Dad and Daisy

When Miranda Musical Society presents Rodgers & Hammerstein’s Carousel at Sutherland Entertainment Centre, Daisy Cousens will take on the plum role of Carrie Pipperidge, and classic showtune, ‘Mr Snow’. She speaks to Stage Whispers about the role, Rodgers and Hammerstein, and the influence of her dad, musical theatre star Peter Cousens.

Stage Whispers:  What was your first experience of Carousel? Is it one of those shows that left a mark? Or more of a peripheral gem?

Daisy Cousens: I grew up with Carousel. I remember watching the film many times when I was a kid, and the songs were always a staple in my repertoire at AIM. I also saw a wonderful production in the West End in 2009. It is definitely one of my favourite musicals; certainly my favourite Rogers and Hammerstein. The music is beautiful, and the story is complex and very thought-provoking. It’s a show I have always wanted to be a part of.

SW:  Coming from such a showbiz family, was there a moment when you decided to pursue performance?

DC: There wasn’t a specific moment; for as long as I can remember I have always wanted to pursue showbiz as a career. I was a very extroverted, outspoken, unusual child with lots to say and very few inhibitions (not much has changed!). When we realised I could sing when I was about nine, there was no avoiding it really.

SW:  What is your favourite memory of your father as an artist?

DC: I have many memories of my dad’s performances in shows over the years. However, my favourite memory is of an Australia Day concert he performed in about ten years ago. He sang “Love Changes Everything” from Aspects of Love. I don’t know what it was about that moment (I had heard him sing it dozens of times), but there was an energy to it that has stuck in my mind. I was crying uncontrollably, it moved me so much.

SW:  Did your parents try to talk you out of treading the boards? What won them over in the end?

DC: My parents spent about ten years of my life trying to talk me out of it, and justifiably so. I knew they would always support me in whatever I chose to do, and weren’t entirely discouraging, but they were never hesitant in outlining the difficulties of a career in the performing arts, especially when you are emerging. I’m glad they made me see that, as it prepared me for the reality of the industry.

However, when I was eighteen and had just finished high school, I played Mabel in a production of The Pirates of Penzance. It was my first lead role; prior to that my parents had only really seen me perform in eisteddfods and school recitals. When they saw how at home I was on the stage, and how much I loved it; that was the moment they relinquished the reins, so to speak. They have always been one hundred per cent supportive. I overheard my mother say to dad, “I don’t want her to do it, but I think it’s like trying to stop a tidal wave.” She wasn’t wrong.

SW:  The role of Carrie Pipperidge comes with a truly iconic Rodgers and Hammerstein standard. How are you preparing to take on "Mr Snow?"

DC: The first thing I do when I get a new song is to look at the lyrics. Everything you need to know is there; context, character, motive, etc. I don’t try to relate it to my own particular experiences; this works for a lot of actors but I find it distracting, and I become anxious/insecure if I can’t find the “right memory”, so to speak. I would rather “imagine” myself into the scene.

Once I have an understanding of the text, and what it means to me, I look at how the lyrics marry with the music. Rogers and Hammerstein are particularly good at this; Carrie’s state of mind is perfectly outlined. The last line is a terrific example; she describes him as, “that young sea-faring, bold and daring, big, bewhiskered, overbearing, darling Mr Snow!” The melody rises and rises, and finally reaches a beautiful open crescendo on the word “darling”. You feel everything she feels immediately; you don’t have to try very hard to convey the story because the piece does most of the work for you. As a singer, it’s a gift to be presented with a song like that; so perfectly written.

SW:  Do you believe Rodgers and Hammerstein remain as vital in the 21st century as they were when written?

DC: Yes, absolutely! Carousel in particular raises some very important issues that were very controversial in the 1940’s. Suicide, domestic violence, single parents, even religion is called into question. These were subjects that were not often talked about, let alone seen onstage, and still resonate now. I also think it’s so important to remember and celebrate what they call “traditional” musical theatre. Contemporary, edgy musicals are wonderful and important; however, never never never underestimate the power of a simple melody and chord progression. Sometimes that’s all you need to tell the story. I love Andrew Lloyd Weber. I love Stephen Schwartz, Lerner and Loewe, the Gershwins, Rogers and Hammerstein, etc. Their work will always have value.

SW:  Do you ask for advice from your father about roles you are going to play? As performers do you ever "compare notes" so to speak?

DC: I am always asking him for advice. He is, for lack of a better description, a bottomless pit of knowledge. We’ve had many a long car trip where I’ve sat in silence and awe as he describes ways to prepare, to convey truth, to avoid nerves, to tackle a character psychologically. I always kick myself for not recording everything he says. Hearing about his experience is so interesting, and incredibly helpful. I’m very lucky.

SW:  What is it like living in such a showbiz household? What is something you would find in the Cousens household and nowhere else?

DC: Living in a showbiz household has always been interesting! We grew up like gypsies; always moving here and there, wherever Dad was working. It was wonderful. I met some very unique people growing up, and some very famous people, but at the time I had no idea that this was anything out of the ordinary. To me they were just friends of my parents; the same as anyone else’s family friends. Now I look back at my childhood and think, wow, what a crazy ride.

Something you’d find in the Cousens household and nowhere else is the thousands and thousands of pages of sheet music stacked up everywhere! Open a cupboard and you’ll find piles of it. Look under a table and there will be another hidden stack. Between Dad and myself we must have close to four thousand pages…hard to believe but trust me, it’s possible!

SW: Do you ever get nervous knowing your parents are in the audience?

DC: No, never. I’m actually less nervous when they’re in the audience; I never feel like I have to impress them, and they certainly never put any pressure on me. They’re very encouraging. It’s also fascinating to hear their feedback, as more often than not they’ll know the show/material that I’m performing, and they always have an interesting take on things.

SW:  What is it about Carousel do you think that keeps audiences coming back?

DC: I think it’s the music. So many iconic songs, and in my opinion the Carousel Waltz is one of the most beautiful orchestrations ever written. ‘If I Loved You’ as a solo or a duet is one of the great musical theatre love songs, and ‘You’ll Never Walk’ alone has been interpreted so many times by so many performers; it never becomes stale.

Miranda Musical Society presents

Rodgers and Hammerstein’s

CAROUSEL

25th-29th March 2015

SUTHERLAND ENTERTAINMENT CENTRE

Wed-Sat 8pm + Sat and Sun 2pm matinees

Tickets including booking fee: $37.50 to $44.50 (adults) | $33.50 to $39.50 (concession)
Bookings:  www.mirandamusicalsociety.com.au  or phone  (02) 8814 5827

Images: Daisy and Peter Cousens together in the movie Freedom; Daisy Cousens and James Jonathan & Rory Chatterton and Daisy Cousens in Carousel; and Peter and Daisy Cousens.

More Community Theatre Reading

Community Theatre Seasons 2015