Oumka Lindsey, who is currently playing the starring role of Clifford Bradshaw in Cabaret at the KitKat Club. It's now playing at the Playhouse Theater in London and you can get your tickets and more information by visiting KitKat.club/cabaret-london. We also have some contact information for our guests, which will be posted in our social media posts, as well as in our episode description. But right now you need to run, don't walk, get your tickets right away for this production, which is taking London by storm. It's definitely taking New York by storm. So either side of the poem, you get the chance to see it, make sure you go and see it. And if you go see it in London, give Michael a big hello from all of us here at Stage Whisper. But again, the show is Cabaret at the KitKat Club, playing now at the Playhouse Theater. So until next time, I'm Andrew Cortez, reminding you to turn off your cell phones, unwrap your candies, and keep talking about the theater in a Stage Whisper. Thank you. (upbeat music) - If you like what you hear, please leave a five star review, like and subscribe. - You can also find us on Facebook and Instagram at Stage Whisper Pod. - And feel free to reach out to us with your comments and personal stories at Stage Whisper Pod at gmail.com. - And be sure to check out our website for all things Stage Whisper and theater. You'll be able to find merchandise, tours, tickets and more. Simply visit stagewhisperpod.com. Our theme song is Maniac by Jazzar. Other music on this episode provided by Jazzar and Billy Murray. You can also become a patron of our show by logging on to patreon.com/stagewhisperpod. There you will find all the information about our backstage pass as well as our tip jar. Thank you so much for your generosity. We could not do this show without you. ♪ A long way from there I'll swear ♪ ♪ I don't care anywhere near your town ♪ ♪ Makes me there ♪ [BLANK_AUDIO]