An icon of the modern-day musical theatre sphere that pops up every few years and always draws a crowd through its catchy music, expansion upon an acclaimed film and literary work (The Wizard of Oz) and memorable characters and messaging, Wicked the Musical is currently in the early stages of its 2023-2024 Australian tour. Currently performing at the Sydney Lyric Theatre and set to commence the second leg of its tour at the Regent Theatre in Melbourne, musical theatre fans have many opportunities to see this iconic work for the first time, or see it performed a subsequent time with a completely different cast.
Regardless of whether you have seen Wicked or not, the counterparts between the leading cast and the original works – namely Elphaba (Aka. Wicked Witch of the West) and Galinda (Aka. Glinda the Good) mean you are immediately familiar with this pair. But the leading male character, Fiyero, is a unique character to the story, and while originally seen as a playboy prince, is much more complex beyond his façade and to some extent is a third factor that helps separate the pair from their film counterparts.
Portraying the role of Fiyero in the ongoing Australian production of Wicked the Musical is Liam Head, a young performer who is a recent graduate of Queensland Conservatorium Griffith University, graduating from its acclaimed Bachelor of Musical Theatre program in the Class of 2021. In addition to performing in roles during the university’s annual productions, he has held a number of other roles on productions including being a featured dance on Baz Luhrmann’s Elvis, performing as Nick Healy in GWB Entertainment’s Jagged Little Pill and also is a co-director of his own production company, The Head Bros, which has staged productions including It’s Only Life, 10 Act Cabaret and Hallmarked!.
But right now, Liam Head is immersed in the land of Oz, and has kindly taken some time out of his busy schedule to sit down and answer some questions about his experience, working on Wicked, and his all-important advice for those looking to enter the world of the performing arts. Scroll down to read the full interview.
Could you share with us what initially drew you into the world of musical theatre, and the path that has ultimately lead audiences to see you perform nightly in Wicked, and many other works over the past few years?
The first show I ever remember seeing was a school production of Joseph and the Amazing Technicolor Dreamcoat, where my brother performed in the ensemble. It looked like lots of fun and that kickstarted my love for it all.
What was your first exposure to firstly, Wicked in general, and secondly, the wider lore around the land of Oz (eg. the original works)? In terms of the former, was Fiyero a role you ever saw yourself playing in the future?
I was probably first exposed to the soundtrack before anything else. All the songs have been “popular” since 2003 when it launched, and so naturally every second dance school had a number or two from Wicked at the eisteddfods I went to growing up. I first saw Wicked back in about 2013(ish) with Suzie Mathers and Jemma Rix as the two witches. It was a magical show, one that stuck with me for a long time.
Funnily enough, I watched The Wizard of Oz in full for the first time this year, a few weeks into rehearsals. Good film! They should turn it into a stage show or something. Of course Fiyero is a dream role for every young boy. Perhaps it has less to do with the role, and more to do with the legacy behind it. So many epic actors have donned the tight white jodhpurs; it’s a privilege to be able to put my name on them as well.
Although Wicked was not part of the original ‘Wizard of Oz’ lore, it has boomed into an iconic work in its own right, that some may argue matches or even surpasses the original work. Why do you think Wicked initially resonated and continues to resonate with audiences today?
Well it’s obviously more than just an extension of lore, and more of an exploration of fascism and nazism in a world where time and history isn’t linked to our own. We often look back on WW2 and go, “but that was then and this is now”. To have it depicted in fantasy forces you to draw the correlations between the fiction and the present. I think that’s why it’s remained so prevalent over these past years, because behind the spectacle and beauty that is, “Wicked”, we have something quite revealing.
Can you share with us how you have approached the role of Fiyero in Wicked? From your preparation and research into the character, to the vocal and physical training that went into embodying this role. Fiyero is a character with significant depth and complexity. How do you connect with and interpret these aspects of his personality, and how do you convey this complexity in your performance on stage?”
A lot of Fiyero’s character development came from outside in, opposed to inside out. How Fiyero moves and operates governs how he feels – at least the first time we see him. As the play continues he starts to find some more emotional maturity and the inside out work comes through.
The trick with a role and show like this is to not put too much onto it. It could be very easy to over-dramatise some of the scenes, but all you can do at the end of the day is play the truth of it all. Some days the truth is slightly different depending on the specific contour that the show has brought. The cornfield scene towards the end of Act 2 is a great indication of this.
The blocking and text lends itself to several possibilities. Fiyero may lean into the drama and shed a tear, or perhaps he’ll lean into the humour and garner a laugh. Whatever happens however can’t be predetermined or the audience will see an actor and not a character.
You have been performing with Wicked for a little while now. What have been some highlights on your journey with the production?
The highlights have to be whenever something funny happens onstage. I live for it. The battling within yourself to not laugh at someone else laughing is just pure chaotic energy. Or, letting go and resigning yourself to the fact that what just happened was really funny and laughing anyway, hoping the audience perceives your laughter as a character choice.
We have seen some incredible young performers come from the Queensland Conservatorium in recent years. I am curious from an academic perspective, what was a key takeaway from doing the course, and what were some of the challenges or perhaps opportunities that came from graduating during the pandemic?
I can’t recommend it enough. Fantastic staff with a real emphasis on getting the job done. The course is now stationed out of QPAC, but when I went through we studied in a converted factory lot. The facilities were overcrowded and underfunded, but it didn’t matter. In fact, in many ways I prefer it. It took the emphasis away from the glitz and glamour of it all and put it where it needed to be – in education.
I can’t deny I haven’t been extremely lucky leaving uni. I booked a lead role in a show before I left, signed with an agent before showcase, and when Jagged Little Pill got shut down because of Covid, I worked as a supporting lead in a film that will come out sometime soon and blow the entire worlds socks off (I mean it, by all accounts everyone is absolutely loving it), and have had maybe nine months of no work since graduating – something that doesn’t happen all that often. So Covid for me career wise, has rather weirdly enough been a sort of terrible blessing.
From performing in some significant roles in major musicals forging your own path with The Head Bros I am keen to ask… What are your recommendations for those who are looking to follow your footsteps and forge a career in the performing arts?
I remember when I first booked Jagged I thought to myself, “I’ll never have to work in a cafe again!”. Flash forward to when Jagged closed early for a second time in July 2022, and I was handing in a resume to a café that was pretty much right underneath a massive painted mural of a poster that had my face on it.
I realised pretty quickly that no matter how well off someone seems in this industry, job security will always be something to worry about. If I had my time again, I’d probably have studied a cert in something during high school so that I have a trade of some sort to fall back on in between jobs. Something that was more inspiring and paid better than a $28 an hour café salary.
This career is full of ups and downs, and can be absolutely bloody fantastic, but it’s not the be all and end all. It can’t be your identity otherwise it will cripple you. Make sure you have your priorities straight. A happy life is so much more valuable than a successful career. I learnt that during Jagged when I was having crippling anxiety attacks most weeks doing what I “loved”.
When I forced myself to stop, and finally realised I loved my God, my wife, my family and friends more than my career, I realised that I could start enjoying my work a bit more. It’s a constant struggle, but one I’m happy to work through.
Rapid-Fire Questions
Favourite song in Wicked that you perform.
The opening (No One Mourns The Wicked). Look hard and maybe you’ll spot me!
Favourite song in Wicked in general
Probably No Good Deed, tying in with the first few chords of the show.
Favourite moment in the show?
When it’s a Wednesday matinee and all the schools are in, and Elphaba and I touch hands in the cub scene. They all absolutely lose their minds.
Favourite piece of choreography in the show?
Has to be the smack flick section or the cub release.
Favourite costume in the show that you wear
Ozdust Ballroom.
Favourite costume in the show in general
Glinda’s engagement gown – absolutely stunning.
Favourite piece of staging / set design?
Probably Ozdust Ballroom again. It looks so magical.
First impression when walking into rehearsals on the first day?
Well this is bloody epic.
Do you have a favourite pre-show ritual or routine?
Not really as it varies. I’m reading a lot at the moment but by the time this is published it’ll be something else.
Favourite fun fact about Wicked’s 2023/2024 tour
In Ozdust when Galinda goes to talk to Madam Morrible, there’s a small little spot of the railing that I’m slowly scratching the paint off. It’s growing so I’m not sure how long it will last before someone finds out and gets cranky haha.
Role model in the Australian musical theatre industry
Simon Gleeson.
If you had the opportunity to fill another role in another current show for a night, with no limitations, what character would that be?
Lumiere would be fun, but I wouldn’t want to deprive Australian audience’s the chance to see Rohan Browne shine – he’s absolutely terrific.
What is something that people might miss on their first watch of Wicked the Musical but should keep an eye out for?
I think Wicked is constructed in such a way that you will simultaneously miss everything and nothing at the same time. Just strap in and enjoy the ride. On a second watch? Have a look at the ensemble members. Not only will you see a collective working their butts off doing some of the most iconic Broadway choreography ever, but you’ll get to see the individual characters they are bringing every night. It’s often hilarious and a shame to miss.
I would like to pass on my thanks to Liam Head for their time in responding to my questions, and wish them all the best for the ongoing Australian tour of Wicked the Musical as it continues its Sydney run, heads to Melbourne, and perhaps travels to other states at a later date. Also my sincerest thanks to the show’s publicist, Ian Phipps from IP Publicity for facilitating this conversation.
If you are keen on seeing more about Wicked’s newest Australian tour or booking tickets to see one of the upcoming shows, check out its official website.
