Currently, Anya Ferdinand is playing Texas in Cabaret at the Kit Kat Club at the Playhouse in the West End, having joined the cast in September 2025 in the longest-running production in West End history. Anya works with a cast including Jamie Muscato (as The Emcee) and Joy Woods (as Sally Bowles), and she was previously in the show as Ensemble/On-stage Swing at Lido 2 Paris in 2022. In the world premiere of Pete Townshend’s Quadrophenia, a Mod Ballet, Anya was in the cast of the UK Tour and the production at Sadler’s Wells, with the show starring Paris Fitzpatrick as Jimmy, and she was part of The Red Shoes at the Royal Shakespeare Company’s Swan Theatre. Anya made her Matthew Bourne’s New Adventures debut on the tour of Romeo and Juliet, where she played Faith/Frenchie, and over summer 2024, she took over from her twin sister Remi in Shrek the Musical at the Eventim Apollo. Further dance projects for Anya, have seen her be part of Oti Mabuse’s I Am Here UK Tour, MOVE IT 2026 (with Remi), the 2023 Eurovision Song Contest and Series 12 of The Voice UK. Recently, Anya answered our questions about her current role of Texas in Cabaret at the Kit Kat Club at the Playhouse, being part of the world premiere of Quadrophenia, a Mod Ballet, and making her Matthew Bourne’s New Adventures debut in Romeo and Juliet.
What was it like finding out you’d booked the role of Texas in Cabaret and how was it joining the cast at the Kit Kat Club at the Playhouse in the West End in September last year?
Cabaret has always been my dream show, and it was one of the best audition processes I have ever done. I was in rehearsals for Quadrophenia when I looked at the five missed calls from my agent, and my heart just dropped. I knew that was the call, so I darted outside to return it. My agent told me the news, and the feeling was overwhelming.
Finding out that I was Texas was so surreal, and I couldn’t wait to make the character my own.
You performed in the show previously as Ensemble/On-stage Swing at Lido 2 Paris in 2022, how different are you finding both versions of the musical to perform in and how has it been returning to Cabaret?
Yes, I did! Both productions are extremely different, but incredibly fun, sensual and kooky. The main difference in terms of role was that I had to learn my own on-stage track as well as all the other Kit Kat girls in the Lido 2 version. With the Playhouse version, I am able to fully indulge in my character Texas, and experiment more as I have one track to focus on.
It has been so nice returning to a familiar show and already being comfortable embodying the vibe from the audition and rehearsal process. It has also massively helped with the translation and accent of the German speech in the show.
With this production being the longest-running production of Cabaret in West End history, why do you think the show has stayed popular over the years and how is it seeing the audience response to the musical?
I believe this show is a spectacle and like no other. The immersiveness of the Kit Kat club already creates a unique experience for the audience, hence why it has been successfully running for all these years. Having the Emcee and Sally change every three months also keeps the show fresh and forever evolving.
The casting is always so exciting, which enables change for each of the characters dependent on the interpretation of the Sally and Emcee. We are given so much freedom within our creation of our characters. You will never watch the same show twice!
For those unfamiliar with Cabaret, what can you tell us about the show and why would you recommend booking tickets to see the production in London?
The show has themes of politics, Nazi Germany, a sexual nature and love stories. It will make you laugh, blush, cry and leave you thought-provoked. The songs are great, the choreography is spectacular, and the characters are all so individual.
I would 100% recommend booking to see because it is an experience that you won’t want to miss out on. It is perfect for all special occasions, with great cocktails, food and a fancy ambience.
How is it getting into costume/character as Texas, and how did you prepare for taking on the role?
Getting ready is one of the best parts about playing Texas. I am not usually used to wearing lots of colours on my face, or even in clothes, but she uses five different eyeshadow colours that tie in with other aspects of the costume. My favourite part to apply is my gap tooth. It really completes the look and adds the edge that Texas possesses.
Vocally, she requires a lot of gumption with her intro, including a giant “yeehaw” and many ad-libs throughout the show. I vocally prepared for this role by exercising my voice again after doing a contemporary ballet dance show, and also prepping to be performing in heels again after dancing in flats.
What are you most looking forward to about continuing your run in Cabaret at the Kit Kat Club, and working with Jamie Muscato (Emcee) and Joy Woods (Sally Bowles)?
I am excited to perform yet another version of the show and find new moments with them both to explore and build on. I have always been a fan of Joy as an artist, specifically in her dance element, and I have watched Jamie in a few productions, so I was super excited to witness their takes on the iconic characters.
You were previously in the cast of the world premiere of Pete Townshend’s Quadrophenia, a Mod Ballet on the UK Tour and at Sadler’s Wells, which starred Paris Fitzpatrick as Jimmy; was there anything that drew you to the production and how did you find the experience being in the original cast?
I was drawn to the freedom and exploration in the audition process that the panel allowed us to play around with. We were given movements that we then performed at our own pace to different pieces of music, which I loved because I am a big fan of musicality and texture.
I had also watched the iconic movie Quadrophenia with my mum, and the era was extremely stylised and pivotal for capturing the UK at the time. The fashion and music was a big point of inspiration to do the show.
Can you tell us about your time in The Red Shoes at the Royal Shakespeare Company’s Swan Theatre in 2024/25?
I had never performed in a play until The Red Shoes, and it has been a huge learning curve in my career so far. I was out of my comfort zone where I had to use my voice in a way I hadn’t done before and explore accents.
The choreographer Kimberley Rampersad created the movement around us and used our creativity within the work, which was lovely. Stratford-upon-Avon is also a gorgeous serene place to be, and the team at the RSC were exceptional, which made the job feel very easy.
I learnt so much from the cast, as we were all ranging from acting, dance, musical theatre and TV backgrounds.
What was it like making your Matthew Bourne’s New Adventures debut in Romeo and Juliet as Faith/Frenchie and how was it touring with the production?
I had always wished to be a part of a contemporary ballet company throughout the early stages of my career and throughout college. My teacher Jenny Wickham sent me an open application to the company, who at the time were looking for new movers, so I sent a cover letter and CV straight away.
I was then invited to audition and booked Romeo and Juliet off the bat. I would be lying if I said the process wasn’t challenging. Coming from a more commercial/musical theatre background, ballet wasn’t my strongest point. Adjusting to doing one hour of ballet or contemporary class every day took a while, and every class I was learning new steps and skills.
I felt my body get stronger, and also my acting through dance grew. I loved the show and my characters within it. The movement served me very well and taught me a lot about my body and how to strengthen my technique.
Learning and performing two different roles each week also tested the brain and gave me the tools I needed to be able to juggle multiple characters.
What are some of your stand-out memories from performing in Shrek the Musical over summer 2024 at the Eventim Apollo in London?
My journey began when I went to watch Remi in Shrek multiple times. We would always joke that we should switch shows, and I should play Tinkerbell and she would play my characters in Matthew Bourne’s Romeo and Juliet. We definitely spoke it into existence because she then booked Hamilton, and they asked me to take over her role as Tinkerbell in their London run of Shrek.
My main stand-out moment was being on stage and seeing her in the audience with a huge smile spread across her face. I knew that the role meant so much to her, and I felt honoured to be taking over the role and doing it justice.
How was it being part of Oti Mabuse’s I Am Here UK Tour and what did you enjoy most about performing the choreography?
This was my first job, so I was definitely in for a ride. I had been a fan of Oti, so being able to dance alongside her every night was a true dream. The choreography within the show had all styles incorporated, and learning some styles I hadn’t trained in, such as ballroom, Latin, bachata and salsa, was an exciting challenge.
It soon became second nature, and my dance style catalogue expanded drastically. I always strive to be the most versatile I can be, and this show tremendously pushed this for me. I am forever grateful for my experience.
You have been involved with many other dance projects including MOVE IT, Eurovision Song Contest 2023 and The Voice UK – Series 12, can you tell us about some of these further dance experiences?
The Voice was my first commercial job I had done, and it was a real whirlwind. The fast turnaround tested my pick up rate and my malleability.
Then performing at Eurovision 2023 in a huge area in front of millions of people was another tick off my career bucket list. Working with some incredible choreographers and rehearsing alongside some commercial industry professionals was intimidatingly inspiring.
Performing and teaching at MOVE IT 2026 with my twin sister was another career highlight. The piece we created to perform meant so much to us, and after being apart for so long, it was so special for it to be just Remi and I sharing our twin story and love for movement to all those who attended.
I wish for more experiences like this, and I can’t wait to chuck myself in the deep end again.
Where does your love of acting and dance come from and how did you get into both?
I think it comes from the sheer love of dancing in my room with my twin sister from the early age of three. We were always fidgety, so our parents enrolled us into ballet at four years old.
Our Nanna shares our love for theatre and she would always book to take us to watch shows and be inspired.
What do you enjoy most about being a performer and working in the industry with your twin sister Remi?
I enjoy the fact that my main love is my career and that every day I am doing something I have passion for.
I haven’t yet done a production with Remi, but I would absolutely love to. I like how we are each other’s biggest supporters, and have also created a healthy competition when it comes to auditions and other opportunities.
Do you have any favourite theatre shows to watch, and are there any you’d particularly like to see that you haven’t so far?
I love a wide range of theatre, but always keep an eye out for productions at Sadler’s Wells or more site-specific theatres such as Regent’s Park Open Air Theatre.
My favourite shows I have seen in the past few years are Into the Woods at the Bridge Theatre, Peaky Blinders at Sadler’s Wells and For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy at the Garrick Theatre.
I am looking forward to seeing Matthew Bourne’s The Car Man, I’m Every Woman and CATS at Regent’s Park Open Air Theatre.
How do you like to spend your free time away from your career?
If I am being honest, I love playing The Sims 4 on my lazy days, ahah! I also love getting stuck into a painting or sewing project, or going to gigs and listening to music.
To add, I love chilling out with my twin sister and brainstorming any new projects, or adding to our play we are co-writing.
Follow Anya on: