‘It was a perfect fit that I came into musical theatre’: INTERVIEW: Strictly’s Oti Mabuse works her choreography magic

Oti Mabuse in rehearsals for Kiss Me, Kate. Picture: Pamela Raith

Best known as one of the most popular dancers on BBC1’s Strictly Come Dancing, OTI MABUSE has enjoyed a new move into musical theatre, having choreographed Ain’t Misbehavin’ at Colchester Mercury and Southwark Playhouse earlier this year, and recently working her magic on Kiss Me, Kate at the Watermill Theatre in Newbury.

Born in Pretoria, Oti took up dancing aged four and continued this while studying at university and qualifying as a civil engineer. But dancing was her first passion and she went on to be an eight-time winner of the South African Latin American Championship before moving to Germany to work on the country’s version of Strictly, Let’s Dance. In addition to Strictly, Oti is a judge and coach on The Greatest Dancer, as well as a guest presenter on The One Show.

Oti is dancing with Kelvin Fletcher on Strictly Come Dancing 2019, after her original partner, Made in Chelsea star Jamie Laing, was forced to drop out after getting injured during rehearsals. Her older sister, Motsi, is the new judge on the show, replacing Darcey Bussell.

Rebecca Trehearn and David Ricardo-Pearce play the warring couple at the heart of the Watermill Theatre’s actor-musician version of Cole Porter’s classic Kiss Me, Kate, directed by artistic director Paul Hart.

Here, Oti Mabuse is in conversation with Musical TheatreReview’s Lisa Martland.

What has the experience been like working on your second musical of the year, Kiss Me, Kate?

I have been so impressed by everyone involved in the production including our director Paul Hart who’s been absolutely amazing. The performers are so incredible in they way they sing, act and dance, as well as play different types of instruments.

The performers are often carrying instruments in the production. Was that a challenge?

When I found out that the actors were playing live, it felt like a dream come true. I got to learn so much more about how the music sounded like, how it felt. I got so obsessed with it, all the different instruments and every single sound to every single song. It was a massive learning curve for me but I loved every minute.

You got to live right near the theatre during rehearsals, was that a good way of taking a break from your TV roles and also getting to know everyone?

It was so beautiful living at the venue, it really helped me to focus only on the choreography. Everybody lived close by, so we went for dinner and got to know each other. We created little family moments, not just related to the production, but also involving everyone at the theatre in general. So it was a really nice community and place to work in.

You have mentioned it was a steep learning curve but it sounds like it was one you completely embraced?

Yes, exactly, and I got to work with incredible people. You watch as these powerhouse singers switch to playing instruments, to acting and dancing.

Oti Mabuse in rehearsals for Kiss Me, Kate. Picture: Pamela Raith

Alongside Strictly, your career has gone in different directions recently with projects that have all appeared to have been successful. Were you always keen to get into theatre choreography?

I’m always keen to do anything and everything. I know I can’t sing, I know I can’t cook, I know there are things that I’m not good at, but I never close the door on anything. On Strictly, we dive into this world of choreography and get to create incredible numbers. I have always loved choreographing from back in the day when I was in South Africa and then Germany.

It was a perfect fit that I came into musical theatre because then I got to create the perfect dance for a specific song. And then you get these incredible people who can sing them. It’s just amazing.

It’s been a busy year, first working on Ain’t Misbehavin’ and then Kiss Me, Kate…

I’ve learned so much about music, about intonation and articulation, and actually singing and creating a number, about collaborating. It works well for when I am back at Strictly too. Every project I take on can have a positive influence on the next one and the one after that.

In our first night review of Ain’t Misbehavin’, the reviewer said: “Oti Mabuse’s impeccable choreography brings it all to life, filling every inch of the thrust staging in the intimate Southwark Playhouse.” Not bad…

To be honest with you, I knew it was opening night, but because it was my first musical, I didn’t know that so many critics were coming and there were going to be so many reviews in the newspapers. So I had no clue. It was all about my experience with the director Tyrone Huntley and my associate choreographer James Bennett, it was about the three of us.  I know I can never tell an audience what to feel, or what to think. The only thing I can do is my best.

Strictly’s Oti Mabuse with her new partner, actor Kelvin Fletcher

Ain’t Misbehavin’ was your debut as a theatre choreographer, what was that experience like?

It was the best experience ever. It was about learning and creating as I was going. Because of my Strictly and Greatest Dancer commitments, I wasn’t really involved in the casting or anything, so when I arrived everybody was there and ready to dance. I initially came in with all this choreography packed with lifts and leaps, and then I remembered they had to sing as well! So I had to make a few changes.

I think it was about the getting to know the cast, seeing what they could do, and working with their skills. Making the choreography match them. At the end of the process, everybody was so happy and so confident in what they were doing, they were able to give an amazing performance. It was also a revue show so that was something that I had to take into consideration.

It was a great learning curve as well because when I came to Kiss Me, Kate, I already had a bit of knowledge about how musical theatre performance works. It’s great to listen to performers’ creative ideas too, it creates a magical atmosphere in the room.

It sounds like you’ve also really enjoyed the collaboration on Kiss Me, Kate with the performers, your associate choreographer, the director.

I did, and Paul Hart is such a sweet, sweet, kind man. He let me work in peace and was really encouraging. He was always ready to guide but also give me complete freedom to try out whatever I wanted. He really was a dream director. James [Bennett] also really helped me see through my ideas while at the same time he came up with great ones of his own. He’s a great teacher too.

Did you fancy playing any of the instruments, I think I saw you playing the drums on Instagram?

In my head, I became a part of the cast, maybe sax, trumpet or drums?!

So we might see you incorporating those into a few Strictly numbers later on in the year?

I really wish I could because I would absolutely do it for every single number. One day when I have my own tour, I’m definitely going to play music.

Do you like the contrast between the theatre work and the TV projects like Strictly and Greatest Dancer?

I’m working on bettering myself as a choreographer, as a professional dancer and as a presenter. Being on camera is great and a massive opportunity, it leads to all this other stuff. But being away from all of the lights, camera and action is amazing too. I get the best of both worlds.