Interview: David Kristopher-Brown

David Kristopher-Brown is soon to star as Piangi in the new West End company of The Phantom of the Opera at His Majesty’s Theatre. 

David has played a wide range of characters in shows, including The Play That Goes Wrong at the Duchess Theatre and The Blues Brothers. David returns to The Phantom of the Opera, having previously been part of the company around 2008 and having performed in a concert production in the Channel Islands. 

David spoke to These Theatre Thoughts about his role in Phantom, past mishaps, and why he thinks musical theatre is so important. 

How did you get into musical theatre, and what sparked your interest in it?

I think it came from the fact I was lucky enough to grow up going to see shows and pantomimes etc, with my parents and with school. We would always listen to musicals in the car (Les Mis was a firm favourite)... I remember always enjoying singing, even from a young age, though I was kicked out of my primary school choir for being enthusiastically loud but not very good! Haha! 

 

What’s been your favourite role so far in your career, and why?

Ooooh, such a hard question (but a great one!) - I think playing Robert in ‘The Play That Goes Wrong’ was hugely significant for me because it had been my dream role for many years, and I made a concerted effort to do everything I could to play it, so to get to do so (and 4 other incredible roles in that show) was surreal and one of the things I’m most proud of. In terms of musicals, Jake in ‘Blues Brothers’ was incredible because he’s the rock star of that show - he sings the vast majority of the songs, which is a wonderful challenge in itself, and overall it’s just a ton of fun. Also, the fan base for The Blues Brothers is immense, and they welcomed us so kindly and warmly! 

 

Can you tell us about your journey in preparing for the role of Piangi in The Phantom of the Opera? What aspects of the character do you find most challenging or intriguing?

Well, I’m thankful to say Piangi is a role that has been in my life for a long time in many ways - I was fortunate enough that my first professional job was understudying Piangi at [Her] Majesty’s 15 years ago and then in 2019 I had the privilege to sing the role in a staged concert version in Guernsey, so what has been wonderful in preparing this time round is seeing who Piangi is in THIS world with this version of the show and in this specific dynamic of the group of people in the cast. 

 

The music in The Phantom of the Opera is beloved by audiences around the world. What is your favourite song or musical moment in the show, and why?

To listen to, the overture gets me emotional every single time. Those chords are just iconic. To sing, the end of Prima Donna is absolutely electric... after everyone sings their own intricate overlapping sections, when everyone comes together, and it’s just a wall of sound with the most talented people (every single person in this cast has an exquisite voice!) - it’s a true privilege to be a part of.

 

Have you faced any specific challenges or memorable moments during the rehearsal process for The Phantom of the Opera? How did you overcome those challenges or celebrate those special moments?

One thing I found challenging at the beginning was pitching the difference between when Piangi is himself and when he is performing in one of the operas, it’s easy to feel like you are doing way too much, but that is the style, and you really have to lean into that so that when we break out of it, you see the shift to Piangi in real life. So I have been watching some classic Pavarotti clips on YouTube for some inspiration (the G.O.A.T. in my opinion) and then ultimately just going full tilt and knowing that our director will reign me in if it goes too far. 

 

Looking beyond The Phantom of the Opera, what other roles or genres are you interested in exploring in the future? Is there a dream role you've always wanted to play on stage?

I would really love to originate a role in a new show, and being a proud Scot, I’d love to do more Scottish-based work - whether it be in Scotland or just projects that are set in or are about Scotland. In terms of roles that are already around, I love singing rock, so something like Dewey Finn in ‘School of Rock’ would have to be up there and growing up with Les Mis being such a big part of my musical theatre education, Jean Valjean has always been the dream too.

 

As a musical theatre actor, you perform live in front of an audience. How do you handle the pressure and adrenaline of live performances, and what do you enjoy most about the live theatre experience?

I like to try and have a routine of giving myself plenty of time to get ready, so I’ll make sure I’m at the theatre nice and early (the stress of being late is one of the things I hate most). I’ll make sure I’ve had a good warm-up, go over any individual sections that are particularly intricate, and then spend some time checking in with cast mates. Then I’ll just try and only think about the next thing I have to do. It’s easy to get overwhelmed thinking about the whole show before you go on, but one step at a time helps me focus and be more in the moment. I think what I enjoy the most about the live theatre experience is working with other people as a team to collectively create the best experience for the audience and, if unexpected things happen, working together to solve those problems. It’s amazing.

 

In your opinion, what sets musical theatre apart from other forms of entertainment, and what makes it such a powerful and enduring art form?

I think there is something that music does to us on a physiological level that makes musicals affect us in a way that you cannot experience in any other medium. When a character expresses themselves through song, you can literally feel it in such a unique way that it’s thrilling. Plus, the spectacle of huge set pieces (like Masquerade, for example) with lots of people doing the same choreography together is magical too! 

 

Finally, what advice would you give to aspiring musical theatre performers who hope to follow in your footsteps?

I’d say enjoy yourself, first and foremost. If you’re not enjoying it, then what’s the point? Also try and read a new play or listen to a new musical soundtrack you haven’t heard before once a week - or as often as you can. Knowledge is power, and you never know, you might discover your new favourite song, show or dream role! 

Thanks so much, David, and break a leg! 

Tickets for Phantom of the Opera can found here: https://uk.thephantomoftheopera.com/