In the Japanese Tour of Nikolai Foster’s A Chorus Line, Remi Ferdinand is in the Ensemble and covering Cassie and Richie until the tour’s final date of 19th October, and she works with a cast including Adam Cooper (as Zach) and Archie Durrant (as Mark Anthony). It has been announced that Remi will be in the Ensemble of The Sound of Music at Leicester Curve from 22nd November until 17th January, and she will once again be directed by Nikolai Foster, which marks her third time of working with him. Earlier this year, Remi finished her run as part of the Ensemble in the West End cast of Hamilton, where she also covered the role of Angelica Schuyler, and she made her tour debut in the 2023/24 UK Tour of Shrek the Musical. Remi was in the Ensemble of the musical revival of Grease at the Dominion Theatre, and she performed alongside the cast on Loose Women, at the Olivier Awards and at West End Live, and she covered the roles of Cha Cha and Marty, with the show directed by Nikolai Foster. For her training, Remi attended The Urdang Academy with her twin sister Anya also attending, where both spent five years in training, and previously, both attended The BRIT School. Speaking with Remi, she told us about being part of the A Chorus Line Japanese Tour, her upcoming project of The Sound of Music and her recent run in Hamilton at the Victoria Palace Theatre.

Until 19th October, you are performing in the Ensemble (and covering Cassie and Richie) of A Chorus Line on their Japanese Tour, how are you finding the experience performing in Japan, and have you visited the country previously?

Japan has long been a dream destination for me, and I was fortunate to visit in March 2025. Performing there has been an incredibly unique and enriching experience. From a predominantly matinee show schedule to the distinctively polite and attentive audience reactions, every aspect has felt different and special. Embracing Japanese cuisine as our source of energy and navigating communication with the backstage team have also added depth to the experience. Despite the more reserved nature of the audiences, it’s clear that the production has been very well-received, with patrons leaving the theatre feeling uplifted and inspired.

How has it been learning the musical’s choreography and what are the routines like to perform?

Ellen Kane’s choreography truly brings the show to life, with each step carefully crafted to tell a story. Learning the choreography during the early stages of rehearsal was certainly challenging. However, as we grew to understand the characters and their journeys, the intention behind each movement became increasingly clear. One stand-out moment is a number titled The Nightmare – and it lives up to its name. Choreography doesn’t often challenge the mind once muscle memory sets in, but this particular piece demands constant mental engagement to execute each step. The opening number, I Hope I Get It, is especially fulfilling as a dancer, combining dynamic jumps, sharp turns, high kicks, and a vibrant, salsa-inspired energy.

Was there anything that drew you to A Chorus Line and what is it like working with the rest of the cast?

Tokyo was a major incentive for me, especially as A Chorus Line marks my first international tour. The significance of performing this production during the show’s 50th anniversary was not lost on me – its historical impact and legacy on Broadway are undeniable. A Chorus Line helped shape the landscape of musical theatre, and I’m truly honoured to be part of its ongoing legacy.

A show of this calibre demands the very best triple threats in the industry, and that’s exactly what I witness every day within this extraordinary cast. I am continually inspired, amazed, and humbled by the talent and dedication both on and off stage.

While touring comes with its challenges – particularly being away from loved ones – I’ve formed incredible friendships and created memories that I will carry with me for a lifetime.

How has the run been going so far and what is it like seeing the audience response to the musical?

The run has been incredibly rewarding so far, with full audiences each day and an eruption of applause marking the end of every performance. On many occasions, we’ve been met with applause within the very first minute of the show – as the gauze rises to reveal us charging forward into the choreography, accompanied by the iconic opening score, the energy in the theatre is instantly electric. The enthusiasm and dedication of Japanese audiences, many of whom are long-time fans of A Chorus Line, is a powerful reminder that theatre is a universal language.

It has been announced that you will be part of the Ensemble of Leicester Curve’s production of The Sound of Music from 22nd November to 17th January, what are you looking forward to for opening in the show?

The Sound of Music has always been one of my all-time favourites, with a score that evokes nostalgia. My nan has always reminded me of Julie Andrews, so being part of this production at Curve feels especially meaningful – it’s a way for me to honour her. I’m genuinely excited to sing and hear the beautiful songs each day, and to learn choreography that transports us back to the 1930s.

What has always drawn me to this show, beyond the music, is its deeper message. Exploring the political themes – particularly its stance against fascism – feels especially relevant, and reinforces the importance of perseverance, courage, and the power of music to heal and connect us across generations.

What do you think The Sound of Music will be like to perform in and had you seen the musical live on stage before booking your role?

Having never seen the musical performed live on stage prior to being cast, I will enter the process without any preconceptions about how the film will translate to the stage. This has allowed me to approach the material with fresh eyes and an open mind. I’m especially looking forward to performing the iconic score – it’s incredibly fulfilling to sing – and blending it with the contemporary movement we explored during the audition phase.

I have every confidence that audiences will fall in love with this production. Nikolai (Foster) has an exceptional talent for reimagining classic musicals with a fresh, gritty, and intricately detailed vision, and I’m excited to be part of a version that honours the original while bringing something entirely new to the stage.

Both A Chorus Line and The Sound of Music are directed by Nikolai Foster, how is it being directed by Nikolai, having also been in his production of Grease in the West End?

Grease was my first job in the industry, and the audition process was unlike anything I had experienced before. In the final stages, Nikolai introduced self-written monologues – an opportunity that immediately excited me. His unique directorial lens encourages performers to bring their authentic selves to each role, creating space for individuality and truth in the work.

Nikolai makes me feel truly seen as an artist. It’s both a privilege and an inspiration to work with someone who values artistic honesty and collaboration so deeply.

Earlier this year, you finished your run in the West End cast of Hamilton, what did you enjoy most about working on the show and do you have any favourite memories from being involved with the Lin-Manuel Miranda musical?

Hamilton has been my favourite show ever since I first heard the soundtrack – the music instantly captivated me, and the choreography perfectly reflects my style as a dancer. Performing in the production night after night for a year was an experience that fulfilled me in ways words can hardly express.

With little downtime throughout the show, it demanded a true ensemble effort to bring the story to life. Each curtain call felt like the company had completed a marathon together, and that collective energy created an unbreakable bond among us. Some of my favourite memories from the run include EduHam performances, content days, role debuts, our Saturday morning “breakfast club” and the standing ovations each night.

What was it like covering the role of Angelica Schuyler and what do you remember from your debut performance as the character?

Originally, covering Angelica Schuyler felt like a daunting task. Satisfied is such an iconic number, and I initially put a lot of pressure on myself to live up to the expectations surrounding this fan-favourite moment. Over the course of the year, I had the privilege of performing the role three times – and I’m beyond grateful to have had the opportunity even once.

I vividly remember stepping out for The Schuyler Sisters for the first time and singing Angelica, fully aware that for the next three hours, I would be embodying a strong, intelligent, and commanding woman. It was a moment of pride, challenge, and deep connection – an experience I will always carry with me.

What was the Hamilton story like to tell and what was it like being in the Ensemble?

As an ensemble member, movement played a vital role in conveying the story of Hamilton, complementing the powerful lyrics and dialogue. The complexity of the American Revolution, alongside the intricate backstories of Hamilton and the characters surrounding him, required a deep understanding from the entire cast. Before we could effectively communicate these narratives to the audience, we had to fully grasp the detailed histories behind each character.

Diction and clarity were essential, as many audience members entered the theatre without prior knowledge of the story. This made it our responsibility to ensure the narrative was accessible and engaging. Hamilton is an ensemble-driven production, with performers rarely leaving the stage. While the responsibility to tell this story was significant, the experience of successfully conveying such a rich, complex tale to the audience was deeply rewarding.

How was it touring for the first time when you joined the 2023-24 UK Tour of Shrek the Musical and can you tell us about performing in the show?

Touring certainly comes with its challenges – from arranging accommodations and exploring new cities to being away from family and adjusting to living and working closely with around 30 new people. I’ve never seen so much glitter in a show! It was a crowd-pleaser, which kept the energy consistently high. What made the experience even more special was the light-hearted atmosphere; no one took themselves too seriously, and the cast was always eager to go out together after each performance.

For your West End debut, you were in the Ensemble and covered Cha Cha and Marty in Grease at the Dominion Theatre, how did you feel finding out you’d booked the role and what was it like performing in the West End with the show’s revival?

Receiving that call from my agent, confirming my West End contract even before graduating, stands as one of my proudest achievements. It was a moment filled with excitement and anticipation, as I stepped into the ‘real world’ unsure of how my training would translate into practice. Over the course of six months, I was fortunate to remain healthy and energised, allowing me to perform in every single show. The audiences were genuinely captivated, and it was a joy to see them wholeheartedly join in the Megamix celebrating one of the theatre’s all-time favourites.

How was it performing with the musical on Loose Women, at the Olivier Awards and at West End Live?

Although Grease was a relatively short run of six months, it provided countless opportunities for growth and new experiences. Appearing on Loose Women introduced me to a world beyond the stage, expanding my understanding of performance in different media. West End Live was an exhilarating and unforgettable event, where thousands of musical theatre fans sang along with us.

One of the most monumental moments of my career was the honour of recognising Arlene Phillips at the Olivier Awards – an experience I continue to cherish deeply. Grease truly embodied the spirit of “summer lovin’,” bringing happiness, fun, and unforgettable memories of my first job.

What was it like training at The Urdang Academy and what encouraged you to attend?

Urdang refined me as a performer, artist, and individual. My twin sister, Anya Ferdinand, and I spent five years at Urdang, initially inspired by the MOVE IT performance and the incredible talent and ethnic diversity we witnessed. It was the first time we had seen a college present students who looked like us in significant numbers. Being surrounded by people of our own background was profoundly important, and we both agreed that the school’s strong focus on dance – particularly commercial and jazz styles – made it the ideal place for us to develop our skills.

How did you get into theatre and dance and had you always known you wanted a career in the industry?

From the moment I was introduced to baby ballet at just three years old and spent countless family parties dancing, I discovered a deep joy in movement and expression. My mum and nan’s passion for theatre also played a significant role in shaping my love for the arts, as many cherished evenings were spent together watching a wide variety of performances. Alongside my twin sister Anya, I attended a local dance school every Saturday until we were 14, before we both took the exciting step of enrolling at The BRIT School. Throughout my journey, I have always felt certain that this is the industry where I belong.

What are some of your favourite theatre shows to watch and which would you like to see that you haven’t done so as yet?

The list of shows I’ve loved is endless, but some of my favourites include Hamilton, Hadestown, In the Heights, Spring Awakening, and Next to Normal. Looking ahead, I would love to see Hell’s Kitchen, Death Becomes Her, and any production at The National Theatre!

How do you like to spend your free time?

I love painting, music, reading, journalling, shopping and fashion. You will catch me at most exhibitions on in London 🙂

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