From her time as Maggie Doyle in the popular TV drama series Blue Heelers, through to her current role as Anna Leonowens in the sumptuous production of The King and I, Lisa McCune has built a connection with her audience that makes her one of Australia’s most adored stars.
Lisa, who shot to fame as Constable Maggie Doyle in 1993 at the age of 22, did not become a household name through luck. As a child she was fascinated with all things to do with the stage and turned that passion into aserious vocation by enrolling in the Western Australian Academy of Performing arts at the age of 17. She worked hard, studied hard, battled for small roles, and lost out to others, but while there was no instant success, her tenacity and talent quickly showed results.
As a household name, Lisa is recognised for her role as Mary Abacus in the Seven Network mini-series The Potato Factory and appeared onstage as Cinderella in Stephen Sondheim’s Into The Woods and as Anne Egerman in A Little Night Musc. She starred as Maria in Gordon Frost’s The Sound of Music, which she followed with her Green Room Award-winning performance as Sally Bowles in Cabaret. She also received nominations for a Helpmann Award and Green Room Award for her performance as Hope Cladwell in Urinetown Her screen credits include five series of Sea Patrol, Reef Doctors, and Blood Brothers, among others.
But it was her role as Constable Maggie Doyle in Blue Heelers which drew the fascination of the Australian audience. It’s a role which saw nominated 11 times for Australia’s television prize, the Logie Award, including winning four for Most Popular Television Personality.
“The older I get the more I can stand back and be proud of the achievements of Blue Heelers,” Lisa says. “I’m a reasonably shy character and the attention was, at the time, overwhelming and I was always relieved to retreat back to the studio the morning after the Logies and continue working. “Today I enjoy seeing the pride my kids have every year when Logie time swings around. “Last year I took my eldest son and he had a ball. “There is no doubt Maggie Doyle was a gift.
“We had no idea at the time we were making the show how Australia had taken this show to heart. “Our ratings were very strong and we were recognised at the supermarket, but only now when people still stop you in the street to talk about the show has the full realisation of its success hit home how extraordinary it was to be part of that as a young actor.”I believe it’s success was due to a few factors … Tony Morphett, the writer, Hal McElroy our producer, Des Monaghan, a fine cast, wonderful technicians and a network who stuck by something they believed in.”
[pullQuote]“My story is fascinating and yes I’ve made some wonderful connections. “I was so lucky to go on the journey. “I’m very interested in finding out more.” [/pullQuote]It is her latest role, starring as Anna Leonowens in The King and I which cements her reputation as Australia’s first lady of musical theatre. The Rodgers and Hammestein production being presented in Australia by Opera Australia and John Frost, opened in Brisbane to great acclaim in April. McCune stars alongside internationally acclaimed baritone Teddy Tahu Rhodes as the King in the Brisbane and Sydney seasons, hot from their success performing together in the national tour of South Pacific. In Melbourne she will share the stage with international star Jason Scott Lee, who will play the King.
“I’m thrilled with the wonderful cast we’ve assembled for The King and I,” said producer John Frost. “I know this production will be as magnificent as the original, which is remembered as a milestone in Australian theatrical history. “Teddy and Lisa coming together worked wonderfully well in South Pacific and it seemed to us that we should capitalise on that success and continue with it.”
McCune concurs, saying “Teddy is so easy to work with. “He is an intelligent performer, who has great instinct and talent.” Taking on completely different characters is no challenge for the duo, but rather an inspiring journey. “I think we have both found that the characters of a king and a British governess in the 1860s are a far cry from a French plantation owner and an American nurse in the 1940s,” she admits.
“I’m also excited by the prospect of working with Jason. “He has performed the king before on the West End so will no doubt bring some interesting ideas to our production. “The chemistry is always different, but that I find is a positive in a long stage run.”
The King and I was Rodgers and Hammerstein’s fifth musical together and is considered one of the jewels in their crown. It is based on Margaret Landon’s 1944 novel Anna and the King of Siam, which took its inspiration from the memoirs of Anna Leonowens, a British governess to the children of King Mongkut of Siam (now Thailand) in the early 1860s.
The stunning Thai-inspired set is designed by Brian Thomson, and the sumptuous costumes, made with authentic materials sourced in Thailand by Roger Kirk. Lighting is by Nigel Levings, sound design by Michael Waters and musical direction by Peter Casey. Susan Kikuchi has recreates the original Jerome Robbins choreography as well as the choreography of her mother Yuriko who appeared in the 1951 Broadway production and the 1956 film.
[pullQuote]”We rehearse for four weeks and tech for one, then previews begin with audience. “I think when people see The King and I they will understand why four weeks was needed.”[/pullQuote]This current creation is a revival of John Frost’s 1991 production described by President and Executive Director of the Rodgers and Hammerstein Organization Ted Chapin as a “classic example of taking a theatrical risk – a risk that ended up paying off better than anyone could have imagined”.
In preparation for the role, Lisa spent hours reading and researching the story, from the country’s history to the personality of the characters.
“I start reading months ahead.” Lisa says. “Anything to do with the time, place and in the case of The King and I the people who are the basis of the characters. “Anna is a huge role and the physical aspects involved in the sizeof the costumes has surprised me. I’m getting fit!
“We rehearse for four weeks and tech for one, then previews begin with audience. “I think when people see The King and I they will understand why four weeks was needed. “The ballet in Act 2 is a masterpiece.”
When asked what medium she prefers to work in, Lisa is definitely open to all.
“TV and theatre are very different mediums, but ultimately as performers we just work according to the task,” Lisa says. I’m fortunate to have worked in both and don’t prefer one over the other. I do love having an audience, but I also love having someone do my makeup at 4am.
“I guess the foundation of my love for musicals was the collection of cast recordings my parents had at home growing up in WA.” I would spend hours listening to them, making up dances, watching the movies.
“I now watch my daughter doing the same thing. It’s very special.” Lisa says.
“My story is fascinating and yes I’ve made some wonderful connections. “I was so lucky to go on the journey. “I’m very interested in finding out more.”
[hr]To find out more about The King and I performances in Brisbane, Sydney and Melbourne, go to thekingandimusical.com.au.
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