What’s the Buzz?
Tell me what's happening … NOW!
It's been a little while since I last wrote a blog. Sorry about that! Life is yet again going at a million miles an hour and, whilst I now realise it's been three weeks since I last sat down to write one, it feels like about three minutes. I blink, another week disappears, the to-do list gets longer and I've somehow agreed to do something else. Honestly, I need to stop blinking.
So, what's been happening? We've got Austen Brontë: The Musical auditions well underway, we're getting stuck into planning for Jesus Christ Superstar, and I've made another decision that might be either brilliant or completely ridiculous. Possibly both.
Let's start with the auditions, shall we?
Pink Pony Club and a LOT of audition videos
I've spent hours watching audition videos for Austen Brontë: The Musical. Hours. And then some more hours. There comes a point where you start to question whether you can actually remember what a human voice sounds like without listening to it through a laptop speaker.
Because we weren't in a position to share the script or music for the first round of video auditions, we gave everyone free rein to show us what they could do, asking for two 90-second song extracts: one from a modern musical and one modern pop song, reflecting the starting point for the piece.
And apparently, a LOT of people really like Pink Pony Club.
There's one other thing happening with Austen Brontë that I really want to write about properly at some point: the October tour. Yes, October. As in, twelve months away. Because apparently, that's how far ahead we need to think now.
We're developing the show for March, but we also need to be thinking about how we're going to take it around five different venues in the UK later in the year. Five venues means five different stages, five different sets of sightlines, entrances, exits and practical considerations. And, of course, we won't have the luxury of spending weeks in each venue working out how to make it all fit.
We need a production that can adapt to those spaces without having to entirely restage it in 4 hours when we arrive at the next venue! I would love to pretend this is all down to my excellent forward planning, but it absolutely isn't. That credit goes to Rick (again!), who's already thinking through the practicalities and how we make it work. It's another reminder that producing a show involves an awful lot of thinking about things the audience will hopefully never even notice. Which, I suppose, is probably the point!
A brief interlude: apparently, I'm a lot
Somewhere in the middle of all this, I discovered Roast My Week. Naturally, I thought it sounded hilarious, so I asked ChatGPT to review my recent theatre-related activity and give me a bit of a roasting. It did not hold back.
It pointed out that I've essentially recreated an entire corporate operating model inside a theatre company. You know, the sort of thing most people leave behind when they decide to step away from corporate life. Not me, though. I'll apparently be bringing all the project management, HR processes, risk registers and stakeholder management with me, just with more jazz hands. Honestly, I laughed. A lot.
The slightly uncomfortable bit was realising that, while I might have left my corporate job, I haven't necessarily left behind the instinct to turn absolutely everything into a structured process with clearly defined responsibilities and a spreadsheet. Old habits die hard.
It ended with, and I quote ... “Final verdict: 10/10 week for competence. 11/10 for overthinking. Absolutely no evidence of a functioning “leave it alone, Lucy” department. The badger is thriving. The badger is also exhausted. The badger needs a lie-in.”
Anyway, if even artificial intelligence thinks I've taken on a bit too much, perhaps it's time to get back to the actual theatre …
Right then. Jesus Christ Superstar.
Let's start with the music.
If you've read one of my earlier blogs, you'll know that Jesus Christ Superstar was the show we originally wanted to start with. It didn't happen at the time, but that just gave us longer to think about it. And, if there's one thing we've learnt since starting That's The Badger, it's that we're not exactly short on ideas.
The score is epic. Properly epic. And one of the things I'm most excited about is seeing Adam get stuck into creating that huge, rich ensemble sound that makes this show so special.
Cue some news … we're going to be on the hunt for a small choir to join us for this show! The choir will help us create that incredible vocal sound, while the main ensemble gets stuck into the movement, choreography and storytelling. We want this to be a proper piece of theatre, not a concert with a bit of acting bolted on.
It's also about giving more people the chance to get involved. Not everyone who loves singing wants to spend their evenings learning choreography, and not everyone who'd be brilliant in a choir can commit to the full rehearsal schedule we'd need from the ensemble. So why not create another way to be part of it?
Now, annoying attention to detail aside, Adam is a ridiculously good MD. He loves bringing voices together and building those big, powerful musical moments, and having a choir will give him even more opportunity to do exactly that. I might even manage to understand some of the rhythms and tempos he's trying to get me to sing along to. But I make no promises, other than that I DO TRY!!!
If you love singing Jesus Christ Superstar but the thought of learning choreography fills you with dread, keep an eye out. We might have just the thing for you.
back to casting …
Another thing we've been chatting about a lot is gender-open casting. And, I'll be honest, we've managed to tie ourselves in knots a few times digging in to what that actually means in practice.
The basic idea is simple enough: we'd like to open up more roles to performers of different genders, where we can, rather than automatically sticking to the gender traditionally associated with a character. It gives us more flexibility, creates opportunities for people who might not otherwise consider a role, and hopefully means we don't miss out on someone brilliant because we're working to traditional casting expectations.
But there's a bit more to it than simply saying, "Right, anyone can play anyone!" … although that would certainly make the casting spreadsheet interesting.
In conversations with team Superstar, I've been challenged to think much more about how casting choices can shape the story we're telling. They can change relationships, shift power dynamics and influence how an audience understands what's happening on stage. That opens up some really interesting possibilities, but it also means thinking about what those choices bring to the story, rather than making changes simply for the sake of it.
There are practical considerations, too. We're keeping the music in its original keys and can’t change the pronouns in the script. That means we'll need to think carefully about how different casting choices work within those parameters, as well as within the wider story. It's about being open to possibilities while making sure the choices work for the production as a whole.
So, if there's a role you'd love to audition for but might not traditionally consider yourself for because of your gender, we'd absolutely encourage you to give it a go. We'd love to see your interpretation and hear how you think that character could work within the story we're telling. This isn't about asking anyone to explain or justify why they want to play a particular role, and it's not about changing things simply to be different. It's about being open-minded, giving people a fair opportunity to be considered and thinking carefully about what different casting choices could bring to the show!
And now for the Judas-shaped elephant in the room …
Right. This is probably the point where I make myself a little unpopular with some. I am sorry in advance!
If you've followed the blog for a while, you'll know I'm not exactly short of things to do. Producing shows, managing projects, organising approximately a million spreadsheets … you get the picture.
I'm also leaving my permanent job in just over three weeks … so I’ll have LOADS more time, which naturally I must fill immediately! So, obviously, I've decided to play Judas in Jesus Christ Superstar. Because apparently, I don't know how to do things by halves.
I've wanted to play this role for a VERY long time, and with Adam getting to fulfil his dream of MD-ing Jesus Christ Superstar, it feels like the right time to fulfil one of mine, too.
Serious note alert: I know Judas is a dream role for some people, and I appreciate that it won't be available to audition for. I am really sorry. But if you’re reading this thinking “Well, that's me out, then," please don't! There are loads of brilliant roles and opportunities in this production, and we'd genuinely love to see what you can bring to them.
As for me, I suspect there'll be a point during rehearsals when I'm questioning every decision I've ever made. Probably somewhere between learning a song and remembering I still have to organise the rest of the show.
But that's a problem for future Lucy.
For now? I'm ridiculously excited. A little terrified, perhaps, but mostly excited.
So, what's the buzz?
The buzz breakdown is …
Jesus Christ Superstar auditions registration goes live in the next week;
We'll be looking to open most roles as “gender open” casting opportunities;
We are looking for a choir to help us bring this extraordinary score to life; and,
I've probably just made myself very unpopular with a few people.
And, alongside that we've got Austen Brontë recalls and casting to finalise, a tour to plan and a whole other musical to produce that I’ve not even mentioned today! So, you know. Nothing too taxing.
Thanks for coming along for the ride, as always.
Lucy 🦡🤍