Interview with Amy Berrisford

Amy Berrisford is the talented Dance Captain for the extravagant new production of Sunset Boulevard who exemplifies dedication and artistry in musical theatre. Currently playing to audiences in Melbourne’s until August 10, before moving to Sydney from August 28, Amy plays a crucial role in bringing this masterpiece to life.

In this interview with Brendan Daynes, Amy shares her experiences working with renowned choreographer Ashley Wallen and maintaining the show’s energy across multiple performances each week. She delves into the unique challenges and rewards of her role, offering insights into the demanding yet fulfilling world of musical theatre. Amy’s journey with Sunset Boulevard highlights her passion for dance and her dedication to ensuring each performance resonates with the audience.

Sunset Boulevard is known for its iconic score and compelling storyline. How has your experience been working on such a celebrated musical?

It’s been amazing so far. It’s a huge responsibility and one I don’t take lightly. Being able to further this wonderful story line and score, while having our own fresh spin on it, and honouring the productions that have come before it is a huge honour. It’s been almost 30 years since Australia saw Sunset Boulevard and I’m thrilled to share its brilliance again.

As the Dance Captain, you play a crucial role in maintaining the show’s choreographic integrity. Could you describe a typical day for you in this role?

It usually begins at least three hours before curtain up. Depending on any potential cast changes for the day, the resident director, the musical director, the stage manager and I will go through the show to see what needs to be covered and/or reworked and plan accordingly.

At the hour call I take a physical warm up. Afterwards we have a small window of time to make use for any notes/spacing or any rehearsal needed. Watching a show from the audience is extremely helpful so I like to watch the show at least twice a week. Sometimes more. When I’m not watching the show, I’m usually typing up plot sheets for the maintenance of the show. I love having a few laughs with my fellow swings backstage too. They’re a great bunch of people.

Working with choreographer Ashley Wallen must be inspiring. How has his style influenced your approach to staging the dance numbers in Sunset Boulevard?

I had a blast working with Ash. He is such a lovely person, super talented and also very funny. We had many laughs during this process. He had a very clear vision for the choreography and created a language of movement that you see celebrated and highlighted throughout the entire show. Every moment means something and enhances what is being sung or said. His modern style brings something fresh, interesting and unique to this story. I loved being a part of the creative process in rehearsals. In Australia it’s not often you get to be involved in creating entirely new and original choreography for a show so this was something special. Ash was all about layering. He would start with an embryonic idea and develop it and add to it everyday. The complexity and nuance he bought to the choreography was amazing. It was almost filmic in its feel in that from any angle you looked at it you were immersed in the narrative and were engrossed in the detail.

Sunset Boulevard demands a lot from its performers with six shows a week. How do you and the cast maintain energy and enthusiasm throughout the run?

It’s not lost on us that there’s a lot of stories to be told right now and getting our own story out there and telling it as best we can is always the best motivation. We know some people are seeing the show for the first time and it’s a huge driving force to communicate this story and its message as energetically and as clearly as we can. In saying that, logistically we need plenty of rest, both physical and mental. I find it great to step away from the theatre and give myself some clear head space by heading into nature. Everyone has their own way of decompressing and rejuvenating. But I have to also say a killer warm up playlist gets everyone in the mood before a show.

What are some of the unique challenges you face in your role as Dance Captain, and how do you overcome them?

Everything considered, we have been lucky on this show so far – not too many challenges to be fair. The obvious challenge of course is juggling the jigsaw puzzle of injury and sickness and accommodating people’s needs as best possible. I also like to make sure people are doing ok and are happy at work. We are all human and can have bad days. In that respect our job is really interesting and hard in some ways, for example, no matter what kind of day we are having, we have to put it aside for 2 to 3 hours and give a performance that maintains the integrity of the show. How do I overcome these challenges? I think it’s really important to check in with one another. Communication is the key.

For aspiring dancers considering musical theatre, what advice would you give them based on your extensive experience in the industry?

Wow! Okay. After about 20 years in the biz, here goes… ha. I don’t want to bore anyone so I’ll just give you three things that hopefully might be of use:

Technique is really important but developing good style, musicality and expression is what draws us in and tells us who you are. That’s what it’s all about for me. Focus on being entirely you, no-one else.

It’s a marathon not a sprint so enjoy the journey – all the ups AND the downs.

Focus on content not outcome i.e focus on the now/the present. The rest will take care of itself. Immerse yourself in what is in front of you.

Theatre productions often involve intense collaboration. Could you share a memorable moment of teamwork or camaraderie that stands out to you from your time on Sunset Boulevard?

It’s funny you know, there are so many to name but one moment that always stands out to me is when a swing or understudy goes on for their respective track or cover. The amount of support, goodwill and focus that is shown by every cast and crew member is truly remarkable and heart warming. The level of care shown in these moments always astounds me. We’re all in this together.

DanceLife readers are always interested in behind-the-scenes insights. Can you tell us about a particular scene or number in Sunset Boulevard that you find particularly captivating or challenging to choreograph/manage?

I have to say, when I saw all the elements (lighting, music, dance etc.) combined in the dance between Joe and Betty in Too Much In Love To Care, it was a real gasp moment for me. It transported you back to a forgotten time. A time of those classic Hollywood films where performers like Fred Astaire and Ginger Rogers had you spellbound.

In what ways do you think Sunset Boulevard has contributed to the evolution of musical theatre, especially in terms of dance and choreography?

Movement or dance needs to tell a story just as much as the music and script. It has to have a life of its own: a beginning, a middle and an end, while also enhancing the other elements in a musical. I think it’s easier to choreograph a show in the style it’s always been performed in, but to take an existing piece that is about 30 years old and add a modern take on the movement is really difficult. But exciting! Using a dance language that is different to what you’d expect and is more contemporary/ “more today”, not only makes it more accessible but tells the story in a different way. And we all need “… new ways to dream.” Hehe

Lastly, what do you hope audiences take away from experiencing Sunset Boulevard, and what makes this production a must-see for fans of musical theatre?

This production is a must see, first and foremost for the fantastic performances of our cast but also for the visual spectacle that shows off not only the opulence of old style musical theatre, but the grandeur of Hollywood’s past. It has a score and story that is beautiful as it is complex and thrilling, and musical numbers that are modern and fresh. If you want to see a new take on an old classic, come see this production of Sunset Boulevard. You won’t be disappointed.

Bio – Amy Berrisford

Most recently Amy was seen in Moulin Rouge! The Musical and covered Nine. Her other theatre credits include; We Will Rock You Asia Tour, Rosie in Sweet Charity, Guys and Dolls – Havanan girl cover, Chicago Australasian Tour 2009 swing, in 2010 she played the June/Velma cover, in 2019 she was Co-Dance Captain. Promises, Promises, World Premiere cast King Kong Live on Stage. She played Demeter in the 2014/2015 South Korean, Singapore and Macau your of Cars. Returning to South Korea to play Bombalurina and was subsequently thrilled to revive the role for the Aus/NZ tour, for which she received a 2016 Green Room nomination. Kath in Company. Funny Girl. Curtain. In 2017/2018 she returned to Cats as the Resident Choreographer. That same year she appeared in Oklahoma and The Boy From oz. Her TV/Film credits include; Assistant Choreographer on the Australian film Boytown. Channel 7’s TV Turns 50 performing alongside Dancing With The Star’s judges and Foxtel’s The Singing Office (Lead Singer). Amy also starts in a corporate show called Cheek to Cheek a tribute to Fred Astaire and Ginger Rogers. astairandrogers.com Amy is delighted to be joining the cast of Sunset Boulevard and would like to thank her partner and family for their ongoing love and support.

The highly acclaimed production of Sunset Boulevard continues its spectacular run at Melbourne’s Princess Theatre until August 10 before making its premiere at the Sydney Opera House from August 28. This musical masterpiece transports audiences into the glamorous and turbulent world of 1950s Hollywood. Featuring an extraordinary cast, stunning sets, and a mesmerising score, this production is a must-see theatrical event. For more information or to purchase tickets, visit sunsetmusical.com.au.