LPT:  You’re incredibly well travelled. Not many people can say they’ve been to more than sixty-five countries on five continents. What drove you (music wise) on this exploration?

Ian Oakley: I have really been blessed to perform all over the world. I wish I could say it was all by my design however, it was more a case of me working for different employers at different times. My experience in gospel music accounts for the lion share of that travel and most of it was done a few years ago. I have thoroughly enjoyed travelling and experiencing meeting people, different food, cultures and music and did I mention different food? The composer in me listened carefully to the soundscape of each country and endeavoured to find different elements that I could later call upon and introduce into my work when appropriate - ranging from different rhythmic patterns and instrumentation to unusual (to me) scales and harmonies. There’s always something out there.

LPT: After having performed before crowds of up to 100,000 people, pub theatres must offer a very different experience. Are there advantages and disadvantages to playing in a cosier space?

Ian Oakley: I tend to find that the greater the size of the crowd that I perform before, the greater my ‘anonymity’. Large crowds always appear as a blur to me, with many indistinguishable faces, and I feel that to them, I was just a dot on the stage. I have always found the intimacy of a smaller space to be a more daunting proposition from a performance perspective. It’s almost as though each note is subject to greater scrutiny whereas in a larger arena, the notes seem to leave my instrument and disappear into the sea of blurry faces. That said, what I do like about smaller venues such as pub theatres, is that you can see the features of the audience members’ faces and expressions and so, gain instant feedback on how their experience of the show is progressing. It seems strange to say that I feel more accountable performing before a smaller audience.

LPT: What has been your experience of pub theatres to date?

Ian Oakley: To date, the only pub theatre that I have worked in is Upstairs at the Gatehouse in Highgate. We were so close to opening Forever Plaid in December 2020 and then London entered Tier Four and we were only able to perform in a hastily arranged open dress rehearsal for about forty family and friends. 

LPT: You’re currently rehearsing for FOREVER PLAID which is set in the 1950s and sounds terrific fun. What’s your take on the story?

Ian Oakley: it really is terrific fun as you have said. The story is somewhat tongue-in-cheek: a barbershop quartet in America dies in an accident on the way to their first professional gig after their vehicle collides with a bus full of nuns. The quartet returns to earth and performs their entire concert for our audiences in 2021. The music is fantastic and vocally very demanding with the tight harmonies. Everyone in the audience will recognise many of the songs of bygone eras and be mesmerised by the characters and vocal performances, both individually and collectively, of George Crawford, Cameron Burt, Alexander Zane and Christopher Short.

LPT: How closely will you be working with director John Plews?

Ian Oakley: I am working very closely with John. He and wife, Katie are legends in the industry, and it’s been so much fun working of Forever Plaid with them 1.5 times (on the same show.) It’s one of his favourite musicals and you can tell that by the way in which he approaches his direction. It makes it easy to discern exactly what he’s expecting from the cast. I’m not sure I’ve met a director with as many hilarious anecdotes, but each contain nuggets of advice and insight that can truly help refine what is taking place musically and on stage.

LPT: Also coming up, you are musical director for brand new musical FROM HERE. Is this a scary prospect?

Ian Oakley: I am relishing the challenge that staging a brand new musical presents. Naturally, there is some trepidation, but over the course of my career, I’ve been involved in the production of several first-run musicals, including my own One More Chance: The Story of Jonah. For me, the excitement lies in being able to accurately interpret and express the work of the creators without having the safety net of referring to previous performances. It does present new challenges, and frequently calls upon a broad range of skills. Versatility and flexibility are key. I am really looking forward to working with composers, Ben Barrow and Lucy Ireland, and director Annabelle Hollingdale. 

LPT: What is different about this musical that might surprise audiences?

Ian Oakley: The first thing that struck me was the maturity of this musical. It really feels as though this work has been around and developed over the course of a much longer period. The music is incredibly well crafted and takes the audience on a journey through the performances of each character in this cast. And may I mention what a stunning cast it is? Grace Mouat, Nicola Espallardo, Andrew Patrick-Walker and Aidan Harkins - I can hardly wait to begin rehearsals with these talented performers. 

LPT: Are there any songs or scenes in each of the musicals that blow you away? 

Ian Oakley: That’s a hard question to answer as I find that on each day, in each rehearsal, I find something that captivates my attention in a new way. One thing I can say without reservation is that the audiences for both Forever Plaid and From Here will leave the performances still humming their favourite tune and comparing favourite moments.

LPT: Could you tell us a something about each of them that affects you the most?

Ian Oakley: I have had more time working on Forever Plaid than from Here, so that question is easier to answer regarding the former at this time. The thing I love most is the sense of camaraderie throughout the whole company. As I mentioned before, our previous preparations were interrupted by London’s entrance into Tier Four and so as in the script of the Plaids, we were never able to perform for our audiences. Fortunately, every member of the cast and creatives was able to return - adversity can tighten bonds. I feel that the audiences that we perform to will be the ultimate beneficiaries. I am confident that in a short time, I will be able to say the same of the company of From Here. 

LPT: Finally, if you could thank anyone for your musical journey (so far) that has led you to this place, who would it be and what would you say?

Ian Oakley: There are so many people who have played significant parts in my story. I wish I had the time to list and thank everyone who shared an encouraging word, gave me an opportunity or took a chance on me. The one person I will mention today though, is my mother who passed in 2017. She was my greatest supporter and, though she’s no longer physically with me, it’s as though I can still feel her cheering my every step.