Musical Lyrical Lingo
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Join Tim and Lj who delve deep into the wonderful world of musical theatre and more importantly the lessons they have learned from different musicals.
Join them as they explore some of the greatest musicals ever created, from the classics to the new and exciting shows that continue to teach us something new.
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Musical Lyrical Lingo
Interview with Raymond Walsh discussing Les Misérables and the Shamrock Tenors
Ever wondered what it's like to balance a bustling career in musical theatre while performing with an award-nominated vocal group? Raymond Walsh, celebrated for his roles in Les Misérables and as a member of the Shamrock Tenors, joins us to share insights from his whirlwind year. This episode is packed with Raymond's experiences, from rehearsals in Sheffield to his unique distinction of playing Grantaire in every version of Les Misérables, including a monumental arena tour backed by an impressive 26-piece orchestra. Get ready to be inspired by his dedication and passion for the arts.
Raymond's journey is nothing short of remarkable. From studying Communication, Advertising, and Marketing at the University of Ulster to pursuing a Master's in Musical Theatre at the Guilford School of Acting, his story is one of following dreams and overcoming challenges. Hear about the emotional experience of performing in Belfast, the camaraderie within the Les Mis family, the grandeur of the arena tour, and the personal significance of fulfilling his lifelong dream role before a hometown audience. Each experience Raymond recounts is a testament to the magic and hard work behind the scenes of a successful musical theatre career.
As we delve deeper, Raymond opens up about the rehearsal process for the arena tour and the camaraderie within the Les Mis family, emphasizing the importance of respect and professionalism in the theatre industry. He shares humorous behind-the-scenes stories and his pride in bringing the production to Belfast. Additionally, we explore the rise of the Shamrock Tenors from cruise ship performers to award-nominated artists with a TV show acquired by the BBC and their exciting upcoming 11-week US tour. Tune in for a heartfelt conversation about the impact of theatrical performances, Raymond's creative aspirations, and the Shamrock Tenors' success and gratitude towards their fans.
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Hello and welcome to Musical Lyrical Lingo. We're your hosts, Tim and LJ.
Speaker 2:Today and every week we will be discussing musicals, but specifically what they taught us.
Speaker 1:But today we're not going to say very much because we have a very special guest and the timing couldn't be more perfect, I don't think, for this guest. Today we have got Raymond Walsh with us. Whoop, whoop, whoop, whoop. How are you, Raymond?
Speaker 3:Yeah, good, good. I feel bad for you guys Time to speak to someone like me. So, yeah, no, all good, all good. How are you?
Speaker 1:both Friday currently. So it's the end of a working week and I think we're all a wee bit busted.
Speaker 3:I think you're a bit busted too, raymond, right yeah, we finished rehearsals in sheffield yesterday, so then we got to train back to london and then, uh, had a couple of guinness to celebrate and I'll leave it at that.
Speaker 1:I'll not say how many guinness when we started our podcast, you were probably one of the first names that we put down on our our wanted list.
Speaker 3:Yeah, we, we wanted you on right from the beginning, but it was just getting the timing right and you have also been a very busy boy and, yeah, I've been trying to be, I guess, but uh, yeah, no, it's been a, it's been a whirlwind 12 months for uh, myself with well, mainly with the shamrock tenors, really it's just sort of things have been of well, mainly with the Shanrock Tenors, really it's just sort of things have been going a wee bit crazy.
Speaker 1:So, uh, no, it's nice to have a little bit more free time, uh, now in my schedule he says is he supposed to go out in an arena tour?
Speaker 3:I know well it's. We're only doing like five shows a week or something. So I mean, when I did the show in London, it was like eight shows a week. So I feel like I've got it slightly easier this time.
Speaker 1:We're talking to you today because you are about to go out in with the Les Mis 40th Anniversary Arena Tour. Prior to that, you are no stranger to Les Mis. You did Les Mis in town, didn't you? In the West End, and then you did the stage concert version as well.
Speaker 3:Yeah.
Speaker 1:Is this the third?
Speaker 3:This is actually the fourth. This was the fourth time, so I went back. The tour version which was out last year as well was. So I started in 2018 and I did the last year of the Revolve version, so the older version, the RSC, and then I did the staged concert and then COVID hit and then the UK tour went back out and for the last 10 weeks they needed someone to come in for a Grand Terre again. So I went and did the new version and then now I'm going in to do the arena tour. So I think maybe I'm pretty sure I'm the only person in history to play Grand Terre in every single version, so I'll take that with me.
Speaker 1:Lovely to be able to write in your CV.
Speaker 3:Well, yeah, and other than the fact he's an alcoholic I'm just described, he's described in the book as offensively ugly, so I'm not really sure what that says about me, but I'll take it.
Speaker 1:Just don't read the book, it's fine.
Speaker 3:I would agree with you, timmy.
Speaker 1:I think there's no point if that's what you're reading about yourself my confidence is already shot and I recently ordered the book and I didn't realise it was as big as it is and I was like stuff that I won't be reading that. So no and as well as your musical theatre stuff, raymond, like stuff that I won't be reading that, yeah, and as well as your musical theater stuff, raymond, you've been really busy, you and the boys, over the last couple of um years with the shamrock tenors. For any of our listeners who haven't heard of the shamrock tenors, what have you been at?
Speaker 3:um, well, mainly it started. It was an idea that started in 2018, mainly to do like guest entertaining on cruise ships. So you go on board the ship for like a week and you would do like one 45 minute show, sometimes two 45 minute shows, and then the rest of the time you're just able to travel and see the world. So I just knew some insanely talented lads from home and I just thought when I was living in London, I was like jeez, I know boys at home who are just superstars and deserve for the world to hear them. So that's kind of how the idea was born. And then, after Covid, I sort of thought to myself I really believed in the show and I believed in the boys talents and what it was. I thought I'm just going to get my life savings and make a TV show off it and see what happens. So we made the show and then, thankfully, the BBC ended up buying it for St Patrick's Day and then PBS are showing it. We actually found out.
Speaker 1:Did you see the news today? Yes, we're excited today.
Speaker 3:Yeah, we got nominated for a Royal Television Society Award for Best Post-Production. That's amazing, yeah. Well, it was basically because we had such a small wee team. It was myself and Jack sort of on the producing side of things and then this guy, sam Jack's, my little brother yeah, jack's my little brother, so he's also in the shamrock tenors. So jack gave me a hand overseeing everything. Then we used the guy, sam kwan, who shot our very first promo video back in 2018. We brought him back. And then matthew campbell, who you guys know um, he's also in the band. He recorded all the audio, mixed it in his studio at home and stuff. So, yeah, it's been a bit bonkers. And then, I think, next year, our US tour. I think it's like 11 weeks long. You're hitting.
Speaker 1:America, Raymond. Do you see, as soon as you boys hit America, like what's this?
Speaker 3:Yeah, yeah, we've also just found out this week as well, we're going to, we're doing a tour in Australia and New Zealand, and then we have a couple of other bits and bobs and stuff. But, yeah, I think our American tour in particular, I think, from what I can see, it'll be the biggest American tour in history by a group from Northern Ireland. I think it's bigger than what are longer, as far as I can see, than Snow Patrol or Van Morrison even, and stuff, because it's 11 weeks, 50 cities. I think so amazing. Um, yeah, so it's. No, we're very, very fortunate to be in that position and I'm just grateful that I get to do it all with, like, my best friends as well.
Speaker 1:So, no, it's a dream job and, I'm sure, back to the early days of the. Shamrock Tenors. The two 45-minute performances felt slightly different from your eight shows a week that you've been used to.
Speaker 3:Yeah, well, I'd actually been doing guest entertaining work before that in like a Frankie Valli tribute group, so I was sort of that's kind of where the idea also came from. I'd never seen an Irish act like Irish music and stuff and I thought there's got to be a gap in the market here. But yeah, certainly Les Mis schedule-wise six days a week, eight shows a week, compared to two 45 minute shows and a couple of trips to the beach.
Speaker 1:Hard life. Eh, it's a hard life. When did you start your time in musical theatre, then? When did you first come to musical theatre?
Speaker 3:Well, I used to play football, so I didn't actually see a musical until I was like 16 years old. I was asked to go and operate a spotlight on a youth production of Les Mis. So I was operating the spotlight and I was like, oh my goodness, what is this? I'd never seen a musical musical before. I'd never seen Grease or Sound of Music or even anything like that, you know.
Speaker 3:So, um, as soon as I seen that, I sort of thought I'd like to do it a bit more, but and certainly back then the opportunities weren't at home as much for, you know, classes and, uh, learning about the industry. So I I still ended up doing communication, advertising and marketing at the University of Ulster and then, when I was I think just when I was in my final year I decided if I don't go for this, I'll always look back with regret. So I managed to get into the Guilford School of Acting to do a Master's in Musical Theatre and, yeah, luckily as say, that was I graduated in 2012. Um, and I've been over in london ever since.
Speaker 3:So, uh, but yeah, for me, les mis was always the goal. I was always sort of like you know, if I get to do that show, I won't need to do anything else, and that's kind of been the case. I've sort of taken a break from auditioning for musicals after lame is because I wanted to focus on the tenors and stuff. But every now and then a little opportunity comes up that it fits in amongst the tenors, that I'm able to still make it work which is nice opportunity um to go out with the arena tour.
Speaker 1:Come on so.
Speaker 3:Cameron McIntosh's offices contacted my agent and said, would Raymond come back and do the arena tour? And I was like, look, I'd love to do it, but I think the tour is going until 2026. And I was like, because of the tenors, unfortunately I wouldn't be able to commit to it all. So I'd love to be able to do it for a certain length of time, but I can't do the whole thing. And then they were like, hmm, we might need you to be able to do the whole thing. So then I sort of thought nothing of it.
Speaker 3:And then I think it was back in April or maybe even earlier then they came back and said, actually, would you be interested in doing it before your US tour? And I was like, I mean the thought, I still am very overwhelmed at the idea of doing the show in Belfast, I think being my dream show and having family and friends and everyone I know at home that is in any way interested in musical theatre keeps on saying to me oh, we're coming to see it. So yeah, I think, and it is, it's bonkers, like the production value on it is just insane, like this week we had. You know, you're stood in this room where, like this tech room where Beyonce's done her tech for her shows and all these people. And then you're sitting singing and you've got Cameron McIntosh sitting there, claude Michelle Schoenberg, all the directors, all the heads of music and stuff, and you're hearing from their mouths, like you've Claude Michel going in the opening number of Convex.
Speaker 3:He's like no, no, it's not. Aha, aha, aha, it's ah, ah. He's like it has to be a struggle. And so you're hearing from the writer. It's just um, yeah, I pinch myself every single day. I'm very grateful to be a part of it, and that's what.
Speaker 2:I want to ask you what have the differences or the changes been, have you noticed it, from obviously doing it in town and then doing the concert to then this arena, because obviously there's a big buzz around this arena tour. So what have you noticed, as somebody who has been fortunate enough to be in it four times? What have you noticed? What are the changes and what should people get excited for?
Speaker 3:Well, the big thing is the 26 piece I think it's 26 piece orchestra, so it's like on a scale like no other. I think, obviously, and fortunately, in the modern day world there's a lot of click tracks and a lot of shows stripping back and cutting back on orchestra sizes and I think you see some tours go out now with five or six in the band, so this literally has 26 people on display for the audience to see. There's big screens on the back like projecting everyone the close-ups and stuff like that. The lighting rig is like nothing I've ever seen and I guess the difference is that in the stage version you're able to invest a little bit more in your acting and interacting with others, whereas I think the tricky thing with the concert is, because it's a concert, you still you have to give it out words for it to read. If you start getting introverted or trying to be too subtle with your movements, it's not going to read to a room of 5 000 people. So, um, it's just been. That's what. Basically, what the rehearsal process has been is trying to make the show impactful and read to a room of 5,000 rather than a room of, say, 1,000.
Speaker 3:So I mean, I think it'll be fine and, as I said, when I did the concert before the Gaelgud the first time around, I'll never forget when Michael and Alfie walk on at the start of the show and make their first appearance. The roar that went up from the crowd was as soon as their spotlights hit the two of them. You just I've got goosebumps talking about it now. It's like insane. And yet obviously then Michael and Alfie are sharing the show with Killian and Bradley alternating and like those two lads are also like unbelievable. So I think for a lot of people I think they're in for a treat. It's like sort of like the creme de la creme of people being involved and stuff like that.
Speaker 1:So it's nice to be a small part of it. Are they doing that night about, or Michael and Alfie doing like Monday to, you know, friday, or how is it just depending on the venue.
Speaker 3:Yeah, it depends on the venue. And then I think in Belfast certainly, I think Brad and Killian are doing the matinees and they're doing a Tuesday or a Thursday, I'm not sure. It's on the website I'm not actually too sure, but I think mainly in the UK most of the shows will be Michael and Alfie and then I think the lads will do a bit more. You know, in some of the other countries and stuff like that.
Speaker 1:But you're on all performances, isn't that right?
Speaker 3:One of my best mates like that I used to do the Jersey Boys tribute with, is also on the show and he's first cover of Grand Tire, so it's nice. Oh, there you go.
Speaker 1:You're also first cover of Tenardardia, isn't that right? So what's that like being a first cover for a role like that? You did that in london as well, didn't you?
Speaker 3:yeah, very, I did 2018. I was lucky to. I actually the first time I was honest to nardia. I remember getting a phone call from the resident director being like Raymond, the guy playing the role was off, sick, he's like you're going to have to go on, and I hadn't even started cover rehearsals yet. So they were like you got to come in. So I came into the building at like midday, rehearsed from 12 till 5. And then I was on that night and Jack, my brother happened to be had flown to London that night just to see me, just on the off chance, and it just so happened. That was my first night on as Tenardier, which was amazing, but yeah, but it's like, oh, the other thing as well, because I'm sort of people are always surprised about, but I also do Tenardier from Belfast, I don't play in Cochrane.
Speaker 1:I love that. Yeah, Brian.
Speaker 3:Yeah, so the only problem is the only one word that's tricky is 2% for looking in the mirror twice, because obviously in our accent it's 2% for looking in the mirror twice. So, do you have to keep the mirror?
Speaker 1:then, you don't do it in Northern Ireland. Do you the mirror?
Speaker 3:I don't go mirror, I go mirror, I just give it a mirror. But no, it's great For a role like that. I mean it's a gift of a part, like it's so well written. I think there's a misconception about Tenardier as well. That he's I know he's the light relief, but like the guy is literally the most evil human being on the planet. He's going about picking jewellery off dead bodies and robbing people and stuff. So I enjoy finding that sort of the dark side in the part as well. People don't see him.
Speaker 1:He's the villain of the dark side in the part as well. He's the villain of the show really, isn't he? He's like the number one bad guy 100% yeah, so that's fun.
Speaker 3:And then obviously always with the Madame T's. They're always amazing and stuff and we'll have Bonnie Langford on this tour. She's such a legend, by the way, like she all of them are like there's no egos whatsoever with everyone. I was on the phone yesterday actually to Matthew Campbell and the Shamrock Tenors. They're on a Disney cruise at the minute, so I was just ringing just to check in and see how they got on. We were having a conversation.
Speaker 2:We have management there checking they're behaving.
Speaker 3:It's just yeah, it's not management, it's like babysitting, just making sure that they're behaving. But no, I was chatting to him and then I just felt this big splash of water hit me across the head and I was like what? I looked up and it was Alfie Bowes leaning out the window squirting me with a water bottle. And I was like what? And looked up and Alfie Bowes leaning out the window squirting me with a water bottle and I was like, oh sorry, alfie Bowes just squirted me with water. And then Matthew was like what? I was like yeah, actually, when they think about that as a sentence, it is random. But no, there's no egos. They're so down to earth, so it's one big family and stuff. So I think when you work with people on that scale, it's always really refreshing to see that their success hasn't gone to their heads, which is lovely. Yeah, absolutely that is nice.
Speaker 1:I mean, has there been an element of having to unlearn what you have learned before, or have the three versions been so different that you just come at it as a completely new project?
Speaker 3:different, that you just come at it as a completely new project. No, I think, with the concert version, cameron McIntosh was very keen to have people who'd done the show before involved in it, because he wants this still. He still wants the stage show and the essence and the feel of it to still come across in a arena setting. So it's still fun, like the ABC, you're still able to move about. I am certainly as Grand Terre because he's a bit disruptive and stuff, but it's still lame at the end of the day.
Speaker 3:As soon as you hear those magic notes and one day more, you just go straight into focus mode and I think for all of us, like you know, who've grown up in musical theater and probably all seen that 10th anniversary with philip cost and colin wilkinson and stuff, you know, uh, the, the strength of the show was in the piece itself. You know I think we're basically just dressing essentially that the, the show was in the piece itself. You know, I think we're basically just dressing Essentially the main player is the musical. So I'm sure even if we were cracking all over the place, people would still love it, which?
Speaker 1:is nice. So what was the rehearsal process like for the arena? How long have you been in rehearsals, Raymond?
Speaker 3:We did two weeks at the English National Ballet in London in their studios, and then we were just up in like in between Sheffield and Doncaster at a production park for a week. So we went up there and the whole stage was built and the set and the screens and the tech, everything was there and we had our costumes. So we were in. We were there from Monday to Thursday this week, which is nice, and then we fly to Belfast on Monday night and then we've got Tuesday and Wednesday still to tech and dress rehearsal at the SSE. I still always want to call it the Odyssey.
Speaker 1:It is the Odyssey, that's what it is, it is.
Speaker 3:I know I'm devastated. I can't take everyone to Box Nightclub I'm like, oh my goodness. Or the Beach Club oh no, it's a Nando's now. I've never been more disappointed in my life. But yeah, so yeah, it's been. And look the one thing I'll always say about Les Mis and Cameron McIntosh Limited and stuff like that they look after you because they're such a big machine, it's so organised, sorting out our travel, hotels, everything. So no, it's been really smooth sailing so far, and apparently it's going to be sunny in Belfast next week as well, so I can't believe it. Just for you just for us.
Speaker 1:Yeah, happy days. There does seem to be like a layman's family, like people return to you know, people who have been in it at some point in their career do seem to come back or do seem to get asked back. Is that because you're so well looked after, or what is it? What's the pulling power from the lamest family? Why can you not escape it or why do you not want it?
Speaker 3:well, it's funny. You say that. I remember when I left it for the first time and I was really sad and people were like raven, this will not be, that not be the year end of your journey with this show. And I think I think because they value nice people. So I think, first and foremost, if you're not nice or you're difficult to work with or whatever, they're just never going to work with you again because, as I was saying, les Mis is the strength, is the show. So it's not like they're relying on these egos or whatever. So, like you've people like bradley, but I think bradley when he first joined the show was leg, second cover onzel ross or something, second cover valjean, and then he left, came back. As on the ross, he left, he came back as you're very nice. So I think this is they're very loyal as a company and I think as long as you treat them with respect, they'll always treat you with respect.
Speaker 1:That's certainly how I find it anyway, and does the music keep its power, even though you're so familiar with it and you've done it so many times in so many different versions, does it still have that grip?
Speaker 3:Or do you kind of go oh, here we go again well, it's funny because in the the concert for the arena version, you have to sit on stage for, like, even when you're not doing your bits and bobs, you have to sit on stage. So, like the first time I did the concert, I was watching les mis eight times a week, so at that point I was like, honestly, I genuinely think I could sing you the entire score from start to finish, word for word, no problem, every single part, like. But I'm not complaining. As I say, it's the show that I grew up listening to, and then the fact I got to be part of a Les Mis cast album and stuff like that is just, uh, you know, I feel super fortunate, and it is so amazing hearing our accent on a cast recording of Les Mis, Like it is awesome.
Speaker 1:Yeah, Every time you open your mouth it's like there he is.
Speaker 3:Oh, it's funny, Actually, the people. Someone was taking the mickey out of me the other day for the line when Valjean's coming over the barricade and Grand Thayer says a volunteer like you, because I was like volunteer like you, so take the mickey out of me for it. But no, everyone, the whole. There's quite a lot of people in the cast haven't been to Belfast before as well and they're like what's it like? It's the best, people are the nicest. I feel very proud to be bringing the show home, because I've always been a champion of Northern Irish talent and Belfast is a place, so the opportunity to finally do the show there is going to be nuts. Yeah, I can't wait.
Speaker 2:Well, I hope that you'll be playing Shamrock Tenor's version of Belfast when people enter Belfast to try and get their worlds together.
Speaker 3:Well, I've already in my programme. I have Shamrock Tenor's all over my bio. I was like there's got. There's no better way to promote us boys. Actually, I was speaking to Alfie the other day and he was like telling him about the show and stuff and he was like, jeez, I'd love to come see it or maybe come sing with you sometime. Yes, yes, yes. Maybe we'll get a song with Alfie in the near future, which would be cool and where are you going to take the cast?
Speaker 1:then next week, when they're in Belfast, where are you going to show off?
Speaker 3:well, probably do a pub crawl, head down to Cathedral Quarter, to the Orcs or the area. I think some people were talking about the Giant's Causeway. Do you know? I've never, actually I've never been to the Titanic Museum before. So I think some people were talking about the Giants Causeway. Do you know? I've never, actually I've never been to the Titanic Museum before. So I actually, yeah, I've heard incredible things and just the opportunities never really allowed it. But we're actually, funnily enough for our American TV show and the American tour, titanic Belfast has come on board as our main sponsor. So I definitely should go and visit the museum. If that's not the case, but yeah, we'll just go and see, and if the weather's nice in particular, then we might find, you know, a nice beer garden, go for a dance and do Dirty Onion or something like that. But I'm sure Michael Ball's going to be tortured.
Speaker 1:Well, that's the thing. Can people like Alfie Boe and Michael Ball just wander around the place without getting pestered?
Speaker 3:I think they'd be fine. You know, weirdly enough, friends of mine who are. I had a friend who was in Tracy Baker for years, if you remember the TV show. He was one of the characters in that and he says every time he came to Belfast he got recognised more there than anywhere else. So I do wonder whether or not there will be a bit of like people going nuts. But then saying that even when I did the concert the first time around, like stage door was always crazy. I think the guys all have super fans wherever they go, so that should be fine. I don't know how it's going to work with stage door at the SSE, but we'll figure it all out, I'm sure.
Speaker 1:How big is the cast? You were telling us how big the orchestra is. How many are there in the cast?
Speaker 3:I think, 41.
Speaker 1:That's quite big, isn't it Nice?
Speaker 3:Yeah, it's as I say and it's weird, it's one of the lamest. On day one you always end up doing a sing-through of the entire score, and it's probably the only musical in the world where you can do that, because, under the assumption that everyone knows it, you know like other musicals you go into and I wouldn't have a clue, whereas you know you go into Les Mis, you get handed your score and you feel fairly confident. You're like you might know which harmony line you're going on to, but you can make your way through it. So no, it's all. It's been smooth sailing so far.
Speaker 1:I can't complain at all. Did you do the Sitzprobe with the orchestra already for this tour?
Speaker 3:Yeah, we didn't actually do a Sitzprobe per se, we just went, started teching from the start with them, so there wasn't like a With the orchestra.
Speaker 1:That's awesome.
Speaker 3:Yeah, so much in teching with the orchestra there, that's amazing.
Speaker 1:Yeah, yeah, such a tech With the orchestra there, it's amazing.
Speaker 2:Yeah.
Speaker 3:Wait till you hear, like the orchestra Sound Is insane. And the MD, he's a lovely guy, brian. He's Brian Eads. So he was. He's from the US, from I think he's from Nashville, but he's Insanely good Conductor and stuff. And I think All the big wigs because Belfast is the first venue and stuff, all the big wigs will be in Belfast for it, I would say so you'll have Claude Michel, alan Boobie, cameron McIntosh all walking about the place as well. So yeah, you never know who you're going to see.
Speaker 1:But yeah, it'll be great. It'll be an exciting week. Are there moments in the show that do you have your favourite moments like? Are there certain bits that you're like?
Speaker 3:oh, that's like favourite scene to do for me is probably ABC Cafe. I always enjoy it because it's nice energy and then it goes into the people song and there's always like a big sort of roar on that. But in terms of listening to, I've always loved that bit of the transitional piece of music into Heart Full of Love. I always think the very start of that when it goes in, I think, yeah, and the guys that are playing, you know all the principals, the young ones like Marius, they all look like Disney characters like you've never seen a group of people look so beautiful, honestly. And I come up on the screen and I'm like I'm alone here, just like, oh jeez, he hasn't had sleep again. So but that's me just being a method actor it's nothing to do.
Speaker 1:It's all about the character, isn't it? Yeah, good stuff. Our podcast is all about what musicals have taught us. So have you like, come away from Les Mis having learnt anything from any of the processes, any of the productions you've done?
Speaker 3:Maybe the main thing I've learnt is the strength of an ensemble, like of a piece. I think that's A show of that scale. I think the reason it's been so successful for so long is because it's all part of one big team and one big family. No one's more important than the other.
Speaker 3:Um, and I think, yeah, if I've learned anything, it's always just treat people with respect. Treat, you know, doesn't matter who it is. You know stage management, team wardrobe wigs, like you're working with the best and the best and like you never know when you're going to come back to work with them again, and stuff like that. So I think, uh, just being a nice person, being on time, and I'd say my one pet peeve I get in rehearsal rooms is people who can't take a note. I hate when, I hate when someone gets a note, and it's not that they can't take it, but then they explain they have to explain why they did it and it's just like no, it's like so name is is great for not allowing that sort of thing. It's like you know, I think, no ego, just get on with.
Speaker 1:It is his name, dan buckley. He does like um, like instagram videos or like reels of, like actors taking notes and goes through all the different varieties and it's like yeah. Honestly it's so accurate.
Speaker 3:Are you guys involved in the Les?
Speaker 1:Mis, that's coming to the opera. I'm just going to be a bit selfish, and yeah, so I'm choreographing the Belfast production. No way Unbelievable. Congratulations, it's exciting and also very scary. So I was just wondering do you have any advice for me going into this? We've just started rehearsals, so we kind of did a bit of a like a wee sing-through last week.
Speaker 3:Advice. What advice would I? Honestly, I would say, les Mis is made or broken by, again, the strength of everyone on stage. And I would say, no matter who's on stage or what part you are, even if you're on the barricade and you don't, you don't have a named part. Create a named part for yourself. You know if you're in the ensemble, you know, be someone that's in charge of bandages or someone who's there and have a clear role. And then I think, the minute you feel like you're not important, then this scene sort of falls apart.
Speaker 3:So I think, yeah, if I, if I had any advice for staging Les Mis, it would be invest in the characters and the different scenes and go from things like convicts, the guy they are dangerous, scary men. There needs to be weight on the body strength. And then you go into something like paris and you know people are begging and holding people accountable and, um, I think that's one of the big notes the directors always give on this is that lame is, is a comp, is a social commentary, and it's even relevant now with everything that we're seeing and all the riots, and it's a different message. You know that their message is terrible, but it's a similar thing. It's people who are putting their lives on the line for something they believe in. So, um, yeah, I think it's just about being committed and, you know, making sure that, even if you're not speaking or you're involved, keep the scene alive, make it interesting, um, and commit to it. So, um, I've seen the casting stuff as well and it's something incredible like it's going to be very, very special.
Speaker 1:I mean that's the thing I've said to Kerry Rogers, the director. Like the only way it could be terrible is if we really muck it up, because the cast we've got I mean there was like nearly 450 odd additions, so we've got really strong and we've double casted as well.
Speaker 3:So the front lineup there's, there's two of every part and they're they're they're really good so yeah, no, I mean, as I say, when I've seen all the announcements of it, I thought, geez, if that had happened when I was back home, uh, you know, when I used to be part of new lyric and ulster and stuff, I was like I would have been crying my eyes out not to have been a part of that. So no, I think it'll be very special.
Speaker 1:I think I'm probably right in saying it's probably the only opportunity for adult amateurs to get a chance to do a Les Mis, because it's not. You know, it's not going to happen again, is it Like? I don't see it? Come on out of town or stopping any time soon. Would that be right?
Speaker 3:and saying yeah, I think this. I think this will be a one-off kind of thing. I can't imagine they'll release the full-time rights to adult companies. But also stranger things have happened in terms of, like, you know, chris key came over for the auditions, didn't they? Yeah, chris. And you know Chris Key came over for the auditions, didn't they? Yeah, chris. And you know, you never know if someone goes and does that and they make a good impression. Les Mis aren't fussy in terms of like being like you have to have gone to drama school or you have to this or you have to that. If you're talented, you're talented. So, um, yeah, I would say you never know who's going to come over and see it and what doors it might open, and stuff like that. So I'd say, just enjoy the process and, yeah, and I think, making sure, as I say, that everyone realizes they all have a huge role to play. Whether or not they have solo lines, it really really doesn't matter, because each and every single person is equally important?
Speaker 1:absolutely no, we're looking forward to it, just slightly scared at this moment in time. So when's it all? Um, march, yeah, march, like the first first week of march, early march anyway. I'm one of those ones that doesn't have the actual date in my head, because that'll just add more fear as to how much time we've got left to do the thing. So it's early March.
Speaker 3:Have you come up with your March yet? Have you come up with your one day more March yet?
Speaker 1:No, I don't know if we want to do the norm, but we'll see. Any advice there. Your one day more March yet. No, I don't know if we want to do the norm, but we'll see.
Speaker 3:Any advice there? No, I think, do your own thing. Be brave and enjoy the opportunity to create something with a piece like this. It doesn't come around very often. I think you're right in saying I wouldn't do the usual. This is your chance to do.
Speaker 2:Timmy's version of the name is walk, so enjoy it so we, we talked about a musical which is really well known, but, um, looking at your like cv, you've done a couple of like new musicals and musicals which, um, you know, not many people will have heard of, and that's what we are loving about our podcast is we're either introducing each other to new musicals or musicals that we're not really familiar with. So I want to ask you about, uh, first of all, lion, witch and wardrobe because of good old cs lewis um, that was, it's stephen Luke Walker. Is that right?
Speaker 3:Yeah, yeah he did the music, the lyrics and the book for it.
Speaker 2:And you got to play Peter, is that right?
Speaker 3:Yeah, I had to shave twice a day.
Speaker 2:Did you eat up for the ages or no, she ate up.
Speaker 3:I think it was like we were everyone was in their early 20s but playing obviously younger and stuff like that. But Stephen was my head of singing at GSA and then he would have worked with people like Sam Barks' singing teacher and stuff like that. But yeah, it was for the centenary I I think, of CS Lewis' death or something, I'm not sure what it was. There was some celebration and we did it in Oxford, which is where he lived for most of his life. But that show was epic.
Speaker 3:I was having to hit top Cs and because it was a kid's show, there was like 10 am performances and it was like, oh, my goodness see, having to hit those notes at that time in the morning was chaotic, but uh no, it was a great show. Um, I really enjoyed it. And then, certainly at the start of my career, I was very conscious that I wanted to create, because you hear these stories, if you're going into certain musicals like you stand here, you stand there, there's your light there, blah, blah, blah, and I sort of thought, well, if I'm going to do other things, I'd like it to be stuff where I get to create it myself. And it was actually doing my Land's Shore, which is the web musical that I did. Have you heard any of that?
Speaker 2:before. Yeah, I've heard like snippets of it and I don't know it a lot. Did it go to the fringe or is that where it started? Yeah, yeah and it's a Welsh musical, but you played an Irish character, sean.
Speaker 1:Yeah, sean, did you have to learn?
Speaker 3:Welsh. No, it's based on the true story of Dick Pandaren. He basically took these strikers out on action and the Irish character. He was like one of the coal mine guys or something something like that.
Speaker 2:But that was quite a rugged musical. Am I right in saying Like the music feels, very like it gets to your bones? Does that make sense? Like where you're like there's a lot of like passion and pain going on there.
Speaker 1:Like Les Mis.
Speaker 2:I suppose I was going to say more passion and pain than Les Mis.
Speaker 3:Well, people would always say when they were describing it they would always say it was like a Welsh Les Mis. So yeah, they're very similar. And then the song I got to get Flame Is the first time around. So I went into the room and I was like, oh, I'm going to sing Air for a Wise Celtic from my Land Shore. And they were like, are you sure you want to sing a song that we don't know? And I was like, yeah, I think you'll like it.
Speaker 3:And then I did the song and then afterwards they were like ah, we really like that song. Good call Raymond.
Speaker 1:So I hope that.
Speaker 3:I think there's a video of me singing it on YouTube somewhere. Yeah, I think that's on YouTube.
Speaker 2:I'll send you a link to it.
Speaker 3:Yeah, yeah, it's a lovely. It's a beautiful, beautiful song and it has a nice big bit at the end show off range and stuff. And then, funnily enough, actually after I sang it, then the resident director was like have you got a comedy song? And I was like I have not brought a comedy song for Les Mis. I did not think that was going to be the case. So I was like, oh, I've got the Streets of Dublin. Do you know that song, streets of Dublin from man of no Importance? And they were like perfect.
Speaker 3:And then in hindsight, thinking about it, because the start of that song is like there's Tommy Flanagan who lights the gas lamps, there's so-and-so, there's so-and-so, and then and then it's very master of the house. So actually I think I remember when I got my offer for lame is, I was in lisbon at the gym with jack and I came through and it was like a granteur, first cover to nardie. And then I was like contacting agent and I was like they've said first cover to nardie. I was like that can't be right. I said it must be second or third. Can you double check? And then they were like no, it is. So I don't know what that says about me at 29, that I got cast as two alcoholics. I mean, it's not good, but my moisturizing routine has got better since, I can assure you. So what?
Speaker 2:do you think, then, about like new musicals and how important are they, especially for people up and coming and learning musical theatre, like going to stage goals and stuff? Do you think it's? It's something that they should be focusing on, as well as focusing on the traditional line is and all those classics?
Speaker 3:absolutely. I think you have to support new musical theatre. I think, uh, if that's kind of what breaks my heart a wee bit at home, you know, like the arts funding has been cut to shreds and like I've never been able to get money to help the Shamrock Tenors out and stuff like that. And I remember messaging them about the West End being like I don't suppose we could get any help, and they were like contact the Arts Council of England and I was like what Right, it seems a bit strange, but yeah, I think it's.
Speaker 3:I think you have to champion young, new, exciting things, because then what? Otherwise, what just happens is the same old people make all the money and look after themselves and money doesn't go back into the arts and breed the next sort of generation of talent. So, um, I think it is. I'd love to see another musical from home, but I don't know who's going to write that. I think my brother, jack, is talking. He's written a few musical theatre songs and he's written a musical in the past, so I'll maybe push him and try to write some While you're on that world tour, you know, or that America and New Zealand tour.
Speaker 2:sure he's got nothing else to do. He can write a music album, absolutely.
Speaker 1:I know he's a chancer, so I need to put the pressure on and maybe get him to write something original from Belfast that isn't about the troubles, yeah you were saying when we were talking about Lion Witch and the Wardrobe, hitting your top C's at 10 o'clock in the morning, is there a routine that you followed, because obviously for you with the tenors and your voice is pretty important like, is there any routine or regime? You go on, is it the guinness?
Speaker 3:I was gonna say there's an answer I should give, which is a lie. And then there's the reality of the situation. But uh, though thankfully for Les Mis, because Grand Père is always slightly lower I'm on all the bass harmonies, so it's nice and chill for me here. But ordinarily I think on a show day I would start the day off by drinking two liters of water first thing in the morning, which I think is the most important thing, and then, just before going on, I would do a warm-up, but I try not to do too much. Um, whereas lauren, my partner, because she sings high and doing all these riffs and stuff, she has stretches and vocal warm-ups and trills, and there's a lot more science to Lauren's impressive vocals and comparison to my rugged royals is probably the most accurate description I can give for my vocal quality.
Speaker 1:You are so hard on yourself, raymond, you really are. How did you find being, you know, like a northern Irish fella, going over to London and going into like professional training? What was that like?
Speaker 3:Do you know what? It was tricky enough actually, because I remember one teacher in school saying to me oh, you need to lose that accent if you want to get any work, and being like and here I am now playing grand terre in tenardier from belfast. So, uh, I think, yeah, it was. It was a bit strange and like there was a wee bit like if always you know you say something and then people repeat it, taking the mickey out of how you say it, and stuff like that. But I sort of realized at first I was a wee bit weird. I was a bit like, oh, this is exhausting. But then over time I actually grew to love it because I was like it's a superpower, it like it straight away. It sets you aside from everyone else. And I think the minute I didn't apologize for it and I accepted it and owned it, then everything changed for me.
Speaker 3:And uh, as I say, I've been living here now for 13 years and I'd like to think I still have my accents being exactly the same, so I'm proud of that. But yeah, no, it was at first going over. It took a wee bit of getting used to, and then also, just, I hadn't been really to London before and obviously you know I used to live my bus used to come twice a day back in Lisburn and then you're moving to somewhere where it's like people are sprinting for a tube even though there's another one coming in two minutes and they're raging if they miss it. So it is a culture shock for sure, and I love London to bits and I love living here. But having Belfast as an option to go home and recharge my batteries I'm so grateful of, because you know I think Belfast will always be home for me, that's in a song somewhere, isn't it?
Speaker 2:Belfast, it's probably in.
Speaker 3:Belfast. I've been there for too many years. I've read all the papers they told of your tears. What is it that you love about musical theatre?
Speaker 1:then why do you Now? For too many years, I've read all the papers they told of your tears. Yeah, it is. What is it that you love about musical theatre, then?
Speaker 3:Why do you do what you do? There's just no buzz like it, buzz or feeling like it. I don't. I still don't feel like I've ever really worked a day in my life. I like every day I come home with a smile on my face. I I love seeing like the best bit of lame is is like the of the concert version is because you're sat on stage. I, a lot of the time, don't end up watching the action. I watch the audience and you will see people from like six years old up to 84 years old going on this journey and getting emotional and you know it. You know a lot of people have memories or family members or you know. I just think it's just a gift of the job that I'm very grateful to be part of. And, yeah, I don't, I don't ever have a bad day like I love my life, I love my job. Um, I love to travel and, uh, hopefully, bring joy to people by performing.
Speaker 1:So, yeah, I mean, there's nothing better, oh that's so lovely and is there a part out there or a show out there that you have your sights on in the in the future?
Speaker 3:I don't know. It's hard because at the minute I'm sort of having to accept the fact because, luckily, the tenors is going so well. I've I've spoke to my agent and sort of had to say, look, I'm gonna have to take a step back from musical theater, maybe just for the next two or three years, while I really focus on getting the tenors to where I want it to be. I mean, that's again. But what's nice is I'd love to do more new original musical theatre, but on a bigger scale. I'd love to work at the National Theatre at some stage to do something, and I think I'd love a crack at actually playing to an RDA one day.
Speaker 3:I've sort of I've told myself my goal is, the 50th anniversary is in 10 years time, so there's going to be a crazy concert, surely, for that. So I need to use the tenors to get myself famous enough to try to play the part. Yeah, this is all the things I yeah and see. To be honest with you, I always say this to Lauren. I'm always like ever since I started manifesting things, things have happened. And even this award thing, I was like, literally I entered it and I was like, at the time when I entered it. I said to Lauren, I said we're going to get a nomination for this. I'm telling you now, this is it, this is it we're going to, so yeah, so put it out there. 50th I've got to play Tenardia.
Speaker 1:And manifest it now. Who's your, madam T?
Speaker 2:Who do you want by?
Speaker 1:your side, lauren, might be available uh do you want by your side. Lauren might be available.
Speaker 3:Yeah, but your lauren would probably be much better I'd take either, but no, actually I'd love actually to do it with my lauren. That would actually be really good song, I think, because she's the thing about lauren, because people always hear all these riffs and her amazing voice but she's the funniest person I've ever met, like she literally cracks me up. So, yeah, maybe I'll put that out there. The two of us can play the Tenardias together.
Speaker 2:It might be awesome. Yes, absolutely.
Speaker 1:I'm sure she'd be delighted to Raymond. Is America ready for the Shamrock Tenors?
Speaker 3:I'm going to say I don't know if the Shamrock Tenors I'm going to say probably North the Shamrock Tenors ready for America. Let's see how the country looks after the next election.
Speaker 3:The America you're going into could be very interesting yeah, well, hopefully, look, as I say, the one nice thing is that the Irish are always well-supported and looked after around the world, so any experiences we've had in America so far has been nothing short of like amazing. Like we did that festival in North Carolina and after our last show they wheeled a keg of Guinness into the dressing room A keg, like boys. We just wanted to say to you all thank you so much for everything. Keg of Guinness into the dressing room, a keg Boys. We just wanted to say to you all thank you so much for everything and we just want to give you this as a gift from us to you. We were like, oh man, honestly, the loveliest, loveliest people. So, no, we can't wait to go out there.
Speaker 3:And, yeah, hear all the stories and I tell you a great story actually that I think would be interesting.
Speaker 3:We were the yeah, hear all the stories and I tell you a great story actually that I think would be interesting.
Speaker 3:We were the best thing I've ever had said to me at after a shamrock tenor show was on a cruise ship and a guy came up to me and was like I served in northern ireland during the, during the troubles, and he's like. When you sang danny boy tonight he's like, and then he started crying as he was speaking to me he's like. It made me think seeing a group of boys from both sides of the community stand there together and singing it made me think that everything I went through and all the friends that I lost during that period was worth it, and I thought that for me is like the nice thing about the tenor. So I hope that message comes across in America that if we can come through it, this polarised thing, then maybe we can be a representation, hopefully, for what can be achieved if you just wind your neck in to use a bell that comes across in your home gigs as well that was one of the things.
Speaker 1:I took away from your last concert in the Opera House. Yeah, do you have a favourite song on the setlist that you look forward to every night? I know you change your setlist but is there?
Speaker 3:like a In Shamrock Lennars I mean Dirty Old Town's always fun because the crowd always you don't know what you're going to get. Sometimes they just go berserk and bounce out of their seats and dance everywhere. So it's fun. And then in terms of singing, I love singing Black Velvet Band. I always think that's always a nice one because you get the audience singing back with you and everything, which is lovely. But no, it's hard to pick a favourite and in all honesty it's probably Mary Jamie's song, because I don't sing in it but because I just get to sit there and listen to him and Jamie's voice is stunning, but also the fact that he wrote the song and stuff. I'm very proud of him and everything.
Speaker 1:so that's maybe my favourite, actually have a wee sit down.
Speaker 3:Yeah, I know he worked me too hard. That's why you know Matthew's playing all the 14 instruments, jamie's playing everywhere and I'm sat there drinking water listening to them. But that's my reward for looking after flights and hotels and stuff like that, I guess.
Speaker 2:I want to ask you the question I asked Jamie. So for those that don't know, jamie is my brother-in-law. He's married to my sister. He's in Shetmore, tenors. So for those that don't know, jamie is my brother-in-law, he's married to my sister, who's in Shamrock, tenors, and on Christmas Day I said to him how does it feel that some people are waking up and their Christmas present is a Shamrock Tenors ticket? And he goes don't be daft. I was like that is what's happening, jamie. I was like for some people, their Christmas present is a ticket to come and see you lads. And I really thought about it and I was like how? So I'm going to ask you the question like how does that feel, knowing that you have this vision that you had of these really talented Northern Irish boys? You brought them together. Yous are having great crack, yous are traveling around the world, but actually yous have got real dedicated fans who will come and support and see you. What does that feel like?
Speaker 3:I'm probably the same as Jamie in the sense of like that doesn't feel, but like I don't think we've ever really processed that. I mean, and it's so strange because, as you say, like we've, I get messages on the Shamrock Tenors account being like, oh, we're flying in from, uh, colorado to see you guys in Belfast and I'm like what? Um, I'm just, yeah, I flabbergasted and just as I say, because we, I think, because we love what we do so much and we would just do it anyway, it's for so for us to see other people get enjoyment from something that we enjoy so much, uh, yeah, there's no better feeling. Um, so, yeah, no, hopefully, as I say, we year we're going to release our first album and maybe then Whoop, whoop.
Speaker 3:Yeah, I just had the masters sent through to me this week, so it's all finished and it's been sent off. They get printed, so I think it'll be coming out towards the end of the year. But, yeah, no, yeah, very grateful. And, as I say, if anyone's listening to this that happens to you know, also support the Shamrock Tenors. Uh, thank you for being uh crazy enough to think that we're any good. So, uh, yeah, no, very very very fortunate.
Speaker 1:No, thank you for all that you've done. You should be immensely proud, both of your stage work and the the tenors. It's just amazing someone from home is doing so well.
Speaker 3:That means a lot, and it's so same to you guys as well. The podcast is absolutely brilliant and I just feel very we don't do much. You guys are smashing it and, as I say, as soon as you asked me if I was interested in coming aboard, I was like I'd absolutely love to. So same goes to you guys. Well done for championing homegrown talent and celebrating the best that we have, because, as I say, for a small wee country, I think we punch above our weight.
Speaker 1:So I think so as well. So no, it's all good. Thank you so much for your time, because I know you've had a hectic week. You're about to have an even more hectic week.
Speaker 3:Enjoy the tour and no, he's coming to see you, he's going to see the show completely honest, I haven't got my tickets yet, but yes, I will be one I think we're last minute dot coms, you know yeah, well, let me know when yous are in and then we can grab a drink or something afterwards and have a catch up. And yeah, I'll, I'll swear less. I hope I haven't sweared.
Speaker 1:Swear more, swear more.
Speaker 3:I think no, I think I've been well behaved.
Speaker 1:I think well, have a great time on the tour and enjoy America with the boys.
Speaker 2:When do?
Speaker 1:you head off to America? When is?
Speaker 3:it. I think we leave on the 20th of February or something.
Speaker 1:And when's your next holiday? Like rest, where you don't do anything, Raymond, Is that a thing?
Speaker 2:2029.
Speaker 3:2029. After the West End show with the tenors, actually I had my first holiday in 14 months. I didn't realise that. Obviously, in my head I think the cruises are a holiday, but it's not because you're always working, because even when you're not doing your show, you've people talking to you about the show or coming up and approaching you, so you're always kind of still working. But I went, lauren was performing on some ships, so I went to her plus one and had a wee break. But uh, no, I have a little bit of time in between. Uh, whatchamacallit the end of the my time in the les mis tour and the start of the US Tour, so I'll maybe put myself away for a week there before the craziness happens.
Speaker 1:We didn't actually really touch on the Shamrock Tenors West End debut. I'm sure that was a special moment for you, yeah that was.
Speaker 3:We were all crying at the end like I'm sure people were looking up on stage like what is wrong with those five. But no, it was. I don't really know how it happened. As I say, I was originally going to book the other palace for it and then it's only seats 300. And then I was like, do I? Just? Everything I've done so far with the tenors is I've rolled the dice and went ambitious and it's always worked out and I went. Why am I not doing that now for London? So yeah, the sell out the Adelphi was like insane and honestly, the whole second half the crowd were up dancing for the whole thing. They stayed on their feet for Parting Glass, which is a cappella like they stayed like. So it was just. I've never known an atmosphere like it for us, especially not being from there. Belfast, we always sort of know we're going to have the support of our friends and family, I guess, but London, I think, was the first time we actually went. Oh, this is something here where I think we're on to something.
Speaker 1:It's not always a goal you had for the fellas. You know, it's almost like your two worlds combining, isn't it?
Speaker 3:yeah, well, because they're all good enough. Tom had been on the West End before, but the other lads are good enough to be West End stars in their own right and stuff. So I was yeah, I always did have the goal in my head to be like I want to make sure that the West End sees the level of talent that I see in these boys. So, yeah, I always had it. It was part of my vision board at the start of the tenors to one day bring it to the West End. And now we've been contacted by a couple of other West End theatres about coming back next year. Yeah, and some bigger ones than the Adelphi.
Speaker 1:But I'm not, don't get yourself in trouble, we'll end it there. Go and have a light line.
Speaker 3:Yeah, yeah, so I think we might be back to the West End next year again. So, yeah, it should be fun.
Speaker 1:Listen, all the best next week. Have a great time, enjoy being home with Les Mis and we'll hopefully get to see you.
Speaker 3:Absolutely. And do you see my Westlife tattoo?
Speaker 2:Oh, yes, I saw the W, yeah that's the Westlife logo.
Speaker 3:So that's my real inspiration, really, I mean, now, you know I I mean, I've seen West live six times. Live, I love them.
Speaker 1:That's where the stools came from. Is that right then, that was.
Speaker 3:West 100%. I was like I am not doing a show with five lads if we don't have a key change out of the stools, so what matters is to get it in somewhere.
Speaker 1:Brilliant Listen. Thank you so much for your time tonight. I know it's the last thing anybody wants to do on a Friday evening.
Speaker 3:No, that's delighted. Not at all, it's been great.
Speaker 1:It's been on our list for a long time, so it's great that we finally got you thank you so much for having me.
Speaker 3:Thanks, raven. See you later, guys.
