Andrew Wright has
become one of the West End's favourite choreographers recently, with productions
that have astounded the public. His choreographer credits include Singin' In The Rain (Palace Theatre and Chichester
Festival Theatre), 42nd Street (Chichester Festival Theatre and The Curve,
Leicester), Wonderful Town(National Tour), The Showgirl Within(Garrick
Theatre), Once Upon A Time At The Adelphi(Liverpool Playhouse, Union Theatre and
Trafalgar Studios) ,By Jeeves(Landor Theatre) and many many more! His performance
credits include Scrooge(London Palladium), Mary Poppins (Prince Edward), Anything
Goes (Drury Lane), Cats (New London), Disney's
How did you first get into Dance?I
went to a local dance school in Somerset and also danced at my main school,
Millfield. However I didn't start to professionally train until the age of 17 at
Arts Ed, London.
Is
there any advice you'd give to any aspiring dancers out
there?That
there is no short cut to success. Put the hours of training in. The more skills
you have to offe r the
better your chance of employment is.
You
started out your career as a performer, performing in some of the most memorable
shows London has ever seen. Was there any highlight from that side of your
career?I
was very lucky; I adored my 3 years in Cats and loved playing a knife (!) in
Beauty and the Beast! I honestly had a blast in every job; I like to find the
positive in everything!
You
must have worked with some amazing people during this time, is there anyone that
stands out or someone who taught you something you have never
forgotten?If
I had to pick one person I would say it was Sir Harry Secombe. It was my first
professional job from drama school, Pickwick. He was not only a brilliant talent
but also the most generous, kind beautiful leader of a company.
After
a successful career in Theatre what made you turn to
Choreographing?I
always wanted to choreograph. Not many people knew but even whilst performing I
would be choreographing in the day, small projects. Scrooge at the Palladium was
my final performing job, on the last night of that show I packed up my dressing
room knowing that was it, it was time!
The
turning point in your choreography career was when you were asked to do the
Chichester Festival Theatre's production of 42nd Street; following
this you got the job of working on Singin' in the Rain. What was it like working on two such
huge musicals that everyone knows and loves and how did you add your own touch
to it?Hugely
daunting! 42nd Street was a huge gift, Chichester took a risk on me. For that I
will always be grateful. I was asked to do Singin' in the Rain on our final
performance of 42nd Street. I had to keep it secret which I found near
impossible! I was over the moon. I tried to approach both shows with respecting
their roots but trying to add something new on top.
You've
choreographed shows in a variety of spaces including huge West End venues,
Thrust stages and smaller venues like The Landor Theatre; in comparison is there
anything you prefer or even dislike about any of them?Every
space brings its own challenge! It was always a dream to have a show on a West
End stage. I still have to pinch myself when walking past the Palace
Theatre.
When
you approach a new project, how do you go about getting your head round what to
do with it?I
always start with reading the script, listening to the music over and over until
I totally know it inside out. One day an idea will come, perhaps I will see,
read something that will jog my mind. From there a show grows.
You
had to adapt Singin' in the Rain when the show transferred to the West End
because the Chichester Festival Theatre is a thrust stage, did you find this
difficult? Were there any challenges?I
adored re visiting the show. I came with a huge list of changes and even today I
had a rehearsal and made a few tweaks. If you are lucky enough to have a show
running for a while you are afforded that luxury!
Singin'
in the Rain is running at the Palace Theatre, currently open ended. How do you
keep a show like that fresh?We
are blessed with a wonderful company who care. I try to go in every other week
to note it. We also have a great resident choreographer Gemma Fuller who looks
after it beautifully.
You
worked on Wonderful Town which finished its tour recently; being a show that a
lot of people aren't that familiar with must have been a challenge to
re-introduce this show to the public. But how did you go about doing that and
bringing it to the modern audience?I
must admit it was a challenge making the public aware of it. Such a shame as it
is a wonderful show. I am really proud of the tour even if not many people came
to see it!
You
are now officially one of the best choreographers working at the moment! Have
you got any future plans for any new projects?How
kind, I have lots planned for 2013 but annoyingly I am not allowed to say what
they are. Hopefully Singin' in the Rain will have further productions around the world and I am involved with a big
revival next summer!
Are
there any musicals you'd love to work on in the future?So
many, Anything Goes, Guys and Dolls, West Side Story to name a few!
If
you were to start your career again, is there anything you'd do
differently?Not
really, I tend not to do regrets. We only have one shot at life!
What
advice would you give to any aspiring Choreographers?Gosh
I'm not sure, I suppose I would say to please not be too good!
Left to right: Singin' in the Rain (Palace Theatre), 42nd Street (Chichester Festival Theatre), Wonderful Town (UK Tour)
