Ding Dong! Someone – or rather, someones – will soon be arriving at the QPAC Glasshouse Theatre for a new season! Following an original Brisbane season in 2019 and an encore season in 2020, The Book of Mormon is set to return to Brisbane for a limited-time season, commencing 31 July 2026. Presented in Australia by Jones Theatrical Group, this new production has recently concluded seasons in Sydney and Melbourne, with Brisbane being the third leg on its national tour. Among the cast are a range of new actors filling the shoes of characters audiences fell in love with almost a decade ago. In the leading roles are Sean Johnston as Elder Price and, relevant to this article, Nick Cox as Elder Cunningham. We were fortunate enough to pose a few questions to Cox ahead of taking the Glasshouse Theatre stage in a few weeks’ time!
Nick Cox is a Boston-born, now Aussie dual citizen who audiences may have last seen a couple of years ago in the role of Le Fou in Beauty and the Beast: The Musical – with a range of other international, national and on-sea credits to his name. With such a multifaceted background, we were stoked to ask him questions about himself, his character, and much, much more. Read on to find out more insights from Nick Cox ahead of performing in Brisbane.
You’ve been with The Book of Mormon since it opened in Sydney last July, through the Melbourne season, and now into Brisbane. How has the journey treated you so far, and has your take on Elder Cunningham evolved along the way?
The tour has been an absolute privilege and adventure to be part of! I’m super grateful for the opportunity to play such a wonderful character. Audiences have been responding so positively to the show and we’re so excited to bring it to Brisbane. Cunningham has certainly evolved over the last year from his posture to his excitement. Keeping the show in its purist form after the rehearsal process can be a challenge so you try to adapt it within the parameters of what was set that first opening.
Fifteen years on from its Broadway premiere, why do you think The Book of Mormon still lands the way it does?
I think it still has the response and presence it has due to the writing and the music. What happens when you take some of the greatest comedic and satirical minds today, combined with their love of Musical Theatre and put them together? You get the Book of Mormon. And at the heart of its hilarity, you have themes of friendship, belonging and unity. The show walks that tight rope of hilarity and shock with heart and passion.
You spent years performing as Le Fou in Disney’s Beauty and the Beast, and now you’ve taken on an even more major “lovable larrikin” role, albeit one in a very different context. What has it been like trading Disney for the comedy that Trey Parker and Matt Stone are known for?
Ah yes, the Disney to Mormon progression. Beauty and the Beast was such a fun show to be a part of despite the fact there was a lot less swearing. Kidding aside, Le Fou was a fun challenge because I had to find ways to be creative and bring comedy to it while staying truthful. With Book of Mormon, you just have to trust the writing and let the comedy speak for itself. There are some similarities between Le Fou and Cunningham, but getting to explore and go through a complete story arch with Cunningham is an actors dream.
Price and Cunningham are one of musical theatre’s great odd couples. What has it been like building that partnership with Sean Johnston, both on stage and off?
Oh where to being. Sean is tall, handsome and sings like a dream. I hate his guts. Kidding! I’m so grateful to be doing this show with him. We hit it off immediately and were paired together during the early audition days. I really am grateful to be going on this journey with him. He also tolerates my lack of Rugby knowledge very graciously.
For all its irreverence, one of the show’s sweetest threads is the bond between Cunningham and Nabulungi. How have you and Paris Leveque approached that relationship across the tour?
Their story is so fun to tell because it’s something that almost every single person is going to be able to relate to in some capacity. I always try to tap into what it is we’re trying to tell and bring as much joy as possible. In terms of keeping it fresh, Paris is known to throw a different look or option at you which keeps you on your toes! “Baptise Me” in particular always feels like a mystery gift and when the crowd is with us, we have the best time.
Cunningham appears to be quite the demanding character to get into vocally – that distinctive character voice, the yelps and screams, and belting your way through “Man Up” to close Act One. What does it take to keep your voice healthy delivering all that every week, for many months on end, and has your approach to the vocal side of the role changed over the past year?
This is by far the most demanding show vocally I have ever been a part of. I try to make sure I have plenty of rest and still take frequent voice lessons to either check some “sticky” parts of the show, but mainly to sing different material to keep the voice healthy and balanced. I’ve learned so much about my voice and have found out that I have 5 or 6 different ways to sing or ‘scream and yelp’. The goal before the show is to find out which way my body wants to approach it and not force it somewhere it doesn’t want to go. Steam is also something I’ve started adding back into the routine. But the main thing for me is I don’t drink and I very rarely go out. The ultimate vocal maintenance goal is to live like Mother Theresa and if possible, put her to shame.
As you’re about to perform in my home state, I must ask: what are you most looking forward to about the Brisbane season at QPAC’s new Glasshouse Theatre? And having performed in Brisbane prior, is there anything new you are looking forward to enjoying locally while you are here?
Sean and I were able to see a bit of the new Glasshouse Theatre and we cannot wait to bring the show to this gorgeous space! Last time I was here I didn’t really explore outside of the city so I’m really setting an intention to make my way up the coast and explore as much as possible. I also know this is Sean’s old stomping grounds so I will be taking all the tips and advice I can from him.
The Book of Mormon arrives everywhere it goes with a reputation… namely it being gleefully profane and quite fearless in what it explores. For those in Brisbane coming to the show completely fresh, what do you think its real heart is, beneath the shock value?
Without giving away too much, Matt Trey and Bobby have interlaced beautiful themes of unity and friendship that everyone walks away feeling to some extent. Yes, the profanity and comedy draw people in, but you leave with a strong feeling of human connection. If we work together, we can build our own paradise.
Arnold weaves Star Wars and The Lord of the Rings into his made-up gospel. If you could sneak one of your own pop-culture obsessions into the musical, what would it be?
As a big fan of these genres, I can’t help but applaud the themes they have included in this musical. Could always use more Lord of the Rings references. But I would love to add some Game of Thrones. There has to be one place in this show where a “Winter is coming” could fit. Then again, why mess with their brilliance.
What helps you keep Cunningham feeling alive and discovering everything for the first time each night, rather than letting the performance slip into autopilot?
My routine before the show helps to centre myself. I try to always say “This is the best day ever, and everything I’ve worked for. But the most important thing? I get a best friend”. I also try to bring a little bit of how I’m feeling, especially if it’s a little silliness or fun delirium to sprinkle into the character choices. I dreamed for so long of being able to do this for a living. The fact that it’s happening is reminder enough to not go into autopilot.
You have had a varied history of performing in theatre over the years. What advice do you have for those who may be looking to follow in your footsteps and pursue a career in the performing arts?
I would say I’m very much still figuring it out, so take what I say with a grain of salt. But fall in love with the training. If you completed Uni, the training doesn’t stop. I still take acting and singing lessons to help keep my tools as sharp as can be. It transfers directly to the show even if you work other material. Try to be kind and supportive and don’t bring your bad days with you (if possible).
Rapid-Fire Question Round
Favourite song in The Book of Mormon
I am Africa
Favourite song to perform as Elder Cunningham
Man Up
Favourite piece of choreography in The Book of Mormon
Turn it off
Favourite outfit/costume in the show
I am Africa (that’s all I’ll say)
Favourite line as Elder Cunningham
“…and I can stand next to you and watch”
Cunningham has many creative attempts at pronouncing “Nabulungi” – do you have a favourite?
Yes, but I can’t tell you that here
First impressions when walking into rehearsals on the first day?
Bubbly
Favourite fun fact about The Book of Mormon’s Australian tour
There has been a script change since we opened
Favourite pre-show ritual or routine?
Dancing with the backstage crew before ‘Hello’
Favourite moment with the cast/crew so far?
Celebrating opening night
Imagine you are in my shoes reviewing The Book of Mormon. What would you say is the major highlight of the production?
There are many – but wow, Cunningham has a great butt!
Same question as above, but from the perspective of Elder Cunningham.
Wow, Elder Price has a great butt!
We would like to pass on our sincerest gratitude to Nick Cox for taking the time out of his busy schedule to answer our questions and wish him all the best in the upcoming legs of the ongoing Australian national tour of The Book of Mormon. We would also like to pass on our sincerest gratitude to the company at Jones Theatrical for facilitating this interview, and Jessica Bendell Publicity to arranging this opportunity!
The Book of Mormon is set to commence in Brisbane at the end of the month, with tickets for performances currently on-sale up to 4 October 2026. For ticketing information on not only the Brisbane season, but subsequent legs in both Perth (October, Crown Theatre) and Adelaide (December, Festival Theatre) – check out the musical’s official website.
