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[0:00] Justin Clarke: In the spirit of reconciliation, the Theatre Thoughts Podcast acknowledges the traditional custodians of country throughout Australia and their connections to land, sea and community. We pay our respects to their elders past and present and extend that respect to all traditional custodians of the land on which our episodes are recorded.

[0:21] Blake Appelqvist: You probably have probably one of the best entrances in musical theatre that I've seen in a very long time.

[0:27] Justin Clarke: I'm going to be honest, I wholeheartedly agree.

[0:33] Blake Appelqvist: I don't want to spoil it for anyone who hasn't come to the show yet, but I really, really, like, it's so undeserving, but I feel like such a rock star. And I really don't want to spoil it, but if you have come along, you know, yeah, that entrance, you can't miss it.

[0:52] Justin Clarke: You're listening to the Theatre Thoughts Podcast, your backstage pass to the world of theatre in Australia and beyond. I'm Justin, your guide to the drama, comedy and pure magic of the stage from the heart of Australia to the grandest stages worldwide. Join us here for enlightening conversations, reviews and behind-the-scenes stories from the artists themselves. Subscribe for your regular dose of theatre inspiration and consider supporting us on Patreon for exclusive content. Follow us on Instagram at theatrethoughtsausnttpod and discover even more over on our TikTok, Theatre Thoughts Australia. So join us as we rise the curtain on a brand new episode of the Theatre Thoughts Podcast.

[1:45] Justin Clarke: Welcome everyone to a brand new episode of the Theatre Thoughts Podcast. I have with me an artist who I've been wanting to chat to for a very long time. They are a Māori and Swedish multidisciplinary artist who graduated from the Victorian College of the Arts with a Bachelor of Fine Arts in Music Theatre. Their past theatre credits include, deep breath, Clyde in Bonnie and Clyde at the Hayes Theatre, Harry in Eve Blake's Fangirls, Demetrius in Laura Murphy's The Lovers, both at the Sydney Opera House, Sir Galahad in Spamalot, Oaken in Disney's Frozen, Misunderstanding in Priscilla, Queen of the Desert for Michael Cassel Group, and they're currently playing Romeo in & Juliet. Blake Appelqvist, thank you so much for jumping on.

[2:25] Blake Appelqvist: Hi Justin, thanks so much for having me.

[2:27] Justin Clarke: Thank you. That was a mouthful.

[2:29] Blake Appelqvist: I know, I was like, I was going through, I was like, oh my god, I know they've done a lot, but I was like, oh they've done a lot. Okay.

[2:35] Blake Appelqvist: No, not very much though, yeah.

[2:36] Justin Clarke: Yeah, well I think the first time I saw you perform anything was, I think it was either Brigadoon or as Clyde in Bonnie and Clyde, and the moment I saw you perform, I was like, I need to know who this person is because they're very, very good.

[2:54] Blake Appelqvist: Thank you. I mean, those two were some of my, like, first time, like, performing as a lead in a production, and I love, I just love performing at the Hayes as well. It's such an intimate space, and so much of my favourite musicals get put on there, all niche musicals that no one really has seen before on, like, a main stage, so yeah, it's really special.

[3:17] Justin Clarke: I really wish that I saw Spamalot there, because Spamalot's, like, one of my favourite musicals. I did it, like, in two Amdram different groups, like, one here and one in the UK, and I would have loved to have seen it there, because it would have just been so clever in such a small space.

[3:32] Blake Appelqvist: Oh yeah, it was amazing, and, like, nothing else that I've done ever before, because it was so much, was audience participation, and this was, like, just before COVID, because, like, we did our season at the Hayes, and then it went really, really well, and then we were going to do a tour, and then halfway through the tour, COVID started creeping in, and then it all sort of fell apart, as did many other shows, but our season at the Hayes was, it was so amazing. There was, like, audiences on the stage with us as well, and, like, they were all a part of it, so yeah.

[4:09] Justin Clarke: That's incredible. Ah, so jealous. Well, you're currently performing as Romeo in & Juliet, which we'll talk about, because I saw it in Melbourne, when I was in Melbourne for Homegrown. I went to see Homegrown down in Melbourne, and while I was there, I was like, I need to see & Juliet. It's, like, one of these things. I didn't think it was going to come to Sydney, which it now is. Thank you, Michael Cassel. And I was like, I need to see it now, so I took the chance, and I went, and I was just, like, amazing. You probably have probably one of the best entrances in musical theatre that I've seen in a very long time.

[4:44] Blake Appelqvist: I'm going to be honest, Justin. I wholeheartedly agree, and it's, I don't want to spoil it for anyone who hasn't, like, come to the show yet, but I really, really, like, it's so undeserving, but I feel like such a rock star, and I don't want to, I really don't want to spoil it, but if you have come along, you know, yeah, that entrance, you can't miss it.

[5:06] Justin Clarke: Yeah, definitely. Well, before we get too far into it, I'd love to talk about you and your career, because, like I've said, you know, you've had such an illustrious career so far, so I'd love to know, like, where did it all start for you? What was, like, the first moment that you, you know, chose the career of the stage?

[5:15] Blake Appelqvist: Well, I mean, I've always loved performing and singing and dancing. I've been doing that since I was a kid, but more so for, like, fun or just because I just really enjoyed it, but I think one of the, like, odd turning points in my life was when I was studying in high school, and I had my heart set on this, like, career that I knew that I wanted to do, and I was doing all the subjects to, like, support that career, and that was to become an architect, and then when I, yeah, and then when I was doing all the right subjects, and I was studying really hard, and then I went to do work experience at an architecture firm in Canberra, where I grew up, and it was one of the most, oh, no offense to architects out there, but it was a very, like, boring, soul-crushing office job, and I just felt myself getting really itchy with thinking about pouring my heart and soul into something that would be at a desk or something that I wouldn't feel alive doing or that I couldn't tangibly feel like I was having an effect on the world, and so after doing that week of work experience, I changed all my subjects to, like, topics and subjects that were maybe I didn't think I would have a career in, but I knew that I loved or I knew that I was good at or I knew that it sparked, like, curiosity and interest in me, and that was, like, the best decision that I could have made in high school, because then after that, I auditioned for a whole bunch of tertiary institutions and ended up going to the BCA for four years.

I did three years in the Bachelor and One Year in Foundation course, and it was the right shake-up that I needed after living in Canberra and not really seeing any type of, like, musical theatre trajectory or career thriving in Canberra. As soon as I left there and went to Melbourne and I was, you know, in the hub of musical theatre and, you know, getting to work with so many cool people through the BCA and even just from being in that big city, yeah, it was the catalyst for a lot of hope that I had had for a theatre career that I couldn't see in Canberra, and then after graduating, I've done a whole bunch of shows that have been really, really fun and workshops, and it's really, really nice to be able to, like, build a career here in Australia from growing up in Canberra.

[8:01] Justin Clarke: Yeah, that's so good, and I think it would be fascinating because, obviously, like, for Australians listening, no, Canberra is quite small and there's not a lot there, but, yeah, you go to, like, the big city and, yeah, there's so much in Melbourne. I know when I went to Melbourne for the first time, even though I grew up in, like, around Western Sydney, even I noticed how much theatre there is in Melbourne and how easy and accessible it is, so I can hardly imagine what, yeah, the Canberra move would have been like.

[8:31] Blake Appelqvist: Yeah, and to that as well, I remember so many times in high school where we would, there'd be, like, one show a year where all the, like, drama and music students would get to, like, catch a bus up to see whatever was playing in Sydney at, like, the Capitol Theatre or something, or, like, the Lyric, and I remember that was, like, such a highlight for me and for so many of my other, like, my mates or the other students that were going to see the shows, but, yeah, a really, really good eye-opening, oh, I can actually have a career here, oh, it's possible, there's other people doing it, yeah, that power of, like, getting to actually see or tangibly feel a career or a future is so important, so I'm really grateful to have had those kinds of experiences growing up.

[9:19] Justin Clarke: Yeah, that's so good, that's awesome. I love hearing where, like, a lot of actors and performers come from, so that's great insight, thank you for that. I'd love to jump onto our one-minute theatre thoughts now, if you'd like to have a go.

[9:31] Blake Appelqvist: Yes.

[9:31] Justin Clarke: Here we go. First question is, what has been your favourite production you've seen recently?

[9:36] Blake Appelqvist: Oh, favourite production I've seen recently? In terms of musicals, or in terms of any kind of, like, live performance?

[9:45] Justin Clarke: Oh, it could be any type of live performance, yeah.

[9:52] Blake Appelqvist: Okay, the most, this is to do with, like, it being recent. I saw one of my very close personal friends, Sarah Murr, at Darlinghurst Theatre Company, I think, like, a week ago or a few weeks ago, performing at Thirsty Thursdays.

[10:04] Justin Clarke: Okay.

[10:04] Blake Appelqvist: And that was outrageous and so much fun, and she's one of my, like, closest friends, but also just, like, a rock-solid performer, and it's always just a pleasure to get to watch her be in her element and tell stories the way that she does, and, yeah, she was the best. And that was just, like, yeah, I cried so many times.

[10:32] Justin Clarke: Oh, amazing!

[10:32] Blake Appelqvist: Yeah, yeah, she's just one of those performers where you have to, like, you have to be in the audience and really, like, be there live and present with her to get all the glory.

[10:43] Justin Clarke: Excellent, great answer, great answer. No one's actually done, like, a special event one before, they've always chosen, like, a big production, so that's a first.

[10:47] Blake Appelqvist: Oh, sure, cool.

[10:47] Justin Clarke: Name a show that left you speechless, or that has left you speechless, I should say.

[10:54] Blake Appelqvist: Oh, there's so many, there's so, so, so, so many. This is an odd one, but I think when I saw Newsies on Broadway, I was speechless at interval, and I couldn't stand up, I couldn't move, it was just very affirming and very cool to see so many, you know, AMAB dancers really in their element and just thriving, and seeing a musical that I don't know if it has come to Australia or if it will come anytime soon, but it just felt like such a dream and such a, yeah, like a bucket list audience moment. There's so many musicals like that where some people have, like, dream roles where they want to, like, play them and perform these roles, but there's only so many, like, that you get to watch as well or, like, be around for. Like, I know how jealous I've been of anyone who's seen The Color Purple with Cynthia Erivo.

[11:59] Justin Clarke: Oh, right, yeah.

[12:02] Blake Appelqvist: Yeah, for me, that was the closest thing to not being able to move after a performance or just needing to really, like, sit and be present with what I just witnessed, but yeah, Newsies.

[12:14] Justin Clarke: Newsies, great choice, great choice. Well, speaking of dream roles, is there or what is the dream role you'd love to tackle?

[12:19] Blake Appelqvist: I would like to tackle Orpheus in Hadestown.

[12:26] Justin Clarke: Yes, oh my god, of course.

[12:30] Blake Appelqvist: I got to see the Broadway production twice when I was just in New York, like, a few months ago, and it's one of those shows where it's so unique, it's so different, it really tells a story to multi-generations. The music is so unique and unlike any other musicals that I have seen or I've heard of, and yeah, I'm a sucker for romantic and for any type of tragic love.

[13:07] Blake Appelqvist: You don't even need to see it. You just hear it in the music and my heart just goes, oh no! Yes! But yeah, I think that would be a dream role. Otherwise, maybe Gaby in On the Town. Okay. Or even just like any new musicals. Like some of the musicals that have been written are great and have like a wonderful American sensibility, but it would be nice to get to do more homegrown work and new works. That would be my dream. Yeah, definitely. I'd love to know, what is your pre-show ritual or do you have one? It depends on the role, but I think usually I like to listen to music that's not related to the show, but kind of like reminds me of the sort of essence of the character that I'm going to be playing.

So for a lot of Ann Juliet and Fangirls, I listen to like a lot of pop and a lot of like, you know, music that has like a really fat beat and that can sort of get me in the mood for the sort of character that I'm going to be portraying. But then for Bonnie and Clyde, there's certain music that I really like to listen to that's lyricless, like a lot of strings, a lot of guitar, that sort of base me in this setting of the world. Yeah, definitely music is like a big one for me. And also like making it make like a little tea or having a little snack. Yeah, it sort of changes and I'm open to it all always changing, but the music is usually something that doesn't change.

[15:02] Justin Clarke: Excellent. Well, the last question, and I think I can guess what your answer is, but I'm going to ask it, is which production would you most want to see come to Australia?

[15:14] Blake Appelqvist: Well, I mean, I don't want to give it away. Oh, no, I don't give it away. No, no, I mean, I really, really would love Hadestown to come here. But without being said, I would love like a full scale touring production of The Colour Purple. Yes. Yeah. As much as I love Hadestown, I really like The Colour Purple is just, it's a phenomenal piece. And it means so much to so many people. And they'll, yeah, it's just, I'm so jealous of people who have gotten to see it. Yeah. And it's a bit like some other productions where they only come once every so often. Yeah, right. And yeah, I really, really want to see that production here. And I hope that there's someone thinking about that or putting that in the pipeline. Because, yeah.

[16:10] Justin Clarke: Well, maybe because the film's coming out now, isn't it? I think it actually comes out this month.

[16:15] Blake Appelqvist: Yeah. So you never know, they might do a touring production because it would jump off the back of that.

[16:20] Justin Clarke: Yeah. Oh, yeah. I can't wait to see that. I'll be there with bells on.

[16:24] Blake Appelqvist: Yeah, exactly. It's very good. We got a lot of good ones coming up. So good time for musical theatre people. Well, those are great answers. Thank you so much for them. I'd love to jump into one. You talked about the dream roles you'd love to tackle and you said something about originating roles. Now, you've had the chance to do that in productions like The Lovers where you played Demetrius. And that was a brilliant production. I will have Laura Murphy on the podcast. We had a chat and the schedule is in there. And Laura was awesome to talk to about her music and her writing. I'm a massive fan of hers. I saw the Haste Theatre's 2024 release and heard the snippet of Zombies, which I'm so, so excited to see after listening to it. And especially because the cast that's just been announced for it is incredible already. And I'm just like, this is going to blow the roof off of Sydney.

[17:23] Blake Appelqvist: Yeah, she really does cook magic every single time. And I've known Laura for years. She was doing Grease at Her Majesty's Theatre when I used to work behind the bar.

[17:37] Justin Clarke: Yeah, no way. Right.

[17:39] Blake Appelqvist: She's like old friends of a couple of my other friends who used to live out in like northern Sydney. And they all did musical theatre together, like amateur musical theatre as kids. So yeah, I've always been obsessed with her. And same, I'm the biggest Laura Murphy fan.

[17:58] Justin Clarke: It's a good train to be on. But what was it like performing The Lovers? Because that was backed by Bill Shakespeare. It was their first musical, the adaptation of Midsummer Night's Dream, chosen from, well, told from the perspective of The Lovers. And I mean, I loved the production. When I saw it, I was like, this is a perfect way to get, you know, musical theatre people and Shakespeare people and get them to meet right in the middle. And what was it like performing that as a new piece of work?

[18:22] Blake Appelqvist: It was heaps, like so, so much from because we did workshops of this show years before we did the Sydney season. And it was cool, like getting to almost feel like a like an American, like a normal American doing a workshop and then doing an out of town tryout and then doing the production. It felt very like that because we did a workshop of it two years before we did the Sydney season, where it was just a sing through of Act One. And Laura was very like, oh, does this need to be in this key? Could this be a bit different? Should we change the lyric here? It felt very like organic and like she was still in the creation phase. And then a few months later, we did another sing through of the whole score where we had a few invited guests and we really, really felt the weight and the responsibility of something so good in our hands and in the room.

And I'm so glad that that translated to our Sydney Opera House season with a phenomenal cast, crew and creative team. Everyone on that show is just the best of their best, like top of the field and yeah, really, really cool to get to originate something. And it was really interesting, the kinds of audiences that we had, because it was a hot mix, as you said, like blending multiple different sort of demographics. We had a lot of like people who like love and adore Shakespeare, not necessarily like purists, but people who know the material really, really well. And they know that language very thoroughly, but not necessarily like pop music. And then you'd have like some people who came in wanting to like listen to all the, you know, hear the seats rumbling in the theater and feel the pulse of the beat and the funny lyrics and everything that was all on the music side, and then had never read Shakespeare before, or maybe like studied a little bit at school.

But that's a foreign language to some people. And so it was interesting having that blend and that mix of all ages coming to come, like see our show. And I think that's a really smart way to diversify your audience and to have, you know, the sort of conversations on the car ride home about, oh, I kind of, I kind of liked this music, maybe I'll start listening to this, or I kind of like this poetry, maybe I'll start, you know, reading some Shakespeare or reading something that you don't usually read. And I always say Midsommar is like the, I always say Midsommar is like the gateway drug of Shakespeare, because it's, the mechanicals are so easy, and they're funny, and it's that fast. And then the lovers element come into it.

Oberon's like the very much, you know, the most Shakespearean, I suppose. But even the lovers are easy to understand. And so once you get that, you go, oh, I get Shakespeare. So then you go to the next one, the next one, and it goes from there.

[21:39] Blake Appelqvist: Yeah, and that, like that Shakespeare and that pop music, they translate so well together, with both being very heightened, and very pure, and very like true, which you wouldn't normally think would go hand in hand, but like, as, and Juliet has also sort of been...

[21:58] Justin Clarke: Oh, well, let's talk about that, because that is a genius idea. Because when I first heard about Ann Juliet, I was like, I didn't know much about it. I was like, Ann Juliet's got something to Romeo and Juliet, surely. And then I explored it more. I was interested, because I didn't get it at first, what the jukebox connection was, because every jukebox musical has something. It's songs from ABBA, it's songs from Queen, it's songs from someone. And I was like, you've got Katy Perry, you've got Backstreet Boys, you've got Britney Spears. I was like, what's the connection here? So then when I came, and I saw the... And I'm gonna let you fill in the gaps for me, because I've completely forgotten the name. But the Shakespearean elements connected to it, I was like, ah, that's very, very, very clever. So I'd love if you could talk about Ann Juliet.

[22:42] Blake Appelqvist: Yeah, yeah, of course. So as you said, the jukebox element, all the songs in the show have some connection to the genius Max Martin.

[22:57] Blake Appelqvist: Yeah, who is like, I don't understand how someone can be that smart and have churned out so many pop hits for so many people over so many years. It's like, it's unfair. It's illegal how clever he is. And the time that he's like the modern day Shakespearean music, I was like, that's it. That's why you've chosen it.

[23:16] Blake Appelqvist: Fully, absolutely. And yeah, it's been the best experience. I love the show. And so cool to have like, a story that maybe some people know, or some people don't. But regardless, you're taking on a journey that's modern, that's through the lens of Juliet, and to music that everyone knows and loves. And even if you don't, with the Max Martin genius, you will know it very quickly. And you will love it very, very quickly as well. And it's the writers have done a very clever thing as well. Because I know, when I teach Romeo and Juliet, I always preface it with like, guys, it's a three day love story. These two young teenagers, they fall in love and they both die at the end. It's like, it's really weird. And then that by taking it and going, hang on, what if she didn't die at the end, and Juliet became her own person. And then obviously, you have Lorinda May Mary Paul, who is, I mean, I can't say enough words about it. She's an absolute superstar on the stage.

[24:16] Blake Appelqvist: Yeah, yeah, yeah. She's a beast. And she is just as nice and charming and wonderful on stage as she is off. Yeah, and I can't wait to get to work with her again in only just a few more weeks.

[24:27] Justin Clarke: Yeah. Because you guys did Singapore, didn't you?

[24:31] Blake Appelqvist: Yeah.

[24:31] Justin Clarke: How was that? How was that as an experience?

[24:34] Blake Appelqvist: It was wonderful. It was really, really great. I will be honest, the Singapore audiences, I think maybe listen more. Or at least we had different reactions and responses to what we have here, which was so, like, it was just wonderful. Like, it was lovely to see. And I'll also speak to, I saw the, and Juliet on Broadway as well, when I was in New York. And it's just really, really fascinating to have this, this piece of work that I know so well and so deeply being performed in Australia and to Australian audiences. And then going to New York and seeing it on Broadway with American audiences, completely different. And then, again, in Singapore, a completely different response. But it is a testament to the work in how universal it is and how much people connect with the material and connect with Juliet and all the characters in the show. But yeah, it was really, really fascinating seeing the differences and how invested Singaporean audiences were in our story as much as everywhere else.

[25:45] Justin Clarke: That's incredible. And what was it like seeing the ad in Times Square?

[25:51] Blake Appelqvist: That was outrageous. It was so, so, so cool. And it was one of those, like, pinch me moments where, yeah, I just, it felt like, yeah, very, I'm at the right point of, like, I'm in the right place in time. Everything's working out. And yeah.

[26:15] Blake Appelqvist: It was really, really like, it's hard to bring words to it. But it's just really affirming. And I hope everyone gets a feeling like that in their life, where they just know they're on the right path. And it was almost like a stillness rather than like, because I remember when I saw it the first time, I was just like in awe. And then the second time, I was like freaking out and running around. But yeah, really, really, really cool. Amazing.

[26:50] Justin Clarke: Yeah, well, I'm so excited that you guys get to, you get to bring it around Australia. So you're starting in Perth in January. And then you're bringing it to Sydney, which will be amazing. Because I know Melbourneites were absolutely going crazy for it.

[27:01] Blake Appelqvist: Oh my gosh, yeah. We really, we really weren't sure how audiences would respond or react to it. Because it hadn't been done. Like there'd only been an American version for American audiences, UK version, UK audiences. And like, I guess it was nice. It was like a pleasant surprise seeing how quickly people jumped on board and were obsessed with it as much as we were. And yeah, it was just like, it was the best response. And that momentum just kept building and building and building throughout our season. And I have a sneaking suspicion that might happen when we come to Sydney as well.

[27:44] Justin Clarke: I guarantee, if not anyone else, I'll be there and cheering. I'm like, come on guys, you gotta get in! Get in the city!

[27:51] Blake Appelqvist: Yeah, that's incredible. Well, we'll take a quick little ad break. And then I'd love to talk about one of your next shows coming to The Haze next year.

[27:56] Justin Clarke: Let's talk about your show coming to The Haze next year, Days at The Haze, which I've heard in the announcement and I was like, excellent. It's a special night. Is it one night or two nights?

[28:07] Blake Appelqvist: It's just one night for now.

[28:14] Justin Clarke: Excellent. I love that because it's selling very, very well. I think it's sold out nearly when I looked at tickets.

[28:20] Blake Appelqvist: Yeah, I think it is sold out at the moment, which is really, really lovely. But do you want me to jump in?

[28:28] Justin Clarke: Oh, yes. Yes, because I was going to say, yeah, because I know something that I very much love about you is you're a very proud non-binary performer and you very much promote that on your socials and everything you do. And for me, I've used you as my own education and understanding, especially when I'm talking to artists, like how to speak about them and to them properly. And so when I heard this, I was like, okay, it's just like an excellent one. I love that it was you presenting it just because it was like, for me personally, I was like, this makes sense. So yeah, I'd love it if you could chat as much as you want about it.

[29:12] Blake Appelqvist: Okay, great. I mean, I could speak for days on it. But I guess, so it's called Days at The Haze and it is a night to celebrate gender diverse talent in that, like our local talent that we have here across creatives and performers and writers and directors, everyone involved will be gender diverse, trans or non-binary. And ideally, I would love for this to be a, not, I would love for it to be something that isn't just a one-off, but is maybe an annual event or maybe something that tours. But for now, I'm just focusing on what it is right now.

[29:53] Blake Appelqvist: And the idea sort of came about when I was doing, I think I was, I think it was in, I think it was last year when I had been, I got into a few different shows throughout that year. And throughout that year, the different casts that I was in, I was working with other gender diverse people who were also in the cast or crew or other parts of the show. And it was really interesting getting to work alongside other people who were maybe struggling with similar things that I was struggling with, or who had questions or reservations about the way that theatre gets made or the way that our industry is shaped.

[30:32] Blake Appelqvist: And I found that, sorry, for some other productions that I've been a part of where I have been the only non-binary person, or where that gender diversity is just me, the sort of conversations that I can only have are with myself. But having them with other people on other shows, it sparked new conversations and more nuance and detailing when it came to care, and when it came to what an environment in musical theatre should look like for gender diverse people.

[31:08] Blake Appelqvist: And so with that being said, and like getting to have those kinds of small pockets of community across different contracts and across different shows, I really wanted to find a way to offer that to other gender diverse people who maybe haven't had that before, or who really work well with other people, and where we can focus on the work, and where we don't have to necessarily focus on educating or other things that we're not necessarily paid to do. But I really, this was like a dream in a drawer for a while, getting to do a night like this. And I'm very excited for it. And it's like, yeah, it still feels very much like a dream. But I'm working with a whole bunch of really, really great people who are really supportive, and who are coming up with so many ideas for the night.

[32:28] Blake Appelqvist: And essentially, it's going to be like a showcase for performers and creatives alike to get to present work that is gender affirming, and work that is self-determined. And it could be, I don't want to spoil too much, because I want it to be a surprise, and also for it to be something that people attend, and are invited into, and it's very community driven. And yeah, I think it's going to be really, really special. And I just cannot wait to get stuck in next year.

[33:03] Justin Clarke: It's so exciting. It's a brilliant idea. And yeah, I think you can tell it's obviously very meaningful for you, because you speak about it so passionately, and with a lot of depth. So I think it's something that will really add to the season. So I'm very excited for you to put it on.

[33:23] Blake Appelqvist: Yeah, it's going to be a hoot. It's going to be fun, regardless.

[33:26] Blake Appelqvist: And if I speak about it very carefully, and with a lot of sensitivity. But again, it's going to be a fun night out at the theatre. And for those who have booked, the lucky ones who have booked, yeah, we can't wait to share it all with you.

[33:43] Justin Clarke: Yeah, excellent. Well, before we wrap up, I'd love to ask the question I've asked everyone who comes on the podcast recently. And I'd love to know how you think the theatre industry has changed over the years, and how those changes have impacted the work you do, and the work that you create. And this might feed on from what we're just talking about.

[34:03] Blake Appelqvist: Hmm. I think in recent, like in the most current, like, maybe five years or so, the industry's changed drastically due to COVID. And I think from that has sparked a lot of game changes and rule breakers, and has made, it's been a really wonderful way for people to gather a new perspective. I've seen so many people jumping out of being not just performers, but also going into writing or going into directing, or even like Laura Murphy, who I've always known as a performer, but has been killing it in the writing game and composition.

[34:56] Blake Appelqvist: And so I see the way that's changing. And I'm starting to see a lot more of an, a bit more of like, an Australian identity when it comes to musical theatre. And I think that that's being picked up overseas as well.

[35:10] Blake Appelqvist: Yeah. Which is interesting, because I feel like we have always followed suit. We've always waited for shows to come here. And I think COVID really shook a lot of people up saying, we have to create work, we have to make it, it has to be our stories. And yeah, I think that element has been really, really wonderful. And seeing so many people investing in local work and local artists, as well as it's such a different industry to when I was in Frozen, when I was first like, like in terms of me being non-binary, it's been such a wonderful, however slow, but wonderful changes being made throughout.

[36:01] Blake Appelqvist: And it's, it can be kind of scary, talking about it, because for a lot of us, we're talking about things that we don't necessarily have language for yet. But there's a passion and there's a truth that's pushing forward. And it's been really wonderful getting to work with so many people who are in that sort of space.

[36:21] Blake Appelqvist: Yeah. Where they are so willing and ready to like help and change things up and make things more inclusive. And ultimately, it's going to be the best thing for all of us, because it means that the shows that we write are going to be more diverse, they're going to be more inclusive, they're going to be more tailored to our audiences and to our stories, because they're about us for us. And that's going to be, yeah, I just can't wait to see what, what the theater is going to look like. And the industry is going to look like in five years time, or 10 years time.

[36:53] Blake Appelqvist: Yeah. And yeah, I think we're going in the right direction.

[36:56] Justin Clarke: Excellent. That's great. What a great answer. Really? Well, yeah, that was lovely. And I love as well, what you said about the shows going overseas, because obviously Fangirls is going to London, which is amazing. Now, I'm thinking about timings, because you're still being in Juliet. So will you be making an appearance in Fangirls? Can you tell us that?

[37:19] Blake Appelqvist: I will unfortunately still be in Juliet. However, I will fortunately still be in Juliet.

[37:26] Justin Clarke: Excellent. Fortunately, fortunately for us, unfortunately for London.

[37:30] Blake Appelqvist: In a perfect world, I do both at the same time.

[37:33] Justin Clarke: Yeah. You know what? Maybe. But no, I'll definitely be here.

[37:38] Justin Clarke: Excellent. I'm so excited for them. And I love that they're keeping the Australian accents, because it leads very well into what you just said about them getting our products rather than the other way around, which I'm so keen to see what their reaction is. I'd love it.

[37:54] Blake Appelqvist: Yeah, me too.

[37:55] Justin Clarke: Yeah. Well, thank you so much for jumping on and giving us your time. I'm excited for you to get back into Juliet and then to see what the next steps are for you. And then Blake, as well, the haze is coming. So all the best. I mean, you've got so much happening and you're going to need this rest before you go to Perth. So just take your time out this Christmas.

[38:16] Blake Appelqvist: Yes. Thank you, Justin. And you too. Have a happy holidays as well.

[38:20] Justin Clarke: Thank you so much.

[38:25] Justin Clarke: A massive thank you to Blake Appelqvist for joining us on this week's episode. Keep an eye out on the Haze Theatre Co underscore official Instagram account for more tickets to Days at the Haze premiering on the 19th of February, 2024. Tickets for And Juliet the Musical premiering at the Lyric Theatre in Sydney on the 27th of February can be booked at andjuliet.com.au. This episode was produced by Echidna Audio. Follow them on Instagram at Echidna Audio for all their audio services. Once again, if you enjoyed our podcast, leave us a review wherever you get your podcast and head to the link in this episode's description for our Instagram account, TikTok, YouTube, and Patreon. My name's Justin Clarke, and I'll see you next time here on the Theatre Thoughts Podcast.