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[0:00] Georgie Buckland: My name is Georgie Buckland and you're listening to Eleven, the official theatre podcast.

[0:16] William J Connolly: Hello and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. She's the exquisite stage actor and vocalist that's currently serving in the Elton John-penned stage adaptation of The Devil Wears Prada as Andy, a role that she originates in her West End debut. So how do you bring one of the most instantly recognisable and loved filmed characters to life while wearing a $3,000 fashion number and also singing and dancing? Well, I've just the leading lady to reveal all as direct from her home. We found out how her continuing obsession with Anne Hathaway has helped bring a touch of rightful familiarity and love to her take on Andy and why iconic lines, serving camp and understanding that laughter is key helped her to carve out her take on this extraordinary character.

We also explore the challenges of the fashion world and not letting the tougher parts of this script dig too deep. How commentary from audiences about her own appearance and size have been a fight that she didn't quite expect and why she feels most at home when wearing flats. Sorry Miranda. Plus we celebrate the genius of Jerry Mitchell, having Sir Elton John as a colleague and collaborator and why when it came to all that belting in this role it's all about options, options, options and why she is not afraid to slay. As far as leading ladies go they don't come bigger or better or even kinder than this. It's the powerhouse of Georgie Buckland here now on this the next episode of Eleven, the official theatre podcast.

[1:55] William J Connolly: Please help me welcome to this the next episode of Eleven. She's the West End leading star that's belting for the gods in The Devil Wears Prada, a show that continues to break box office records at London's Dominion Theatre and she's here to tell me all about it. So Georgie Buckland, are you ready to teach me how to be a Miranda girl? Let's do it, baby. Thank you so much for doing this. I'm well excited.

[2:16] Georgie Buckland: Babe, I couldn't be more excited. Live from your home, not live from the theatre. They've let you escape for just a few wee hours in a place that I referenced in there that you literally are breaking box office records. Audiences are fighting for a ticket and we're recording this at the start of August so we're not far off the one year anniversary of you moving into the West End and audiences are still fighting. They're turning up, they're showing up. My god, are they having a good time. Are you?

[2:41] Georgie Buckland: Yeah, I'm having the best time ever. I mean this track is a blessing. I don't leave the stage really rarely. We kind of calculated that I'm off stage for like 16 minutes or something crazy but I love it. I mean I get to sing my tits off and have a great time and yeah it's everything I've ever wanted in a part so I am yeah I'm very lucky.

[3:05] William J Connolly: And was it something that from the offset you were like yeah of course I want to do something brand new and original in a part and a role that I know everybody loves or were you like yeah hold on a second I need to think?

[3:13] Georgie Buckland: Do you know what? I've always wanted to originate a role that's always been on my bucket list, you know, to originate the role and do you know everything that comes with that kind of have the musical theatre legacy of that. Because some people when projects like this come along they go yeah absolutely not but one thing that I do love about you and I've had the pleasure of getting to know you since you came to the West End and getting to see you just grow and grow and soar with this part is it feels like this is really you. This feels like I'm getting to see you on stage and one thing I think is great and you're gonna I'm sure concur with this about working with people like Jerry Mitchell is that he doesn't want to see a replication of what we've seen before which means that you really are getting to dig deep and to bring your version of her to the stage.

So where did it all start? I got the pleasure of talking to your co-star Amy and she said you know what I just went that's that this is me and I've got to believe in me. Was yours a sort of similar thing?

[4:01] Georgie Buckland: Yes and no. I think that I felt a lot more pressure it being my West End debut my first time playing a role ever. I was and still am obsessed with the film so and with Anne Hathaway as an actress, as a person, as a performer it was hard for me not to replicate and actually like some of the feedback I've got a lot of audience members say you sound just like her and that's not on purpose I just happen to sound like her tone with an American accent because her films were what I listened to when I was growing up so I guess like not meaning to but I've maybe picked up on some stuff but I also knew from watching movie musicals Legally Blonde, Pretty Woman, stuff that Jerry's done before that you do have to have a certain amount of replica in the performance for audiences to enjoy as in the cerulean scene and the breakup scene I'm not your baby and you know I have Anne has a lot of quotes from that film that are in the show that I knew the intonation had to be right but everything else the songs, the staging, the physicality was all me, very, very much so so I think for me it was very different.

I had a lot more material that I had to work with so therefore it was easier for me to kind of like okay these are the moments that I can take from the film and these are the moments I can do my own. I had to pay homage to the material and also not say the obvious but though the songs that feature in this musical are all new which means that nobody's ever sung them before. These literally have been placed so perfectly in your voice and written to work for you and orchestrated for you that means that we want to hear you. Like if we want to watch the film and see Anne, we'll do that. There's a DVD somewhere kicking around. We want to hear it with you which means that you get this beautiful artistic license to know that audiences are on your side.

They're turning up because they love the film and they want to see more of it in a musical form which I imagine probably while yes it is nerve-wracking also does give you a sense I hope of comfort as well.

[5:53] Georgie Buckland: Oh yeah for sure and it's cool knowing that the film is the film that the musical, the original is me. That's crazy to even say but and those songs are mine, like they're my babies.

[6:02] William J Connolly: They're your babies but also my gosh do you have to work anyone that has had the pleasure...

[6:07] Georgie Buckland: You're laughing, she's laughing. I know this is a podcast so people can't see but they Elton really did say nah she's gonna work like Georgie you have to go to work today.

[6:12] Georgie Buckland: Well do you know what the best thing is? Elton didn't fucking say that, I said that because I went oh this is my first job and look all these important people in the room and I'd go yeah do you know what yeah yeah yeah let's take it up a few keys what the fuck was I talking about? Honestly I remember there's a song Miranda girl that I believe there's I did it western life so there's definitely clips online and maybe there's a cheeky bootleg here and there even though we don't support bootlegs, wink wink. I sing a note slay, I go not afraid to slay really high. Originally it was that was it. I feel like we can go high with that and as soon as I think when I pitched it obviously the whole because we workshopped it it was very collaborative so there's a lot of moments that changed.

Any chance that I could I would give it an opt up because I wanted to be like yeah I can do this and I promise I can prove it. Oh my god and now some days I go what the hell I hate myself for doing that but also it is kind of iconic so I love myself at the same time for doing it. It also doesn't even end at the bowels because then you've got some crazy notes of the bowels of which I'm not gonna lie to you sometimes when you're not feeling it babe it's written all over your face when you're in the when you're like and you stick your tongue out and you're like oh I got a belt again. There's a video where I you can't see because it's a podcast where I like do the what's that the holy spirit yeah it's like the cross or the whatever the holy spirit yeah because I'm like I've just done this show I know that my voice is shot because the last note is high and now I've got to go and do that and in some of the videos I'm literally like fighting for my life and you've got Amy next to me who's giving it like tits and teeth like woohoo and I'm like oh my god.

[8:03] William J Connolly: Not that I don't love it, it's just I'm exhausted. I think we've literally looked at the same video because I remember watching that cackling but also in fairness when you are feeling your oats which is 99.999% of the time babe it sounds so good and what a way to end a show is like oh you want a little bit more and you're singing with Matt Henry who's literally like has the one of the biggest voices in the world you must feel like a superstar.

[8:17] Georgie Buckland: I do, it is amazing. Like it, yeah I can't, I think do you know what I think it will hit me when it all ends. It has obviously throughout I've done some amazing things and things that I will when I'm old and gray I tell my grandkids and sit like Charlie in the chocolate factory as grandparents and you know tell all these stories but I think when I leave that's when it's really going to hit what I've just accomplished which is an extraordinary original role in this original stage adaptation with a ridiculous creative team.

[8:49] William J Connolly: And I want to talk about specifics in terms of the development before we talk about the extraordinary leaders you have in your team because one thing that I love and this is me really flexing my musical nerdness if that's even a word here is I was lucky enough to come to the first preview in London.

[9:03] Georgie Buckland: No that's not true, the dress rehearsal, the open dress rehearsal.

[9:06] William J Connolly: Oh yeah, the one you did the night before the first.

[9:10] Georgie Buckland: That's the right phrase isn't it? Open dress rehearsal, yeah the dress rehearsal.

[9:10] William J Connolly: And it sounds so different.

[9:16] Georgie Buckland: Stop laughing. I mean it sounds so different to when I came back on opening night because I know Elton came along and he changed some things, he twanged it up, he alternified it in so many different ways and that's why I also noticed that you're belting, singing different lyrics, doing different blocking, saying different scenes so it feels like the creativity never really stopped even when you moved into the West End. So what's that process like for you probably rehearsing different lyrics the night before, the afternoon and then the evening?

[9:35] Georgie Buckland: That's really generous that you think that we had the morning, afternoon and evening. Really, really kind that would be really kind of them to do that wouldn't it? No, no sometimes it would be like 10 minutes before you'd get a knock on the door and it's like can you change this word to this and you're like um and I remember because my first job ever I did Bedknobs and Broomsticks on tour that was a completely original show, original script, original score which was changing every day and I was a swing and I think that it was the most valuable skill that I learned in my career because I people around me and I think it's fair to say people around me in this company and Prada were panicking going how are we going to do this, how we're going to learn this rightly so and me I was like cool alright yeah yeah chill alright that'll be cool.

I think it was very, very stressful but I kind of loved it. I was like this is what I want to do. I don't want to be told to stand on four and park and bark just yeah I'm I have this brain that has a capacity to learn new things quickly and I remember especially in Plymouth but also this happened in London it would be like I'd come to the theatre at 12 slam here is like pages and pages and pages and pages of new script cuts, new songs, new blocking and because I never leave the stage it was like I had a different show every day in Plymouth especially and the same thing happened in London but because I got used to that it was no way near as difficult and that first preview is even like my entrance was different.

I was on the bed and now I'm on in the kitchen and who she was vastly, vastly different. The carpet pulls were all like the configurations and stuff that will mean nothing to anyone who hasn't seen the show, the carpet pulls but trust but yeah it was wild, it was wild and it was even like you know the hot nurse stuff I remember that got added in maybe two weeks before we closed our run in Plymouth and then obviously got tweaked in London like that wasn't a thing that character didn't exist and then Liam Martellino who plays hot nurse who's just so wonderful and now this whole new track emerged and yeah it was really cool to witness, really beautiful to see all that stuff happening.

[12:01] William J Connolly: I mean even from the top of the show from that dress rehearsal slash first preview whatever we're calling it to like the opening I mean New York City slash I'm in business changed lyrically like totally it was a different song. I mean same melody but it was basically a different song for you which means that how long is your preview period like a month maybe five weeks?

[12:15] Georgie Buckland: Yeah, I believe it was, I think it was five weeks, you're right. So you had to re-relearn a song that sounds the same but is totally different with new blocking while also still trying to mount a 2000 plus seater production in one of the most iconic films ever. Did you sleep?

[12:30] Georgie Buckland: I did, yeah, very well. Kidding, no I remember the first, so I do get nervous but only ever for the first week and I remember being the most nervous I've ever been in my life before the open dress because imagine 2000 seats filled with people who are renowned in the West End, you know people like yourself and PR companies and like people I've followed on TikTok or people I've been to see in shows and then this little me who no one had a fucking clue who she was like and that's like was you know and I was happy living in my little bubble and then that happened. Again, what I don't think I've actually ever said this in an interview or anything but I was holding the lyrics to I'm in business on that opening dress run pretending I was reading like a newspaper or something and I was literally like my hands were shaking and I was trying to read these words going uh I can't remember what version this is.

It was crazy and I think Reece who plays Nate who I just adore and who is so wonderful at that part and as a person he and me and him had so many funny times where we would just look at each other and be like oh I guess we're singing the old version tonight like that there were things would happen and you just had to kind of roll with it.

[13:54] William J Connolly: One thing I do love about that preview period though is like it feels like you know something's getting better like it feels like if you know what was once before like even the changes to I only love you for your body is like the same but it's very different as well which means you know people are listening, things are getting better and even in I mean how to survive at runway I know that you're a participant in that song so god bless Amy for basically relearning a song but like you're you've got interjections which means is that actually harder when you're not the driving person in a song because you're waiting to jump in on someone else?

[14:23] Georgie Buckland: Yes and no because I was like I'm gonna have to learn Amy's cues but Amy bless her that was crazy. I think there's been about 15 versions of that song and honestly she's never had longer than 48 hours to input it.

[14:41] Georgie Buckland: It's a great song. And it's so interesting that that's the one that kind of gives her character the trajectory. So you can tell why they wouldn't let it go. Do you know what I mean? They were like, oh, let's just create another one. It's so genius. But there's so much actually throughout the show. There's so many different parts where you're having to work with someone else or take a cue from someone else or waiting for someone else, even like dress your way up like you have so many more additional ad libs or additional vocal moments that were put in from that first preview to now. And I'm not gonna lie, babe, going back to what we said at the beginning, there's more belting from you. That's basically what they went. They went, make her belt.

[15:15] Georgie Buckland: Yeah. And I was like, oh, yeah, right. Yeah, right. Okay. Sure. Oh, I can't remember. I wish I remembered this. So I must have written it down somewhere that we had a one of the interjections and I messed up royally and we have never laughed more on stage like it was so funny. Just things would go wrong all the time. One of the other songs that you get in the show is Who's She? I mean, I'm not being funny. That is literally how long is that song like five, six minutes? Like, it's quite long.

[15:49] Georgie Buckland: Weirdly, no, it's about three, three and a half, four minutes.

[15:52] Georgie Buckland: No. What with all of the carpet pulling as you correctly? Everything is it's like that. It feels like this monster of a moment, especially with the dance. And also it's like, you know what, let's make a bell. Let's chuck it in the air. Come on, babe. Up you go. Let's make a bell in the air being held by two boys. Great. That's the song that's changed the most by far that like, you would not recognize the song from Plymouth at all. We didn't.

[16:18] Georgie Buckland: Oh my god. So the chorus now is always bad now because I'll forget even though I do it every day. Wait, I catch myself in the limelight. Why do you know it? I don't. Okay. I catch myself in the limelight and I'm like, damn, who's she? I used to go, I feel pretty what? I feel pretty whoa. I feel pretty. I don't even know. I feel pretty. Yes. I feel pretty damn. I feel pretty truly who I am. If I'm walking your way, you'd stop and say, who's she?

[16:58] Georgie Buckland: It used to be my least favorite song in the show. Like I hated it. I hated how I sounded. I hated singing it. I hated the dance. Everything made me so like insecure and uneasy. And now I think it's one of the strongest numbers in the show. I just think that they really worked hard to make it what it is now. When Mark Sonnenberg and Shana and Elton and Tom and Giles, who are like the team, they just, yeah, they smashed it.

[17:22] Georgie Buckland: It's such a great song as well to finally feel her pivot away from, she almost pivots into Miranda in that point while also realizing this is not what she wants, but not be vocal about it. It's genius, really. It's good. It's great. And also it must feel good when you're in like full photographers, Paris glam, you're in the get up, the wig is wigging, and then it's like, and I'm also going to belt. Like it's, it must feel good as Georgie as well.

[17:45] Georgie Buckland: It is. It's amazing. And I never, cause I'm not really, I'm not a dancer and I'll stand by that fact, even though a lot of my friends say that you're good at, you can walk like a dancer, but if you ask me to do anything really dancey, you'll know. And even in that moment, I'm like, wait, I'm actually like in a dance number, even though I'm doing kind of like the singer's mark, which I love, I'm still in it. It's great. And I'm wearing a £3,000 David Comer gown. Fash hun.

[18:10] Georgie Buckland: Ooh, fash hun. Which must make you dance like a dancer anyway, if you're wearing that, because you're like, yeah, I feel the part.

[18:14] Georgie Buckland: It does. Oh yeah, I love it. And it does have said carpets. Are you and the carpet still friends or have you fallen out yet?

[18:20] Georgie Buckland: We've not fallen out, but I got to touch wood because it's been a long time and we've never fallen out. If you know what that means. However, Nathan, one of our lovely swings has fallen out of the carpet before and the carpet guided him to the pit.

[18:39] Georgie Buckland: There's a video, he's okay by the way, he's all right. And I did check on him before I left. I was like, I need to make sure he's okay. And then I obviously pissed myself. Yeah, that was, that was crazy. He really, he fell. And he's yeah, he's just so wonderful. I just am obsessed with Nathan. But that moment was, yeah, that was chaos. Also, Matt has also fallen in the pit. So he's not the first and he won't be the last. So don't worry. Touch wood because I'm not, I can't do that.

[19:04] Georgie Buckland: Darling, I'm wearing £3,000. I'm not going in that pit. You're going first. You best believe I'm like giving, I'm giving off. I'm not sensitive about it. I would cry. I'd run off stage and cry. I'm so embarrassed.

[19:17] Georgie Buckland: The other song I want to mention is that extraordinary final moment in the show where the sign comes back in and we seem to end up back at the beginning where it all makes such beautiful musical sense. God bless Jerry Mitchell and his genius mind, which is what's right for me. Another song that has changed in the West End from what I saw a bit, but not loads, but now it feels like one of those songs where, you know, in like 50 years, someone will find a recording, should you ever do one? And we'll be like, ah, click. And then it's like, oh, this is a standalone, spanking musical theatre belty song. It's great.

[19:47] Georgie Buckland: It's my favourite song to sing in the show. It's my favourite, even though it's the end of the show and like, I'm genuinely not just saying this because it's the end, but it is my favourite moment in the show. When Miranda leaves, I drop the phone and like everything that comes with the scenes with Nate comes back. And Amy, what's funny about me being Georgie is it's like, I've not seen Amy and Rhys for a good hour, so I'm quite happy to be like, hi guys.

[20:12] Georgie Buckland: Yeah, that song is, yeah, it's really, really beautiful. And it's the one, and this is no disrespect to any other song, but I feel like that's one you could genuinely put into the film and it would work. It feels so true to Barda.

[20:26] Georgie Buckland: It is. It's very true to Andy as well. And what they wanted to do, Elton and Tom, especially, Elton, Tom and Giles, actually, they wanted What's Right For Me, like it even says in the score, she finally finds her voice. So like the vocal styling, you'll notice is a combination of everything that I've used throughout the show. And I made a point that I don't riff a single note until Dress Your Way Up when she transforms.

[20:48] Georgie Buckland: So in What's Right For Me, a lot of it is the beginning is straight tone, how she was at the start. And then at the end, it's kind of like a mixture of really long, big notes and a few little riffs. And it's kind of everything intertwined. I know that sounds a bit wanky, but I love all that kind of stuff. So getting to do that was really, really cool for me.

[21:06] Georgie Buckland: I think that's also very clever. And probably, actually, subconsciously, an audience recognises that without really even knowing what that means.

[21:12] Georgie Buckland: I hope so. But what I will say about What's Right For Me is Geri had the most beautiful idea that unfortunately did not make it into the show. But if future versions, it does. And you mentioned that the sign, the Devil Wears Prada sign, we have this huge kind of sign that looks like the poster that flies in and out. If you haven't seen the show, you will have seen it when Amy does her opening speech. But he wanted a little flap to pop out. And it says, Buy Andy Sachs.

[21:41] Georgie Buckland: Because she's like, obviously, the whole story implies that she's written the book, which was inspired by Lauren's book, who wrote the original, who is the real Andy Sachs. So having the Buy Andy Sachs means that the whole thing, she's just been almost reading her book to the audience. And I was like, well, I've just got chills. And then they were like, wait, we can't do it. I thought, oh, right. Okay, brilliant. Because they'd already built this massive sign. We can't add in that. Okay.

[22:07] Georgie Buckland: But I just thought, Geri, that was a beautiful idea. So instead, we settled for, we're writing a story every day. It was all that stuff that I sing. When I write the book, I'll write for me. And I point up and that's when the sign flies in. So it's kind of still there. So it's beautiful. It's also really emotional.

[22:25] Georgie Buckland: Have you found that people say in that moment when it's like the end of, also because she's fought the devil, which I guess we are collectively agreeing is Miranda, that she's like. But also, am I right in saying, is the devil still red at that point? When does it go white?

[22:38] Georgie Buckland: I think it is red. Do you know what? You'll know better than me because I never see it. I think it goes red on the final note of the post bows on the button there. I'm 99% sure.

[22:50] Georgie Buckland: Oh, that's cool. That's really cool. Yeah, I like that. You've noticed something that I haven't.

[22:54] Georgie Buckland: I could be understudied Georgie Buckland.

[22:57] Georgie Buckland: Please, please, Jesus. Babe, I've never even, I don't even know when it flies in. That's how I can't see anything because I can't just go like, look up and think, oh, there we go. It's kind of continuous. I think it flies in. I don't even know. In the last verse, maybe last chorus.

[23:15] Georgie Buckland: What I'm really terrified of is that one, you're going to be looking behind you and be you're going to be singing lyrics from Plymouth now. Please don't plant this in your head. I'm so sorry.

[23:22] Georgie Buckland: Oh my God. I have done it before, though. Don't worry. There's a cat that MD has to tell me off because I sing a line that's like, she's hard to forget. She's tough to ignore. And for like two weeks, I was singing. She's hard to resist. Catherine's like, like, did you just want to change the lyrical way? I was like, I'm not really sure where that came from. She had to be like, yeah, that's not the words. I'm like, oh, okay, this is like a month ago.

[23:47] Georgie Buckland: You reference about the changes like musically from when you're kind of pre, what do you call it, like pre-transformation? What do you call that change that she does?

[23:54] Georgie Buckland: Yeah, the transformation.

[23:56] Georgie Buckland: Yeah, the transformation, I guess, as it's put in the show. Where do you feel most like yourself in this storyline?

[24:03] Georgie Buckland: Um, there's probably the scene where she's in the Cerulean when Amy's singing, I feel the most myself, which is kind of the dowdy look with flats, which is delicious. But also the look I'm in at the end. Oh, but my favorite look is the suit that I wear. I wear this suit dress with a machina belt. And it's like the tightest thing in the world with some Alexander McQueen heels. And it's that's the most amazing I feel.

[24:32] Georgie Buckland: But I don't so much feel like myself. I think anything where I'm wearing flats is me. Or the very end where she's wearing a posh suit, but with her old jacket. That's very, that's very me.

[24:44] Georgie Buckland: Also, I would absolutely make the audience gag in the transformation. Like, I would love if I have that power in me, which is when you do the change. And then you're like, and now you're seated because I look really hot. I would love the power that you have in that moment.

[24:55] Georgie Buckland: It is fun. But it's so funny. Sometimes I'm like a Wednesday matinee. You walk out and you're like, and you wear the dress you wear and someone's asleep. Like, honestly, and you're like, ah, right. Okay.

[25:07] Georgie Buckland: Wednesday matinees are a funny one. You've got half the audience who are loving their lives and half that are like, I just wanted a little day out.

[25:14] Georgie Buckland: But it is cool when I get a cheer, which is not often. Because I think in the UK, it's very different from Broadway. Like, we don't really cheer in the middle of songs.

[25:23] Georgie Buckland: That's really cool.

[25:24] Georgie Buckland: I would argue that that's exactly that moment is exactly why people hire Jerry Mitchell, because that is a big, big, big West End slash Broadway number, which builds and builds and builds. Then the singing goes up. Then there's the transformation. It's just like, what does it feel like on stage? Particularly because Elton's orchestrated this song that is huge. Like, it is a monster of it.

[25:41] Georgie Buckland: Oh, it's mega. It's really, really mega. And obviously half the song, I'm behind the set with my two most incredible people in the West End, Erica Drew and Elizabeth Clinton, who are my, my wiggy and my, my dresser.

[25:56] Georgie Buckland: Erica's my dresser and Elizabeth is my wigs. Team Andy, we are all huddled behind the set doing this quick change. Sometimes it goes smooth. Sometimes it doesn't. Like, and you can just hear the band, like, building and everyone like, the backing vocals getting louder and everyone's walking through and you're like, oh, fuck. You know, they're like, quick, quick, quick, quick, quick.

[26:14] Georgie Buckland: And then I stand, I think, with about one second to spare in my position. And then the doors open and you just see the audience. And also because of the lighting, it's kind of one of the first times I can actually see everyone. Like, I see the whole thing and I'm like, oh, right, I'm at the back of the stage. And I can, yeah, it's, it's, it's really badass.

[26:33] Georgie Buckland: It feels like such an extraordinary moment. And it's, it's like, so Prada, Prada. Like, it feels like it works so, so well. And it's so Elton as well. Like, it's got that amazing feel of where you just feel so comfortable in the music. Like, it just, it's that big musical theatre number that I think the show really needs. And he's just, he's just executed it so perfectly.

[26:52] Georgie Buckland: And Matt.

[26:52] Georgie Buckland: I think so.

[26:52] Georgie Buckland: Oh my gosh.

[26:53] Georgie Buckland: I know Matt's vocals are like, untouchable, untouchable. Damn you being so good. Stop making me work. What the hell, Matt? Get worse.

[27:01] Georgie Buckland: For God's sake. One part in the show that I haven't mentioned so far, because I think it might be the one of the most iconic parts of the film and subsequently of the musical, is the end of Act One and that extraordinary staircase. And the fact that she finally gets what she wants, or so she thinks she wants.

[27:17] Georgie Buckland: And this genius of writing a song called Miranda Girl, like, which is so clever because that's what, I think that's almost what an audience kind of wants to be. I joke about it in the introduction. But like, I think everyone thinks they want to be in such as the genius of this show. Maybe it's not always what everyone wants.

[27:32] Georgie Buckland: But what's it like to sing a song about a girl that so desperately wants something, but actually maybe doesn't, but doesn't realise it because she thinks that's what she wants? And is there any sort of similarity or synergy between the fact that you so desperately wanted to be in the West End and you're actually achieving the thing that you want as well?

[27:51] Georgie Buckland: Do you ever sort of feel a little bit mixed between the Georgie version and then also the fact that this is a character as well? Because it feels like it touches a bit close to home in that you've got what you wanted and you're living it.

[28:01] Georgie Buckland: Yeah, I think so. I think it's easy to pull experience of my own life into that number. And I think everyone can speak for that. Sometimes you have to make difficult choices and maybe the wrong choices to get to where you want or so you think you want to be.

[28:14] Georgie Buckland: And like, I've luckily never had to make choices that, you know, stamp on other people to get to where I am. But ultimately, Andy had to make that decision in order to better herself. Whether that was the right thing or the wrong thing is kind of up to you as an audience.

[28:30] Georgie Buckland: But I think there's a lot of similarities. And also, I think when you get to that place that you want to be, the expectations of how it actually feels versus what you thought it was going to be is what Miranda Girl sets up.

[28:41] Georgie Buckland: Because I think in that moment, she thinks, I've had to do this bad thing, but finally, I'm in the place that I should be. But then actually, ultimately, she's not. And she's like, wait, I did all of that for absolutely nothing because this isn't what I want anyway.

[28:54] Georgie Buckland: And by stepping on people, I proved that I was able to do something malicious, which means that Miranda is now expecting me to continue with that malicious arc, which is not who she wants to be. And that's when she realizes, I did one move too many, and I need to go back.

[29:12] Georgie Buckland: It's easy for actors to relate to that. I think any actor, anyone who's had to audition in musical theater and be in this industry, it's cutthroat. And there is a lot of similarities between the fashion.

[29:53] Georgie Buckland: I think that's great. I think it's really clever. It's like why shouldn't I take this... why shouldn't I play this game? Why shouldn't I? Why wouldn't I get all these amazing things? It's her asking the audience and they're not responding. She's not giving them a chance because she already knows the answer herself. Look at that, that's a Drama School... what is it? A Drama School Analysis— I was going to say Analys— oh Jesus, I can't talk. Anyway, that's that. Shut up, G. One thing I did love about that dress rehearsal was the reaction of the audience. I don't know if you remember, and I'm sure it's happened many a time before, but when the famous line of that no longer includes Emily line comes, do you get the visceral response?

Do you remember the lady at the first preview that was like, "Oh!" I was like, whoa! Vanessa laughed. I remember on stage, I remember she was like, "My love, the drama's happening up here, thank you very much." Yeah, it's quite something. It's happened before. We've had many, many kind of things when we and Vanessa have scenes together. There's a lot like smart hobbit that no longer includes Emily. Everybody wants to be us. There's loads of lines that the audience react to. Vanessa cannot not show it on her face.

[31:07] Georgie Buckland: So like, but what's funny is that's happened a few times and I have to look away because as soon as I laugh, she laughs, and it's like, "Oh no, no, no, no, no." But we've had a few people go like, "Oh, have you not seen the film?" "Oh yeah, of course you haven't seen the film." Not everyone has. It's brilliant. It's good to know that people are invested. What about when Vanessa is fully locked in as Miranda? Because I'm not going to lie to you, she's quite intimidating from an audience perspective, and you've got that in full 4K up close. What's that like when she's like, "Baby, I'm working now, get ready?" We always have a chat before the show. She's at the lift waiting to go down downstairs, and I'm obviously beginners, and it's always just chat about life.

But a good example is the other week, she like really snapped at me on stage because she mixes it up. I remember coming off stage being like, "You okay? You know, what have I done? Something wrong?" She's like, "Fuck you." Because I was like, "Oh, I'm so sorry. I thought you were annoyed." I was like, "You really scared me today." And she was like, "Oh, did I? Oh God." And I like to her, she's like, "Oh no, no, no." Because it's never that deep off stage, but sometimes on stage she can be, yeah, she can be ruthless.

[32:18] Georgie Buckland: And you know what? The same goes for Debbie. Debbie scares me. Debbie's scary, who's our amazing standby Miranda in the cerulean scene. Debbie likes to get really close to your face. What's it like with some of the slightly more challenging scenes and the slightly more challenging dialogue? Most of it does come from the mouth of Miranda. I think some of it did used to come from Emily, but I believe some of that commentary has gone away for pretty fair reason. But what's it like when you're on the receiving end of some of the slightly more questionable dialogue, which is very much of its time? It has its place in the movie, etc. What's it like to be on that and to not let that pierce through?

Because it feels a bit tough. I'm not going to lie. I'm not going to lie. I haven't been able to not let it pierce through. And if I'm being really, really honest, I've had to— no fault of anyone in this process, this is all me— I've had a very, very hard time with my self-image during this job.

[33:09] Georgie Buckland: Being a performer, I think we all do struggle with it to a certain extent. But you know, being the, in quotes, very, very much in quotes, the ugly one on stage and surrounded by an ensemble of women who are tall and have been hired to look beautiful as someone who has always kind of struggled with their appearance and was always like, "I'm funny though, and my personality is good. It doesn't matter that I haven't got a pretty face." And yeah, I found it very, very difficult, more so being surrounded by so many beautiful people when I didn't feel like I was and still don't. And yeah, that's hard. And I think also because this show gets so much attention online, I've really struggled with that.

You know, I haven't had nice comments about me as everyone has to go through. I'm not saying this is just me. You know, everyone in the company has had it, and I have really, really found it tough. So I've had to work very, very hard at separating myself from the job and what I look like on stage and who I'm surrounded by, and it's taken a long, long time. No, it's to no one's fault of their own. You know, no one has contributed to that.

[34:22] Georgie Buckland: And we are acting, and what Vanessa says to me on stage and what Amy says to me on stage is acting, and I adore the women, and they've never hurt me. And it's just, I think it comes with the role. It's something that I've always really struggled with, and unfortunately in this role, it is highlighted. You know, her looks are the forefront, and it's made me look at myself a lot more. But you know, it's gotten a lot better, and it's just annoying that it's my first role that I've had to kind of deal with this through. I think if you ask anyone about their first time really being in the spotlight, they will have very, very similar answers and attitudes towards it.

[35:05] William J Connolly: Yeah, well first and most importantly, you are gorgeous, so don't let anybody else tell you anything differently. Or come see me and Vanessa Williams as Miranda Creasy. We'll fuck you up.

[35:14] Georgie Buckland: It's interesting that you say you've been able to create space between that now, and that hopefully it has died down and that people have learned to grow up. Also, I think the genius of this, the original book, the film, the musical, etc., the reason why I love it is that people know that it's bullshit what they say to her and that it exactly counts for fuck all. And if you don't realize that, then baby, let's get you to another musical, perhaps.

[35:32] Georgie Buckland: Exactly. And it's like, you know, Anne Hathaway was called fat and ugly, and it's like she's genuinely one of the most beautiful people ever on the planet. And at any time that I kind of would go like, "Oh, you know, I feel like this," and Amy would be like, "Babe, you literally have to be pretty to play this part because you have to be beautiful in the end." And I was like, "Oh yeah, but I think like, you know..."

[35:56] Georgie Buckland: Yeah, it's just such a weird one. I'm sure I've actually watched interviews where I think I'm kind of had a similar experience. And again, it's not jipped down to the writing because that is the reality of it. That is the reality of what people have to face in the fashion industry. Nowhere near as much now, but still, you know, it does happen. They're sizist, and they are, you know, obsessed with the way people look and how clothes fit and how, you know, aesthetics are with each brand in each magazine and stuff. So it's just a lot, isn't it, when you are forced to kind of look at yourself that much? It's like, this needs to stop.

[36:30] Georgie Buckland: Elton writing the music for this is the gayest, most homosexual thing I've ever, ever, ever heard in the history of the world, and I'm very grateful to be alive on planet Earth when it is happening and has happened and continues to happen. One moment that I love, I'm obsessed. I think it's the gaggiest moment ever was when you said Donna Taylor in front of Donatella Versace.

[36:49] Georgie Buckland: Oh my God, I know! And she was sat in the box, and then you could just hear her laugh. Oh, it was so magical. It was so magic. And I remember opening because I hide behind a newspaper the Saturday, and I was like, "Yes!" And I was like, "Oh, she's there, she's there, she's there looking at me." And we have like three Donatella jokes in the show. The other one is we really need to figure out where Donatella is sitting at the thingy this evening because she's barely speaking to anyone nowadays. She's like, "Hey!" Like, it's so camp.

[37:19] Georgie Buckland: She loved it. She loved it. It's also important to say anybody that saw the launch video will have seen that amazing video where Elton literally cannot believe the notes coming out of your mouth, which is true to 99.999% of the audience that gets it, which is, "What the fuck is she doing? This is insane." But he is this superstar, this legend, this god, but he is also very hands-on. He is the music writer for this piece, and he's wanted to work with you guys and to make it sound extraordinary. What's it been like not only getting to work with him but to collaborate with him?

[38:03] Georgie Buckland: Something that I could imagine even in most people's wildest fantasies probably doesn't believe it's going to happen, but for you, that's a day at the office. It's a total dream come true, and it's like goes without saying it's down to Elton and his full team. David, his husband, who is a producer on the show as well, has been so hands-on, especially because Elton has been going through everything with his eye and, you know, and being a dad and releasing an album and doing another concert with Brandy at the Palladium. And so, you know, there's been so much stuff that he's— and he's still managed to, you know, be really hands-on with the sound of the show, how we are singing it, and that has all been fed through Giles Martin, who is famous for being George Martin's son and being a producer at Abbey Road and for Universal and Sonos.

[38:35] Georgie Buckland: Everything, I could go on. One of the loveliest people I've ever met, actually, is Giles, and just knows everything that Elton will want and need and here is his eyes and ears when he's not here. And it's just like, I feel so privileged to say that I've worked with him and Elton in equal measure. I think they are both extraordinary musicians and, you know, collaborators within the music industry. And it just, yeah, it's been a total dream come true. I can't even begin to explain to you how much it means to me, especially someone who singing and music is completely at the forefront of where I wanted my career to go. So like, that's— it's mad. It's mad.

[39:17] William J Connolly: Also, I hope that you remember that, but you were the chosen one. You're the one that Elton ticked off. You're the one that Elton said, "Yeah, she's singing my music how I want." You know, so when the haters are hating, just fuck them. Think of Elton.

[39:25] Georgie Buckland: Yeah, just go shut the fuck up.

[39:31] Georgie Buckland: I was looking— if I actually, I went, I got invited to his house. I went to Elton's house.

[39:35] William J Connolly: Yeah?

[39:39] Georgie Buckland: Really, really chill. You know, had dinner, and the boys were there. Just, just they are just the loveliest family, really. I love the fact he shows up as well. I love that he came to the press night, that he was there. We've all seen the videos of him like walking in and like him literally like losing his mind at the curtain call and stuff like, you know, that's really hard to fake. So I think it comes across as so genuine, and it really is. And anytime he comes to visit us as a company, he makes sure to, you know, do a speech and show his gratitude. Not, and he doesn't have to, you know, showing up is enough, but he always— him and David always, always make sure to say their praises, and it's, yeah, it's really wonderful.

[40:16] Georgie Buckland: Do you remember the very, very, very first time you thought, "I think theater and singing might be for me?"

[40:22] Georgie Buckland: I remember. I remember. I did a school production of We Will Rock You, and I played Meatloaf. And I'd been having singing lessons to kind of like, I don't know. I always knew that I was musical, but I was a very, very shy kid, as in around my family and stuff. And I was singing, and my parents just looked at each other, and they were like, "We don't know who this kid is, but this is crazy." And then like they were just very supportive, and I found like my weirdos within the theater community. Everyone at Kirby Kendall School, you know, like Josie and Fran, my absolute best, still friends with them now. Like I realized that every year what I looked forward to most was the school production, the school concert, the music lessons, the music, and I went, "Ah, wait, hang on. Now if I work hard at this, I can make a career."

[41:05] Georgie Buckland: And even though I come from such a small town in Kendall in the Lake District where our arts community, we're very fortunate. We have a lot of passionate people who are incredible mentors down there. But yeah, my parents were just so supportive, and I went to college and just kind of stuck at it and realized that what I wanted to do in life was to love my job. That was it. And so I loved performing, and that was how easy it was for me to just go, "I guess this is it then."

[41:35] William J Connolly: How old were you when We Will Rock You happened?

[41:40] Georgie Buckland: I was the ripe old age of 12.

[41:45] William J Connolly: Wow!

[41:47] Georgie Buckland: Singing "Only the Good Die Young." So 12-year-old Georgie thinking maybe a little bit of this world is good enough for me, all the way through now to being a certified bona fide West End leading lady playing one of the most iconic characters ever in an Elton John-penned musical where Vanessa Williams, the legend and icon, is just casually your on-scene co-star in a musical that is literally breaking box office records at the Dominion Theatre where audiences are obsessed. What do you think the Georgie, 12-year-old Georgie that wants to do this would think of the lady that's been sat with me for the last hour experiencing all of this? As in, this is your life. Like nobody can ever take this away from you. What would you think of this moment?

[42:19] Georgie Buckland: She would be so excited and proud to grow up. I think that's the thing for me. You know, if there's ever moments where I doubt myself or my ability, I think that little girl would do anything to fast forward to where you are now, to be living the life that you are. So that is what I have to keep reminding myself of, and it's a really beautiful thought because I would say she wouldn't believe it, but she did because she was always like, "No, it'll happen because it has to." I always had kind of faith in the universe for making it happen.

[43:04] William J Connolly: And you have, and you did, and you are, and it's extraordinary, and it feels like such a gift. And I like to think I've got pretty good taste, and I tell you what, I don't become obsessed with things that easily, but I am fully obsessed with you and this role, and it's so special. So Georgie, thank you for your time. Most importantly, thank you for Prada. Thank you for giving me something exciting to basically come and see like literally every month. Like, fully obsessed at this point. Please, please, please just remember, fuck the haters. Ignore them. They're just jealous. All they want to do is be Miranda Gull, and honey, they ain't anywhere close. They ain't close. Get in the bin, you losers.

[43:25] Georgie Buckland: Please don't go to the theater this evening and sing the wrong lyrics. I feel utterly responsible for that.

[43:30] William J Connolly: I may, but that's okay.

[43:32] Georgie Buckland: That is okay. What can you do, eh? Georgie, thank you so much. Most importantly, congratulations and good luck with the show, and I look forward to coming back and being on the front row once again and just screaming at you every time you come on. But thank you so much.

[43:40] Georgie Buckland: Thank you, honey.

[43:46] William J Connolly: You've been listening to eleven, the official theater podcast. Find out more about eleven at elevenpodcast.com or via the Broadway Podcast Network.