Martin Guerre

Hay Fever is at Wyndham Theatre until December the 12th.

A new semi-stage production of Martin Guerre by the Les Mis Suprimos, Alain Boublil and Claude-Michel Schoenberg started previews this week.

And in the key role of Bertrand is Liv Andrusier, who you will have seen, I'm sure, in Fiddler on the Roof at Regent's Park Open Air Theatre and Ride at Southwark Playhouse.

She answers our five questions.

I'm trying to see if there's anything exciting coming up.

Oh, we're going to the theater next Saturday to see Martin Guerre.

We are.

The musical.

And that's why the book and the original musical are so long, because he has to assemble the five foot Lego Titanic.

I'm actually seeing Martin Guerre, Bublil and Schomburg's follow-up flop in about a month's time.

They're restaging it.

Yeah, didn't that just sort of like fall out of the West End quite quickly in the 90s?

But I mean, I saw it when I was, whatever I was, 11 or something when it was first on.

And it's not as good as Les Mis or Miss Saigon.

The song through Ness, of it, I seem to remember being more of a problem in Martin Guerre because there's more drama.

Not to say that obviously Les Mis and Miss Saigon aren't dramatic, they are, but they're very melodramatic.

It is Alex here with your midweek bonus episode.

Today, I am lucky enough to be joined by the writing team behind the brand new production of Martin Guerre being staged in the round at the Old Vic for five weeks only, beginning at the start of October.

They are Alain Boublil and Claude-Michel Schönberg, who people probably recognize from their works, including Les Misérables and Miss Saigon, alongside co-lyricist Annabel Mutal-Reed, who is whisked out of rehearsals in South London to discuss the new music, the new lyrics, and the new orchestrations.

Directed by Matthew Warchus, the tale is set in 16th century France and follows the true story of mistaken identity and conflict in the period of great paranoia and fear.

I'll, I begin with asking Boublil about why the pair have returned to Martin Guerre with a new co-lyricist also at the helm of this production.

I saw the workshop of Martin Guerre, uh, last year, so it was amazing to see the show in the round.

You saw the workshop?

Yes, uh, the, uh, the Ronden offices.

I've never been to the Royal Opera House before, so that in itself will be fantastic.

Martin Guerre is the sort of niche musical that only really appears in London and that I love going to see.

I'll spend some time getting to know both schools because that adds another layer of enjoyment for me.

Think of the screams at Abba Voyager when Dancing Queen starts and you'll have completely the wrong idea.