In 2018 Whittaker won Off West End Award for his choreography for TOP HAT at Upstairs at the Gatehouse. The musical was staged on a traverse and Whittaker made exceptionally good use of the available space, so close to the audience that it actually felt risky. Front row patrons would be wise not to cross their legs for fear of kicking a dancer.   He also worked as a choreographer at Ye Old Rose and Crown right at the beginning of his career, so he is no stranger to pub theatres.  “They were both lovely places to work, just not a normal space so you have to be creative” explains Whittaker. 

I WISH MY LIFE WERE LIKE A MUSICAL is being filmed at King’s Head Theatre, a challenge in terms of space. Whittaker acknowledges that “you’ve probably only got a postage stamp to dance on with a cast of 3 people when you should have 43.” Curiously, he actually sees this as a positive because It’s a problem to solve which means being more creative.  “You can’t throw money at it as you do in a bigger show so it’s nice to do something different” he explains.   “When I was starting out, I thought there was only the West End, then I discovered all these fringe venues. It isn’t necessary to be in the West End - you can create in these tiny venues all over London and the UK.”

This production is a remount of a run Whittaker did in Edinburgh in 2018 with two of the original cast members and two new “gents”.  That’s not the only new element for Whittaker. “The show has been done before at Crazy Coqs (café Zegal) as a cabaret concert, but our version will have a bit more of a show feel to it” he explains. “I want to do it as more of a piece of musical theatre.” It’s not a conventional musical, it has no story, no set but it does show choreography rather than just acting and singing.  It’s different to a song cycle or a cabaret.

It will be his first time operating in a small space with TV cameras. He has several ideas already in his head which he will use as a starting point, but he always works closely with any other creatives and performers to finalise choreography. “Every show comes with ideas and elements of pictures I want to create” he says, “but a lot happens in the room as there is no point in giving performers a load of steps which don’t sit naturally on them.”  It is part of his rehearsal process to see what works on them but the idea or the picture is still present.

Growing up, Whittaker always adored watching Matthew Bourne with his narrative style. “Beautiful to watch” he says, “and achieving something in doing it”. At the beginning his career he was on a national tour of Oliver and Matthew Bourne was one of choreographers.  “So, from then on I’ve been aware of his ability” explains Whittaker.  Over the last 15 years there has been an influx of choreographers in the same mould whom Whittaker admires, in particular the work of Drew McOnie and Tom Jackson Greaves.

Whittaker seems fairly firmly planted in the mould of musical theatre and is embarking on an international career with the next show coming up in Finland. He does admit that he would like to work on the Sadler’s Wells stage, after having worked in their studio space which has given him a taste of what it might be like.

 His own style of choreography is eclectic but there is a running joke that he always uses the same kick line in a show. “I’ll always revert to the same kick line as it’s an easy one to fall back on,” he smiles. Whittaker has a disarming personality; his professionalism and joy of theatre really shine through. “I try to mix things up, to start with something a bit different” he says but qualifies this with: “Not borrow something that I’ve already done, until I get to the kick line, then I reel that out.” 

Some of his biggest challenges have been the most enjoyable.  "Working with a traverse for the first time (on Top Hat) was like trying to choreograph on the M25" laughs Whittaker.  "I had no idea where anything was going, it was just a long corridor.” However, he is most proud of his work as a Movement Director with actors and performers who are not natural dancers. “Trying to make things look stylised when dance might not be their biggest talent is one of the most enjoyable challenges if you can create something that just seems natural to their bodies.”

There will be no such concerns with the cast for I WISH MY LIFE WERE LIKE A MUSICAL. “They’re all West End professional performers, they are sublime talents, and we are very lucky to have them” says Whittaker with delight. He is looking forward to sharing this light hearted fun show with audiences particularly at the moment. “It’s why we need theatre and why we love theatre, and we have four incredible actors on stage having fun” says Whittaker, “it doesn’t come with a political message or hidden agenda, it’s just a love story for theatre.” 

Chris Whittaker was chatting with Heather Jeffery, Editor of London Pub Theatres Magazine