We sat down with Matthew Ganley for a quick chat about his latest performance in Good Golly Miss Molly. For ticketing and info, please find here.
How does it feel to be part of the 40th anniversary celebrations at the New Vic Theatre with the revival of Good Golly Miss Molly?
The New Vic means a lot to me and so many artists who are fortunate enough to work here. To be involved in such a significant milestone is a real privilege.
What has been the most exciting challenge in taking on the roles of Ronnie and Jack’s Father in this production?
Getting to grips with the Stoke accent has been a blast… me duck!
As an actor-musician, how do you approach balancing the musical and dramatic elements of a show like Good Golly Miss Molly?
The story and the music flow together nicely and so the interplay between them feels quite natural. The challenge is in figuring out how Ronnie would play a song. In that way it’s seeing the music as an expression of the character, not a separate element.
Having previously appeared in productions such as The Nutcracker and The Snow Queen at the New Vic, how does this show compare in style and energy?
The Nutcracker and The Snow Queen were classic New Vic-style Christmas shows. Both were action-packed, bold, ambitious, and full of festive storytelling. Good Golly Miss Molly is anchored in the real world of the local Stoke-on-Trent community. The dialogue is relatable and colloquial. It all has a familiar feel to it.
What do you think makes Good Golly Miss Molly still resonate with audiences more than 30 years after it was first staged?
We shall see! My guess would be the iconic, live music as well as it being a local story – it’s a reminder of the power of music, community and reconnecting to our roots.
What has it been like working with director Bob Eaton on this revival of his original production?
It’s been a lot of fun working with Bob again. I had the pleasure of working with him back in 2018 and he has such a strong eye for story, character and the audience’s experience.