Actor and singer NEWTION MATTHEWS is starring as Street Singer in the filmed release of Lambert Jackson Productions’ BKLYN – The Musical, online until 4 April 2021.
BKLYN – The Musical is a story within a story. On the outside you have a troupe of incredibly talented street performers who are sharing a story from their lives… Then there is the story they tell – the story of a young girl who comes to the US to find the father she never knew. Together these stories create a show that is both touching and inspiring – a real urban fairytale.
Newtion competed as a finalist on both The X Factor as well as The Voice and was signed to Warner Music, touring throughout the UK and Europe. His theatre credits include One Love: The Bob Marley Musical (Birmingham Repertory Theatre), The Frontline (Shakespeare’s Globe), The Harder They Come (US tour) and The Life (international tour). His television credits include Dance For Comic Relief, and for film credits his include Gulliver’s Travels.
Here Newtion continues Musical Theatre Review’s interview series: Five Questions With…
How has life treated you during lockdown?
We’ve all had to do a lot of ugly grunt work in regards to ourselves because of 2020’s annus horribilis; I try to remain thankful for all the challenges this current situation presents.
I think like everyone; it’s been one of the toughest years ever at times. It’s not been easy to be so disjointed from everyone and everything, but I’ve definitely taken the time to find myself stronger and more centred because of it. I found the whole thing super daunting energetically, but I’ve been blessed with a beautiful home, good love and artistic outlets that have kept me sane through the crazy of this hyper norm.
Like all of us, I had to hard process the traumatising untimely murders of George Floyd, Ahmaud Arbery, Breonna Taylor, Elijah McClain, Tony McDade and Mohamud Hassan (to name only a few) and how that related to me and our heart’s view and compassion towards all Black people and the unlawful killings that are happening, systemically. My partner and I spent the majority of lockdown protesting alongside our brothers and sisters, for my brothers and sisters with Black Lives Matter. It was all at once a generational pain that hurts ALL of us whether we admit it or not, and an affirmation of healing for my whole system.
Life is protest is art is life for me; so I continue to use my voice everywhere I put my artistry and energies to.
How did it feel to be in rehearsal with other artists after such an extraordinary year? What is it like filming a musical for online release rather than in front of a live audience?
Divine! Not only did I get a needed moment to be IN a room rehearsing – full stop! But I got to work with an incredible cast of distinct talent on full bodied material. I fan girl’d more than a few times hearing everyone singing in the room.
Filming BKLYN felt immense. I have been feeling so sad about the state of governmental support for the arts and it’s felt bleak as all hell at times. So working on such a multi-dimensional piece that brings the feeling and heart of well written live theatre to film felt magic.
Of course nothing beats a live audience, but I am deeply encouraged to see that the lack of live performance during lockdown has not dampened the creativity and artistry of it all. Vive la renaissance!!
Can you tell us more about the BKLYN – The Musical and the role you play?
It is a charming modern twist on a fairytale about healing and family. It is also a beautiful ode to the restorative power of music and song. The music is exquisite and what the cast and I have done with our numbers, and as an ensemble is really special. Shout out to MD Leo Munby for doing an incredible job with the score.
I play “Street Singer” who is all heart and song. He uses his lil patch of ground beneath the Brooklyn Bridge to deliver his sermons and inspire healing in ever magical and mysterious ways to his ‘congregation’, but it’s the journey he goes on with his own healing that really got me when I read the script.
I love me a Nat King Cole, Sammy Davis Jr and Ray Charles (amongst others) and so Street Singer is my nod to the great performers of yesteryear.
A number of musical theatre performers have appeared on The Voice in recent months. You had big success doing that and it led to other opportunities. Are you still keen to record as a solo artist too?
Yes and it’s always so wonderful to see. I love that The Voice is a great platform and opportunity to show the versatility of vocalists from all walks of life.
Of course will.i.am is a legend in the game and so it was epic to learn from him and perform on his team, and iconic meeting Sir Tom, Rita and Ricky. Overall It was a great experience that allowed me to perform for the British public and connect with a cross section of people.
I’m gearing up for the release of my debut EP: The Father, The Son & The Holy Black, so 2021 is getting increasingly lit. The record is my electribal soul’s exploration of what Black masculinity and sexuality mean to me. It’s the conversation I’m having with my Father, brother and future child turned into fire music. Honestly I want to make music that inspires the mandem and the manzzdems to connect yet more, across the ‘brotherhood’.
I am super excited to unleash the first single ‘Psycho Path’ on the world next month. Get into it: ‘…There’s two two types of Psychopaths. One poisons you; one wields an axe. Which one are you? Which are we today!…’
Your theatre work appears to have taken you all over the world. I know it’s an impossible question but has there been a particular highlight that stands out from your career so far?
I’ve had the opportunity to learn from titans in the industry since I graduated a ‘couple’ years back. I’ve been honoured to perform on heritage stages, work with huge names, tour America, Europe and the UK, travel India and tell new and old stories that resonate with me deeply as an actor, vocalist and as a dancer. I’m so thankful that that continues to keep momentum and allow me to expand my artistry and voice in a variety of ways.
Including the moments I am happy to leave in the rear view mirror, EVERY job and interaction has led to me this singular point. And all of them continue to bolster me in being my own Titan, and the essential tradition of broadening the shoulders that upcoming generations are welcome to stand upon. As I did, as we all do.
The M.O is to get Blacker, queerer, louder, sexier and to body my art in ways that bring vibrant conversation and connection to everyone I interact with.
All that to say, there are so many highlights to date that I remain affirmed and aware of what a privilege it is to be an artist, and eager to continue my journey. Bring on ’21.
- Readers may also be interested in BKLYN The Musical – Review.
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