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In this interview with Patrick Whitbread, he discusses his time touring New Zealand and Australia for nearly a decade. His new role in Opera Australia’s West Side Story is one he is familiar with from his own theatrical past. He is coming back to playing the role of Riff, one he has not portrayed since his time at the WAAPA during his Music Theatre course. In this interview he looks back at his extensive career over the past ten years and what he hopes to see for his future roles.
Featured above is Patrick Whitbread as Riff in West Side Story on Sydney Harbour.
Photo Credit: Keith Saunders.
How’re you feeling about making your Opera Australia debut in such a large role for the long-standing story of West Side Story?
I am ready. I am really excited to debut in this role, it’s the ultimate triple discipline role (singing/dancing/acting) in this juggernaut of a show. It’s a lot of work which helps keep me focused and stops the nerves creeping in too much.
What has been your favourite thing about rehearsals so far?
Learning the iconic original choreography by Jerome Robbins taught to us by Kiira Schmidt Carper. Especially the Dance at the Gym and the MASSIVE number ‘Cool’. These pieces are thoroughly intention based dances, meaning that every step is taught alongside an acting intention, and it gives so much depth to the numbers. We never stop acting. This cast is insane.
With an indoor stage that is over 2.5 times larger than any other indoor stage in Australia, have you found blocking or choreography to be difficult?
Short answer, yes. The choreography is already at a difficult baseline to dance on a normal professional stage. We have the added challenges of the stage being bigger than ever and the stage is raked (meaning it’s a ramp where the back of the stage is higher than the front) so when we turn our backs to the audience and dance to the back of a stage, we are actually dancing up a small hill. My quads have never felt more defined.
Featured above is The Jets in West Side Story on Sydney Harbour.
Photo Credit: Keith Saunders.
During your nearly decade long career of touring Australia and New Zealand, what are some of your best memories of working on shows?
The most stand out moments for me are when I have gotten to fly. In Matilda, Act 2 opens with the song ‘When I Grow Up‘ and adult size swings come down from the roof and we adult children got to swing out over the audience and it was thrilling. Seeing adult men and women weep at the nostalgia of growing up was always so meaningful to me. Again, I got to fly every time I would play Bert in Mary Poppins (I was the understudy) during the huge production number Step in Time. I got to walk up the side of the stage and walk along the top of the theatre upside down while tapping and singing. I guess my best memories come from things that I simply am unable to do at home on my own.
Do you have a moment that stands out during your career where you thought to yourself ‘I’ve made it’?
Not particularly. Don’t get me wrong, I’ve had success in a really tough industry and I am grateful for that but there is so much more I want to do. My threshold for making it will be when I make a joke in a crowded room and people don’t stop laughing for roughly 25 minutes. That’s when I’ll have made it.
You’ve played several leading or major roles during your career including Bert from Mary Poppins, Elder Smith from The Book of Mormon, and Coricopat from Cats. What are routines you have found yourself doing to prepare for such large roles and does that routine differ from what you’ve been doing to prepare for your role of Riff in West Side Story?
I love delving into a character. It’s the most fun and nerdy thing to do. I love thinking about what they’ve been through and why they are doing whatever happens in the play. Practically, learning lines and songs before rehearsals helps me to be ready to jump into the blocking and scene work. Mentally, before shows I will start some lovely calming breath work and take my time getting ready to deliver a performance.
Featured above is Patrick Whitbread as Riff and The Jets in West Side Story on Sydney Harbour.
Photo Credit: Keith Saunders.
You also played Riff during your time studying at WAAPA. Do you find there are differences in how you approach the role now versus then?
I am thinking of what I did back then and I truly don’t remember how I acted the role back then but I know I’m better now, just trust me haha. It’s been really rewarding to revisit such a complex character 10 years since the last time. I understand so much more how to serve a character like this now and if that seems a little cryptic, you’ll just have to come and see it 😉
What drove you to study Music Theatre during your time at WAAPA?
From the age of about 9 I knew what I wanted to be on stage. At the time I was ready to finish school and move into full-time study, I had to make the choice between psychology, law and music theatre. I obviously chose the most lucrative and stable profession. I think I always knew I had to study it. I would have never forgiven myself if I lived with the what if. I’m so grateful for my time, and especially my classmates, at WAAPA. I learned invaluable things from them all.
What did it feel like winning the 2014 Julie Michael competition in Musical Cabaret and do you think that impacted your career at all?
Being acknowledged for any type of performance can impact your career. Validation is often thrown around as a dirty word surround ‘attention seeking’ and being a ‘show off’ but gaining validation from people you respect can affirm that you’re going in the right direction in life. Winning that award with my writing partner Du Toit Bredenkamp let me know that I was ready to move into the industry and start showing the world what I can do.
Featured above is West Side Story on Sydney Harbour.
Photo Credit: Richard Milnes Alamy Stock Photo.
Do you have any inspiring words to those who want to study musical theatre and opera?
Be yourself. Explore techniques that can diversify your skills and explore the world in ways to diversify your mind. Being myself has always been the best way to ensure I do a good job. Getting jobs is hard and often it’s not your fault, so be yourself, do your best and always buy yourself a little treat after auditions.
Janine has always been a part of music and performing. The first show that inspired her to go into theatre was the Velveteen Rabbit which she saw as a child, and Drew works to keep that magic alive in her work. When Drew was accepted into an internship program for audio engineering at a recording studio, she jumped at the opportunity. That was at the start of 2020, and so much has happened since then, both in her career and in the world. Since then, Drew has taken several opportunities to work at recording studios, concerts, festivals, and even large theatres while spending some time on tour. Drew's favorite by far though, has been the chance to work on Broadways and West End shows, as this was a dream come true. Drew is honoured to get to share these experiences from being inside the entertainment industry.
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