BWW Interviews: Jamie Parker, Talking HIGH SOCIETY, ASSASSINS And His Cabaret!

Hi Jamie, and welcome to BWW:UK!

Thank you! I'm just on a break and scoffing a baked potato before I go back and carry on being charming in a 1950s way... (laughs)

Fabulous - how's High Society going?

It's great, it's a great bunch, and Maria [Maria Friedman] is a great leader of it - it makes coming to work very enjoyable.

What's Maria like as a director?

She's fabulous. It's happened before when I've worked with performers who have become directors - they're living and breathing the show with you, and they really do see it from the inside out. They have a perspective that other directors just don't have; they have a language in common with you. I love it.

Is it a challenge being charming in that 1950s way after your run in Assassins? It's a bit of a contrast...

Well, there was Guys and Dolls last year. I like to think of these shows as evergreens, or perennials. They're timeless - you have to play them of their time, but it's a stylistic thing. It's clear with the popularity of shows like Mad Men we're very comfortable with that aesthetic. It's a rather nice dream world to come and take part in.

I loved Guys and Dolls. I was so upset it didn't transfer.

Aw, I know. I'm not party to those discussions, so maybe they're ongoing.

I truly believe the West End needs a decent production of Guys and Dolls every five years.

(laughs) Yes. It should be mandatory! I think it's the happiest show ever written. I was in it at college before I was in the production at Chichester. It casts a rare spell, I think.

And Assassins over the Christmas period - possibly the least festive show in the history of musical theatre?

(laughs) That was extraordinary on a lot of levels - working with Jamie Lloyd, doing a full production of a Sondheim, the terrific writing, Soutra Gilmour's design in that space at the Chocolate Factory - I was immensely proud of being part of that one, I really was. The group were exceptional. You never know quite what you're going to get with combinations, and that show in particular could have been immensely dull with a bunch of individuals looking after their individuality, but it could not have been more collegiate and collaborative, and everybody brought their A-game and made everyone want to do the best job they possibly could.

You mentioned doing a full production of a Sondheim - you recently did the concert of A Little Night Music, which got fantastic reviews.

That was amazing, to do that score with a full orchestra. There's nothing quite like it. It was a real thrill. (pauses) It was fraught, don't get me wrong, we threw it together in about five minutes, and I turned up to the theatre and realised I didn't have a dinner jacket. It was a quick run down the Strand. "Help me!"

And you're making your cabaret debut at the St James Theatre soon.

Yes! That's a very loosely organised bit of fun - songs we like, an informal evening, very ridiculous, and with a great atmosphere. That should be fun.

But that's during your High Society run, isn't it?

During previews. I hadn't quite put those two things together. Yes. It's pretty busy at the moment, I'm glad to say!

And is there anything coming up after High Society?

Nothing I can tell you about yet, but a few fingers in a few pies, which is out of my hands - so we'll all have to wait and see.

Jamie Parker stars in High Society at the Old Vic, and his cabaret is at the St James Theatre on 10th May, with Samuel Barnett, Deborah Crowe and Maggie Service.

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