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Olivier Nominations, Open Doors & Bringing Back the Boom Cat: Representation in Musical Theatre
25 Plays30 days ago
Who gets to tell the stories? And who gets to be in them?
In Episode 6 of Open House, the official NYMT podcast, host David Grant and NYMT Young Company member Tochi Arinze are joined by two extraordinary artists who are actively shaping what the future of musical theatre looks and feels like.
Georgina Onuorah is a two-time Olivier Award-nominated actress, recognised for her performances in Shucked and Brigadoon at Regent's Park Open Air Theatre, as well as her landmark portrayal of Dorothy in The Wizard of Oz at the Leicester Curve and the London Palladium. Christopher Tendai is a choreographer, movement director and founder of CTC Dance Company, whose work spans the West End, the RSC and beyond — most recently as Associate Choreographer on All Is But A Fantasy at the Other Place.
Together, they talk candidly about representation, tokenism, the stories that still aren't being told, and what it really takes to feel seen on stage — and behind the scenes.
In this episode:
- Georgina's double Olivier nomination — and the screaming in a Kings Cross coffee shop that followed
- Playing Dorothy as a young Black woman, and the messages from young girls who felt seen
- The real conversations about hair, wigs and what it means to bring your whole self to a role
- Christopher's journey from drama school to choreographer — and why he founded his own dance company
- Why diversity on stage isn't enough without diversity in the creative team
- What stories we need to be telling more of — including forgotten Black-led musicals from the 1940s and 50s
- Tochi's powerful reflection on representation, belonging and what NYMT has meant to her journey
- Why, in Chris's words: "It's not that hard"
Guests:
Georgina Onuorah – NYMT alumna, two-time Olivier Award-nominated actress
Christopher Tendai – choreographer, movement director and founder of CTC Dance Company
Hosts:
David Grant – NYMT Associate Producer
Tochi Arinze – NYMT Young Company member and co-host
Follow / find out more:N YMT: nymt.org.uk | Instagram & TikTok: @NYMTuk
Recommended
Transcript
Introduction to 'Open House' and Hosts
00:00:00
Speaker
TV, film and theatre, they are all art forms that shape society, right? Surely, the more representative we are on stage and active in engaging different communities across the UK, the better. Yes, that's right, we're talking equal opportunities, inclusion. Who's responsible for choosing the stories that get told and more importantly, who is telling them? And welcome to our official and NYMT podcast series, Open House. The podcast that brings you insight and inspiration from a whole host of incredible guests and friends of NYMT in celebration of our 50th anniversary. Yes, that's right. Over 50 years of musical theatre for young people. With me, your host, David. And I think it's fair to say i have been around and a part of a fair... few of those years but definitely not all 50 of them I can assure you and you can find out even more about our 2026 season and how to get involved on the socials at NYMT UK or online nymt.org.uk and please don't forget to like comment and subscribe now I am delighted to be joined today by our fabulous co-host and young company member Tocchi Arinze Tocchi welcome to the show how are you
00:01:17
Speaker
I'm good, thank you. How are you? Oh, I'm very, very good. Thank you. It's so fabulous to have you with us. I'm delighted to see you. And it's great to have you joining us for this episode. Tell us, you're an and NYMT Young Company member. What have you been up to? What was your last and NYMT show? And what are you currently doing?
00:01:35
Speaker
My last NYMT show was Fame, where I played Michelle Min last year, 2025. And I'm currently at UPSET sixth form and um i think I will be going to the degree next year. yeah. All fingers crossed for you, Tachi. Fingers crossed. And tell us, what were you doing and what what was your story pre-NYMT?
Tocchi's Journey from Nigeria to NYMT
00:01:58
Speaker
Where were you studying? What what were you up to?
00:02:01
Speaker
Pre-NYMT, I lived in Nigeria until I was 13 or 14, nearly 14. moved here and then I found out what musical theatre was and I was like, let's give this a crack. um And then started NYMT 2023 and that was kind of like the beginning of musical theatre for me. And I I love it quite new to it then right only few years and let me tell you listeners listen I've heard Tochi sing and tell I can tell you she is certainly giving this musical theatre thing a crack that is for sure a hundred percent absolute powerhouse vocals but listen it's lovely to hear from you and thank you for joining us for our episode but tell us I know it's not just you joining us we have two gorgeous guests as well who have we got on the show
00:02:50
Speaker
First off, we have Georgina Onora, who is a two-time Olivia Award-nominated actress, making a strong impression on the UK's musical theatre scene.
Guests Georgina Onora & Chris Tendai Join
00:03:02
Speaker
She's best known for her performances in Schacht at Regions Park Open Air Theatre and Kiss Me Kate, where she's showcased both her powerhouse vocals and vibrant stage presence. She trained at ArtsEd and Emile Dale, as well as NYMT, of course.
00:03:19
Speaker
Georgina has quickly built a reputation as a versatile performer, bringing energy, charisma and emotional depth to every role she takes on. Next up, we have Chris Tendai, who is a dynamic choreographer and movement director, known for his bold, expressive style and strong storytelling through movement. His work blends precision with creativity, bringing energy and clarity to every production he's a part of.
00:03:49
Speaker
With a growing presence in the industry, Chris has built a reputation for creating choreography that not only enhances performances, but helps performers connect more deeply with characters and narrative.
00:04:04
Speaker
Wowzers. Two incredible guests.
First Theatre Experiences of Georgina & Chris
00:04:07
Speaker
Let's get going. This is Open House.
00:04:17
Speaker
Hello, hello, hello. Hello. Hi. Hi, Georgina. Hi, Chris. Welcome to you both. How are you doing? I'm really good. We're excited to be here. It's so great to have you. Chris, how are you?
00:04:30
Speaker
I'm very well, thank you. Looking forward to it. And joining us, i have to say, I'm just gonna say it straight from the start. Chris is joining us all the way from Australia, literally the other side of the world. NYMT is going international, my friends. This is fantastic. final It's so great to have you both with us, with our fabulous co-host, Tocci, as well. But listen, I want to dive straight in and I want to kick off by asking the question that we ask all of our guests. youth theatre.
00:05:01
Speaker
Theatre when you were young, cast your mind back. What is your first memory of theatre as a young Chris or a young Georgina? Georgina, what was it for you? i mean, the very first show like I saw in London. so I'm from Luton and London's like a big, big trip out. And it was like my like eighth birthday. we went to watch The Lion King. And i remember being just like...
00:05:25
Speaker
I was so dumbfounded. Like I had no words. I was so shocked by what I was seeing. I don't think i knew what theatre was when I was that age. I just remember being so amazed. So that was like the very first time, which is a very cool way to see theatre for the first time. It's a cool show. It's a cool first show to see. It's a cool first show. There's lots of shows out there that are little bit smaller and they don't all have, you know, giant puppets or elephants and giraffes and the opening number, but it's a cool show. It's a very cool show. It's a very cool show. Chris, how about you?
00:05:54
Speaker
I think what comes to mind, i think for me, again, I didn't really know much about the theatre scene and musical theatre scene, but we had our Christmas nativity play and that was the thing back in primary school. So i just remember each year would put on a version of a you know an nativity and and I remember getting the part as the innkeeper.
00:06:21
Speaker
And like, that was the role. That was the role for me. So think, yeah, I just always go back to that, that memory of being innkeeper, being the only one on stage and, you know, giving it my all when I was like seven years old.
00:06:37
Speaker
I think Christmas nativity is where it starts with so many. Tocchi, were you having Christmas nativities when you were seven, eight years old? Yes, we had... um oh my gosh. we had We did have Christmas nativity because we'd always have Christmas concerts. um And, yeah, it was really cute. i think think that was kind of musical theatre, so...
00:06:57
Speaker
Absolutely. I love a musical theatre Christmas nativity. They're the best. They're the best kinds of nativity. Now, Chris, you're a fabulous creative and you've worked with NYMT a lot as a choreographer. Georgina, you actually were in NYMT when you were younger. Tell us about that. What show were doing? Where was it? When was it? Who did you play? And what did you take away from the experience as a whole?
NYMT Impact on Georgina & Chris's Careers
00:07:21
Speaker
So I did Sweet Charity over 10 years ago. i was in the ensemble. 10 years, like a long time. a lot of time has passed. I was little. We were all little. We were all little, weren't we, David? We were, definitely. We were. Yeah, a long time for me as well.
00:07:37
Speaker
ah um And I was in the ensemble. I actually was on the reserve list. um I used to be really, really shy. And like NYMT, I was so excited about for years and years, but I was too scared to audition. And that year I finally was like, Georgina, you need to do it. And it just worked out I got a place and I did that show and I was still so shy. You're allowed to be shy and be performer. But when I was on stage, I like came alive. My mum was so nervous for me. You know, when your parents are just like stressed out because they're like, are you sure? Are you sure?
00:08:13
Speaker
yeah You're shy, aren't you? If you look back, when did shy Georgina turn into not quite so shy Georgina? And what was like the the tipping point in that? I think it's just, I don't know, believing in yourself. Also not trying to be what I thought confident must look like or what I thought you had to be to be an actor. I think I just, you've got to stay true to yourself and what suits you. And you can still do that alongside a foreman.
00:08:41
Speaker
100% it's something that Tocci and I were talking about before we started the show actually and I know something else that we were chatting about which I want to run to you Chris was what was it that first drew you into musical theatre when you cast your mind back what was the what was that starting point in that you thought hang on a minute this is kind of cool
00:09:02
Speaker
Gosh, um it was when i just finished secondary school, actually, and um my my drama teacher was very much like,
00:09:15
Speaker
you know, you could do this, like you you could make something of this as a career. And i was like, okay, you know, I'm going to go do my A-levels in geography and, you know, not not really take this on as such.
00:09:29
Speaker
and But I auditioned for a college um in Leicestershire called Milton Mowbray. And it was like the performing arts college of the county at the time.
00:09:43
Speaker
And i originally got onto the acting course. and I was like, great, you know, this is this is what I want to do. And then it was my first my first day on the course and we were having a talk from the teacher. And in the next room, i heard the musical theatre group sing. And I was like, oh my gosh, I need to be in there.
00:10:09
Speaker
Just something within me was like, no, that's where I need to be. so the following day, um i asked if I could switch courses onto the musical theatre course. And again, I had no clue, no idea what to expect or anything. A leap of faith.
00:10:25
Speaker
But yeah, yeah, I am. I'm a sucker for a leap of faith. So i thought, why not? Let's go. and I think it was the best decision I've ever made.
00:10:37
Speaker
What a leap of faith for you. And I think that comes back to what Georgina was saying as well. Shy Georgina taking that leap of faith and taking herself to that and NYMT audition Sweet Charity, in the ensemble. But look at her now, absolutely smashing it ah from production to production.
Tocchi's Drama School Audition Challenges
00:10:54
Speaker
Tocchi, when you think of a leap of faith in your training, in your early stage of your career, what's a leap of faith been like for you?
00:11:01
Speaker
i think for me, this whole... Like, academic year, I've been auditioning for drama schools and stuff. And in that, I had surgery for my knee as well. And I think there was a lot that came with that when it came to, like, auditioning and then also having to think, oh, yeah, I'm injured and I don't know what's going to happen. And I was like, there was a lot of doubt in my mind about...
00:11:26
Speaker
what I was going to do and I think a leap of faith was signing up for those auditions I think there was a lot of schools I didn't end up auditioning for because I was afraid of rejection because I was injured and I think the leap of faith was just pushing myself to do the at least the main schools that I knew I wanted to go to um And I think, yeah it's all worked out, which im really surprised about. But yeah. 100%. It's definitely working out so far. Now, now that we've got to know you all, and it's an absolute pleasure to have you here, I know what all the listeners want to hear. And I cannot wait to deep dive into it. We're going to talk awards, people. We're talking awards and nominations. Because both ah both of our guests, Chris and Georgina, are There's been some exciting nominations over the last few years and some really exciting stuff going on.
00:12:18
Speaker
I want to talk about the the Black British Theatre Awards, which is something that you've both received nominations from.
Celebrating Black Talent: Awards & Achievements
00:12:24
Speaker
For us some listeners that may not have heard the organisation or the awards process or the awarding body. Chris, tell us a little bit about Black British Theatre Awards as an organisation.
00:12:35
Speaker
Yeah, so they are a really great organisation that represents, and celebrates and supports black work and black theatre within our industry, um which I think is amazing. And they've been around ah for about eight years now. um And it is a fantastic, fantastic evening. um And also have um nominations and sections in there that, again, you wouldn't necessarily see in other awards ceremonies as well. um So it's just a great celebration um and showcase of black and brown artistry within our theatre. When you were nominated, what area were you nominated for? What was the project?
00:13:28
Speaker
So I've been nominated twice. So ah for 2024, I was nominated for Best Choreography um or Movement Director for a show which was Closer to Heaven that I did at the Turbine Theatre.
00:13:45
Speaker
um and for my nomination, um This was for best choreographer as well um for a another wonderful show that I got to do which was, la gosh, last summer.
00:14:04
Speaker
Last summer. He's so booked and blessed. Which is great. so but They all just blur into my... But actually, Chris and Georgina, you've actually just done a job together, right? You've just finished All Is all is But A Fantasy at the other place with the Royal Shakespeare Company.
00:14:18
Speaker
Yeah, we have indeed. Such a such coincidence. Chris, tell us about that project. How was it? And what was the piece like?
00:14:27
Speaker
oh my gosh, this piece was probably one of the most... thrilling complex shows um i've had the pleasure to be part ah of this is where um shakespearean text meets gig theatre gig musical theatre where you had a four part handler uh within this telling four shakespearean stories but telling this from
00:14:59
Speaker
and a narrative coming from the female characters within Shakespearean um plays and what they're what they what what they experience within that and what that is like um and also coming from a place of what happens when you are a female but also you are a black or a brown artist playing these roles and the effects that that has um within Shakespeare but also within the rooms of Shakespeare as well. um it's It's a play, it's a show that kind of takes down the fourth wall um at times within the show where we kind of are in in the text but then we can come out and we can have a conversation with the audience as well, which I think has never really been done before in this way. um and I think has the potential to be the next big thing in my... And from a point of view of choreography and movement, how did you set up that language and that style through your choreography
Chris's Choreography Philosophy & Journey
00:16:10
Speaker
in the piece? Give us a little, a sneak peek, an insight into the mind of Chris.
00:16:16
Speaker
LAUGHTER So I was associate choreographer on this particular production and I worked closely with the choreographer. Her name is Sarita and um love Sarita. She used to teach me at college. So it's a very full circle moment.
00:16:31
Speaker
Shout to Sarita. And I think what we wanted to do within this production is I think allow it to be as honest as possible.
00:16:43
Speaker
um And as.
00:16:49
Speaker
How would I say? ah Abstract? i will I'll give that word. a lively I like it. I it. We'll take it. Abstract. um So there was a lot of discussion, a lot of discussion of what we wanted to do and how we wanted to represent the story within the movement at this time.
00:17:10
Speaker
And whilst, you know, we can give you the musical theatre formula as such, we wanted to go further than that, um where, you know, where where it's kind of play meets musical theatre.
00:17:26
Speaker
I think if you do too much, it just becomes a bit gimmicky. um And I think if you do too little, then we're not showcasing and representing the story enough. So we really wanted to find that balance of what that was. um And yeah, I think we kind of found our kind of We've called it like witchy formula as we had the three witches essentially from Macbeth within the within the show. And I think very similarly to know your your Hamiltons and things like that, where it's the ensemble um and the trio that kind of led and pushed the narrative forward for um our our you know protagonists within the within the show.
00:18:13
Speaker
How did you find out, because I know you said you wanted to do musical theatre, like you did the course on musical theatre, how did you find out you wanted to go into dance specifically instead of all of musical theatre, like musical theatre as a whole? How you find out you wanted to do choreography and stay as a creative instead of performer?
00:18:37
Speaker
Um... Good question. umm When I started ah drama school, I went to the Erdang Academy, now known as the Erdang.
00:18:50
Speaker
Gosh, somewhat over 10 years ago, hopefully hopefully the lines aren't showing. Definitely not. Definitely not. That's when that's when Georgina and I working on Sweet Charity NYMT. So it's all good. It's all good.
00:19:02
Speaker
It's all good, it's all So yeah, I did a professional dance and musical theatre on the BA honours degree course and When I started Erdang, ideally, that was like when my official technical training started. I've not really had and technical training beforehand. It was very much creative, creativity and building things from scratch, which was amazing and and stimulated me and allowed me to learn in those ways of artistry. um And I think when I started going into my dance classes, I was like, whoa, like what is this? This is...
00:19:43
Speaker
incredibly difficult but incredibly fulfilling at the same time so i think from when i started my first year i was very much of like this is this is something that i really want to do um and i knew i wanted to do more dance heavy shows and things like that um I think it's the fitness side. I love fitness. I love pushing my body to its limits and and progressing. So I think dance gives me that. It's in your soul. It's in your veins. It's in your's in your body. love it. And fingers fingers crossed, there's another BBTA nomination coming your way for your work on All Is Better a Fantasy with the RSC, keeping everything crossed for you. And what an amazing production it must have been to be a part of. Now, carrying on with our little discussion of nominations to a a Miss Georgina, two, not one, but two Olivier Award nominations, which is absolutely incredible for Miss Georgina Anora. Did you see it coming?
00:20:54
Speaker
Not at all. You could never see something like that coming. It's the craziest thing that's ever happened to me. I'm going to go straight in. Where were you when you found out? What was your reaction? who was with you? Tell us everything.
00:21:06
Speaker
Well, it was actually quite a busy day. i was doing like a reading for a new show and it started at 12.30. The whole nominations get announced at 12. So I was like, I'm going to just do work in coffee shop. I can't watch the live because it will just make me feel queasy and I need to focus on my work later.
00:21:22
Speaker
so I was in a coffee shop and with my partner and I was like, oh, just have a glance. Like, oh, I wonder what's been going on. She was like, And I was like, oh oh my God, oh my God. We both were screaming in the coffee shop in King's Cross. And then I had to get myself together and then go to work.
00:21:41
Speaker
Any strange looks from fellow coffee drinkers? I mean, honestly, I could have been anywhere. I couldn't see anyone else. I just could not believe what was going on. I was calling on my friends. My mum FaceTimed me straight away. What was mum's reaction? Tell us what was mum's reaction. Bless her, Selena, crying her eyes out. Of course she was. Oh, lovely. Imagine your kids like shy and this is where we end up. She was so proud. Shy Georgina going to her NYMT audition is now a two time Olivier Award nomination. If there is anyone listening that wasn't aware of the nominations or isn't quite sure what you might have been nominated for. Tell us what shows were they and what category were you nominated in?
00:22:24
Speaker
So I was nominated for Best Supporting Actress in a Musical for my role as Lulu in Schacht, which is at Regents Park Open Air Theatre. And then with the crazy turn of events, I spent my whole summer at Regents Park and I also did Brigadoon and I shared the role with Danielle Fiamagna and i've been nominated for Best Actress in a Musical for that role.
00:22:45
Speaker
What was that crazy turn of events? How did that come about? What happened? um It was just all and very last minute. um I joined on the Monday before tech and my studio run was on the Friday and then we went into tech.
00:23:05
Speaker
Unbelievable. The Scottish accent. I didn't have that before. so we have Can we have a little sneak preview now? Absolutely not. It's been too many months now. I was really drilling that. I bet. I mean, I'm not even going to try either. Chris, what's your Scottish accent like? Have you got it? Oh, no, no, no. You don't want to i hear that to let's just Just so touch touchy. Anything from you with a Scottish accent?
00:23:31
Speaker
I've got a sit down. Okay. Sat down. Oh, yes! I hope there was a few lines that said and sit down in there. love that. That's Perfect. but Fantastic. What was it like doing ah an open air production, Georgina? Tackling the elements, out in the wind, the rain. How was that?
00:23:51
Speaker
It's such a cool venue for that because, yeah, when it's really sunny, like imagine in a matinee, on a sunny day, you're in the park, you've got a hat on, you're in the shade and we are in the centre of the sun. so you'd be in your costumes dying of sweat or it'd be really raining and you'd be trying to slip over. i fell three times during Brigadoon.
00:24:10
Speaker
I've got videos. I will post it one day. Oh, well, keep an eye on that. And if you're listening and you don't already follow our guests on the socials, that's a reason to follow them as it is, get the edit bloopers of slip on stage mid-production. Get the behind the scenes, yeah. Get the behind scenes. And before those two fabulous productions at the at Regents Open Air Theatre, you did some fabulous roles. Tell us about those. And I think a few of them would be roles that would typically not previously been played by an actress of colour. And amazing that you took on those roles and to such critical acclaim. Tell us about just one or two of those.
00:24:49
Speaker
and Well, I guess the first one that comes to mind is um I played Dorothy in The
Georgina's Role in 'The Wizard of Oz' & Representation
00:24:54
Speaker
Wizard of Oz. I played it at the Leicester Cove and then I transferred it to the London Palladium.
00:24:59
Speaker
um That was just such an exciting role because everyone who knows me in life knows I'm a Dorothy, but you know, historically it hasn't gotten to be and a young black woman. And this is, um obviously there's also The Wiz, which is a different show.
00:25:15
Speaker
um which is really entrenched in like black culture. And I think it's amazing. It's a completely different score. um Our score was quite, and I guess it it is a legit show. So yeah, I felt in the audition process, I knew I was different to how they might have cast it before. And doing that run, I just got messages and messages from young black girls who felt really seen. and i think that's everything that I do it for.
00:25:42
Speaker
So that was a really, really special job for that reason. And the importance of that, I don't think you can quite put a value on how important that is, right? For those young girls to see someone that looks like them doing that role on that stage. Tocchi, what would you add to that?
00:26:01
Speaker
um I think for me as a black girl, that's like trying to get up into the industry, still in drama school and stuff. I think having representation like that is so important.
00:26:14
Speaker
i mean I started musical theatre not too long ago and there are quite a few people, i I can count the amount of black women that I know are role models for me in musical theatre and I think it's just so important to like get more representation in the industry because There are so, so many talented actors of colour, actors of colour, that are just not, that sometimes not reflected in the industry today.
00:26:48
Speaker
and I feel like that's, for me, more than anything, I want, I don't want to be like the token, you know? Like, I want to be there because I deserve to be there, not because it's ah because of diversity or because, oh, yeah, she needs to be, like, that different person. But I think we're moving in the right direction, i would hope.
00:27:11
Speaker
So, yeah I'm excited to see what the future holds for young black actors and actresses and um actors and actresses of colour. And, yeah Chris, do you think it's improving across theatre in the UK, representation and inclusion across theatre regionally? Is it on the up?
Diversity and Inclusion in UK Theatre
00:27:34
Speaker
I think we are heading in the right direction. um i do think it is slow and steady. um And I think there is a lot more work to do um However, I think people raising their voices... um is a big, big thing. And i am.
00:27:55
Speaker
It's so wonderful to see, um especially performers out there. um And I think, you know, as touchy as you said about, you know, not being the token, not being the that person, which is when I graduated, you know, that's what it was. That's what it was like. It was like you wanted to go for that one ethnic track that was in the show. um And now, you know, we are seeing that.
00:28:23
Speaker
more diversity within companies, which is great. um I think for me, me personally, i think that we now need to go to the creative side and now we need more wonderful creatives of colour within um within these companies and these shows. So we are, we're going in the right direction and it's, you know, you've got to keep doing it, keeping, knocking down those doors and for us to be unapologetic about it as well.
00:28:54
Speaker
I think unapologetic is the key word without doubt. There's nothing to apologise for. It's important and it's it has to be a vital part of theatre. It's art. It's for everyone across the country, across the world, no matter what um what race or religion you may be. Chris, what does meaning meaningful representation look like to you?
00:29:16
Speaker
You know, that it doesn't become tokenism. It's real. It's in the right direction. What does that look like in your mind? Because I know not only are you ah a performer, a choreographer, but you also set up your own and dance company as well.
00:29:30
Speaker
So I guess, you know, you have that opportunity to be really influential at grassroots level.
00:29:38
Speaker
Yeah, I for me, um I have my own dance company called CTC Dance Company, and um we like to spark important conversations through narrative movement. um And I think being in a commercial industry where it sometimes feel difficult to see that representation. I wanted to really have that as the pinnacle um of my company and have that diversity and inclusivity um within the company. um And
00:30:20
Speaker
It's not that hard just letting everyone else know that um to do that because there is so much talent out there, as we've all discussed, um and showcasing that talent and having that uniqueness um within a group and a company is such a beautiful thing. And I feel sometimes people can be quite afraid of that, um but actually,
00:30:46
Speaker
seeing that unity on stage is a beautiful thing. um So i really want to shout out loud um about diversity inclusivity within my company. um And I really like to showcase and hone about telling inclusive stories within our work. And we do a lot about LGBT plus stories um and mental health awareness stories as well. um And it comes to, I mean, i think, you know, kind of going back to the tokenism kind of feel, you know, having been on panels and observed panels as well of where it's like, you know, yes, but we've got to have, you know, diversity in there as such, just because when it's like, oh no, like we can we can actually find people and bring people together because they are talented and because they fit the brief.
00:31:43
Speaker
um And I think it is you know, having characters that are, you know, made up, you know, and I think when we see a a vision of what these characters were like beforehand and who we've grown up with um to showcase and and tell these stories in, you know,
00:32:05
Speaker
in a way of how stories are and they are made up and things like that. So it doesn't matter who is playing the roles. um However, you know, they can showcase um the the character authentically um for audiences. so Yeah, I think I kind of go back to it's not that hard.
00:32:30
Speaker
again I think. People listening, if you're working creatively or a producer or anywhere in theatre, you heard it here. Chris Tendai, it's not that hard. There's so much we can all do. i mean, Georgina playing the role of Dorothy, for example, is a moment where you must have felt... So, so seen and so, you know, true to yourself and bringing everything that makes you a fabulous performer to the role of Dorothy in the most fantastic way. And it was the most gorgeous performance. And I can't think of, you know, any other way or performer to have done that role. Have there been any moments prior to that?
Challenges and Commitments in Theatre Representation
00:33:09
Speaker
in a casting or in a room where you felt unseen as a performer or felt like it's not quite gone the way you you would have hoped in the way that you'd imagined?
00:33:20
Speaker
um I think like within the topic we're talking about, i think being black on stage, you want it to... not change the story because I'm an actor and I want to be the best person for the job. And that's the reason why I got the job, but equally I am black and that's how i walk around in the world. So it can't be ignored. So that, that that leads into conversations about like hair.
00:33:45
Speaker
I've had some difficult conversations, but everyone's learned difficult conversations are are important, but about like my wigs, for example. So I know if a white actress played Dorothy, you might've put her in two pigtails and,
00:33:59
Speaker
it'd be straight hair but my hair wouldn't be straight and my hair would might be in braids it might be in an afro and because of what Chris has said about teams not often being diverse you are having to be the person with the information as an actor which I would hope will change the next you know five ten years but yeah that's what I would say but that's what I struggled with at the start where I didn't feel like I had a voice and now I feel more empowered to educate people with what they need so that we can all create amazing theatre.
00:34:31
Speaker
Chris, I can see you nodding. Would you agree with that? Yeah, absolutely. I, you know, I've also been in situations like that of, you know, I've got into a show and they've given me a hairspray and a little comb. And, i you know, I've had to go and have that conversation with the wigs department and say, you know, I can't use that in my hair um and things with wigs as well. um And I think that is a conversation, I think, as Georgina has said, of
00:35:05
Speaker
allowing that conversation to be had to us as artists if we are performing rather than the performer having to go to educate the team um so when when we are in a ah hopefully a better place in the next coming years of that. And, and you know, conversations are starting slowly, um but, you know, it's it's making sure that the creative team can give the best support to the artists that they have and brought on for the show. And I think... I think youth theatre plays an important role as well. And I like to think that at NYMT, we are we are playing an active, positive role in the future because, you know, we're working with creatives um and opening our doors to young people. that You know, it's totally inclusive. We want to be as as welcoming to to all young people. regardless of your you know of where you might come from or your background. It's it's a place for everyone to come together and make theatre together. And I think that's what's so important, particularly in youth theatre, keeping theatre as accessible to everyone so that everyone feels involved. Tocchi, what would be your thoughts on that?
00:36:18
Speaker
um I think 100% I completely agree. um there's i honestly do not know where I'd be if I didn't do NYMT. NYMT was my first formal musical theatre and and i started off because I moved from Nigeria to and the u k and I just thought musical theatre was a really cool thing. So I started Stagecoach and um my singing teacher, who was also a woman of colour, had told me about NYT. And I think I auditioned and I got the concert.
00:36:58
Speaker
And that was really where my journey with musical theatre started. But like even ever since then, which was beginning of 2023 till now, every single... every single thing I have achieved I can say NYMT has had something things to do with it and I think that's a like testament to how inclusive they are like it's honestly i i don't know I've probably been sixth form right now trying to figure out my psychology a level or something like I would be yeah NYMT and youth theatre as a whole
00:37:34
Speaker
is very important in shaping the futures of young performers. And I know about that firsthand, I'm sure you guys know as well. i think a lot of youth theatres are what make people performers who they are. Some people do youth theatre and don't even go on to training, but because of the foundation that has been set and built by that youth theatre, they have become...
00:38:03
Speaker
amazing performers and amazing stars and I think yeah keeping youth theatre a place where it can be accessible from for everyone no matter what background um race gender sexuality any anything keeping that accessible for anyone is what will make the future of musical theatre and theatre as a whole bright and good i couldn't agree with you more yeah could not agree with you more and thank you so much for sharing you know it's it's so important to have those views from one of our own young company members in doing and nymt this summer chris you talked a lot about the the stories that we're telling and i think that plays such a huge part in it and going to come to you next on this georgina so you get a bit of a heads up What stories do you think we need to be seeing more
Future Visions: Stories & Career Dreams
00:38:52
Speaker
of? We need to be telling and putting on our stages in theatres across the yeah UK?
00:38:58
Speaker
Oh, what a good question. think... i think I for me personally, i would love to see more ah black and brown led stories to be told and that to become more of a norm. um I think what i want to do, kind of what's next for me creative wise, is that I want to revive um Black-led shows and Black-led musicals from the 40s and 50s as there are so many amazing shows, amazing music that um have not necessarily, you know, have been on Broadway, have never made it over here um or have been forgotten about and I would love to bring them back um and tell their stories again. um and bring the element of jazz of you know your real broadway jazz and bring that back to back to the stage um of kind of you know where where we've all got our inspiration from from the greats and and I think I think that's a really important ah you know things thing to tell yeah
00:40:12
Speaker
the greats and the legends that yeah there are some iconic iconic artists and voices from that era georgina who would be ah an iconic artist or voice of yours that you look back on as maybe an inspiration and what sort of theater or stories do you want to see being told across theaters in the uk um Talking about the inspiration, i think I got like a musical theatre album, like in a charity shop when I was really, really young. And it was Louise Dearman's album.
00:40:42
Speaker
And it's like an album of different covers from different musicals. And I remember her cover of Tell Me on a Sunday. The way learnt that song, exactly how she sang it. like i can actually I can hear her s singing it in my head right now. i used to play it like 10 times a day. i was one of those kind of kids. I love it.
00:40:56
Speaker
But she's like a real early inspiration. But in terms of like what theatre I'd love to be made now, I'd love it to be riskier. I think everyone's a bit stressed about money. People are producing and trying to make as much money as they can, which then means we don't take risks and we don't always put on interesting stories anymore. And like All Is About Fantasy was like a real unique project in the sense that there's been nothing like it I've ever encountered, ever seen, ever worked on.
00:41:29
Speaker
And audience members were so just amazed by it because they hadn't had anything like it. And I just think audiences want to be challenged and we should encourage that. And people will spend their money because they want to be challenged. That's why we all go to the theatre. And a side note, bring back dancing. so I feel like, yeah, all the new musicals I've seen recently, like,
00:41:52
Speaker
The person singing is never doing a little boom cat. bring back two hats Bring back the back the boom cats. Let's bring back those boom cats, but also let's bring on some questions from Tocchi because we are, we are coming to the end of this episode. And I'm not sure about you, but I honestly feel so inspired of here to have heard, rather, easy for me to say, it so inspired to hear from two incredible artists. who we are so lucky to to have part of our and NYMT family. I know Tocchi's got a couple of questions from our listeners. So Tocchi, fire away. Okay, so Georgina, Daisy17 asks, what were the main things you learned from your NYMT journey that you are taking into your career today?
00:42:47
Speaker
That's a really good question, Daisy. i would say i would say the biggest thing I took was that you are powerful, you are strong, and that doesn't have to look one way. I had such amazing support from the community I made at NYMT. And actually the girl who played Charity, she's the reason why I've ended up even doing this because I met her NYMT and she told me to audition for Mildale, which is near my hometown. And that began my like professional training um journey where I did my degree in the end and at Arts But yeah, it's the community and um you're powerful and really lean on your community. Yeah, perfect. Thank you. um And Chris, George15 asks, how important is it to focus on one style of dance for you?
00:43:40
Speaker
Yeah, i I think for me, I always say hone in on the technique. Ballet is your best friend. Technical jazz is your best friend. And once you have an understanding of that technical ability,
00:43:57
Speaker
it goes into all other areas of dance so you can really utilize that skill um when you are learning choreography and and I'll always say learn your basic groove fundamentals as well because it's there you want to go in the west end it's all there for you and so yeah I would I would say hone in on your technical abilities hone in on that ballet and it will filter in into other sectors Thank you so, so much. Honestly, such such wise words and two great questions there. I'm going to steal the spotlight, if I may, Tochi, with the last question. So, 2026 is the NYMT season of dreams. are The theme of dreams is running through our entire season. And the question and to both of our guests, to you, Chris, and to Georgina, but to you first, Chris, is what is a dream of yours? It can be industry based, career based, personal, friends or family. Chris, what's a dream for you?
00:45:04
Speaker
Oh, well. I've already had a dream come true of being on the West End so that's a dream ticked off and my next dream is to be an Olivier Award winning choreographer so it's already manifesting here with Georgina two-time Olivier Award nominee so it's manifesting right now here and now so that's the next dream I can feel I can feel it in the air and Georgina how about you No, for me, i think my dream would be to do this for the rest of my life.
00:45:37
Speaker
Like I think um you have these amazing pinnacles in this career and they've been unbelievable. But I think my ultimate dream is to say that, you know, when I'm 95, this was my career. and This is what I did my whole life. This is how I paid the bills. Like what an honour. absolutely adore that. I'm not going to lie. For a minute, i thought you were talking about this podcast and I thought, oh, that's nice. and I realized we're looking a little bit broader and a bit wider than that but you know some really inspiring comments there so insightful and thank you both so much Tocchi thank you so much for being our fabulous co-host Thank you so much for having me. It's been absolutely lovely having you and to our absolutely extraordinary guests, powerhouses of musical theatre in their own right, Chris and Georgina. Thank you so, so much for joining us. It's been a fabulous, fabulous
Episode Wrap-up & Listener Engagement
00:46:31
Speaker
episode. And I think when it comes to diversity and inclusion, as our guests said, yeah, we're moving in the right direction. There's there's a lot of work to do, but I think youth theatres across the country and NYMT has a huge, huge role to play. As Chris said, well, it's not that hard, people. And as Georgina said, well, let's bring back the boom car.
00:46:55
Speaker
Thank you guys so much. And we'll see you soon. Thank you. Thank you.
00:47:07
Speaker
That's it for today's episode. And thanks so much for listening to Open House. If you enjoyed the show, please don't forget to like, subscribe and comment wherever you're listening from. And hey, why not tell a friend? The more the merrier.
00:47:20
Speaker
Check out nymt.org.uk to learn how you can support us, get involved and what's on throughout the season. Or find us at and NYMT UK on the socials. And why not drop us a message with what guests you want to see and hear from in a future episode. So, so long Farewell, Auf Wiedersehen and goodbye.