Head Over Heels Musical || Aurelie Roque

The Fame Reporter interviewed brilliant local performer, Aurelie Roque starring as Gynecia in the Queensland Premiere of brand-new musical ‘Head Over Heels‘ at Ipswich Civic Centre from 31 May – 1 June, produced by Ipswich Civic Centre and THAT Production with Mira Ball Productions.

It’s time to feel the beat! The groundbreaking queer musical comedy, Head Over Heels, will premiere in Ipswich in a month, from 31 May at the Ipswich Civic Centre for a limited season.

A bold, joyous musical that celebrates love in all its forms, Head Over Heels is set to the beat of iconic 1980s all-female rock band The Go-Go’s, and features timeless hits like “We Got The Beat”, “Our Lips Are Sealed” and lead-singer Belinda Carlisle’s “Heaven Is A Place On Earth”.

This high-energy revival marks the first time Head Over Heels will rock the stage in Queensland, bringing with it a wave of nostalgia, joy and an all-Queensland cast.

We sat down with Aurelie and talked about her background in theatre, what she loves about being involved in the Queensland Premiere of ‘Head over heels’ and more.

Aurélie, welcome to The Fame Reporter, can you tell us about your early experiences in dance, voice, and acting, and what drew you to these disciplines?
Well funny story, I can’t exactly remember when it all began! My mom used to tell me she would hear me singing along to commercials when I was around 5 years old, and wondered if there was something to it. She also mentioned that all I would do on the soccer field was ignore the ball, chase butterflies, and do pirouettes.

I apparently took singing lessons down the street from her good friend, Becky Watson, and I guess I was hooked! I was in a show the next year, and haven’t stopped since.

I never wanted to be a basketball player, or a dinosaur, or an astronaut when I grew up. I’ve always wanted to be on stage.

Your most recent cabaret, RUBY SLIPPER CHRONICLES, explores your adventures moving from Kansas to Australia. Can you share some of the real-life experiences that influenced this show?
Okay, two experiences come to mind. When I was on my first flight to Australia, for the big move, my plane had to be grounded due to a tornado in the area. I thought, “Huh. Kid moves from Kansas to the land of ‘Oz’, during a tornado… Hilarious, Universe.”

The second tale requires a bit of back story: in Ruby Slipper, I talk about how the 6 month long-distance relationship Robert and I experienced. He had moved ahead of me, and I was planning our wedding back in Kansas City. The night I put him on his flight, my heart shattered.

When creating my show, I thought about how much that made me want to rip my heart out, and I found this beautiful song (Tin Man by Miranda Lambert) that so accurately expressed how I had felt that night. When I played it for Robert, the first thing he said was, “Don’t make me cry. I’ll rust.”

You’ve portrayed a wide variety of characters, from Christine Colgate in DIRTY ROTTEN SCOUNDRELS to Morticia Addams in THE ADDAMS FAMILY MUSICAL. How do you prepare for such diverse roles, and is there a particular role that stands out as a favorite?
Morticia was quite easy; I have been in love with ‘The Addams Family’ since I was a child! There was also Babette, the feather duster in Beauty & the Beast. I spent soooo many hours working on her physicality: how she walks, how she moves her hand, head, etc. Then all the same things as she becomes more ‘object’ and less human.

The director (Barb Nichols) worked with each of us on our relationships with each other. For example, how well does Babette get along with Mrs. Potts, or Cogsworth?

One of the most challenging roles I’ve ever had was Marlene, in Caryl Churchill’s Top Girls last year. When the character is only spoken about, and for the most part avoids answering personal questions, it’s incredibly challenging to figure out who they are. I genuinely burned myself out attempting to understand this person, but with the help of our incredible director (Mikayla Hosking), she became clear.

Sometimes you don’t realize you’ve gotten too close and need an outside perspective to see the big picture.

In addition to performing, you’ve choreographed and directed for several productions, including the 24 HOUR MUSICAL PROJECT and BIG FISH THE MUSICAL. How do you balance these roles, and what do you enjoy most about working behind the scenes?
It’s very different, I feel. It comes from a different area of my creative mind, and so it feels worlds apart.

24 HMP is a world unto itself: all choreography, vocals, and blocking had to be created and polished both well before the cast even walked into the room, AND in complete secret! Having to come up with choreography for a number with dozens of people on stage, without ever once being able to see it, feels truly impossible, and wouldn’t have ever happened if not for my amazing assistant choreographers on each show, honest to God.

Plus, we would film all the dances multiple times, to get every character’s plot, for the cast to access during that 24hr period, if they wanted to practice! Dear God, the man hours.

But no matter what, the final product gives me the same feeling when I’m watching the show: sheer and utter pride in the cast.

You had the opportunity to choreograph and direct in Taipei, Taiwan. How did this international experience influence your perspective on theatre and performance?
I was reminded of two very simple things: 1) A love for theatre is universal. No language barrier can ever get in the way of that and 2) while my heart belongs to the arts, I would be lying if I said I didn’t find myself falling for travel as well! I hope to one day set foot on all 7 continents.

You’ve performed for and alongside notable figures such as Stephen Schwartz and Jason Sudeikis. Can you share any memorable experiences or lessons learned from these interactions?Ohhhhhhh, those two interactions were all thanks to one of the best cabaret bars to have ever graced the streets of Kansas City: bar Natasha! If you’ve ever met me, I’ve probably mentioned this place at least 46 times in the first half hour of speaking to me.

Everyone who worked there sang. Everyone. Barbacks, bussers, wait staff, managers, bouncers, you name it. The amount of notable people who came in throughout the years? Well, it’s quite a list. As is my list of lessons and experiences: how to belt, the art of cabaret and how to host. I had the honor of working there until closing night, which was in and of itself QUITE the memorable experience.

You’re currently playing Queen Gynecia in HEAD OVER HEELS. What drew you to this role, and how have you approached bringing this character to life?
I have wanted to work with Timothy Wynn for quite some time now. When he started talking about Head Over Heels, and his ideas for it, there was just NO WAY I was going to miss this.

While the show itself is quite the comedy, I’ve enjoyed finding the heart in Gynecia. Sure, I’ve done what I mentioned earlier: found her walk, how she places her arms, what facial expressions she makes when she’s angry, etc.

But finding her back story, that’s where I fell in love. I had so many conversations with Henry (who’s playing my husband King Basilius), Emma (daughter Philoclea), & Erika (daughter Pamela) about the family dynamic, how Basilius and Gynecia met, and how they feel about each other now. It fleshes out not just your character, but how they react to the others around them. Makes them a bit more real.

With HEAD OVER HEELS making its Queensland debut at the Ipswich Civic Centre, what can audiences expect from this production, and what are you most excited for them to see?
It’s gonna be quite the brilliant spectacle! Shakespearean English, with modern comedy, and the music of the Go-Gos? I know I know, it sounds crazy. And. It. Is.

How have your experiences in the arts shaped you personally and professionally over the years?
I can’t think of a way that they haven’t! I’ll tell you the biggest life lesson it’s taught me though. There is a place in this world for everyone.