After the roaring success of their Union theatre run, the iconic Frank’s Closet is set to return to its roots this summer at Wilton’s Musical Hall. Starring Hollyoaks’ Andy Moss, this queer reimagining of a Dickensian opium dream will sweep audiences off their feet with seven divas, a closet full of frocks and a riotous blush of Gaiety Girls. With a sparkling catalogue of original and heart-felt musical numbers composed by Stuart Wood, Frank prepares himself for marriage by clearing out his fabulous collection of the dresses of iconic Divas. As each dress is let go, the Divas who once wore them appear to steady Frank’s nerves and impart wise and wistful gems of advice.
We spoke to composer Stuart Wood to find out more…
Tell us a bit about the show.
My studio was next door to Hoxton Hall, a Victorian music hall in Hoxton. In 2009, the folks running it asked me to put on a show there. The theatre itself seemed to call forth Frank’s Closet, especially when I discovered that Marie Lloyd (1870-1922) had performed there. Once I brought her back to life with the song “The Boys of London Town,” other divas seemed to follow, and Frank’s Closet was born.
How does it feel to be bringing Frank’s Closet back to Wilton’s Music Hall?
It feels wonderful to return Frank’s Closet to its roots in the British Music Hall, a social force that laid the foundation of popular entertainment. There is something so precious about a heritage theatre like Wilton’s. We lost so many of the halls to ignorance and lack of vision, and there are still many vulnerable theatres in the UK. A living music hall like Wilton’s is a sacred space, and it’s truly an honour to play there.
What do you want audiences to take away from this musical?
I want them to take away the songs. So many musicals we see today are spectacular, but the music can be forgettable. Frank’s Closet’s original score is the glue of the work, and I want audiences to leave with at least a few of the tunes stuck in their heads. Live musical theatre has to be the most exciting art form at the moment, and I want audiences to experience both the drama of the story and the drama of the space that contains it.
What has been the biggest challenge when working on the project?
Writing new songs that fit seamlessly into a work originally written 15 years ago has been a challenge, but a rewarding one. I could hear how the show has a musical DNA, rooted in the music hall, that I somehow could tune back into. Musical theatre is one of the most collaborative disciplines, so on a personal level, working with others and respecting each person’s unique contribution, without hierarchy, is essential and, of course, a challenge. But the spirit of a show is contained in the working relationships of the people that make it, and when it works, the audience feels that company spirit. Our challenge is to create a harmonious company that sets the tone for the run. Oh, and finding a good Dusty Springfield wig!
What is your favourite Frank’s Closet number and why?
All the songs are very personal to me, as it really is my own story of coming out of the closet and also a celebration of the closet. I think “Abba Made Me Gay” is a secret favourite. I got to write a song for Agnetha Fältskog, and that’s quite a buzz.
Looking ahead, where would you love Frank’s Closet to go?
I’d love for it to be performed every day somewhere in the world forever. But on a less realistic note, it would be great to take it out of London. I live in North East Lincolnshire, and there are so many thriving creative scenes in various parts of the UK. We often get blinkered by London’s theatrical autonomy. Manchester and Leeds are also theatrical powerhouses, so hopefully, we will get to take it there. Oh, and not forgetting Broadway—and yes, I do mean Tooting!