British

INTERVIEW: JAMAAL FIELDS-GREEN (MJ the Musical)

Interview

New York’s Jamaal Fields-Green took over the role of Michael Jackson in the smash hit London production of MJ the Musical 14 January, 2025.

— You’ve played Michael Jackson in MJ the Musical on Broadway, on the US national tour, and now on the West End. Does it feel different performing in London? Or is it really just the same as performing the show anywhere?

I’d say it’s a bit of both. There are actually slight differences in blocking across the companies. Thankfully, audiences all over the world have the same reaction to the show — the love and enjoyment is always there. But where London differs is the reservation the audience has during the show: it’s different from what I’m used to, but I like it. It allows us in the company to further engulf ourselves into the world we’re creating.

— What drew you to this particular role?

It’s Michael Jackson! Honestly, this role allows me to really exercise the ability to be a triple threat. I have to sing, act, and dance at a high level. Getting the chance to do that, while also leading a show, was an opportunity I couldn’t miss out on.

— What are the challenges of performing this show in London, versus performing in New York, or the rest of America? What do you miss?

Really, I would say just the location and the culture… being in a new country. It didn’t take me long to get used to the reserved audiences. Getting to stay in one spot is nice. I hadn’t had that in a while. Other than that, everything else is about the same.

— What’s next for Jamaal Fields-Green?

The world! I have a lot of plans and goals set for myself while I’m here in London. I want to do a play while I’m here, after my time with MJ is over. Between acting, singing and dancing, acting has always been the one I’ve felt most at home with. I have a lot of music on the way — I release music under the name “J. Hasan“. I recently started working on my newest short film, and we’re aiming to shoot it this summer. TV and film is another big thing I’ve been chasing for a while. Overall, I’m looking to grow was an artist, and further cement myself as a force in the industry.

MJ the Musical is playing at the Prince Edward Theatre 6 March 2024 – 13 September 2025.

The Prickle - About transp

CHASING THE REAL: ITALIAN NEOREALISM | London, BFI Southbank

Recommended

The new season at London’s BFI Southbank is on Italian Neorealism, including some rarely screened films. This two-month season features the different formal approaches taken by seven directors who made reality into a spectacle. The season includes twenty titles, from rarely shown gems to seminal works.

Highlights include Rome, Open City (1945), Four Steps in the Clouds (1942), and Shoeshine (1946), where season curator Giulia Saccogna will be giving introductions to the screenings. Christina Newland and academics Professor Richard Dyer and Professor Stephen Gundle will join Saccogna for “Journey Through Italian Neorealism”, offering new perspectives on this influential movement in cinema history.

BFI members can also join a six-session course exploring the portrayal of reality in Italian neorealist film, entitled “City Lit at the BFI: Italian Neorealism – The Cinema of Everyday Life”.

This decisive decade is ripe for rediscovery; it’s been 80 years since Rossellini started work on Rome, Open City (1945) and 70 years since the ‘official’ end of the movement, yet it remains relevant to our current times in its ability to teach us the importance of freedom and to reinforce our capacity for compassion.

LISTINGS:

Rome, Open City (1945)
A foundational Italian neorealist film and a dramatic portrait of a city under occupation.

Four Steps in the Clouds (1942)
A rural interlude for a city employee turns into an idyllic interruption to the monotony of his life, in one of the first films to display neorealist traits.

The Children Are Watching Us (1944)
Family, betrayal and alienation: a masterpiece ahead of its time.

Ossessione (1943)
Emerging from the tumultuous climate of Italy in 1943, Luchino Visconti’s sensational debut wipes out years of fascist rhetoric with its bitter, transgressive realism and radical sexuality.

Paisà (1946)
The second part of Rossellini’s revered war trilogy is a key milestone of Italian neorealism which reveals a truthful simplicity in six searing tales.

Germany, Year Zero (1948)
The final part of Rossellini’s war trilogy divided audiences at the time, while Chaplin called it “the most beautiful Italian film” he’d ever seen.

Shoeshine (1946)
Distinctly compassionate and humane, De Sica’s foundational neorealist drama was the first ever winner of the Oscar for Best Foreign Language Film.

A Tragic Hunt (aka The Tragic Pursuit) (1947)
A little-seen gem, set in the chaos of post-war Italy, by one of the crucial voices in the development of neorealism.

The Bandit (1946)
The trauma of the Second World War is explored in one of the treasures of Italian cinema.

Bicycle Thieves (1948)
The Oscar-winning drama that represents post-war Italy more vividly than any other.

La terra trema (1948)
Visconti’s social conscience, impacted by war, prompted this strikingly beautiful portrayal of the unjust humiliation of workers in southern Italy.

The Mill on the Po (1949)
Alberto Lattuada achieves a starkly poetic grandness with this variation on the themes of neorealism, set during the historic revolts in the Po Valley.

Bitter Rice (1949)
Nominated for an Academy Award and harshly condemned by the church, this drama attracted international acclaim and success, rightfully earning its place in the history of neorealist cinema.

Book for all events across May and June 2024 on the BFI website.

The Prickle - About transp

INTERVIEW: TOBIAS TURLEY (MAMMA MIA!) | London, Novello Theatre

Interview

Tobias Turley is the winner of ITV’s MAMMA MIA! I Have a Dream, a British television talent competition documenting the search for two new, unknown musical theatre performers for Mamma Mia! in the West End.

— Congratulations on winning ITV’s MAMMA MIA! I Have a Dream, with a prize that money can’t buy: joining the West End cast as Sky. How are you feeling?

I’m feeling great, thank you, I’m having such a blast in this show. It’s such an incredible feeling seeing so many months of hard work pay off and come to fruition. We started filming the TV show over a year ago now, so it’s very odd to see myself in the position I am currently in, but I am loving every second.

— Since opening in 1999, Mamma Mia! has gone on to be one of the most successful musicals in the whole world.  For you, what makes it so popular and so enduring?

This show is built on a foundation of incredible music. ABBA is timeless and beloved all over the world, so that’s a great start. But also it has a great script, incredible production design and amazing choreography. It’s a good mixture all round.

— Tell us about your character, Sky.

Sky is a charming, bubbly island boy. Who is head over heels for Sophie, but not completely sold on the idea of marriage just yet. He loves adventuring on the island, diving, surfing, very typical island behaviour. He’s very level headed, calm and collected but also incredibly light hearted. He’s a good egg.

— Anything else exciting in the pipeline?

The future is looking very exciting and I’m taking everything as it comes.  Being part of the show’s 25th anniversary celebration, with Björn Ulvaeus joining us on stage, was so special; the same anniversary of ABBA winning Eurovision with “Waterloo”, 50 years ago. I feel so incredibly lucky to be in the position I am in.

Tobias Turley is now performing in the West End production of Mamma Mia!, playing eight shows a week.

The Prickle - About transp

INTERVIEW: JOHN NAYAGAM (Under The Black Rock)

Interview

John Nayagam is a British actor best known for playing series regular Hari Prasad in Emmerdale. Born in London, to an Irish mother and an Indian father, He stars in Under the Black Rock at the Arcola Theatre in London.

– Under the Black Rock is set in 1980s Belfast, around the time of the Troubles. What drew you to this play?

I have always been drawn to plays about Ireland. The context is of unfathomable complexity, as history and current affairs tells us, but really I see Under the Black Rock as being a story of a family, navigating this complexity. For me as an actor, what really excites me is the family dynamics.

– What can you tell us about your character?

Cashel Ryan is the head of the family, and nestled in the heart of his Belfast community. He is a Catholic, from rural stock, but not overly religious. But, that said, his rules are the rules – both in his family and his community. He is a criminal, but one with a completely clear conscience; needs must.

– Do you feel you gravitate more to screen or stage? Or both?

I enjoy the theatre, because the process allows a longer and more fruitful relationship with the character, the company and the piece, so it is a better opportunity to explore, and hopefully reveal, more of the character and themes. Conversely, screen, because it is less time-consuming, allows an actor to take on more projects. But, for me, the underlying process and intention remains the same.

– What’s next for you?

A walk with my son, a friend and his son for a few days. Heaven!

John Nayagam stars in Under the Black Rock, playing 2 – 25 March 2023.

The Prickle - About transp

PICKLE | London, Park Theatre

Recommended

Two-word summary: it’s Jewish Fleabag. Yes, that world-dominating, award-winning sitcom started as one-hour, one-woman show, too. After captivating audiences during its sold-out performances in May, Pickle returns to the Park Theatre for a two-week run, in this cheeky and authentic exploration of what it means to be a young Jewish woman in London today.

Pickle is written and performed by Deli Segal, produced by Tanya Truman (Confessions of a Rabbi’s Daughter; Tier Three Sisters) and directed by Kayla Feldman (Swimming; Dear Peter), all female Jewish theatre-makers who strive to amplify Jewish voices on stage.

“Pickle is all about one woman’s experience of reconciling belief and tradition with change,” says Deli Segal, writer and performer. “I wanted to tell a story that explores being in the middle of both worlds: the parts that fit together, and the parts that don’t. The vibrancy, the spirit, the richness of culture, the humour of Jewish life – those things often get lost.”

Ari lives at home in North-West London, where her life is dominated by overbearing parents, tradition and expectations. However, her daily life includes her job, going out – and, inevitably, the dating scene. Pickle follows Ari as she tries to balance Friday night dinner with drinks at the pub, JSwipe with Hinge, being Jewish and secular. This uproarious simcha of a one-woman show explores a young Jewish woman’s psyche as she navigates her two contrasting worlds with irreverent humour and heart. Expect smoked salmon, guilt and a large dose of self-deprecation as Pickle brings Ari’s vibrant world to life.

Playing at the Park Theatre 14 – 26 November, 2022.

The Prickle - About transp

INTERVIEW: MICHAEL DUKE (Get Up, Stand Up! The Bob Marley Musical)

Interview

London-based actor and singer Michael Duke answers our questions about playing Bob Marley in the Olivier Award-winning musical Get Up, Stand Up! at the Lyric Theatre in London’s West End.

– You are playing Bob Marley… how does it feel to be stepping out on stage and playing this role, live on stage, to a London audience?

It feels great. I think that there’s something quite specific about it being a London audience. I mean, in this country, anyway, there’s a massive Caribbean culture, and it feels – I feel a great honour to be able to represent it. A lot of people who come to see the show, as well, yes, they know Bob Marley’s music, but not necessarily the culture and history and everything surrounding it, so again, for me it’s an honour to tell these stories and educate people, as well. It’s great.

– How do audiences for Get Up, Stand Up! compare to other audiences you’ve performed to?

Completely different. In our theatre the sound is incredibly loud, which you’re not going to get in many theatre productions. There’s a lot of bass, and the audience seem to engage with the piece a lot more vocally, which I think can be great, to an extent, because it’s very Caribbean, and I love that.

– Bob Marley died in 1981, over forty years ago now. Why this story, and why now?

I think this story could have been told ten years ago, and it could be told in ten years time, because I don’t think that the story or the culture has been celebrated nearly enough as it should be. For an audience nowadays, what we read in the news and what we see at the moment reflects a lot of the things that happened back then. As long as these themes and these issues still exist, the show will always be relevant.

– Some people seem to have some kind of snobbery about so-called “jukebox” musicals. What’s your take?

When the story is great, I love them. Because I think for a show like ours, you could take away the songs and it would still be a great story. But then you add the songs back in and it becomes even better.

– Has anything surprised you about performing this role? And do audiences come away surprised by anything?

People only really know Bob Marley’s music, and his individuality is possibly overshadowed by the Rastafarian image. But, like everyone else, he was a person, and so in Get Up, Stand Up!, you get a sense of his human nature.

Playing at the Lyric Theatre until 8 January 2023.

The Prickle - About transp