Theatre Village managed to get an interview with Katy Richardson who is a musical director and pianist based in London. She is currently the UK musical supervisor for the multi-award winning musical SIX
- What inspired you to pursue a career in musical direction and supervision?
I knew I wanted to work in the theatre from a young age, I was lucky enough to grow up very near Stratford-upon-Avon and so was able to see many RSC productions throughout my childhood. My other love was music, so when I discovered you could combine these things in a position, I felt drawn to it. I was additionally inspired by my director and musical director at my youth musical theatre classes, Simon Pollard and Huw Evans, who really encouraged me to pursue it professionally.
- How do you approach the process of supervising a musical like Your Lie In April or Bonnie & Clyde?
I always begin with research and listening. Sometimes with existing musicals, when preparing for a revival, this involves listening to previous cast recordings and musical decisions other creatives have made. Whether a new musical or a revival, it always involves listening to the genres of music that is found in the show, or that the composer was inspired by. For both Your Lie and B&C specifically, I was lucky enough to liaise directly with Frank Wildhorn, the composer, so I could speak to him about his musical intentions and what he values hearing in performances of his scores. When this phase is nearing an end, the work of collaborating with the other creatives begins, and often this is working particularly closely with the director and finding out their vision for the production.
This creative and research phase is ongoing, but the main body of it is done before any audition process, staffing, or rehearsals begin. The next key part in the process of a production is in the hiring – whether actors, musicians, musical directors, orchestrator managers – the right people make a production what it is. Collaborators are everything to me, and if you choose them correctly, it can feel like magic is happening.
Once rehearsals start, it becomes a lot about logistics and organisation as a sort of musical project manager – whilst keeping a macro view on all areas of creativity and the music of the show. Things come together very quickly, and it is your job to keep an eye on all musical elements and make sure the composer’s, and your own, vision is upheld for the production.
- What has been one of your most memorable moments while working on stage productions, and why?
My most memorable moment was when SIX performed at the 2019 Olivier Awards at the Royal Albert Hall. Amazingly, and terrifyingly, the band from SIX including myself performed live, as well as the cast singing live. SIX was still relatively new and unknown, and it was quite a big difference from the 350 capacity Arts Theatre to the 5000 Royal Albert Hall!
- How do you stay inspired and motivated in such a competitive industry?
I think this is something that most creatives are still trying to find the best solution for! I try to make sure my life outside of the industry has things going on, including family and friends, hobbies etc. I was given the advice of treating yourself as an athlete, which I think is invaluable, so this makes sure you are exercising to keep yourself fit and strong, and fuelling yourself appropriately. I also try and see as much theatre and listen to as much music as I can, to find inspiration and try and remember what it’s like from the other side of the curtain!
- What advice would you give to aspiring musical directors looking to break into the West End scene?
The best advice I can give is quite simple – work hard and be kind to people. Focus on yourself and improving your skill set so it’s the best it can be, and don’t be afraid of a cold email to introduce yourself and offer to buy someone a cup of tea!
- How has the landscape of musical theatre changed during your career, and where do you you see it heading in the future?
I have noticed two big changes during my career, and I think they might both be influenced by SIX. One – there are a lot more female musicians and female creatives that when I started working, which is fab. Two – musical theatre is making use of a lot more contemporary musical styles, specifically a lot more pop music is being used. I think this is amazing as it will hopefully bring in a younger audience, as they hear music more like they hear on Spotify. In future, I think this change of musical genre to more contemporary styles will continue. I hope that seeing underrepresented stories’ on stage will continue as well.
- What are you currently involved in? Also, what is one project you’d love to be involved in?
I am currently working on the Japanese replica of SIX in Tokyo! A project I’d love to be involved in is tricky because I love doing a variety of work so I wouldn’t want to choose one thing! I would love to work on a movie however!