In the world premiere of NOW THAT’S WHAT I CALL A MUSICAL, Chris Grahamson plays Tim for the touring production, with a cast including Melissa Jacques as April and Nina Wadia as Gemma, having opened at Aylesbury Waterside Theatre last month. The musical is directed and choreographed by Craig Revel Horwood and is currently playing at Newcastle Theatre Royal until tomorrow, before heading to Bradford Alhambra Theatre on the 15th, with further venues around the UK throughout 2024 and into 2025. Chris spent a number of years in Tina – The Tina Turner Musical, starting in 2020 before taking over the role of Phil Spector/Terry Britten in 2022 until last year, and his previous projects include playing Mr. Bucket and understudy Willy Wonka in the West End’s Charlie and the Chocolate Factory, having his first West End project in Buddy in 2007 at the Duchess Theatre, and he played Tony in Billy Elliot at Victoria Palace Theatre, returning for the cinema release of Billy Elliot the Musical Live. Speaking with Chris, he talked to us about touring in the world premiere of NOW THAT’S WHAT I CALL A MUSICAL, what it’s like playing Tim in the show and his time in Tina – The Tina Turner Musical.
You are currently touring in NOW THAT’S WHAT I CALL A MUSICAL as Tim, can you tell us about the show and your character?
The show centres around a friendship between two women and tells the story of how they grow apart and are reunited several years later. It’s a love story about friends, really. It’s set to an 80s/90s soundtrack inspired by the NOW compilations.
My character is the villain of the piece. He’s avaricious, materialistic and a philanderer. In other words, he’s a horror but a lot of fun to play.
Was there anything that drew you to the musical and how was it preparing to open in the world premiere production?
What initially attracted me to the show was the opportunity to work with Craig (Revel Horwood) and a strong desire to be part of something entirely new. After that, I started exploring Pippa Evans’ work and discovered how hilarious she is.
How was the preparation? Being part of something new, constantly evolving and taking shape every day, was thrilling. I think the whole cast felt a sense of excitement, knowing we had something warm and funny that audiences would love. This was confirmed during our very first preview in Aylesbury, where the audience’s response was incredible – they absolutely loved it.
What is Tim like to play and what do you enjoy most about getting into character?
Tim is the villain, and as an actor I think the bad guy is often a lot of fun to play. That said, the things the character does are utterly reprehensible, and I often feel the daggers from the audience. He’s always booed too.
There’s often a moment for me when I think, “yep, got him! That’s the character and I know how to play him”. Then the choices I make are driven by that fundamental knowledge of the character. That’s the bit about getting into character I like the most.
How are you finding your time touring with NOW THAT’S WHAT I CALL A MUSICAL and how has it been seeing the audience response so far?
I’m really enjoying seeing different cities and playing the different houses. It feels like an adventure.
The audience’s responses have been brilliant so far and that’s been a thrill. It’s a really fun show to play.
How was it being directed and choreographed by Craig Revel Horwood and what is it like performing the musical’s 80s soundtrack?
From rehearsing the show, I’ve gained a huge amount of respect and admiration for Craig. I love his process. He tends to block the whole thing out quite quickly and with broad strokes, and adds layers and details afterwards. He’s a real artist and conduit for brilliant ideas and he’s a great collaborator. Fab-u-lous, in other words.
80’s music stirs a visceral reaction in me, taking me back to being a kid when music just went through me, rather than intellectualising it in any way. On reflection, I realise what brilliant songs they are, though I must admit, I never liked the production of them. I was more a fan of live instruments. That said, it’s the production of songs in that era that most defines them and what ignites that reaction in me.
What is it like working alongside the rest of the cast and how was it meeting them for the first time?
We’re a bloody good bunch. A wonderful variety of ages, artistic backgrounds and experience. For that reason, it’s been brilliant. I’ve also felt incredibly lucky to be working alongside Nina (Wadia). She’s a brilliant actress because she works so hard on the detail of a character, pulling everyone around her along for the ride. I’ve learned a lot from her about work ethic and how to keep digging to find the gems within a character.
Meeting a new company is always both exciting and nerve-racking but there’s a lot of love between us all. I didn’t know anyone prior to the first day but had a few connections. For example, Melissa (Jacques) and I have a lot of mutual friends and it’s been a joy to work with her – especially after seeing her play Margaret New in Everybody’s Talking About Jamie and how she blew me away. If you didn’t get to see her sing He’s My Boy then you haven’t lived I’m afraid.
Who do you think NOW THAT’S WHAT I CALL A MUSICAL will appeal to and why would you recommend booking tickets?
I would recommend that you book your tickets because we’re selling so well and there might not be any left soon!
It will appeal to music fans, to fans of British comedy and to fans of feel-good musicals.
In 2020, you joined Tina – The Tina Turner Musical at the Aldwych Theatre in the West End, what are some of your favourite memories from your time in the show before leaving last year?
There were many significant moments during the show. Tina was an extraordinary woman, and telling her story each night felt special. Returning to the stage after 16 months due to the pandemic was particularly meaningful.
Describing my most memorable moments as “favourites” doesn’t feel right, as it would trivialise them. These moments stood out for different reasons. One example is the news of Tina’s passing, which, though deeply sad, is something I’ll never forget. The news broke during a performance and an announcement was made about her death that night, by the cast, on stage. True to Tina’s spirit, it was clear that we would finish the show, no matter what.
The show itself is a powerful force for good. It’s not only about honouring Tina’s legacy but also about raising awareness of women’s rights and their safety, particularly regarding domestic violence. Additionally, it highlights the stories and struggles of Black men and women, bringing their voices to the forefront.
How was it telling Tina Turner’s story and what was it like taking over the roles of Phil Spector/Terry Britten in 2022?
Like I said, it always felt significant to tell her story. I’d already covered the Phil/Terry track so I knew it well. Phil’s somewhat of a villain too. Chanel Haynes (one of the actresses who played Tina), who’s been in and around the music industry in the US for years, had heard many first-hand stories about him and I’d read much of Mick Brown’s book Tearing Down The Wall of Sound. So, I got the idea that he was pretty much insane. So, again, a lot of fun to play as an actor.
What was it like playing Mr. Bucket in the West End’s Charlie and the Chocolate Factory and understudying the role of Willy Wonka?
I had a ball doing that show. To play Drury Lane was a bucket list thing to do. It was a beautiful show and I made friends on it that remain. I loved Mr. Bucket because he was a tired dad and my son in real life was one-two years old during that time so I could be tired at work and stay faithful to the character! I had a wonderful stage wife too – Dame Lara Denning – who I adore.
I also loved Willy Wonka and got such joy from rehearsing him, but my iteration of the role never saw the footlights, unfortunately. I learned a lot though, especially from talking to and observing the great John Slinger in the role.
How was it being in the closing West End cast of Billy Elliot as Tony and how was it filming the show for the cinema release of Billy Elliot the Musical Live?
I’d actually left the show by the time it came to its closing in 2016. The filming though was an incredible experience. It came with a lot of pressure, as we performed it for the cameras which was then live-streamed to cinemas across the country. Stephen Daldry and Peter Darling returned, which was a huge thrill.
Can you tell us about some of the other theatre, screen and radio projects you’ve been part of over your acting career so far?
I’ve worked in theatre for the most part. Regionally, on tour and in the West End. I’ve also been lucky enough to do films, TV and radio. Particular highlights are Coronation Street and working at, I suppose, my home ground – the Bolton Octagon. We did a sold-out run of The Blonde Bombshells of 1943 there by the late Alan Plater. That was in 2006 and my mum was working as an usher at the Octagon. All my family saw it and it was the start of a beautiful summer. Great memories. My first West End credit was Buddy at the Duchess Theatre in 2007. That was a special moment and an honour to be part of the alumni of that pioneering show.
Where does your love of acting come from and how did you get started in the industry?
I got the bug playing Danny in Grease at sixth form college in Wigan. That’s where it really started for me. I went to LIPA shortly afterwards and got an agent from there. I got a couple of jobs shortly afterwards and the rest is history, as they say.
What are some of your favourite theatre shows to watch and which would you like to see that you haven’t done so yet?
Favourite theatre shows – The Producers with Nathan Lane and Lee Evans; Jerusalem with Mark Rylance; Acorn Antiques, which played at the Theatre Royal Haymarket about 20 years ago. I really want to see David Tennant’s Macbeth and Guys and Dolls at The Bridge.
How do you like to spend your free time?
I love to play golf, I like to see friends and family. I also like watching football live and on the TV and having a kick about with my son.
Follow Chris on: