Interview: Oliver Edward of &JULIET (North American Tour)

The Austrian who starred in the German production of Lin-Manuel Miranda's HAMILTON and first German production of & JULIET is recreating Francois in the North American tour of &JULIET. A full-circle moment for the Austrian, to be the first performer cast in the same role in two different languages and on two different continents. Of course, we wanted to know what it feels like to be back in the hit show, in a different language, and this time, far, far away from home.

BWW: Congratulations on being back in &Juliet! It’s a familiar show, but in a different language, and now you’re taking it on the road and playing venues all across North America. What are the biggest differences between the German and the Broadway touring production?

O.E.: First of all, I have to say that playing a big commercial show in two languages has been a dream of mine for a long time, and the fact that I get to reprise the role of François on the Broadway tour in the same year that I finished my contract in Hamburg is pretty unbelievable to me. So, the switch of language is definitely the biggest di@erence, and it required a lot of focus to make the transition from the German script to the English one. Especially because I ended up premiering almost a week earlier than initially planned, which only gave me two rehearsals with the new cast. I realized that as soon as I was back in my costume, on that set and hearing the music, the German script naturally came back to me. It was quite funny to experience how deeply ingrained it still was after performing the show in Hamburg for so long.

Given all of that, I’m super happy with how well it has been going so far. I’m really proud of how quickly I’ve been able to settle back into the role and the show, especially under those circumstances. And now, as I’m establishing new onstage relationships with my castmates, everything is starting to feel incredibly natural, which is a really exciting process.

BWW: François, together with May, is at the heart of a larger-than-life queer love story. Is that one of the things that makes & Juliet feel so special and relevant today?

O.E.: To me, that storyline is definitely a standout narrative in our musical theatre landscape. And especially in times that are marked by a lot of political and social division, it has been extremely beautiful to see how much my first audiences here have also been fully rooting
for May and François. From a representation standpoint, it is so powerful that these two characters get to be the most physically intimate couple in the show.

BWW: We still remember how wild the audience reactions were in Hamburg on opening night — and, really, throughout the entire run. How does that compare to the audiences you’ve encountered in the U.S.? Is there a noticeable difference in the energy or the way audiences respond to the show?

O.E.: I’ve only played six shows so far, but the audiences here in North America love the show just as much. It is also one of the relatively few shows to have recouped on Broadway since the pandemic, which I think says something about how strongly the show resonates with
audiences. The touring venues are way bigger than the & Juliet Broadway or Hamburg auditorium, for the most part. Our most recent venue seated over 2,500 people, and we were pretty much sold out for every show so far. I think the storylines of this show just resonate with people.

BWW: You’re now touring across the U.S., bringing this beloved show to audiences all over the country. So, perhaps most importantly: how many suitcases does one need for a journey like this?

O.E.: We all get to have two big suitcases to check in, one carry-on and a backpack, which is absolutely enough for me, as I’m more of a minimalist, I think.

BWW: You’re more than familiar with the show by now. Aside from the language, what are some of the differences between the German and U.S. productions? And how has your portrayal of François evolved from those very first rehearsals in Hamburg to
where you are today?

O.E.:There was some additional choreography and blocking that I needed to learn, but during my rehearsal period in New York City, I was very well supported by the associates of the show, Phoebe Brooks, Tynee Goshow and Haley Bennett. And I think my François changes slightly with every Lance, Juliet, and May I get to perform with. But the essence of my portrayal is very similar. The biggest difference might actually
be the braids.

BWW: Thank you so much for your time! We’re thrilled to follow your journey across the U.S. with & Juliet. Keep us posted on Instagram, enjoy sharing this beautiful, colorful show with audiences across the country, and all the best for your song release later this year!

O.E.: Thank you for having me!

For further information about Oliver, visit www.oliveredward.com