[music] –Welcome back to London Calling, the latest low down for every Broadway buff about what’s happening on the other side
of the pond. Later, we’ll catch up with that too darn
hot choreographer, 2019 Tony nominee Warren Carlile, but first let’s take a quick
look at which shows the Brits are getting into one of their infamous
queues for. [music] –Broadway superstar Matthew Broderick is busy making his West End
debut, would you believe, in a limited engagement of Kenneth Lonergan’s The
Starry Messenger. Broderick returns the role of an astronomer who feels a closer
connection to the infinite starry sky than to his job or his wife, having first
created off-Broadway back in 2009. Downton Abbey’s Elizabeth McGovern is
with him at the Windham’s Theatre for this reevaluation of life, faith, and the
universe itself. Meanwhile Death of a Salesman, starring Megan Markel’s Suits
dad Wendell Pierce is a hit at the Young Vic. Co-directed by Maryanne Elliot and
Miranda Cromwell, Arthur Miller’s 1949 play has extended through July the 13th. Also going strong as Trevor Nunn’s revival of Fiddler on the Roof at the
Playhouse Theatre. Maria Friedman and Anita Dobson will shortly take over the
roles of Golda & Yenta from Judy Kuhn and Louise Gold, respectively. Missing
Game of Thrones? Gwendoline Christie, aka Brienne of Tarth,
is slated to take on the role of Titania in Shakespeare’s A Midsummer Night’s Dream.
Helmed by Nicholas Hytner, the immersive production at the Bridge kicks off in
early June. Oh, and we should flag that quite possibly the hardest ticket in
town to get hold of this summer is Fleabag The white-hot Phoebe Waller Bridge
is set to appear in her own play at the Wyndham’s Theatre after Broderick departs. If you can’t beg, borrow or steal a ticket for that one, there’s always
Amazon, which now has season 2 of the TV adaptation. [music] –Thumbs up to Sierra Boggess, Ramin Karimloo, Beverley Knight and more, who will appear in a one-off performance
commemorating and celebrating the life of Dame Gillian Lynne. The tribute to
the Cats and Phantom choreographer will take place at the West End Gillian Lynne
Theatre on July the 2nd. Sierra told me exclusively, no idea how I landed
one, quote, Gilly Lynne was one of the most extraordinary, intelligent, brave and
loving people I have ever worked with. The fact we get to have a night to honor
her legacy will both emotional and uplifting. She was a heartbeat of every
show she did and we will honor her beautiful heart on July the 2nd. Thumbs
down to Claire Foy and Matt Smith. The Stars are reuniting, but not on The Crown.
Instead they were headline a new production of Duncan McMillan’s Lungs
directed by Matthew Walker’s. Following a couple trying for a child, the show is
scheduled as part of the Old Vic’s upcoming season with more details to
follow. A side note here: We’d happily take a stage adaptation of The Crown.
Just putting it out there. [music] –Her Majesty’s Theatre may be haunted by an opera ghost
eight shows a week, but there are multiple other theaters in the West End
which also take apparitions very seriously. The Theatre Drury Lane is
haunted by several ghosts, particularly that of actor Charles Macklin, who is said
to be tall, thin and ugly with a bad temper. Over at the Palace Theatre, home
to Harry Potter and the Cursed Child, two seats are permanently bolted open for the
theater ghosts to sit in. Wonder what Peeves makes of that? And now we’re off
to Studio 54 to interview the Broadway Brit Warren Carlyle. Warren Carlyle, I
feel like you’re the ultimate Broadway Brit. 14 Broadway credits. You started out
your career as a dancer, so we need to talk about a certain show now. Which show were you in for quite some time? –My West End debut was Cats.
–Who did you play in Cats, Mr. Carlyle? –It was Alonso.
–And he’s the one that’s like helps out Munkustrap
strap and fights Macavity. –That’s right. That’s right.
–For some reason, I’ve got good knowledge on Cats. I don’t know how that happened.
But that must have been extraordinary. Gillian Lynne, iconic choreographer, God rest her soul. –It
was amazing, and Gillian was a big part of me being a choreographer, too, because
she was the first choreographer that took me under her wing and said like, This is why I’m doing this and this is why that looks like that. And she was
the one. She was a great champion of mine, and she has seen every single Broadway
show I’ve done except for Kiss Me, Kate. –I want to cry. God bless Gilly. –I know this is 2019 and
we’re talking about this new production of Oklahoma, but in 1998, there was a
groundbreaking production of Oklahoma by Trevor Nunn, who directed Cats where two I guess most important people in your
professional career you crossed paths with, Susan Stroman and Hugh Jackman. –Right.
–So let’s talk about Stro first. –Amazing.
–She changed your life. –She changed
my life. I saw Crazy for You, and I and I
literally thought, That’s just what choreography should be. That’s what it
could be like. That’s what Broadway is. I auditioned for her because she wouldn’t
hire me as her assistant. So I had to be in the show. So I was in Oklahoma for five
months. After five months, I became her assistant and then my life changed
forever. During those five months, I shared the
stage with a certain Australian superstar called Hugh Jackman. –But he wasn’t Hugh Jackman as we know him now. Let’s let’s make it clear. He was a star
in Australia. He’d done Sunset Boulevard. That’s where Trevor Nunn found him. He
was in London, but this was before Hugh Jackman was Hugh Jackman.
— Yeah, and Hugh actually auditioned for X-Men during a matinee of Oklahoma.
–Did he? –He ran between shows
and did his first screen test for X-Men. –And Hugh hasn’t really changed. When you meet Hugh Jackman, he is adorable and kind.
–He’s the same! He’s the same. He just wants to do a great job, and he’s the best guy in the whole world.
–Now let’s talk about because you’re working on his new show.
What happened when you got nominated for a Tony in 2019, Warren Carlyle?
–So Hugh is wonderful and we were in an aircraft hangar in Wakefield. And Hugh turns and on his
microphone stops stops the show and says, Ladies and gentlemen, my director Warren Carlyle just got nominated for his third Tony nomination. All the crew stopped. The video wall turned to this beautiful picture of a Tony. It was crazy. And
then he said, There’s a car outside. I think you need to go to New York. And
that’s what happened. And I was a bucket of tears. And it took me a three-hour car
ride to gather myself. And but that’s how generous he is. That speaks to his
generosity and his understanding of of also how important Broadway is, you know, what a big part of his life it is. –Let’s talk about the nomination for this
year, for Kiss Me, Kate. Watching Kiss Me, Kate, this is a 2019 version of Kiss Me,
Kate. But I think the choreography is absolutely crucial to how the show has
been updated. –Yeah. I would agree. I think men and women operate in a different way. We’re in a different social climate now, too. And I have a responsibility to do
that. I want to portray women in a certain way, you know. And if the men are smart,
then guess what, the women are going to be smarter. And that’s really how I built
the choreography. It’s battle of the sexes and a really fun equal, equal battle. That’s
really how I approached it. –And Too Darn Hot, were you excited, a little bit
nervous, because I mean that’s an iconic number for any choreographer to get
their teeth into? –I didn’t… It’s funny. I didn’t realize it
was iconic until the show had opened.
–And then you’re reading the reviews! –And then people started to say
like, Wow! That iconic number of Too Darn Hot! And I was like, Oh my god. Thank God I didn’t realize. Because I think no I didn’t know. I knew it had to be good, but I think that about all of the musical numbers in the show. It’s like they
all got to be great. Bianca for Corbin has got to be great. And Tom Dick and Harry’s
gotta be like cheeky and sexy and funny and charactery. And Too Darn Hot was just like, No, I just got to make a big dance number. –Yeah.
–So it wasn’t until after that I suddenly you know had that moment of like, Oh blimey. I’m glad it went
well. –Now, talking of big dance numbers, Hugh Jackman’s tour, what can we expect? –Oh, look out. Look out. He’s doing crazy things. He’s a crazy man. Each act is an
hour, and he sings and he dances. And he’s he’s a maniac.
He’s so talented. You will truly see his range. You’re gonna see Les Mis, you’re
gonna see Boy from Oz, you’re gonna see some beautiful things that he’s brought
from Australia, like things about his roots, things about his family that are
just really lovely. So, it’s emotional as well.
–And he’s working really hard cuz he
posted that photo on social media, this t-shirt soaked through. –He’s really gonna
give me a heart attack because –Let’s hope he doesn’t give himself a heart attack. No, no. You’re very important, too.
–No, he’s the one. He’s the one, but he works really hard. And he actually loves— I think that’s what makes
him a great action hero, too. He’s very physical. He’s very invested, physically,
and he loves to train. And that’s why we’re a really good match because
I like to work hard too. I like to rehearse a lot and so does he. –Is there a show
that you would like to open on Broadway? –Oh, Secret Garden.
–Oh, really? –Secret Garden.
It’s such a beautiful story. It’s a story about a beautiful little girl in search
of a family. I think it’s a gorgeous, gorgeous story. Lucie Simon, Marcia Norman. It hasn’t been revived since the original at St. James. And I think I
think it’s ready. I’m ready. –Let’s manifest that one.
–Make it happen. –Warren Carlyle,
thank you so very much. The ultimate Brit on Broadway. Thank you.
–Thank you. –Thank you for watching London Calling. Cheerio! [music] you