Rupert Young, Gina Beck & Simbi Akande talk upcoming new musical ‘Flyby’: “People will be surprised how much they are affected by the script”

London’s Southwark Playhouse presents the world premiere of this new chamber musical featuring an A-list West End cast. Guillermo Nazara chats with the company to learn more about the show’s development and how this atypical love story will conquer or break the audience’s hearts.

How does it feel to be opening a brand new musical on the London stage?

GB: It’s so exciting! We weren’t involved in the workshop, so in some way, we’re the last people to come into this process. It’s so great to become part of something that’s already fully formed in terms of character development. Early one, came in and rehearsed the piece for a few days, where the creatives performed the show for us. It was amazing to see them interpret it and realise we were going to be part of it.

What enticed you to be part of this show?

SA: I remember reading the script and identifying with so many moments. There are so many that are completely me — things that I definitely do, relationships I’ve had in the past, etc. For me, it was an instant connection with the piece, and I think everyone who comes see the show will find something relatable in it too. It could be trauma, relationships, or love in general, but there’s definitely something for everyone.

RY: I was lucky enough to see the original workshop, which absolutely blew me away on so many levels. The music, for example, is unique and incredible yet also familiar. The piece takes on a bizarre journey involving the different dynamics of relationship, so when the author, Theo, phoned me and asked me if I wanted to do it, I said yes immediately.

Despite not taking place in the workshop, you are still originating the roles. What are your contributions in terms of character development and your approach to them?

GB: It’s been a super collaborative process. Our roles were not entirely defined during the workshop, and that has allowed us to put our own ideas into who we are, what we’re doing, and what kind of story we’re telling. It’s been great to work with Theo and Adam, the director, in creating this roles, and absolutely fascinating.

RY: It’s a really unique situation. There’s not a clear beginning, middle, and end to our characters’ journey. There’s still a lot of questions, and potentially there will still be some questions as we head into the performances. The audiences will take different things when interpreting who we are and what we’re doing. It’s really hard to explain. We comment on what we’re seeing, but we’re not an ensemble or a backup group. I’ve never seen anything like what we’re doing. It’s a very interesting dynamic, and we’re still discovering our identities. People will have different readings, and they will all be valid.

Although these roles are still not completely defined, what can you tell us about them and which themes do they embody?

SA: It’s a mixture between narrators and a podcast host. It’s that kind of vibe. We come in and tell the story of Daniel and Em and the different stages of their relationship. The overall question is what happens to Daniel and what made him do what he did. And so, it’s like we are collecting data, analyzing their relationship to determine his motivations. However, whether that’s us giving bits of information to the audience or embodying Daniel and Emily and how they are feeling remains ambiguous. We just want to work out why he did what he did.

RY: It’s gonna be very interesting when we get a proper audience in and see how they react to our interactions. It will also solidify what are our relationship with the protagonists is. W

What particular challenges have you faced through this piece?

GB: There are so many questions about whether we’re onstage, which bits we’re watching, who we are, and what we’re participating in. Of course, it’s been really fun to flesh these concepts out with the director. Sometimes, we’re right inside Dan and Em’s scenes. Some others, we take more of a setback and there’s a lot of direct talking to the audiences. There are also parts taking place within the protagonists’ bodies, where we try to experience what they are going through. And at the end, Rupert and I play two different characters that are featured in Emily and Daniel’s fears, which is quite cool, as you get to do acting (laughs).

Are there any highlights that you would like to flag?

SA: Every scene that Daniel and Emily have. They are so raw and honest. We’ve already seen them so many times, and every time we watch, we’re still gripped. There are also many joyous bits. Overall, the script is tremendously sincere. I think people will be surprised how much they are affected by the script.

RY: Watching Stuart and Poppy act is so real that a lot of times I think they’ve stopped the scene. To see that level of subtlety and realism while also having these extravagant songs is so special. It’s guaranteed to give you an amazing night at the theatre.

Why come see Flyby?

SA: Definitely the music. I haven’t heard anything like it before. Theo has managed to condense so many genres into one single piece. It goes from funky to classical, and then it moves into amazing choral harmonies. I don’t think there’s anything like it — it’s simply stunning.

Flyby will play at London’s Southwark Playhouse Borough from 3 April to 16 May. Tickets are available on the following link.

By Guillermo Nazara