Michael Ahomka-Lindsay Transforms Cliff Bradshaw Role in Cabaret

SD – Transitioning from Newsies to Cabaret: Michael, you have transitioned from your award-winning role in Disney’s Newsies to starring as Cliff Bradshaw in Cabaret at the Kit Kat Club. How did you prepare for this role, and what has been the most challenging aspect of stepping into Cliff’s shoes?

MAL – I mean I start in the usual way – the text. The action of the thing, what happens. The sort of clear cut, can’t argue with it, facts of it. This is what Cliff does. From that point it’s an endless journey on figuring out why. It’s a historical play, and I get very nerdy about history – so there’s a lot of joy in diving into the context for me. The whole piece has its origins in Christopher Isherwood’s Goodbye to Berlin novel and the character of Cliff is distantly based on his experience too. I say distantly because there was, I am a Camera between this and the original novel and the story has morphed through its different versions. So, I read them – spent some time understanding his perspective and with the backdrop of the script of this play I’m trying to see what has survived from that to this version. Even if it’s nuanced, there are these moments of oh cool I can sense Isherwood’s desires here – his desire to explore his sexuality, to seek out boys, something he was also very clear about in all his later interviews. So clearly this is an important aspect of his “why”. How he sees the other characters in his mind, whether that’s reverence of the character Schneider is based on, or the eccentric tone in which he describes Sally. She mystifies him but he seems to see through her airs at the same time. But you know, I have to find who this character has become over the decades. So, now I’m looking into Harrisburg, Pennsylvania. Bringing it into my body – I’m Black so Cliff is Black. And that can inform a lot of things, you know 1920’s we aren’t far off the start of the Great Migration, so how are they going to speak? Even if this is someone who declares himself from somewhere in the North, he’s still going to have influences from either his life, or his parents that are more “southern sounding”. I’m looking at where it’s likely he went to school. I’m really going through the effort of trying to embed as much of my prep as possible in reality, because it’s a story based in fact – my understanding has to match that. What was it like to live in Harrisburg, how did they behave, what were they culturally exposed to – you know I read this interview of a guy who went into minute detail about how to be polite in relation to gesturing with his hat. All these fun little details. I’m trying to figure out this person’s relationship to themselves and others, and the action of the play based on where they grew up. You know, how many gay and bisexual men were there in Harrisburg at the time, what was the general perspective on children and family. What’s going to surprise him and why. Cliff by function is a bit of a fish out of water character – so in order to help me understand his reaction to this new society I have to understand the society he comes from. And even more importantly why are you leaving? It’s no small feat, a young black man travelling across the world to post WW1 Germany. You’ve got to have some strong desires. We’re talking about Harlem Renaissance, Pansy Craze kind of time, so there are exciting things happening in arts and queer culture in the US, but he decides to go to Berlin – I guess the US already has writers like Langston Hughes, maybe Cliff wants a different niche to write about. I can talk for hours about this but the challenge was essentially engaging with the mountain of context that is within the world of this play. And then the funny thing is when you get in rehearsals you have to just trust it’s all there, sort of forget about it and respond to the person in front of you.

SD – Dynamic Chemistry on Stage: You’ve had the opportunity to work with diverse co-stars like Cara Delevingne, Luke Treadaway, and now Rhea Norwood and Layton Williams. How has the dynamic between you and your co-stars evolved with each cast change, and how does this impact your performance?

MAL – Hugely! I mean there’s a fundamental difference in the logistics. Cara, Luke and I started together whereas for the cast change I was doing the show in the evenings and going in during the day to rehearse with Rhea, Layton, Sally and Fenton. So Cara and I had this luxury of in-depth conversation and playing opposite each other everyday. Aside from personal preparation, when it came to the Sally and Cliff relationship we were with each other every step of the way – we were finding it together, based on each other’s offerings. So the chemistry is being created organically through that play and from a place of playfulness, we don’t know what it is yet so let’s sort of throw a load of different versions in and see. So, suddenly when you’re creating again with different actors on the same material there’s something more distinct/concrete that I have to manoeuvre between – what I currently know it as and what else it could be. When the new cast members are coming in there are levels of conversation and play/prep in the rehearsal room that I’m not involved in. The time that we had together, my eyes just had to find my scene partners’ and just be open to responding to what happens. There were moments where we could speak on things or Rhea and I would try and steal moments in the corner of a room or when we weren’t needed on stage during tech. But from where I was standing my job was to adjust – balance between what the text needed from Cliff and allowing my performance to be changed by new energies. You know I think chemistry, in the broadest terms, is just about listening and adjusting how/the way in which you go about things – and allowing the person in front of you to change your experience.

SD – Musical Evolution: Cabaret has won a record-breaking seven Olivier Awards, including Best Musical Revival. In your opinion, what sets this production apart from previous versions, and how do you feel your portrayal of Cliff Bradshaw contributes to this success?

MAL – I mean I can’t really comment on previous versions but, I came to watch the show in January as I wanted to understand, from an audience perspective, what I was stepping into and from the moment you walk in the theatre the show has begun. The design, the prologue performance. It’s working to place you in the context of the story, it’s incredibly fun and impressive and prepping you to empathise. Once the Emcee appears you’re ready, so ready to stay immersed. The casting is brilliantly done to reflect today’s perspective on what the multitude of beautiful identities of 1920’s Berlin might have felt like. The direction is absolutely laser sharp and I’ve spoken a little bit about the lack of furniture before – it places the action directly within the actors’ relationships on the stage, all you have is each other. It’s a challenge but when it works the connection is deep and as audience you hopefully feel right in the experiences of the characters. Although I’m not dancing or really singing in this I get front row seats to some of the choreography and I stare up at people as they sing with our outstanding band playing outstanding arrangements of the music. I mean It’s hard to pinpoint one or two reasons – every element is excellent. Amongst it all, the story in the centre I think has its feet firmly on the ground and as a part of that, that is how I think Cliff contributes to this piece. There’s a lot of symbolism and imagery, and if you are emotionally engaged with the events then when these come around then it’s clear as day and it hits home. I also think this desire that Cliff has to experience the fullness of life and to fulfil purpose is very relatable.

SD -Incorporating Personal Experience: Given your extensive experience in productions such as Choir Boy, Legally Blonde, Rent, and The Lion, the Witch and the Wardrobe, how have these varied roles influenced your approach to playing Cliff Bradshaw in Cabaret?

MAL – When I was in rehearsal for Choir Boy the composer and arranger Femi Temowo told us he felt that every thing he’s done up until that moment has been preparing him for that moment. I thoroughly believe in that. There’s a learning experience in everything, and I welcome the variety and the big dramatic failures. Approach wise, the varied roles just remind me of the scope of humanity. It’s fun – I mean to cut between people with completely different stories/contexts. No matter the context or the story there’s humanity that’s relatable in it all. Empathy grows. And as I grow and learn more through these characters, I’m better equipped for the next. Less likely to feel some great distance between what’s on the page and my understanding/life experience. At the end of the day with all the differences in the type of projects I’m still seeking to play a human being. Except that time where I ran around on arm extensions playing a wolf.

SD -Impact of Recognition: Winning Best Male Lead Actor in a Musical at the Black British Theatre Awards for your role in Newsies and being nominated at the What’s on Stage Awards are significant achievements. How have these recognitions affected your career and approach to new roles?

MAL – It’s incredible. I can’t pretend it wasn’t an amazing experience. I mean it’s never the focus, winning an award isn’t what gets me up in the morning. But there’s so much to be grateful for in winning or being nominated for an award, for one thing it’s a great opportunity to thank those that have supported, helped you along the way. It’s a great way to put a smile on your parent’s faces. The ceremony itself is surreal you’re surrounded by such incredible people. The energy the first time I attended the Black British Theatre Awards knocked me off my feet. The opportunity to talk with new people or people you already admire. It’s an incredibly exciting, inspiring environment to be in. The energy of those environments stay with you and it’s emboldening. It shook me and said get out there, stand on business and stay fearless.

SD -Musical Favourites: Cabaret features iconic songs like “Willkommen,” “Maybe This Time,” and “Money.” Do you have a personal favorite number to perform in this show, and why does it resonate with you?

MAL – I don’t actually sing a song in this show, I squeeze out a couple bars but the emcee quickly puts a stop to that and takes over. If I could sing any song in the show though it would be “What would you do” or “I don’t care much”

SD -Future Aspirations: As someone who has already accomplished so much in the theatre world, what are some future roles or projects you aspire to tackle? Are there any particular characters or stories that you are eager to bring to life on stage?

MAL – It’s funny to hear that, acting is such a vast adventure that I’m probably going to feel like I’m just starting for a long time. But to answer your question, honestly I’m excited for the unexpected. So far every new project has felt like a new dimension. I’m really grateful to my team and the creatives that have brought me in for these new experiences and for trusting me to grow within it. I’m really content to continue in that way. I just want to be a part of interesting stories being told in interesting ways, and collaborate with inspiring people. In a more general sense I’m keen to explore different mediums – the expansiveness of screen, you know, they embed you into whole worlds. One of my most cherished family activities was renting a film each from blockbusters and getting down to watch them through the week. I’m all about a solo cinema trip. It’s a way of storytelling I’d love to do more of.

SD – Finally, can you tell us more about your current projects and any future plans or considerations you have? Is there anything else you’d like to share with our readers?

MAL – Well I’m in Cabaret until September 21st! But from 2nd September I’ll be starting rehearsals for a new Matthew López play called Reverberation, directed by Jack Sain. It’s beautifully written and it’s an intimate 3 hander (with Eleanor Tomlinson & Jack Gibson) so I can’t wait to get completely lost in that. We’re playing at the Bristol Old Vic, so if you’re reading this come see us!