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[0:00] Tori Bullard: We would like to acknowledge the Tharawal people of the Eora Nation and the Wurundjeri people of the Kulin Nation. We pay respect to the traditional custodians of this land on which we work, live, and record, and strive to continue in the tradition of Australia's first storytellers. We acknowledge that sovereignty was never ceded. Always was, always will be, Aboriginal land.

[0:21] Tori Bullard: Welcome back to Stage Door Podcast. We've been loving Season 6 so far, and that's all thanks to you guys listening. The best way to help us keep the show alive is by dropping a cheeky rate and review on your listening platforms of choice. Today, we welcome to the podcast leading lady Alinta Chidzey. You might know her from roles such as Satine in Moulin Rouge, Velma in Chicago, and Anita in West Side Story, to name a few. Please welcome to the mic, Alinta.

[0:53] Alinta Chidzey: Hi, thanks for having me.

[0:55] Tori Bullard: Thank you so much for being here, especially taking time out of your Sunday to come join us.

[1:00] Alinta Chidzey: Pleasure, pleasure. Nice way to wrap up the week.

[1:03] Tori Bullard: I know, it is a nice way to wrap up the week, especially 7:30 on a Sunday. We love it.

[1:08] Alinta Chidzey: That's it. Child's in bed and everything's ready to go.

[1:10] Tori Bullard: Exactly. Now, you have played some of the most iconic roles in musical theatre from obviously Velma to Satine to Anita. When you're stepping into the role, like these iconic roles that so many people have already known and loved, how do you kind of make it your own?

[1:31] Alinta Chidzey: Well, I always ask myself the question, how do I connect with this character? You know, what's their motivations? You know, what are their intentions? What are their fears, joys, relationships to different characters within it? And how do I personally connect with them? Because I think that's just how I'm going to draw the most authentic interpretation of that character and really makes it feel my own rather than feeling like I have to, you know, base mine on someone else's version of. Because, you know, it's all about authenticity and making it feel real to you. So then if you are feeling certain emotions, you know, due to what's been said, then I'm like, well, that's how I connect with that. So, you know, then it seems like, you know, Alinta filtering through this character.

[2:25] Tori Bullard: Yeah, I feel like you kind of bring your own past or your own experiences into every role, and you can kind of see your own version of it. And it's exciting when you find something new in the character that maybe someone hasn't thought of before.

[2:39] Alinta Chidzey: Absolutely. And things like humour, you know, we're all really different in how we are in delivering it or our personality and what our quirks are. And I think, you know, for also young kids going into auditions, like that's the part of you that no one can take away from you. So that's really a part of you should express and enjoy and really take ownership of.

[3:05] Tori Bullard: Definitely. Yeah, you got to play so much to find different things as well and like bring that inner child out.

[3:11] Alinta Chidzey: Yeah, and I think that's a lot to do with in the rehearsal room, you know, that play aspect of trying things out and working off your other actor. You know, that's such a golden moment to have a rehearsal room. I think it's one of my favourite places is because you make so many discoveries or you try things that, you know, you go, this is wild, but like, why not? And maybe stumble across something miraculous that's like, oh, I had no idea that that could happen. So I think it's just going with a point of view and going full throttle for it. And then you could land on your face and that's absolutely fine. And then, OK, that didn't work. Then I'll go back to the drawing board and go, oh, let's try this take on it.

[3:58] Tori Bullard: Exactly. It sounds like taking risks as well, like in the rehearsal room going, oh, I might look silly, but if I do this big risk, maybe there's this huge payoff that no one's ever tried before. And this is going to bring something completely new to these characters.

[4:10] Alinta Chidzey: Yeah. And like maybe you also make the other actor find something completely different as well or, you know, gives them a different reaction. So then you react differently. So it's just all about being playful in the moment. I think that's what is so great about what we do is like that's we get paid to play like that's, you know, I look at my child and I think she just wants to play all day and we role play all the time. She loves role playing. And I'm like, I'm big sister or little sister or I'm a cat or, you know, the prince or whoever. And that is the curiosity that as actors, I think, is just so valuable.

[4:55] Tori Bullard: A hundred percent. Without that, then I don't know, everything's the same. And they say, like, no one show is ever the same. Like you'll go into a show and there'll always be something slightly different. And that's the magic of live theater is that every time you come on the stage, it's going to be slightly different or there might be a slightly like just altered slightly. You keep everything moderately the same, but there's always a bit of magic. And I think also the fact that like, especially when you're when you are auditioning, I think when casting directors are receiving, you know, the same character by all these people, I think the more you own your quirk or your sort of stamp on the character, which is innately comes through you, is that's something that will sort of go, oh, well, maybe that isn't right for this particular role.

But I could see you in this other role because you are maybe showing something that's so uniquely you and is really engaging and go, oh, well, that's really refreshing to see that take of this character. But maybe they might be over here or, you know, so it could just change up everything within the room.

[6:08] Tori Bullard: Definitely. I mean, that's actually a lot of people have said that recently, like maybe you come into a room like we talked to the ones on this island team recently and they were like, oh, we saw incredible performances from so many different people and maybe they weren't right for this show, but they were so right for this other show that might come up in the future and we get to see that magic play out. And that's exactly right. Like a no doesn't mean a no. And you might do something that then sparks like, oh, wait, we've got this other show. Come and do this.

[6:33] Alinta Chidzey: Yeah. Yeah. And I think it's that sense of, you know, it's a familiarity of when you are being even if you're playing, say, a villain, like if you're playing that really authentically, there's a there's if you as the audience are going, you know, yes, that they are doing something wrong, but I understand why they're doing something wrong. And that's because the villain doesn't believe they're a villain. They actually believe that they want to have they've got this motivation to do something because of such and such, you know, history and backstory. So I think it's just really committing to it and and believing that that's, you know, that's how that character lives within you.

[7:29] Tori Bullard: Definitely villains are some of the most fun roles that we can play. That's for sure. And I mean, you have worked across everything from intimate plays to arena size events, and you've even sung alongside the one and only Hugh Jackman. How do you kind of mentally and physically prepare for such a variety of performances?

[7:48] Alinta Chidzey: I think no matter how big or small any performance is, I treat them with the same respect, to be honest. Like I think someone has saved up money to go and see a show and they want, you know, entertainment or they want the comedy or drama, whatever they're going for. What are we just taking into another world? And that is our job. You know, that is that's what we've been paid to do. And I always just think if I'm in the audience, I want that, too, from the performers. So I, you know, mentally prepare in the sense of I hope I can give this audience the best performance I can give them. And it always comes back to why the why of why I do it. And I think that's a really important question to always ask yourself is, well, why do I do?

And for me, it's always the fact that I want to move an audience. I want them to be taken away in a world where maybe they do forget their troubles or maybe I make them connect to some really cathartic experience of losing someone like in, you know, Moulin Rouge, you know, obviously the death and losing people and love and loss. It's a huge part of our life and everyone goes through it. So if I can help someone maybe, you know, go through something and can let those tears out, say, or make them laugh in the comedy farcical scene being completely silly, you know, then great. Like, that's what a gift. Like, what a gift to be paid to do this job and to tell stories and for a community to connect or, you know, whether you're even seeing music like I went to a gig last night and, you know, just the vibe in the room.

I was like, this is happening and it's really fun. And it's everyone's like clapping and just weeping. And it's like, that's an energy. That is something that's not you're not going to necessarily have on your couch at home because it's live, you know, saying, you know, with theater, anything, it always has that impact. And that's why I think I love live theater in particular.

[9:58] Alinta Chidzey: There's courage in what in being a performer and like putting yourself out there. And then, you know, it's so beautiful when you do something that others really resonate with and that moves them to create. But to do something scary, you're really putting yourself out there, which is quite magical to actually get the courage to do that.

[10:20] Alinta Chidzey: Yeah, there's something really special to like a group of like people walk into a theater. They're all strangers, usually. And then they've had a collective experience and something's changed within them, whether it's, you know, the music or the, you know, the lights and the costume and all the combination of it all. And I think they walk out and they've all gone through something together. Like if they were all trapped in a, you know, in a lift or something, they have something really beautiful to talk about because they've gone and connected in this beautiful story that they've just experienced.

[11:55] Alinta Chidzey: Was lucky going back to back with shows. I was doing ensemble work mainly in covering. And then I went into doing, like I had made the decision that I wanted to start playing roles and, you know, they're the ones, they're the moments where you're just like, oh gosh, I'm going to get that sense of rejection and you're like, oh God, I'm not quite getting there and losing out on this. But like it's really important to, you know, when you are in that state, even, you know, looking for roles, whether you're between jobs on ensemble, it's about diversifying. Like I was producing my own work whilst, you know, going for certain shows and maybe not particularly doing like long running shows, like maybe I was doing a production company show here and then I'd be, you know, working on some music.

You know, I think it's doing what you really love too. I think that's really helpful to be focusing on something that you enjoy. And, you know, it's different for everyone. But for me, it was like, I'm going to just, I wanted to write an album and I wanted to, you know, work in bands as well. And just to have that experience of like keep on, keep my performing chops up. And that was like through doing music. So, and then I started creating like little shows that I could tour into art centres and that kept me busy. And I was like, I was like, wow. I looked back and I was like, I just, I did a lot of shows of my own. And it actually gave me a huge appreciation for producers and, you know, obviously stage managers and lighting.

And because you have to think about all of those things when you were putting on your own shows as well. So, it's like, okay. And like organising rehearsals and, you know, making sure all the charts are there and just all those things that you go, okay, that's a lot of work. It is a lot of work. But you also are really grateful for when you don't have to do all of those things when you're doing a show. You're like, someone else is actually organising all those things for me. How fantastic. So, I really appreciate that when that's the case too. You're like, oh my gosh, I don't have to hustle. And that's the wonderful flip side. It's kind of great if you can learn other skills because then they end up feeding into what you, I mean, it makes you kind of better to work with in the end.

Because you're so aware of other things going around that it's not just about the performer. There's so many other aspects that are going on in a production that you have to be aware of at the same time. And, you know, creating your own work is such an amazing thing to keep your creativity going and keeping your mind still, I don't know, working on your craft and feeling a sense of accomplishment and happiness in your career as well.

[17:44] Tori Bullard: Absolutely. It gives you a focus outside of just auditioning. So, I think that's really healthy too because, you know, I've got my own thing that I'm working on. And that gives you some gravitas and a little bit of grounding.

[17:58] Alinta Chidzey: Totally. Which then kind of makes, I feel like it kind of makes your self-tapes and all your auditions better because, yeah, it is hard on the audition grind when you've been self-taping for like six months and non-stop just doing that. It's nice to take a little break, go and do something creative and fun and come back with a new sense of creativity and who you are.

[18:21] Tori Bullard: Yeah, definitely. On that note, rejection and resilience. These are like huge parts of this industry. Do you have a moment in your career where you felt knocked down and how did you kind of like pick yourself back up again?

[18:36] Alinta Chidzey: Yeah, I remember I'd moved back from Europe. I was doing Dirty Dancing over there. And that's when I kind of decided, oh, I really want to start going for roles now. And I remember I went for, you know, Mary Poppins and I was like down like going to the final rounds, that kind of thing. And then, you know, didn't go my way. And then I also got like close with Fame, also didn't go my way. And I was just, I was like hitting walls. I was like, oh, gosh, you know, this is coming back to Australia. And, you know, I mean, not that I worked in Australia, but like I'd have been away and then I'd come back and I'm like, oh, this is really, this is not happening. But I was just, you know, obviously sometimes you just feel things more than others.

And, you know, some shows you can like go a little bit more. Your investment in it is maybe a bit deeper. And then the next minute was, you know, I always have this thing of like when one door closes, another one opens. And that's when West Side Story then came to audition. And I thought, well, this is like a dream role for me to play. It was just something I've always wanted to do. So I was like, okay, obviously going in for that. And, you know, luckily that did go my way and I had such an amazing time on it. And, yeah, I just was like, well, this is just meant to go, this is meant to happen. So it can be tough, of course. Like I think that's the hardest part of our job is to be denied 85%, 90% of the time and be okay with that.

And it's just keep on believing and keep on working. And it's that thing of when you do audition is to really assess yourself and go, okay, well, were there things that were – what's my honest outlook on it? Was it a great audition? What could have I improved? What can I go away and work on? How can I better prepare next time? Just all those things that you're like, well, and if you really do feel like you did your best, then that's all you can do. And you can only focus on the things you control. And if you focus on all the other things, you'll start to do your head in.

[21:01] Tori Bullard: Do you find it's easier now than it was maybe when you were first starting out, the whole rejection and resilience?

[21:06] Alinta Chidzey: I think so. I mean, it's still hard. It is still hard. I won't deny that. It is tough because I know that everyone puts so much time into learning the script or learning the music, learning the dance, being fit, all the things that you need to do to keep the levels of our craft up. It takes time. It takes energy. It takes emotional stakes in certain things that we're performing. And that all is – it's not nothing. And so – but I guess, I mean, there's always a flip side. You go, well, at least I've exercised this part of my craft, you know, whether it's comedy, whether it's drama.

[21:51] Alinta Chidzey: Yes, I'm doing this for the craft of it. And I'm working, even though I might not get it, what could I get out of this experience instead of being cynical about the experience? Because then that could be quite toxic to constantly be thinking cynically about every audition that you go into.

[22:41] Eliza Gunther: Absolutely. And energy reads so quickly in the room. They always say, you walk in the room, they kind of know, and you're like, oh, shit, like, well, you don't want to walk in with that energy, do you? You really want to be walking in with something, you know, to be open to play, you know, I think that's a real benefit to have that energy going into a room.

[23:06] Tori Bullard: Totally. Yeah, and that was a great story about, you know, feeling so rejected from one thing, and then next minute, that right opportunity opens. So like, sometimes you just don't know what opportunity is yours and what's not. And like, if that, you know, you put all your eggs in that basket, like, yes, I suit that one, like no one else, this is totally my role. And then you're actually the role that's perfect for you might be something that you've never even thought about before.

[23:34] Eliza Gunther: Yeah, or maybe it's like, something that'll push your creative genius into another world that you didn't even know, or you work with certain directors or music directors or choreographers that you go, oh, how amazing and that maybe that leads to a different project later on, like, you just, you just never know. Like, like, for instance, I auditioned for Here Lies Love, like, about, I reckon, was it, I can't even remember. I'm so, I'm terrible with years. I think it was about eight years ago, I'm going to say. And, you know, got down to the last bit, it was like, pretty much like, I think I've got this. I think I've got this. I don't know. Anyway, and it just did not happen. And I was like, all right.

And it's the same team that, well, not the same thing. But like, I mean, Justin Levine, who was on Moulin Rouge was, you know, there, he was on the piano, like doing songs and stuff with me. And, and, you know, Alex Timbers was also on that project as well. So, like, that's another instance of, like, I didn't know that later down the track that that would be associated with Moulin Rouge. Like, it just, it's this world of, who knows. Yeah, it's actually so connected. Like, when you, when you start, I don't know, performing with different teams and getting to know them, and then all of a sudden they're on this other project. Like, the theatre world is actually quite small. It's a lot smaller than I think people realise it is.

[25:05] Alinta Chidzey: Yeah, yeah, yeah. And then they were like, oh my gosh, like, we remember you from Here Lies Love. And I was like, oh, yay. Oh, yeah, that thing that never happened.

[25:23] Tori Bullard: That's too good. Do you actually have, like, I'm so interested, do you have a favourite musical? Like, do you have a dream role that, like, you haven't done yet?

[25:33] Alinta Chidzey: Good question. I think doing something like, what was I thinking the other day, actually? I was like, oh, I mean, I, the one show that I really loved when I went to Broadway and watched it was Once. And I was like, oh my god, but I can't play piano like that. I'm like, that is a beautiful, I loved that show. That is too real. Yeah. And I was like, okay, well, I mean, you know, I went in, I tried, I really tried to brush up my piano skills. I did play a little bit when I was younger, but let's not kid myself. I'm not a piano player. You know, that quadruple threat. God damn, we have to do so many things nowadays. But I will say, like, you know, oh, gosh. You know, I was just looking at Smash opening on Broadway.

I'm like, that's amazing. Like, you know, those songs and stuff, like, how wonderful. And, you know, I'd also like to be part of, like, a creation of a new show. That'd be amazing. But yeah, those shows, they'd be great. Cabaret could be a cool one. You know, just something that will stretch me, I think, but in the way of like, oh, this would be nice to tackle. You know, I think that would be really cool.

[26:47] Tori Bullard: Yeah, a nice juicy role to like, sink your teeth into.

[26:53] Alinta Chidzey: Yeah. And we kind of, we do often talk about what happens on stage, but not necessarily what happens in between. What does life kind of look for you in between contracts? And how do you kind of stay creative and grounded and kind of ready for the next gig? I feel like we're always just honing our craft. I feel like I'm always doing that, wherever I am, whatever I'm doing, going to lessons and, you know, even MEAA offers some really, like, just free, well, you're part of the membership, so yeah, but it's free. But like, you know, they do offer some great workshops online that I keep just tapping into, because it's just a great reminder, like, even for self-tests or, you know, accents and all those things.

So there's always something to work on. You know, I tend to think of, like, what do I want to do? Like, would I want to put on my own show of certain things? That sort of thing keeps me, keeps my mind and creativity going. Breathing. Yeah, just anything that keeps you sort of, you know, your mind ticking in those areas to keep excited about it. Going and seeing theatre, always.

[28:06] Eliza Gunther: Very good.

[28:07] Alinta Chidzey: Yeah. That's so true. Going to see theatre to inspire yourself again as well. Yeah. To go, yes, I love this thing. Yeah. I love it. Now, that's kind of the end of our discussion today, which is crazy. This has been so, so lovely to get to chat to you and to hear a little bit about, like, your career and life. It's amazing. But before we go, can you kind of tell us what's next? What are you up to? What's going on?

[28:33] Alinta Chidzey: Well, firstly, I'm going to be doing the Australian Music Theatre Festival down in Tasmania, in Launceston. And there are over 50 events throughout the week. There's forums, we're performing with the Tasmanian Symphony Orchestra, and some, like, Carolina Connor's doing it, Mark Vincent, Nancy Hayes. Yeah, there's a whole lot of different artists. And then there's, like, obviously workshops and stuff with people that are attending. Diva dens, where we have a little sort of, I guess, cabaret-esque night for different performers. Yeah, so that's in May 21st, I think it is. I'm terrible with dates. Don't listen to me. There's this thing called the internet. Look on the Googles. I love Tassie, so I think it'll be a nice little escape to go down there and have a little play and yeah, just be in amongst it.

And a dear friend of mine, Tyron Park, is the festival organiser and has got all these crazy ideas set in amongst the local community there and implementing musical theatre shows and concepts in different venues.

[30:01] Tori Bullard: I love that. That sounds awesome.

[30:04] Alinta Chidzey: Yeah. And then in June, I'm doing the Strictly Baz Luhrmann concept, which is with Op Australia and, yeah, with an orchestra. And Ryan Gonzales is doing that. Phoebe Panarentos is doing that. I hope I said that last name right. I'm sorry. And Tim Draxell. So some brilliant people to be side by side with. And we're just doing, yeah, the music of Baz Luhrmann films. So that's going to be epic, as you know, the music is epic. So, of course, there's a bit of Moulin Rouge, a bit of Elvis, Great Gatsby, Romeo and Juliet scores with the Op Australia orchestra, which will be beautiful.

[30:55] Eliza Gunther: That is so thrilling. Do you kind of like rehearse together for these kind of things, or is it more like you kind of learn your stuff by yourself and then you kind of come in a week before kind of thing?

[31:05] Alinta Chidzey: Yeah, there's a lot of self-work and then there will be a, yep, doing a lot by myself. And then we will get together to do a rehearsal probably the week of.

[31:17] Eliza Gunther: That's thrilling. I can't imagine like with all the orchestra and Baz Luhrmann's music, it's going to be incredible.

[31:24] Alinta Chidzey: I know. I mean, the scores are beautiful. And Nick Buck usually does the arrangements. So we just did the Billy Joel concert with the Adelaide Symphony Orchestra with and his arrangements are incredible. So I'm totally excited to hear what he does with the symphony.

[31:42] Tori Bullard: That's awesome. Well, thank you so much for being on the podcast today. It's been incredible to get to chat to you. If you guys want to go and check out those shows, so Alinta is in Strictly Baz Luhrmann from the 23rd to the 24th of June at the Sydney Opera House. And also go to check out the Australian Musical Theatre Festival in Tasmania from the 21st to the 25th of May. So if you're in New South Wales or in Tassie, you're in luck.

[32:08] Alinta Chidzey: I was going to say, I forgot that it's actually up at the Gold Coast as well. The Strictly Baz Luhrmann is at HOTA the week before. So yeah, yes. So Queensland is also in.

[32:21] Eliza Gunther: Yes, Queenslanders. We just need one in Melbourne now.

[32:25] Alinta Chidzey: Then you're set.

[32:26] Eliza Gunther: That's it. That's it.

[32:28] Alinta Chidzey: Thank you so, so much again for coming on. It was so lovely to get to chat to you.

[32:32] Alinta Chidzey: You too. Thanks for having me.

[32:34] Tori Bullard: No worries. All right, everyone. Stay happy, healthy and safe and we'll see you later. Bye.

[32:39] Alinta Chidzey: Bye.