I am actually writing a book with Mark Evans. It's like an informative but fun book answering questions about people training/performing.
Are you manually going through it yourself?
Well, our publisher Nick Hern built a website and everyone submitted their questions. We only needed 70 for the book so it was a case of going through 400 questions, seeing which questions we liked or questions we felt we could give some great helpful tips and answers to and then put them into our own chapters. It's quite time consuming, but once we've got the bulk of it done it's a case of writing it. I can't wait to have the book in my hands and say I've written that!
Yes, Nick Hern's books are really good. I really enjoy reading them.
Yes, really good. Me and Mark, who is on the other side of the world doing The Book of Mormon, are trying to do it over the internet, which is really funny. It's all good, it's all good.
I wanted to ask you about Wicked first of all. So you were the first actress to play Glinda and Elphaba in Wicked. Do you think performing as Glinda first of all made you emphasise and understand the character, as well as how you interact, when you are playing the role of Elphaba?
Yes, absolutely. When I first got the role of Glinda, I read the book Wicked by Gregory McGuire. I have to admit I found it tough. I really had to take my time reading it. It's much darker than the musical — a quite intense book but wonderful in the same breath. But, of course, after being on the same stage that I played Glinda, I had a real understanding about their friendship.
What was very interesting was — because of my role as Elphaba — I went back and read the book again and it made much more sense to me thinking of it through Elphaba's eyes and yes, of course, it did help. I guess in a way it made it more difficult putting my own stamp on Elphaba because I had been on stage with Rachel Tucker, who played her for two years. So the easy thing to do, or the instant thing to do, would be to take on board little things that the actress did.
The first time I saw the show was the week before I opened in it, which is kind of odd, but when I got the audition I thought "Go and see it", then said "Don't go and see it because all you are going to do is copy what they do". So it was a bit risky, but all the way through the rehearsal process my Associate Director kept saying "Don't go and see it. Find what you are doing first and then go and see it." So that's what I did. Quite overwhelming to watch this show that you know you are going to be in and try to ignore what the other person is doing. But, yes, it definitely gave me a better understanding to know what the show is about inside out. But I tried as hard as I could to put it in my head that I was starting from scratch.
Do you do that with most other projects that you work on?
Yes. It's difficult if you have grown up watching the show — you instantly take little bits and pieces on board or you have an idea of what you think the character should be, but you definitely have to sit down and just read through the script — just really think about what you really want to get across. But, of course, it is difficult. Particularly with songs because if you have listened to a certain cover over again, you can't help but sing those inflections and kind of do a carbon copy of what the original actress has done. So that's what I find the most difficult — making a song my own. Within reason of course.
When you first landed the role of Elphaba how was you with the height of going up during the song 'Defying Gravity'?
About the flying? Actually it was fine because being in the bubble was scarier. You start much higher — you start right up in the gods and I often used to go up and you would be sat up in the bubble for five minutes before the opening of the show. You have the curtain right here, up in your face, and if you look down there to the stage at everyone warming up and getting ready, I found, after flying as Elphaba, that the bubble was scarier.
But you know what, you don't have time to think about it as Elphaba. You are in the middle of this incredible scene, this life changing moment and not only do you have to think about that running through your mind, but you have to think about running across stage to get ready to be in the machinery that flies you — and all you are thinking about are the technical elements— get in, put your bag in the right place, get your cloak in the right place, get your voice ready. There was no time to stop and worry. So it was fine, and I am not scared of heights. I don't know if I would jump out of a plane ... but it is actually exhilarating that you feel incredibly safe.
How long does it actually take you to get ready?
20 minutes — but I don't do it myself. I have a make-up artist who comes down. Literally 6 o'clock they come down to my room. Make up is done by twenty past, twenty five past. Then I head down to warm-up and then I get into wigs and costumes. So it really isn't long at all. And getting it off I have got that down to a T. I would literally have my little routine. Straight off the stage and I would have to cover myself with this oil that dissolves the paint — then jump in the shower, then I would be at Kings Cross at 11 o'clock.
That's the thing — not living in London, I would be screaming "I am sorry, I am sorry" at people at the stage door who are trying to get signed photographs and programmes. It would often be that I would have much longer before the show than after outside. But they would be very understanding.
But that's the thing ... if you miss that train you wouldn't be getting home until 12:30/1 o'clock in the morning, which can't happen.
The original Wizard of Oz was released in the 1930s — did you study the film before?
I didn't. I watched it growing up but when you watch the Wizard of Oz with adult eyes it's very different. But of course Wicked is a parallel universe running alongside the Wizard of Oz. It's what happens before, during and after, if you like. There are so many references to it in Wicked. I think I just wanted to absorb everything about Wicked and the Wizard of Oz before I started. So it was a case of rereading everything again and taking everything in.
Elphaba is a different character to what the Wicked Witch of the West is in the Wizard of Oz. She is this young, hopeful school girl. That's what she starts out as Wicked — but she is a real person. The fact she is green doesn't distract from the fact that she is a real girl who has had lots of issues with the colour of her skin. Loads of people go through these issues. It might not be green, but lots of people go through feelings of being different and being left out of the popular circle. And that's why I think lots of people can connect with Elphaba and understand of how she is feeling, and that's why people come back to see it time and time again.
I know, I have seen it twice.
There's people who come every week and it's amazing. I'm like "don't you get bored?", but they never. They notice the tiny little changes in your performance 'cos trying to keep things fresh you do tiny little changes. And they notice — it's extraordinary.
Well, I knew the songs way before I watched the musical as I had the piano music.
Lots of people do. Lots of people come and they are desperate to hear 'Defying Gravity', because they have been listening to it before they even came to see the show. And just like tears of joy — it has such a brilliant effect on people. The music is so fantastic that many people would have listened to it and got the CD before they would have even seen the show. The same as me — I was completely aware of the music before I had even seen the show.
You have a new album out featuring an orchestra. Is an orchestra coming on tour as well?
The album is out 2nd December. And off the back of the album I will be doing a tour next year in venues all across the UK with a band, not an orchestra. The album is with an orchestra, but to take an orchestra on tour would mean huge venues and huge costs. This is about taking the album out on the road with a slight change in the arrangement so the songs suit a smaller venue and has that intimate feel about them.
But starting this Sunday I am doing some concerts. I am doing an evening of movies and musicals, which is at the Apollo Victoria, back to where Wicked is, and that's with a 50-piece orchestra, a gospel choir, and I am singing two songs from my album there, plus another material. Then I am off to Swansea next Sunday to do the same show but with Rhydian Roberts, so we have some few extra songs in there, and then I am doing my own Christmas shows, which contain the album material but also has songs from my theatrical past and some little teasers for next year as well. Then I have some James Bond concerts in December in Birmingham and London, and again with an orchestra. And that's thrilling — to be able to sing with an orchestra is a whole new experience. I would of course like to take an orchestra on the road with me but, do you know what, this is my first ever UK tour so it is about building upwards and doing bigger venues with bigger bands with the orchestras. And it's all about just putting myself out there and building that concert career.
You are normally on stage with lots of other people. How do you feel about singing on your own?
Very, very different but I have done it before with one-off gigs. With my last album I had a concert at the Bush Hall so I quite like to be able to be myself. One thing that scares artists is the chit-chat between songs but actually it's something that I fully embrace and I can't be anyone else except me so I don't like to script it too much — I like to imagine that I am in my own lounge. My songs covers big divas, and I want the show, even though it is small in band size and venue, to still be classy and have a big sound, and have a lovely range of music and songs from different artists, and hopefully all tied together with my style, so I am so eager to get going with it.
Yes, it must be so nice to have that input.
It's scary of course, but I am much more excited than I am scared.
In your second album you had some quite contemporary songs such as Sara Bareilles, which I personally love, but know that she is not that commonly known. Was that a conscious decision?
I decided that I wanted an album that had no musical theatre on it. And the reason being, I wanted to bring in some songs that people are very familiar with such as 'Little Bird' by Annie Lennox or 'Uninvited' by Alanis Morisette, and I wanted to mix it with songs that people may not be as familiar with, like 'Gravity' or 'Here Comes The Sun', but give them all a theatrical sound. And that is what I was most proud of — my producer Ben Robbins managed to tie all these songs but turn them into something dramatic and theatrical, and they all worked so well together. The reason for this time, for going back to theatre if you like, is because for so long I have shied away from doing the classics.
We decided to collaborate with 'Silver Screens', the record label, and they had a huge back catalogue of classics — 'I Dreamed A Dream', 'What I Did For Love', 'Send In The Clowns' ... all these songs that have never passed my lips. Even through training I was told "Don't go to a Les Misérables audition and sing 'I Dreamed A Dream'. You go in singing a song with a similar style, but never a song from the show". So you kind of just shy away from them and constantly try to find songs that are different and unique. So even though they may be obvious choices, they are not to me. They are very new to me and, because they are in their original format of how they are supposed to sound with this orchestra, it's wonderful to just fully embrace it and say, you know what, musical theatre has been my career, that's what people want to hear. So I just fully embraced it and went all out. It took a long time to decide what songs, but once I had decided I thought "yes, let's go for them". And once I was given the option to add some other songs like 'Home' from The Wiz, 'Astonishing' from Little Woman, and 'A New Life' by Jacqueline Hyde, I balanced it all so you had lots of classics and a few contemporary theatre numbers in there as well.
You covered Les Mis 'I dreamed the dream'. Did you see the film?
No, I haven't. But I am going next week to see it. I haven't seen it in years. My friend is playing Jean Valjean. If I was a man I would want to play that role, it's incredible.
Would you consider doing a Musical Theatre film?
Absolutely. There are so many more things that I want to do and want to achieve. If there was a role that I was right for, I'd absolutely grab it with both hands. The success of Les Mis — it was already a successful musical — but now it is packed out every single night, and mainly because of the film.
Well, it's amazing that even in the film they had to sing live.
That's brilliant because we have to do that night after night. There may be some notes that aren't absolutely perfect, but that's live theatre. So I think giving the film that live element was a genius idea.
So we kind of just mentioned about it, but what is your next dream?
My next dream is to continue with my recording and concert career and build, build, build on that. To travel the world with my show and sing in different countries and also to pursue a straight-acting career — be it in TV, theatre or film. That is something I would absolutely love to do. So I guess it's a case of keeping all the elements that I do as a performer, but keeping them separately. So I will be able to still sing and act, but also in a completely different genre.
I've read before that you've never been to New York — is that still the case?
I have been once and it was absolutely a flying visit. It is embarrassing that I haven't been there in such long time. Scott Alan, who is a composer, asked me to go out there to do this concert, The Bird Land. So I literally flew out there one evening — I think I got to my hotel at 12 o'clock, up the next morning, rehearsals for the concert, did the concert that night, straight back to my hotel room then up at 5 o'clock in the morning to get my flight home. But I didn't get to see any of New York other than walking through Time Square and grabbing some lunch. So absolutely need to get back there.
What about maybe acting in Broadway?
Again, absolutely. I am hoping to go out there next year with some of my own work. I think although I would love to do that, London will always be my theatrical home. I am such a home bod. I love being home, I love London theatres but, yes, to experience that would be wonderful.
You are working with Adam Murray for the UK tour, so he will be directing it and doing the choreography. How does it work with the slow songs?
Basically when you say choreography, it is much more stage direction, I am not going to be jumping around the stage like Beyoncé in my shows. It is more about linking the songs together so I am not just stood in the centre of the stage with the microphone singing the whole thing. It's all about making a proper show. Adam is a really good friend of mine. He is dance supervisor on Wicked and he has a real understanding of my style, my tastes — we have very similar tastes — so it was really important for me to have the right number of team around me. So Adam was the first choice for someone who gets me and who I know I will be able to work with very easily and create something wonderful.
Earlier this year you performed in Covent Garden for the Olivier Awards. How was that?
Amazing. The previous year I had presented in Covent Garden The Olivier Awards, the outdoor live event, which I loved. But to go back and perform as part of Wicked was brilliant. There was such a great atmosphere surrounding the Olivier Awards. It's a very glamorous event, lots of hype surrounding it and lots of buzz. It's fantastic. And I love that it is a live event that people can go along to — a free event. Lots of people would love to go along to The Olivier but can't get tickets, it's not just an open invite. So I think it's important that people get to experience it in a different way.
You mentioned about your book that was coming out. Do you have a couple of tips that you can provide for our readers looking for some advice?
There's so many.
A lot of people have been saying "How do you deal with nerves?". Nerves are of huge importance because without them the adrenaline is not there, and if you don't have nerves, it's almost like you don't care what your performance is going to be like. It's being able to curb them and have them bubbling underneath so they don't affect your performance. So for me it's focusing on why you are doing it — you are doing it because you love performing it — and focusing on what you are about to perform rather than how much you feel nervous. Although these things never go away, they do get easier. It's all about experience and practice, practice, practice.
What's another thing that people ask me? How would you improve vocal technique? Again, it's all about training and all about practice. There is no point in saying I am no good, my vocal range isn't getting any better, but then you are not going to any singing lessons. We never stop training as performers. It's a constant thing. I still have to train my voice. If I have been on holiday for a week then I come back to the show and I have lost a little bit of muscle memory and technique, so it is constantly about bettering yourself as a performer. As long as you have that in your mind and continue then you will succeed.
And if it's overworked, just like an athlete who doesn't warm up properly, it will give up on you. That is something you have to almost expect and embrace, and not panic about. Of course your voice is going to get tired. It's almost as if you were going to a concert, and you were whooping and cheering all night, then you go home with a horse voice. Imagine singing for two hours — it's exactly that. That's why it takes a lot of discipline that people underestimate. They think it's just professional dress up.
Ever since I have finished, the pressure has kind of lifted a bit because waking up every day after a show like Wicked, I have to be silent most days. That's challenging for me as I can talk for Britain. Most days I would be in my house — I would even get to the point where I would have to write notes to my boyfriend who's in the house just to say "cup of tea?" — just things like that to completely preserve you for the evening. It's tough — but it is a small price to pay for such a huge role.
I just saw on Twitter that you have landed the lead role in Water Babies. That must be really exciting?
Yes, Mrs D. Mrs Doasyouwouldbedoneby.
Did you ever read the Charles Kingsley novel, who the show is inspired by, as a child?
I didn't, no. When I was going to meetings about the show, I was told not to watch the film because the musical isn't exactly based on the film or the book. It's a slightly different essence of the book and film — it's inspired by them. But it's a brand new production. For starters, Tom is not a little boy, but a teenager. And Elly, who's in it, is a teenager so that immediately gives it a whole new spin. Mrs D appears as different people throughout the musical — but you will know it is her. So she will appear in the Court room, and then she will appear underwater. She is kind of this character that narrates the story and leads Tom through. But, no, I am incredibly excited. It's brand new and I have never been able to create a role from scratch before and the music is fantastic. It's got a contemporary, pop/theatre feel to it, and I have a fabulous big number in there. I was aware of the book but I had never read it. So going back to those — reading the book, watching the film, then trying to find your own place is very exciting. The rehearsal process will be very interesting. Ed Curtis has an excellent reputation so I am excited to get out there and do it.
You studied at Laine Theatre Arts. How was meeting Betty Laine?
Oh wonderful, she is an amazing woman. Lots of people are scared of her but it's because she wants the very best and she gets the very best. If you go to Laine Theatre Arts you have to be prepared to work, work, work. You don't go there and sit around, or get the opportunity to skive off classes. She is there making sure everyone is making the most of their training, which is important. If you were late, she would be sat there at the front door of the college waiting for late comers. You are pushed to your limits but I wouldn't of had it any other way. She was, and still is, incredibly supportive and I feel it was the best place for me to go to train. Lots of people say that Laine Theatre Arts is all about the dancing. It's not all about the dancing. The dance training is the best, I believe, but so is the singing and acting. You just have to push yourself to go to after-college classes and do everything from opera class to audition technique. It's only three years but it goes really quickly for you to absorb everything you want to achieve and be ready to get out there in a competitive world — so I love Laine Theatre Arts.
Do you remember what song you auditioned with for Laine?
Yes, it was 'Sun and Moon' by Miss Saigon. I turned it into a solo — it was meant to be a duet obviously. It was a song and dance that I used to do for song festivals and I loved it so much that I did it for my audition. I remember the studio I stood in, the people on the panel. Very, very funny.
You have played so many strong female characters. How do you prepare for them? For example is there anyone from your year at Laine that you speak to for advice?
I remember when I got Elphaba and texting Kerry — I am really good friends with her as we were in the same year at college — and saying "I am having difficulty, it's really hard". She said to me "Everyone has struggled with this role, it's so tough. Don't underestimate how hard it is. Give it a couple of months. You will be completely in your stride." And she was right. So I think it's nice to have those people around you, who you can turn to give you support — and also it is very difficult as I hate going off sick. Lots of time you are not ill, but you're voice has just gone and you need to rest it. Lots of people won't understand that. They come to see the show and they will be really disappointed and will put on Twitter "I can't believe she's not on". And I feel such guilt that I am not there. But I am already making myself feel bad, I don't need anyone to make me feel worse, so it's nice to have those people who understand and say "It's fine — don't let anyone upset you, you are human, and I was the same". It's really nice to have that network of people around you.
I guess with your voice as well you could do more harm than good if you continue.
People don't understand that if you don't rest it you could end up with these things called nodules. If you don't act on it straight away, and you notice there is something wrong with your voice and you keep singing then that means an operation, which could affect your vocal range. It could end your career. You have to understand that if it means taking one or two rehearsals off — you can notice the difference in 24 hours. If you have been completely silent — from going one day and missing three/four notes to being silent ¬— you come back and they are back again. It's just giving a little bit of time. But it's very difficult to explain that to people who don't have an understanding about how The Voice works. To them it just means that they are hugely disappointed because they have bought tickets and you aren't there — and I completely get that. But I already feel horrendously awful when I go off so it makes it that much worse.
You have played in Evita — which is very historical show — and then gone onto magical shows. What do you think are the main differences?
A million worlds apart but I love different types of roles. For example when I started my career, I turned into what was almost a character actress. I knew that wasn't necessary what I wanted to do all the time, as much as I love playing the character roles — playing comedy — it was important to me to be versatile and play as many roles as possible. The best things about it is playing Eva Peron and then playing Glinda means that I am constantly satisfied with what I do. It's a constant challenge physically as an actress, vocally they are worlds apart. But I trained to do that. I trained in opera and then I trained in my belle voice, so I want to use every part of it. First and foremost I am an actress so I need to be able to play lots of different types of roles. They are a million worlds apart.
I guess, as well, because it is factual your research will be on stuff that is true.
Absolutely, I guess it's slightly easier because the facts are there on paper when you read the books and try to get to know what the person may have been like. But also it's harder, especially with a character like Eva Peron. It's not like that person is not alive. That's difficult to get right, whereas I guess with a fictional character the world is your oyster. You can make that person whatever you like, so in that respect it is slightly easier.
You have sung with quite a few X-Factor stars such as Shayne Ward, Gareth Gates, and you are about to sing with Rhydian Roberts ...
That's really weird I have never thought of that connection.
There's quite a few schools offering courses that prepare students for the X-Factor. Tring Park school has just launched one. Do you think there is a need for these type of courses?
That's a hard one. I think I appreciate why people would want to go onto the X-Factor. For a lot of people it's to become famous instantly and that's the wrong reason because as fast as you are thrusted into the limelight you will be dropped. But for lots of other people it's about making a go of being in this industry professionally. It's not working so what other option are you left with? And for those people it's wonderful. Like you said — Shayne, Gareth, Rhydian — they have all done incredibly well and they haven't all won the show. I think it's a case of talent. The cream will rise to the top if you have the talent, and if you are prepared to work hard it will work for you. I am just not sure if the X-Factor, The Voice and things like that are necessary the way to go. They certainly don't harm a lot of people, but they do harm lots of other people.
Do you watch the show?
I drop in and out. What I find incredibly frustrating is the reasons for choosing people for the live shows or anything like that when you have just seen someone better and you have a programme all about the singing voice. For example The Voice especially is called The Voice. It's not called The Pop Voice, so it does frustrate me when people bring up "you should be in musicals, you aren't right for The Voice". It's called The Voice, and everyone out there likes different types of music. There are classical artists who sell millions of albums, so why shouldn't there be a classical artist on there. It's kind of weird. There should be someone representing every different piece of music on there. I think that would make it a lot more interesting. It's like Rhydian. He was made fun out of on the show but he's got a glorious classical voice — absolutely beautiful — and he's doing really well. He's an artist in his own right.
Yes, our band Tenors of Rock was on X-Factor but the boys didn't get through just because of the format of it.
Yes — I know them. I know quite a few of the boys. They are doing really well. Well, I think as long as everything is not pinned on that then I don't see a problem with it. It doesn't take away how talented those guys are. Sometimes I watch X-Factor and think I could fill it with all my friends and you would be blown away every single week. I think people from a musical theatre background are almost frowned upon. It's almost like they cannot be stars. Frustrating.
Completely agree. You recently performed with Kimberley Walsh — how did that come about?
Yes, from Miss Saigon. Kimberley's management approached my management and said they were looking for a female artist for Kimberly to do a song with. She was doing a musical theatre album, and, I think, because at the time I had gone in and played Elphaba having played Glinda and there was a lot of buzz around that, she asked me to do it. I was absolutely thrilled. She is such a lovely, lovely girl. The album is beautiful and I loved the song, so I said absolutely I will do it. So I went into the studio, and it was lovely that she was there and we could do it together — whereas lots of times you won't even see the person you are recording with. So, no, I was very, very thrilled. She was an absolute sweetheart and it was lovely working with her.
From the age of three, your passion was dancing. Is dancing still as important to you?
It's not as important to me now as was. But I started dancing when I was three and it has definitely helped me. For example, I did Joseph as soon as I left college and then my next job was Grease. I couldn't get an audition for Grease, so I decided to go the open auditions where you had to dance first of all, in a room of like 100 people at a time, so you had to get noticed. And because I could dance, I got picked and was able to sing and do a scene. At that point I got seen. Had I not danced, I wouldn't have got through, wouldn't have got that job and who knows how difficult it would have been to get the next job and next one. 'Kiss Me Kate' — another example — I was a swing so I covered four girl singers and three girl dancers. If I couldn't dance I wouldn't have got that role — and with 'Guys and Dolls' as well. Everything has happened because I could do the singing, dancing and acting.
So the triple threat ...
It's exactly that. Although you won't be equal in everything — you will be stronger in something — you should never dismiss one element because that time will come when you will have to go in a room and do that thing you are not comfortable with, and it will be the person next to you — who is better at that— who will win the role. So dancing has been incredibly important to me. It was my first love until I discovered that I loved singing, and that I was actually quite good at it and that developed to singing lessons. It was pretty much all about dancing — I used to do it every day after school.
Was there a particular genre?
Loved tap. Absolutely loved tap. Ballet I was never that great at. I enjoyed ballet but I could never peg my leg up to my ear, but tap and modern tap were definitely my favourite.
Well with ballet you have to have certain body shape.
Yes and I'm not that build. And it became quite obvious that I wasn't going to be a dancer. But, you know, I am glad that it has worked out the way it has. I have been very, very lucky.
You are also into comedy. Who is your favourite comedian?
Victoria Wood, absolutely love, Julie Walters, Dawn French. And I also love Miranda. I think she is absolutely hilarious. And I like her little looks to the camera. And I love Jennifer Saunders. Gosh the list goes on.
So it's mostly female comedians?
Yes actually, that instantly sticks out. I met Victoria Wood a few weeks ago — she came to the theatre — and for the first time in ages I was really star struck. I went and actually asked my dresser to go get my phone because I really wanted a picture, but when it actually came down to it, I couldn't ask her for it, which is a really weird scenario because I don't get like that. I don't get star struck by hugely famous people. It's about people who I grew up watching, who I aspire to, who I massively respect, and comedy is something I would love to develop further. I started to write a sketch show a few years ago with my friend Gareth — we need to get back on that and start to develop that. The two things I would love to do is really great drama and some brilliant comedy on TV.
There are so many arts funding cuts nowadays. I know Laine students have been affected too with their housing benefits being taken away due to their courses being reclassified from further education to higher education. Do you think it will affect performers in the future and the quality?
It's a massive, massive shame and it shouldn't happen. The arts are so important to us. For people to have a passion for something and desperately want to do it, or for personal development, it's taking that opportunity away and I am hoping it won't affect the quality but it's just giving people fewer options to do it. There's going to be hugely talented people who cannot get their foot in the door because they haven't been able to do the training and it's all very well saying "just continue to go to your local theatre group", but the second you try to get an agent or audition it's not going to work. So it's ridiculous that these cuts have been made because the arts are equally as important as any other industry especially in the current climate. It's pure escapism for people and why shouldn't we have the opportunity to pursue a career in performing. It's almost as if it's not important, it's just a hobby.
It's like arts being removed as a GCSE.
It's as if everyone has to do exactly the same thing and fewer options. Just as maths is equally important to some people who want to use maths as some form as a career, someone else wants to act as part of their career. It is important, and why should these opportunities be taken away. Talent in one area is equally as important as talent in another area for different people. Some people might not be academically brilliant but have talent in other areas, so removing that is not fair at all.
Okay, so I now have a list of random questions for you to answer
Sweet or Savoury?
Sugar or Spice?
What do you want for Christmas?
That's a hard one — I haven't thought about this. A big sparkly ring on my hand would be lovely. Hint, hint.
Favourite TV programme?
Favourite Song from album?
Home from 'The Wiz'
Tea or coffee?
Your favourite social media app?
Blonde or brunette?
Before I was really blonde, now I am right in between.
So do you think blondes have more fun?
No, actually I don't know. I am right in between because I have a dip dye but I think I am going to go more blonde.
This is even more random. Did you keep your green makeup on for Halloween?
No, but I was constantly stepping out being a bit green. I remember when we first had rehearsals and we had the makeup colour test done, I wasn't as good taking it off, so when I went to go to the shops to get a coffee the guy behind the counter went "Oh, you are a bit green" and I said "Yeah, Halloween" and I totally got away with it. But obviously you can't every month of the year. The great thing now is that if I ever need a Halloween costume, I know how to do the green perfectly so I can just be best costume.
For more information on Louise Dearman's upcoming tour and concerts visit www.louisedearman.com