Opera is big and grand but comedy is about nuances
Heavens above! Opera singer Lesley Garrett tells MARION McMULLEN why her debut comedy role is the answer to her prayers
How did your comedy debut in The Messiah come about?
I SAW the first performance at the Tricycle Theatre in London in 1983. I was in my 20s and just starting out and, although we never met then, it turned out writer Patrick Barlow and I lived in the same street.
I remember laughing myself stupid at the comedy and now it is even funnier. When I was asked to do it, I just jumped at the chance.
Who do you play?
I PLAY a singer named Leonora Fflyte. (Laughs) She was originally called Mrs Doreen Small but she’s been upgraded a bit.
She’s thinks her agent has got her a role performing Handel’s Messiah and that’s what makes her accept the job. She’s grown up with The Messiah and knows it backwards ... what could go wrong?
Do you play any other characters?
MRS FFLYTE plays one of the Three Wise Men – well, there are only three of us in the show – so she has to put some skills to use trying to ride a dromedary as well.
I also play the Angel of the Lord coming down from heaven and singing. It’s really terrific.
Patrick was with us during rehearsals and we were blessed to have him there. It was like having Mozart there. He wrote to our strengths and there is a lot more music in the show now, including a couple of bits of opera.
What is it like working with Outnumbered’s Hugh Dennis and Doc Martin actor John Marquez?
(LAUGHS) It’s heavenly. Hugh, John and Partick are comedy masters. They know everything about the nuances of comedy timing. I’m learning so much and loving every second of it.
I really feel I should be paying a fee for the comedy masterclass.
Opera is all big and grand, but comedy is all about nuances.
I think the last time I laughed so much was in the 70s when I worked with Eric Idle and English National Opera doing the Mikado.
It’s such an education. John and Hugh are perfection.
You recently took part in BBC’s You have released 14 solo studio albums, been awarded a CBE for services to music and have appeared on everything from Strictly Come Dancing to Celebrity MasterChef. What are your personal career highlights?
I ABSOLUTELY love working. I’ve had a silly, crazy career and I don’t like being pigeon-holed or boundaries between different genres of music.
I had the time of my life when I was a professional soprano making opera for the people. I even learned to tightrope walk for one opera role.
I’ve been banging a drum because my great passion is to demonstrate to people that opera is not the elitist, snobby thing. They were written for everyone. It’s why I do things like Strictly Come Dancing and MasterChef, shows in the West and now a comedy with two amazing guys.
I want people to think ‘if an opera singer can do that then maybe we can go and see an opera.’
I learned a lot from Bruce Forsyth about comedy timing doing Strictly. He was a great mentor and I loved doing Sound Of Music in the West End. There was a real sense of community doing eight shows a week and I love that.
Pointless Celebrities as well... and reached the final. Do you enjoy doing different things?
THAT was great fun. It was for BBC Music Day and in the morning I was busking at King’s Cross and then I went and did Pointless.
I’ve not seen it yet. Did it look OK? I’ve been doing new opera Rhondda Rips It Up! as well with the Welsh National Opera about one of the first suffragettes and we were even a question on a BBC radio quiz. The contestants did not know the answer, but the studio audience did.
You are now 63. Do you think you’ll ever retire?
(LAUGHS) I’ll keep on going. I’ve five kids living with me at the moment – and two of them are mine. It’s a big house and I like having people around although I have to head to Sainsbury’s after work and stock up on food.
I like watching box sets when I have the time. I’ve just been watching Killing Eve. I tried not to binge, but I’m afraid discipline goes out the window when it comes to box sets.
What’s on the cards next?
THERE are no traditional opera roles for opera singers of my age. I guess no-one used to live that long back then, but we are now part of contemporary society and they need to write for our times and write roles for us. I’m doing Jack The Ripper: The Women Of Whitechapel for English National Opera next year, playing Catherine Eddowes, and the whole production is told from the viewpoint of the victims. It’s very exciting.
The Messiah by Patrick Barlow tours until December 1. Go to lesleygarrett.co. uk for details.