The Fame Reporter interviewed versatile Australian theatre and film performer, Rachael Ward. Rachael is currently on tour in the UK and Ireland with Disney’s Mary Poppins The Musical following a phenomenal career performing on home soil and internationally.
We spoke with Rachael about her remarkable career across stage and screen in Australia, her move to the UK to join the international production of Mary Poppins, her future aspirations, and more.
Welcome to The Fame Reporter! You’re currently touring the UK, Ireland and soon to be Internationally as Miss Lark in Mary Poppins. What has it meant to join such a beloved Cameron Mackintosh Ltd and Disney Theatrical Group production, and what feels most magical about performing this show night after night?
Mary Poppins has always been a dream show since the day I saw Mary fly over my head back when I was only fifteen in the Capitol Theatre, Sydney. The magic of P.L. Travers’ writing and the message it carries transcends time, so when the opportunity presented to be a part of it in the UK – the country in which the show is set, I jumped at the chance.
The magic of seeing the young people in the audience and at Stage Door beam means the most to me as it takes me back to when my Musical Theatre dream began.
Mary Poppins is a production rich in detail and physical precision. What aspects of the show – whether choreography, character work, or the show’s technical demands – have pushed you or excited you the most?
True! We’ve rehearsed those SuperCal letters to a T! There is a definite demand in the technical ability of the choreography set so beautifully by Stephen Mear.
With where I’m at in my career, I have been most excited about being pushed acting wise this contract through the four different character roles I play in the show. Ensuring that my storytelling meets the mark from comedy, to drama, to sincerity.
Touring this show for what will be twenty months has of course pushed me. The regular moving to environments that are unfamiliar, establishing new relationships each venue, acclimatising to new climates, and keeping holistically healthy throughout, keeps you on your toes – but that’s tour life!
You cover an incredible handful of roles including Mrs Corry, Bird Woman and Miss Andrew.
How do you approach keeping these characters distinct and fresh while switching between them across a long tour?
It helps that all four characters are so different, that I’ve had the time along the tour to learn, tech, dress run and perform them, and that I love an acting challenge.
Each character serves a certain message to complete the story, so as long as I honour that whilst taking direction and authentically playing the role, they will be distinct.
They each come with their own accent and physicality too – so super fun and as for keeping it fresh, going on for a cover does just that!
What do you love about your Mary Poppins company? I hear you have a few Aussies accompanying you on this tour?
We do have some fellow Aussies from Brissy! Which is always a very grounding and familiar energy to have around. There are also some beautiful souls I’ve met within the cast, offstage touring and local company that have been a gift along my journey here.
You’ve had a flourishing career in Australia across productions such as Chicago, Evita, Singin’ in the Rain, The Wizard of Oz and Hello, Dolly! What prompted the decision to take the leap to the UK?
I’ve always seen myself as a global citizen, going where my gut and the work takes me – perhaps inspired by my dual Australian and Italian heritage, which I’ve always been passionate about bringing to the stage.
I love working internationally, challenging myself, and growing as an artist – wherever that’s meant to be! The UK felt like the next natural step, and I look forward to seeing where that takes me…
How does performing for UK and international audiences compare to performing at home? Do you notice differences in energy, humour, or audience reactions?
I don’t see a great difference in Australian and UK, but for certain Japanese and Russian audiences.
In Japan for ‘Singin’ in the Rain’, throughout the show, there was minimal reaction, but come the curtain call – we had six bows – in the rain! I also recall welcoming in the show to the theatre with an onstage ceremony which made my heart sing.
You’ve performed in Australia, the UK, France, and Japan – from Cats le Musical in Paris to Singin’ in the Rain in Japan. What has performing in different cultures taught you as a storyteller?
That your storytelling can’t just rely on text, but every sense, as language can be a barrier.
I knew my French was not perfect even though I was in phonetic class every day, so I used my physicality and intention to convey my words, and intonation in my vocals to share my lyrics.
Offstage I learnt to be far more patient, accommodating and understanding for communication to be clear.
Your résumé spans everything from Trevor Nunn’s iconic Cats, to Baz Luhrmann’s Elvis film, to the stylish world of An American in Paris. How do you stay adaptable when the artistic styles, rehearsal rooms, and expectations vary so widely across countries and companies?
Versatility is a strength I embrace, and working in different countries has allowed me to become more worldly.
For each project I have rehearsed the craft needed so was confident enough to let loose in the rehearsal room and let the performance take shape to what it needs to become.
At the end of the day, it comes down to work ethic, discipline, creativity, openness, courage, and sometimes being able to laugh at yourself!
You’ve embodied a wide range of women – from Ulla in The Producers to Go-To-Hell Kitty in Chicago, Bombalurina in Cats, and even covering Roxie Hart. What kinds of roles do you naturally gravitate to, and which have stretched you the most?
I’m always up for a strong woman role who gets away with murder through her comedy and or sensuality. But she also needs to have underlying substance and a journey of lessons which carry a message of transformation. I like all my art to have a reason, a “why”.
Every role has stretched me from the foreign language of Bombalurina, to the stamina of Ulla, physical playing age of Bird Woman, to teen partygoer of Lauren. All these, plus the life experience that goes with it have shaped me.
You’ve worked under some extraordinary creative teams – Richard Eyre, Trevor Nunn, Gale Edwards, and Baz Luhrmann, to name a few. Is there a piece of artistic advice from a director or choreographer that has stayed with you?
I actually have in my notes a couple of quotes I sometimes refer back to when the going gets tough and I’ve lost belief in myself. I remember the day I had to perform Macavity in French in front of my French company being the only English-speaking cast member and I just beelined to the back of the room to compose myself from fear.
My choreographer Chrissie Cartwright came up to me and said, “If anyone can do it, it’s you Rachael” – and I did!
You’ve performed in both major revivals and brand-new stagings. Do you prefer stepping into roles with decades of legacy, or creating something fresh for the first time?
Of course, I love stepping into a role of a dream show, but my heart is in creating something from the ground up – a piece you have your own creative stamp on. Material and movement that works for you.
A role that fits you like a glove, as opposed to stepping into someone else’s shoes. And with a trusting creative team, you can do just that.
Touring internationally for years at a time is a huge commitment. How do you take care of yourself – physically and creatively – during such a long, demanding tour?
It’s a lot – there’s no doubt about it. It takes strong commitment to the work, constitution within yourself, and alignment with your “why” to sustain it.
I am very diligent with my meal prep and ample sleep. I rely on my spirituality, keeping in touch with my close circle of family and friends, and getting out in nature wherever possible. Creatively, I coach, sing jazz, and I write – be it journaling, poetry or cabaret.
What keeps you inspired on the road? Are there cities or theatres that have felt especially meaningful to perform in?
What keeps me travelling is believing I am making a positive impact with my art around the world.
I will always remember and hold dear to my heart my first theatre I performed in in a country such as the Her Maj in Melbourne, and Bristol Hippodrome in the UK.
With such a rich and global career already, what kind of roles or creative opportunities are you dreaming about next?
I would love to write my own cabaret and perform it at the Edinburgh Festival Fringe, have a role written for me, write a book, do more film, TV and movie musicals, and give back by way of coaching.
Thank you Rachael for being our guest, we are wishing you the best on the UK and Ireland Tour of Disney’s Mary Poppins.
TICKETS MARY POPPINS
UK and Ireland Tour
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