Andy Morton, Performer to Director Across Continents – Part 1.

In this interview with Andy Morton he discusses with us about what it’s like living on a completely different continent from where he grew up, his time performing and how that affects his views as being a director now, and his early career. He ponders if casting choices were based on his career as a now director and how that challenged him during the transition from his acting career to directing. Now working with Opera Australia, Andy Morton is happy to be employed in high quality theatrical work.

Drew Janine: Being from the United Kingdom and now residing in Australia, have you noticed any contrast to how performing arts are received by audiences or cast members in the two different areas?

Andy Morton: The UK has an incredibly eclectic operatic scene. I found myself workshopping a huge number of newly written works for companies as diverse as The Royal Opera House and Battersea Arts Centre, or performing with vibrant small companies like Opera Circus and Opera della luna. The Australian scene, certainly in Sydney, has bursts of artistic flowering but the mainstream is relatively orthodox. Certainly Opera Australia has in the past catered for a relatively Italo-centric audience, who have traditionally welcomed a fair number of operas from the Italian canon. That may be changing somewhat now under new AD Jo Davies, who is championing a broader range of programming.

DJ: As a former performer yourself, what were some challenges you went through during your transition to directing?

AM: They are chalk and cheese as disciplines, even though they obviously inform one another. I have often wondered if directors have been reluctant to cast me in case I muddied the waters of who was in charge but when I’m performing I am entirely content that someone else has taken the reins and is having to make all the big decisions while I can indulge myself more playfullyon the stage rather than lookingat it.

DJ: Why did you make the transition from being a performer to directing?

AM: I’d directedGuys and Dollsat University but my first professional engagements were in my 20s when I was experiencing some sort of vocal crisis (was I a baritone or a tenor, or a baritenor? Did I prefer musicals or opera?) but I couldn’t bear the idea of not being involved in lyrical theatre in some way. But after some great experiences at ENO and in America, I ended up back on stage. When I came to Australia, I wanted to be home more for my young family rather than touring as a singer, and the opportunity presented itself to be a staff director for Opera Australia, so I turned back the clock. It was a good decision.

DJ: You recently appeared inThe Phantom of the Opera as Monsieur André for Opera Australia. What was it like briefly performing again?

AM: Slightly terrifying. I hadn’t been onstage for 10 years and suddenly I was back in the big time. I suppose it was rather like being a footballer and lining up for a huge match 10 years after retirement. But my colleagues couldn’t have been more supportive and the skill set was still there. It was fabulous to perform in such a huge show and have my family there to see it.

DJ: Would you go back to being a performer full time?

AM: Like most people in my profession I’m just happy to be employed and doing high quality work. I’m a lyric theatre practitioner who is lucky enough to be able to apply myself on both sides of the production table. Whatever comes, I am always grateful for any opportunity to express myself artistically.

Reed part 2. of the interview here. 

All photos provided by: Georges Antoni Main image: Photo from Così Fan Tutte.

Drew Janine

Live Sound Engineer -EUROPE

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 as working behind the scenes in theatre as a live sound engineer. 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 time on tour across the North American continent and Europe. Drew’s favourite by far though has been the chance to work on Broadway 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 and hopes to inspire others to continue working in theatre.

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