Nolan Edwards Robba in West End run of Olivier nominated musical The Producers

Nolan Edwards Robba is continuing his role in The Producers after the show completed its off-West End run and moved to the Garrick Theatre in London.

After a successful run at the Menier Chocolate Factory, Mr Robba is performing at the prestigious venue.

The Producers has been nominated for four Olivier Awards including Best Musical Revival.

“Very excitingly we have just received four Olivier nominations for our show, which is truly amazing,” Mr Edwards Robba said.

“We will be gearing up extra rehearsals to perform at the most prestigious UK theatre event at the Royal Albert Hall.”

He told the Chronicle about the show, his career in musical theatre and the demands of life as a West End performer.

He said it took four separate days of rigorous dance, music and acting just to join the cast.

But Mr Edwards Robba is no stranger to the West End, having appeared six times already, a fact that “never fails to fill me with immense gratitude.”

“I’ve been a part of major musicals like Carousel, Wicked, Aladdin, Matilda. Also I was a featured dance in Aida at the Royal Opera House,” he said.

“What makes performing in The Producers different from other productions is, beautifully, in the timing of the political worldwide climates that we are currently in.”

“When the world can feel so heavy with conflict and extreme ideologies in headlines, the show reminds us that one of the most powerful ways to disarm hatred is simply to laugh at it, exposing the absurdity of those ideas and turning them into something harmless through joy and collective laughter.”

For someone who’s never seen it, he describes The Producers as a “wildly chaotic musical about two completely unethical theatre producers who realise the perfect scam: [you can] make more money from a flop than a hit.”

“So naturally, they create the most offensive, tasteless musical imaginable in hopes it will close on opening night.”

“Unfortunately for them, the show is so ridiculous that audiences think it’s brilliant satire. There is truly no musical comedy quite like it.”

Reflecting on his favourite number to perform and what makes it special he noted that, without a question, it was the infamous Springtime for Hitler.

He described it as the most physical, high-energy, demanding number that calls for not only physical and vocal stamina (and he undergoes four costumes changes), but absolute comedic gold in delivering the spectacle.

“What makes it so special is seeing audiences absolutely break down in laughter at what they are witnessing. It never gets old,” he said.

The biggest physical/artistic challenge for the show, he said, is definitely within the eclecticism of what they perform within the whole two-and-a-half-hour show.

“In my role, there is no skill that goes unused. From tumble passes to pure jazz technique, tap numbers, flipping out of trampolines,” he said.

“We really hit them with every genre of musical theatre dance. All whilst singing live.”

In a role that is so demanding, and no doubt takes a toll on the body, he notes that injuries within the profession are very common “with the sheer athleticism of what we perform eight times within a six-day working week.”

“Not only are physical and vocal warm-ups crucial to avoiding such injuries, but I work meticulously with top-tier physios, inside and outside of the gym, to ensure we have the proper form to be able to sustain such high physical demands,” he said.

This may be one of the surprising things people do not expect to learn about the West End, among others such as the daily schedule which he describes as “all-encompassing” within gearing to the demands of the show you have to perform in the evening, or whether it is a double show day.

“From nutrition to physio-management to simply just looking after your physical and mental wellbeing. Also people fail to realise the amount of teamwork that occurs from every department, not just those visible to you on stage.”

“From wigs, stage management, wardrobe teams. It really is a ‘teamwork makes the dream work’ kind of set-up,” he said.

As someone that has accomplished so much on stage he struggles to pinpoint one singular moment that stands out to him.

“But I have to say it’s in the privilege to be able to say I do this for a living,” he said.

“There is something special within offering audiences two and a half hours of utter presence in whatever story they’re about to witness.”

“I think live theatre is a very sacred space in that regard. People liken it to ‘escapism’, but I like to think the reverse. It’s anchoring people in the present moment.”

“‘Bringing them home’ to the ‘now’. And the most rewarding part is being able to be a part of that process.”

Mr Edwards Robba said he tries “to stay fluid and open” for any opportunities.

“The life of an artist always remains in ‘process’. I definitely see myself continuing to tell stories, within the medium of live theatre, more musicals, TV/film, who knows,” he said.

“I’m a firm believer, as you have to be within this industry, that it’s ‘already written’ and I am just here to play my part and find out.”

“What I do know is that I am just getting started and full of gratitude for where I am right now.”

“At this very moment, eight shows a week is what is taking up my time.”