I have done quite a few crazy things on stage and television over the years. I’ve performed a safer sex show for gay men on Hampstead Heath at midnight, and convinced audiences across the globe that I was kidnapped by Mama Cass. I’ve set an American flag alight, and appeared as a fat version of Posh Spice. I’ve even had sex with a cake – all in the name of art, of course.

I recently put the video of my cake sex performance on YouTube. My mother stalks me online, and tracked it down. She was shocked and horrified, which I found strange. In my mind it seemed totally OK and kind of normal to have sex with a cake. Then I realised her taste in performance is more Les Mis than Miss Mess. Let’s just say she didn’t share the link on her Facebook page.

As a performer, if you don’t push the boundaries of art, taste and comfort, then you might as well go and work at the RSC. Traditional theatre is safe, cosy and comforting; fine for a midweek matinee on a coach trip from the Home Counties, but I rarely find it life changing. Yeah, I’ve seen lots at the National, much of it very good. But it doesn’t get me very excited.

On the opposite side of the performance spectrum, there’s a cabaret culture of “risqué” which I find equally bland and boring. Any publicity that tells me I’ll be titillated, teased and shocked… well, you can guarantee I’ll be the one snoring in the stalls. Burlesque and cabaret presents itself as risky and saucy, but how many faux-drunken European accented ‘sexy’ shows can one watch? One day Edith Piaf is going to rise from the dead as a zombie cabaret star and strangle her modern imitators… then we’ll all be free.

I prefer to see and make shows inspired by clubs, gigs and parties. It’s where real life in all its messiness and brilliance happens. My latest solo show, Unhappy Birthday, combines all three of these elements.

Unhappy Birthday explores the extremities of pop fandom. The show takes the form of a birthday party, and I’ve invited my all time favourite singer, Morrissey. While we wait for him to turn up, we play pass the parcel and crazy stuff happens, with a backdrop set list of Smiths and Morrissey tunes. There’s lots of dancing, snogging and beer – and that’s just the audience. I channel my inner teenager for this show; it is such an extreme, concentrated version of myself. The emotions, attractions, and passions we feel as teenagers are so powerful and silly. I love that. Unhappy Birthday is a reminder of the joy and embarrassment of being a teen.

I wanted to really push myself with Unhappy Birthday. Bringing in Scottee as my director was a move towards more challenging physicality.  He is fat like me, and I knew he’d instinctively understand the challenges – and fun – of having a big body. My main goal was to create a visceral show that thrust me beyond my performance boundaries…  scary and exciting!

It was a tough challenge, because most days I’d rather sit on the sofa with a cup of coffee and watch reruns of The Great British Bake Off. Scottee encouraged me throw myself around the rehearsal room like an idiot. I wasn’t sure if I’d succeed, fail or die trying. But if performers don’t push themselves – or have directors who share their vision, then audiences get bored… and that’s a one way ticket to an Equity retirement home.

While performing Unhappy Birthday, I’ve fallen flat on my face, sat on an audience member and collapsed the chair, and groped nearly a hundred strangers. It’s not Shakespeare, and it’s not been directed by Nicholas Hytner. Unhappy Birthday doesn’t star Dame Judi Dench and Andrew Lloyd Webber hasn’t written the score. I don’t wear a corset, and there’s not a bowler hat in sight, either. Sorry. But you should come and see it anyway. You just might enjoy yourself.

Unhappy Birthday plays at the Camden People’s Theatre from 14 May – 1 Jun. For information and tickets, see the CPT website.

Nearly every interview and promotion has highlighted the fact that Les Misérables was sung live on set; now it has officially opened in the UK we can ask the question: was it worth it?

When I call myself a fan of musical theatre I rarely include films, despite films such as The Sound of Music and Annie Get Your Gun being my introduction to the genre. I have always felt somewhat cheated by them, whether by the dubbed taps in Fred Astaire and Gene Kelly films or by the recorded singing. The vocal part often went one step further with actors being dubbed, two famous examples being Marnie Nixon dubbing for Natalie Wood in Westside Story and for Audrey Hepburn in My Fair Lady. As many of the actors from the film have pointed out, it meant the Les Mis film got to be a lot more emotionally driven – it wasn’t just a competition between those who could belt it out the loudest.

Rather than writing multiple blogs on why the live singing was amazing it may be better to take an objective view of the technique. One problem with doing live singing is getting the balance between singer and orchestra; the live singing on Les Misérables involved actors having ear pieces and live piano played to them with the orchestra added in post-production. Most of the actors traversed this without any real problem. The one actor I felt let down by, although the blame doesn’t lie squarely with her, was Amanda Seyfried as Cosette. This role is often given a lot of slack: Rebecca Caine (original Cosette) has spent the past few weeks tweeting about people’s negative views of the character. In this instance I think it is a very hard role to sing and to sing with strength in comparison to the power house of Eponine; although having said that if the last note of ‘Heart Full Of Love’ were to be sung at full blast it would decimate Eponine and Marius.

Another problem as a consequence of the live singing was the use of sets as opposed to real locations for the most part. There was of course location singing such as that end reprise of ‘Do You Hear The People Sing?’ but it was location singing that meant parts were pre-recorded, such as the opening in the dockyard, as they clearly couldn’t mic actors with all that water. The most obvious set was the actual barricade. Now of course it is easier to record sound in the controlled environment of a studio, but as an audience we knew it wasn’t a real location. Though I do concede that you can’t go blowing up real Parisian streets, either.

The flaws of live singing are always going to be outnumbered by the positives. Getting right in there with a tight close up on Anne Hathaway singing ‘I Dreamed A Dream’ was incredible and to see the tears in her eyes and a slightly runny nose did feel more real. I honestly believed that for these characters singing was merely an extension of the spoken word – the most natural way to express intense feelings.

It’s not often that you go to see a musical knowing the subject matter but having  no idea what to expect. As with other new musicals based on well-known stories (think Tony! The Blair Musical; Shrek; Matilda The Musical), the question was: how would the production make the story of Susan Boyle’s rise to success interesting, original and entertaining?

With difficulty, is the answer. The challenge, then, was to make the story we all think we know from Facebook, Twitter and the tabloids unpredictable and exciting. Instead, I Dreamed A Dream offers a blow-by-blow account of Boyle’s life from birth to the present day, charting her Blackburn upbringing and relying almost exclusively on material the audience already knows. There are some touching stories of first dates, karaoke contests and personal battles, especially with Boyle’s first (and apparently only) boyfriend John and some early scenes in the Boyle family home where our protagonist first learnt the power of song. Real joy buzzes amongst the retro wallpaper and swinging tunes of the ’60s, bringing the predominantly black-box set alive with James Paterson and Karen Mann’s stunning vocals as Boyle’s parents. Some moments are pleasantly reminiscent of Billy Elliot the Musical. Regrettably, these are fleeting in a musical that manages to transform a truly moving real life story into a sadly uninspiring tale about the difficulties of fame.

If the source material is familiar, there should still be scope for originality in its telling . However, the show is narrated throughout by a fictional Boyle, played by co-writer Elaine C. Smith. Her singing voice is markedly different from Boyle’s childlike melodies, though she does capture Boyle in her speech patterns, whilst hinting at something more. Any role representing a living person on stage is not without its difficulties, but Smith maintains an admirable respect for Boyle throughout, which doesn’t shy away from Boyle’s temper, paranoia and bouts of depression. The script’s jokes and asides to the audience are amusing enough, but direct address soon becomes a rather one-dimensional and claustrophobic way to tell the story.

The ensemble cast do their best with what they’ve got, but some of the short interludes are memorable for all the wrong reasons. One scene, a fusion of rock music and balletic dance to visualise Boyle’s struggle with bullies, loses sight of the sorrowful resonances of a young girl who feels completely alone in the world amongst grungy panto-villain bullies bopping atop industrial-looking crates. Perhaps part of the problem is the lack of original songs in this production. It relies heavily on the music Boyle grew up with, which works early on to set the scene as Boyle wins the Whitburn miners’ club talent competition. However, later renditions of Stuck in the Middle With You as Boyle waits in the BGT queue and Mad World (as fame stifles her) fail to entertain or advance the storytelling effectively.

What could be achieved in a moment, a look or a word is dragged out into endless set pieces. Less would undoubtedly be more here – the script could easily do without the large-scale production and would perhaps work better as a one-woman show. The main problem is that things simply don’t feel like they matter. There is no jeopardy, no conflict; it feels like there is nothing at stake. In short, there is no drama. As Smith highlights in her closing speech, I Dreamed A Dream is Susan Boyle’s story: a story that has a start and a middle, but no end yet. True, perhaps, as Boyle is still entertaining millions worldwide, but on stage this just doesn’t work. An audience needs conclusion, resolution and satisfaction, and there is none to be found.

Thank heavens, then, for Boyle herself. An immediate standing ovation and rapturous applause as soon she appears on stage; she is clearly the most important reason why people are flocking to see this show. Never before has Boyle’s cherubic halo shone brighter or her voice resonated more clearly than in the wake of such bland disappointment.

I Dreamed A Dreamed is at the Newcastle Theatre Royal until Saturday 31 March and then continues its international tour until the end of May, stopping at venues across the UK such as the Liverpool Empire, Bristol Hippodrome, Manchester Palace and Birmingham Hippodrome. For more information and to book tickets, visit the I Dreamed A Dream Official website.

In the year since first captivating television viewers as a finalist on the BBC’s 2010 show Over the Rainbow (featuring the search for Dorothy Gale in Andrew Lloyd Webber’s new production of The Wizard of Oz), 23-year-old Lauren Samuels has gone on to become a leading lady in the West End. She has appeared as Sandy in Grease, Cathy in The Last Five Years and, currently, Scaramouche in We Will Rock You at the Dominion Theatre. Lauren spoke exclusively to A Younger Theatre about her time on Over the Rainbow, her routine as a West End star and her tips for breaking into the performance industry.

When did you first fall in love with musical theatre?

When I was around 10, my mum took me to see my first musical, The Phantom of the Opera in London’s West End, and that’s when my passion really grew. I begged my mum to put me into singing lessons and I joined my local youth theatre. From then on, it really became an obsession!

Who are your inspirations?

I know it’s really lame to say, and such a cliché, but definitely my mum. She has fed my passion for musical theatre all my life and we are such good friends. I owe her so much.

Many of our readers will know you from the BBC show, Over the Rainbow, where you applied for the role of Dorothy. What made you decide to audition?

Some friends from drama school and I had heard about the open auditions and I toyed with the idea of going for a few weeks. Eventually I decided I’d go as I didn’t really have much else to do that day! So I took a book and a lunch box and joined the thousands of girls waiting in London to audition. It was a long day!

What did you feel you gained from being in the live shows?

I learnt a lot about myself not only as a performer, but [also] as a person while on the live shows. It was a very difficult situation that we were all thrust into so quickly, and when I look back I’m really proud of myself for all that I achieved. It was great to gain recognition as a performer from so many great industry professionals, including the Lord [Andrew Lloyd Webber] himself!

What is your favourite memory from the series?

There are so many! The whole series was like one big slumber party, living with all the other girls, and we had so many great times in the Dorothy house. But I think my favourite memory would have to be visiting Andrew’s house when the three of us reached the final. It was such a surreal experience.

Do you get nervous before you perform? If you do, how do you counteract those nerves?

I think everyone gets nervous before they perform, and if they say they don’t, they’re a liar! It comes with the job. I usually give myself a good talking to before any big performance. A pep-talk type thing, the usual, “Come on Lauren, you can do this!” But I think the most important thing to help control nerves, is to know that you’re prepared. So be as prepared as possible for what you are about to do. Rehearse, rehearse, rehearse!

What is your routine when you prepare for performing in a professional West End show?

When I’m in a West End show, it kind of takes over my life. Everything becomes about making sure I’m fit and well, and my voice is OK. Lots of steaming, drinking gallons of honey and lemon, taking tons of vitamins and getting plenty of sleep. It’s tough, but I wouldn’t have it any other way!

What do you feel you have brought to the previous roles you have played? What’s been your favourite part to play?

I’d like to think I’ve brought my own spin and personality to other roles I’ve played. It’s all about making the character your own rather than copying another actor, and that’s where the rehearsing comes in. I’ll stand for ages in the mirror going over one specific line until I find the perfect way to say it! I would definitely have to say that the role I’m currently playing, Scaramouche, is my favourite role to date. I just love her!

What do you love about being in We Will Rock You, particularly playing the role of Scaramouche, a wilder character than Sandy or Dorothy?

Scaramouche is like no other role on the West End. I have dreamt of playing this part for years, so it really was a dream come true when I was cast. She is so sarcastic and dry and wild, like you said. I love her humour and how she takes the mick out of Galileo for practically the whole show! But above all, I love the fact that we all get to rock out on that stage every night to such fantastic music. There’s no band out there like Queen anymore. They were a revolution, and being a part of their amazing show is simply fantastic!

If you could choose to play any role, male or female, in the history of theatre, what character would it be?

Tough one! There are so many musicals and roles that I adore! I have always had a passion for Les Misérables, so one day I’d love to play Eponine, and I’d also love to be painted green in Wicked one day…

Would you ever consider directing a show?

I’d love to direct. It’s something I can see myself doing in the very distant future, when performing is no longer for me. I’d love to be able to pass on the knowledge I’d have hopefully gained over the years to those just starting out in the business.

If you weren’t in musical theatre, what career do you think you would be pursuing?

This is a really hard one for me as I’ve never not wanted to be in musical theatre and, if I hadn’t been so lucky with my career so far, I’d still be trying my hardest to get into the West End. Saying that, I love the idea of opening my own shop – musical theatre based (obviously). That would be really cool!

Do you see yourself staying in the West End, or do you think you will try other roles outside of the theatre, perhaps on the big screen?

I love all aspects of performing, not just on the stage, so yes I’d love to branch out to TV and film one day. It’s incredibly hard to do though, so I’ll have to keep working hard!

What advice have you got for our readers who would like to break into the musical theatre industry?

Drama School! [Lauren attended the Guildford School of Acting] I think it’s really important to learn your craft in a professional environment, so I would advise as many people as possible to apply for drama schools. It’s what I did when I was 17 and I’ve never looked back!

Lauren will star as Yonah in a West End Charity Gala performance of Children of Eden on 29th January 2012 at the Prince of Wales Theatre. More information available here. For more information about Lauren, visit her website here.