Photographer - Eddie Blagbrough 

Styling - Prue Fisher 

Grooming - Nosa Iyobhebhe

Interview @ouchmagazine 

Michael Akomka-Lindsay was starring in Cabaret and preparing for Reverberation at the time of this interview.

You’re currently starring as Cliff Bradshaw in the West End’s “Cabaret” at the Kit Kat Club. What has it been like stepping into this iconic role, and how has it evolved since the recent cast change?

I’m fast approaching the end of my time with this role and reflecting on it recently, I feel so grateful for the challenge of it. The bar was set so high by the initial reaction to the show when it first opened in 2021. I have so much respect for Omari Douglas and I really wanted to bring as much careful depth and play to the role as I could. There’s almost a canon to it - you’ve got the film with Michael York, the Sam Mendes version. There was inspiration in all of them, and I hope maybe I’ve added to the “conversation” of it. It sort of feels that way with things like this, it’s like we’re all sat at a table sharing our connections and thoughts to the “conversation of Cliff”. The cast changes force you to play. And I love that, it’s challenging because you have to balance between openness and what is maybe important to maintain, but it revives the creative energy in a run that lasts months.

How did you prepare for your role in “Cabaret,” especially given the high-profile nature of the production and the recent changes in the cast?

I like to set myself a perimeter. I’m right at the beginning of preparing for the next project Reverberation - and it’s reminded me how It can feel like an abyss at the beginning, so many questions and no answers yet. So, starting with what’s sure is helpful. And what’s sure is the script (most of the time). What happens in the story, what does my character do. I’ve spoken before about diving into the context, and with this that was extremely important and it was vast. Because it’s based on reality I wanted to anchor what I was bringing to it firmly in reality too. So it required a lot of history and research. Something I’ve not mentioned before though, something that is always a part of my “prep” - imagination. There’s a lot of daydreaming involved. Sometimes even dreaming about it in the third person. It’s a very relaxing state where anything is possible and ideas can come and go freely and that flow is important to free up creativity, but also, it creates that connection with my subconscious mind and the story. We’ve all woken up before from that dream that felt all too real, so vivid we need to check in with that person we dreamt about arguing with. It just draws me closer to understanding the character and story, and what it could be. In terms of it being high profile - I guess whatever pressure there is in that just fueled my focus. 

Your role in “Newsies” won you the Best Male Lead Actor in a Musical award at the Black British Theatre Awards. What aspects of the role and the production do you think resonated most with the audience and critics?

In terms of the role, I think Jack Kelly is charming - he’s the David in the David and Goliath story. Everyone loves an underdog. He’s had a very tough life and is rough around the edges of course, but what was important to me was embracing how much love he was able to give in the ways he knew how. This group of children living on the street who would’ve had no one without this messy family he’s assembled. He’s like a big brother, and I mean it’s endearing watching someone trying their best to do the right thing, fighting for others. Alongside that he nurses this dream of a better life, that seems too large to reach but he holds onto it so tight. He’s also a talented artist, and multiple times we see the imaginative detail of his work and clear appreciation and eye for beauty. I can’t really conclude why people connected to it, but these elements of tenderness coupled with the cocky, brave, sharp attitude and a revolutionary spirit, created a balance that I really enjoyed playing. Production wise, I used to describe Newsies to friends by saying - imagine every aspect of what goes into a show as volume knobs; the story, the choreography, the vocals, the lighting, the set, even just the size of the space etc - everything you can think of, and now turn that knob up right to the max. As a show it was maximalist. The songs are challenging and beautifully, expansively orchestrated for a 13 piece band, the choreography was like nothing seen before - there were elements of ballet, tap, Jaz, gymnastics and jazz. The story was David and Goliath, if we ran from one side to another we swung on ropes, or zip-lined down the middle, the set was as large as a three tiered tower in the middle of the stage, which was in front of where a giant moon emerged during Santa Fe, but also as small as a tiny sketch on a postcard pinned to a wall. I could go on but, you get the idea. The show pulled out all the stops and didn’t hold back on any aspect. I think in this way it felt like a thrill of an experience for anyone who loves theatre and a sensory unicorn for anyone new to theatre. It took such a special group of very committed and skilled people to bring it all together. I spent so much of rehearsals blown away by everyone’s capability and it was clear that they were pouring in all the love and passion for what they do into the project.

What was it like working with Cara Delevingne and Luke Treadaway in “Cabaret”?

Incredibly playful. I was so blown away by Cara’s playfulness. She walks in the room and just lets rip. It was a joy to feel liberated to do the same by that energy in the room. That being said, because we were starting together at the same time, we had to spend a lot of time really crunching thoughts together with the creative team and that attention to detail and melding of perspectives was very fulfilling. Cliff and the Emcee don’t have much to do together interestingly - there’s an interesting little distance between those two. Luke and I had a little joke about how great it was to look deeply into each other's eyes and finally act together when we finally had a rehearsal to run our transitions and little moment at the end. 

How has the dynamic shifted with the new cast members, Rhea Norwood and Layton Williams?

It naturally has to! New people, new energy, new relationship to the writing! Rhea has brought her beautiful different perspective onto it and our dynamic had to shift entirely to create a new chemistry. It’s a different dynamic of creation as well, as I was rehearsing with her when I could during the day and performing the show with Cara in the evenings. So with the time we had we had to just bring openness to the forefront and let each other in. As I said Cliff and Emcee don’t meet much through the show, but I need to comment on Layton’s infectiously joyful energy and passion. What an aura!

How do you handle the pressure and expectations that come with being recognized for your work?

It’s a journey with this! And naturally time and experience teach you so much. You learn to trust in yourself in the process and in the people around you. It takes more than just one person to create something and we’re all trying to uplift each other. Share the weight kind of thing you know? It’s helpful to recognize that the fear that comes along with expectations and pressure is just caring about the outcome. I’m fearful because I care, which means I’m right where I’m meant to be. I just try to accept it and allow it to fuel focus, because also if it could go wrong it could also go so right, yes? Either way I’m going to learn something.

What’s been the most rewarding project you’ve worked on, and why?

Being completely real, every single project has been as rewarding as the other so far. I’ll speak a bit on Choir Boy though just because in terms of recent projects I haven’t yet. Everything has been rewarding for different reasons and with Choir Boy it felt like a deeply rewarding project for my spirit! Our director, Nancy Medina's leadership felt very conscious of creating something deeply resonant of the themes it dealt with. And I think as an extension of that, a lot of care was taken to create a space where we as creatives could resonate on a deep level with each other. We created a really beautiful culture of care, openness and consideration amongst each other, and that same attention we gave to connecting with the play. From that project I really learnt about the power of approaching a process from a place of real vulnerability and openness - if that’s where you’re coming from when you start to work the connection to what you’re doing and to each other is just so much deeper and the sense of collective effort is so satisfying and whole. 

What do you find most compelling about the character of Cliff Bradshaw, and how do you make the role your own while paying tribute to its historical and dramatic significance ?

 I’m understanding the question right I think the answer to both parts of this question come from the same place. Amongst everything that Cliff is, there is a person who is setting aside whatever they once knew, whatever familiar environment they were in to search for something new, because he desires change, growth from who he is when the play begins. The bravery of that choice, the sheer urgency of whatever that desire or need must be in order to push him to do that and then the conflict of dealing with his new challenging environment- I think that is extremely compelling. And it ties in with the historical and dramatic significance too, I’ve mentioned in other interviews how specifically the black writer exploring a new country and crafting their voice within their journey is a reality. Audre Lorde in Berlin, James Baldwin in Paris. But the narrative of the person travelling, moving to a new place in order to grow is also something I connect with. I’m Black and a 2nd generation immigrant. So whilst there is so much that Cliff is and so much in the “conversation of Cliff” as I mentioned earlier, there are elements that will naturally resonate with me more, and that I might be able to connect with differently. To be honest that applies to everything that is inherently written in the character. We all have a relationship to everything and the only person you can be is you. 

How do you balance the demands of a high-profile role like Cliff Bradshaw with your personal life and well-being?

We have a really beautiful environment backstage and I think that’s really important. There is always laughter and kindness. There's a lot of love in this company and you’re very quick to feel held. I’ve also learnt over time to actively make space for personal life and maintaining your well-being is achieved by making choices and decisions that lend to it. So I guess I’m saying there’s a discipline to self-care that I strive for. 

Looking ahead, are there any roles or projects you’re particularly excited about

or would like to pursue in the future?

I’m right in the middle of preparing for a new play called Reverberation, written by Matthew López. We open at the Bristol Old Vic on 2nd October. It’s a very sensitive play with some really gut wrenching themes, so I’m looking forward to diving into that. A lot of the time I’ve been surprised by the projects I’ve joined. This job is very unpredictable and I sort of enjoy that element of surprise - so I’m content to continue in that way. That being said, I'd love to be challenged by new mediums of story-telling. I love theatre but would love to find myself on a set.