Interview with Catherine Alcorn

Brendan Daynes sat down with the multi-award-winning performer Catherine Alcorn to discuss her role as the Professional Woman in the much-anticipated return of Menopause The Musical. With a unique blend of humour and heartfelt storytelling, Catherine shares her insights on the show, the camaraderie among the cast, and the importance of celebrating the experiences of women navigating “The Change.” As the production prepares to delight audiences, Catherine’s enthusiasm for the show and its empowering message shines through.

You’ve performed in a wide range of productions, from your renowned cabaret shows to hosting TEDx after-parties. What drew you to Menopause The Musical, and how does playing the Professional Woman in this hilarious production compare to your previous roles?

The character and the creative team drew me to the show. This particular production of Menopause the Musical is directed by my friend and colleague, Cameron Mitchell, who choreographed The Divine Miss Bette, my Bette Midler show. I know him very well and love working with him. When I found out that he was the Director that really piqued my interest. I also know it to be, or back then I knew it to be, a comedy piece as well and the majority of the work that I do is comedic. I thought, well what a great opportunity to audition for what could be my first ever musical theatre piece, with a wonderful team, that’s funny and that opens up a really important conversation that historically, has been something that is taboo and women don’t talk about. I love the fact that it opens up that conversation for audiences and it just makes it real. I auditioned for the Professional Woman which I very much aligned to because I am a producer as well. I have a production company Tenacious C and I read her character breakdown and I thought I could definitely bring a lot of professional woman, power woman energy to that role.

Menopause is a topic that’s often avoided or downplayed, yet this musical tackles it head-on with humour and music from the 60s, 70s, and 80s. How does the music help convey the story and connect with audiences in a way that feels both entertaining and empowering?

It’s a jukebox musical. All of the lyrics have been rewritten to fit the storyline of each character. So the music is very much part of the dialogue and that’s where you learn the stories of each character. We sing all of these famous songs with the parodies and people sometimes say they can’t remember what the original was, which is so funny! Taking all of those iconic songs that have been rewritten into parodies also helps the audience. The parody lyrics are so funny and are so well written. I’ve had the audience tell me after the show I’m never going to be able to not sing those lyrics to this famous song again! All of these recognisable pop hits that are written as parodies, which then takes a taboo subject and makes it familiar, is what makes it accessible. It allows people to connect, it’s theatre of recognition but it also allows them to laugh because menopause is such a big thing for women to go through. That time span of perimenopause, menopause, post-menopause that could last up to 25-30 years in the lifespan of a woman. It allows us and the audiences to feel understood, to not feel alone. That’s what this show does, so much so that when we were in Perth and an audience member said after she saw the show, for the first time ever asked her mum about her menopausal story. It’s opening up these amazing conversations! I think really for the audience, it is the acknowledgement of it we’re all in it together and let’s have a laugh about it.

The musical has been a long-standing hit internationally, even appealing to men in the audience. Why do you think Menopause The Musical has such a universal appeal, and how does the cast help bring out that sense of ‘sisterhood’ on stage?

Menopause The Musical is an evergreen show, there is always going to be someone who is experiencing menopause. Whether it’s the woman or the partner of the woman or the family of the woman. We have a lot of male partners come to the show as well, they love the show because for them it’s theatre of recognition. It’s such a beloved musical and it has been running for so long over because it’s a common human experience. We hear women in the audience turn to their friends or yell out “Oh my god, that’s me!” That theatre of recognition is exactly why I think it’s still so popular, and will remain popular. There is always going to be someone experiencing menopause. Everyone there relates to having experienced at least one thing in our show and it is that sisterhood and that message of you are not alone, we see you and let’s have a fun time talking about it!

For our readers in the dance and musical theatre industry, can you share any insights into the physicality of the show? What kind of choreography or movement is involved in bringing these characters and their experiences to life on stage?

Menopause The Musical is a big show, it’s one act, it’s 90 minutes and it’s full of singing and dancing, all four actresses are on stage 90% of the production. I would probably have described myself as a mover before this production and this has been really challenging for me. Cameron Mitchell has directed and choreographed this production and I love dancing his choreography. Cameron has given us the autonomy to add our own character interpretations of some of that choreography into the piece, which is wonderful. Our Resident Director and Dance Captain Lisa Callingham is a stalwart of the industry. I’m so honoured to be performing with her on stage. She’s an extraordinary dancer, she is as fit now as she was when she started out. It’s a demanding show physically, the songs are big, and it gets the blood pumping. There’s a lot of choreography, there’s some there’s some fun stylised stuff in there, it’s really beautiful cute choreography and I love to dance it, it’s amazing!

You’re known for your cabaret performances and larger-than-life personas. How does your experience in that style of performance inform your work in a more structured musical like this one? Do you find room for improvisation or personal flair?

The process of working in a professional Musical Theatre production for the first time in my life, from the audition, to rehearsals, to tech, to opening has been a huge learning curve for me. I have always had, but I now have so much more respect for musical theatre performers. It is such hard work; the discipline, your health, your physicality, your voice. Having to do eight shows a week is incredibly demanding. For me, learning the discipline of being a musical theatre performer is something I will never forget and I will take that discipline into everything I do moving forward. Producing your own stuff means that you you have a creative freedom and it allows you to connect with your audience in a way that you want to and I’m blessed and really grateful that I’ve got that experience. In my concerts, especially when I’m playing Bette Midler, honey, there is no fourth wall! I am at the audience the entire time. A lot of actors are not used to breaking the fourth wall and they might not necessarily have that comfort factor or security of talking to an audience, I’m more than comfortable with that. When it comes to moments in the show where I am given a little bit more freedom to perform directly to the audience and break that fourth wall, I’m all for it! I’ve really enjoyed that challenge of being present and staying in the scene with the other amazing women, these women are legends of the Australian music theatre and acting scene and I just feel so incredibly blessed to be on stage with them. It’s been an incredible learning curve and process for me and I’ve loved every minute.

For aspiring performers reading this, what advice would you give about maintaining longevity in the industry, especially when balancing multiple roles like performer, producer, and director, as you do?

I never waited for the phone to ring. I’ve been auditioning for musical theatre for 15 years and have gotten very, very close but never booked the show but that never stopped me working. I found something that I loved to do, which was obviously performing and singing and comedy, and I went about creating my own piece that I could present, that would hopefully get different eyes on me. I used that as my calling card. Not in my wildest dreams did I ever think that I would play the Sydney Opera House or that I would return to the States three times for various tours but if you’ve got that fire in you and if you’ve got that belief, don’t stop pushing, don’t stop believing and connect with great people. Find good people to work with. My advice for young people coming into the industry; diversifying and educating yourself on various aspects of the industry is paramount. I would say if you want to work and you are willing to dedicate your life to this, you need to educate yourself on what the different roles are within the industry. If you’re interested in creating your own show or producing, find a mentor who can teach you that side of the business. Even even if you don’t end up moving into that area within the business, having that knowledge of what it takes to produce, to direct and knowledge of budgets and everything like that it’s just invaluable. You are your business. You are an artist first but it’s show business and surrounding yourself with people who can open your eyes to new areas of the industry and help educate you on what it takes to exist and coexist is so important. There is room for you, there is space for you. The Australian industry is a small but very welcoming one. Reach out, ask questions. My MO is if you don’t ask you don’t get. I know what I can do as an artist, I have found my niche and I’ve built my career by working really, really hard never giving up!

Bio – Catherine Alcorn

Catherine Alcorn is a multi-award-winning performer, producer, and Artistic Director known for her dynamic stage presence and exceptional talent. With a diverse career spanning cabaret, musical theatre, and live events, Catherine has captivated audiences worldwide. She has received acclaim for her standout performances in productions like 30 Something, Songbird: The Music of Christine McVie, and The Divine Miss Bette, celebrating the legendary Bette Midler. A prominent figure in Australian festivals, Catherine has also made her mark as a producer, co-founding Tenacious C Presents and Roadcase. In addition to her stage work, she hosts the podcast The Catheteria, sharing candid conversations and insights. As a proud ambassador for several brands, Catherine continues to inspire and entertain audiences, showcasing her passion for the performing arts.

Menopause The Musical is now playing at the Athenaeum Theatre in Melbourne, promising audiences an evening filled with laughter, camaraderie, and relatable stories about navigating “The Change.” With its infectious energy and memorable music, this hilarious production is a must-see for anyone looking to celebrate the experiences of women. Don’t miss your chance to be part of this uplifting celebration – for more information or to purchase tickets visit https://menopausethemusical.com.au/